My apologies to all loyal readers.

Ongoing research for part III on the royal family of Greta Thunberg may take a bit longer than expected.

In the meantime – and for the present – we shall concern ourselves with the results of what turned out to be yet another fascinating investigation into the music and entertainment industries which, since their inception, have been thoroughly monopolized by the thirteen, ruling elite Jesuit families for the furtherance of their social and political agendas, as well as other nefarious psychological operations.

Added to this – you heard it hear first! – the author is working on a new novel (a horror/science fiction/fantasy/thriller) which may be ready in time for the Christmas season, entitled Grand Masquerade.

Stay tuned for the book description and the cover reveal, both of which you will soon find posted, right here at Newsspell!

A few days ago, the weather was – uncharacteristic for this time of year – overly warm and even humid. Passing motorists were driving with their windows down, and music from their car radios blared into the open air.

I happened to have heard the strains of what I thought were a familiar melody.

At first, I could not exactly place it.

Then, with my memory jogged, I recalled a once-famous name which – decades ago – became synonymous with one of the first ever “live” rock albums to top the American popular music charts: Frampton Comes Alive.

Though Peter Frampton’s fame during the pre-MTV era of the 1970’s waned quickly, his reputation as an influential tunesmith, vocalist, and guitarist seems to have been recently revived.

Armed with a well piqued curiosity and copious suspicions, my ensuing investigation into “Peter Frampton” managed to eventually unmask a familiar host actor, a man who – as it turns out – has portrayed the roles of several famous “rock stars” over a period of decades.

This host actor belongs to a well-known family possessing a show business legacy which extends as far back as the days of vaudeville and Hollywood’s silent picture era.

Indeed, and as we shall soon learn, this man’s family has enjoyed a virtual stranglehold monopoly on the American music and entertainment industry.

In many ways, this installment represents the culmination of an extended investigation into this particular host actor’s stellar career, one who, admittedly, has proved both highly skilled and well-accomplished.

STARS ARE MADE NOT BORN

Like any other marketable and industrially mass produced product, the stars of the music and entertainment industries are made and not born. Additionally, all markets of profitable economic human endeavor, including popular entertainments, have always been monopolized by the thirteen, ruling elite Jesuit families. This fact, however, has been cleverly hidden behind the popularly promoted and all-too-often celebrated concepts of “free” and “open” markets.

In truth, global economic markets are only “free” and “open” to the majority stockholders and their corporate owners. The profitable businesses of the entertainment and music recording industries, as we’ve discovered from the result of previous investigations, have proved to be no exception.

When it comes to considering the music industry, slews of in-depth investigations have also revealed its major stars, while both heavily promoted and hoisted to the pantheon of so-called legendary status, emanated from the families who own the music recording, distribution, and publishing corporations.

The music recording industry’s major stars, the offspring of the owners and majority stockholders, whom tens and even hundreds of millions have idolized over the decades, have all been meticulously trained from the earliest possible age and at the finest performing arts and music schools. While there, whatever inherent talents they possess become mentored, disciplined and honed to a fine edge.

Later, the artists are teamed with song doctors, recording producers, sound recording engineers, and promotional and marketing experts. These represent the brain trusts which further serve to maximize the career development and future profitability of those slated to become “music legends”.

As we’ve also discovered – time and again – the well-told but anomaly-riven biographical narratives of these “stars” have been completely fabricated and are created – and whenever expedient, even augmented or altered – to bolster and maintain a profit-making image, iconic images which become solidified as “legendary” in the mass consciousness of the general public.

Undoubtedly, the music “legend” of ” Peter Frampton” was created utilizing these identical methods of operation, with one significant additional factor: the host actor starring as the “legend” of “Peter Frampton” also went on to portray other iconic music legends, celebrated popular music performers with which the general public has become well familiar.

What kicked off this investigation was Frampton’s rather impressive vocal performance heard in the video, displayed above.

Upon further examination, it not only became obvious “Peter Frampton” was highly skilled at employing a formal operatic vocal technique called sub-harmonics, but voice print analysis revealed the vocal nuances (pitch/timbre/vibrato) matched with other audio samples performed by two other famous classic rock vocalists, Steven Tyler and Freddie Mercury.

FRAMPTON’S GEMATRIA-LADEN BIOGRAPHY

Frampton’s official biographies are filled with the usual numerological codes.

The first indication of these: Frampton’s DOB, which is listed as 22 April, 1950. Considering the 4th month of April and the number 22 (4+4) these sum to 8 (aces and eights/mark of the Jesuit order/Saturn).

They also sum to 26 or 2X6, which equals 12.

When applied to the concept of the Law of occult mirrored reversal, 12 equals 21, a number which, of course, is equivalent to the intelligence joker code of 777.

The date of 1950 (19+5) sums to the number 24 (6/33/high-degree Scottish Rite freemasonry).

Amusingly, there still exist those who have been led to believe there is something grandly mystical about the identical numerological codes discovered in each of these celebrity biographies.

There isn’t.

But the thirteen families – through their networks of bottom feeding, blue lodge dwelling masonic trolls, paid street-level informants, and social media chaos agents in the intelligence community – have promoted such pseudo-religious nonsense to distract the majority from ever rationally observing what is neither coincidental, supernatural nor mystical.

At the age of eight (aces and eights again) Frampton’s biographers uniformly claim he began classical piano training and, shortly thereafter, developed self-taught proficiencies on the guitar as well as his grandmother’s banjolele.

Frampton’s biographies also furnish us with a snippet of information which supports the premise many of the stars of the music and entertainment industries begin their performance apprenticeships from the earliest possible age.

According to Wikipedia and Rolling Stone magazine, a virtual bible of American popular culture, Frampton – at the tender age of 18 (666) – was named “The face of 1968 by teen magazine Rave.”

Cover of Rave/1968

https://images.app.goo.gl/bEsDfivWCPDLR6Mc8

While closely examining the geometric contours of the face featured on the vintage magazine cover, do they appear to resemble those of other pop and rock stars from the past?

How about this vintage musical performer, also a “child” star and a performer who later auditioned for and became the star who fronted 1960’s teen idols, the Monkeys?

https://binged.it/2nvP8Qe

Or, how about this respected musician who went on to perform, during the era of the 1980’s, under the pseudonym of “John Taylor”:

https://binged.it/2ATccLZ

Or perhaps, you will notice the uncanny facial resemblances between Frampton and this “legendary” rock star whose biographies also claim – like “Peter Frampton” – he began classical piano training at the behest of his father, a classically trained musician and pianist who, also like Frampton’s father, was a teacher at the high school his son attended during his adolescence:

https://binged.it/33jkZD3

Before this, at the age of 14 (77/twin lightning charges of Lucifer/angelic transformation) Frampton was already active in the British music scene as a child star, when he began gigging with a band called the Trubeats, and yet another called the Preachers, both of which were managed by Bill Wyman, a member of the seminal “British Invasion” R&B/rock band, the Rolling Stones.

Before – Frampton’s official biographies claim – attending classes at Bromley Technical High School – at which his own father, Owen, was a teacher – Frampton became first interested in music performance at the age of 7.

Is everyone beginning to notice, in terms of gematria, the repeated appearance of the number 7 (Kabbalah Zayin, the mind weapon, the hook) uniformly relating to Frampton’s biographical accounts?

Is this due purely to coincidence?

Undoubtedly, one should think not.

Biographers also claim Frampton was influenced, early on in his professional career, by the performances of James Marshal Hendrix, Buddy Holly, and the Beatles.

The respective careers of these music legends have been previously examined. These performers – Hendrix, Holly, and Beatle, John Lennon – were fabricated rock and roll characters portrayed by host actors who, after faking their deaths, went on to perform in the entertainment industry under varying pseudonyms.

Buddy Holly, for one, was portrayed by voice impressionist and comedic actor Peter Sellers (AKA John Lennon/Lee Harvey Oswald/Monkey, Mike Nesmith/Johnny Carson/Rod Stewart/Steve Perry/Rick Nelsen, Doug Fieger), who is a sibling of Danish Prince consort Henrik AKA Hollywood icon Jack Nicholson.

Holly AKA Sellers’s younger sibling was Hollywood actor Dennis Hopper AKA former US president John F. Kennedy who, of course, starred as the martyred historical protagonist in his own faked assassination.

Both ear biometric and facial recognition analysis clearly demonstrates Beatle John Lennon AKA Peter Sellers (a true master of Post-Modern Reality Simulation) to have been the host actor who portrayed the short lived music legend, “Buddy Holly”.

Suffice to say, “the day the music died” was a concocted legend designed to create a perpetually profitable myth, a psychologically-based phenomenon the thirteen, ruling elite Jesuit families – the monopoly owners of the music and entertainment industries – have been exploiting since the time of the martyred and “resurrected” Christ.

Buddy Holly:

https://binged.it/33mb3IL

https://binged.it/2OuKLA9

John Lennon:

https://binged.it/3OY89so

https://binged.it/2VtqCvD

Peter Sellers:

https://binged.it/2LZ8Yg9

https://binged.it/2B9tZid

Examining Frampton’s biographies even further, and we are treated to yet another grand revelation, his relationship to the “late” David Bowie.

The music recording career of the “thin white duke” David Bowie has also been thoroughly investigated and, he too, has proved to have been a fabricated show business personality portrayed by a royal host actor, Grand Duke Henri of Luxembourg.

Ear biometric and facial recognition analysis prove His “Highness” Duke Henri has also starred as the host actor behind the respective masks of self-proclaimed “king of all media” Howard Stern, ill-fated fundamentalist cult leader David Koresh, and Richard Carpenter, surviving member of the 1970’s pop group, the Carpenters.

SEE: Actors in history’s grand stage play (Part III)

SEE also: American “King of All Media” European Royal? 

Frampton’s biographers also allege – though three years older – Bowie attended Frampton’s alma mater, Bromley Technical High School. They further allege, during lunch breaks at the school, Bowie’s “George and the Dragons” would play with Frampton’s band, The Little Ravens, a musical act he established at the age of 12 (21/777).

Thus far, we have connected “Peter Frampton” to some of the music and entertainment industry’s most notable host actors, those who have portrayed starring roles in some of history’s grandest character conversion schemes, the sort of sinister illusions historically synonymous with the phenomenon of Post-Modern Reality Simualtion.

Though Frampton may have begun his career in the music industry at a tender age, he did not become visible to the public’s eye in America until the midway point of the 1970’s, with the release of 1976’s seminal “live” album, Frampton Comes Alive.

Frampton’s landmark album is alleged to have sold 8 million copies worldwide (there’s that number 8 again folks, aces and eights, mark of the Jesuit order/Saturn/the Sun).

According to Billboard magazine, and other music industry sources, the album became the top selling popular recording of 1976. It proceeded to stay on the charts for a duration of 97 (9X7=63/3 6’s/666) weeks, becoming the 14th best-selling recording of 1977 (4 7’s=28/2 8’s=88/aces and eights again).

Amid all this hoopla, Frampton’s newfound popularity garnered him and his manager, Dee Anthony, an invitation to the White House.

That last detail – Frampton’s White House invitation – represents the most remarkable and telltale of biographical details.

It turns out, Frampton’s host actor would later become accustomed to walking the halls of political power at 10 Downing Street, across the ocean from American shores, in England during the era of 9/11, starring as British PM, Tony Blair.

LEGEND OF THE RIVER STYX

By the late 1970’s, fame’s white hot spotlight dimmed but, like all good host actors participating in the phenomenon of Post-Modern Reality Simulation, “Peter Frampton” merely went on to portray other famous characters in the music industry.

One of these was Tommy Shaw, guitarist and vocalist for the progressive rock outfit, Styx.

Surely, one’s loyal readers have already surmised the occult implications of that particular moniker?

The legend of the River Styx derives from ancient Greek mythology. Styx was both a deity and a symbolic river with miraculous healing powers; the spiritual line of demarcation separating Earth from the Underworld.

Highlights of the bands career included the release of a concept album entitled, tellingly enough, The Grand Illusion (a concept Tommy Shaw’s host actor is all-too-familiar), and yet another “concept” album entitled Kilroy Was Here.

Released in 1983, the album featured futuristic themes which touched upon the too rapid advancement of digital technology and, as well, looming transhumanism.

Ear biometrics and facial recognition indicate Tommy Shaw is a slight character modification of “Peter Frampton”.

These analyses also confirm both performers were fabricated music industry characters portrayed by the identical host actor.

In both of the images, featured below, teeth and all aspects of facial geometry were confirmed as matches.

Peter Frampton:

https://binged.it/2OyHWht

Tommy Shaw:

https://binged.it/2Vu0Ozr

At this point, you’re undoubtedly impatient to discover the identity of Frampton’s host actor.

Well, he’s a familiar figure, an actor who has portrayed other well-known icons of the music and entertainment industry – David Jones of the Monkeys, Steven Tyler, Chris Cornell, Sid Vicious of the Sex Pistols, Duran Duran’s John Taylor, and Queen’s Freddie Mercury.

SEE: Chris Cornell’s Jesus Christ Death Pose

SEE: Was The Price Worth It, Bob?

SEE also: Has Freddie Mercury Kept Himself Alive?

Here’s a hint: the host actor’s mother was America’s first well-known child star in Hollywood, Shirley Temple Black AKA legendary White House press correspondent, Helen Thomas.

Shirley Temple Black:

https://binged.it/2pYyedT

Helen Thomas:

https://binged.it/33grxlL

Her son, Charles Alden Black Junior, is the man behind the mask of Peter Frampton and a plethora of superstar music industry performers, as well as a well-known politician who served as British Prime Minister, Tony Blair.

Charles Alden Black Junior:

https://binged.it/2IAxD8G

https://binged.it/2M1vZzb

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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