“Boss” Springsteen: Working class hero or imposter?

The ruling elites, those who have monopolized the music and entertainment industries, love nothing more than to fashion monikers for their pet projects that also serve as cruel, inside jokes on the public.

In the case of Bruce “the Boss” Springsteen, the triumph of marketing has somehow persuaded the masses that a man who resides within the environs of Beverly Hills can still be considered a “hero” of the working class.

Such is the power of the colorful images created by the media sorcerers.

The solidification and perpetuation of the mythical popular acclaim often afforded to archetypical celebrity characters such as Springsteen, those legendary figures created and incessantly promoted by the music/entertainment/industrial complex, relies almost solely on the strength and effectiveness of such images.

The machinery of myth that creates character images like “The Boss” is identical to that Freemasonic alchemical/occult process which created and has for centuries, continued to perpetuate the exoteric, biblical myth of Christ.

But, as loyal readers have come to expect from the author here at Newsspell, those cherished images are about to be shattered.

Like a trail of breadcrumbs left for anyone willing to follow, clues as to the genuine identity of Springsteen’s host actor have been sprinkled within the narratives of popular television shows and on the pages of magazines and periodicals, relics buried deep beneath the surface of popular culture’s vast landscape. Though largely clandestine, they are nevertheless hidden in plain sight, daring to be unearthed by an investigation inspired by curiosity and persistent diligence.

Well, here and now, one shall proceed to offer the results of one’s expository investigation.

There shall be an added bonus with this installment, however – the identity of the host actor who portrayed not only a member of the Beatles, but a seminal “heavy metal” rock act that also featured our old friend Mister Barry Diller/US President Eisenhower AKA Prince Eduard von Furstenberg as a lead vocalist.

As always, stay tuned, folks!

The scene in the video clip featured above, excerpted from the popular HBO television series, The Sopranos, is a classic example of how the ruling elites choose to mock the masses while simultaneously revealing perhaps their biggest secret: the actor based reality.

This particular scene features Steven van Zandt, former lead guitarist for Bruce “The Boss” Springsteen’s The E Street Band, portraying the Soprano family’s second in command, Silvio Dante. Van Zandt’s portrayal displays not only a brilliant satiric impersonation of Al Pacino’s Michael Corleone from a dramatic scene in The Godfather Part III, but also serves as a blatant clue relating to the genuine identity of Van Zandt’s former boss while he was a member of Springsteen’s “E” Street band.

Loyal readers may have already surmised the “E” of Springsteen’s band moniker represents a numerological code, that of the number 33, which of course is symbolic of the highest degrees of Scottish Rite Freemasonry.

Furthermore, the moniker of Bruce Springsteen sums to 195 (6/33) in English Ordinal gematria and its Reverse Full Reduction is 93 (777/joker code/3/33). Thus, loyal readers would be correct in surmising something is indeed amiss with “The Boss”, which in English Ordinal gematria sums to 88 (sun #/mark of the Jesuits/7/Kabbalah Zayin, the mind weapon).

Regarding Bruce Springsteen’s relevance as an artist of cultural import, the lofty position reserved for him within the pantheon of great classic rock performers – other than due to but a few examples of compositional potency and social relevancy scattered throughout the course of a decades-long career in the music industry – has always appeared, quite frankly, more than a bit baffling. Nevertheless, the significantly spellbinding effect of the iconic figure of Springsteen, the “working class hero”, upon the general public and his nearly numberless throngs of rabid fans cannot be denied.

Further examination of Springsteen’s biography also undeniably reveals that his biographical narrative was likely concocted based on the cliched rags to riches template, designed purely to fully entrench in the public mind the image of the “working class hero”.

It is claimed Springsteen’s father was a bus driver, but biographies further claim throughout the course of his adult life, Douglas Frederick Springsteen found gainful employment difficult to procure, thus putting the burden of keeping the household finances in order to Springsteen’s mother, Adele Ann, a legal secretary (Reverse Full Reduction sums to 7/Kabbalah Zayin, the mind weapon).

It is also claimed that Springsteen spent the whole of his childhood in Freehold Borough, New Jersey, a location which holds a rather interesting historical significance. Still more intriguing, is the birthplace of Springsteen’s alleged grandmother, Vico Equense, a town near Naples, Italy. This biographical detail also holds a clue, via Hollywood, as to the identity of Springsteen’s host actor.

The place of Grandmother Springsteen’s alleged birth, has a rich history and was once the residence of Giambattista Della Porta, a playwright and occultist of some renown during the Middle Ages.

Della Porta’s most famous work, Magiae Naturalis or Natural Magic, written during the Italian 16th century medieval period of Scientific Revolution and Reformation, in causing an upheaval with Church officials for its divulgence of certain occult practices, brought him before the Inquisition in the years prior to 1578.

According to scholars of Italian medieval history, Della Porta’s harassment at the hands of the Church remains a puzzlement, due chiefly to his documented relationship with the Jesuit order with whom it is said he performed charitable works and, his relationship to Father Paolo Sarpi, whose own scholarly works, written during the same period, are said to have later influenced the English philosopher Thomas Hobbes and Sir Edward Gibbon.

Regarding Della Porta’s scrutiny at the hands of the Inquisition, carried out by high officials belonging to the Catholic order of the Dominicans, one’s intuition fully indicates the hand of the Jesuits may have been involved and, that Della Porta may have willingly been set up, much like the Jesuit agent provocateur Marin Luther, to act as a controlled opposition agent to lend legal credence to the authority of the Inquisition itself.

Such tactics however, are a familiar dialectical game that still goes on today, for loyal readers have constantly witnessed such prefabricated controlled opposition agents as Alex Jones in the headlines of the MSM on a nearly routine basis.

It seems folks, when it comes to researching the biographies of many of the entertainment industry’s most luminous figures, there can be no escaping the seemingly ubiquitous presence of the Jesuits.

The history of Vico Equense can be traced back to the 7th century AD and recently, the existence of a pre-Roman necropolis was discovered there.

After gaining its independence from the Duchy of Sorrento, the town also became the residence of King Charles II of Naples, who in the 14th century, built both a castle and a cathedral near the Sorrentine Peninsula.

The former principality of Naples has a connection with Giovanni Caboto, or as he is more commonly referred in American historical texts, John Cabot, an Italian navigator and explorer who in 1497 is credited with discovering the east coast of North America while under the commission of Henry VII of England.

Genealogically and historically speaking, both the name of Cabot and the history of Naples can be traced directly to the names of Garibaldi, Farnese, and Orsini, names which are synonymous with those of the thirteen, ruling elite Jesuit families.

It seems, that beneath the superficial façade of celebrity biographies, there are always clues waiting to be unearthed that lead directly to the original culprits of the lies being told.

More pertinent details of Springsteen’s biography are well worth underscoring.

It is claimed that at the age of seven (Kabbalah Zayin, the mind weapon) Springsteen saw Elvis on the Ed Sullivan show. As loyal readers are now well aware, research published for a previous installment not only identified Sullivan’s host actor, but revealed some of the other Hollywood luminaries he portrayed, such as Frank Sinatra and Humphrey Bogart (See: Actors in history’s grand stage play (Part XVI)

Soon after, it is claimed, Springsteen’s mother rented a guitar for her son from Mike Diehl’s music store in Freehold for six (6=33) dollars per week. Then, after finding inspiration from the Beatles performance on the Sullivan show, Springsteen bought his first guitar for $18.95 (666/14/77/twin lightning charges of Lucifer/angelic/occult/alchemical transformation) at the Western Auto Appliance Store.

Notice how thus far, the biographical details of Springsteen’s youth seem as if they have been crafted by a Hollywood script writer/intelligence agent who was instructed to accentuate plot lines reflecting what would be undoubtedly perceived as a solid working class background.

This however, is the key to understanding the occult process of alchemy, of how the light of fantastical myths are brought to perceivable, material life in the collective public mind.

Next, Springsteen’s mainstream biographies all seem to have arrived at the consensus “The Boss” then began performing at a local Elks Lodge in Freehold.

And therein, lies the documented Freemasonic connection, folks.

The second clue to Springsteen’s Freemasonic connection lies with his name, which is claimed to have a topographical and Dutch origin which generally translates to a kind of stepping stone used in unpaved streets or to lay paths between houses.

As legend would have it, Freemason lore reveals the original masons were brick layers who also worked with stones.

This same metaphorical concept of brick or stone laying as a symbolic representation of the alchemical process of manipulating the light of ideas into solid, perceivable reality is alluded to in the classic Monkeys pop/rock song “I’m not your stepping stone” and also in the name of the classic rock band, the Rolling Stones.

See the pattern developing here, folks?

The Elks are a fraternal organization founded in 1868 and headquartered in Chicago, Illinois, the very same city from which the Freemasons launched their fake presidential candidate Barack Obama. The fraternal order’s logo features the horns or antlers of the elk, which is slyly symbolic of the occult Baphomet.


When it comes to lionizing the legend of “The Boss”, it has been largely forgotten by music critics and pop music fans alike that by the time it came to record his third studio record, “Born to Run”, his career was largely over. Though it has been documented Springsteen had managed to garner a loyal following in his home state of New Jersey and pockets of fans in both Texas and Virginia, his first two recordings, released on the Columbia label, had failed to chart.

And, though Springsteen’s third full-length recording, “Born to Run” featured the eponymously titled breakout single that peaked at number 23 (2 3”s=33) on the Billboard Hot 100, his career had still yet, despite critical acclaim, to significantly meet with any widespread success.

When considering an objective analysis of Springsteen’s career and the legendary status he eventually eclipsed, these circumstances seem rather puzzling.

After all, if Springsteen’s records weren’t making a profit, why did Columbia, the most prestigious and largest American recording company during this era of popular music, allow him to keep making records?

The music business is an unforgiving landscape and artists, then as now, are generally not given as many chances at redemption without the certainty of an immediate and profitable return on the initial investments made by their corporate benefactors.

Could it have been that Springsteen had a protecting angel, or could it have been that “The Boss” was a beneficiary of privileged circumstances to which the record buying public wasn’t entirely privy?

Despite by the mid-1970’s, Springsteen’s career had fallen into a nadir of commercial jeopardy, he was allowed to continue recording due to one factor: nepotism. For, Bruce Springsteen,”The Boss”, is the hidden brother of Hollywood music recording mogul David Geffen, and the hidden son of Hollywood kingpin, Barry Diller AKA Austro-German Prince Eduard von Furstenberg. Yes folks, Bruce Springsteen’s host actor is connected with European royal genealogy. Indeed, Springsteen is a fake, working class hero.

In fact, Springsteen’s host actor can be seen performing in the following video clip excerpted from one of the opening scenes of The Godfather Part II.

At approximately 2:21, attune your attentions to the particulars of the dialogue:

“I despise your masquerade,” Senator Geary says to Michael Corleone, “the dishonest way you pose yourselves, you and your whole fucking family!”

While your thinking about the senator’s observations in a non-cinematic context, here’s another movie performance from Springsteen’s host actor to consider:

“Good…you’re not good…you just know how to hide…and lie!”

Bruce Springsteen:



Al Pacino:



In fact, it could be argued that such Hollywood cinematic productions as The Godfather and Scarface not only reveal the genuine nature of Hollywood, the music and entertainment industries, but of politics as well.

In that ironic sense, it is more accurate to say, the nature of these cinematic portrayals are biographical and not fictional.


With the invention of the camera in the mid-19th century, it became wholly possible to manipulate not only the geometrical representation of an inanimate object or a human face, but to fully manipulate the perception of reality itself. The ruling elites and the royal families of Europe, who were the first to extensively utilize this new technology, also readily observed its utility in the political arena and whenever expedient, its potentiality as an effective tool to essentially rewrite history.

The camera has also been most useful in concealing the rampant nepotism and monopolization of the music industry.

Several times in the past, the lead vocalist of classic heavy rock act Black Sabbath, Ozzy Osbourne, was documented to have stated how much of a significant influence the Beatles had been on the melodic creation of his own popular band’s music catalogue.

Well, it turns out folks, Osbourne handed both his fans and the general public a clue as to why that should have been so.

Believe it or not, Osbourne’s Black Sabbath band member, lead guitarist Tony Iommi, was George Harrison’s host actor.

But, Iommi was also renowned for having been a key member of another famous group, the Bee Gees.

Barry Gibb:



George Harrison:



Tony Iommi:



In looking closely at the images displayed above, notice the various lighting distortions and geometric angle manipulations that were employed to conceal the character illusions. Also worthy of note, regarding Black Sabbath’s iconic rock guitar legend, Iommi’s biographies claim that he hails from the tough working class British suburb of Birmingham and, that he suffered from a severe accident while working in a sheet metal factory, disfiguring the fingers on his hand.

This was undoubtedly concocted as a narrative component of the character creation, designed to coax the emotional attachments of the group’s prospective audience demographic.

Of course, in the case of Beatle, George Harrison, (SON/masonic prism through which flows the illusive light) his biographies indicate he, like his bandmates, allegedly hailed from the predominantly working class British sea port of Liverpool, a location which has been well-documented as a thriving hub for the covert activities of the international intelligence octopus of CIA/MI5/MI6/Mossad.

The active involvement of intelligence in the biographical creation of these popular music groups, as well the media driven maintenance of their mythical and legendary status, clearly indicates these tales of working class origins represent yet more cynical public manipulations and are purely biographical canards.

As loyal readers have uniformly observed with the author’s career examinations of several other music legends, the cliched template of the rags to riches biographical narrative continues, and will likely continue, to serve as an effective component of the entertainment industry’s star making machinery. Indeed, dubious tales of music, entertainment and political legends rocketing to the lofty heights of fame and fortune from the bottomless dregs of working class malaise have been sold to the public time and again.


Released to movie theaters in the US on July 24, 1978 (7+6+7=21/777), Sergeant Pepper’s Lonely Heart’s Club Band, starring the members of the highly successful Bee Gees (sums to 33 in English Ordinal Full Reduction), featured the soundtrack performances of several of the Beatles classic hits. But, little did the public realize that one of the members, Barry Gibb, had starred as George Harrison’s host actor during the 1960’s.

Ironically however, this is how the ruling elite families choose to conceal their secrets – in plain sight.












4 thoughts on ““Boss” Springsteen: Working class hero or imposter?

Leave a Reply