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Rock of the Illuminati: The Def Leppard Story

By Timothy Fitzpatrick

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

Def Leppard’s Jewish management team of Cliff Burnstein (left) and Peter Mensch of Q-Prime Management.

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]


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