Witchcraft, Voodoo, Rock & Disco, NWO, Illuminati.
This testimony from John Todd erases all doubt about the relationship between witchcraft and rock. Todd, a former witch and high ranking member of the Illuminati, tells us: ”Historically witchcraft was practiced to the sound of the beat, which is identical in voodoo cults and in rock music. It is impossible to practice witchcraft without the rock beat.”
He also explains how the Illuminati controlled Zodiac Productions, whose name has since changed because of the bad publicity.
He was a managing director and close friends of David Crosby (from Crosby Stills Nash and Young), Graham Nash and others. He states emphatically that all the producers of rock 'n roll are members of a satanic church and that most of the famous rock groups are members of some witchcraft church or religion of Lucifer.
He continues: “When they produce a record or compose new songs, they ask the high priests and priestesses of the covens or the temple to cast a spell over that song so it will become a hit and sell.
"When the rites of consecration are completed and once the records are bewitched, a lot of demons are responsible for implementing the orders.
“Now, that means when you go buy an album and take it home with you, you get a free surprise. It is called a demon. It goes along with the record.
“Much of the music is written in witch language by witches. Elton John has said that he never wrote or sang a song that wasn't written in witch’s language. That is why there are many songs you don’t understand, until you get high on drugs and suddenly the meanings start coming to you.
The double White album that the Beatles produced. Horse with No Name, One Tin Soldier. They definitely have demonic influence behind them.
Therefore, it is not surprising that a demonic influence is felt among the youth who listen to rock. Today Replace Rock Music with hip hop.
The music itself naturally arouses an irritability, the spirit of rebellion, obscene language, blasphemous suggestions, erotic feelings and suicidal tendencies.
He concludes: “To my knowledge, not a single witch or rock musician has been converted or released without having destroyed all the rock records he possessed and without cutting every tie with witchcraft.”
Who funds rock music?
Since the beginning of this series, we have affirmed that rock music is a socio-cultural, political, economic, moral and spiritual revolution. This revolution is part of a much broader project conceived of and funded by the Illuminati/Rothschilds.
Illuminati symbols like the ‘all-seeing eye’ abound on record albums
To be assured of reaching youth indifferent to debates and strategic policies, the Illuminatihave relied on Wicca and pagan groups to install rock in production studios to ensure global dissemination of works of the most aggressive groups.
Among the best-known production studios include: Zodiac Productions, Atlantic Records, Capitol Records, Mercury Records, InterGlobal Music, Artist Records. These initiates form an integral part of a global conspiracy, conceived by the Illuminati with the explicit purpose of leading the youth toward an internationalist mentality with the corresponding rise of a one world government.
The resulting severing of ties with family, nation and the Church and their own culture, which follows in the wake of entering the rock revolution, makes young people lose their sense of belonging to this group or that country. Instead, they have the feeling of being citizens of a world without faith, law or obligations to others – except for to the Illuminati and Satan, even thought this dependence is subconscious.
The term disco – which means record – is the abbreviation for the French word discothèque, designating a club that plays “disco,” a music that surged out of the “gay” underground dance clubs in New York in the early ‘70s. But it soon became a word to describe any nightclub or establishment where young people go to dance to rock ‘n roll “discs.” Above all, it stood for a lifestyle, a way to have fun and a very special atmosphere.
Saturday Night Fever insured the success of disco
The “disco” was born in New York in 1973 in the Parisian club scene and “gay” American metropolis. At that time nobody could appear at a “disco” hall without being a member in good standing of the club. In 1977, the successful movie Saturday Night Feverensured that the disco would become a tidal wave in the US and worldwide; more than 18,000 clubs popped up in less than two years. How can this success be explained?
An article that appeared in the Daily News of March 19, 1978, analyzes this “disco” fever:
”Each one dances alone to a deafening music and exposed to a blinding light. The dancers do whatever they feel like, never looking at or speaking to one another, as if each one were moving in front of a mirror screaming nonstop ‘Yah! Yah! Yah!’
”This blatant narcissism is merely a reflection of a philosophy that seems to have saturated our society, which justifies any action by the mere fact that ‘I want to do it,’ whatever the consequences for others may be.
Passions unleashed in the disco fever that hit the world in the 1970s
”This state of mind translates into the increasing number of divorces and broken marriages, as well as works and social movements centered on individualism and self-gratification.
”This philosophy that permeates the ‘disco’ phenomenon is too narrow to make room for love. It is deplorable, since those who have forgotten the joy of giving and sharing, if they have ever known it, despise the richest values of life.
”The ‘disco’ phenomenon has a very specific aim: to give its fans the chance to experience pure ‘primitive emotion’ in an atmosphere of complete tolerance. The old sexual prohibitions have to be overcome. Everyone can assume without shame his ambivalent sexuality and live without the slightest guilt complex. Homosexuals, heterosexuals and bisexuals can abandon themselves with all freedom to the rhythm and tempo of the music without fear of obstacles imposed by social obligations.”
Finally, the US News Report of January 9, 1979, notes. “Sexuality has invaded the ‘disco’ (...) It is responsible for some of the best and sexiest dance music ever made.”
AC/DC spells out where it is taking the youth
Since the 1970s, the record covers of rock music have become more and more explicit in displaying satanic, occult and erotic signs and symbols.
For example, we find on these covers a multitude of inverted triangles, pyramids, pentagrams, magic circles and a whole series of witchcraft signs. Further, they do not hesitate to show nudity, phallic and vaginal symbols of all types, and purely satanic symbols, like the 666 symbols and its inverse 999, as well as scenes of human sacrifice, black masses and representations of Hell.
In fact, it is not surprising that the less theologians and preachers talk about Satan and Hell, the more free reign Lucifer has to make his own publicity through the record labels, covers and groups.