ADKO

arcade

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This article examines The Arcade Fire and frontman Win Butler, questioning the legitimacy of the sexual misconduct allegations made against him in 2022. The author argues that the allegations, which surfaced after the release of their album WE, appear to be a staged event, a “split-the-sexes project,” designed to boost their waning popularity and sales. The author highlights the seemingly scripted nature of the accuser’s statements and the lack of formal charges or libel lawsuits. The article posits that Arcade Fire, facing declining sales and cultural relevance, may have orchestrated this scandal with the help of a crisis public relations firm, employing Risa Heller, a former political communications director. The author suggests this “psyop project” explains the band’s continued ability to tour and record, despite being “canceled.” Furthermore, the article speculates about Win Butler’s sexuality, drawing parallels to David Bowie and suggesting a possible relationship with Bowie or even a throuple.

The text then delves into Win Butler’s extensive genealogy, tracing his lineage back to prominent historical figures and aristocratic families in Britain and America. This includes connections to Alfred the Great, Abraham Lincoln, and even Henry VIII’s wife Katherine Parr. The author also connects Butler to Mormon history through his ancestor Parley Parker Pratt and suggests that Mormonism is an “intelligence project.” His ancestry also links him to Mitt Romney. The article further explores Régine Chassagne’s Haitian ancestry, suggesting her family’s narrative of being victims of a massacre is fabricated and that they were involved with the CIA. The author questions Chassagne’s appearance, deeming her “very white for a Haitian,” and suggests her family were part of the ruling class and involved with European and American financial interests. A connection is made between Win Butler’s name and Robert Farnham, a figure involved in the U.S. occupation of Haiti, suggesting a hidden family connection and a possible motive for the scandal.

Finally, the article touches upon the perceived occult symbolism and numerology in Arcade Fire’s art, particularly in the music video for “Reflektor,” which features David Bowie. The author interprets the song’s themes and the album’s focus on the number nine as indicators of secret societies and manipulation, likening the band’s art to a “house of mirrors” designed to keep society passive. The author concludes by urging Butler and Chassagne to avoid such “projects” to preserve their conscience and art.

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