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 mechanisms delivered in the form of 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.

SHRUGGING OFF RAND’S CLEVER FACADE

According to ‘official’ biographies, Rand was an emigree from Russia who, with the creation of the philosophy which came to be known as “Objectivism”, became a staunch advocate for laissez faire capitalism which, of course, stood in sharp dialectical opposition to the collectivist communism prevailing over her alleged former homeland. Unknown to most, after her escape from Soviet Russia and prior to the publishing of The Fountainhead which rocketed her to fame both in America and worldwide, Rand had written other books which met with little or no commercial success. As her story has it, after Rand was granted a visa to live in Chicago during the 1920’s, she tried her hand at playwriting and, soon after moving to Hollywood, began work as a screenwriter under the direction of Cecil B. DeMille. This Hollywood connection is unsurprising because as it turns out, “Rand” – think Rand Corporation as a likely source for that pseudonym – was an actor in disguise, a cleverly designed front for a cooperative propaganda/psychological operation involving British (MI5, MI6, MI7) American (CIA), and Soviet intelligence (KGB). In March of 1968, Rand appeared on Voice of America which, along with Radio Free Europe, has historical ties to CIA and, during the ‘cold war’ era, was effectively utilized as a broadcast tool for the dissemination of intelligence-controlled propaganda.

Though Wikipedia claims Rand’s meeting with Hollywood’s DeMille was purely a matter of happenstance, the results of past investigations into such matters underscore that such fantastical coincidences don’t exist. For example, it seems to be no coincidence that, in 1947, just four years after Rand’s The Fountainhead reached its apogee of public, critical acclaim, Ronald Reagan – SEE: Ronald Reagan the Great Prevaricator – began snitching out those among his colleagues in Hollywood suspected of being communist sympathizers to the FBI, the same year CIA was established in Langley. Soon after Reagan’s appearances before the Congressional HUAC committee, Senator Joe McCarthy assumed his bully’s pulpit to smear those suspected of communist sympathies.

This chain of chronological events after the emergence of Ayn Rand as a major literary figure into the American public’s consciousness appears to have been no accident and to have been carefully engineered.

On the one hand, with Rand publicly advocating for her philosophy of “Objectivism” which espoused the idea of the self-interested supreme individual guided by reason and unencumbered by emotional sensibility or impulse – an idea which echoed Frederick Nietzsche’s metaphorical ‘superman’ – and, on the other, with politically conservative but cartoonish Republican Senator Joseph McCarthy persecuting suspected communists to make the victims of such public persecution appear sympathetic, it appears as if both sides –  victimized collectivist-minded communist sympathizers versus those philosophically aligned with Rand’s “Objectivism” which advocated for unadulterated capitalism – had been deliberately positioned as polarizing, dialectical tools greeted in opposition to maneuver and eventually anchor the political tenor of America closer to a political center represented by Franklin Delano Roosevelt’s “New Deal” Democratic Socialism.

Also, during this period of time, the royal host actor (live-action role player) identified as having portrayed “Ayn Rand”, whose husband was a Hollywood actor by the name of Frank O’Connor, also fronted for another intelligence directed project involving yet another historically fabricated character scheme, one who was alleged to have been the author of the renowned World War II era Diary of Anne Frank.

FRANLY MY DEAR YOUR DIARY ISN’T WORTH A DAMN

Though there have been those who’ve attempted to debunk the adolescent Anne Frank as the author of the famous World War II era diary on the basis that the diary was written in ball point pen, a writing instrument which, at the time, hadn’t been invented yet and therefore wasn’t commercially available, this line of faux investigation smacks of intelligence planted misdirection, a ploy better known in the professional intelligence trade as ‘chicken feed’. In the aftermath of World War II, Anne Frank’s diary was appropriated, owned by Netherlands Institute of War Documentation. With the help of its so-called handwriting experts, the Institute reportedly performed extensive handwriting analysis, the results of which, without equivocation, the organization claimed as indisputable proof that Anne Frank was in fact the author of what became known as the world’s most renowned personal diary chronicling what has been purported to be an accurate portrayal of historical events.

There’s only one problem with the institute’s claims – actually two.

Not only was the Institute’s handwriting analysis performed posthumously, but the fact that the Institute was in sole possession and ownership of the Anne Frank diary at the time the analysis was performed strongly indicates a conflict of interest. Secondly, in order for legitimate results to have been derived from any comparative handwriting analysis of the diary, the Institute would have needed handwriting samples from a living Anne Frank to compare with the handwriting present in the diary.

Therefore, since it wasn’t possible for a non-living “Anne Frank” to have come forth to produce any handwriting samples with which to compare to those culled from the diary, any results from the Institute’s analysis can be summarily classified as invalid. Since the ruling royal families, the hidden owners of the U.S. corporation (aka Virginia Company) always seek to commercially exploit the false narratives associated with their intelligence directed psychological operations, the story of Anne Frank was later adapted into dramatic Broadway plays, a slew of prime-time television specials, documentaries, and even Hollywood movies.

The truth of the matter: both “Anne Frank” and “Ayn Rand” were character fabrications modified from a member of the royal House of Saxe-Coburg-Gotha, Princess Margaret, Countess of Snowden, sister of Queen Elizabeth II. Given this, it seems highly likely, therefore, as was observed in the case of “Truman Capote” (aka King Leopold III of Belgium) – SEE: Cold Blooded Truth about Truman Capote – that both the Anne Frank diary and all of Rand’s literary output were produced by a private brain trust consisting of intellectuals from academia, classically trained/educated intelligence operatives, and professional propagandists.

SEE: Something Royally Wrong with Rally Gunman Witness

PRINCESS MARGARET=FRANK/RAND

Image comparison, facial recognition analysis confirms that each key portion of the respective facial geometries – chins, jawlines, lips, noses, eyes, and brows – featured in the following images is structurally, proportionally identical. Comparative teeth analysis between “Ayn Rand” and Princess Margaret featured further down in the following sets of images indicates that not only are the respective portions of the facial geometries – chins, jawlines, lips, noses, eyes, and brows – identically structured, proportional but that the structures of the respective sets of teeth are also identically aligned.

Below from L to R: Anne Frank, Princess Margaret, Countess of Snowden

Below from L to R: Ayn Rand, Princess Margaret

Below from L to R: Princess Margaret, Ayn Rand, Anne Frank