This installment should have perhaps been included in the series of articles on the myth of the Kennedy family.

(See: American Camelot: The Kennedy’s mythical dynasty)

However, much has been learned since those articles were published, and what shall be revealed may seem – especially to those visiting for the first time and perhaps even to one’s loyal American readers – grandly absurd.

Nevertheless, one has ably established that many of America’s historical figures, the Kennedy’s included, were not who they claimed to be, that they were, in fact, merely actors assigned to play a role upon history’s grand stage, characters in a scripted play dressed up in costumes drawn from the storage bins of Hollywood’s wardrobe warehouses. And perhaps no other American presidency, other than that of the mythical John Fitzgerald Kennedy, was more grandly scripted and better sold to the American public as an epic, heroic, and ultimately tragic historical figure.

Nor, has any mythical story in America’s history proven more profitable than that of Camelot; the enchanted kingdom of the golden skinned, fair haired president and his seductive, fairy tale princess wife. But it was all an illusion folks,  a made for television movie, if not the very first ‘reality’ television series ever broadcast.

Anyone who has frequented the pages of Newsspellcom.org. has come to the realization that the world is predicated on the basis of one philosophy, dwarfing the significance of all others: Commerce.

Which brings one into a short digression. Perhaps one should once more make the underlying premise of the ‘actor based reality’ clear to not only loyal visitors, but especially those who may have ventured here regardless of motivation.

All countries, whether in the western or eastern hemisphere, are corporations consolidated under the umbrella of a global system consisting of administrative/legal, theocratic, military/industrial and commercial/financial centralized control, strategically centered by a trident of capitols or city states; the Crown Temple in the city of London, the Vatican (controlled by the Jesuit order/Knights of Malta) in Rome, and Washington’s District of Columbia. The lynchpin that connects all three in “common purpose” is the international brotherhood of Masons whom are also connected to not only the Jesuit Knights of Malta, but the international intelligence octopus consisting of MI5, MI6, Mossad, Stasi (German intelligence), and of course CIA.

Contrary to the transparent propaganda still proffered by US public school history books, this global consolidation began with the Anglo-French Treaty of 1514 and was legally finalized after 1776 with the principal signing of the Treaty of Peace in Paris under the watchful witness of barristers called to the Temple Bar of the Crown Temple. Every so-called historical event since that time has been manufactured to psychologically and incrementally condition the masses to (a centralized global governance) that which has existed generations before the advent of their own lifetimes.

In essence, all presidents of the US corporation and its sitting bodies of congress and Justice throughout America’s history have merely been symbolic totems and represented theatrical parlor exercises which in turn provide for the masses the illusion of democracy and democratic due process. In truth, the identical commercial trade/feudal tax farm system established shortly after the Norman invasion of Britain in 1066 and prevailed onwards from the time of the Magna Carta in the thirteenth century, still exists today hidden beneath layers of exoteric bureaucracy. The character of John F. Kennedy was merely one such symbolic totem, designed to occupy the masses with an epic story of democratic triumph, classical tragedy, and the perception of historical change while the esoteric/occult form of governance, existing since time immemorial, still persisted elsewhere and out of sight.

After all folks, if you owned a corporation worth 800 trillion dollars, would you risk turning it over to a legitimate democratic election and some ambitious figure one couldn’t control?

Television’s magic mirror

At the onset of the 1960’s, the television medium had fast arrived as the entertainment vice of choice for millions of Americans, a fact that did not escape the attentions of the ruling elite Jesuit royal families. In order to better sell their political and social agendas to an increasingly television savvy generation of Americans, it was necessary for them to create archetypal figures proving so all-encompassing, charismatic, and perhaps most importantly, telegenic, that their images would become seared within the American consciousness, memorable snapshot images that could be called forth and reinforced time and again into the collective public memory.

And perhaps none proved more suitably mythical, charismatic and memorable than John Fitzgerald and Jaclyn Kennedy, characters which were created at a specific historical juncture in America when the full visceral and psychological potential of the television medium was just beginning to become realized. To this day, the images of Camelot’s tragic king and his enchanting queen still haunt the American historical memory, proving to the ruling elites that there existed no more powerful elixir with which to bewitch the senses of the masses than the stellar and immortal images broadcast through the television screen. But it turns out folks, John and Jaclyn Kennedy were not America’s royal political dynasty, they were only Hollywood actors dressed up in spangled splendor to appear as if they were.

The neophyte JFK made into political legend 

The political career of the man known to American history as John F. Kennedy began in Boston, Massachusetts, a city where it just so happens America’s very first masonic lodge was established before the dawn of the eighteenth century. Masonic orders and their secret meetings had existed long prior to that, going all the way back to the Salem Witch trials, but this is merely the ‘official history’ one is presented with, and loyal readers have come to recognize that it is indeed more accurate to say, the term official history has merely come to signify a very large parcel of lies those charged with writing, editing and publishing the American history books appearing in the classrooms and libraries of public schools and prestigious higher institutions of scholarship have merely chosen to agree upon.

No doubt, the high level Freemasons in connection with Skull and Bones at Yale, and the well-laid brick yards of Harvard were responsible for handling the Kennedy character, providing the requisite sheen of not only academic respectability and the stamp of public approval arriving with the perception of political gravitas, but were also most likely responsible for crafting the character’s mythical backstory.

In perusing the biographical content of the nearly inexhaustible shelves filled with tomes featuring Kennedy hagiographies, it becomes clear the rocketing political ascendance of the Kennedy character was largely hoisted aloft from the helping hands of the international masonic brotherhood, but also aided by the nearly inexplicable scholarly weight given a novice political figure’s every utterance, no matter how seemingly trivial. It is fair to say, whatever profundity and pithy quotes the Kennedy character and would-be US president managed to marshal forth were scripted and composed by academics connected to masonic networks from Yale and Harvard behind the scenes, and most likely rehearsed just as a Hollywood movie character would do before hitting his mark before the cameras for the final take.

A greater in depth examination of Kennedy’s upstart political career reveals a systematic sequence of successful and nearly unchallenged campaigns that without prior merit exhibited at such a callow age, seem suspicious. Suspicious too, is the fact Kennedy was hoisted to a political pedestal in Massachusetts primarily based on possession of two prominent characteristics – personal charm and his war record as a courageous and decorated war hero. While there is no doubt veracity to be found within the documented accounts of such charm reportedly exuded by the Kennedy host actor, the latter accomplishment is doubtless a pure figment fabricated for historical posterity.

Kennedy’s reputed heroism derives from a single event of dubious veracity, from when he allegedly survived a PT boat disaster in the south seas of Asia. Not only is the official story of this so-called event mired in numerology markers, but one does not have to be considered a maritime expert to observe the many anomalies and outright absurdities inherent in what was no doubt a manufactured story by the Kennedy character’s ivy league Skull and Bones benefactors/creators/handlers, men of aristocratic Anglo/European heritage who themselves liked nothing more than to historically promulgate the public perception they were chivalrously courageous, capable of bravely leading the charge amid the perilous dangers of war.

Before one offers a numerological analysis, it should be pointed out that as in seemingly all such cases where heroic events are fabricated to serve as foundational basis for the biographical provenance of a mythological character, the ruling elite royal Jesuit bloodlines in control of the American recording industry decided to dedicate the historic event of Kennedy’s PT 109 to posterity by committing it to song:

Wow, folks, does it get any cornier than that?

One detects a tongue and cheek delivery on the part of the vocalist here, as if to unintentionally, or perhaps intentionally, damn the Kennedy character with faint praise, as if to mock the innocently credulous listener who is most likely unaware of the irony the song is in fact mythologizing a complete hoax.

In addition to the numerology attached to the historical account of this event, the details of Kennedy’s heroism, and the dubious circumstances of just how the event came about reveal its inherent absurdity. Per agreed upon historical myth, it is claimed while in command of a PT cruiser boat #109 ( a small naval torpedo attack boat/PT 109 reduces to 9 in English gematria = Satan’s #) near the Solomon Islands (masonic key of Solomon’s Temple) in the South Pacific sea, a Japanese destroyer (really folks!) rammed the vessel and split it in two during the morning of August 2, 1943  (2 8’s=88 (Mark of Saturn/Jesuit Knights of Malta/19=# of the sun/4+3=7/zayin Kabbalah mind weapon/’G’ centering masonic square and compass) ) at 2:30 am (2 3’s=33/high degree Scottish Rite Freemasonry).

Reportedly, of the thirteen (summit of masonic pyramid) crew aboard, eleven (masonic builder’s apprentice), including Kennedy, survived the ensuing fiery debacle. It is also alleged that after several hours of hanging on to the bow section of the damaged vessel still barely remaining afloat, Kennedy and the surviving men under his command swam four miles to the nearest deserted island. But folks, as so often happens with these mythical historical events, the ruling elites like to reinforce their concocted stories, and recently, it was claimed that a salvage mission recovered wreckage of Kennedy’s PT 109.

See: https://historynewsnetwork.org/article/864

In 2002 (2+2=4/Kabbalah door of perception) the aforementioned article claims remains of Kennedy’s sunken PT cruiser were found 1320 feet (1+3+2=6/2 3’s/33/high degree Scottish Rite Freemasonry) below the South Pacific, lodged in sand along with a Mark 18 (666) torpedo tube (the ruling elites just love their phallic imagery), a Mark 8 torpedo (Aces and 8’/intelligence code), and assorted training gear.

As empirically demonstrated, the story of JFK and PT 109 represents epic, Hollywood styled mythmaking.

In other words, folks, Kennedy’s grand tale of heroism on the high seas amounted to fabricated profile and manufactured courage.

Speaking of which…

Profiles in ghost writing

Though it may have been taboo to have dared done so in the past, mainstream scholars and historians have now either implied or indicated that Profiles in Courage, the very tome establishing John F. Kennedy’s political and intellectual bona fides may have been partially if not completely composed by a ‘ghost writer’, most likely to have been alleged close confidant Ted Soren(son) (son=sun/Lucifer’s ray of light, but more on Teddy boy later).

Still others have implied that the tome was most likely written via committee, and it is most likely that 1957’s (19/sun #/5+7=12/21/777 joker code) Profiles in Courage, Kennedy’s Pulitzer Prize (the Pulitzer committee is entirely controlled by Freemasons and the winning selections often reflect some political/social agenda) winning tome was written entirely by hand picked scholars and academics who themselves were later hoisted to prominence in their own chosen fields of literary and academic endeavor for their considerable efforts.

Perhaps this was why prominent writers were so often reportedly celebrated by Kennedy during his short lived occupancy at Pennsylvania Avenue. Could it be, these writers and academics were invited to the White House purely out of consideration for quid pro quo? Though it is doubtful many have actually read the tome, one was startled to find the quality of the prose found in ‘Profiles’ seemed to smack of another writer contemporary to the era in question, one who had previously been awarded a Pulitzer Prize for his debut novel “The Naked and the Dead” in 1948, and would go on to achieve many distinguished and at times controversial accomplishments during a long literary career in American letters – Norman Mailer. Some of the other academics that may have contributed to “Profiles” were most likely Georgetown University (A Jesuit institution) history professor Jules Davids.

In fact, well known syndicated columnist Drew Pearson, during a television interview with Mike Wallace, went on to suggest that “Jack Kennedy is…the only man in history that I know who won a Pulitzer prize on a book that was ghostwritten for him.” In a fit of damage control, the handlers and creators of the Kennedy character scrambled to collect “hand-written notes” and also went so far as to solicit statements from other individuals who could be coerced to claim they witnessed JFK working on the book, and then in taking things to perhaps the ultimate, even went so far as to demand the executive brass at ABC to persuade Wallace to issue a retraction of Pearson’s statement made while on the air. But, this is the lengths the ruling elites will go to in protecting the public integrity of their imaginary and mythical creations.

At the time of its release, Mailer’s debut novel was hailed as the great American war novel, for its subject matter dealt with a regiment of soldiers enduring the horrors of human armed conflict at the close of the second world war. Like Kennedy, Mailer was a Harvard alumnus, and one supposes it may be also very possible that the Pulitzer prize winning author could have been not only involved with the meticulous scripting of the PT 109 myth, but given the similarity of the prose found in Kennedy’s “Profiles” to many of Mailer’s books – in terms of tone, pacing, and the sweeping breadth of epic narrative –  could it also have been possible that the then young Mailer played a major role as the hidden “ghost writer” of the famous JFK tome that established Kennedy’s reputation as an American intellectual and major political figure?

Bolstering this argument is the fact that many of Mailer’s highly touted titles released subsequent to the Kennedy era featured not only social but political commentaries on American life, and in fact many of his books, up until the time of his death early in the 21st century, dealt with politics in America as a centrifugal theme.

As for Ted Sorenson, the man popularly alleged to have been not only the ghost writer for Kennedy’s Pulitzer prize winning “Profiles in Courage,” but the originator of the famous Kennedy quote, “Ask not what your country can do for you, but what you can do for your country,” he was also a character portrayed by a host actor. Perhaps one is familiar with this other famous – or infamous, depending upon one’s political persuasion – quote from Sorenson’s host actor while serving as president of the NRA, a man who played a plethora of epic characters during the span of his Hollywood career, including the biblical Moses:

A tale of two Jacks?

Truth is folks, the host actor portrayed the JFK character that inhabited the white house and the one portrayed the earlier incarnation appear not to have been the same. There seem to be minor and differentiating facial features in the brow ridges and in the slope and diameter of the noses, specifically in area of the nasal cavities. In fact, if one looks close at the grainy black and white historical footage of the presidential JFK character, there seem to be generous amounts of stippling, especially around the eyes. Be that as it may, the concept of switching out host actors is a topic one had recently introduced in past installments regarding the characters of Hillary Clinton and Donald Trump.

It must also be pointed out that the Kennedy character was often referred to as “Jack”, which in the occult world is a reference to the concept of Satan (enslavement to commercialism/artificially imposed reality matrix). Meaning folks, the Kennedy character was created to be symbolic or archetypical, a living myth brought to life through television and photographic images – this is the essence of the ruling elites brand of sorcery spelled on the masses. While it was reported in an earlier installment on the subject of the Kennedy family myth that former “Little Rascals” star Carl Switzer was likely the host actor of JFK, it is also most likely he starred as the earlier incarnation of the character during Kennedy’s upstart political campaigns in Massachusetts. Switzer’s alleged death in 1958 at the hands of a homicidal altercation – as in the case of David Bowie AKA Henri, the sitting Grand Duke of Luxembourg – most likely represented a cover story for his retirement from Hollywood and a reward for having served his masters well. But since Switzer’s masters had grand plans for the Kennedy character, they would need to contract another host actor to portray the part, someone of good Hollywood stock, and also royal lineage to better portray the desired public image.

(See: American Camelot: the myth of the Kennedy dynasty part III)

In many Kennedy biographies, it is pointed out that the upstart young Senator from Massachusetts would remain watchful of the other senators as they rose to speak in the senate chamber, preferring to silently absorb their “performances.”

It becomes clear from these documented biographical accounts that Switzer, as the young Kennedy host actor, was learning the ropes as to how to carry himself in his new role and utilizing the senior “senators” as models from which to draw cues for his own political performances before the public.

Yes folks, believe it or not, politics is nothing more than staged theatrics, a Shakespearean inspired production paid for by public tax money. One of those senatorial models the Kennedy character most likely took his cues from was Everett Dirksen, a man known by others in the Senate as the “Wizard of Oz.” But, like most of the so-called politicians in the Senate and in the House of Representatives, Dirksen was portrayed by an actor. In this case the character of Dirksen was portrayed by an actor/singer, the late country and western music hall of famer Hank Williams Senior.

Hank Williams Senior: https://goo.gl/images/mYqi3B

Senator Everett Dirksen:https://goo.gl/images/iSb!gy

So, if the previous host actor portrayed the Kennedy character prior to his White House incarnation had retired from Hollywood life and the presidential character of JFK wasn’t former child star Carl Switzer, one may demand to know, who, subsequent to 1958 may it have been?

Easy Rider

Loyal readers to Newsspellcom.org recognize the author’s documented assertions sometimes arise from sheer lightning bolts of intuition, and during the commencement of additional research on the topic of JFK, this installment proved no exception.

One was recently compiling video clips to utilize as visual aides for another article, when one came upon a cinematic excerpt from the 1968 film Easy Rider, featuring Peter Fonda and Dennis Hopper (also involved with the Charles Manson Helter Skelter serial murder hoax). The narrative of the film concerns itself with two drifters who endeavor to travel via motorcycle from California to New Orleans in time for Mardi Gras. The film clip in question, viewed on You Tube, was excerpted from the film’s denouement, where the pair of protagonists encounter gun toting southern rednecks and are summarily murdered and left by the roadside just before the rolling of the final credits. As it plays out, the scene is curious in several regards, for at the beginning of the clip, the camera angle centers on the pair of adventurers as they ride their bikes from the very rear, and is eerily reminiscent of the camera angle of old news reel footage taken in 1963 just as JFK’s fated motorcade enters Dallas’ Dealy Plaza.

Not only that, but of the two rednecks encountered by the bikers, the facial appearance of the actor riding shotgun in the pick-up truck and wielding a shotgun is even more eerily reminiscent of Lee Harvey Oswald, the alleged JFK assassin. And if one looks even closer, the actor donned with a white hat driving the red neck’s pick-up appears to resemble Texas Governor Connolly, who was present in JFK’s motorcade and not only alleged to have been wounded by the Warren Commission’s “magic bullet”, but a key witness to the assassination on that fateful day of November 22 in 1963.

In examining the clip much more closely, one will notice the Hopper character is positioned in the identical prone manner after being struck by the shotgun blast as Robert Kennedy subsequent to having been struck with Sirhan Sirhan’s close quarters bullet at the Ambassador Hotel. And here’s where it gets absolutely surreal, folks. The Fonda character is named Captain America, which in English gematria reduces to 6 and respectively, JFK reduces in English gematria to nine (=6 mirror reversal/Satan’s #/ the Ennead/ the end of elementary numbers/summit of the sphere of occult Fire).

After his fellow adventurer is shot, the Fonda character jumps back on his bike and attempts to abscond for help, but to no avail, for he too is slayed by the redneck’s shotgun blast.

What occurs after Fonda is wasted by the red neck’s shotgun?

Well, the gas tank of Captain America’s motorcycle, which is painted with the stars and stripes, explodes and catches fire, and then, just as the credits role, the camera pans upward to acquire a panoramic view of the landscape, clearly a symbolic representation of the rising of the fiery and mythical Phoenix soaring from the flames of destruction.

The Hollywood Fonda’s and royal lineage

Not surprisingly, as seems to be the case with many of Hollywood’s most celebrated actors, Peter Fonda, who is of course the son of legendary film star Henry and sibling to long time celebrity personality and actress Jane (who incidentally portrays California representative Nancy Pelosi), genealogically descends from not only some of America’s most distinguished historical founding fathers but European nobility and royal bloodlines on his mother’s side – that of Frances Ford Seymour.

Turn’s out, Seymour has direct genealogical relation to former Massachusetts governor Samuel Adams and America’s second president, John Adams, which makes Peter Fonda a relation of Diane Spencer, Princess of Wales. And folks, we all know that Diana Spencer is still alive and in truth is Ondine Rothschild disguised as Britain’s current Prime Minister, Theresa May (See: Diana: the myth made people’s princess part III).

Make no mistake, folks, Hollywood is a deep bastion of royal and noble nepotism and, when one looked closer at Peter Fonda, there appeared to be facial recognition similarities with the presidential JFK character. Given that during this era, America’s presidents were nothing more than young actor’s disguised as distinguished statesman (Barry Diller=Dwight Eisenhower/LBJ=Robert DeNiro/Warren Beatty=Richard Nixon) one was stricken with the intuition that Peter Fonda had starred as the host actor of the presidential character known to American history as JFK. It can now be reported that indeed – due to voice comparison and ear bio-metrics analysis – that though initially the young Peter Fonda seemed to be a match for the identity of JFK’s presidential host actor, it is his Easy Rider co-star, Dennis Hopper, who portrayed JFK.

Yes folks, the mid-twentieth century American history you’ve read about in the public school history books represents nothing more than a biographical account of a decades long running television “reality show” complete with some of Hollywood’s most prominent young actors portraying the mythical and starring roles.

Stay tuned folks, for Part II coming soon, when one shall provide an in depth look at the true identity of yet another host actor behind the glamorous queen of historical Camelot, Jaqueline Onassis Kennedy.