Once again, the author wishes to express his sincere gratitude for those who have most recently decided to become followers here at Newsspell.

If you’re a new arrival, you’re in for quite an introduction.

In a recent installment concerning the renowned pop music career of Madonna, one identified Hollywood and Broadway legend Ann-Margaret as a hidden family member, most likely her mother. In expanding one’s research, it seems Madonna has additional family relations, relations which have also been renowned as award winning stars in the contemporary music industry. These shocking revelations support one’s ongoing hypothesis that for decades, and perhaps since its inception, the American music industry has been monopolized by nepotism.

Admittedly, the recent media hoopla – which is no doubt completely drummed up –  between Eminem and music industry upstart Machine Gun Kelly served as a catalyst for the author to delve even further.

Once again, one shall present a well-known performer who was touted as having been plucked from the dregs of obscurity while struggling as a young artist in the trailer parks of a Detroit ghetto known as 8 Mile before eclipsing fame and fortune’s elusive mantle. But it turns out, this wasn’t so, and like Madonna and her mother Ann-Margaret, this particular performer was not only born into wealth and privilege, but also portrayed multiple personas within the music industry.

Loyal readers shall readily recognize his name, and the name of yet another famous, though controversial pop music industry personality he flawlessly but secretly portrayed during the decade of the 1990’s and proceeding well into the new millennium.

Having been born into wealth and privilege rather than working-class drudgery, this performer, like others of his ilk and his famous family members, was most likely trained from the earliest age and at the finest and most prestigious performing arts institutions before appearing onstage and on record to receive widespread fame and popularity.

And, before he became known as one of the music industry’s premiere performers and one of the most controversial stars in not only the genre of hip-hop but in the popular genre of alternative rock, he started off his skyrocketing career as a teen idol, known to his rabid teenage female fans as Leif Garret.

In fact folks, this former teen idol’s stage name exists as a primary clue as to the host actor’s actual genealogical identity, a stage name he used long before going on to portray other famous music industry personalities. Minus the letter M (=3/33), the name of Garret turns out to be a clever anagram for the pseudonym of the former teen idol’s legendary family relation: Garret (Margaret)

Prepare yourselves folks, because it only gets wilder from here!

The story of Leif Garret is yet another fabricated tale of pop music triumph and tragedy, an emotionally laden story of the young performer, though gifted with platinum level success before he was well old enough to acquire a driver’s license, suffered from the inevitable plunge into vice, lust, and public degradation as he entered into adulthood.

It is the sort of tale designed to inform of universal and inherent human frailties, the sort of epic saga from out of which books, television mini-series and Hollywood cinema productions are inevitably born. During the time period of the late 1970’s entering into the dawn of the MTV era, Garret’s tale of fame won and lost was not an isolated case. The tragic demise of Keith Moon and John Bonham who respectively, were renowned members of the legendary rock acts The Who and Led Zeppelin, seemed to occur right around the same time.

Such epic and dramatically drawn tales seem to focus and intensely galvanize the attentions of the general public, and particularly the fickle attentions of those among the youthful demographics who are more likely to ravenously consume the commercial products mass distributed by the music and entertainment industries. Such celebrity sagas also serve to keep entire cross-sections of the general population distracted from ever contemplating too deeply concerning the gaggle of criminal, psychopathic, and self-appointed royal families that rule over them.

As expected, Garret’s biographies reproduced by mainstream sources stress his emergence from utter obscurity, which of course is a deliberate canard. Rather, Garret hailed from show business royalty, and like his authentic genealogical forbears, was meticulously trained to become a star in the entertainment industry.

If one listens to the audio of the song featured in the video displayed above, one can detect that even then, the recorded voice of Garret’s host actor was being auto-tuned. Though the “box” or auto-tune software hadn’t yet been developed in the late 19070’s, the music industry’s best engineers and highly skilled sound architects would “soak” the performer’s vocal tracks – often several performances or “takes” composited together and placed “hot” within the final audio mix – with waves of reverb, echo, and compression frequencies to make a bad singer like Garret sound competent.

In fact, Garret’s record producer, Michael Lloyd, also worked with teen idols Shaun Cassidy and Donny Osmond, as well lounge pop/R&B singers Engelbert Humperdink and Lou Rawls. Garret’s biographies claim he was born in Hollywood, California on November 8, 1961 (99=66/occult law of mirror reversal/12/21/777 intelligence joker code), and that his father was absent for most of his formative years. It is also claimed Garret graduated from high school at the age of 15 (6/33).

Almost immediately thereafter, Garret, along with his sister Dawn Lyn (more on her in a moment) landed several acting roles in both television and movies. Together, they first co-starred in “Devil Times Five” as mental patients who escape from an asylum and go on a murder spree, and again with subsequent television roles in Gun Smoke and Wonder Woman. One wonders, in contemplating the plot of this movie, if this wasn’t an early example of Hollywood predictive programming for the arrival of the 21st century era when “mental health” issues accompanied by simulated scenarios featuring dramatizations of mad men with fabricated identities and wielding automatic weapons were being pre-planned to later figure most prominently in the public consciousness.

On the subject of predictive programming, it would seem the ruling elites pay especial attention to detail, for one of the main adult characters who is later brutally murdered by the five children in the movie Devil Times Five is named Papa Doc.

Eminem fans should immediately recognize that name.

In the final “battle rap” scene of the movie 8 Mile, Eminem’s character B Rabbit faces his staunch rival Papa Doc, and reveals to the capacity audience inside the club that rather than being a gangster rapper, Doc is in fact a child of privilege hailing from an upper-middle class suburb named Clarence, and that not only did his so-called rival attend Cranbrook, a private school, but that “his parents have a real good marriage.”

One wonders further still, if Eminem’s rant wasn’t meant to be ironically self-referential.

It would appear, that the ruling elites who finance and produce movies such as Devil Times Five and celebrity cinematic vehicles such as 8 Mile, manage to work in details that serve as clues which slyly reveal the host actor’s true identities and divulge the secrets of the actor based reality. It is almost as if, they are leaving a trail of breadcrumbs through a murky, forested path, as if to boldly dare any inquisitive members of the public in attempting to discover them.

Well, it would also appear, the author and his loyal readers at Newspell have no difficulty in boldly following such a darkened and meandering path when it comes to identifying the genuine identities of pop culture’s most revered icons.

Inevitably, one way or the other, such celebrities always become exposed for what they truly are – frauds.

One shall also notice that in the video clip displayed above, the character of B Rabbit makes a gematria coded declaration before launching into his opening salvo against his rival.

“Now everyone in the 313 (313=7/Zayin the Kabbalah mind weapon) put your hands up and follow me,” Eminem’s character exclaims.

The raising of hands is symbolic during the course of blue lodge masonic ritual:

https://goo.gl/images/zXht5c

As for Garret’s sister Dawn Lyn, she is Ann-Margaret’s hidden daughter, Madonna Louise Ciccone:

Dawn Lyn:

https://goo.gl/images/LkHU4c

In the photo of Lyn, does one notice the earring that adorns the lobe of the ear – a black slice of lightning from heaven (lucifer/also 7 Kabbalah mind weapon)? In all the photos of the young Madonna and Lyn, there appears to be ample evidence of photo shop and cropping manipulations, as well lens and lightning distortions. It is also interesting to note, that in the movie Devil Times Five in which Lyn and her brother Garret starred, one of the other characters, an older woman who happened to have been the producer’s girlfriend and portrayed the role of a catholic nun, also doubled as one of the murderous children and wore a blonde wig to help complete the illusion.

Although, Garret’s biography indicates he was born in 1961, which would have made him 16 or 17 years-of-age corresponding with the release of his debut album in 1977, one can readily observe that while starring in the aforementioned movie, 1974’s Devil Times Five, he appears to have yet emerged from pubescence, and appears to be perhaps seven, or even eight-years-old at the most.

However, if one has learned anything through one’s research with celebrity biographies, the birth dates, chronological ages, and other pertinent information listed therein can hardly be relied upon to be accurate, and in fact in some cases, if not all, the dates listed are found to have been likely fabricated.

It is most likely, the pedigree information contained in Garret’s biography was thoroughly concocted, not only to have made him appear more chronologically advanced than his very tender years, but presumably, so that in terms of the artist’s publicly projected image, he would have appealed to the sales demographic that, at that time during the late 1970’s, was known to have purchased records by groups and artists performing a similar style of disco flavored pop music, a style of the then popular music performed by such groups as the Bee Gees, Village People, and artists such as Leo Sayer.

Despite several minor roles in television and cinema to his resume’s credit well before eclipsing the legal age of adulthood, Garret’s reign at the top of the teen pop idol heap was brief, and after a period of notoriety in the music industry, he found himself replaced atop the teen pop throne as the MTV era of the early 1980’s rapidly approached.

One happens to believe the character of Garret was designed as a training ground for the character’s host actor, who would later experience exponentially greater global acclaim portraying the great white hope of hip-hop, Slim Shady (sums to 110 in English Ordinal gematria=2/twin masonic pillars of Boaz and Jachin/7 in reverse full reduction=Zayin/Kabbalah mind weapon) AKA Marshall Mathers (93 in English Ordinal gematria=12/21/777 joker code/full reduction=3/33 high-degree Scottish Rite Freemasonry) AKA Eminem (sums to 59 in English Ordinal=14/77/twin lighting charges of Lucifer/angelic transformation).

Though Garret’s tenure as teen pop idol arrived and rapidly vanished, he managed to fill his entertainment resume with several more television and film roles before the dawn of the MTV era beginning in the 1980’s. However, with waning record sales and the fickle tastes of the public turning away towards other then emerging genres of popular music, Garret was eventually knocked off his teen pop pedestal, and reportedly, soon thereafter plummeted into the dregs of heroin addiction. This is the often overwrought, and cliched element that remains a dramatic fixture when considering the biographies of seemingly every prominent character that has ever inhabited the written and visual history of American rock and pop music.

Time and again, these melodramatic episodes involving pop stars and their inevitable plunge into self-destructive drug abuse occurs by predetermined design, for in finding themselves hoisted to the great heights of mass popularity, their celebrity personas are held up as social and behavioral models to enhance the profitability of various parallel industries also controlled by the elite families – fashion, merchandise, and yes folks, the international narcotics trade.

That’s right folks, the ruling elites set up their tender offspring as stars, and outfitted in the latest glittering fashions while warbling the latest pop stylings, these prefabricated stars become insatiable objects of adoration to both the young and the impressionable, those who will hear of the star’s drug experimentation, and thinking that it is “cool”, will inevitably want to “experiment” themselves, experimentation which quickly degenerates into self-destruction, never realizing the celebrity behavioral model they sought to imitate was merely a host actor portraying a role and putting on an act.

In effect, several generations have been utterly and completely duped into buying and consuming the narcotic poison distributed and marketed by the ruling elites who seek nothing other than their unquestioned and obedient subservience in continuing to fork over their flow of tax tributes.

Be that as it may, and judging from the arrested state of adolescence still exhibited by those who came of age both prior to and during the emergence of the 1980’s MTV era, this ongoing social behavioral modification formula of the ruling elites seems to have nonetheless well-worked its deep and dark magic.

Contrary to popular and public opinion, the multi-billion dollar, international drug trade is perhaps the most profitable global industry controlled by the thirteen, ruling elite Jesuit families, and positioning their sons and daughters as celebrities and pop stars who are demonstrated to have dabbled in the chic cool of the designer drug of the moment represents, in it’s own insidious way, a cynically motivated advertising ploy.

It is curious to note, that shortly after the “reality television” media attention provided during Garret’s own alleged struggle with heroin addiction, the US government was winding up to invade Panama, a banking hub for the South American drug cartels, and later still, Iraq, one of those countries which, along with Afghanistan, Iran, Syria, and the North African nation of Libya, plays a significant role in the growth, production, refining, and distribution of the poppy crop.

While it is alleged Garret was ensconced in California rehabilitation clinics however, it is most likely his host actor had been deliberately hidden away, preparing for the public transition to the character that would soon become known to America and the world at large as Eminem in the mid-1990’s.

Before allegedly discovered by Los Angeles based music producer Doctor Dre, Eminem honed his chops as a hip hop MC with a group labeled D-12 (4/ 2 2’s=22 masonic master builder/777 joker code), an obscure Detroit hip-hop ensemble that only gained national notoriety after Eminem’s commercial success as a solo artist had been established in the late 1990’s. As the new millennium approached however, Marshall Mathers AKA Slim Shady would not be satisfied with commercial success in just one emerging genre of popular music, and thus became yet another performer who allegedly used to be known by the birth moniker of Brian Warner:

One can only imagine that, at this point in the installment, new comers and perhaps even loyal readers alike are hovering their twitching fingers over the mouse curser, thinking of quickly absconding to another web page.

Negative intuitions aside, one should think to beseech those thinking of fleeing to acquire patience and remain, if only to observe the author’s valiant attempts in making his case.

Assuredly, one shall not be disappointed, because the show business character name of Marilyn Manson directly derives from a Hollywood character for whom Ann-Margaret served as host actor back in the 1960’s. And when the author finally reveals who that character is, one guarantees loyal reader’s minds shall spin faster than Linda Blair’s head in the Exorcist!

Brian Warner AKA Marilyn Manson’s notorious reputation rests on his debut full-length album, Antichrist Superstar, and the follow-up release, Mechanical Animals.

Both of these releases, featured a stylized gothic nihilism and Manson’s unique vocal nuances that sounded as creepy as they were thrilling and original to behold, setting him clearly apart from the herds of Nu-metal, WWF style caveman bellowers common to the commercial radio airwaves of the newly arrived millennium.

Unknown to many, before Manson’s debut, he recorded an EP which featured a cover of the Eurythmics’ Sweet Dreams. Having just heard Mansion’s version of the popular, early MTV era pop hit before endeavoring to write this installment, one immediately confessed coming away quite amused with the interpretive cleverness of Manson’s rendition, which may have, in fact, eclipsed the infectious quality of the original recording.

Now, concerning the pop music character of Manson, here’s where things get rather interesting, folks.

One wonders, how it is a relatively avant-garde oriented artist such as Manson, out of all the songs he could have chosen to cover, chose that particular track?

Well, because the female vocalist that originally recorded the song, Annie Lennox, is in fact a family relation – Ann-Margaret.

Ann-Margaret: https://goo.gl/images/DsP4n1

Annie Lennox: https://goo.gl/images/RtwuQn

If one peruses Lennox’s biography (born December 25/3 7’s/777 joker code) in 1954 , it appears she was a little long in the tooth, as it were, to have suddenly become a pop star during the mid-decade point of the MTV era in the 1980’s, an era dominated by ultra-youthful upstarts like Culture Club, Duran Duran, A Flock of Seagulls, and Def Leppard. In retrospect, Lennox’s vocal style sounded as if it had been fashioned after the identical style Margaret established when she debuted on Broadway in the role of Kim MacAfee in Bye Bye Birdie, the stellar role that established her as a bankable star. And now, after having performed voice comparison analysis, it is no wonder why the two performers vocal stylings are, indeed, met with such identical similarity.

Again, one considers the artist’s name – Manson.

Although, it has become customary, not only in hip hop, but in alternative rock/metal to accentuate an outlandish image, why should the young artist choose to adopt the name of an alleged criminal leader of a gang of serial killing debutantes?

Harking back to a much earlier installment here at Newspell that dealt with the subject matter of the alleged historical event scholarly academicians point to as having effectively ended the “Summer of Love”, one began to embark upon a much closer examination of one of the alleged victims, Sharon Tate.

Could further investigation, into the Manson simulated serial killings of the late 1960’s, hold some clue as to the secret behind the moniker of Marilyn Manson?

Sharon Tate:  https://goo/gl/images/ALsVNT

Ann-Margaret:  https://goo.gl/images/THc6Up

Indeed, folks, facial recognition and voice comparison analysis confirms, that Ann-Margaret was the host actor behind the mask of the late actress, Sharon Tate.

Not only, does this shed an entirely different light on the Manson hoax, but perhaps, in future, yet another installment examining this seminal event in American history will have to be published. For now, though, it appears that this family of Ann-Margaret’s has for decades, dominated the entertainment and music industries, with various family members having portrayed multiple and famous show business personalities.

MACHINE GUN KELLY/EMINEM FEUD

Not only is the audio of Machine Gun Kelly’s anti-Eminem rant the single most monotonous drivel one has had the displeasure of experiencing, but the numerological markers evident in the lyrics, as well the thinly veiled attempt of the “artist” to imitate and ape the MC style of Eminem, became obvious from the opening seconds of the track.

“I got the double X’s on my chest,” Kelly is heard to grunt.

By now, any regular visitor to the pages of Newsspell recognizes the numerological and symbolic significance of the X. Not only does it represent Saturn, but being the twenty-fourth letter of the alphabet, it sums to 6 in English Ordinal, and therefore reduces to 3 (three/double E), which of course, is equal to 33 (high-degree Scottish Rite Freemasonry). “X” is also symbolic of the pyramid, which itself is symbolic of the sun god, or Lucifer, the true source of secret divination for those adherents of the Jesuit order.

One shall not bother to recap, discuss or belabor whatever the particulars of the feud between the two performers.

Suffice to say, folks, this is yet another example of a publicity stunt designed to induce the only element of paramount importance to the thirteen, ruling elite Jesuit families: commercial profits.

These sort of manufactured pop music feuds have a long-standing tradition in the music industry, going back to when Bing Crosby and Frank Sinatra would often trade sharply pointed barbs at one another.

The fact that both of the artist’s respective recording labels, Interscope and Slim Shady records, are owned and distributed by Universal Music Group, should be enough to inform that this contrived media shenanigan is, indeed, nothing more than a distracting circus act, a microcosmic manifestation of the ruling elite’s divisive global strategy to keep the masses incarcerated within separate social, economic, racial, political, and even pop culture prison cells.

Furthermore, does it not smack of hypocrisy, that in this politically correct age, when the threat of “gun violence” is constantly accentuated by every conceivable moronic talking head and corporately sponsored television pundit, not so much as one single peep has been made about the implications of the possibly offensive nature of the young “artist” Kelly’s chosen moniker?

Well, from the author’s vantage point, the magnitude of media hypocrisy stinks foul in the nostrils.

But, folks, what is the coup de grace, that demonstrates this so-called feud between Eminem and Machine Gun Kelly is a comical hoax?

Both ear biometric and facial recognition analysis, have revealed that Machine Gun Kelly’s host actor is Rocco Ritchie, son of Madonna’s former spouse and British movie producer, Guy Ritchie.

Machine Gun Kelly: https://goo.gl/images/PMDyCb

Rocco Ritchie: https://goo.gl/images/aKmU8t

This is how, the secret behind the media sorcerer’s psychological operations are kept secret, folks; they keep it in the family.

 

 

 

 

 

 

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