Rock And Roll Dark Knight

There are times when the pop culture stories tend to get a little paranormal. I kind of dread these moments because people often tend to become cynical and say that there are far more important things to talk about and that it is a waste of time to indulge in a bit of pop communion.

Just before the Super Bowl I informed my friend Roger that I had to watch everything that was going on from commercials to the halftime show because it seemed that for many years the musical acts that were involved seemed to not only perform their music, but ritualized it and gave it an occult zeal to the masses.

I told my friend that I wouldn’t be doing my job if I did not watch and see what esoteric and occult themes would be shown to the American public. It was almost as much fun as watching the game itself.

The rituals performed by popular music artists today are far more refined and spectacular than the clandestine sexual shaking of Elvis Presley’s pelvis on the Ed Sullivan show. As I have covered on this show before fears of the devil doing his workmanship in popular music is as old as Elvis and maybe even older.

Popular music it seems will never shake its reputation as being demonic or under the influence of some secret society like the Illuminati.

Back when Robert Johnson first went to the crossroads to make his deal with the devil, the devil gave him the basics in order to be the legendary blues singer and player that remains one of rock’s most nefarious myths. Some will argue that the mythology about the trickster having his hand in rock is also a myth and the result has been a never ending argument about an organized conspiracy that includes the Illuminati.

When the Devil met Robert Johnson at “the Crossroads,” he really did not tell him about props, pyrotechnics, merchandising, bright lights, and loud amplifiers. The devil decided that all of it would evolve and that those who play the music and perform it would know that in order to control the hearts and minds of record buyers you would have to work in a little spectacle.

It was Screaming Jay Hawkins that would sing songs like “I Put a Spell on You” dressed like a witch doctor and being brought out in a coffin. If the Illuminati had a true musical history and needed to have a musical patron saint it would be Screaming Jay Hawkins.

Released in the fall of 1956, “I Put a Spell on You” was not a big seller, mostly because it was banned by most radio stations. The voodoo vibe of the record was deemed offensive, as was the suggestion of carnal sexuality in the grunts and wails of the vocal. Hawkins song was quite possibly the first rock song that could be called Satanic. It was DJ Alan Freed that encouraged Hawkins shock rock personae and had him as a guest at his rock review shows. Hawkins would regularly perform with props like chattering teeth and a battery-powered crawling hand. Alan Freed urged him to take the spectacle further and make his entrance by popping out of a coffin. With a machine spewing smoke and flash powder caps creating onstage lightning, Hawkins would be rolled onto the stage and emerge from the coffin, tossing firecrackers from his pockets and looking menacingly at the audience. Some members of the largely teenage audience would run for the exits in genuine fright.

Simple occult spectacle in Rock and Roll has always been exciting and entertaining and it comes in many forms, from a painted lightning bolt on the face of Ziggy Stardust, to the long tongue and fire breathing antics of Gene Simmons the relationship of the occult and music has always given the music business its magical spectacle.

Some bands like Black Sabbath used the Devil as a prop, while other bands like Coven and The Crazy World of Arthur Brown used it as a cudgel of shock and awe.

The Grammy Awards will once again be presented and knowing that a whole group of entertainers will be performing dark rituals on the show, I have once again been dragged into the conversation of music awards and how popular music today seems to be under the control of the Illuminati.

I know that I have received countless e-mails defending against some ongoing Illuminati plot where I have allegedly said that Beyonce Knowles is a known agent and several others. I believe there is a difference in reporting about the conspiracy and the nature of it rather than coming out and saying that Beyonce or anyone else is an agent of the Illuminati.

However, this does not change the open conspiracy of singers and entertainers that have gone on the records as saying that it is hard to escape the witchy things that are happening in the industry and how the art of performance has been now targeted and used to convey negative and in some cases Satanic imagery.

Every new style of music has been greeted with suspicion by some. The Greek philosopher Plato wrote, “A change to a new type of music is something to beware of as a hazard to all of our fortunes. For the modes of music are never disturbed without upsetting of the most fundamental political and social conventions.”

When underground filmmaker Kenneth Anger convinced Mick Jagger of the Rolling Stones to write the song “Sympathy for the Devil,” Satanism had its first marked effect on rock music. Mick Jagger once joked that all it took is one song and immediately the Rolling Stones were accused of worshiping the devil.

Last Halloween Ground Zero wanted to get to the bottom of what exactly spawned the Satanic Music industry and we achieved a rare and valuable interview with Jinx Dawson of Coven who pioneered the use of occult imagery in music and what it was that fueled that rebellious nature of music.

Occult Satanism began to reveal its controlling influence through many channels of the music industry, and according to Dawson it was very real then, and now those who used the Devil to get where they are now, have abandoned their Satanic roots and have left it up to the pop music crowd that have arguably followed the piper into a new form of satanic psychological warfare.

The topic of satanic controls in the entertainment industry is a bittersweet subject because it often falls into the trap of being a religious argument rather than a cultural psychological phenomenon.

Using the term Satanic puts out a religious filter and from there religious bias destroys the important discussion of psychological effects and not effects of the spirit or the soul.

Playing your Led Zeppelin albums backwards to get some Satanic message will not condemn you to hell, but using the religious argument, doing anything of the sort is like playing with an Ouija board or playing with the tarot deck.

This can sometimes be more detrimental psychologically then watching some entertaining ritual that speaks to your subconscious mind. It is also insipid to say that the music industry doesn’t do ritualistic performances to entertain the masses.

Rock music in the 1960s and 1970s gave the occult a dominant force and eventually things with occult overtones were “socially accepted” by a mass amount of listeners. Today, the occult plays out it’s so called satanic themed rituals through modern pop/ contemporary musicians and award ceremonies in front of millions of deluded humans.

Seeing it as a performance makes it safe, participating or mimicking it can create a cause for alarm and as always parents are warned that what the popular stars are doing is part of a “programming” or a “working” to get audiences to change their ways of thinking and to unleash the primal powers that exist in each of us.

Now arguably that can be seen as evil, lascivious, or harmless. However the story remains quite open and there is no conspiracy or plot. There are many people in the music and entertainment industry that have claimed to have sold their souls to the Devil.

The power grab here is illustrated when we witness the abuses that many stars have been subjected to in the music industry. We have seen many tragedies play out in front of the paparazzi as stars like Katy Perry, Britney Spears, Lady Gaga, Ke$ha and others have confessed to being erratic, selling their souls to the devil, and being sexually abused by their handlers.

Jay- Z, EMINEM, Black Eyed Peas, and many other music artists have spoken about the Illuminati and new world order in their music.

Before his death Michael Jackson warned in the song, “They Don’t Really Care About Us” that there are cabals that abuse the world. In the music video for the song he sings “Will me thrill me you can never kill me” and hit me, kick me, you can never get me,” whilst standing next to an all seeing eye painted on a wall.

Many music watchdogs also point to the year 2012 when they believe a sacrifice was made in the music industry. Just before the Grammy awards Whitney Houston was found dead partially submerged in a bathtub on February 11th, 2012.

Three hours after Whitney died Limos pulled up to the hotel. The paparazzi prepared their cameras as hundreds of high-profile elites and celebrities worked the room at the annual Clive Davis Grammy party. While Houston’s body remained in the room, her daughter Bobbi Kristina Brown stood outside fighting with authorities to see the body. Picture in your mind the scene of a Coroner’s hearse and a “crime lab” van parked alongside the black limousines and SUVs escorting celebrities to and from the event.

Just a week before Whitney’s death we saw the ritualistic performance of Madonna and her kabalistic symbolism and imagery that also utilized Luciferian and Illuminati symbols and sigils leaving people asking, what was it that they saw. Were they witnessing the arrival of the goddess from above and her fallen descent into the abyss after offering a final prayer?

It was Madonna’s spectacle at the Super bowl that had occult overtones, unlike Whitney who made a top ten hit off of her performance of the national anthem at another Super bowl.

Back then there was a lot of talk about Whitney Houston’s death, black magic symbolism, and numbers and the date of 2/11, which showed power numbers that added up to indicate a satanic conspiracy against Whitney. The coincidental date of her death fell on Pagan Holy days like Imbolc, where candles are lit and sacrifices are made.

At the Grammy’s held on February 13th, 2011, it was Lady Gaga that said that her song, “Born This Way” was written with Whitney Houston in mind.

From the Stage Lady Gaga stated when accepting an award for vocal performance:

I need to thank Whitney Houston. I wanted to thank Whitney, because when I wrote “Born This Way,” I imagined she was singing it – because I wasn’t secure enough in myself to imagine I was a superstar. So, Whitney, I imagined you were singing “Born This Way” when I wrote it.”

In an eerie coincidence “Born This way” was released on February 11th, 2011. Whitney Houston died a year later.

Lady Gaga also performs using ritualistic symbolism that is considered Illuminist. It was reported in January of 2012 that sometime in 2011 Lady Gaga left a bathtub full of blood when she checked out of a London hotel.

On January 31st, 2015 Whitney Houston’s daughter Bobbi Kristina brown was found unresponsive and near death in a bath tub. She was face down in the tub that was located in her Roswell Georgia townhouse.

She was declared brain dead on February 5th, 2015. It is believed that the family is now saying good bye and like her mother Whitney will probably die either before or on the same day as the Grammy Awards.

We can assume that this is coincidence, or perhaps we can hope that it is all coincidence. However it is most certainly evil synchronicity.

It is just one more soul for the Rock and Roll Dark Knight.

Tonight, Clyde interviews Peter Bebergal, author of Season of the Witch: How the Occult Saved Rock and Roll, and Jamie Hanshaw of Freeman TV, in anticipation of occult rituals at the Grammy Awards next week.