💥 "POR ESTA BRUJERÍA SON FAMOSOS" 😱 PACTOS SATÁNICOS de CANTANTES y CELEBRIDADES / Julio Morales

The episode begins with Esteban Cruz and Julio Morales discussing how music can open portals and connect to the paranormal. They highlight how many song lyrics delve into paranormal events or an artist's pain, becoming a method of expression. Julio Morales, known for his paranormal investigations in music, shares his journey into uncovering hidden information behind musicians and songs, inspired by the film 'The Exorcist'.

Julio recounts the shocking story of Euronymous and Dead from the black metal band Mayhem. Dead, after a near-death experience, developed an obsession with death, wearing clothes buried in the ground and keeping dead mice for their smell. His theatrical stage presence involved self-harm. After Dead's suicide, Euronymous famously photographed the scene, using it as an album cover, and is rumored to have distributed skull fragments to close associates. The story further escalates with Euronymous's murder by bandmate Varg Vikernes, driven by ego and a macabre plan of torture. This tale serves as a prime example of the extreme and dark aspects found within certain music subcultures.

The discussion shifts to Latin American music with the intriguing case of Gustavo Cerati. Following a health crisis that left him in an induced coma, strange occurrences were reported by visitors. A fellow musician, Leo García, recounted being embraced by Cerati's spirit while he was still comatose, suggesting Cerati's soul could astral project. Additionally, many young fans who never knew Cerati reported dreams of him appearing with a guitar, telling them 'everything will be fine,' believing his spirit sought to comfort those in distress. Julio praises Cerati's musical genius and views these events as a testament to his powerful spiritual connection.

Julio shares the tragic story behind Fito Páez's iconic song 'Ciudad de Pobres Corazones.' The murder of his aunt and great-aunt led to various speculations, including rumors of drug debts or an attempt to incriminate Páez. Regardless of the exact motive, the brutal event deeply affected Páez and served as the inspiration for one of the most powerful songs in Spanish rock, illustrating how profound sorrow can fuel artistic creation, similar to Eric Clapton's 'Tears in Heaven'.

Esteban reveals the surprising paranormal origin of the Argentine band Los Enanitos Verdes. In 1979, a respected doctor, Juan Novillo, photographed a tiny, fire-like entity at the Puente del Inca archaeological site. The photo, verified by Kodak, sparked widespread media attention about a 'green dwarf.' This image captivated a group of young rockers, inspiring them to name their band after the mysterious creature. The discussion also touches upon the site's history of rituals and supernatural invocations.

Julio introduces the chilling music genre known as Horrorcore, which emerged in the 90s. This underground movement was linked to a series of gruesome murders in parks, where only torsos were found. Investigations revealed that some horrorcore cassette tapes, featuring distorted rap and background noise, contained hidden screams and metal clangs. It was discovered that aspiring artists were required to torture and murder people, recording the atrocities, and then rapping over these recordings. The gruesome process and the impregnation of suffering into the music created a powerful and deeply disturbing experience for listeners. These rare cassettes now fetch exorbitant prices on the black market.

Esteban shares a story from Colombia about a musician who claimed a popular Christmas song, 'La Cinta Verde' by Nelson Feliciano, contained a hidden 'amarre' (love spell). The lyrics, repeatedly mentioning 'green ribbon' and 'red rose,' are seen by some as a coded witchcraft ritual. Julio confirms that many tropical and salsa songs, such as those by Héctor Lavoe or Celia Cruz, incorporate elements of Santería and Palo Mayombe. He explains that music is crucial in rituals to open portals and manage energetic movements, citing the use of drums in African cultures for this purpose. Even in seemingly innocent music, underlying messages and intentions can influence listeners.

Julio delves deeper into extreme metal, mentioning Dark Ambient bands like Aghast, whose music was designed for invocations in dark, forest settings. One of the Aghast members died strangely from an arrow wound, adding to the mystique. He also discusses Suicidal Depressive Black Metal, a subgenre allegedly created to induce self-harm, leading to heightened persecution of these bands. Another disturbing example is the band Stille, who recorded the screams of mentally ill patients to use as vocals in their albums, highlighting the incredibly dark and unsettling experiments within music.

Esteban shares a contrasting, miraculous story about Diomedes Díaz, a beloved Colombian Vallenato singer. His former manager, Joaco Guillén, dreamt of Diomedes, who gave him a specific lottery number (118) to share with his followers to alleviate their poverty. Multiple people allegedly won smaller lotteries and prizes using this number, with news reports confirming some of these wins. This anecdote highlights a more positive, albeit still paranormal, connection between musicians and the spiritual realm.

The conversation shifts to the enduring legend of musicians making pacts with the devil for talent, like Paganini, Tartini (dubbed 'the Devil's Violinist'), and Robert Johnson. Johnson's story involves a pact at a crossroads where an entity tuned his guitar, granting him unparalleled skill for a short, tragic career. Julio, while acknowledging the possibility of pacts with dark entities, expresses skepticism about the value of human souls in such exchanges. He emphasizes the profound and often mysterious power of music across all genres.

Julio shares an impactful personal experience with a 'bruja' (witch) in Bogotá who uses common radio music during rituals. He recounts a case where a black candle ritual for a young man struggling with addiction quickly escalated, with the candle exploding and the atmosphere becoming heavy. The witch insisted on high-volume music during a subsequent cleansing to control powerful, uninvited entities. The hosts conclude by inviting viewers to engage for a potential follow-up episode, promising more untold stories about legends like Natram, songs from other dimensions by The Beatles, and Black Sabbath's invocations to Mr. Crowley. Esteban wishes blessings to all listeners.