The British rock invasion of the 1960s and 1970s culminated in bands like The Beatles, The Rolling Stones, and Led Zeppelin, but something fresher and more powerful would be needed heading into the 1980s musical era if the Illuminati’s subversive machine were to remain in high gear.
The up-and-coming British glam rock sensation Def Leppard were ripe for the picking as the next phase of the Illuminati’s subversive music mind-control agenda.
With their melodic riffs and unique digitally enhanced voice-overs, mastered by internationally renowned producer Robert John “Mutt” Lange, Def Leppard had the it factor in a very competitive industry of talented rock musicians.
The little band from Sheffield, England went on to be a huge success for the Illuminati in captivating the minds of millions.
Def Leppard and the Jews
The story of Def Leppard, formerly Atomic Mass, starts with the vision of lead singer, the Jewish Joe Elliot, who would very soon attract the attention of Jewish—Illuminati-run record companies desperate for the next big thing.
So it was that Cliff Burnstein and Peter Mensch would take over Def Leppard’s beleaguered management and bring the band to America in the early ‘80s.
And they must have been belated to add yet another Jewish frontman to what was then becoming the Jewish-glam-rock era.
In What Does Jewish Rock Look Like?, Dustin Oneman writes:
“But in the ‘70s, Jews really shined. Literally, in some cases, with Jews playing a major role in the glam period, with strong outposts in bands like KISS (Gene Simmons, Paul Stanley, Ace Frehley [note: apparently not], and Bruce Kulick), the New York Dolls (Syl Sylvain and possibly Arthur Kane), T. Rex (Marc Bolan), and early Twisted Sister (John Segal and [half-Jewish] Dee Snider), along with soloists like Lou Reed and Iggy Pop (née James Newell Osterberg). As glam and other proto-punk styles graded almost imperceptibly into punk, Jews remained highly visible, especially among the CBGB set – Richard Hell of Television, Lenny Kaye of Patti Smith’s group, Joey Ramone, Chris Stein of Blondie, and across the pond, Mick Jones of the Clash, three of the four members of 10cc (Lol Crème, Kevin Godley, and Gouldman), and from backstage, Malcolm McLaren, who gave us the Sex Pistols, and Nancy Spungen who took them away.”
But, like his coreligionists (kabbalistic occultism) in other bands, Elliot had a seemingly gentile look with his bleached-blonde long locks, ripped jeans, and T-shirts. Other Jews, like David Lee Roth, would take on the same rock-and-roll, boy-next-door appearance. Glam rock had nothing of the appearance of being Jewish. It was the last thing on anyone’s mind, much less the fans’.
“By the end of the ‘70s, these ‘clumps’ of Jewish involvement would be dispersed throughout pop music. In the ‘80s and ‘90s, Jews would be involved in practically every genre of music, from the New Wave of the Bangles (Susanna Hoffs), Souixsie Sioux, and Depêche Mode (Martin Gore) to the hair metal of Def Leppard (Joe Elliott) and David Lee Roth to the top-40 tunesmithing of Pat Benatar, Melissa Manchester, and Paula Abdul to the hip-hop of the Beastie Boys (Mike Diamond, Adam Yauch, and Adam Horowitz) to the hard rock of Guns ‘N’ Roses (Slash, née Saul Hudson) to the retro-rock of Lenny Kravitz (half-Jewish) to the neo-punk of Jane’s Addiction (Perry Farrell), Courtney Love (disputed), Elastica (Justine Frischman), and Veruca Salt (Jim Shapiro and Nina Gordon) to the heavy metal of Anthrax (Scott Ian) and Megadeth (Marty Friedman) to the neo-funk of the Red Hot Chili Peppers (original guitarist Hillel Slovak) to the neo-soft rock of Lisa Loeb, and beyond (Matisyahu, members of Jamiroquai and Phish, Rick Rubin whose behind-the-scenes work brought us Johnny Cash’s late-life revival).”[I]
Def Leppard’s artwork has, perhaps, some of the most obvious and recurring occult symbolism of any of its contemporaries.
From their first album, On Through the Night (1980), which depicts the band name within a pyramid, to their second last album, Songs from the Sparkle Lounge (2008), which is fashioned after The Beatles occultic Sgt. Pepper’s Lonely Hearts Club Band (1967) album, which honours the late high-ranking Illuminist Aleister Crowley[II], their albums paid homage to their Illuminist masters at every turn. The Lonely Hearts album cover shows a collage of those whom The Beatles considered their heroes, including Crowley. Many of them included Jewish revolutionaries, like Carl Jung, Sigmund Freud, and Karl Marx. The Def Leppard parody depicts, of occultic significance, hands giving the devil horns sign and Egyptian Pharaoh King Tutankhamun.
Virtually all of Def Leppard’s album and video artwork feature single eyes (Illuminati all-seeing eye of Horus, Providence), ascendant triangles, and even an eerily prophetic reference to the 9/11 World Trade Centre attacks on the cover of their Pyromania album (1983). Retro Active (1993) features a cryptic skull. Their best-selling album, Hysteria (1987), epitomizes the obsessive use of Illuminati symbolism in their artwork. The front cover depicts a large triangle with half the face of one of the singers (one eye within an triangle). Inside the album jacket, late guitarist Steve Clark is photographed covering one eye, like Lady Gaga and so many others are photographed doing today. Incidentally, Steve Clark reportedly drank and drugged himself to death. Band members said he was very unhappy (Illuminati sacrifice? Was he trying to break free from his possible Monarch mind control programming?). Regardless, Clark is one in in a long list of depressed, drugged, and debauched rock stars to meet a premature death.
People wonder about who carries out all the Illuminati artwork for bands and musicians and choreographs body gestures in the production of music videos. The placement of these symbols has become so commonplace in pop music that nobody even blinks anymore. It has become accepted and even hip and trendy for music fins to mimic these gestures and symbols. At least as far as artwork goes, Andie Airfix of Santori Graphic was Def Leppard’s main man.[III] Airfix also creates the Illuminist-inspired artwork for many other prominent bands, including Metallica, AC/DC (Mutt-Lange produced), Black Sabbath, Geezers of Nazareth, The Rolling Stones, and, of course, Paul McCartney of The Beatles. (The Beatles were allegedly a creation of the New World Order Tavistock Institute. Was Def Leppard too? Most likely, as Def Leppard has all the hallmarks of being nothing more than a cleverly created package to carry on the 1960s’ musically based cultural revolution, which has waged non-stop psychological warfare on the world’s youth ever since.)
Another recurring graphic on Def Leppard album artwork is a rifle scope target.
In Def Leppard’s live concert video—In the Round, In Your Face—at about the one hour, four minute mark, fans can be seen saluting Def Leppard with triangle hands (Illuminati pyramid/ascendant Kabbalist-wiccan triangle), not unlike how rapper Jay Z instructs his concert fans to do. Drummer Rick Allen is subsequently introduced as “the thunder god.” Jay Z, who calls the gesture “diamond” hands is really saluting his occult handlers. Interestingly, Jay Z refers to himself as Jayhovah, a variation of the Kabbalistic tetragrammaton, or the so-called divine name. Elliot prominently displayed his “diamond” hands on the cover of rock magazine RIP in a 1988 edition. Today, the use of diamond hands is widespread in music, entertainment, and even in the feminist movement. Jewish feminist leader Gloria Steinem was once photographed sporting her diamond hands above her head while wearing a T-shirt that read, “I had an abortion.”
The back cover of Def Leppard’s Greatest Hits album, Vault, features a large rayed sun, also of occult significance. The front cover of their latest DVD, Rock Power Documentary Unauthorised, prominently displays a large single eye in the centre.
Nikolas Schreck, the son-in-law of former Church of Satan leader Anton LaVey, says Satanists use music and symbols “to awaken dormant aspects in the human mind…. We’re using music, because that’s the instrument that young people respond to right now…We’re doing propaganda directly, to awaken the wolf in man….”[IV]
Even Def Leppard stage passes are chock full of Illuminati symbolism. The VIP guest pass of their Hysteria world tour features one eye within a pyramid, encased by a pentagram.
Satanic songs and backmasking
Def Leppard is well known for backmasking, a recording technique where messages are recorded backwards, in their songs, particularly in Hysteria. “Rocket” starts off with a backmasked “we’re fighting with the gods of war,” mastered by none other than Mutt Lange. Backmasking occurs in other places in the song, and likely in other songs and albums. The backmasking provides a very unique sound, adding novelty to the song, but it has sinister roots.
Backmasking first became prominent with The Beatles music, most likely at the request of the Tavistock Institute controllers and because of Crowley’s requirement as part of the occult law of reversal he had his followers carry out. Was Mutt Lange a disciple of Crowley and an agent for the Tavistock Institute? Were members of Def Leppard were initiated by Lange and perhaps what led to Steve Clark’s indirect suicide?. Several of Def Leppard’s contemporaries are accused of embedding Satanic messages in their songs through backmasking, especially Led Zeppelin, AC\DC (Mutt Lange managed), and Black Sabbath. It was sort of thematic of the ‘70s and ‘80s glam rock era. The law of reversal basically has Satanic and occultic initiates reverse everything good, holy, or normal. For example, in The Black Mass, “the entire Roman Catholic liturgy of the Mass is performed backwards, or in reverse. Everything is read backwards, or in reversed speech. The cross in the Black Mass is hung upside down (reverse) over the Satanic altar.”[V] The inverted cross has become an accepted recurring theme in the music industry today.
Satanic backmasking involves embedding Satanic messages in music that, when played in reverse, as in the case of Led Zeppelin and Beatles songs, the dark message is revealed. It not only puts demonic influence in the life of the listener, it allows, according to occultists like Crowley, for spell-casting, invocation, and divination.
The late John Todd, an alleged witch-turned Christian and former high-ranking music executive, claims that all music producers are initiated witches as prerequisite and that albums are placed on altars, and demons are subsequently summoned to cast spells on them before they are marketed to the public.[VI] Of course, some music groups that backmask or place Satanic imagery in their album artwork claim it’s all merely for effect.[VII] But what effect? Serial killer Richard Ramirez, on trial in 1988, stated that the Mutt Lange-managed AC/DC music, and specifically the song “Night Prowler” on Highway to Hell, inspired him to commit murder.[VIII] Def Leppard’s music was created and produced in England, as was much of the music from the glam rock era.
“They believe that England is the place that Lucifer is most fluent and can speak to them more in person than anywhere else,” Todd says.[IX]
Of course, following the Church age, England became the home to the resurgence of the occult, specifically Kabbalism, Freemasonry, and witchcraft, which are basically all the same thing just in different forms.
The Love Bites Controversy
Def Leppard and Mutt Lange have denied that the closing lyrics in “Love Bites”, from the Hysteria album, say “Jesus of Nazareth, go to hell.” Instead, Lange, the one who inserted the oddly voiced message, claims it really says, “Yes it does, bloody hell”; however, the syllables don’t really line up with his explanation. The syllables do, however, line up with the aforementioned blasphemy against Christ. It certainly would be no surprise if Lange really were telling Jesus to go to hell. Lange is no stranger to Satanic messages considering the dark lyrics of his many other clients.
Casting spells through Neurotic Response
Aside from Def Leppard’s psycho-sexual and possibly anti-Christian lyrics, the real evil is in the music itself, with hypnotic riffs, melodies, and beats that provoke “neurotic response” in the listener. The neurosis can lead the listener to gyrate, fist pump, or make devilish hand gestures, like the Baphomet. And often, these are done without thinking, as an automatic response to the music.
Mutt Lange and the occult
Robert John “Mutt” Lange is a seemingly elusive character. There isn’t a lot of information available about the 63-year-old, nor are there many photos of him available. You can’t even find a listing for him in the Encyclopedia of Popular Music, which is odd considering his high status as a producer and songwriter. It is not known exactly what Lange’s ethnicity is, although some sources list him as Jewish.[X]
However, his Wikipedia page does give us an indication of his personal belief in the occult.
“A strict vegetarian and a follower of Sant Mat, Lange has not given an interview of any kind for decades and prefers to live a secluded life, primarily in Switzerland…. He is known for his endurance in the studio and innovations in multitrack recording.”[XI]
If John Todd is correct that all music producers are initiated witches, then it should come as no surprise that Lange, along with then wife Stevie van Kerken, started a band called Hocus.
Lange also produces the music of prominent Illuminati priestess Lady Gaga, who uses more Illuminati symbolism and lyrics that anyone else today.
Sex, pornography, and Phallus worship
It’s no surprise that Def Leppard incorporates highly sexualized messages into their songs like that of their predecessors. Almost all secular musicians do this. But the emphasis on sex in Def Leppard’s music fits in with the Illuminati’s agenda of saturating culture with cheapened promiscuous sex. Of note in Def Leppard’s music is the song “Photograph” from the Pyromania album, which seems to glamourize pornography, or at least voyeurism. Incidentally, “Photograph” was written about Illuminati sex slave Marilyn Monroe, whom Def Leppard refer to in other songs as well.
And with Illuminati sexualization comes worship of the phallus, a symbol of the male penis or masculinity. “Rocket” appears to be a veiled song about the power and use of the erect male penis.
After the death of their beloved guitarist Steve Clark and the loss of the arm of drummer Rick Allen (Allen is alleged to have lost his arm while rolling his Corvette while speeding down an English road with his girlfriend in broad daylight), Def Leppard continues on today despite the challenges they have faced—challenges which were no doubt brought on by themselves. There is nothing miraculous or respectable about Def Leppard’s longevity and success in the music industry. They are nothing more than a repackaged form of the 1960s rebellion against the Church and Western mores, financed and shepherded by an elite Judaic-WASP alliance.
[I] Dustin Oneman, What Does Jewish Rock Look Like?, Savage Minds, April 2008, http://savageminds.org/2006/04/28/what-does-jewish-rock-look-like/
[II] Def Leppard’s Sparkle Lounge tribute to Beatles’ Sgt. Pepper, The London Telegraph – http://www.telegraph.co.uk/news/uknews/1581365/Def-Leppards-Sparkle-Lounge-tribute-to-Beatles-Sgt.-Pepper.html
[VII] Hellqvist, Janek (1998-12-03). “Slayer FAQ”. Slyer: The Abyss. slaytonic.com. Retrieved 2007-04-16. “Interview question: ‘Did you adopt the satanic image solely for effect?’ Tom: ‘Yeah…'”
[VIII] Watkins, Terry. “Rock Music: The Devil’s Advocate”. Dial-the-Truth Ministries. Retrieved 2007-03-17.
[X] Subverted Nation – http://www.subvertednation.net/jew-lists/jewish-entertainers-miscellaneous/