Would you believe folks, the author has discovered yet another television and entertainment industry personality who – in retrospect- though both lauded and despised in equal measure, was portrayed by the identical host actor who was also recently identified as having brought to life the historical characterization of the former Soviet president, Mikhail Gorbachev?
Thus, the necessity for this third installment involving the man known to world history as “Mikhail Gorbachev”.
Yes, inconceivable as it may seem, empirical analysis has revealed this is so and, on this occasion, it will be revealed that, after becoming a legend in the world of comedy as “Lou Costello” and before assuming his role on the world stage as “Mikhail Gorbachev”, his host actor (iconic Hollywood actor Rod Steiger and the hidden father of the “late” Burt Reynolds AKA Marlon Brando) also starred as the obstreperous, loquacious, and often controversial host – get this folks – of ABC’s popular Monday Night Football and, the inaugural host of a show that would go on to become a cornerstone of corporate network television, the comedy sketch franchise, Saturday Night Live!
Indeed, grab your crash helmet, for this installment shall prove to be yet another wild experience on the unpredictable roller coaster ride known as Post-Modern Reality Simulation!
That’s right folks, the two well recognizable celebrities viewed in the video clip displayed above are, in fact, characters portrayed by highly trained actors. Of course, the former “late” Beatle John Lennon AKA Peter Sellers/Lee Harvey Oswald/Johnny Carson/Michael Nesmith/Rod Stewart/Steve Perry/Robin Zander/Doug Fieger’s (“Lennon” is also a hidden sibling of Hollywood icon Jack Nicholson AKA Danish Prince consort, Henrik and JFK AKA Hollywood actor Dennis Hopper) career has been detailed extensively in several past installments.
It was Cosell who would be the first to announce Lennon’s “death” on the air, telling the public the former Beatle had been shot “twice” (twin masonic pillars of Boaz and Jachin) and “rushed to Roosevelt Hospital” (Roosevelt/masonic/Joycean play on words/ruse: noun, defined as a play or stratagem, designed to deceive/velt=field+roos or red=Red Field/paean to Mars, the pagan god of War.)
After having viewed several more such vintage clips and examining the act of “Howard Cosell”, a singular thought immediately occurred: how is it, no one in the general public could see right through the obvious character charade?
Although the character of “Cosell” was certainly well-formulated and seamlessly well-performed by the host actor, nevertheless, Cosell’s unironic but seemingly satiric characterization – especially when considering his bloviating Brooklyn/New York vocal affectation delivered in what became the character’s trademark nasal bleat – reeked of utter phoniness.
In addition to his penchant for excessive verbosity and a withering wit that was often unleashed upon some of his own colleagues in the sports television broadcasting fraternity, there can be no doubt, Howard Cosell was one who possessed a habit for stirring up controversy. But, for Cosell, such a habitual tendency would oftentimes boomerang, and, to his dismay, at the most inopportune moments, controversy’s strangulating noose became a self-inflicted lynching.
As so often is the case, however, the general public seemed unaware, the fact “Cosell” found himself hoist on his own petard, may have been the entire point.
Cosell acted as a proxy target for the public’s ire while the genuine perpetrators of such controversy – the ruling elite families who owned the network television stations with which “Cosell” was employed – remained inconspicuous, directing their intricate symphonies of carefully contrived social and political mayhem from the shadows.
Yes folks, Cosell was one of the first of his kind created for the conceptual arena of American sport – like the latter-day example of Colin Kaepernick – as yet another custom-made agent of social chaos.
Wherever he appeared, “Cosell” was known to have attached himself to the most controversial athletes of his era, and he could often be observed – especially in the case of Cassius Clay/Muhammed Ali (who also portrayed Congresswoman Barbara Jordan/SEE: The Champ Who Transitioned Into A Congresswoman) – playing the role of a perpetual and enabling instigator to a host of scripted circus charades featuring themes of social agitation.
Comparatively, and when examined with objective scrutiny, the nature of Cosell’s television appearances resembled the well-honed act the character’s host actor meticulously developed with his former vaudeville partner, Bud Abbott, and oftentimes, the effect of Cosell’s act ultimately came off – which can be observed in the case of one of the host actor’s other television character incarnations, Perry Mason – as unintentionally and even, sometimes, uproariously comedic.
Given, the host actor’s genuine history in the entertainment industry – a former vaudevillian posed in the guise of “Lou Costello” – is it really so surprising, the man who became known to the American general public as “Howard Cosell” went on to host the fledgling comedy program Saturday Night Live during the era of the early 1970’s?
DOWN AND OUT IN BROOKLYN
Cosell’s official biographies establish him as a child prodigy raised by a Jewish rabbi in the rough-hewn urban environment of Brooklyn, New York. Most tellingly – in terms of gematria – Cosell’s birth date contains the Templar/Jesuit/Masonic intelligence joker code of triple 7 not just once, but twice: March 25, 1918 (3 7’s/777/19+18=37/3 7’s/777).
As an adolescent, Cosell attended and graduated from Alexander Hamilton high school.
To those students of American history, Alexander Hamilton is considered to be one of America’s historically respected “founding fathers”.
This – of course – is yet another fabricated historical narrative, concocted as a sheen of noble dignity to cover up the sordid truth about not only Hamilton, but the genuine reasons as to why America was founded. Loyal readers, who have consulted the author’s series of installments on the Crown Temple, are well aware the 18th century founding of America’s colonies was boldly endeavored as a commercial joint-stock venture and founded for the sole purpose of commercially and profitably exploiting both human and natural resources.
The “story” of America’s founding on the principles of “freedom”, “liberty” etc. etc., is a fabricated historical narrative, utilized to conceal the fact the “person” listed on a bond/birth certificate represents the genuine and inherent worth of money.
That’s right folks, you, the corporation or “person” are the material asset constituting the concept of “money”. This is what is truly meant by the old adage, “money is the root of all evil”. This is the justification underscoring the ruling elite’s idea of divine governance over the management and stewardship of all material and human resources, the latter of which – so they believe – must be put to work as financial assets or corporate bond instruments, rather than left to their own devices to remain perpetually idle.
The Federal Reserve legal tender/promissory notes each “person” carries represent debt instruments and a mere promise to financially balance – at some future date – the interest held on the debt principal of the bond/birth certificate each “person” or corporate human resource inherits upon delivery of birth.
Alexander Hamilton was a merchant banker, a high-level initiate of the masonic order, and a trained esquire with allegiance – sworn under solemn oath – to London’s Crown Temple and born to a Jewish tradesman.
Hamilton was ultimately, if not solely, responsible for the founding of America’s first national bank in New York. New York’s mercantile central bank was not only a progenitor of the Federal Reserve, but was established as a merchant banking branch, held directly under the auspices of Hamilton’s Templar brothers inhabiting the Crown Temple, within the one square mile of the City of London.
Cosell’s official biographies inform that, after high school, he went on to matriculate at New York University, where he was initiated in to the on-campus fraternity of Pi Lambda Phi and Phi Beta Kappa, which was founded on December 5 of 1776, making it one of the earliest, along with Yale’s Skull and Bones, collegiate fraternal societies established in America.
In their usual sly and indirect fashion, Cosell’s official biographers are telling us, he was among the socio-economic elite, rather than a humble proletarian originating from obscure working-class stock who hailed from the hardscrabble streets of urban Brooklyn.
With Cosell’s, as with other celebrity biographies, we encounter yet another connection to the US military. It is alleged that, starting at the beginning of America’s entry in to the Second World War in 1941, after the “attack” at Pearl Harbor, and until war’s end in 1945, Cosell was enlisted in the US Army Transportation Corps and promoted to the rank of Major.
After his alleged graduation from NYU with a Bachelor of Arts in English Literature in hand and, still later, a graduate degree in Law, Cosell’s biographers then inform us, rather than attempting to gain a partnership at an exclusive white shoe New York law firm, it was Cosell’s childhood adoration both for the Brooklyn Dodgers and their star player, Jackie Robinson, which led him into the business of the radio medium.
Considering Cosell’s resounding and subsequent successes – in both radio and television – and considering his nasally vocal delivery was hampered with a distinctive but grating Brooklyn accent, his chosen career path would appear to have been rather unlikely. Unless, that is, one understands we are dealing with a concocted biography that was tailored to the specified characteristics of yet another fabricated show business character, and not only a fabricated character skillfully portrayed by an iconic Hollywood host actor, but a highly seasoned and award-winning actor with a prior resume in both vaudeville and in the radio medium.
After a time, throughout the late 1950’s and for much of the 1960’s while working as a play-by-play announcer for the Brooklyn Dodgers organization and, eventually, signing on with the ABC network’s Wide World of Sports program, Cosell’s profile underwent a colossal upgrade.
In what proved to be a stunning move by ABC’s Executive Producer, Roone Arledge, Cosell was invited to join the television broadcast troika of Monday Night Football, which included former New York Giants star Frank Gifford and former Dallas Cowboys quarterback Don Meredith, whom Cosell – while on the air – quickly transformed into a virtual punching bag for his jabs of withering wit.
Cosell’s victimization of Meredith was likely part of the prefabricated script and, though Cosell’s pugnacious on-air behavior drew fire from football fans and network brass alike, it was Cosell who, nevertheless, rose to the heights of television stardom.
COSELL, THE MAN AMERICA LOVED TO HATE
Throughout his tenure on the ABC network, Cosell became the man the public loved to hate, and remained truculent with not just his fellow on-air colleagues, but allegedly ran afoul with those in the print press. Cosell freely admitted, he regarded most sports writers, those employed by the mainstream print press, with nothing short of utter contempt, referring to them – on several public occasions – as those “insufferable hacks”.
In retrospect, though “Cosell” played his scripted role brilliantly, and though during the era of the 1970’s and into the era of the 1980’s, his act seemed shockingly provocative – to the majority of the American public, at least – his clownish confrontations appear to have been completely staged.
“LOOK AT THAT LITTLE MONKEY!”
During one of his final appearances on the ABC network production Monday Night Football, Cosell committed what was thereafter framed by those in the mainstream media and perceived by the general public as the ultimate and career-ending faux pas.
On the night of September 5, 1983 (sums to 129 in English Ordinal gematria=777/intelligence joker code), and during a contest between the Washington Redskins and Dallas Cowboys, Cosell referred to Redskins’ wide receiver Alvin Garret – after the athlete made his sixth reception (6/33/high-degree Scottish Rite Freemasonry) of the game – as “that little monkey” (monkey sums to 83 in English Ordinal gematria=11/twin masonic pillars of Boaz and Jachin/7 in Reverse Full Reduction=Kabbalah Zayin, the mind weapon) .
Of course, the incident – as “Cosell” undoubtedly expected – became a cause celebre, and served to subsequently stir up furious debate (Hegelian order out of chaos) regarding the incendiary social issue of race.
Historically, stirring up racial tension has proved to be a primary psychological weapon the thirteen, ruling elite Jesuit families have repeatedly utilized to divide and control the populations of the West, specifically in America.
To this end, and time and again, “Cosell” – after his character was hoisted into the pantheon of television fame – proved to be their most notorious handmaiden.
Woody Allen, the renowned Hollywood film director, happened to give Cosell’s game away – though, at the time, his remark passed with little notice – when he once referred to the notorious television celebrity as “a cartoon character.”
MATCHING EYES & EARS
Unfortunately, for the “late” “Cosell”, both ear biometric and facial recognition analysis confirm Allen’s sentiments.
Upon closer scrutiny of Cosell’s images, generous layers of latex stippling appear to have been applied to strategic facial regions to not only skew ocular perceptions, but to conceal the host actor (live-action role player) beneath the Hollywood-styled mask.
However, both facial recognition analysis of the epidermal architectures around the eyes and brow ridges, confirm the presence of the identical host actor – Hollywood actor Rod Steiger – who also portrayed vaudeville comedian Lou Costello, television actor Raymond Burr (Perry Mason) and, yes folks, the former Soviet president, Mikhail Gorbachev.
Cosell’s host actor, of course, is none other than iconic Hollywood actor Rod Steiger, the hidden father of Marlon Brando AKA Burt Reynolds AKA the “late” Hollywood actor currently starring on the world stage as Russian president, Vladimir Putin.
Throughout the course of one’s image analysis, the ultimate determining factors, and the physical trait(s) that gave Steiger away as Cosell’s host actor, were with both the epidermal contours, and – as can be observed by just the sampling of images displayed below – the distinctive geometrical architecture(s) of the host actor’s ears which, in terms of empirical analysis, are considered tantamount to identifying distinguishing fingerprints.
For most of his notorious television career – it must also be noted – “Cosell” was known to have worn a hair piece, a custom-made character accoutrement that his television foil from the world of sports, Mohammed Ali, was often known to have publicly joked about.
And now, to paraphrase the notorious television character’s own immortal words: DOWN GOES COSELL!
Below: From L to R: Howard Cosell, Rod Steiger, Milton Friedman
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