Hollywood Actors Recycled into Runaway Rock Stars

The careers of those working in the professional entertainment industry can and often do experience some measure of transformation. In the case of a trio of examples – Joan Jett, Lita Ford, both of the Runaways, the first all-female rock act, and hurricane-voiced MTV rock diva Pat Benatar – held under investigation for the purposes of this article, each underwent career and image alterations, modifications which could only be described or characterized as having been quite remarkable, perhaps even radical. What is virtually unknown to most everyone, however, is that long before becoming visual staples of the MTV era as pioneering female rock singers, musicians, each of these women began their professional careers at an early age and came to be well known by other names while working as notable stars of both Hollywood screen and network television during the 1970’s. At pivotal junctures in their professional careers, each of these women also became associated with a pair of figures connected to Hollywood’s golden age, one of whom gained an infamous reputation as one of Hollywood’s most colorful music industry impresarios, while the other once played the starring role in Wizard of Oz and later assumed a slew of alternative if not iconic identities associated with Hollywood’s music, film, and entertainment industries. While one of these most recognizably famous identities connected to this legendary Hollywood star has echoed into posterity as an historically significant presidential first lady, all of them, as it turns out, emanate from an ironically little-known figure – Jean Hambro Elphinstone Woodroffe – who nevertheless once stood in proximal relation to British royalty. 

RECYCLED ACTORS & NEPOTISM

As demonstrated in several other instances, Hollywood, television actors, once proved reliable and valuable assets under contract, have gone on to assume alternative identities and altered public images. While these assets may possess some measure of demonstrable skill, talent as entertainers, their continued promotion as marketable assets, and their continued preeminence in the entertainment industry is often due to nepotism. There exist verifiable indications that the trio of famous entertainers which have been held to investigatory scrutiny for the purposes of this article have risen to prominence due to the fact that, in each particular case, they were found to be either directly related to or had verifiable professional business connections with an established showbusiness family. This hypothesis is further underscored, substantiated by the fact that CIA, which has been in firm control of Hollywood’s music, movie, and entertainment industries for the past several decades, has shown a demonstrable preference in both recruiting and utilizing entertainment industry assets emanating from what would be considered proven and utterly reliable sources. In other words, the entertainment industry could be described as an insular environment, closed off from those who would be considered as outsiders. As shall be demonstrated, although their individual biographies may state otherwise, the three formerly famous entertainers to which were alluded in this article’s introduction were not plucked from obscurity but were chosen from childhood to become reliable and profitable entertainment industry assets primarily due to nepotism and family relations. The particulars of this detailed investigation begin with Joan Jett, Lita Ford, who became members of what was billed as the first all-female rock band, The Runaways, and their infamous manager, Kim Fowley.  

KIM FOWLEY & THE RUNAWAYS 

Although he is perhaps best remembered as the manager, creator, and colorful impresario of the Hollywood music industry’s first all-female rock group, The Runaways, during the late 1970’s, Kim Fowley’s rather checkered career began more than a decade earlier. Both gangly and imposingly tall, Fowley fancied himself to be a rebellious Hollywood outsider, full of bluster and bravado while cultivating a bizarre, if not captivating public persona. In the autobiography. ‘Lord of Garbage’, published just before his death in 2015, Fowley revels in anecdotal details about his misspent formative years in Hollywood as an opportunistic hustler, street prowling gangster, and gun toting hooligan, the sort of biographical bona fides which best epitomized Hollywood’s dark, sordid underbelly hidden just behind its glittering, neon spangled facade.

Below: Kim Fowley

In stark contradiction, the truth of the matter buried beneath superficial layers of Fowley’s self-aggrandizing hype was that he was an artistic dilletante who hailed from a typical if not dysfunctional Hollywood pedigree as the spoiled, pampered offspring of veteran B-level film actors. The acting resume of Fowley’s father, Douglas, who served in the U.S. Navy aboard an aircraft carrier during World War II, spans several decades and was filled with an array of appearances in several films and television shows, including a minor casting in the famous Hollywood film musical Singing in the Rain, which also starred Debbie Reynolds. While posing himself as an obstreperous and assertive rogue, Fowley eventually worked his way into the orbit of noted record producers Phil Spector and Terry Melcher, the son of Hollywood actress/singer Doris Day.

As shall soon be revealed, both Day and Debbie Reynolds were modified media fabrications derived from an identical host acting live-action template, a trailblazing child star from Hollywood’s golden age who was also not only connected to a famous U.S. presidential first lady but also to someone among the elevated ranks of British royalty.

From the early 1960’s and into the 70’s, Fowley became best known for having co-composed and or produced a string of infectious novelty-styled songs, many of which scored on the popular music charts, both in America and in England. In addition to folk rock artist Cat Stevens, in 1967, Fowley traveled to London to partner with Keith Potger, singer/guitarist of Australian folk/pop group the Seekers, to co-pen a song entitled “Emerald City”. The song’s lyrics were said to have been inspired by Frank Baum’s Oz books which were later adapted into the script for Wizard of Oz. Prior to embarking upon his music career, Potger was employed as a radio producer for ABC (Australian Broadcasting Corporation), an Australian offshoot of BBC, a propaganda organ of British intelligence. The Seekers’ record label was EMI, which is dialed in with not only British intelligence but Tavistock Institute of Human Relations (aka the lie factory), the world’s premiere kingpins of psychological operations targeted at unsuspecting population demographics. Fowley also used his well cultivated music industry connections with record producer Bob Ezrin to place a track he composed on Kiss’s 1976 release, Destroyer, an occult derived reference to Khali, the multi-limbed Hindu Goddess of Destruction.

A few years before the dawn of the MTV (masonic music television) era, Fowley conceived the idea of an all-girl rock band, the Runaways, an act that proved to accentuate key aspects of the well-cultivated but outlandish personality profile unabashedly exhibited by its manager – loud, abrasive, as well as aggressively provocative. In the video featured immediately below, the band lip syncs their way through their most notable composition – Cherry Bomb, a song which features lyrics extolling the dubious virtues of sexual perversion, exhibitionism and violent anti-social rebellion, an obnoxiously delivered message wielded and aimed at its intended audience of impressionable, confused adolescents like a loaded machine gun.  

Official biographies note that Fowley was known to pal around with underground rock demigod Iggy Pop who, in turn, was also often linked with David Bowie. As shall be soon demonstrated, Fowley’s link with Iggy Pop, reputed to be the ‘Godfather of Punk’, was a lot closer than previously imagined. As for Bowie, he is linked – by way of the 1970’s pop music duo the Carpenters, a moniker behind which hides a masonic reference to masons as ‘master builders’ – with the former television, film actress identified in portrayal of the media fabrication known as Joan Jett, the young singer, guitarist credited with co-founding the Runaways. Turns out, it was Hollywood/television actress Kristy McNichol (aka “Joan Jett”) who, in 1977, appeared on a prime-time television special, The Carpenters at Christmas. At the height of her fame as a teen idol, McNichol also appeared as a featured guest on a popular talk show hosted by Dinah Shore. Pop singer and talk show hostess Dinah Shore, as shall also soon be revealed in greater depth, was closely connected to the aforementioned Debbie Reynolds and Doris Day, whose son, Terry Melcher, was a music industry colleague of Kim Fowley’s.

Comparative image, facial recognition, and ear biometric analysis indicate that Doris Day, Debbie Reynolds, and Dinah Shore were one and the same, character fabrications modified from the identical live-action host acting template, golden age Hollywood child star, Shirley Temple Black (aka Judy Garland/Jean Woodroffe, royal lady-in-waiting to Queen Elizabeth II). Simply one visit to famouskin.com to witness the documented array of not only numerous historical luminaries but European royalty to which Shirley Temple Black is genealogically related will suffice in clarifying the verifiable credibility of the royal connection to Jean Hambro Elphinstone Woodroffe.

In addition to those portions of the respective facial geometries shown to be proportionally, structurally identical – as indicated by encircling and arrowed red marker in the series of images found immediately below – extensive teeth analysis shows that Day, Reynolds, and Shore have an identically structured, aligned first bicuspid.   

Below from L to R: Doris Day, Debbie Reynolds, Dinah Shore

 

Below: Doris Day (aka Debbie Reynolds/Dinah Shore), Judy Garland

As observed in the following images – indicated by encircling red marker – the structural, proportional alignment of the respective chins, noses, teeth, and ears are similar if not identical.  

Below from L to R: Doris Day, Shirley Temple Black 

Comparative ear biometric analysis demonstrates – as indicated with both encircling, arrowed red marker – that the respective epidermal structures – both inner and outer portions – are identical. 

Below from L to R: Debbie Reynolds, Shirley Temple Black 

Comparative image analysis demonstrates that not only are the ears structurally identical but that the eyes and brows are as well. 

Below from L to R: Judy Garland, Jean Woodroffe, royal lady-in-waiting to Queen Elizabeth II

One doesn’t happen to believe that any further explanation is necessary in accompaniment to the next four images following in succession below. Mere ocular comparison alone should suffice. 

Below from L to R: Jackie Kennedy, Jean Woodroffe 

Below from L to R: Shirley Temple Black, Jackie Kennedy, Jean Woodroffe

Comparative image and ear biometric analysis confirms that the respective epidermal shapes, structures of the respective ears observed in the following images are identical.  

Below from L to R: Jackie Kennedy, Marilyn Monroe

Comparative ear biometric, facial recognition, and image analysis confirms that the respective chins, noses, ears, and teeth are structurally identical. 

Ear biometric and image comparison analysis indicate that the epidermal structures, contours of the respective ears belonging to Kristy McNichol, Joan Jett are very similar if not identical. Both McNichol and Jett – as shown by both encircling and arrowed red marker – have an identically placed epidermal landmark which can be conspicuously observed just above the far corner of the lips. As observed in the final set of images posted below, both of their eyes possess an odd but conspicuous and identically placed black spot or discoloration. As for the Runaways’ roguish manager and impresario, Kim Fowley, comparative ear biometric, facial recognition and image analysis indicate that he and Iggy Pop are one and the same. 

Below from L to R: Kristy McNichol, Joan Jett

Comparative image, facial recognition, ear biometric, and teeth analysis confirms that Richard Capenter, with whom McNichol (aka Joan Jett) appeared on the Carpenters’ Christmas television special in 1977, is in fact a fabricated character modification of David Bowie (aka Henri, Duke of Luxembourg). Over a long period of decades, Henri, Duke of Luxembourg has proved to be an especially egregious perpetrator of media-manipulated Post-Modern Reality Simulation. Henri’s son, Duncan Jones – SEE: Duncan the Death Hoax Director – is a Hollywood movie director who has been modified into an array of character fabrications and has obviously chosen to follow right behind in his father’s footsteps. One of Jones’s modified character schemes, Hollywood actor Ryan Gosling, most recently starred in the cinema blockbuster space opera Hail Mary, just in time to cross-promote NASA’s hilariously CGI-simulated Artemis II mission ostensibly launched to orbit the moon, a feat NASA allegedly achieved with Apollo 8 back in 1968. Don’t fret however, because rest assured, the billions of stolen taxpayer dollars afforded NASA to stage their ridiculously comic moon skit is being covertly laundered, funneled through various NGO’s (non-government organizations) and tax/audit free foundations to fund (i.e. buying off local/state governments) the ongoing implementation of the UN’s genocidal Agenda 2030/2050 and it seventeen ‘sustainability’ goals. 

SEE: Doc Kildare Promotes Kill Shot Propaganda

Below from L to R: Richard Carpenter, David Bowie

Below from L to R: Richard Carpenter, Henri, Duke of Luxembourg

 

Below from L to R: Kim Fowley, Iggy Pop

Though comparative image analysis between Kim Fowley, Iggy Pop most conspicuously shows the respective sets of eyes to be structurally identical, ear biometric analysis confirms that the epidermal structures of the ears are also identical, while facial recognition analysis demonstrates that the respective chins and lips are also proportionally, structurally identical. Notice too, how the epidermal layers jutting up from the respective jawlines – indicated with encircling red marker in the second set of images below – are arranged in quite similar if not identical patterns. 

Comparative facial recognition and image comparison analysis demonstrates that Lita Ford, bandmate of Joan Jett (aka Kristy McNichol) in the Runaways, was a media-created modification of Linda Blair, a Hollywood child actress best-known for having starred in the Exorcist movies. Given what was learned earlier concerning Douglas Fowley’s service with the U.S. Navy, perhaps it isn’t so surprising to also learn that Blair’s father was working as a U.S. Navy test pilot when Linda began her professional career as a child model at the age of five. Then again, as revealed on numerous other investigative occasions, connections discovered between Hollywood and the military are almost always to be quite expected. It should also be noted that Linda Blair (aka Lita Ford) also once co-starred in a 1970’s made-for-television movie with Martin Sheen (aka Donald Trump).  

SEE: Trumping the MSM’s Assassination Lies 

Below from L to R: Linda Blair, Lita Ford 

 

HAPPY DAYS

Before being cast in the role of Joanie Cunningham on the popular 1970’s nostalgia-oriented television comedy series Happy Days and another spin-off show called Joanie Loves Chachi, Erin Moran, much like her contemporary Linda Blair (aka Lita Ford), began her professional career as a child model at the age of five prodded by the encouragement of a domineering, insistent mother. According to Wikipedia, Moran’s father was professionally employed as a finance manager. Given the nature of past investigations, it isn’t so surprising to also find a link with the banking industry alongside military connections, since both seem to go hand-in-hand as related to the Hollywood biographical fabrications composed by the legions of incorrigible hacks imprisoned in office cubicles at Langley, Virginia and the generally deceptive nature of the intelligence controlled confidence game in which such media-generated character schemes operate with unlawful but legal impunity. In 1968, at the tender age of seven, Moran made her Hollywood film debut, co-starring with none other than Debbie Reynolds. More than a decade later, however, just in time for the dawn of masonic-controlled MTV at the beginning of the 1980’s, Moran was transformed, modified into the leather lunged rock diva known as Pat Benatar.

In addition to the identically structured portions of the respective facial features indicated with encircling or arrowed red marker, comparative image analysis demonstrates that the respective sets of teeth observed in the following images are also identically structured, aligned. 

Below from L to R: Erin Moran, Pat Benatar

Both Erin Moran and Pat Benatar – as indicated with encircling, arrowed red marker – also have an identically placed epidermal landmark located below the neckline. 

According to Wikipedia, in 1974, while working as a bank teller, it is claimed that Benatar was inspired to become a professional rock singer after witnessing a live performance by the legendary Liza Minelli. Minelli is not only the daughter of Judy Garland (aka Debbie Reynolds, Doris Day, Dinah Shore, Shirley Temple Black, Jackie Kennedy, Marilyn Monroe, Jean Woodroffe, royal lady-in-waiting to Queen Elizabeth II of the House of Saxe-Coburg-Gotha), but as demonstrated by comparative facial recognition and teeth analysis, she is also one and the same with Natalie Wood and Karen Carpenter, the latter with whom Kristy McNichol (aka Joan Jett, formerly of Kim Fowley’s Runaways) once appeared in a Christmas television special hosted by the Carpenters.

In the end, things certainly have a way with coming full circle – do they not?

It should be noted that the “late” Natalie Wood is also connected with Hollywood actress Susan Sarandon (aka Barbara Feldon, Marlo Thomas, Maureen Orth) who was also modified – SEE: Scott Peterson’s Scripted Legal Drama CIA Simpson’s Most Infamous Performance Saint Russert Toppled from MSM’s Pedestal Another Fake Talk Show Host Named Phil – into the fake Los Angeles legal prosecutor Marcia Clark who, in turn, played a prominent and starring role in the farcical OJ Simpson trial simulation. 

Below: Liza Minelli, Natalie Wood, Karen Carpenter

Image comparison analysis confirms that the respective sets of teeth indicated with arrowed red marker are identically aligned, structured.  Notice too how the respective jawlines – as indicated by arrowed red marker – identically align themselves in geometrical proportion and in relation to the chins which are also structurally identical.