I deeply apologize in advance to loyal readers who may have expected the delivery of this final installment involving the life and career of the late Kurt Cobain much sooner. But preparations for the publication of the author’s new book, Twilight’s Last Glory, have kept one preoccupied.

Also, the author would like to extend his sincere gratitude to all those who have recently and graciously decided to follow Newsspell.

No doubt, you will find what is published here to be thought provoking, informative, and perhaps at the very least, entertaining.

Since time immemorial, humans have harbored a macabre fascination with the concept of death, and the mere contemplation of it seems to overwhelmingly elicit both fear and awe. Whether through literature, movies, or television – when presented with death’s mysterious inscrutability – humans are brought to the edge of life’s precipice and forced to contemplate the valley of death’s dark depths.

Faced with uncertainty’s anguish, one finds the comforting sight of one’s religious edifices pulverized to dust, scattered like ghostly trails of wind-blown fall leaves, and achieving ultimate absolution becomes tantamount to grasping evergreen spring’s morning mist.

And yet, nothing, comparative to the contemplation of death’s mystery remains more intoxicating to the worshipful masses eternally drawn to stories that feature the mortal, but manufactured misfortune of mythical heroes, for only in death can such storybook heroes achieve legendary immortality.

That is why myths and legends of dead heroes endure, for although penetrating discussion of such may remain largely unspoken, nothing save death’s insatiable fixation for those struggling in quiet futility causes one to feel more alive.

Repetitive tales of the death of heroes also causes the masses to look for an escape from their sorrow through material acquisition, which benefits no one except the merchants, bankers, and the thirteen, ruling elite Jesuit families. As one will soon observe, the concept of death, or the flirtation with death, figured prominently with most of the famous pop culture characters this highly skilled host actor portrayed.

Though the author’s shocking and even incredible conclusions for this installment will no doubt invite incredulity, and perhaps even scorn and ridicule from newcomers and loyal readers alike, keep in mind that almost anything is possible in Hollywood’s magic land of Oz.

Yes it’s true folks, not only was Kurt Cobain a pop music character created by our old friend, Hollywood mogul David Geffen, the son of Barry Diller AKA Prince Eduard von Furstenberg, but Cobain’s host actor portrayed other famous Hollywood actors and musical performers (and not always belonging to the same gender!) some of whom also met with a suitably tragic, but scripted end.  

Nothing, save a dead actor, is more profitable than a dead rock star.

The public has been conditioned to believe the high profile celebrities they so admire have been plucked from obscurity. But empirical evidence drawn from extensive research has found this to be largely untrue. After all, and hypothetically speaking, why would the ruling elites, the rich and the prominent who own the entertainment industry waste the expense of scouring the globe for talent, when from within their very own families exist artistic dilettantes who can be trained at the finest performing arts schools to be developed into future profit making assets?

But of course, when it comes to celebrity biographical details, the truth would surely never make for a very enticingly romantic story. Glowing tales of dramatic ascendances to fame and fortune’s lofty heights from poverty stricken and obscure origins remain more attractive to the general public by exponential magnitudes.

Not only are the entertainment industry’s most celebrated stars manufactured rather than discovered, but much like the corporate news media complex creates its own news content, the music industry creates its own popular trends.

Despite the general public having been conditioned to believe they arrived organically, the corporate music recording industry has deftly utilized its vast marketing resources, producers, and stables of skilled song doctors and seasoned studio musicians to artificially manufacture every popular musical trend come and gone over the course of several decades, whether disco, new wave, heavy metal, and even the subgenre of pop music synonymous with the late Kurt Cobain – grunge.

As for the “late” Cobain, his story did not begin in the rainy city of Seattle suffering in painful obscurity, but began long before the “grunge” era dawned. Long before his meteoric emergence as the centrifugal figure of a notable trend in pop music history, Cobain’s host actor had been a long-term asset of the Hollywood music and entertainment industries, and as one shall soon learn, the king of grunge rock was not the only famous pop music character the host actor was contracted to play.

Like other pop music celebrities that came before, this actor was born into wealth and privilege, and had been trained from a very early age to assume the distinguished mantle of pop music legend. The public has come to know this actor by many names, but in each sparkling character guise, the actor has portrayed each role with the consummate skill of a well trained, theatrical professional. So well, in fact, the general pubic has not been able to detect the host actor’s identity hidden behind each carefully crafted mask.

But, this is why the lies generated by the corporate media complex are tantamount to the sinister spells of black magic.

Long has it been known by the ruling elites, going all the way back to the time of Plato, that when especially tailored to coax forth a certain emotion or temperament and skillfully performed, the artistic expression of musical tones can radically influence human behavior and even manipulate political inclinations.

Although there are those who would no doubt disagree with the following analysis, the ruling elites, those that preside over the corporate umbrella monopolizing the profitable music industry, purposefully designed rock and popular music to not only psychologically program the masses towards certain behavioral models, but have utilized the art form as a tool to systematically ensure the populations they govern remain infantilized in a perpetual state of adolescence, concerned only with the primal satisfaction of petty and programmed commercial desires.

Yes folks, one is in agreement with music critic Albert Goldman’s ironic admission (given he is music industry mogul David Geffen in disguise) the music industry is essentially a baby food industry, and each newly packaged and marketed genre of popular music represents nothing more than a newly formulized brand of mass marketed pablum.

Though the author may be accused of elitism for informing of such a grim reality – so be it.

SONNY BONO AKA DAVID GEFFEN

The biographies of Sonny Bono unanimously point out, he was a fixture in the music industry from an early age, starting out as a studio lackey and radio promotion representative for legendary record producer Phil Spector during the 1960’s before establishing his own singing and performing career.

Once again, Bono is an example of the typical music industry profile, leaving the public with the impression old Sonny had hacked his way to the top of the music industry heap straight from the working class dregs. But nothing could be further from the truth, because Sonny, like so many other stars immortalized on Hollywood’s walk of fame, was born into wealth and privilege, and benefitted from the good fortune of nepotism.

That’s right folks, Sonny Bono is David Geffen, the hidden son of powerful Hollywood mogul Barry Diller AKA Prince Eduard von Furstenberg, the heir apparent to a Hollywood empire and once president and executive in charge of the late Kurt Cobain’s recording label, DGC.

And, like his father, the man of one-thousand faces, ear biometrics and voice analysis have demonstrated Sonny Bono AKA David Geffen has portrayed a vast array of other celebrity characters, including the aforementioned man featured in the following video example, pop music critic and notorious tabloid biographer, Albert Goldman, a character whose pubic persona may be the most illuminating glimpse into defining the most genuine personality sketch of the host actor, David Geffen:

Sonny’s daughter Chastity Bono, conceived with his former wife Cher back in 1969, who is now known as the transgendered Chaz Bono, was drafted into the family business virtually right from the cradle, and throughout her adolescence and into young adulthood, Chastity portrayed an array of famous actors and musical performers.

What the public has been unaware of – until now, that is – is that former lesbian Chastity, now transgendered Chaz, was also once known as 1980’s Brat Pack actress, Molly Ringwald. For a short period during the 1990’s, she also portrayed the actress, Christina Applegate (in the occult and in witchcraft, the apple is the secret vessel of the five-pointed star and the seeded vulva).

Chastity Bono: https://goo.gl/images/KPihQ5

Chaz Bono: https://goo.gl/images/m5fKWk

Christina Applegate: https://goo.gl/images/xj611Q

What the public may also not be generally aware is that Molly Ms. “Sixteen Candles” Ringwald at one time worked for Disney, performing as a vocalist on several recordings. Here are two rather obscure examples:

 

The audio heard in the latter video example was recorded when Chastity AKA Molly was but six-years-old. This bears out the author’s hypothesis, that these celebrity stars, from the earliest stages of their lives, are trained by the finest instructors in all aspects of the performing arts, and Chastity Bono was certainly no exception. After experiencing a meteoric career for a short period of years during the mid-1980’s under the hot glare of the public eye, Molly seemed to suddenly and strangely shrink from the public’s view. But, in keeping with the host actor’s later transgender transformation into the character known as Chaz, Molly first transformed into the young heartthrob actor known as River Phoenix who allegedly, like the late Kurt Cobain, met with a sudden and tragic end:

https://goo.gl/images/nMwP7D

One should not be so easily taken with the transgender agenda, for in the larger scheme of things, it resonates as a non-issue. After all, if an adult of legally consenting age wants to change their gender and knows the risks going in, that is the result of their personal choice, and should be considered accordingly. However, when the transgender issue is utilized and marketed to impressionable and youthful demographics by the ruling elites through the conduit of their global media complex, sparkled with Hollywood glamour and employed as a smoke screen to hide other and much more significant issues to manipulate public attentions, one can rest assured their intentions are far from wholly altruistic.

Regarding the transparent marketing of the transgender agenda, it is largely a Hollywood CGI/character conversion scheme utilized to shield the criminal activities of the thirteen, ruling elite organized crime families. As for River Phoenix, not only is the late Hollywood character’s name a clue as to the secret behind the moniker of yet another music industry character portrayed by the host actor, Chastity Bono, but both Phoenix’s biography and the story of his tragic death are heavily marked with numerological codes.

Even the name of River Phoenix is rife with occult symbolism (the Phoenix is mythological and symbolic of immortality/resurrection while “River” is also symbolic of the concept of mythological transition) and his death allegedly occurred on the morning of October 31, 1993 (October 31, October=33/highest degree of  Scottish Rite Freemasonry/1993=22/Freemasonic master number).

SMELLS LIKE A HOAX

Chastity Bono’s transition into River Phoenix was part of the clever Hollywood conversion scheme to which one referred earlier, and Ringwald’s further transition into the king of grunge rock, Kurt Cobain was merely a slight variation or modification of River Phoenix’s character. In addition to performing as an actor, biographical accounts indicate Phoenix dabbled in music and played guitar, and was known to have frequented Hollywood’s Viper Room, the alleged scene of the character’s tragic death that regularly featured performances from some of the Hollywood music scene’s most luminary figures such as Flea from the band Red Hot Chili Peppers.

Johnny Depp’s Hollywood Viper Room is where Chastity AKA Molly/River Phoenix was most likely apprenticed into the rudiments of rock stage craft and perhaps even learned to hone her musicianship during the late 1980’s before the Cobain character would be ready to emerge as a full fledged, chart topping pop star. After calculating the various transitions of Chastity Bono throughout her entertainment career, one can easily envision the show business calculations of her father, Sonny Bono AKA David Geffen working feverishly behind the scenes to ensure the Cobain character received the proper mentoring and training from some of the Hollywood rock scene’s finest veteran performers, as well taking care to instruct his marketing department at DGC records to well-craft the character’s mythological backstory.

After all, David Geffen is an opportunistic, resourceful and intelligent man.

While observing he already possessed a seasoned actor and vocalist in Chastity Bono who had successfully pulled off the transgender character illusion of River Phoenix, he knew that with further training and guidance from stars of the Hollywood rock scene, and with the skillful utilization of vocal sub-harmonics further tweaked by the production skills of record producer Butch Vig, his daughter would easily make the desired transition into the legendary character of Kurt Cobain.

Here is an excerpt from an interview with the character of Cobain in 1993, shortly before his death, where he mentions his affinity for cross-dressing:

Of course, one needn’t rehash the details of Nirvana’s sudden rise to fame, nor is an analysis of their rather rapid fall from grace and speculations as to the nature of what may have influenced Cobain’s act of self-immolation necessary. Allegedly, Cobain was a heroin addict. But grand rock and roll tales of drugs, sex, and debauchery, while they may contain credibility in some cases, are yet another component of the music industry’s psychological operation. The ruling elites create heroes that are emulated by the youthful and impressionable, and programming such degenerative behavioral habits into generations coming of age causes them to be passive, obedient, and more easily controllable by their hidden masters during adulthood. Suffice to say, the story of Cobain’s suicide eerily reflects the method of psychological operation utilized with the creation of the JFK myth, of the young heroic figure meeting with a sudden and bloody denouement.

However, even now, while listening to their back catalog of music, one admits to becoming more than a bit puzzled over Cobain and Nirvana’s meteoric rise to platinum-level popularity. Speaking strictly from an artistic evaluation, though the thunderous sonic heft of their limited discography may have ably excited the senses of its targeted audience, it doesn’t similarly resonate when compared to the transcendent artistic legacy left to posterity by the likes of Led Zeppelin, the Beatles, or even Pink  Floyd.

In fact, other than the haunting melodicism of Smells like Teen Spirit and perhaps a few other selections from their best known work, Never Mind, Nirvana’s musical arrangements seem rather elementary and ultimately, represented commercially calculated expressions of brooding self-indulgence.

Indeed, the manufactured character of Kurt Cobain, like John Lennon, Elvis, and JFK, was yet another heroic and charismatic figure dangled briefly before the gaze of the public, a streaking comet that sparkled brightly for a celebrated moment in time only to then suddenly burn out.

In retrospect, one happened to observe during this brief era of the early to mid-1990’s that coincided with the ascendance and tragic fall of Kurt Cobain, the corporate pharmaceutical industry was busy ramping up its marketing campaigns in a desperate effort to peddle their vast array of mass produced poisons, specifically designed for a generation weaned on the mordant musical musings of “grunge” bands like Nirvana.

A RIVERS RUNS THROUGH IT

With the manufactured death of the Kurt Cobain character, David Geffen envisioned yet another opportunity to produce more profits from the Hollywood money machine, and he once again opted to utilize the considerable talents of his daughter, Chastity.

One speculates that David Geffen’s idea to transform his talented daughter into yet another transgendered character featuring the identical moniker utilized by a dead Hollywood icon previously portrayed by Chastity, represented a deliberate mocking of the band Weezer’s targeted demographic – or as he once referred to it while in the guise of music critic alter-ego Albert Goldman – those to whom he marketed a new formula of baby food.

Considering further, one speculates men such as David Geffen, though clever, resourceful, and even creative, harbor no moral scruples when it comes to utilizing any means of blatant exploitation to garner enormous profits for himself and his stockholders – even if that means blatantly exploiting his very own children.