William Kunstler’s Unlucky Chicago Seven

The vital spirit of revolutions is fueled by deluded romanticists. The black smoke billowing from romanticism’s flame blinds followers of revolutions to the notion that they’re merely being utilized as strategic instruments by the very oppressive forces against which they’re attempting to rebel. While motivated by the passionate belief that efforts in fomenting a social or political revolution will change the status quo in their favor, such is quite the opposite. The efforts of revolutionaries, whether of a violent or non-violent nature, only serve to bolster the hegemonic strength of the prevailing status quo. Throughout history, revolutions have been funded by bankers and have been scripted, stage-managed by intelligence agencies to serve private economic, commercial interests and for ulterior sociopolitical motives which only serve to satisfy the impression or perception something is about to change or will change in the favor of the hoi polloi. Therefore, such impassioned followers are only being led straight into the tightening tyrannical grip of their corporate owners by the betraying revolutionary leaders in which they’ve so completely placed their juvenile hopes, utopian dreams, and simple-minded trust. During the 1960’s, the famous revolutionary, anti-establishment lawyer known as William Kunstler, legal defender of the Freedom Riders and The Chicago Seven, was one such betraying agent employed by CIA to only appear as a champion of the people.

However, as shall be shortly demonstrated, Kunstler’s carefully cultivated revolutionary image among his colleagues in the legal profession was nothing more than a well-crafted deception.

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Chronicling the Cosby Family Hoax Show

Is it truly possible to cheat death and then live on to assume other identities? It appears that Ennis William Cosby, the only and “late” son of publicly disgraced actor/comedian Bill Cosby, would know the answer.

Although alleged to have been brutally murdered in Los Angeles, California on January 16, 1997, further investigation has discovered that Ennis is not only still alive but that both prior and subsequent to his “death”, he performed as the host acting live-action role player cast in portrayal of several high-profile fabricated celebrity character schemes, one of which – a formerly retired heavyweight champion boxer – has not only recently resurfaced but was prominently featured in the mainstream corporate media. Before revealing more about Ennis Cosby, however, in consideration of the “shooting” scenario alleged to have recently occurred at Brown University, it seems the MSM is once again determined in putting simulated mass casualty events back into the headlines and placing them squarely in the forefront of the public’s consciousness.

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Writing Off the Counterfeit Asimov

Issac Asimov is renowned as the most prolific science fiction author of the twentieth century. During his celebrated, award-winning career, Asimov also became a rather conspicuous figure in the arena of popular culture, one who proved to be a most engaging, entertaining television personality.

Over a period of decades, while appearing on the television talk show circuit, Asimov would often make bold predictions concerning scientific, technological developments and their possible effects on the future of humanity and, at times, was hailed as a daring, if not accurate prognosticator. Indeed, the seemingly fantastical themes of his numerous tomes, his voluminous collection of short stories presaged the rise of robotics, digital technology, and artificial intelligence. However, were these predictions merely the product of a particularly visionary science fiction author or was Asimov uniquely positioned as a privileged insider?

In answer to that enquiry, there exists evidence that, in Asimov’s case, the latter scenario appears more likely and that, due to certain key relationships cultivated over the course of his stellar professional career, Asimov was privy to insider knowledge as a key asset of both British intelligence and CIA.

Moreover, further investigation has revealed that Asimov’s public image was a grandly created facade which concealed the identity of a knighted British actor who, prior to his long and notable acting career, was known as one of the British monarchy’s most divisive, controversial figures.

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Exposing Homeland Security’s Unknown Noem

Department of Homeland Security was set up subsequent to September 11, 2001, representing a reshuffling, restructuring of U.S. federal bureaucracy. Though ostensibly, the U.S. government claimed these newly formed arrangements were to further, better protect American interests and citizens from terrorists, terrorist attacks, in retrospect, this often-repeated claim turned out to be a blatantly misdirecting canard. In addition to being created as an adjunct to and a front for CIA so that the agency could covertly siphon more tax dollars from the federal budget to supplementarily fund its psychological operations, DHS was set up to further and better protect the U.S. corporate government from the citizens over which it presides with greater and more intrusive surveillance capabilities, a citizenry which was, at that time, becoming increasingly restless while throttled and suffocating under the heavy bootheel of an overly burdensome federal security apparatus.

While former Director of Homeland Security Alejandro Mayorkas has already been identified as a Hollywood actor in disguise – SEE: Homeland Insecurity Directed by Hollywood & Bezos Bunk Now Completely Exposed– such has also found to be the case with DHS’s currently appointed director, Kristi Noem.

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Ayn Rand’s Fabricated Fountainhead

Since the emergence of Guttenberg’s printing press, there have existed two prime purposes of the printed word which eventually expanded into the modern publishing industry. One, for commercial, profitable exploitation and, two, for the widespread marketing, promotion of propaganda, whether social or political. In retrospect, the emergence of Russian expatriate Ayn Rand as a major American literary figure soon after the publishing of her debut novel in 1943 appears to have been positioned within the latter context.

Although that which is considered to be Rand’s debut literary effort, The Fountainhead, and her subsequently published work, a seminal magnum opus entitled Atlas Shrugged, were both reportedly commercial best-sellers, Rand’s novels read like none-too-subtle polemics, deliberately contrived propaganda mechanisms delivered in the form of narrative literature, each of which was designed for the widespread promotion of a philosophical treatise which came to be known as “Objectivism”. Such an analysis of Rand’s literary approach renders their supposed mass appeal among the American general public, whose remedial reading tastes have always been better suited for the consumption of comparatively trivial supermarket brand paperbacks rather than highbrow hardbacked literature, to have been rather dubious and perhaps even artificially manipulated.

According to Wikipedia, “Rand’s books have sold over 37 million copies worldwide.”

Notice that the number included in the preceding quotation represents a code of an occultic nature: 37 million=3 7’s or 777, Alistair Crowley’s joker intelligence code.

But to put the significance of Rand’s novels into better context, one must consider the timing, and the particular era in which they appeared, during an emerging “cold war” between the U.S. and Soviet governed Russia. When understood within this larger geopolitical context, the true nature of the role in which “Ayn Rand” – identified as an actor portrayed by a British royal – was cast becomes not only better understood but quite transparent.

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Newsom & Musk’s Royal Deception

Endeavoring to deceive is tantamount to constructing a fragile abode made of straw which can never withstand truth’s persistent storm. Ultimately, such a pursuit may seem foolish. Unfortunately, it is those designated as the target of liars, those who willfully endeavor to mistake egregious lies for truth who often play the fool.

While the dubious constructions of practiced liars, those in the mainstream corporate media, for example, might appear credible and even attractive, the foundations of their confidence games are proved feeble and subject to ultimate collapse. To such practitioners of the art of the lie, their task is to make improbable suggestions appear possible, and perhaps even irrefutably conceivable.

The same descriptions could well be applied to the game of politics.

Those who pursue politics know that success in their particular profession entails nothing more than perfecting the well-practiced art of deceptive misdirection. Perhaps more than anyone now practicing politics, no one understands this better than Gavin Newsom, the current governor of the state of California, a man whose entire career, reputation in politics rests on a termite infested foundation of rotten, fetid lies. However, though in Newsom’s case, the lies penetrate, resonate much more deeply, he is nothing more than a media derived image, a straw man about to be torn to bits.

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Duncan the Death Hoax Director

Once again, we shall dare to peer through a dark window and into the sinister simulated ‘reality’ produced by both Hollywood and the mass mainstream corporate media.

For quite some time, one’s intuition has harbored the notion that the alleged ‘deaths’ of Hollywood actors River Phoenix, Heath Ledger, and Paul Walker were somehow connected. The results of further investigation into such a possible connection proved one’s intuitive hunch to have indeed been correct – and much more. It turns out, that the trio of aforementioned Hollywood actors all have a connection to the “late” David Bowie and, more specifically, to Bowie’s son, Duncan Jones, a somewhat celebrated Hollywood movie director.

As has usually found to be the case, Jones has a family connection to European royalty.

While it is most certain that the alleged ‘death’ of “River Phoenix” was an MSM simulated event – SEE: Dice Man Sold Down the River – with a connection to ‘alternative’ media figure Mark Dice, those most familiar with past articles published on this site – SEE: Doc Kildare Promotes Kill Shot Propaganda – know that “David Bowie”, dubbed as ‘The Thin White Duke’ throughout his decades long career in popular music, existed as a character modification of Grand Duke Henri of Luxembourg who, as shall be revealed later on, also has a connection to the James Bond film franchise and to a particularly well-known British actor formerly cast in the iconic movie role of Ian Fleming’s spymaster agent extraordinaire, 007.

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Hegseth Blinks & Gets Exposed

From the outset, the likes of Pete Hegseth seemed ill-suited to the office of U.S. Secretary of Defense. A graceless man of diminutive stature whose ambitions extend well beyond his limited grasp, Hegseth appears to precariously shoulder the burdensome weight of awesome power better suited to the presence of a giant.

Thus far, put alongside Donald Rumsfeld, one of Pete’s more recent predecessors, Hegseth’s public performances appear bumbling, artless, that of an untalented, learning-disabled kindergartner struggling with fingerpaints compared with Rumsfeld’s vibrantly creative, Picasso-like canvas strokes. Worse, while having faced a number of allegations – sexual impropriety, fiscal mismanagement, public drunkenness – before the Senate Armed Services Committee, the impression given by mainstream news accounts was that Hegseth’s nomination process was an unmitigated disaster. In fact, without U.S. Vice President J.D. Vance having come to his rescue with a tie-breaking nomination vote, Hegseth would have been left standing in the unemployment line. But Hegseth, Vance were merely practiced vaudevillians playing out their respective roles for the entranced American public, clownish, juggling jokesters, circus ringmasters, theatrical entertainment for rubbernecking motorists passing the scene of some gruesome highway automobile disaster.

Unbeknownst to the American public, ‘Hegseth’ is a character played by a Hollywood music industry performer, a former guitarist/vocalist connected to an inauspiciously monikered rock act, Blink 182, while ‘Vance’ is a hidden member of the British royal family.

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Hollywood Princess Performs at UN

The recent appearance of Violet Affleck – daughter of Hollywood A-list actor/director Ben Affleck – at the United Nations headquarters in New York on September 23rd to make a speech as a youth advocate demanding the return of ‘Covid-19 mask mandates’ appears to have largely escaped everyone’s notice.

According to an article recently published online by the New York Post, Affleck, “a Yale University freshman who contracted a post-viral condition in 2019, made an emotional plea while wearing a KN95 mask as part of the Healthy Indoor Air: A Global Call to Action” committee, “lecturing world leaders about how the world is ignoring the ongoing pandemic and claimed mask mandates were dropped too quickly.”

Admittedly, Violet’s speech was unremarkable save for the fact that the real story will never see the light of day. Namely, that both “Violet Affleck” and her Hollywood parents are concealing their genuine identities as European royals connected to the Danish royal family.

Yale University, of course, is home to Skull and Bones, masonic lodge number 322, while Hollywood actor “Ben Affleck” has connections as a discussion panelist to Washington D.C.’s Center for Strategic International Studies – an ivory towered think tank, a front for Jesuit-controlled CIA and, according to wikispooks.com, a virtual revolving door between top CIA officials, intelligence operatives and those formerly appointed to high-level U.S. corporate government cabinet posts – which, in turn, is connected to Georgetown University, a Jesuit-founded military fortress, to Massachusetts Institute of Technology, and, as was revealed in a previously published article, to “Benjamin Netanyahu” (aka Prince Richard, Duke of Gloucester).

SEE: The Dishonorable Duke of Tel-Aviv

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