Once again, the author would like to express his sincere gratitude to the latest followers. Certainly, you shall find the material here at Newsspell to be unlike anything encountered before or at the very least, you shall find it to be a diversionary, but thought provoking entertainment.
Also, one would like to thank all those loyal readers who may have endeavored to recently purchase science fiction/fantasy thriller Twilight’s Last Glory, and helped to make it an Amazon #1 Hot New Release and achieve a sales ranking of #2,300 overall during its initial kindle launch on September 1. For those who enjoy the author’s writing here at Newsspell, one is proud to inform that Twilight’s Last Glory will very soon be made available in paperback and hardcover format at both Amazon and Barnes and Noble.
At any rate, one shall dispense with further vain self-promotion and attend to the matter at hand!
Inarguably, among the spate of pop music stars that shined during the 1980’s glittering age of rampant materialism, the “Material Girl”, Madonna, was perhaps the most luminous.
But, she was not who she appeared to be.
However, should loyal readers find it so surprising the pop star known to millions of adoring fans as Madonna, may have been hiding something?
Perhaps not, but then again, upon discovering the true identity of the woman behind the concealing mask, one discovered new and shocking vistas into the identities of other more recent pop stars. Turns out, folks, the unveiling of Madonna’s true identity represents a virtual treasure trove of Hollywood nepotism going back several generations.
Although this instalment shall primarily deal with the career and life of the so-called Material Girl, one is left with the distinct impression its implications represent yet another fascinating sojourn down into the deepest of dark and mysterious Hollywood rabbit holes.
When she arrived on the pop music scene in the early to mid 1980’s, Madonna Ciccone, or Madonna as she came to be simply known, appeared to be a typically tremulous lipped bottled blonde ingenue, yet another youthfully vulnerable female pop diva of the type so often mass produced by the Hollywood music industry during the early Reagan era. But Madonna Louise Ciccone soon turned out to be something more than just the usual sexually arresting pop culture diva. She became the rarest of pop music specimens – a living legend.
Though in retrospect that analysis may pass muster, one believes there is so much more to the story of Madonna.
Behind the music, as it were, and when observed retrospectively, the conceptual idea of Madonna’s public image represented a cultural signpost, a glitteringly garish and totemic fashion symbol that attempted to elevate the concept of mindless consumerism into some sort of all-pervasive holy quest.
Like most pop stars of the decade, Madonna developed into a cottage industry all to herself, a thriving and profitable industry supported by an entire brain trust of music recording industry managers, A&R staffs, song doctors, production teams and hipster fashionistas. In many ways, the emergence of Madonna constructed a music industry blueprint for 21st century pop stars who though may appear to be self-sustaining artists, are but front persons and corporate pitchmen put before the public to sell not just records, but to drive public attention towards the latest commercially viable brand-name products that are keenly marketed to each compatibly targeted sales demographic.
Yes folks, today’s popular music is nothing more than an audio hook to stimulate commercial profits. The once cherished pretense that popular music could offer some semblance of emotional and even spiritual transcendence seems to have been thoroughly abandoned. Today, many so-called artists are merely glorified sales representatives, pretty faces displayed before the public to entice the selling of a product. The irony of it all, is that though the advent of digital technology has facilitated access to all brands of popular music with the mere click of a computer mouse, such easy accessibility has not only drastically changed the way popular music is consumed, but plummeted the intrinsic overall value of recorded music.
After all. when the targeted youth market can simply download MP3 selections from digital platforms such as Spotify, and oftentimes for free, what incentive is there for anyone, whether young or old, to actually purchase an actual CD or vinyl recording? Therefore, as an artist who throughout her career thrived on the success of primarily hit singles and fashion merchandising, is Madonna at least partially to blame for the declivitous nadir of pop music in the 21st century?
Nevertheless, though Madonna’s stardom did not primarily rely on the overall success of albums, as had the success and renown of artists belonging to a previous generation, one has to retrospectively admit Madonna’s music was not without it’s pleasurable if not infectious delights, and perhaps even, to some degree substance.
On immediate recollection, one harks back to a trio of Madonna’s most well crafted selections, the first of which were the pulsating rhythms of “Papa don’t preach”, over which the artist urgently pondered the dangers and significance of a weighty social issue – teen pregnancy. Later, there came the haunting and wistful strains of the ballad “Live to Tell.” But, the song and accompanying promotional video of one of Madonna’s biggest hits, Like a Prayer, represented perhaps the finest moment of the Material Girl’s career. Though at the time, the promotional video for Like a Prayer was met with clamorous protestations from certain fundamentalist religious quarters angered with its featured images of burning crosses and interracial sexual relations, the song’s melody still stands up today as an example of skilled pop song craft.
No doubt, as it was intended to do, it caused quite a controversial stir among the public.
But, such visual displays always serve to reveal the ulterior purpose behind the creation of such artists, that they are designed to not only challenge previously established social conventions, but with the help of consumerist mass production and through constant audio and video repetition, permanently transform them in ways profitable to the ruling elites and advantageous to their puppet governors. And make no mistake, global entities such as London’s Tavistock Institute of Human Relations represent the hidden hand guiding this ulterior agenda.
Therein, lies the essence behind the creation of artists such as Madonna – spell the masses with a catchy hook which effectively influences the subconscious and conscious minds and ultimately, the accompanying images flashed from television screens and magazine covers mold mass behavioral patterns and social habits.
Aided by the magic of Madison Avenue marketing and video wizardry, the 1980’s became witness to the grand transformation of an alleged small town girl harboring big dreams into a cutting-edge cultural totem that would not only be thoroughly admired but perhaps even worshipped by an entire generation weened on MTV and just then coming of age.
By now, loyal readers have surely contemplated that the existence of the actor based reality is symptomatic of a much greater, and expansive idea, that one’s socially conditioned perception of reality itself may be completely faulty. It speaks to the much larger question: have the masses been lied to about everything? One could safely conclude the answer to that looming question is a resounding YES. And in the case of Madonna, once one was able to clear away the shinning Hollywood glitter, one’s intuition signaled something may be amiss, and that her legendary status in pop music history may have been artificially maneuvered into place.
Not surprisingly, one has discovered the entertainer known to the world as “Madonna” was a conceptual idea born out of the inner sanctum of corporate boardrooms and portrayed by a host actor. The official biographies issued by mainstream sources are therefore, complete and utter fabrications.
Once again, as was the case with the character of Rick Springfield (Unholy trinity: Sex, drugs and rock and roll (part V), another prominent and successful rock and pop musician during the 1980’s, one has uncovered a single entertainer’s host actor performing under the cover of multiple identities. Indeed, ear biometrics, facial recognition and accompanying in-depth biographical analysis has revealed that Madonna, contrary to the romantic fables spun by the mainstream media, had not been yet another youthful aspirant suffering in working class obscurity before becoming “discovered” and rocketed to fame and fortune, but a pop music persona carefully crafted by music industry executives.
Not unexpectedly, there were the standard numerological and masonic markers found in Madonna’s biography. The birth date of Madonna Louise Ciccone (gematria sum of 6/33) is listed as August 16 (8+7=15/6/33), and it is claimed, she was born in Bay City, Michigan (M=E flipped occult mirror reversal/33) and spent her formative years in Pontiac and Avon Township. The proper place moniker, Bay City, sums to 13 in gematria, a number which is symbolic of the summit of the masonic pyramid. The city’s historical founding provides some interesting facts. Established in 1837 (3 7’s/777 and 18/666), Bay City founder John B. Trudell built a log cabin near the present corner of 17th and Broadway, a street running along what is now one of the city’s main transportation corridors.
The subject of log cabins is synonymous with Freemasonic lore. Within the text of masonic luminary Albert Pike’s tome Morals and Dogma, a book that is still considered by many freemasons to be a seminal work, it is said that the celebrated American civil war hero, philosopher and founder of the Klu Klux Klan, whose marble bust still adorns America’s capital, discovered the secret to the “craft” (witchcraft) of Freemasonry while solitarily spending time in a remote log cabin. It is also interesting to note that according to author H. Paul Jeffers, on page 96 of “Freemasons: A History and Exploration of the World’s Oldest Secret”, Harriet Beecher Stowe, the author of Uncle Tom’s Cabin, another noted tome considered to have great historical significance, was counted among the many of Pike’s friends. It is also interesting to note that Madonna’s alleged father, Tony Ciccone, was an employee of General Motors, and worked as an engineer. Of course, General Motors has always been a cornerstone of America’s military/industrial complex. Reportedly, Madonna’s birth mother suffered from the breast cancer before dying at the age of 30 (ee=33/high-degree Freemasonry), and three years later in 1966 (12/21/777+#sun number/lucifer the Jesuit god), Madonna received her confirmation vows and officially became a catholic, choosing Veronica as her formal confirmation name.
Per the annals of Catholic lore, the Acta Sanctorum, Saint Veronica was a woman of Jerusalem in the first century AD, and though the publishers of the document, the Bollandists listed her feast under July 12 (7777=28/2 8’s/88/mark of the Jesuit order) the German Jesuit scholar Joseph Braun (there’s that name again, folks, but this time rather than NASA, it is directly tied to the Jesuits), cited her commemoration in Festi Marianni on 13 January (13/summit of Freemason pyramid + 1= 14/77/twin lightning charges of Lucifer/angelic/light transformation).
But, there is more interesting information to be revealed concerning the Catholic sect known as the Bollandists.
The Bollandists, a Catholic religious sect named after Jean Bolland, a Jesuit priest, began in the 17th century as a scholarly association of French intellectuals who also rigidly adhered to the Jesuit creed. Since their founding, they have been primarily preoccupied with the study of hagiography and the cult of the saints in Christianity. According to Christian tradition, Veronica was so moved with sympathy upon observing Jesus carrying his cross to Golgotha, that she gave him her veil that he might wipe his forehead. As legend would have it, upon accepting Veronica’s sympathetic offer, Jesus held the veil to his face and his image was forever impressed upon it. Thereafter, the piece of cloth became known as a holy relic, known as the Veil of Veronica. Further regarding Madonna’s formative years growing up in Michigan, her father Tony remarried shortly after the death of her mother to a woman who appears suspiciously similar to a Hollywood star known also to have been a skilled dancer and vocalist, Ann Margaret. In fact, the documentary production Madonna: Driven, displays a grainy photograph featuring the new addition to the pop star’s family at approximately 2:13, and loyal readers and new comers alike can judge for themselves:
In freezing the frame of the video at 2:13 to examine the photo, the image appears to be cut and pasted with some of the figures tipped in. In essence, it appears to be a backdated photo shop creation, of the kind the pubic has been presented with before in the wake of simulated crisis events sold to the public by the mainstream corporate media as actual news stories. Added to this, there appears to be genetic facial similarities between the woman known as Madonna and Hollywood and Broadway legend Ann Margaret. Regarding the Ann Margaret connection, Margaret’s biography states she was born in Europe and spent her childhood in an obscure Swedish border town before coming to America as a teen to work on Broadway and eventually star on the Hollywood silver screen. Could there possibly be a genealogical connection between Ann Margaret and Madonna, and to hypothesize even further, is there a possible genealogical connection with European royalty yet to be discovered?
One promises to explore and expand upon that intriguing hypothesis in part II of this installment.
Meanwhile however, one was able to make this most stunning discovery through ear biometrics and comparative voice analysis. Incredibly, and unknown to most until now, Madonna’s host actor portrayed another famous, albeit “unusual” 1980’s MTV era pop diva:
Before one begins to scoff and assault the author with verbal harangues, consider what one discovered when performing a comparison analysis between Madonna’s documentary and the video clip of Cyndi Lauper’s VH1 Behind the Music expose. Like every news and documentary production distributed by mainstream corporate sources, what one views captured within the frames of such superstar exposes amounts to nothing more than theatrical performances. The pop music superstars to which one becomes emotionally attached are merely archetypical characters, well honed colorful images fine tuned for profitable consumption by specific youth market consumer demographics.
As one shall soon demonstrate, regarding the people posed as family members, friends, or loved ones, they too are merely actors portraying characters, frauds spouting scripted remembrances of pop superstars before they became household names and beloved celebrity personalities. In fact, if one possesses the patience to observe the entirety of both videos displayed above, one’s scrutinizing gaze should readily detect that some, if not all of the people interviewed and claiming to be fathers, mothers, or childhood friends are reading directly from or referring to hand held cue cards or teleprompters placed on the set but away from the camera view. Now seriously folks – if one actually claims to have a genuine remembrance, why would they need to have it written down for them to recite as if they were playing a character on a Hollywood movie set?
Allow one to present Exhibit A: at the 2:47 mark in VH1’s Cyndi Lauper: Behind the Music, voice comparison analysis reveals that the actor posed as Cyndi Lauper’s mother is in fact Hollywood and Broadway legend Ann Margaret with auburn dyed hair and applied facial stippling to help disguise the host actor’s identity.
Exhibit B: at precisely 16 seconds into the introduction of Madonna: Driven, appears yet another character claiming to have played a pivotal role in Madonna’s childhood artistic development. Listen very attentively to the timbre and quality of the actor’s voice – yes folks, once again it is none other than Ann Margaret in disguise, with what appears to be another auburn hair dye job and more concealing facial stipple.
Indeed, did Ann Margaret know Madonna was “going to do something” because her superstar career came about as the result of Hollywood nepotism?
Stay tuned for part II folks!
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