Actors in history’s grand stage play (part XV)

Gangsters have grown to occupy a mythological place in American culture. Like the nineteenth century outlaw legends of the old Western American frontier, tales of gangster lore continue to ignite public imagination; they live as inextinguishable bonfires illuminating the darkest caverns of the collective consciousness. The tragic cinematic epic of the Godfather, and the televised melodrama of the Sopranos, have served as psychological keys unleashing the darkest fantasies locked away in the Pandora’s crypt of America’s collective id.

In keeping with the prevailing philosophy that the concept of history represents nothing more than a scripted stage play, one felt an examination of America’s twentieth century gangster mythology was in order, and the story of J. Edgar Hoover, one of America’s most legendary crime fighters, shall figure prominently in this latest installment. Though the fact Hoover was a character played by a host actor shall not surprise loyal readers here at, the premise put forth in explanation of the reason for the creation of gangland mythology, and the true identity of the seemingly larger than life character of Hoover, shall no doubt surprise many.

What if it were revealed government law enforcement agencies were the Praetorian guard of the true gangsters, that they are in fact, bodyguards of the real godfathers of organized crime? Or perhaps it is better or more accurate to say, federal organizations like FBI were created to protect the criminal monopoly of the thirteen ruling elite Jesuit family bloodlines, and that their true function is to create imaginary criminal elements in a continued effort to justify enormous taxpayer expenditures? At the risk of straining the boundaries of credulity, please allow the pure reason of intuition combined with empirical evidence to pierce the power of conditioned myths.

J. Edgar Hoover: “There is no mafia!”

Legendary FBI director J. Edgar Hoover made his mark in federal law enforcement as a champion protector of the people over the interests of organized crime. The history books credit Hoover with toppling a veritable slew of organized crime’s most notorious figures during his reign as director of FBI. Among the most infamous of the gangsters Hoover is credited with bringing to justice was Chicago crime kingpin Al Capone.

But, the question remains-why was Al Capone, Chicago’s most notorious and violent gangster, known to have premeditated the infamous Saint Valentine’s Day Massacre, convicted of tax evasion and not murder? Was there a deeper meaning to long-time FBI director J. Edgar Hoover’s sworn testimony to an investigative congressional panel concerning the existence of what had been popularly termed La Cosa Nostra or simply the mob or mafia? When asked to detail the bureau’s investigative probes into the American mob, Hoover famously replied, “There is no mafia.”

Perhaps Hoover was correct, in that the gangsters America read about in the newspapers and periodicals weren’t real, but the product of a manufactured myth, just as the latter day stories of ISIS and al-qaeda terrorists have proven fictional figments born out of the government’s imagination. Historical accounts inform the public Hoover had been blackmailed by mafia chiefs such as Sam Giancana, and that upon pain of death or at the very least the threat of damaging public exposure involving his alternative sexual lifestyle, legendary crime fighter Hoover was forced to deny the very existence of the criminal element that had not only cemented his name in the pantheon of law enforcement legend, but had allegedly compromised him.

This narrative will be proven false as well, since ‘Momo’ Giancana was a character portrayed by a host actor and created by the colluding elements of the US government and Hollywood. This will also play into the myth of the Kennedy presidency and assassination, since it has been alleged by many so-called mainstream conspiracy theorists that Sam ‘Momo’ Giancana may have played a central role in conspiring with others prior to the tragedy in Dallas’ Dealy Plaza.

Would it interest one to discover that Giancana’s nickname, ‘Momo’, means idiot?

Does one really believe, if the identity of Giancana were true to form as a vicious and violent gangster, anyone would have succeeded in using this degrading moniker in Giancana’s proximity and survived?

Not a chance!

According to documented legend, Giancana often liked to hobnob with Hollywood stars and starlets. Could this be because he was intimately familiar with Hollywood figures, given that the identity of Giancana’s host actor turns out to be William Wyler, renowned director of award winning Hollywood cinematic classics such as ‘Ben Hur’?

Image of William Wyler:

Image of Sam Giancana:

The answer folks, is a resounding affirmative.

When it comes to creating public legends requiring the presence of actors and the story lines enacted, the services of Hollywood directors like Wyler-and in the case of the Boston bombing, Steven Spielberg-are always necessary to ensure these operations run smoothly. For, the reality the public has been sold via the media sorcerers is nothing more than the product of a theatrical production. Hollywood and the US government have enjoyed a long established relationship of collaboration and collusion when it comes to creating psychological operations, to not only keep the pubic occupied with frivolous and circus-like nonsense, but to win hearts and minds and fulfill political and social agendas.

J. Edgar Hoover, Disney, and Moor Hall Studios

Likely, the existence of Moor Hall animation and movie studio is still not generally known to the pubic. Nonetheless, during it’s production heyday, Moor Hall was once a hub of cinematic activity, producing such horror film classics as Dracula and Frankenstein. Moor Hall was also home to a host of talented animation artists who produced the drawings and story boards later used in such animated Disney classics as Fantasia and Bambi.

This secret but prolific film studio also served as residency to a number of noted actors and directors, including Boris Karloff, Stanley Kubrick, Alfred Hitchcock, and a number of European and Hollywood silent film stars. Turns out, these artists from Moor Hall served as twentieth century crisis actors, involved in the production of many major psychological news operations the public believed to have been genuine.

Moor Hall enjoyed a tight professional relationship with Walt Disney studios, providing acting, directorial, and first rate animation artistry. Through exhaustive research, it can now be reported Moor Hall, in cooperation with Disney, was indeed a stalwart in shaping public perceptions of reality throughout the twentieth century and right to the present day. They have also provided a series of host actors starring in some of history’s most prominent stage plays. Would one find it shocking, to discover not only was the legendary former director of America’s FBI portrayed by a host actor, but his long time sidekick, second in command, and reputed live-in lover, Clyde Tolson was as well?

Ever heard of Ed Penner?

Neither had I, until I began research for this installment. Turns out, Penner was a fascinating man. Not only was Penner one of Walt Disney’s close and personal friends and a talented animation artist, but he was often Moor Hall’s go to individual for the creation of movie and cartoon story boards, due to his reputed and consummate skill in stitching together intriguing narratives, complete with memorable characters.

In fact, Penner was not only an obscure figure, but probably the most unheralded actor in the history of Hollywood. But Penner, the host actor who portrayed legendary FBI director J. Edgar Hoover, should have been nominated for an Academy award several times over and emerged victorious each time. Hoover, or Penner, not only created the legend of Al Capone and the myth of organized street crime to justify his position and the enormous tax dollars flooding into FBI’s coffers, but first created the myth of John Dillinger, the notorious gangster allegedly shot and killed by FBI agent Melvin Purvis on July 22, 1934 (22 or double 11=masonic master builder/July+/34=777, the joker code), outside of Chicago’s Biograph Theater.

Yes, that’s right folks-a movie theater!

Unlikely as it may seem, Purvis even went on to star in car commercials while still employed by FBI. And, in case you’re wondering about the identity of the host actor portrayed Hoover’s reputed live-in lover and second in command at FBI, Clyde Tolson, that was none other than Lesley Howard aka Ashley Wilkes, who starred with Clark Gable in the classic American cinematic production ‘Gone with the Wind’.

Newspapers and periodicals from Depression era America trumpeted bad ass John Dillinger as America’s public enemy number 1. Radio bulletins broadcast nationwide, most likely planted by Hoover himself, told of Dillinger’s colorful and charismatic swagger in combination with a deadly criminal nature. These tales of the ruthless but dashing gun toting outlaw-much like the imaginary Boston terrorist bomber Dhozar Tsnaraev-seemed simultaneously fearful and intriguing.

After all, as a story board creator, Penner knew there was no stronger magnetic potion than sex and murder to keep the American public riveted and giving up more of their hard earned tax dollars, thus enabling his fictional persona of J. Edgar Hoover to reign over his own private FBI fiefdom as the nation’s prime time crime fighter.

What the public didn’t know is that FBI agent Purvis and Dillinger were both characters portrayed by actors. It can now be reported the host actor portraying America’s public enemy number 1, John Dillinger, was none other than Moor Hall affiliated crisis actor Arthur Humberstone, while agent Purvis was portrayed by yet another Moor Hall actor familiar to Ed Penner aka J. Edgar Hoover, Bert Felstead.

Just consider this, folks. While FBI and Hollywood collude to create the televised theatrics centering the public’s attentions and claim to be keeping America safe from imaginary boogeymen, the ruling families, the authentic vicious criminals hiding in the shadows, continue their monopolized criminal commercial empire unabated and unmolested.

That’s right folks, the public only hears about the fake criminals on the six and eleven o’clock newscasts. That way, the general public thinks FBI and other government agencies are doing their job, and that their continued tax contributions are not only justified, but necessary.

And now, with some preliminary groundwork laid, one shall delve into the historical anomalies concerning the official biography of the notorious American gangster known as ‘Al Capone’.

Saint Valentine’s Day Massacre

The legend of the Saint Valentine’s Day Massacre, like Sandy Hook, Boston bombing, and a host of other modern day hoaxes, is rife with the telltale markers of numerology coding. Additionally, the official recounting of events, both leading up to and during the ‘massacre’, reads like a script treatment for some ‘B’ movie Hollywood screenplay.

How appropriate then, there were actors involved in the final production, mixed in with local Chicago police acting along with the action on the set. Recall that law enforcement is part of the international masonic brotherhood, and as the official narrative of the Saint Valentine’s Day Massacre is recounted, loyal readers will no doubt discover similarities between this mythical event and another event recently staged by local police here in New England: (See: Square One Mall ‘lock down’ hoax).

Believe this folks, your local police, sometimes with the direct complicity and or under the direction of federal authorities, have been staging criminal theater since the inception of tax payer funded law enforcement. The Saint Valentine’s Day Massacre was certainly no exception. First, a brief synopsis of the event narrative. Per official history, and prior to February 14, 1929 (14=77, or double seven symbolizing the double lightning charges of Lucifer cast down from heaven), there existed an alleged dispute between Capone and Chicago’s North side gang, led by one George Clarence (G+C=33, highest degree of Scottish Rite Freemasonry) ‘Bugs’ (sums to 777 in Chaldean numerology) Moran, over bootlegging routes and distribution.

If one recalls the historical backdrop described in an earlier installment regarding liquor prohibition in America during the first quarter of the twentieth century, this was purely an effort on the part of the ruling elite families to consolidate a trade monopoly on all profitable commercial goods in America. This also involved the anti-trust busting legislation proffered by Theodore Roosevelt, who while extolling the virtues of free market competitiveness, was in reality merely acting on behalf of the monopolizing interests of the ruling elite families propping up the legend of his scripted political career (See: American Camelot: The Kennedy’s mythical dynasty). The scripted show and legendary tales of gangland violence were merely concocted under the direction of the federal government as a commercial deterrent to any prospective commericial competition, and of course, to keep the tax dollars rolling in from a fearful pubic thinking they would be kept safe if tucked into bed at night by friendly father figure Uncle Sam.

The Saint Valentine’s Day Massacre allegedly came about as the culmination of a struggle between gangland interests in the city of Chicago, and for control of profitable commercial rackets, specifically liquor bootlegging.

The story goes that Egan’s Rats, a North Side gang in league with Capone, converged upon a warehouse at 2122 Dickens and Clark in Chicago’s Lincoln Park located at an address appropriately numbered with Kabbalah numerology: (21=777 and 22 or double 11=masonic master builder). Per official history, Egan’s Rats, disguised as Chicago policeman (wonder where they got the uniforms-central casting perhaps?), opened fire inside the warehouse, and at 10:30 am (13=top of the masonic pyramid mark), seven men were murdered, including ‘Bugs’ Moran and six of his mob lieutenants (7=Kabbalah zayin, or mind weapon). Reportedly, one of the victims, Frank Gusenberg, despite having suffered wounds from 14 bullets (14=double 77, lightning charges of Lucifer), happened to survive the violent onslaught from two Thompson sub-machine guns and two additional shot guns (2+2=4, the Kabbalah dallet or door of perception).

Curiously, when asked who had shot him, Dusenberg allegedly replied, “No one shot me.” Does this account sound curious folks? It should, because the entire story is a fabrication, most likely scripted by Ed Penner aka J. Edgar Hoover and his associates at Moor Hall studios. Another curious element to the Saint Valentine’s Day Massacre narrative is that Moran’s lieutenants were allegedly lured to the warehouse by an offer of cut-rate shipments of whiskey stolen by a Detroit criminal outfit associated with Capone called the ‘Purple gang’. Loyal readers of know that the color purple, symbolic of the color of royalty, always seems to play a significant role in the scripting of psychological operations. This is the clue signifying who it was Ed Penner aka J. Edgar Hoover was truly working for-the ruling elite Jesuit royal families who always have an interest in shaping the consciousness and perception of the general public, and making a profit while doing it.

In the aftermath of the massacre, the reputation of Capone as a modern day ‘Robin Hood’ began to reportedly sour with the public. As a result, federal probes and audits conducted by IRS found Capone arrears in federal tax payments. Does this sound even remotely plausible, folks?

Since when do gangsters reputedly involved in felonious crimes keep meticulous financial records on paper? Seems a little too convenient, no?

Additionally, in the wake of the Saint Valentine’s Day Massacre, Director J. Edgar Hoover curiously distanced himself from public inquiries into FBI’s investigation concerning Capone and his alleged Chicago crime syndicate. Why would Hoover, America’s premiere crime fighter, distance himself from such a high profile criminal bust? Because folks, Ed Penner, master actor and storyteller from Moor Hall studios, not only portrayed the fictional J. Edgar Hoover, but with a little help from expert prosthetics, makeup, and other facial and wardrobe enhancements available at Moor Hall studios, portrayed the legendary mobster Al Capone as well!

In summary, FBI, like NASA and it’s cinematic creation of fake space operas, creates colossal but mythical crime figures such as Al Capone, and more recently America’s War on Terror starring Osama bin-Laden. And why, folks? Because not only does the government want you to believe you desperately need their protection, but on behalf of the ruling elite families, they want all of your tax dollars. And that, is the ultimate moral of the story delivered by the myth of Al Capone: Be a patriotic American and PAY YOUR FEDERAL INCOME TAXES!




10 thoughts on “Actors in history’s grand stage play (part XV)

  1. hello, congratulaction very interesting article i totally agre with you that mafia families of cappo boss are creation of jesuit families of italy or black nobility i no wont to put the nemes here but all the new york- new jersey families work for rome. al capone if am not wrong work for florentine families. we need to remember a powerful clan the cosa nostra who their leader die three weeks ago toto riina

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