In this installment, one shall travel back to the 1980’s to examine a very intriguing if not prime example of the actor based reality as it applies to politics, television, music, and the entertainment industries.
Yet again, another popular entertainer has been caught portraying several roles under various pseudonyms – some of them more renowned than others. Nevertheless, for a spate of years spanning the 1980’s, this actor was seen by millions, and not only on television, but the silver screen, starring in what was perhaps the most iconic film series of the decade. Apparently, however, the fame and adulation derived from television and Hollywood wasn’t enough, for this actor went on to star in a role directly related to the notorious character of K Street Lobbyist, Jack Abramoff, who was examined in a previous installment.
Guaranteed, folks, after experiencing what follows, one may firmly arrive at the conclusion that Michael J. was indeed, slyer than a fox.
The cinema extravaganza of ‘Back to the Future’ reaped billions in profits for Hollywood, and created an iconic moment in cinema history, as well transformed Michael J. Fox from a television star into a worldwide, bankable fixture upon movie marquees. The film has since become a Hollywood and American cultural touchstone, comparable to that of the immortal legacy established by such classic films as Citizen Kane, Wizard of Oz, Gone with the Wind, and the Godfather.
But little did America and the world at large realize, that the actor known as Michael J. Fox, other than successful careers in television and Hollywood, had also established another stellar career in the music industry. Examination of the usual celebrity biographies revealed a comparable number of glaring anomalies and subtle indications something was amiss. Through the course of meticulous research, one has learned such biographies, which have proved time and again to be utter fabrications, demonstrate an unintentional irony in that, upon deeper examination, the surface morass of manufactured lies becomes quickly undermined by the nuggets of truth concealed beneath them.
In retrospect, Fox’s character of Alex P. Keaton on Family Ties, the 1980’s American hit television situation comedy, seemed designed as an illustration and reinforcement of America’s prevailing and divisive political dialectic. The show depicted a somewhat dysfunctional, though warm family environment, and posed Fox’s character as a coming of age teen raised by parents who were formerly counter-culture “flower children” during the 1960’s. The show’s comedic thrust derived from Fox’s character posed as a right-wing conservative in fierce opposition to his progressively minded parents, someone who believed that the election of former Hollywood B actor Ronald Reagan to the white house represented the second coming of a Christ-like savior.
Much of the comedic repartee observed on the program exploited this obvious political dialectic, and to the chagrin of his progressively minded parents, as well his airheaded sibling, portrayed by Justine Bateman, Fox’s character often triumphantly emerged unscathed from the family rows to deliver the last word. Though admittedly amusing, programs such as Family Ties serve an ulterior purpose – to effectively demonstrate to the masses the preferred models of applied social and political behavioral modification that profitably benefit the global commercial system of the ruling elites who also own the corporate television networks.
Thus, it was interesting to note, though Fox’s character spent most of each Family Ties’ episode bloviating about his chosen political ideology’s inherent superiority, by the end of the show, some humbling scenario or other would prevail, leading him to have a change of heart. Seeing the error of his ways, so the show’s moral seemed to demonstrate, Fox’s character would always, in the end, side with his parents and siblings in seeking a more progressively minded solution to life’s problems.
Perhaps more interesting still, through evidence provided by repeated viewing, it became clear that Fox’s popular show was specifically designed as a visual reinforcement of the oldest and most time honored population management technique utilized by the ruling elites – to accentuate divisiveness among the masses, and in the case of Family Ties, divisions of political ideology.
The ruling elites have long realized, that if the masses are kept busy fighting among themselves, they will have little inclination to rise against their true, but hidden masters.
After his acting tenure on Family Ties came to an end, Fox was cast as Marty McFly (MM=33/high degree Scottish Rite Freemasonry) in the seminal cinematic production trilogy, Back to the Future, which featured some interesting predictive programming having to do with a future event – September 11. 2001. A dramatic scene towards the end of the film features McFly and the mad Doctor, the inventor of the movie’s iconic “flux capacitor”, embroiled in a death defying encounter with a group of terrorists at the Twin Pines Mall (symbolic of NYC’s fallen Twin Towers?) with the digital clock at the mall entrance reading 9:11.
This is but one among many examples of such predictive programming inserted into Hollywood productions belonging to the past, examples which appeared to cryptically herald a harbinger of future events, often of a disastrous and dramatic nature.
It has often been said, that hindsight knows no end to its cleverness, and retrospectively speaking, it seems remarkable, if not obvious, that for decades or perhaps even from the time of the medium’s invention, the ruling elites have utilized the concept of cinema to incrementally prepare the collective subconscious of the masses at large for the expectant culmination of their well-planned social and political agendas.
As to the origin of his name and the biographical details of Fox’s early years in the entertainment industry, they are heavily coded with numerological markers, and it is claimed by Wikipedia and other sources that he spent most of his formative years in Edmonton, Alberta, Canada, and like most of his countryman, grew to enjoy participating in ice hockey games, Canada’s national pastime.
Reportedly born on June 6, 1961 (12/21/777) to Phyllis Piper, an actress/payroll clerk (interesting combination of occupations?) and William Fox, a police officer and Canadian forces member (police/military indicating a firm masonic connection), Fox acquired his first acting job at age 15, starring in a Canadian television series, entitled Leo and Me.
When it comes to examining the biographies of so-called celebrities, observing a connection between the masonic law enforcement guild and or the military often signals telltale indications of a manufactured character. In cases examined previously – Elvis Presley, Sharon Tate, George H. W. Bush, and even in the case of another historical figure to be fully examined in a future installment, James Marshall Hendrix (it is claimed he served as an army paratrooper), the military connection has repeatedly coincided with empirical evidence of a manufactured celebrity character portrayed by a host actor.
Before securing his first acting job, however, several official biographical sketches indicate the Fox family was rather itinerant, nomadically moving at various times to facilitate the requirements of father William’s law enforcement/military career. Per Wikipedia, after starring for three years (33/highest degree Scottish Rite Freemasonry) on Canadian television, it is alleged Fox then moved to Los Angeles at the age of eighteen (666) to further his acting career.
But, did Fox merely pack up and move to Tinsel Town of his own volition, or had it been planned?
In this case, it seems Fox’s ascension to fame and fortune mirrors another manufactured but iconic entertainment figure from the past – Bing Crosby (See: Actors in history’s grand stage play part XVI) – who allegedly, with little or no apparent means of support, moved from his alleged hometown of Spokane, Washington while still an adolescent to suddenly become ‘discovered’ by Mildred Bailey, who happened to have been Los Angeles’ top nightclub performer during the era of the 1920’s.
After settling in Hollywood, Fox was “discovered” by television producer, Ronald Sheldo and made his debut in the television film Letters from Frank. Per Wikipedia – and here’s where things get interesting, folks – Fox registered his name with the Screen Actors Guild, which required the use of “unique registration names to avoid credit ambiguities.”
During this incipient career period, Fox was working under the name of simply Michael Fox, and it had been apparently discovered that another actor had been registered with the Guild under the identical moniker. In order to mitigate any dreaded ambiguities, Fox decided to add the middle letter J, allegedly as a homage to veteran Hollywood “character” actor Michael J. Pollard.
It is also noteworthy that the name Michael J. Fox sums to 106 in gematria, which reduces to the number 7 (Kabballah Zayin, or mind weapon). But now, the plot thickens, folks – because upon further examination, it turns out Michael J. Pollard is but another pseudonym for Hollywood mogul Barry Diller AKA Austro-German Prince Eduard von Furstenberg.
Michael J. Pollard:
The first image of Pollard is derived from an episode of the original Star Trek television series that aired in the 1960’s, entitled ‘Miri’, which of course was created and produced by a high level mason, Gene Rodenberry. Pollard is the figure in the green military styled jacket standing to the right of the actress portraying the episode’s starring role on the far left of the second row.
As one shall observe, the shoulder sleeve of Pollard’s military styled jacket is emblazoned with six (33/high degree Scottish Rite Freemasonry) scarlet chevrons which when shaped together form a masonic pyramid design. The chevrons are configured to resemble the numeral seven, and can also be construed as a symbolic representation of the infamous 777 intelligence joker code.
In the second photo, it appears significant quantities of makeup and lens distortion, and Hollywood nose putty have been applied. Despite the attempted concealments, ear biometric examination concludes that Pollard (double L=24 in gematria/2+4=6/33) and Diller are indeed one and the same. Historically, it appears the Austro-German prince AKA Diller seems to represent a centrifugal figure when it comes to the creation, and or maintenance of Hollywood’s manufactured but iconic characters.
After a short period of obscurity, Fox’s career in Hollywood fast ascended to popular and award winning renown. Like the fabricated nature of his biography, it appears Fox’s rapid ascent was also manufactured. Comparatively, his story seems to have been tailored with the familiar rags to riches character arcs featured in the biographies of other such manufactured Hollywood icons examined previously.
While the official biographers, as usual, have done their best to make it appear as if Fox rose from humble beginnings to unparalleled fame, there appear to be indications – given the established connection to Hollywood mogul, Barry Diller – Fox’s good fortune came about due to nepotism, or perhaps because his Hollywood character’s career was a high level masonic project and created in conjunction with military intelligence right from the beginning.
Later of course, Fox was allegedly “diagnosed” with Parkinson’s disease, and was awarded the Order of Service medal, the highest royal honor bestowed for merit, second only to membership in the royal Order of Merit, for his work with a foundation established to raise “awareness” by none other than the sitting sovereign of both the UK and Canada, Queen Elizabeth II.
Yes, folks, Her Majesty is the royal monarch of Canada, with a residence located at Rideau Hall, La Citadelle, Quebec City (canadiancrown.gc.ca).
The establishment of so-called non-profit foundations and other assorted non-taxable charities in connection with celebrity personalities serves as a colossal red flag. Such legal foundations and charities sold to the masses as a method of raising “awareness” are yet another way for the ruling elites to siphon funds from the public, utilizing Hollywood celebrities in an emotionally manipulative gambit to generate non-taxable, undeclared profits that remain forever hidden from the prying eyes of either the IRS, auditors or probate proceedings.
Armed with this knowledge, one can truly begin to understand how it is the queen and her royal family can afford to maintain all of those elaborate palaces and sprawling properties, huh folks?
Of course, to award winning actors like Fox, portraying an unfortunate soul stricken with a debilitating disease represented merely yet another theatrically oriented role and an opportunity to practice and perfect his craft.
By all accounts, his efforts have succeeded in convincing the public:
Fox’s revelation regarding his so-called affliction provides a glimpse into the blatant sociopathy of his masters, the ruling elites, and their method of criminal operation. While posing a Hollywood celebrity who is adored by the public amid simulated crisis, they reveal the truth concerning their colossal lies. Utilizing actors as social, political and mass behavioral modification change agents is a Shakespearean tradition, and is also consistent with high degree Freemasonry, which has an unquenchable though obnoxious penchant to smugly mock those of the general public not privy to the secretive nature of their elaborate, theatrical shenanigans and charades.
But, don’t go anywhere yet, folks, because there is much more to Fox’s story.
Unknown to the public – that is until now – Fox has portrayed other celebrity characters, both in the music industry and in politics.
“Cuts like a knife”
“Pinheads” audition from Back to the Future:
Keep in mind, folks, lighting techniques, makeup, prosthetic and CGI modifications, wardrobe, hair coloring, camera lens distortions and post-production editing, as well biographical fabrications, all play key roles in maintaining character illusions, and to perpetually conceal the true identity of the host actor.
During the emergence of MTV in the 1980’s, Canadian rocker Bryan Adams became a permanent fixture, and a household name, renowned for his scratchy vocal delivery, hook laden and hard driving songs, and an image that some critics panned as a poor man’s Bruce Springsteen. Nevertheless, Adams went on to deliver more platinum plated profits for his masters, and is still wheeled out of the nostalgia shed to entertain the throngs of aging Generation Xer’s still hankering to recall golden, adolescent memories of proms, parties, and homecoming high school football games.
Not surprisingly, there exist biographical similarities between those of the Fox and Adams pop celebrity characters. Adams too, was born into an itinerant family. His father was a captain in the British armed forces who later joined the Canadian military and later spent time as a United Nations Peacekeeping observer and as a foreign correspondent diplomat. One doesn’t become elevated to the station of international diplomat lacking deep connections to intelligence or high degree masonic orders.
But get this folks, the curious biographical similarities between Fox and Adams don’t end there.
Per Wikipedia and other corroborating biographical sources, Adams traveled extensively with his family overseas until the age of 15 (recall that Fox moved around extensively with his family before he began working in Canadian television at the identical age), when the future MTV rocker began working in the Vancouver music scene, and it is claimed, backed many well established musicians.
One of these, turned out to have been revered Motown session man Robbie King, from whom Adams claims to have received his first salaried recording session.
Now, really folks, what obscure fifteen-year-old musician, no matter how precociously gifted, happens to acquire the unlikely fortune of finding employment with a renowned session musician who had worked with the Supremes, and other Motown acts, unless things had been planned well in advance by well-groomed connections?
But there exists the rub, as it were, for Wikipedia and other celebrity biographical sources wish to foster the notion the superstar careers of those in the entertainment industry magically materialize, as if by serendipitous fortune.
Adams was also awarded with the Order of Canada, then subsequently promoted within the order to the rank of Officer of the Order of Canada. He has also been a recipient of the Queen’s Golden Jubilee Medal, and the Queen’s Diamond Jubilee Medal.
And one thought the prevailing philosophical premise of rock and roll was supposed to represent anti-establishment values!
Like the character of Fox, Adams is connected to a legally established foundation featuring the slogan: Helping people help people (Hey, isn’t that part of a lyric from a well-known Barbara Streisand song?). While the slogan sounds rather banal, the foundation seems ostensibly dedicated to the international advancement of education and learning opportunities for children worldwide.
Though one may be labeled as cynical, and if one were to dig beneath the rather transparent surface of its slogan, one should wager that hidden behind the philanthropic mask of Adam’s foundation lies a covert program of children’s behavioral modification, in order that they may, while at the most impressionable juncture of life, be taught how they are to function in the future dystopian world of global feudalism the ruling elite, Jesuit families have assiduously planned for humanity.
Though there are those who would say the rock star’s philanthropic efforts seem benign, and its stated purpose seems benevolent, consider that most charities, even the most popularly recognizable, have recently come under fire.
In truth, most of the funds received by charities via donation, particularly in the case of those charitable organizations larger in scope and with a more recognizable public profile, become dedicated not to the service of a stated cause, but to covering administrative, advertising and volunteer costs.
Whatever remains after the enormous overhead costs have been covered, can then be hidden in private foundations and other convenient tax dodges, which are available only to those possessing the economic wherewithal to employ a Madison Avenue team of legal eagles in helping to hide their considerable, tax free spoils from the grasping hands of the cheated peasants.
Has one never wondered why, despite all of the charitable organizations which for decades have collected untold billions in tax free donations in dedication to finding a cure for cancer have managed to discover no such thing?
Because, folks, finding a cure wouldn’t be profitable.
Increasingly, even mainstream publications such as the vaunted New York Times have begun to profile critiques concerning the super rich and their philanthropic motivations. This quote comes from an article centering around David Callahan, a noted social critic who implies that charities may be utilized by the very rich not only to influence the social fabric of American culture, but the political life of the nation, and perhaps even the world. https://www.nytimes.com/2017/04/14/your-money/wealth-matters-philanthropy-david-callahan.html:
“The very rich are different from us in their views on policy,” Mister Callahan said, “They’re more economically conservative, more socially liberal and more internationalist.”
Callahan’s quotation, one believes, reads like an apologist’s method of stating that charities have become a surefire method of circumventing, and even undermining the democratic political process.
Ralph Reed: bible thumping wolf concealed in sheep’s clothing
The character of Ralph Reed is an intriguing, if not typical illustration of existential hypocrisy. Before founding what was known as the Christian Coalition during the 1990’s, an organization dedicated to establishing “faith based” charitable organizations (sound familiar, folks?), Reed became an integral part of the “College Republicans,” yet another political group consisting of controlled opposition agents fronted by CIA and the international intelligence octopus in the 1980’s. Later, Reed reportedly connected with Grover Norquist and Jack Abramoff (See: CIA: The house that Jack built) to form what came to be known as the College Republican National Committee.
But despite being a god fearing man, Reed soon ran into legal trouble when it was discovered that he and Abramoff were involved in a casino lobbying scam which stole millions from the pockets of Texas Indian tribes.
Ralph Reed AKA Michael J. Fox/Bryan Adams
Of course, both the character of Reed and the entire casino imbroglio with Abramoff represented yet another media contrived hoax, designed to demonstrate to the American people the appearance of a fair and equitable Justice system, and to also distract the attentions of those among the public who may suspect their government is controlled by nothing more than an organized gang of ruling elite criminals.
It is also noteworthy, how the character attributes of Ralph Reed eerily mirror that of Alex P. Keaton from the 1980’s television show, Family Ties.
But, truth is stranger than fiction, or perhaps it is more accurate to say, the lines between reality and fiction in this post-modern digital age have been irreparably and hopelessly blurred.