Fans of rock and roll have long indulged in guilty pleasures.

And for several decades, the blistering heavy rock mayhem of Motorhead entertained rock music fans the world over. To many of those same rabid fans, the band Motorhead’s legendary, charismatic but irascible front man, Lemmy Kilmister, remained a living and symbolic totem to sex, drugs, and the reckless abandon of rock and roll rebellion.

Inevitably, all good things must pass, and though he may have appeared to be immortal despite his destructive and debased penchants for Tennessee whiskey, yielding women and amphetamines, the roaring rock and roll freight train known as Motorhead came to a sudden stop when Kilmister reportedly died on the 28th of December, 2015 (3 8’s/aces and eights=24/6/33/high-degree Scottish Rite Freemasonry/December=12/21/777 joker code).

With that brief numerological analysis, loyal readers have no doubt already well- surmised in which direction this installment is travelling. Yes folks, yet another legendary rock star has been identified as an artificially fabricated character created by the music industry, a profitable industry both owned and controlled by the ruling elite, thirteen Jesuit families.

On this occasion however, the true identity of Lemmy KIlmister’s host actor turned out to be quite surprising.

The legendary Kilmister was, in fact, portrayed by another even more legendary Hollywood figure, a mammoth star of prime time network television and a Hall of Fame Country and Western music star whose illustrious career tracks back to the era of the 1950’s, to Sam Phillips and Sun Records, the very recording label that launched the career of the King of Rock himself, Elvis Presley.

Released as a 7 inch single recording on October 27, 1980, “Ace of Spades”, the song featured in the video displayed above, became Motorhead’s biggest hit, and established Lemmy Kilmister as a genuine rock star. Loyal readers have certainly identified the numerological 777 code, as well the occult significance of the song title. Even more illuminating, are the lyrics of the song, which may not be immediately apparent upon first listen:

Playing for the high one, dancing with the devil

Going with the flow, its all a game to me

Seven or eleven, snake eyes watching you

Double up or quit, double stake or split, the Ace of Spades

Pushing up the ante, I know you gotta see me

Read ’em and weep, the dead man’s hand again.

The Ace of Spades is an implied reference to the Jesuit order in Rome and the black pope that clandestinely controls the puppet white pope normally observed by the general public, while the pair of “snake eyes” refers to the symbolic pillars of Freemasonry, Boaz and Jachin. The “dead man’s hand” and the lyrical commandment “Double up or quit, double stake or split”, are also implied references to double 8, the mark of the Jesuit order and the ruling elite families that control the music and entertainment industries, using both business conglomerates collectively as an effective tool in keeping the masses occupied, entertained, and ultimately divided.

Most music fans assume Motorhead’s seminal track “Ace of Spades” was composed by Lemmy Kilmister and his pair of bandmates, “Fast Eddie” Clarke and Phil “Philthy Animal” Taylor, but as it turns out, this isn’t so. Rather, the composition is solely credited to Don Robey, and the copyright is held by EMI Music and Sony/ATV Music Publishing LLC, both of which are parented under the conglomerate corporate umbrella of Universal Music Group.

Upon examination of all known biographies, it became apparent Don Robey was a fascinating, if not domineering man who pushed his way to the top of the American entertainment business and, though according to those same accounts Robey became notorious for his controversial and often criminal business practices, many of his artists spoke well of him and remained fiercely loyal.

“Singers loved him,” once claimed one of Robey’s artists, Roy Head, “writers were the ones who got screwed.”

“I have nothing but the best of things to say about Don Robey,” said blues guitarist Pete Mayes, “he did so much for so many of us.”

As founder and chief of Duke Records of Memphis in the early 1950’s, Robey was reportedly prone to utilizing criminal means, which included both violence and intimidation to ensure his artist’s recordings received maximum radio airplay.

Though by perhaps today’s ethical standards, such unorthodox business methods may be considered morally questionable, at the time, such tactics were considered to be standard procedure. During those incipient years of the American popular music recording industry, prospective recording artists were often signed to exclusive booking and management contracts.

Advantageously, Robey acquired the pseudonym of Deadric Malone, and would often give himself songwriting credits for many of the compositions recorded by his label. Because of these convenient business arrangements, Robey was then able to buy up entire catalogues of publishing rights at a nominal price to original songs composed by his artists and studio musicians. Robey was able to subsequently license the recording rights to other popular artists who would rerecord them and turn them into hits, thus making him a very wealthy man.

Though it appears Robey has often been cited as the most notorious and unsavory perpetrator of this seemingly criminal behavior, further research performed by scholars of American popular music has since revealed that, in fact, similar business practices were employed during this era by other entertainment business moguls such as Motown’s Barry Gordy, a man whose historical reputation is still often heralded as having stood above such sordid practices.

Extrapolating from this, it is possible to accurately speculate these practices are still ongoing in the music industry today, and that most, if not all of those credited with actual composition or assigned publishing rights in accordance with popular songs or song catalogues, whether individuals such as Robey, Gordy or popular music artists so credited, are never actually responsible for the musical or lyrical content of any popular music recordings.

In fact, to this day, ex-Beatle and music legend Paul McCartney still does not own the catalogue of classic songs he allegedly composed with the late John Lennon. It has become clear that the image, name and song discographies of popular recording stars, in exchange for fame and fortune, are legally sold out and utilized as commercial vehicles to accumulate additional profits through other lucrative commercial avenues.

Since, in essence, pop stars are nothing more than contract employees of the ruling elite families who own the music and entertainment industries, their fabricated but famous images can also be utilized as popular vehicles to promote various social and political agendas.

Born in rural Texas, Robey belonged to a mixed racial heritage, and though he was primarily considered to be a black-American, he was also half Jewish. In 1947, Robey first found pop music success for previously unknown black-American blues and R&B artists “Big Mama” Thornton and Clarence “Gatemouth” Brown, both of whom were the first to popularize a song that would later be recorded by Elvis Presley, called “Hound Dog”.

Could it be, given that corporate ownership of the American entertainment and music recording industries have always been largely held in trust for the ruling elite, thirteen Jesuit families by the Rockefellers (Levinsons), Robey may have previously served the prominent merchant bankers in some sort of business capacity while employed at one of their estates?

Could it be, Robey was delegated control as sole executive enforcer over the Rockefeller’s various recording companies, while the family of merchant bankers sat in the shadows as silent partners?

Is it also possible, since biographies claim Robey was half Jewish, he may have been married into the Rockefeller (Levinson) family at some point?

In the early days of rock and roll during the 1950’s as sole owner of his various artist’s music catalogues, Robey was known as a “song plugger” who would, in exchange for a substantial mechanical and licensing royalty, place songs like “Hound Dog” and others previously recorded by black-American artists with other prominent producers in the industry such as Sun Records owner and producer Sam Phillips, songs that would become more widely popularized by early rock and roll icons like Jerry Lee Lewis, Carl Perkins, Little Richard and Johnny Cash.

Loyal readers should take note, that one of those names listed among some of the most prominent stars from the early days of rock and roll shall soon play a key role in making a solid connection from Robey to the host actor who for years portrayed the obnoxious rock and roll legend Lemmy Kilmister.

Don Robey:

When viewing the image provided at the link available above, note the black and white checkered jacket Robey is wearing, which is symbolic of the masonic conception of the duality of man:

Texas, Robey’s birthplace and residence, is home to a Freemason Grand Lodge located in Waco, scene of the simulated Branch Davidian massacre (See: US government goes wacko in Waco).

Historically, Texas has always been a prime hot bed for intelligence activity and other psychological operations (See: All along the black magic clock tower).


As with other stars of stage and screen examined in the past, one’s biographical examination of the rock and roll legend known as Lemmy Kilmister revealed, unsurprisingly, yet another connection with the military.

Kilmister was alleged to have been born on 24 December, 1945 (666/1945=27=9/6 occult mirror reflection/33/high-degree freemasonry), in Stoke-on-Trent and raised in Staffordshire, England. When he was but three months old (EE=33) his father, an ex-Royal Air Force chaplain and concert pianist, separated from his mother. At ten, upon the occasion of his mother remarrying with former British football star George Willis, Kilmister assumed the name of Ian Willis for most of the remainder of his youth. From here, Kilmister’s biography at Wikipedia is not unexpectedly filled with more numerological markers and the usual anomaly-laden celebrity narrative.

About moving with his new family to a farm in the remote Welsh town of Benllech, Anglesey, Kilmister was once quoted as recalling, “funnily enough, being the only English kid among 700 (7/Zayin the Kabbalah mind weapon) Welsh ones didn’t make for the happiest time, but it was interesting from an anthropological point of view.”

It is alleged that while attending Sir Thomas Jones’ School in nearby Amiwch, the young Ian Willis obtained the nickname “Lemmy”. It is suggested the young Kilmister was in the habit of borrowing money from his classmates saying, “lemmy {lend me} a quid ’til Friday’.”

Kilmister’s official biographies inform us that he noticed a fellow school pupil who was not only popular with those of the opposite sex, but owned a guitar. Coincidentally, we are told, he discovered his mother owned a guitar which he then took to school, thinking perhaps he too would become “surrounded by chicks.” Onward from school, the itinerant Kilmister moved to another remote Welsh town, called Conwy. There, he fell into a succession of menial jobs including assembly work at a washing machine factory while playing with local rock bands badly attempting to imitate the stars of the day.

But folks, here’s where the story becomes rather intriguing and, like so often before in the course of one’s research into other stars of stage and screen, begins to enter the realm of the fantastical. At sixteen, Kilmister’s biographies claim the young Lemmy, without a penny to his name, travelled all the way from Wales to the port city of Liverpool on the coast of England to witness the lunchtime debut of the pre-fab four Beatles at the Cavern Club in the early 1960’s.

Keep in mind, folks, this was the same dark and dingy basement dwelling cubbyhole it is claimed the aristocratic dandy and future Beatles manager Brian Epstein coincidentally happened to wander into during his business hour lunchbreak. Indeed, this official narrative of Kilmister’s story is beginning to resemble that of another famous historical figure from more than a century before, Benjamin Franklin (See: America’s war for independence: revolution or hoax? (part II)

One question looms large, however: why would a penniless sixteen-year-old youth journey hundreds of miles from Wales to see an unknown musical act yet to taste fame and fortune, and for a daytime performance scheduled at an obscure English nightclub he certainly wouldn’t have known about, particularly if he had never before been to Liverpool? Unless Kilmister, like Epstein, had been brought there or urged to be there by persons in the industry who were well aware the Beatles were being groomed to become a world famous musical act. Perhaps Kilmister was being groomed for success in the music industry during this time as well?

Next, after a number of engagements playing with bands that met with no success, Kilmister met and roomed with future Jimi Hendrix bassist Noel Redding. Loyal readers have already discovered that Hendrix was another fictional character created by the music industry and portrayed by a young host actor who would later go on to fame and fortune in Hollywood as an actor, Morgan Freeman. When Hendrix came over from the states to play a series of nightclub engagements at London’s Bag of Nails, Kilmister, through his contact with Redding, was able to find employment as Hendrix’s roadie. Once again folks, we are presented with a celebrity biography filled with a series of anomalous and unlikely events that strain credulity. Unless, of course, this course of events had been planned out for Kilmister’s host actor in advance.

It should be noted as well that Hendrix’s manager, Michael Jeffries, was known to have intelligence connections with MI5 and MI6, Her Majesty’s Secret Services. Observing that Kilmister’s father was once with the royal air force, this is particularly trenchant. Not only is the international intelligence octopus in control of the global media complex on behalf of the ruling elite, Jesuit families, but it has also been in control of Hollywood and the music and entertainment industries almost since its inception during the modern era.

After his stint with Hendrix working behind the scenes, the record buying public would first become aware of Kilmister’s presence on the music scene when he sang lead vocals on the British band Hawkwind’s biggest hit, “Silver Machine.” For further biographical confirmation, one once again consulted VHI’s Behind the Music series of videos available on You Tube.

The narrator of Motorhead’s documentary reveals that Kilmister’s short-lived tenure with Hawkwind was particularly turbulent and, that he fell in with the band under the most unusual circumstances. Apparently, the band’s regular bass player went missing. Though Kilmister was admittedly an inexperienced novice on the instrument at this point in his fledgling music career, he nonetheless agreed to take the gig.

Unfortunately, after starring on the band’s only hit single “Silver Machine”, Kilmister’s penchant for amphetamines soon got him booted from the band’s lineup.

It was then, in the late 1970’s, that Motorhead was unleashed upon the world of music.

Inevitably, one has noticed how narcotics and alcohol always seem to play such a prominent role in all of these rock star biographies. One has always further wondered however, how is it these rock stars are able to inhale endless supplies of drugs and alcohol – volumes of which would surely slay other mere mortals – and yet still successfully carry on with their platinum-level success?

There would only seem to be one plausible answer. Either such hedonistic biographical details are gross exaggerations or are complete fabrications. As for the author, based upon the corroborated results of extensive research, one is leaning toward the latter.

The ruling elite families not only own the music and entertainment industries, folks, but also enjoy a business monopoly over the international narcotics trade and all alcohol manufacturing and distribution systems. They also happen to enjoy monopoly control of the corporate pharmaceutical giants, those very same that manufacture and distribute amphetamines, Kilmsiter’s reputed drug of choice.

In short, the popular music recording industry has never existed just to produce, mass market, and to make a profit from musical recordings and publishing alone.

After all, has one never noticed, that with the emergence of every newly marketed genre of popular music in the past, there has always been a profitable, ready-made narcotic or drug made synonymous with it?

For example: 1950’s Country and Western/beer and alcohol, 1960’s British invasion/psychedelic rock/LSD, marijuana, 1970’s Glam rock and Disco/cocaine, 1990’s Gangster Rap/crack- cocaine, Rave music or Electronica/Ecstasy, and during the same approximate era there was Grunge rock which featured the imbibing of heroin.


The emergence of Johnny Cash’s superstar career in popular music coincided with the explosive arrival of early rock and roll. Early on, he came to the attention of Sun Record’s Sam Phillips who not only produced Elvis Presley’s first hits, but reportedly told the young Cash at his first audition for the label, “Bring me back something that’s going to be a hit, kid.”

It wasn’t long before Cash returned to Sun Records in the late 1950’s to record his first popular country and western hit, entitled “Hey, Porter”.

From there and well on into the 1960’s, Cash recorded a string of hits that featured lyrical tales of working class strife, spiritual redemption and moral triumph. His everyman charm, movie star charisma, and anti-establishment swagger as the “Man in Black” quickly won Cash a legion of eager record buying fans. Through the course of what marked a truly stellar career, Cash would reportedly go on to sell a total of 90 million records worldwide (9=6/33).

Soon, Hollywood television executives came calling for Cash to star on network television. When he appeared before the network television cameras to entertain millions, he often did so with his wife June Carter-Cash, herself a talented singer-songwriter and multi-instrumentalist.

As hit records kept climbing the country and western and even the pop charts, Cash increasingly became a regular fixture on prime time television and his career began to make forays into acting and once, he even starred in a highly rated episode of the popular crime-drama television series, Columbo, with actor Peter Falk.

But guess what folks, as with Lemmy Kilmister, Cash’s official biography reveals a military connection with the Air Force, claiming he enlisted on July 7, 1950 (77/Lucifer’s lightning/angelic transformation/24=6/33) before being assigned to the 12th (777 joker code) Radio Squadron at Landsberg, Germany as a Morse Code operator intercepting Soviet army transmissions.

Code operator, huh, isn’t that interesting folks?

Per Wikipedia, Cash was born on February 26, 1932 (2 6’s=12/21/777 joker code/32=2 3’s/33) and is the only performer in the history of the popular recording music industry to have been inducted into the Country music, Rock and Roll, and Gospel music Halls of Fame. In addition to his distinctive baritone vocals, Cash became a uniquely styled instrumentalist, capable of coaxing a train-like rumbling sound while percussively strumming his acoustic guitar. This dominant musical technique, which Cash utilized for the long duration of his career, figured prominently as a significant clue in one’s ultimately determining the true identity of Lemmy Kilmister’s host actor.

This factor represents a miscalculation on the part of Cash’s elite masters, for though they may always feel confident in perpetuating the grand ruse of the actor based reality while utilizing all manner of audio and visual trickery, perhaps they never realized that every popular musical instrumentalist, whether it be Jimi Hendrix, Jimmy Page or Eric Clapton, have always possessed a clearly defined, incomparable and most importantly, unalterable playing style that left behind an indelible audio fingerprint. No matter how many physical disguises, costumes or pseudonyms a musical performer may choose to acquire, the way they play is always clearly discernable.

During the course of his career, Cash also became noted for giving free performances at prisons around the Southern region of the US, which quickly solidified his status in the music industry and American pop culture as the common man’s rebellious outsider long before the likes of Bruce Springsteen came along to assume the mantle of America’s working class hero.

But before experiencing the showering glitter of stardom’s bright lights, we are told Cash suffered through soul crushing economic poverty. In fact, Cash’s biography goes well beyond the typical rags to riches narrative to sketch a grim tale of economic hardship reminiscent of that found in Steinbeck’s Depression era tome, Grapes of Wrath. At the age of 5 (2 3’s=33), it is said Cash and his family allegedly toiled on a cotton farm located in Arkansas in America’s Deep South.

It is also alleged the farm suffered from frequent flooding from the nearby rivers which later led to Cash penning one of his biggest hits, “5 Feet High and Rising.” As with Motorhead’s first big hit single, if one looks beneath surface appearances and observes the title of Cash’s song more closely, there seems to exist an inherent double meaning.

In terms of numerology, once again the number five is present which reduces to 2 3’s thus equaling 33, symbolic of high-degree Scottish Rite Freemasonry. The title also makes reference to water rising. In Freemasonry, water is symbolic of spiritual transformation, and the reference to “rising” most likely meant that Cash and his music industry career had been slated for even greater levels of fame and fortune.

Such occult references have always been present in American popular music, and if one hopes to identify them, one merely has to know what to look for. In a deeply paradoxical sense, though Cash’s music came to overtly symbolize a fundamentalist, god-fearing spirituality to the public at large, on the other hand it cleverly meant to conceal, in plain sight, hidden references to occult symbolism and the sun-worshiping creed of his freemasonic sponsors in the music industry.

Some of the other biographical details concerning Cash’s immediate family are quite gruesome indeed and, it is alleged that Cash had a brother who tragically died at the age of 15 (6=33) from an accident with a table saw that nearly cut him in half. This biographical detail seems to reference the occult ritual of Hiram Abiff, who was struck down by three ruffians and after being cut to pieces was buried in a grave marked with a sprig of acacia.

Cash would eventually have a falling out with Sun Record’s Sam Phillips and, in 1958 Cash signed what was then the most lucrative recording contract in the industry with Columbia Records, which at the time was America’s most prestigious recording label. The name Columbia references the masonic Grand Lodge located in the nation’s capital of Washington’s District of Columbia which, still unknown to most Americans, is an independent city-state like the Vatican and the City of London’s Crown Temple.

But as Cash’s biography progresses into the 1960’s, we are given a colossal clue that ties in with Kilmister and Motorhead. It is alleged that as Cash acquired ever more fame and fortune into the 1960’s and 70’s, he became addicted to amphetamines which, as loyal readers will recall, was also listed as an addiction of the character of Motorhead’s Lemmy Kilmister.

During this time, Cash continued to solidify his reputation as the outlaw “Man in Black”. Reportedly, although he never served any prison time, Cash was charged with 7 (Zayin the Kabbalah mind weapon) misdemeanors. In 1965, Cash was charged with starting a forest fire in California’s Los Padres National Forest that burned out of control and destroyed a reported 508 acres or 206 ha (13=summit of masonic pyramid/2 6’s=12/21/777 joker code), burning the foliage off of three mountains (3=33) and driving off 49 (13/masonic pyramid summit) of the refuge’s 53 (occult tetragrammaton/15=6/33) endangered species of California condors.

When Cash appeared in court on the charge and was asked by the presiding judge if he felt any remorse concerning the damage to the condor’s habitat, a swaggering Cash reportedly remained unrepentant and snarled in response, “I don’t care about your damn yellow buzzards.”

The fact that Cash walked away a free man from the charge and was not summarily imprisoned indicates this was yet another example of staged masonic theater, a cynically motivated promotional stunt perhaps designed to entrench Cash’s rebellious image in the minds of the American public to sell millions more records, thus gaining a bigger profit for his elite masters.

Per Wikipedia, the forest fire incident was not to be the end of Cash’s run-ins with law enforcement. In 1967, he reportedly was arrested in Walker County, Georgia for leaving the scene of a car accident when local gendarmes discovered Cash walking the length of the shoulder of an interstate highway carrying a bag filled with guess what folks – AMPHETAMINES!

Chronologically speaking, it is during this period of time the biographies of Cash and Kilmister begin to tightly converge. For, it is obvious Cash’s masters at Columbia records may have been setting up his character transition to perhaps begin test marketing a new genre of popular music upon the public, utilizing Cash as a commercial guinea pig, as it were. This is not unprecedented, for all of the past’s popular musical genres, whether heavy metal, disco or new wave, underwent a prolonged, underground gestation period and were tweaked by scores of song doctors, studio musicians and elite recording producers before being finally packaged, distributed and mass marketed to the major popular music markets.

When one truly considers Cash’s transition from amphetamine scarfing country and western styled outlaw to Kilmister’s amphetamine addicted rock and roll anti-hero, the process must have been rather elementary in execution.

In fact, comparing the timeline details of both Cash’s and Kilmister’s biographies, it was while Lemmy was in London allegedly employed with Jimi Hendrix as a roadie in the late 1960’s that Cash was simultaneously on tour in Europe. In preparation for his future transition to Kilmister, Cash most likely spent some valuable time with Hendrix’s bass player Noel Redding to gain professional pointers on the rudiments of how to competently play the instrument. This would have given Cash plenty of time to master his later transition to bass guitar as his main performance instrument before he would fully assume Kilmister’s rock and roll characterization later on in the late 1970’s.

Johnny Cash:

Lemmy Kilmsiter:

Based solely on a comparative sight analysis and even without aid of ear biometrics or facial recognition software, it is clear that the “Man in Black” and the character of Motorhead’s Lemmy Kilmister are indeed, one and the same. Through comparison of various images of Kilmister it also becomes quite clear, his trademark facial moles were artificially applied to aid in the concealment of the host actor’s closely guarded identity.

As evidenced by Kilmister’s performance of Ace of Spades in the video displayed earlier in this installment, Lemmy’s rather unorthodox bass guitar technique became the cornerstone of Motorhead’s distinctive sound, shaped by his use of rhythmically precise chording rather than the more standard and conventional single note bottom end traditionally played by other musicians. This is confirmed by Wikipedia: “He {Kilmister} quickly developed a distinctive style that was strongly shaped by his early experience as a rhythm guitarist.”

One shall recall that Johnny Cash was also noted for his percussive rhythm guitar stylings that would often serve as a thick bottom end which other lead instrumentalists could play off of to enhance Cash’s musical arrangements with decorative, musical fills.

But wait folks, because Johnny the Man in Black wasn’t the only Cash family member to have transformed into an obnoxious rock and roll character. Johnny’s long-time spouse, June Carter Cash, also portrayed, for a time, punk rock queen Wendy O. Williams of the Plasmatics and, performed with Cash as Kilmister on a rerecorded rendition of Tammy Wynette’s old country and western standard, Stand by Your Man:

Why was it Lemmy and Wendy should decide to record a punk rock version of an old country and western standard?

Because folks, not only did Johnny’s spouse portray Wendy O. Williams, she also sang under the pseudonym of Tammy Wynette who originally wrote, performed and recorded the hit song.

Tammy Wynette:

Wendy O. Williams:

Yes folks, when it comes to maintaining the illusive integrity of the actor based reality, spouses can almost always be found standing by their man until the dire end.



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