I cannot take full credit for what inspired research into the subject featured in the following installment.
However, I will take full responsibility for the results of the published research which will, undoubtedly, be received as controversial and even, by a majority of those still operating under the delusions of mass psychological spells and, worse still, infantilized by mindless hero worship, dismissed out of hand with puerile scorn.
But to those of that ilk, the author’s blanket response is this: I don’t care about your insufferably childish feelings.
Some time ago, one of the author’s loyal readers suggested an in depth research into the career and pop culture persona of the late classic rock singer Fred Mercury might be necessary.
Suffice to say folks, Fred is not dead.
In fact, Fred is not only still alive, he has also been known by a myriad of other famous and even well renowned names, among them, Tony, Steven, and John.
In fact, the legendary and former lead vocalist of the classic rock band Queen has been keeping himself busy and he’s very much alive. Not only is Fred not dead, but his official mainstream biographies represented an embarrassment of riches, a virtual mine of golden nuggets that, quite frankly, one did not have to dig very deeply to unearth.
Furthermore, and perhaps most remarkably, it appears the host actor who portrayed the late rock legend formerly known as “Mercury” possesses a very intriguing genealogical lineage that led one on a trail of research back to the establishment of the American colonies in the 18th century.
The ruling elite Jesuit families have always advantageously utilized their shareholder monopoly of the music and entertainment industries to promote social and political agendas conducive to creating new markets and fostering greater commercial profits. Not only do they create the popularized “trends” of the music and entertainment industry, they also create – through the crude manipulations of psychological operations and mass media induced behavioral modification – the niche lifestyles, fashion, and even create the boundaries of conformist behaviors that grow to define the sociological parameters of incipient subcultures.
The creation of oppositional popular subcultures are neither fortuitous nor come about organically. Rather, they are meticulously – based on exhaustive psychological and cultural profiles compiled by researchers at both Tavistock Institute of Human Relations and Stanford Research Center – formulated and promoted by MSM to not only generate greater commercial profits, but to win control over both the hearts and minds of the masses.
From a purely macrocosmic perspective, the music and entertainment industries are weapons of incessant psychological warfare; the better to promote divisive chaos among the masses which, in turn, makes them fallible to even greater political manipulations and covert social modifications and, ultimately, far easier to govern.
Regarding the show business character of Fred Mercury, neither his overt musical talent nor his clandestine status as a skillful agent of social chaos can be denied.
Assuredly, most of those who loyally visit Newsspell are able to identify the occult significance of the show business stage moniker of “Mercury.” Mercury is merely another name for the pagan god of the sun, Nimrod or Hermes. Very recently, we saw the god of Hermes referenced by the martyred character of Ermias Asghedom or, as he was more commonly known, “Nipsey Hussle.”
The image of the sun or Mercury – an image of which can be seen by clicking the link provided below – is venerated by those initiated into the highest ranks of the Templar/Jesuit/Masonic triumvirate.
Not only is the occult significance of Fred Mercury’s character moniker apparent, he is also, first and foremost, an actor. The following quote from Mercury is derived from the video excerpt displayed above during what was claimed to have been the performer’s final interview before his tragic “death.” At approximately the four minute mark in the video, Mercury can be heard uttering this eye-opening statement. A statement that, when considered within the prevailing concept of the actor-based-reality, holds rather profound significance:
“That’s the stuff I do, its pretending, its like acting. So, you know, you go on stage and pretend to be a macho man and all that. And in my videos, you go through all the different characters and your pretending anyway. So, I think its a great title for what I do.”
Mercury’s statement about pretending to be a “macho man” is particularly revelatory, knowing that, while performing in this video and pretending to be the character of Fred Mercury, the character is also pretending to be gay (more on that subject later). More will be said regarding this aspect of the Mercury character shortly, but for now and suffice to say, given the host actor’s lofty genealogical origin, he is clearly aware his ruling elite ancestors and family relations have always utilized the “gay” or LGBTQ agenda as a key cultural destabilization tool and weapon of mass psychological warfare whenever it has been beneficial and expedient to do so.
For added context, Mercury’s description of “pretending” is a reference to a pop single he recorded shortly before his “death” (which he also pretended to do), a remake of The Platters popular song from 1955.
A sample lyric from this iconic pop standard is most telling as it relates to not only the post-modern phenomenon of the actor-based-reality, but to the theatrical essence of the high-profile characters portrayed in the past by Fred Mercury’s host actor:
My need is such I pretend too much
Too real is this feeling of make believe
Too real when I feel what my heart can’t conceal
“FARROKH BULSARA” (Masonic play on words=F****** Bull****)
According to official biographies, Mercury, was born “Farrokh Bulsara” (sums to 151 in English Ordinal gematria/7/Kabbalah Zayin, the mind weapon/92/11 in Reverse Full Reduction/twin masonic pillars of Boaz and Jachin/29 in occult mirrored reversal/2 9’s=2 6’s/12/21/777/intelligence joker code/11X7=77/twin lightning charges of Lucifer/angelic transformation) on 5 September, 1946 (11+5=16/7/Kabbalah Zayin, the mind weapon/4+6/10+19=29/29/2 9’s/occult mirrored reversal/2 6’s/12/21/777), in Zanzibar to Parsi parents from India.
The Parsis were a Zoroastrian community who migrated to the Indian subcontinent from Persia during the Arab conquest circa the 7th century AD. Zoroaster or Zarathustra was an ancient Iranian prophet who taught a spiritual philosophy of self-realization and the discovery of the divine spirit that dwells within rather than some ethereal dimension called heaven.
A thorough study of classical philosophy will reveal that the philosophical basis for Zoroastrianism, and other similar occult philosophies, developed into what came to be called humanism, a philosophical construct that underpinned the thrust of the period of classical history known as “The Enlightenment.”
The philosophy of Zoroaster aligns with those associated with Luciferian teachings which also espouses the belief of an inner divinity often symbolized by the living flame. Everyone has observed this symbol before, held in the very hand of the Statue of Liberty (Isis/Diana) placed prominently in New York’s city harbor. Within the context of the high-degree Freemasonic creed, the living flame of inner divinity can be manifested through the black/white duality of either the feminine energy possessed by the mythical Diana/Isis or the male energy of Apollo/Mercury/Nimrod etc. etc..
This occult symbolism and the teachings of its accompanying “mystery school” principles is remarkably identical to that which can be discovered in the published texts of not only early 20th century occultists Madame Blavatsky and Alice Bailey, but also Alistair Crowley, the revered British MI5 counter-intelligence agent and post-modern occult guru who established the Ordo Templi Orientis or ODO.
As we can therefore observe thus far, the official biographies of “Fred Mercury” are most conspicuously signaling the fact his show business character was established on the basis of occult symbolism and mythical lore. India is also a country that, for a long stretch of its history, was dominated by the British empire and overseen by its intelligence complex consisting of MI5 and MI6.
Mahatma Gandhi, the renowned Indian activist and leader of the Indian independence movement was a controlled-opposition agent created and trained by British intelligence. Gandhi was also a trained barrister/legal esquire and a sworn member of the City of London’s Middle Crown Temple.
Mercury’s official biographies are filled with pertinent information that becomes revelatory if one knows what to look for. It is claimed that, from the age of seven (Kabbalah Zayin, the mind weapon), Mercury began his training as a musician and at the age of eight (aces and eights/mark of the Jesuit order) was sent off to Saint Peter’s School, a British-styled private boarding institution for boys in Bombay.
Not surprisingly, we discover the Saint Peter’s school crest features the occult symbolism of the mythical Phoenix, a symbolic myth which correlates with the teachings of inner divinity found in the occult philosophies of Zoroaster and those of Crowley and other renowned occultists. Saint Peter’s school motto is also a familiar one: Ut Prosim, which from the Latin translates as “That I may serve.”
And, once he came of age, “Freddie” went to serve his elite masters well enough indeed.
But just who were Mercury’s elite masters?
The next bit of biographical information provides more than a clue.
Sure enough, Mercury’s official biographies go on to inform, he went on to also attend Saint Mary’s School in Mumbai, which is not only among the oldest private schools in India, but was founded by – wait for it folks – the Society of Jesus or the Jesuits in 1864.
At the age of 12 (21/777) we are told Mercury formed his first performing band, called the Hectics. A former bandmate allegedly claims that while both were attending classes at Saint Peter’s, Mercury began calling himself “Freddie.” (sums to 51 in English Ordinal gematria/6/33/high-degree Scottish Rite Freemasonry/39 in Reverse Full Reduction/12/21/777).
Later in 1964, while fleeing from the widespread violence in Zanzibar during the surge of the Indian independence revolution, Mercury’s family settled in Feltham, Middlesex, England at 22 Gladstone Avenue (22.masonic master builder).
After his family was settled in England, Mercury studied art and design at Isleworth Polytechnic in West London and graduated from the prestigious art college at Ealing in 1969.
As has been noted previously, the children of wealth and privilege, those who are identified early on in their childhood as either artisitc diletantes or prodigies, have historically been sent to such prestigious art schools in Europe to hone their craft whether in the perfoming arts or some other profitable commercial endeavor in the professional entertainment industry.
After attending art school, Mercury met guitarist Brain May and joined the band Smile, which soon became known as Queen. The band’s logo is suspiciously similar to that of the royal coat of arms displayed to represent the Crown of Britain.
Queen band logo:
British royal coat of arms:
Turns out, this is a massive clue as to not only the genuine identity of Mercury’s host actor, but also represents a none-too-subtle hint of his genealogical relations to the European peerage and to royal lineage.
Mercury’s attendance at both Ealing and Isleworth present us with yet another telling clue as to the identity of his host actor. While closely observing the following video excerpt, listen to the answer John Taylor of the formerly popular 1980’s rock band Duran Duran gives the interviewer when asked, “What do you think you’d be if you were not a bass player – something outside of music?”
Taylor’s telling answer is provided at approximately the 7:40 mark in the video displayed below:
“I’ve always liked the arts,” Taylor replies, “I was always drawn to the commercial arts – probably would have went down that road – designing brands, logos for companies.”
Yes John, just like the other character you play, “Freddie Mercury”, who also attended art and design classes and studied the very same artistic disciplines at the prestigious Ealing School.
The results of both facial recognition and ear biometric analysis prove the characters of legendary classic rock singer Freddie Mercury and Duran Duran bassist John Taylor are portrayed by the same host actor.
There are those who might say – having performed due diligence in conducting their own image analysis – Mercury’s unique Hyperdontia doesn’t match up with Taylor’s dental analysis. The explanation would be to say that, while starring as Queen’s lead vocalist, Mercury wore custom-made veneers to not only distance himself from the portraying host actor, but to give the character a distinguishing and unique visual presence.
DEMON OF SCREAMIN’
Steven Victor Tallerico, also known as Steven Tyler, legendary lead singer for the Boston based rock act Aerosmith, is also nicknamed the “Demon of Screamin'” for his multi-octave vocal range demonstrated both on recordings and on stage. Keep in mind that, the city of Boston, became not only the site of the first grand masonic lodge soon after the establishment of the American colonies, but continues, to this day, to not only represent a hot bed of intelligence activity, but was also chosen as the ideal site of the Boston bombing hoax, a psychological operation designed to test the general public’s tolerance for and behavioral reactions to a Martial Law lock down.
Freddie Mercury was also known for his bombastic multi-octave vocal pyrotechnics, which are perhaps best demonstrated on the band Queen’s signature eight minute opus, Bohemian Rhapsody. Such multi-octave proficiency and consistency can only be achieved with rigorous and proper utilization of an operatic vocal technique called sub-harmonics, a technique utilized by both performers of the opera and the theater, a technique which is taught to all prospective performing arts professionals as part of the specialized curricula at prestigious performing arts schools such as Ealing, London’s Royal Academy, Julliard in New York City and Berkley College of Music in Boston.
Presently, Tyler’s host actor – allegedly at the lofty age of 71 – still persists in portraying the legendary music industry character of Steven Tyler.
The question as to why this legendary rock star still persists with live performances, despite the fact the character has reached an advanced chronological age and the overall cultural relevancy of Aerosmith’s music – apart from the homage still paid to the band from its targeted boomer generation demographic – has long been on the wane.
Could it be chiefly due to the fact many premiere music industry promoters are still willing to pay premium appearance fees and, thus, there is still a profit to be extracted from the public due to existing and even robust market demand?
At this late juncture in Tyler’s legendary career, does the acquisition of personal profits still exist as a motivating factor in continuing to publicly perform?
Given the host actor’s genealogical relations to the British peerage – which shall be revealed shortly – there is likely a more definitive and even relevant answer.
Like his noble and royal ancestors, the host actor portraying the music entertainment characters of “Steven Tyler”, Freddie Mercury, and John Taylor undoubtedly still possess an innate desire, and even need, to be adored and even worshipped by the public.
This is why Queen Eilzabeth II, or any European monarch, still insists on riding through the streets while ensconced in a golden coach to experience the emotional validation and the resounding roar of approval from hordes of their common royal subjects.
Leaving that speculation aside, however, when observing the moniker of Tyler’s band, Aerosmith, we discover yet another occult symbolic reference in connection to a prominent participant in the phenomenon of the actor-based-reality.
“Aerosmith” is a sly reference to the occult legend of Orion the hunter, whom Zeus placed among the stars as the constellation of Orion. According to occult legend, Orion was out hunting with Artemis when he was shot and killed with her bow. When viewed within the context of classical occult lore, the fact Tyler’s band is called “Aerosmith” takes on a greater significance.
The grand occult purpose behind the band’s ascendance to mass relevance within the sphere of American pop culture – utilizing the vehicle of an obstreperous and even menacing but modified brand of blues rock borrowed from an earlier era of American musical culture which superficially appeared “masculine” – was to introduce the American general public to the concept of the divine feminine of Isis/Diana.
When viewed from an overall macrocosmic perspective, we can observe this particular trend perpetuated with the host actor’s other band, Queen, while the pop culture image of Duran Duran – heavily promoted by Masonic Television or MTV – was designed to promote metro-sexual behavioral models to the targeted adolescent and young adult males which laid the socio-cultural groundwork for the emergence of the LGBTQ agenda that would follow decades later.
Once again, therefore, through extensive ear biometric and facial recognition analysis, we discover the character of rock legends Steven Tyler, Freddie Mercury, and John Taylor are all fabricated music industry characters portrayed by the identical host actor.
In one of the images displayed above, you will notice Tyler has been photographed holding his hand near his chin, which through the masonic silent language of signs and symbols, represents an indication the character is willing to sacrifice himself in whatever endeavor his masters may deem necessary for the good of the order.
Upon further examination, it is interesting to note the career arcs of both Queen and Aerosmith were on the wane during the emergence of the MTV era in the early 1980’s, which coincided with John Taylor’s popular ascendance with Duran Duran.
This analysis becomes even more intriguing, considering Duran Duran’s commercial relevancy began to decline in 1986/87 and, correspondingly, just when Aerosmith was endeavoring to make a commercial resurgence, the Freddie Mercury character would soon expire due to an alleged bout with AIDS.
But just like the mythical stories of Tyler’s excesses with drugs and alcohol, Mercury’s tragic demise was also fabricated, to serve a social agenda being promoted by the ruling elite families, and their parroting minions employed by the MSM.
The significance of Freddie Mercury’s statement he was an “actor”, a theatrical performer putting on an act, cannot and must not ever be dismissed.
One must also understand that historically, the ruling elite families of the peerage and royalty harbor an inherent distaste for the very idea of same-sex relations, and endeavor to widely promote such behavioral anomalies only when it serves their purposes.
Ironically, the thirteen, ruling elite Jesuit families, their minions at MSM, and the Crown Temple and Swiss banking establishments, represent the precise source of funding for the promotion of the LGBTQ and the feminist movements.
The mass promotion of such cultural movements not only serves to stir up chaos and social divisiveness but, as well, have become commercially profitable and help to control manageable population levels.
Studies conducted by Tavistock and Stanford Research Center have also clearly indicated there is a direct correlation between mass emotional agitation and profitable commercial windfalls.
Deliberate and artificial stimulation of social chaos through the staging of well-managed psychological operations also means massive windfalls are reaped from the pharmaceutical/illicit drug/alcohol distribution markets, commercial trades which the ruling elite families have long monopolized.
TONY B. HAS A FLAIR
To those who have yet to read a past installment concerning the subject of the former British Prime Minister, Tony Blair (SEE: Tony Blair The Minister of Prime Lies?) the following information will seem rather incredulous, if not wholly controversial. Nevertheless, the results of ear biometric and facial recognition analysis, combined with a pertinent piece of key biographical information regarding Blair’s genuine genealogical relations, cannot be denied.
It appears that, after a long career in the music industry, the actor who was known as Freddie Mercury did not die, rather, he became British Prime Minister, Tony Blair.
Yes folks – and like the “elected” position of American president – the position of British Prime Minister is merely symbolic and ceremonial in nature. Those “elected” to such positions are merely trained actors paid to promote the social and political agendas of their ruling elite masters.
Not surprisingly, a thorough perusal of Blair’s official mainstream biographies – at least to those with a practiced eye – reveals more than they certainly intended.
Born 6 May, 1953 (6/33/5/2 3’s/33/27/2 7’s/77/twin lightning charges of Lucifer/angelic transformation), Tony Blair or Anthony Charles Lynton Blair served as British Prime Minister from 1997 until 2007 and also became leader of the Labour Party.
Ideologically speaking, Blair was said to support the political philosophy of the “Third Way”, a brand of post-modern socialism that – through the conceptual magic of the modern concepts of marketing and advertising developed by Edward Bernays, a student of psychoanalytical researchers Sigmund Freud and Carl Jung – was designed to promote the ideology of “social justice” on the basis of equality of outcome.
When researching Blair’s official biographies, the name Lynton struck as having been eerily familiar as it related to American history. Further research fostered the idea, that the spelling of the name Lynton – the wont of deceptively oriented mainstream biographers – had been altered from Lytton to “Lynton” to conceal Blair’s true identity and the identity of his genuine genealogical ties to the British peerage. In fact, while gazing back into the mists of early American history, we discover a very prominent man who was not only a major figure in the history of the British peerage, but an instrumental figure in the establishment of the American colonies during the 18th century.
Edward George Earle Bulwer-Lytton, 1st Baron of Lytton and Privy Councilor of the United Kingdom, was an English writer and politician. Lytton was also Secretary of State for Britain’s colonial dependencies, which included those colonies located in North America. He also beame the first Earl of Lytton and served as Governor-General of India. Recall that, earlier in this installment, the official biographies of the show business character of Freddie Mercury detailed he had not only spent his formative years in India, but had attended Saint Peter’s, a prominent private institution established by the Jesuit order. In fact, according to those official listings of the British peerage, the Earl of Lytton is still extant and, in the past, Lytton family members have served as the British Empire’s Viceroy of India.
Blair’s distant family relation not only coined the catch phrases “the great unwashed”, “pursuit of the almighty dollar”, and “the pen is mightier than the sword” but in 1862, was offered the Crown of Greece, and declined it.
According to other historical accounts, Bulwer-Lytton established a literary career in a variety of genres, including the occult, and was a genealogical relation of the famous British poet Lord Byron.
We can readily observe that, the genealogical and historical legacy of the family of former British Prime Minister “Tony Blair” is steeped in not only the occult but the literary arts.
Perhaps, this is why the mother of Tony Blair AKA Charles Alden Black, (SEE: Tony Blair The Minister of Prime Lies?) Shirley Temple Black, became Hollywood’s first bankable child star?
Not unexpectedly, Tony Blair’s official biographies accentuate the shopworn rags to riches narrative, stipulating that he was issued from obscure stock. But as usual, the lies and disinformation found in Blair’s official biography inadvertently give the game away. For example, it is claimed that Blair’s alleged father was the illegitimate son of “two entertainers” and was adopted as a baby by a working-class shipyard worker in Glasgow, Scotland. And yet, despite such obscure origins, the public is expected to believe the son of “Leo Blair” grew up to be Prime Minister of England and still another, Sir William Blair, was knighted by the British monarch.
Considering the Western European traditions of noble chivalry and aristocratic heraldry, we are expected to believe that a commoner issued from the son of a Scottish working-class shipyard worker could be knighted into the peerage by a sitting British monarch. Such narratives are not only implausible in the extreme, they exist as crass insults to the rational intelligence of any ardent student of Western European history.
But if one has learned anything from the chronicles of “official” history distributed to the masses through public school history texts, and those narratives popularly promulgated by Hollywood inspired biographies, it is that they are pure bunk borne out of the identical sort of puerile and feel-good psychological wish-fulfillment of childhood fairytales and fantasies.
Then again folks, the thirteen, ruling elite Jesuit families have always perceived those over which they have ruled for centuries as nothing more than a mass collection of prattling, undisciplined and emotionally unstable children who, time and again, have proved all-too-willing to consume whole whatever blatant lies they wish to peddle.