From heavy metal pioneer to reality television star, rock’s “prince of darkness”, Ozzy Osbourne, has always been one of rock and pop music’s most legendary eccentrics.

Having enjoyed a stellar career’s notoriety spanning several decades, perhaps more than any other star in the history of the popular music recording industry, Osbourne’s exceedingly outlandish image has come to represent rebellion incarnate to his millions of adoring fans worldwide.

Though it is claimed Osbourne’s career has time and again been plagued by drug and alcohol abuse and other wild mishaps, he has not only managed to survive, but his unorthodox, platinum-selling career has managed to somehow flourish.

However, as with other stars of stage and screen, is there any credence still to be given to the wild stories one finds coloring Mr. Osbourne’s biographical history?

Despite the fact his millions of adoring fans are willing to adamantly testify to the truthfulness of the rock legend’s unprecedented exploits, can one still dare to question their veracity? Or, as loyal readers have so often observed concerning the biographies of other celebrity careers examined here at Newsspell, is there something truly awry with the man known as Ozzy?

Is Mr. Osbourne’s reputation as rock music’s celebrated “prince of darkness” well-deserved, or shall we proceed to yet discover another pathetic imposter concealed behind the curtain of Oz?

The success of any psychological operation relies upon the suggestive strength of its repetitive images, only then can its magic contagion be spread to infect all who observe them. This is the essence behind history making’s method of operation.

The image of the character known to generations of rock and pop music fans as Ozzy Osbourne represents such a contagion, created solely to influence the behavioral trends and social patterns of certain youth demographics toward the direction favorable to whatever social agenda the ruling elites wish to see come to fruition, the same ruling elites who own and operate the recording music industry and the recording label with which Mr. Osbourne possessed contractual obligations. The other reason such entertainment industry personalities continue to be routinely created is, of course, to generate significant profits.

“BLIZZARD OF OZ”

Beginning in the very late 1960’s and extending for a chaotic period of years into the following decade, Ozzy Osbourne was noted for fronting the ground-breaking heavy rock ensemble Black Sabbath. Although the band was never considered as glamorous or as musically versatile as compared to some of their more renowned contemporaries and, at times were utterly reviled by music critics, their catalogue of recoded music has nevertheless managed to leave an indelible mark upon popular music’s diverse landscape.

Inevitably however, Osbourne appeared to have come to the end of stardom’s glittering trail, when finally in the late 1970’s, his bandmates decided they needed to strike out to discover fresh musical terrain. After almost a decade while basking in the music industry’s white hot spotlight, the prince of darkness found himself in the unemployment line. For the first time in his career, Osbourne was a rock singer without a musical ensemble to back him, and before the arrival of the 1980’s, he soon found himself suffering from an acutely self-induced malaise while proceeding to drown amid a toxic sea of narcotics and liquor, and with seemingly no one to rescue him from what appeared to be inevitable peril.

Or, so Osbourne’s melodramatic biographies tell us.

Miraculously though, Osbourne’s crazy train was once again speeding along on the rails, headed once more straight towards the junction of pop music success when, he met Sharon Arden, the daughter of Jet Record’s (a subsidiary franchise of recording industry giant CBS) executive and industry heavyweight, Don Arden.

As their romance blossomed, Osbourne’s luck quickly grew in direct proportion, and as the MTV era dawned, America and the world would soon be subjected to the hurricane winds of Osbourne’s “Blizzard of Oz”. The Oz man’s newly acquired band soon possessed an exciting new feature, that of guitarist Randy Rhoads who, reportedly directed Osbourne’s creative muse toward new and exciting vistas.

At this uncertain juncture of his career however, the music industry at large did not appear to be enamored with the prospect of Osbourne’s triumphant return to the top of the pops. Osbourne was largely viewed as an industry dinosaur, an obsolete relic of rock and pop music’s distant past.

Ever the eternal optimist, Osbourne’s new paramour, Sharon Arden, while serving in the capacity as Osbourne’s manager, came up with a foolproof promotional scheme.

Since the popularity of Osbourne’s brand of heavily repetitive and droning rock music had significantly waned with popular music’s record buying public as the MTV era arrived, it had been undoubtedly reasoned such clever marketing schemes were necessary, if Osbourne’s recordings ever hoped to regain significant chart position in the US.

In lieu of disco and an array of bands specializing in varying parodies of the brand of heavy rock practiced by Sabbath and Led Zeppelin, a new regime of bands with bizarre monikers and perhaps even more bizarre hair cuts, accompanied by skinny ties, gender neutral fashion and reams of synthesizers, had become all the rage among the youth demographics of the record buying public entering in to the 1980’s.

Yet another obstacle hindering Osbourne’s rebirth existed among the determined consensus of executives at the fledgling MTV that, Osbourne and his brand of Halloween styled burlesque and dime-store Satanism would never become a welcomed feature on their newly launched television venue.

Operating on the premise any publicity is good publicity when it comes to the music industry, Sharon decided to accentuate and employ the clownish Osbourne’s penchant for unpredictable and outlandish behavior as a key marketing tool, a scheme that, in retrospect, appears to have been a brilliant stroke of intuitive genius.

THE BAT BITES BACK!

Osbourne’s first meeting with CBS recording industry brass in the early 1980’s (May 1981/7=Kabbalah Zayin mind weapon/81/18 occult mirror reflection=666) would have gone completely unnoticed, if not for the fact Osbourne created a monumental cause celebre in the music industry press. If one believes the account repeated by Sharon Arden, she had advised the Oz man to bring with him, of all things, a flock of live doves to celebrate the momentous occasion. Instead of unleashing them to fly over the heads of the unsuspecting recording industry brass, Osbourne transformed to Hannibal Lecter and began to dine on one of the hapless birds allegedly held captive in his pocket, and he did this, no less, while firmly perched on the reluctant lap of one of the horrified female executives.

The following video clip culled from VH1’s Behind the Music series provides a visual account of the ghastly incident, but one shall immediately notice not only is the identity of the CBS executive upon whose lap Osbourne is perched blacked out, but Osbourne’s face is entirely absent of any traces of the animal victim’s blood.

No doubt, the entire stunt was a staged event, and all to bring attention to Osbourne’s upcoming record release. Appropriately enough, the clip in question begins at exactly 3:30 (33/high-degree Scottish Rite Freemasonry) into the video, and at approximately 4:33, one can view Osbourne during the aftermath of this absurd scenario.

Once again, note there are no traces of blood to be found on Osbourne’s face pictured in the still frame, and in the frame immediately preceding it, despite Arden’s repeated claims the executive was utterly horrified, she appears to be delightedly smiling.

Oh. and by the way, the actor posing as the CBS executive recounting the Osbourne’s ridiculous prank is none other than Frank Zappa, a veteran music industry presence with intimate family ties to the military-industrial complex, to CIA and the international intelligence octopus.

But folks, there are deeper revelations still.

What shall seem perhaps even more surprising and, perhaps even shocking, are the true identities of the host actors that have for a number of decades portrayed the characters of “Ozzy” Osbourne (sums to 201/English Ordinal gematria=3/33 and 51 in Reverse full reduction=6/33) and his wife, the former Sharon Arden.

Additionally however, Ozzy Osbourne is not the only music industry performer that the wild rocker’s host actor has portrayed. A bit later in this installment, one shall also provide empirical evidence of Osbourne’s dubious vocal talents, demonstrating that for perhaps the entire span of his career, he has utilized all manner of sonic magic tricks in a desperate attempt to perpetuate his character’s portrayal as the music industry’s “prince of darkness”.

Could it be, there was someone else performing while hidden behind the curtain of Oz?

After garnering two multiple platinum record releases with his Blizzard of Oz band, Osbourne decided to double down on his ridiculously absurd bird mutilation spectacle. It is alleged that in 1982 (29=2 9’s/occult mirror reflection=66/12/21/777 joker code) and while performing at a concert date in Des Moines, Iowa – which is home to a significant masonic presence and is also the residence of a prominent Freemason Grand Lodge – a fan tossed a live bat onstage. Mistakenly supposing the bat was a plastic replica, Osbourne, ever the eternal showman, proceeded to clasp his teeth about the wriggling creature’s neck and decapitated it.

In the video clip displayed above, the VH1 narrator goes on to explain that Osbourne not only was subsequently banned from performing in Boston (another American city with a strong masonic presence), but before a scheduled concert date in Saint Louis (a city featuring the masonic golden arch) the FBI allegedly paid the eccentric rock singer a visit.

The same video clip (beginning at 7:00) also documents that during this period of his career, Osbourne’s public behavior managed to surpass even his previous exhibitions of outrageous ghastliness. During a concert tour while in Texas, a severely inebriated Osbourne allegedly stumbled from his hotel suite and then proceeded to urinate on the shrine located at the Alamo, an offense for which he reportedly spent the night in the local hoosegow. The gematria of the word Alamo sums to 42 (6/33/high-degree Scottish Rite Freemasonry) in English Ordinal.

Under the glare of critical analysis, it is clear, not only were these exploits of Osbourne’s staged with the complicity of local law enforcement and the FBI, but one shall take note of the significance of the story’s details. While mostly involving the consumption of either alcohol or narcotics, Osbourne was also wearing a green dress filched from Arden’s hotel wardrobe while he proceeded to relieve his bladder upon a national shrine. The color of green has deep occult significance, representing the concepts of fertility and spiritual rebirth. Given the true identity of Osbourne’s host actor, one of the most digitally modified men in the entire history of the actor based reality, this clue holds colossal significance.

Considering further, could this also have been an early attempt on the part of the ruling elite families to begin seeping their gender fluidity agenda into the subconscious of the public?

If one observes the manner of gender neutral fashions and fey mannerisms of most of the rock and pop acts that graced American television screens during the early MTV era of the 1980’s, such would seem to be the case. Remember too folks, that these same ruling elite families secretly control and profit from the global narcotics trade, as well own every significant liquor distribution system.

Deliberately hyping the careers of their chosen, mythical pop stars, the ruling elites have always sought to utilize heroic figures in the modern age as symbolic billboards with which to more successfully peddle both their illicit and legally commercial wares to those they know are the most likely to possess the penchant to consume them.

The ruling elite families have always believed, that a population psychologically conditioned toward the imbibing of alcohol and narcotics – while still young and impressionable – exists as a surefire method of ensuring obedience and subservience to their commercial tax farm system later on as adults.

Indeed, the utilization of pop and rock stars as mass behavioral modification models has always been the ruling elite’s clever, but covert method of profitable operation, especially when it comes to the successful governance of mass populations and the efficient management of vast, commercial human resources.

Typically though, Osbourne’s career wouldn’t have been complete without yet another staged rock star death scenario. After all, nothing is more beneficial to the profitability of a rock and pop star’s career than one accompanied by morbid tales which, in turn, foster the public’s inherent fascination with the concept of death. In the video below, note the masonic references and gematria coding that permeates the story of the death of Randy Rhoads, the Blizzard of Oz’s guitarist, at the tender age of 25 on March 19, 1982 (7/Kabbalah Zayin mind weapon/33/high-degree Scottish Rite Freemasonry).

Take note too, of the masonic gematria coding evident right from the beginning of the video clip concerning the improbable details of the tragic plane crash. In addition to Blizzard of Oz’s guitarist Randy Rhoads (double R for 3 6’s=18/666), two others (=3/33) were allegedly killed in the plane crash, including the pilot and Sharon Arden’s personal assistant. The narrator also makes reference to the fact the plane buzzed Osbourne’s tour bus three times (3/33 again) but that on the fourth pass (3+4=7/Kabbalah Zayin mind weapon) the plane foundered, slicing the tour bus “in half” (1+2=3/33) before plunging into a nearby house, bursting it into flames. Take note also, that despite Osbourne himself testifying the ill-fated plane had demolished the tour bus while he was still on board, he yet still managed to emerge miraculously free from suffering any significant injury.

Does any of this account seem plausible folks, or was this indeed just yet another concocted publicity stunt?

Keep in mind, that Osbourne’s recording label, CBS/Epic, is Columbia Broadcasting System, a company named after the Masonic Grand Lodge located in the District of Columbia and founded in 1811, and represents the governing body for all constituent 43 lodges located within this independent city-state, which falls directly under the controlled jurisdiction of the Jesuit order in Rome.

Plane crashes seem to be a favorite tool of the ruling elites when creating their psychological operations.

After all, as the narrator in the video points out, any publicity whether triumphant or tragic, works out profitably for the artist and all concerned in the music industry. Even considering this event to have been legitimate, one cannot help but wonder, if the band was traveling via tour bus, why Rhoads was aboard the plane to begin with? Where exactly, did he expect to go?

Beginning at 21 seconds into the video displayed above, take note of the object appearing in the foreground of the still image that claims to portray an accurate representation of the alleged wreckage.

If examined closely, one should take note of the triangular, metallic object that appears to resemble that of a masonic compass, like the one displayed in the masonic logo at the link provided below:

https://goo.gl/images/N5Jtby

As for the identity of Arden’s personal assistant who perished in the alleged crash, one would instruct loyal readers to examine her still image when it appears at approximately 24 seconds into the clip. Who does she most closely resemble? Is she a famous face recognizable to millions of current daytime television fans, perhaps?

Oprah Winfrey:

https://goo.gl/images/JaUjvf

One promises, the presence of Winfrey will soon come into greater perspective when the identity of the host actors portraying both Osbourne and Arden AKA Sharon Osbourne are shortly revealed. Suffice to say for now, Winfrey’s production company falls under the corporate umbrella of the larger production concern owned by its largest stockholder who, not only happens to be Osbourne’s host actor, but one of Hollywood’s most powerful and influential studio moguls.

As for the late Rhoads, whose pseudonym sums to 127 in English Ordinal gematria (3 7’s/777/and 62 in full reverse=2 6’s=12/21/777 or 8=44/destruction code) there can be no doubt, his death was hoaxed and that he too, was portrayed by a host actor, a veteran musician/actor whose career has been previously examined here at Newsspell.

But first, does the guitar player featured in the video clip below, minus the blond hair, appear at all familiar?

Randy Rhoads:

https://goo.gl/images/jeMrGR

Rick Springfield:

https://goo.gl/images/degBps

As the hidden son of Warren Beatty AKA former US president “Dick” Nixon and Hollywood actress Annette Benning, who is the host actor currently starring in the role of Massachusetts senator Elizabeth Warren, Springfield is certainly no stranger to the concept of the actor based reality and, judging from the skillful guitar work he exhibits in the previous video clip, by the early 1980’s he undoubtedly had acquired the necessary musical chops to pull off the classically inspired riffs Rhoads repeatedly demonstrated, both on Osbourne’s commercial recordings and while performing in the live music arena.

However, like most busily working actors and high-profile musicians, better contractual offers to advance one’s career are oftentimes looked to be taken advantage of and, after faking his death as the young Randy Rhoads, Springfield decided to move on in pursuit of his own lucrative, platinum-level music career.

The Rhoads’ faked death scenario obviously worked out for both parties involved, for while Springfield indeed went on to equal or surpass Osbourne’s notoriety in the music industry, Osbourne himself benefitted from additional publicity in keeping his name before the public eye.

SHOOT, SHOOT!

Proving his career was never immune to controversy, yet another media upheaval soon ensnared Osbourne in the wake of  Rhoads’ tragic death, this time concerning a song of Osbourne’s entitled “Suicide Solution”. The controversy over the song had mostly to do with an alleged bit of what is termed “backward masking”, which refers to a layer of sonic noise mixed just beneath a pop music recording’s more discernable audio portion. Although the subject of backward masking has been kept relegated to the realm of “conspiracy theory”, psychological and neurological studies conducted by Stanford Research Center indicate that subliminal messages, those bits of information only largely discernable by the human subconscious, can later be triggered and coaxed into the conscious mind from the repetitive application of both audio and visual stimuli.

On this occasion, it was claimed a subliminal message contained in Osbourne’s “Suicide Solution” had led to a young teen’s demise.

Though for a short time, a great deal of media hype swirled about concerning the controversial subliminal, the law suit brought forth against Osbourne and CBS records in 1986 by the surviving parents of nineteen-year-old John Daniel McCollum (19 represents the Jesuit number of the sun or Lucifer’s light) was summarily dismissed.

To this day, though appearing to be apologetic whenever asked to recall the incident, Osbourne denies ultimate culpability.

If one wishes to explore further, Osbourne’s rather unintelligible explanation of the incident is available in the video clip displayed below, beginning at approximately 8:24:

If one didn’t know any better, Osbourne’s explanation comes off as mealy mouthed, implying that while he very well knows of the power of this subliminal audio technique and of the great potential for deep psychological entrainment, he nonetheless attempts to diminish its significance. This is a blatant demonstration of the ruling elite’s mindset and methods of sinister operation.

While on the one hand, the ruling elites distribute their commercial poisons disguised in glittering packages or choose to market such products under some other false pretense which plays on the most emotionally and psychologically vulnerable, they also create these fabricated media stories as a means of yet another subversive marketing ploy, while still adamantly denying any culpability or foreknowledge.

Suicide solution, the song in question, was released as part of Osbourne’s first Blizzard of Oz record in 1982, and was clearly meant to exist as a form of predictive programming for what was up until that time in 1984, the largest mass shooting in the history of the US.

In retrospect, this vintage, mainstream news story from July 18, 1984 (33/666/13=summit of masonic pyramid) that allegedly took place at a McDonalds in California, seemed configured to the identical template one would expect of a preplanned psychological operation. When watching the video, note that the mainstream news narration is heavily coded with both double and triple 7’s and other gematria markers with which one’s loyal readers have become more than familiar. Of course, the most conspicuous gematria marker can be detected within the symbolic McDonalds’ logo itself (3/33).

THE MAN BEHIND THE CURTAIN

Perhaps unbeknownst to many of his millions of adoring fans and, as with Madonna and several other pop stars throughout the decades, there is significant evidence Osbourne has repeatedly utilized many forms of vocal enhancement in a brazen attempt to elongate his illustrious career. It turns out folks, that for an entire tour during the 1990’s, Osbourne opted to conceal a “ghost” singer backstage to compensate for his apparently ailing voice. Robert Mason, long-renown in music industry circles as an accomplished studio musician and session vocalist, was asked by Sharon Osbourne if he could be employed for the duration of an entire world tour during the late 1990’s to aid the vocally debilitated Osbourne. Mason tells of his fascinating account in the video displayed below:

THE PRINCE AND HIS ROYAL PRINCESS

Now for the exciting denouement, folks!

Facial recognition and voice analysis have determined the respective host actors of legendary rock star Ozzy Osbourne and his wife, the former Sharon Arden, to be our old friends Hollywood mogul and royal Austro-German prince Barry Diller and his wife, Princess Diane von Furstenberg AKA renowned American television personality Barbara Walters.

In addition to having starred as a former US president, the host actor behind vintage Hollywood actor Cary Grant, Hollywood movie director Oliver Stone – all for which Diller should be duly rewarded with a slew of Oscars – Mr. Diller has also starred as Australian pop star Peter Allen:

Barry Diller:

https://goo.gl/images/YsVMZg

Peter Allen:

https://goo.gl/images/NCfWTQ

The fact that Diller was able to successfully work his brand of sorcery in Australia is not wholly surprising, since that nation has long existed as a safe haven for the covert activities of the international intelligence octopus, specifically those of CIA, who were proved to have been prominently involved with the political undermining and eventual ouster of Australian Premiere Gough Whitlam during the 1970’s.

Putting notions of rampant nepotism and evidence of gross criminality committed over a period of decades aside for one moment folks, one supposes the Oscar nomination committee in Hollywood should seriously consider bestowing Mr. Diller AKA Prince Eduard von Furstenberg with a lifetime achievement award, no?

 

 

 

 

 

 

 

 

 

 

 

One thought on “A peek behind the curtain of OZ

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s