WARNING: This is bound to be considered the most controversial installment yet.
But to those harboring the inclination to always shrink from such controversy, you’ve been duly warned. Be advised that once again however, the grand illusion factories of Hollywood and the music and entertainment industries have proved to play pivotal roles in the creation of one of recent history’s prominent but mythical figures.
The ruling elites always seem to perversely adore the notion of hiding their secrets in plain view, as if daring the more inquisitive of those among us to call their bluff.
Such conspicuous demonstrations continue however, because those of the ruling elites feel safe in the notion they’ve satisfactorily conditioned the majority to never consider that a cabal of internationally connected families would actively and perpetually conspire against their own interests while appearing, from time to time, to philanthropically appease them.
Though observing beyond the ruling elite’s veil of illusion requires intuition, persistence, patience and, perhaps even healthy doses of paranoia and imagination, one finds the rewards, in the end, far outweigh whatever risks.
In this particular installment, loyal readers shall be rewarded with the results of an investigation that has been ongoing since this blog began more than several months ago. Rest assured, the deceptions that have been perpetrated upon the masses are legion.
Yes indeed folks, the rabbit hole goes very deep.
THE RULING ELITES ARE WOLVES AND, VERY HUNGRY!
If you were informed the same man who played bass guitar for the popular musical group featured in the video above also once served as Prime Minister at London’s 10 Downing Street, would you believe it?
Most likely, anyone daring to suggest such a notion would be considered – as one believes they are fond of saying in London Town – a bit daft?
Nevertheless, merely articulating such a notion and providing verifiable and empirical evidence are surely to be discovered, as it were, within entirely separate kettles of fish.
As anyone who has visited here before has come to realize, the phenomenon of the actor based reality is far from an absurd notion, but rather simply the prevailing method with which the ruling elite families choose to transact commercial business on a routine, practical basis.
The biographies attached to famous names have proved to be bogus fabrications, the narrative details of which are merely literary devices to sell the public the notion a flesh and blood character exists when in fact, such “celebrities,” whether in politics, pop music or some other endeavor of public life, are merely mythical ideas molded into material reality by a deft combination of media hype, staged psychological operations, and the convincing portrayal of a carefully selected host actor, plucked from the genealogical ranks of those ruling elite families loyal readers find so often chronicled here.
Turns out, such is the case with the character known to the world as former British Prime Minister, “Tony Blair” and, before being selected to perform through his scripted tenure at 10 Downing Street during the new millennium, his host actor portrayed some of rock and pop music’s most iconic personalities and performers.
One of these characters, “Sid Vicious” (Reverse Full Reduction gematria=68/14/77/Lucifer’s lightning/angelic transformation/5/2+3/2 3’s/33/High-Degree Scottish Rite Freemasonry) portrayed the poster child for a hugely promoted popular culture trend during the late 1970’s or what Tavistock Institute of Human Relations fondly labels a socio-technical system.
Per Tavistock, such popular culture trends are meticulously designed, commercially based systems. In the case of the popular culture trend of “punk rock,” it was specifically designed to sell the destabilizing behavioral elements of nihilism and anarchy to benefit the profitability of the ruling elite’s private prison complex, fashion industries and the international narcotics trade. (http://www.tavinstitute.org/who-we-are/our-history/).
This socio-technical system proved so successful, that Tavistock decided to modify the programming to specifically target population centers and selected youth demographics overseas in the US. This new system became popularly known as the gangster rap or hip-hop popular culture trend of the late 1980’s and early 1990’s.
Later on in the 1980’s, after “Sid” and his girlfriend Nancy Spungen (more on her later) faked their deaths, he became John Taylor of Duran Duran (DD=44/gematria destruction code) a popular musical group that became Diana Spencer’s favorite rock act.
Like David Cassidy before him, however, Taylor’s character was manufactured as a teen heart throb. Taylor’s character was tweaked to promote materialism, metro-sexual fashions and eventually, cocaine abuse. The comparative career chronologies between Sid Vicious and John Taylor fit perfectly and, if one examines each character biography closely, the character transitions can be easily intuited.
Note that during their respective music careers, both the characters of John Taylor and Sid Vicious played the bass guitar. Between the time of the faked death scenario of the Vicious character in 1978 and the emergence of the 1980’s era MTV darlings, Duran Duran, the Taylor character Vicious transitioned into had plenty of time to master the instrument upon instruction from Bernard Edwards, world class studio musician and former member and chief song writer from the 1970’s multi-platinum R&B/dance act, Chic.
In both the video featured below and in several past interviews, Taylor cites Bernard Edwards as a key musical mentor. During the period of the mid-1980’s, while Duran Duran went on a brief commercial hiatus, Taylor also starred in the Power Station, a rock act which featured both Bernard Edwards and Tony Thompson, who had also been a member of Chic.
Facial recognition analysis positively demonstrates the identical host actor was utilized to portray all three of the characters displayed in each of the images featured above. Merely through the process of objective comparison between images, thorough ocular examination reveals similar facial architectural similarities.
Even without the aid of facial recognition software analysis, one shall readily note that in each of the images featured above, there appear to be nearly identical similarities, with not only the identical slope of the brow ridges, but there are as well, close similarities between bone structures of the chin. One shall also notice the bone structures of the forehead region are remarkably similar, as well similarities with the architectural symmetry of the lips.
However, in the case of Taylor’s images, there seem to have been certain gelled camera filters accompanied by purposeful application of lighting angles to manipulate both the geometry and ocular perception of the facial structure. With the images of “Sid Vicious,” there appears to be evidence of selected image manipulation around the eyes and facial region to complete the solidification of the character perception, making him appear scruffy and unkempt. Also, the eyes of the Sid Vicious character appear to have been ‘blacked’ through the process of image manipulation.
Not only that, but comparatively, even with the efforts of the professional photographers in making the Sid Vicious character appear scruffy and ill-clad, like some working class street tough, the photographic results still manage – given the character’s imbecilic penchant for ridiculous sneering and mugging – to appear just as elaborately stylized as those one might expect to emerge from a professionally performed, high-fashion model shoot.
In the case of Blair’s character, if one examines closely, it appears generous layers of stippling have been applied to distance the fabricated persona from the host actor. However, in examining more closely still and, despite whatever facial modifications have been made to the Blair character, one shall take note that when objectively compared to the other character images, identical facial geometry remains remarkably consistent and is therefore, readily observable.
In the following videos, pay especial attention while attempting to compare the nuances of speech and verbal mannerisms between the characters of Duran Duran’s John Taylor and former British Prime Minister, Tony Blair. Although the Blair character appears to have made a genuine effort to develop a smoother, more articulate delivery, one can detect with senses keenly attuned, that the vocal nuances of both Taylor and Blair are, if not remarkably similar, nearly identical.
Note too, that the Blair character has had greater layers of stippling applied to the epidermal region just beneath the eyes, giving him a distinguished, if not haggard appearance. The glare of the overhead studio lights also reveal a layer of protruding latex affixed to a hair piece that has been applied over the crown of the Blair character’s head
After watching the videos, were you able to detect the similarities in terms of vocal nuance between the pair of characters? If so, take solace in the fact comparative voice analysis confirms that both the Taylor and Blair characters are portrayed by the identical host actor.
PLEASE, PLEASE TELL ME NOW!
During the dawn of the MTV era, the music industry was found to be in a state of flux.
In the wake of the maelstrom of punk rock – designed or at least ostensibly created to reflect the internal angst of an entire generation of the economically and socially marginalized – arrived an entirely new crop of musical groups ready to extol the dubious virtues of hedonistic materialism and narcissistic self-indulgence.
Clearly, during the beginning of this era, the music and entertainment industries had become increasingly weaponized to induce the sale of not only commercial goods and merchandise, but to promote certain political and social agendas. One of the more prominent popular music recording acts to emerge supreme during the pre-MTV punk era was delivered to the general public designed with a moniker that seemed most inauspicious: Sex Pistols.
Here again, everyone will surely take note of the ruling elite’s preoccupation with the human sexual genitalia. The Sex Pistols came equipped with a uniquely tailored message to the masses: “There is no Future.”
The ruling elite’s creation of fictional characters to deliver the message of a social or political agenda is a tradition emanating from the Shakespearean era.
Though in retrospect, their explosive emergence may have seemed wholly organic, the ‘Pistols’ represented yet another example of what had essentially come before them: an identically fabricated, commercially driven and prepackaged profit phenomenon heavily promoted to the general public.
In truth, the Sex Pistols were not four working class scruffs who became inspired to embark upon a career in the music business. The group’s creation was a cynically and carefully calculated marketing scheme developed with help from their manager, Malcom McLaren (MM=33), and molded from the same music industry blueprint that produced the Monkeys and the Beatles not more than a decade before.
And while the Sex Pistols’ electrified brand of musical mayhem – though at times admittedly infectious and even primitively inspired – may have appeared thoroughly unburnished, the entirety of their musical catalogue was composed and crafted by carefully selected song doctors and producers.
SIGNS, SYMBOLS AND ROTHSCHILDS
Numerological markers are evident when examining the release date of the Sex Pistols’ debut single recording, Anarchy in the UK, on 26 (12/21/777/intelligence joker code) November (11/masonic pillars of Boaz and Jachin) 1976 (32/2 3’s/33 high-degree Scottish Rite Freemasonry). Other mainstream biographies of the band’s career indicate that, by the time the Pistols were prepared to exploit their commercial peak, an ill-fated tour of America in 1977 would last only two weeks (2= masonic pillars of Boaz and Jachin) due reportedly to disputes between the band and their manager, Malcom McLaren, complicated by extensive show cancellations and – what else folks? – rampant drug abuse.
Further examination of the brief biography of Sid Vicious reveals other examples of numerology and even masonic signs and symbols. Before joining the Pistols, Vicious allegedly was refused an audition with another rival band, the Damned. In retribution for the perceived slight, Vicious went to one of the band’s gigs, held at the 100 Punk Club Festival in London’s Oxford Street.
According to Wikipedia, on the second day (2/100 Punk Club/2+1=3/EE=33) of the festival when the Damned was scheduled to play, Vicious hurled a glass at the stage but having missed his intended target, instead, the glass shattered on a pillar, blinding a girl in one eye.
Most of one’s loyal readers can surely pick out the symbols inherent in this story. In witchcraft, the shattering of glass is symbolic of the destruction of the illusion of perceived reality, while the pillar, is symbolic of the masonic pillars of Boaz and Jachin, which can be found in any masonic lodge. Then, of course, there is the ‘one eye’ symbolism which represents the secret masonic object of worship, the sun, the same object of worship featured in the logo of the Jesuit order.
“MURDER” AT THE CHELSEA HOTEL
It is claimed that on the morning of 12 (777/intelligence joker code) October (8=44/destruction code) 1978 (34/3X4=12/21/777), Vicious awoke from an intoxicated or drugged state to discover his girlfriend, Nancy Spungen, dead on the bathroom floor of their hotel room at the Hotel Chelsea in Manhattan, New York.
The Chelsea Hotel has an interesting history. Since its construction in 1885, it has been noteworthy for housing various notable artists, including Arthur Miller, Arthur C. Clarke, Dylan Thomas and Allen Ginsburg. Located at 222 (6/33) West 23rd (2 3’s/33) Street, Chelsea, Manhattan, New York City, it became most notable or rather notorious, for the alleged murder of a rock star’s girlfriend.
Though it is claimed the ownership has changed hands many times, the most recent proprietors were listed as the family of Joseph Chetrit, who bought the property in 2011 (13/summit of masonic pyramid) for a reported 80 million (44/destruction code).
Per Wikipedia, the Chetrit family was known for its textile import and shipping businesses in Morocco. In looking at the names of the most prominent latter-day members of the Chetrit family, some of these, Jacob, David, and Meyer, would appear to oddly mirror those of the latter-day Rothschild family of merchant bankers.
In the chronicles of the British Rothschilds, Meyer Amschel Rothschild was a noted textile merchant in the city of Manchester during the 19th century.
Is it possible the Rothschild family of merchant bankers, while hiding under various pseudonyms to enact various property tax deferment schemes, have owned the Chelsea Hotel since its inception?
Reverting back to numerological analysis, the moniker of “Nancy Spungen” sums to 153 (9/occult mirror reversal=6/33) in English Ordinal gematria, while her alleged boyfriend, Sid Vicious, allegedly born Simon John Ritchie, also reduces to 9 in not only English Ordinal, but to the identical sum in Full Reduction, Reverse Ordinal, and Reverse Full Reduction. The moniker’s English Ordinal sum is 189 which totals 18 (666).
It is claimed that the girlfriend of Sid Vicious, Nancy Spungen, was found with a single stab wound from a knife, a “007 flip knife” according to most mainstream sources (7/Kabbalah Zayin, the mind weapon) that Vicious had bought on New York’s 42nd Street (6/33).
Later, after an arrest and subsequent murder charge, Vicious claimed that “I stabbed her, but I never meant to kill her.”
It is also claimed that Vicious later contradicted his testimony, instead saying that Spungen had fallen on the knife or that he didn’t recall any of the details of what occurred due to drug and alcohol intoxication.
On October 22, ten days after the incident, (10+22+10=42/6/33) Vicious allegedly attempted suicide.
This entire “murder/suicide scenario” was part of the Tavistock script written for the “Sid Vicious” character, designed to make such sociopathic behavior seem socially acceptable to the callow audience demographic targeted by EMI, the Sex Pistols’ recording label, a label with long-standing ties to the military industrial complex and Tavistock going back to the formation of the Beatles.
On February 1(3/EE=33), 1979 (10+16=26/2 6’s/12/21/777/intelligence joker code), it is claimed Vicious, after being released on probation pending the outcome of a murder trial from Riker’s Island, overdosed at midnight (777) on heroin.
But here is where a major contradiction comes into play and indicts the entire canard.
Even though while still alive, Vicious was permitted residence at the Chelsea, a prestigious and even swank New York hotel, Wikipedia claims that “no New York funeral home was willing to hold a funeral or burial for Vicious due to his reputation.”
Therefore, his remains were cremated at Garden State Crematory in New Jersey.
Well now, despite the inherent contradiction with that testimony, doesn’t that just seem a bit too convenient, huh folks?
One should therefore conclude, the story of the mythical characters of Sid Vicious and Nancy Spungen is a colossal media hoax and that “Sid Vicious” was merely a cartoon character portrayed by a live host actor who walked out of a New Jersey crematorium and, during the MTV era of the 1980’s, proceeded to transition into John Taylor of Duran Duran and still later, British Prime Minister, Tony Blair.
BACK IN BLACK
Shirley Temple Black is generally known as Hollywood’s first superstar child actor. Many however, have never realized that subsequent to her time starring on Hollywood’s silver screen, she became a highly-respected diplomat, serving as not only the ambassador to both Czechoslovakia and the nation of Ghana, but she also served in the capacity of Chief of Protocol of the United States.
In case one’s loyal readers aren’t certain what the latter position entails, the US Chief of Protocol is an officer of the US State Department and, one who serves in that capacity is also expected to advise the US President, Vice President, and Secretary of State on matters of national and international ambassadorial protocol.
Apparently, while still in Tinsel Town, Temple also possessed a keen business sense.
In fact, she was one of the first to see the potential profit in the licensing of an actor’s image, as well the profit to be made with merchandising.
During her film career as a child actor, Temple was often the victim of rumors that, due to her stocky build, she was an adult midget rather than a pubescent child.
Suffice to say, while serving in her lofty public position as Chief of Protocol, one can easily assume this was a woman who, by virtue of her high-level post, was in a position to connect and network with sources that could have helped establish her son’s anonymity while participating in the actor based reality for decades while posed under a variety of pseudonyms.
Temple was married twice and, during her second marriage to Charles Alden Black, she bore three children, one of whom, a daughter, Lori, went on to perform in the music industry with a Seattle rock band called the Melvins. Her husband, Charles Alden Black Senior, was a successful businessman and also a Naval officer.
Once again, research has uncovered yet another connection between the ranks of the military and the music and entertainment industries.
The coup de grace is this folks: Lori Black’s brother, Charles Alden Black Junior, is the host actor behind not only British Prime Minister Tony Blair, but Duran Duran’s John Taylor and the late punk rock superstar, Sid Vicious.
Charles Alden Black Junior has also portrayed the host actor for the character of Beau Biden, alleged son of former US Vice President, Joe Biden AKA Brian Williams.
Additional facial recognition analysis also indicates that Lori Black portrayed the host actor for the punk rock character of Nancy Spungen.
Charles Alden Black Junior: