As promised in part IV, one shall continue to examine connections between members of the classic pop act the Rolling Stones and British royalty. Many, will no doubt consider the ultimate conclusion as to the true identity behind the host actor portraying Rolling Stones guitarist Keith Richards as pure absurdity. One supposes, that outcome alone, is truly testament to the global media sorcerer’s mastery of hypnotic power of suggestion. And yet, it is that very spellbinding power of media hypnosis, chiefly prevents the general public from ever thinking too critically in attempting to examine celebrity biographies. In the case of Keith Richards, even the most cursory of analysis reveals gross biographical anomalies. Often, one doesn’t consider blindness until the blindfold has been removed and thoroughly discarded.
Now, one shall attempt to permanently remove the mask, that for over the star spangled course of a hit making career spanning fifty years, has so well managed to obscure the true identity of one of pop musics most charismatic, and in many ways, enigmatic characters.
One may be shocked to discover, the true identity of the rock legend known as Keith Richards, has been hiding in plain sight for decades.
Considering the popular tastes in terms of music during the era of the 1960’s, one has always marveled at the unfathomably swift emergence of the sudden plethora of British guitar based acts, and the rather rapid degree to which all of them, to varying degrees, ascended to great heights of popular acclaim. Of course, utilizing the advantage of hindsight, one can readily surmise such rapid ascendance may have been due to externalizing factors, other than talent index and overall aesthetic musical quality.
Out of all the pop acts imported to America during this era, including the Beatles, the Rolling Stones went on to demonstrate an almost preternatural and up until that time, unprecedented longevity. Was there some other element, other than the obvious, attributable to not only such rapid ascendance in the public eye, but to the pop group’s rather unusual staying power?
Operation: Rolling Stone
The answer: The so-called British invasion was an intelligence operation, funded by the Crown Temple bank, conceived by London’s Tavistock Institute, and carried out with the implicit cooperation and spiritual blessing of the British royal family. Of course, as usual, the paramount objective in launching such an operation was to stimulate commerce, accompanied by an underlying social and political agenda alluded to in the last installment. Appropriately enough, this well-conceived and conspiratorial intelligence adventure was dubbed “Operation Rolling Stone.”
If one doubts this rather bold claim, please consider the following pertinent points. Despite Mick Jagger, Keith Richards, et al, representing the most demonstrative examples of anti-establishment fervor and almost nihilistic rebelliousness, there is more than ample evidence exhibiting the pop group’s conception was the product of the very establishment mechanisms they appeared to vehemently oppose.
The many herds of followers, found subsequently mimicking the behaviors exhibited by pop groups like the Rolling Stones, while thinking such behavior represented a demonstration against the establishment, were ironically unaware they were playing right in to the molding hands of the ruling elites.
In truth, the fact the pop group was so heavily promoted by mainstream media outlets such as BBC and major television and radio broadcast networks in the US, belies the very myth Jagger and Richards were fundamentally anti-establishment.
After all, if the so-called ‘powers that be’, felt the Rolling Stones to be such a clear and present danger to the establishment, why did they continue, during the era of the 1960’s and even beyond, to heavily promote their commercial interests?
Would it not have seemed more rational merely to ignore them, to deny the group their life blood of public recognition, rather than proactively enabling their career with more than significant television and radio air time? The ruling elites did not in any way impede or hamper the popular ascendance of the Rolling Stones, or any other pop group perceived to be ‘threatening’ to establishment interests, not only because they had played a fundamental role in creating the cultural Frankenstein, but in addition, had so rapidly and greatly profited from enormous returns on their initial financial investments.
The British royal family, in fact, in addition to having major financial interests in the BBC and Desilu television productions overseas, were also major stockholders in the Rolling Stones recording label, Decca.
If one still believes the Rolling Stones anti-establishment posture wasn’t anything more than theatrical posturing, one merely has to point out that this curious theatrical blueprint would be later duplicated, with yet another so-called ‘rebellious’ pop group, known as Johnny Rotten and the Sex Pistols. Despite personally ‘offending’ the British monarch with their rather pedestrian ‘hit single’ “God Save the Queen”, vocalist Johnny Rotten was permitted to make the rounds on the BBC ‘chat’ circuit for seemingly the sole ostensible purpose of spewing rather ridiculously juvenile obscenities. If such trifling pop stars appear on television and radio with great regularity, one can be well assured such spectacles were planned and paid for well in advance.
The underlying purpose of “Operation Rolling Stone” goes much deeper, however, than just serving as a stimulus for commerce. For, it was but one vector in a three pronged attack to destabilize American culture, not just socially, but politically. Along with the Civil Rights movement and the so-called feminist movement, the collective purpose was clear; to cause social and political chaos on a mass scale.
During this time, the masses found themselves collectively confused, caught up in the perfectly engineered storm of cultural degradation. When a population is stirred to confusion concerning it’s cultural identity, and furthermore, lacking the lucid wherewithal in positively identifying the source of the psychological tumult, the majority will most likely turn to reliance on authority figures, presented by proxy, on behalf of a remedying government. This was the role played by controlled-opposition leaders of the civil rights, feminist, and counter-culture movements.
It is clear, the proliferation of mass confusion over gender and race during this era, came to serve some well coordinated collective purpose; to embolden mass chaos that could incrementally be shaped into a synthesis of ensuing global order.
Pop groups like the Rolling Stones were merely tools utilized to achieve the covert objectives of the ruling elites to re-engineer and mold the West, specifically the US, into greater social and political malleability that would more easily conform to the geometrical consolidation of a governing global superstructure. However, there were more covert, and occult forces at work in achieving the objectives of this operation, funded and coordinated by the ruling elites. The evidence of this occult force materialized at a Rolling Stones performance, towards the very end of the 1960’s, at Altamont Speedway. The landmark concert at Altamont Speedway, taking place in a remote hinterland outside of San Francisco, along with Woodstock and the Monterrey pop festival, in sum, represented mass rituals, psychological transformations of human energy, manifesting later as mythical ideas firmly solidified in the collective public psyche. These transforming ideas, would be reinforced by other popular trends in music and fashion, during subsequent decades.
Occultist Kenneth Anger, a close confidant of the Stones, once stated he believed the girlfriend of Rolling Stones guitarist Keith Richards, Anita Pallenberg, was herself a practicing witch, most likely familiar with such concepts of mass psychological transformation:
“I believe that Anita is, for want of a better word, a witch,” claimed Anger, Hollywood magus and co-founder of Anton Levey’s satanic Process Church.
He went on to say, concerning the casting of certain members of the pop group in his occult cinematic ‘masterpiece’ ‘Lucifer rising’, that “the occult unit within the Stones was Keith and Anita.”
Later, Richards would boast to an interviewer that “Kenneth always told me I was his right hand man.” Anger himself provides, from a purely occult perspective, a unique analysis of how such political and social movements take effect on a mass scale:
“Making movies and music is casting spells,” he admits. “The movie Lucifer Rising depicts the downfall of the Aeon of Osiris, or christian era, and the beginning of the Aeon of Horus, or Lucifer. My reason for film making has nothing to do with furthering the concept of cinema, at all,” the occult magus went on to explain. “It’s a transparent excuse for capturing people. I consider myself working evil in an evil medium.”
Was this indeed, the overall purpose of capturing the mock human sacrifice depicted in ‘Gimme Shelter’, the Rolling Stones immortal 1969 film portrayal of their dark performance at Altamont Speedway? While many presume the murders of Merideth Hunter and three others reportedly occurred at Altamont were actual, they were in fact, in an occult sense, symbolic, much like the phantom deaths reported by the media sorcerers after Sandy Hook, Aurora, the Boston bombing, and most recently, the Manchester arena terror event.
Per occult literature, the sort of societal change attempted by ‘Operation Rolling Stone’ can be described thus:
Through the key of disobedience (joy) Isis, or nature, wakes. Osiris (death) answers. Lilith (destroyer) climbs to the place of sacrifice. The Magus activates the magic circle (humanity) and Lucifer-Bringer of Light-breaks through.
Keith Richards rock and roll Prince
And now, for the promised coup d’ grace. Many often fall under the mistaken impression that anyone with musical talent, can and will perhaps become ‘discovered’ then launched into the stratosphere of fame and fortune. This is a fallacy. For, it is the sons and daughters of the major stockholders, and relatives of the owners of major recording labels that are chosen as ‘star’ vehicles to help increase the family’s profitable commercial portfolios. The telltale sign of anomalies regarding Keith Richards, came with merely a brief investigation into his genealogical roots. Turns out, most of the pertinent family ties have been oddly scrubbed, or remain curiously vague. However, as has been alluded to several times here at Newspellcom.org, people often lie, but computer software lacks the human compunction for such prevarications.
It can now be reported, both vein hand pattern and voice analysis, bolstered by ear bio-metric analysis of several photographs concludes that the host actor portraying Rolling Stones guitarist Keith Richards is the current Prince Charles Philip Arthur George of Wales.
In addition, similar forensic analysis indicates his spouse, Camilla, Duchess of Cornwall, has portrayed the role of Richard’s girlfriend, Anita Pallenberg.