At the risk of sounding presumptuous, this installment shall attempt to blow the myths surrounding the music and entertainment industries into utter splinters.
In the past, one has discovered the biographies of the past’s music industry icons to have been completely fabricated in a grand effort to completely conceal the industry’s rampant nepotism.
The result’s of one’s further research shall attempt to divulge the true extent to which nepotism has fouled the music and entertainment industries, dispelling the myth the concepts of fame and renown are predicated on the merits of diligence, persistence, and talent alone.
Most, if not all of the classic rock stars of the past were sons and daughters of the rich and powerful, those with genealogical ties to the thirteen, ruling elite Jesuit families whose monopoly chokehold on the music and entertainment industries of the West remains unbroken to this day.
Perhaps more remarkably, there are clear indications that, when it comes to the genuine phenomenon of the actor based reality, there exist overlapping connections between the professional fields of politics and the music and entertainment industries, in so far as several of those iconic Hollywood figures examined in the past, have also served as the host actors that portrayed some of American history’s most heralded and mythical figures. And, in the true spirit of a family affair, there is every indication several of their offspring have also served as host actors for many of the most revered entertainment personalities.
First however, one shall examine the career of a child actor who appeared in what would become one of Hollywood’s most recognizable and iconic examples of classic horror cinema, the Exorcist. When loyal readers learn of just who this actor truly is and, learn of her true genealogical ties, the effect of such a revelation shall surely be nothing less than- pardon the crude pun – positively head spinning.
Before loyal readers continue on though, one shall provide just the faintest hint: Linda Blair is the hidden daughter of Shirley McClain (McClain is known to be a practicing Wiccan or modern-day witch), and the hidden niece of the host actor currently portraying the role of a US senator from Massachusetts married to an iconic Hollywood actor who is not only McClain’s brother, but formerly portrayed disgraced US president and Rockefeller puppet, Richard M. Nixon.
More than this though, one shall also demonstrate a connection between Linda Blair and a late-night talk show host, the JFK assassination and three of rock and pop music’s most iconic acts.
Impossible, you say?
Well, one shall attempt to demonstrate, this grand connection heads right to the doorstep of the one of the world’s most prominent merchant banking families, the Rothschilds.
Soon after its nationwide release in 1973, William Friedkin’s The Exorcist, a film adaptation of William Peter Blatty’s best-selling novel, became one of Hollywood’s most iconic examples of modern cinema’s horror genre. The dramatic story of a 12-year-old girl who becomes possessed by demonic spirits not only managed to immediately capture the attentions and imagination of the general public, its chilling scenes of surreal malevolence became an indelible part of American popular culture.
What is largely unknown regarding the production of ‘The Exorcist’, is that though the renowned Hollywood director, Stanley Kubrick, had been initially asked to direct, he declined, and instead decided to hand over the directorial chores to his Hollywood colleague, Friedkin, who later went on to direct the French Connection which starred Gene Hackman and still later, the underrated To Live and Die in LA, starring William Peterson.
Though the star of the Exorcist, Linda Blair, would go on to play other similar roles in both television and cinema, it is still her role as the demon beleaguered pre-teen for which she is best remembered. While the general public may still treasure Blair’s anatomically contorting portrayal in the Friedkin directed horror classic, a great majority are left unaware, that throughout the late 1970’s and into the 1980’s, Blair enjoyed a measure of moderate success in the music business.
EXORCISING BIOGRAPHICAL DEMONS
Upon examining Blair’s official biography, one found themselves stricken with the usual indicators of a purely fabricated narrative.
After all folks, this is Hollywood we’re talking about, and Tinsel Town is filled with script and screen writers, all of whom can be hired by the elite families in helping to create their mythical characters along with the accompanying phony narratives.
In the case of Linda Blair, there is yet another military connection.
Several official, mainstream biographical accounts – including the always ‘reliable’ Wikipedia – confirm that Blair’s “father”, alleged to have been James Frederick, was a Navy test pilot. Surely by now, loyal readers are beginning to get the impression military and law enforcement – all of whom represent lower-level Freemason initiates – have been recruited and relied upon to take part in these biographical deceptions.
Additionally, this more than confirms the author’s premise that for decades, perhaps since the inception of Hollywood, the military/law enforcement Freemason complex and the entertainment and music industries have been colluding to perpetrate the massive deception of the actor based reality.
Has one never wondered why the Pentagon has warehouses virtually filled with Top Secret documents?
There were of course, numerological codes discovered in Blair’s biography.
All official, mainstream sources claim Blair’s birth date as January 22, 1959 (23/2 3’s/33/High-degree Freemasonry/1959=33), and the place of birth as St. Louis, Missouri, home of the golden archway, a conspicuous symbol of Royal Arch Freemasonry. Biographies also claim Blair was the youngest of three children (33), and that she began a career as a child model at age 5 (2 3’s=33), appearing in over 70 commercials (7/Kabballah Zayin, the mind weapon). At age six (33 again), most of the official biographies go on to claim she posed for a series of print advertisements in America’s so-called “newspaper of record”, that infamous bastion of journalistic integrity, the New York Times.
In keeping with the rather sordid image of her teen exploitation movie roles, Miss Blair was also employed as a guitarist in the world’s first heavily promoted all-women rock and roll band, The Runaways.
For this role, of course, she took on the pseudonym of Lita Ford:
Keep in mind as you watch the video, that these young women, at the time, were all under the age of eighteen. But of course, in typical hypocritical fashion, the raging feminists that were active during the late 1970’s seemed to have never bothered to take issue with the idea of five young girls prancing around on stage while scantily clad and subjected to the ogling attentions of predominantly hormone-riddled male audiences.
Then again, considering the genuine genealogy of Blair’s family, she was raised in the sort of dysfunctional environment that well-conditioned her for exploitation at the hands of her family’s ruling elite masters. Then again too, so-called feminists have never possessed the wherewithal to ever conceive of the idea they’ve been exploited for decades by the patriarchs of the very same ruling elite families who originally conceived and have been funding the feminist movement for their own ulterior benefit.
Linda Blair with Rick Springfield:
Linda Blair with Robin Zander:
One was not at all surprised to discover images featuring Blair posing with both Rick Springfield AKA Randy Rhoads and lead vocalist Robin Zander of the appropriately monikered classic rock act, Cheap Trick.
Since Springfield is the hidden son of Warren Beatty AKA former US president Richard Nixon, and his long-time spouse, Annette Benning AKA Hillary Clinton and current US senator from Massachusetts, Elizabeth Warren, that would make Linda Blair AKA Lita Ford his cousin. As for Robin Zander (sums to 126=9/6/33 in English Ordinal gematria/Reverse Full Reduction/9/6 occult mirror reversal=33), one conclusively demonstrated in a past installment, he is also former Monkey, Michael Nesmith, and Steve Perry, former lead vocalist for rock and roll Hall of Fame inductees, Journey, as well garish mod rocker extraordinaire, Rod Stewart. See: Music industry monkeys pull cheap tricks
Further research into the sole host actor who portrayed all of the aforementioned musical performers led straight to the doorstep of one of the most publicly heralded and prominent merchant banking families, the Rothschilds.
ROTHSCHILD’S VAST INTERESTS IN THE MUSIC AND ENTERTAINMENT INDUSTRIES
As the most publicly well-known and, some would say, infamous, family of global merchant bankers, the Rothschilds have always harbored a great interest in the arts, and specifically music.
According to a Rothschild archive, Lionel de Rothschild had a close friendship with many of the 19th century’s most renowned, contemporary musical artists.
It is said that Chopin, Liszt, the founding father of the “devil’s octave”, Paganini, and Rossini, all frequented the Paris salons of Baroness Betty de Rothschild and, that Chopin, Mendelssohn and Rossini gave music lessons to some of the Rothschild children. Moving forward into the mid-twentieth century, it has been documented that some of the world’s foremost composers and concert pianists were often hired to perform at Rothschild estates.
Though most biographies of the Rothschild family accentuate their philanthropic activities regarding the arts, during the mid-twentieth century, the family patriarchs envisioned utilizing newly developed, popular musical art forms as a way to enhance and enrich the overall profitability of their other commercial businesses.
Studies financed by both the Rockefeller Foundation in America and Rothschild interests in Britain and Europe and conducted by Tavistock Institute of Human Relations during the post-World War II period and prior to the popular explosion in the West of what came to be known as rock and roll, demonstrated that not only could electrified popular music have an intense and profound effect on mass human behaviors, but that the potential for billions in profits to be garnered from untapped commercial markets was more than feasible.
With this in mind, and at a time during the post-war period when Britain was looking to promote British commercial interests and establish an unchallenged commercial foothold, specifically in America where a flourishing, identifiable middle-class with disposable income was moving into the suburbs, Rothschild interests moved to establish Decca Records not only in their own homeland, but in the US.
With the finest sound engineers in its employ, the staff at Decca soon developed what would become standard techniques in achieving high-level, popular music production quality. While the company’s moniker derived from the ancient and revered city of Mecca, they soon became known in the popular recording music industry as “The Supreme Record Company.”
Today, what started out as Decca is now Universal Music Group, which for decades existed under the corporate umbrella of Vivendi.
In 2004, however, General Electric purchased eighty percent of Universal Picture’s from Vivendi Corporation and, with Vivendi purchasing twenty percent of NBC, this formed NBC Universal, which is now controlled in equal measure by Comcast and General Electric. For over a century, General Electric has not only been synonymous with the military/industrial complex, but the corporate giant is also dialed-in with the financial and commercial interests of America’s premiere merchant banking family, the Rockefellers.
During this post-9/11 period, the Rothschilds weren’t choosing to stand idly by either.
As recently as 2012, in a move to protect and expand their considerable interests in the music and entertainment industries, the Rothschild firm of RIT Capital Partners moved into negotiations with entertainment impresario, the creator of American Idol and ‘discoverer’ of the lip-syncing pop music juggernaut Spice Girls, Simon Fuller, to take over EMI labels Parlophone and Sanctuary, as well the formerly popular NOW music series from Universal Music Group.
Obviously, Rockefeller and Rothschild interests were negotiating to consolidate and bolster their monopoly over the music and entertainment industries on behalf of the thirteen, ruling elite families. It is also obvious that these two families – in acting as negotiating agents on behalf of the thirteen, ruling elite families – have always held the greatest ownership share in these companies and that the assets were merely being traded from one hand to the next to keep proprietorship well-entrenched within the grasp of both families.
This being the case, and with their combined financial heft monopolizing not only the music and entertainment industries but other fields of human endeavor such as politics and government, does it not become a rather simple matter to comprehend how these two families can make their own family members into legendary stars, or even rig an election to put one of their own into the American White House to help ensure the protection of their valuable business monopolies?
In other words, folks, these families, in always having held monopoly interest with all these assets, are merely tweaking the terms and conditions of pre-existing contracts and shuffling paper around in efficiently facilitating the legal process of negotiating among themselves as to who gets what share, and how much, whenever it becomes commercially expedient.
DECCA, THE ROCKEFELLERS AND, AN OCCULT TEMPLE
The American branch of Decca was soon established in New York City at the Pythian Temple, the headquarters of a masonic fraternal organization founded around the time of the American Civil War in Washington D.C., called the Knights of Pythias.
Nelson Rockefeller (See: The mysterious man of many famous faces (part III) was a prominent member of this fraternal organization, along with Franklin Roosevelt and the beloved Jazz trumpeter, Louis Armstrong. Observing that American artist Elvis Presley (portrayed by host actor Michael Rockefeller) had speedily rocketed to fame during the mid to late 1950’s, the Rothschild family patriarchs – not wanting to remain idle while their American merchant banking counterparts hastily moved to monopolize the popular music scene in the West – would very soon make plans to create their own long-term popular music asset that could potentially become the starring focal point in anchoring the mass popularity of many seminal and classic pop music groups over a period of several decades.
OOH WEE OOH, I LOOK JUST LIKE BUDDY HOLLY
The short career of the late popular music character, Buddy Holly, who allegedly died in a tragic plane crash at the age of 23 ( 2 3’s=33) on February 3, 1959 (2 3’s/33/19/Jesuit sun #+59/14/angelic transformation=33) also marked the host actor’s beginning as a long-term entertainment industry asset for expanding Rothschild commercial interests in America.
Loyal readers and regular visitors have learned that plane crash scenarios, going back to the era of Quentin Roosevelt AKA Joseph P. Kennedy during the first world conflict, have always been a reliable method in not only producing a viable mythical figure that can be built up in to a legendary, and profitable historical myth, but are utilized as a reliable method of transitioning various host actors into their next character incarnation.
As loyal readers are well aware, not only is it a simple matter for the ruling elite families to have both birth and death certificates faked, but that developing fake identities for new characters in both the entertainment industries and for the political arena – particularly in the digital age – has become rather routine.
In deciding to test market their new popular music creation, the Rothschilds booked “Buddy Holly” with the Rockefeller’s new rock and roll asset, Elvis Presley, on three separate occasions (3/EE=33). After which, Holly’s official biographies inform, he decided to devote a full-time schedule to becoming a star in the music industry and quickly garnered a recording contract with, guess who folks – wait for it – Decca Records.
Now folks, one has to ask, how plausible does it seem that a complete unknown would get a chance to become the opening act for Elvis Presley, then the biggest music star on the entire planet? It happened, precisely because it was prearranged, and “Holly” was a business asset who needed to be marketed to the widest possible mass audience. After all, what better and faster way to achieve that goal than to have your artist booked as the opening act for the so-called “King of rock and roll”?
Loyal readers have undoubtedly surmised, the manufactured moniker of Holly holds occult significance. The Holly tree is symbolic of magical powers, fertility, and eternal life.
Subsequent to Holly’s alleged death, the Rockefeller owned media, with seemingly one accord, touted that the numerological date of the plane crash tragedy marked “the day the music died.”
The following numerological breakdown of that classic news media headline is rather revealing:
English Ordinal Sum: 183=12/21/777 joker code
Reverse Ordinal Sum: 303=6/33 High-degree Scottish Rite Freemasonry
Reverse Full Reduction: 96=6/33
That’s right folks, the news media during this era was telling those with the eyes to see and the ears to hear, that Buddy Holly’s alleged death was a fabricated hoax.
To fully understand the significance of Holly’s death, some historical perspective may be necessary.
The year was 1959, a mere one year before yet another Rockefeller puppet, JFK, was about to enter the White House shortly after emerging triumphantly from a rigged election campaign against another Rockefeller puppet, Richard M. Nixon AKA future Hollywood icon, Warren Beatty.
The Rockefeller’s other controlled asset in the music industry, Elvis Presley – or so the Rockefeller authored history books inform – had suddenly decided to quit the industry and was summarily shipped to Germany to enter active service in the US military.
This left a huge vacuum in American popular culture that was soon-to-be-filled with the fabricated, heroic myth of JFK’s Camelot.
But in just three eventful years, the JFK narrative came to a tragic denouement in Dallas’s Dealy Plaza.
With the nation in mourning, the Rockefellers – who with the help of CIA stage managed the entire JFK assassination scenario – then agreed to step aside, allowing their European merchant banking counterparts, the Rothschilds, to bring forth their own pop music folk hero, John Lennon, and his band of “Beatles”.
With studies funded by Rockefeller and Rothschild grant money, Tavistock Institute of Human Relations was able to demonstrate to their benefactors that a mass population made to feel as if they are in crisis while induced to emotionally react to the tragic, but fabricated death scenario of a cherished savior or hero, lies ultimately vulnerable and openly susceptible to commercial, psychological, and emotional manipulations.
In other words folks, a nation filled with a depressed population is more likely to look for a psychological escape valve in the form of alcoholic spirits and narcotics, two industries in which the Rockefellers and Rothschilds have always possessed majority financial interest. Tavistock’s studies also demonstrated other findings of great significance to their benefactors: During times of perceived societal emergency or crisis – such as immediately following the tragic and bloody death of a beloved president or the nagging, subconscious fear induced by the manufactured threat of an implacable enemy with an alleged arsenal of destructive nuclear weapons – the masses are more likely to purchase reams of material goods and merchandise in droves, commercial items such as automobiles, washing machines, refrigerators, etc. etc..
These of course, are all commercial products mass produced and distributed to high-visibility commercial retailers by manufacturing and industrial titans like General Electric, a corporation in which both families of merchant bankers jointly own majority, and even monopoly interests.
But here and now, as they say, is the clincher folks.
Ear biometric and facial analysis of several sets of images indicates there is one thread that clearly connects the “Buddy Holly” tragedy, the JFK assassination and, the arrival of the John Lennon character and the Beatles upon America’s shores (the moniker of Lennon is a play on words mirroring the creation of another Rockefeller/Rothschild puppet, Vladimir Lenin, alleged leader of Russia’s communist revolution that subsequently enabled America’s “cold war” with the USSR): The Rockefellers and Rothschilds utilized the identical host actor to not only portray Buddy Holly, but the characters of Lee Harvey Oswald and Beatle, John Lennon.
Lee Harvey Oswald:
The same host actor was also utilized to portray these entertainers:
It is more than coincidental the career of singer Jim Reeves met with the same tragic fate as Buddy Holly, in that both died in a plane crash. And, before anyone attempts to make the argument it would not have been logistically possible for television host Carson and Beatle’s star Lennon to have been portrayed by the identical host actor, consider the following facts:
1.) Although the Beatles mass popularity quickly reached a feverish apex soon after their appearance on the Ed Sullivan show in 1964 (See: Actors in history’s grand stage play (Part XVI) the Beatles toured America on three separate occasions, but only briefly. 2.) The Beatles first tour of America in August of 1964, encompassed 32 (2 3’s/33) concerts in 24 (6/33) cities in just 34 days (7/Kabbalah Zayin, the mind weapon 3.) The Beatles would only perform twice more in America, both in August of 1965 and again in August of ’66. 4.) As for the necessity of the host actor’s presence at recording sessions, Lennon’s and the Beatles’ own producer, George Martin, noted that upon the Beatles arrival at EMI studios to record their first hit, “Love me Do”, Lennon and the other group member’s instrumental abilities were at best, serviceable.
To compensate for their musical shortcomings, the Rothschilds made certain to employ teams of song doctors and studio musicians to write and record most of the Beatles music. Since it should never be forgotten the Beatles were hailed as “The Fab Four” (the ruling elites love to mock the gullible and entertainment starved public in such ways), the Beatles were created from the identical, fabricated blueprint used to create yet another musical act for which Lennon’s host actor would also star, the Monkeys.
In summary, the Beatles resembled a media manufactured, commercially driven profit machine disguised under the fabricated artifice of a socially and culturally transcendent phenomenon.
Like the historical myth of JFK’s Camelot, they were especially designed to follow the identical and inherently mythical and culturally transcendent historical narratives.
And now folks, for the grand finale, the revelation of the host actor behind all of the aforementioned mythical, historical, and pop cultural characters created and dutifully maintained with Rothschild and Rockefeller largesse and their willing minions in the corporate MSM.
The mainstream periodical the Houston Chronicle once described this performer as “mad genius personified.” Given the number of characters this actor and singer has performed over the course of several decades, perhaps that glittering accolade is indeed, well-deserved.
Below, is a video clip excerpted from this particular host actor’s brilliant performance on the once popular British television talk show, Parkinson, hosted by BBC presenter, Michael Parkinson: