Today one happened to notice something rather curiously sinister. While walking the streets of my hometown, one passed the local high school, and one noticed pink colored signs perched at the all the entrances to the school campus: STEP UP FOR COLLEEN!

The words “step up” are an occult reference to the symbolic and ascending steps to the summit of the masonic pyramid.

These pink adorned signs were beseeching the community’s participation in a 5K road race to raise “non-profit” funds benefiting the foundation for Colleen Ritzer (C/33/O/Eden’s tempting snake/el/biblical Elohim/EE/33), the late Danvers High school math teacher who was allegedly slain at the hands of a mentally disturbed and knife wielding freshman student. This “event”, which occurred back in 2013, has been chronicled extensively by Newsspell as a blatant freemasonic derived hoax perpetrated by local officials with the complicity of not only the local school system but the local and national media. Think about it folks, once again local officials are pulling at the heart strings to generate profits from those unaware they are being psychologically victimized by those they trust as their “public officials.”

In fact, it can now be reported that one of the participants in that event (Leah Cole/EL=Elohim/Baphomet/L+C/33/Scottish Rite Freemasonry) whose image served as one half of a photo shopped composite in creating the slain Ritzer simulation, was subsequently awarded with a position in the Massachusetts house of representatives on Boston’s Beacon Hill as the result of a “special election” arranged with the help of masonic influence from the Eastern Star lodge in Danvers, Massachusetts.

In addition, folks, there can be no doubt the name “Leah Cole” was a pseudonym. Funny too, how the host actor operating under this political pseudonym (with her hair dyed black from blonde to hide her real identity) wasn’t in office for very long, and returned to the exact job she had held before she was “elected” – nursing.

One feels the Ritzer event of 2013 is comparatively relevant only in so far as it featured glaring similarities with the JFK hoax assassination. Primarily, both events prominently featured the color pink (Jackie Kennedy was wearing a pink suit and hat while riding in the presidential motorcade/the favorite color of “Colleen Ritzer” – per local periodical the Salem Evening News and mainstream news affiliates – happened to have been pink). Secondarily, both “events” featured alleged lone assailants lacking demonstrable motives, telltale markers of masonic ritual, and of course, kabbalah numerology markers, as well the fact both alleged assassins fled to the local movie theater subsequent to seeking out their chosen victims and before being finally captured.

Nevertheless, due both to their lack of overall creativity and their stubborn adherence to traditional occult ritual, this is how the freemasons in control of every town and city in America on behalf of their ruling elite Jesuit masters have historically operated, going all the way back to the dawn of American history, before the revolutionary period of the eighteenth century with the Salem Witch trials, which was also a hoax/psychological operation and took place in the same geographical area as the Colleen Ritzer “event.”

In the end folks, everything connects, and there are never any coincidences.

Be that as it may, this installment shall carry on with one’s analysis and examination of the American phenomenon of the Kennedy “Camelot” myth, this time centering on the character known to American history as Jackie Kennedy, the Queen of Camelot.

She too, as one shall soon observe, was yet another character hoisted to American historical prominence, but like those beloved celebrities starring in Hollywood movies, was nothing more than a myth portrayed by actors portraying assigned roles.

Believe it or not, folks. 

The immortal image of Jaclyn Kennedy, who served as the glamorous First Lady of the late American president, John Fitzgerald Kennedy, and perhaps as no other woman before or since who served in her position in the history of modern American politics, captured the fervid imagination of the masses of Americans.

To many during her tenure as First Lady in the White House, she became a symbol of elegance and sophistication in an increasingly coarsening cultural age, a hark back to a more civilized era. With her immaculate fashion, well-articulated manner and benevolent charm, one has to admit while looking back in retrospect, the character of Jaclyn Kennedy was a credit to her elevated position while held in the public eye, and dare one say it, comparatively speaking, a far cry from those that arrived subsequent to her mythical tenure as First Lady in the halls of the hallowed White House.

Thus, her shining image is still held dear in the hearts of many Americans and has come to symbolize a nostalgic era, when most imagine times were much simpler and a time when perhaps America was still firmly on the cusp of greatness.

Though it may have seemed Jaclyn Kennedy walked on rarified air, and though her image may have attracted the adoration of millions of Americans, she was merely an image placed in the mind through photographs, film, her myth in the eyes of posterity augmented by both the written biographical word and the perpetual hosannas dished out to the public from the mainstream media.

One of the telltale signs Jaclyn Kennedy was merely a character became apparent when one endeavored to listen to the collection of tapes released by her alleged family relation, Carolyn Kennedy. The entire collection has been uploaded to You Tube, and is no doubt available elsewhere for anyone who may be so inclined to verify or corroborate the impressions one shall now proceed to detail.

Upon listening to a mere sampling of the over eight hours of assembled interviews with the late First Lady, it became immediately apparent one was witness to a recording of a biographical intelligence briefing of sorts, with the interviewer providing Kennedy with verbal cues which triggered scripted anecdotes and impressions from both her time during and before her short-lived adventure in the White House. The question one raises is this: why would someone who lived in close proximity to the making of history needed to be reminded of certain, or any details thereof by an interviewer who did not share comparable proximity?

After all, folks, manufactured simulations are never convincing substitutes for objective truth.

Though the host actor portraying Jaclyn Kennedy did at times prove very convincing, one could sense from her inflections, pauses, and voice rhythms, that she had been provided with an outline, or even perhaps a script to either read from or refer to whenever her biographical timelines or pre-rehearsed lines could not be readily recollected.

During such times – and there seemed to be several during the course of the sample one heard – the interviewer would appear to frequently intervene to lend his impressions as if he were informing the interview subject of certain reminiscences, at which time Kennedy would seem to mostly agree with the impressions and proceed to embellish.

Additionally noteworthy – despite providing the distinct impression she was not at all privy to the intimate details of her husband the president’s political undertakings or the activities or proclivities of his colleagues during her brief period of years living at the White House, there seemed to be several occasions when Kennedy was readily able to provide minute details or even intimate characterizations of several prominent and contemporary historical figures either known to the president, his close colleagues or to the general era of the Kennedy presidency.

This contradiction is especially glaring, when asked if she had ever spoken to visiting Indian premiere Nehru, and though Kennedy initially answers that she had not or never spoken with the premiere when he visited the White House soon after her alleged husband had been “elected,” at a later juncture during the course of the interviews and again seemingly informed by the interviewer’s rather vague impressions of Nehru, she seems suddenly then able to provide intimate impressions, detailed embellishments, and colorful impressions – albeit seemingly scripted – of Nehru’s personal traits, foibles, habits, and even alleged snippets excerpted from quotes of things the visiting Indian premiere may have said to her husband the president, despite having earlier remarked she had never spoken to Nehru and wasn’t at all privy to political goings on within the White House.

In legal parlance, this is referred to as “leading the witness.”

If one is not mistaken, when such an occurrence is detected either by prosecution or by the sitting judge, such dubious testimony given by the witness is then rendered and ruled thereby inadmissible by virtue that it has likely arrived into the court proceedings as a result of being concocted out of whole cloth and cannot be adequately or empirically corroborated by other supporting testimonies.

But like the charade of American politics, these sort of exposes or heavily promoted “tell all” interviews, of the type Barbara Walters established an entire career upon, are also entirely scripted affairs, and are only made to appear – through the television magic of post-production editing – to the public as if the exchanges between interviewer and interview subject are spontaneous.

Jackie’s voice was put-on

Then, folks, there is the subject of Jaclyn Kennedy’s voice – that breathy and mellifluously honeyed sultriness lighter than an angel’s wing – regarding its authenticity and its similarity to another prominent pop culture figure of the era, Marilyn Monroe (MM/33).

Given that the character of Jaclyn Kennedy was portrayed by host actors,  the fact the character’s voice may have been a theatrical eccentricity is not surprising. But, one discovered empirical testimony from a formerly prominent pop culture figure of Kennedy’s era who not only claimed to have been a close and intimate friend to Jaclyn Kennedy, but someone who, at the time, was able to keenly observe the manufactured and even eccentric nature of Kennedy’s vocal nuances – Hollywood actress, Terry Moore:

At approximately 15:02, the noted Hollywood actress, Terry Moore, tells of her impressions after seeing Jaclyn Kennedy during her highly rated television special of 1962, “Tour of the White House.”: “I know she liked Marilyn Monroe…When I met Jackie Kennedy, she didn’t have that voice!”

Meaning folks, Jaclyn Kennedy was acting, putting on a show for the American public. In fact, if one ever endeavors to view vintage footage of Kennedy’s White House tour, one shall notice the piece is heavily edited in post-production, and the exchanges between the host and the First Lady are very stilted.

This is due chiefly to the fact, if one looks closely as the tour progresses, whenever Kennedy stops to hold forth concerning any of the White House décor, the provenance of an historic painting, or even the history relating to a piece of vintage furniture, it appears as if she is reading from a cue card or script hidden beyond the camera view (these were the days before digital teleprompters).

This also brings forth another hypothetical query, could it be the host actor portrayed Jackie Kennedy also portrayed Hollywood’s blonde bombshell and classic sexpot Marilyn Monroe?

In a previous installment, one pointed out the host actor portrayed the character of Jaclyn Kennedy was “Our Gang” child star/Hollywood actress Darla Hood. This appears to be the case, as facial recognition and teeth landmarks all positively matched up. Well, it appears that Jackie Kennedy was not the only prominent role Darla portrayed. In fact, it can now be reported due to identical facial recognition and teeth landmarks that Darla Hood was not only the host actor portrayed First Lady Jaclyn Kennedy, but also portrayed the character of Marilyn Monroe.

https://www.findgrave.com/memorial/496/darla-hood#view-photo=85271

But wait folks, there is a twist, in that the classic voice signatures of both Marilyn Monroe and Jaclyn Kennedy may have been the result of voice synthesis and post-production overdubbing. In other words folks, both Marilyn and Jaclyn had voice host actors, just as there had been for the presidential character of Richard Nixon (California news anchor Jerry Dunphy/See: Watergate covered up more sinister crime part I).

Keep in mind folks, the actor based reality presented to you from your television screens and from the pages of American history texts remains hidden by many protective layers of lies one must endeavor to unravel before one can even hope to discover the kernel of objective truth occulted beneath.

And one discovered the examination of Jaclyn Kennedy’s character to have been no exception.

Polly Bergen

Polly Bergen, an award winning actress, television host, and highly acclaimed “torch” singer (the latter of Bergen’s professions will prove key) in several respects enjoyed not only a rewarding but interesting career. Perhaps most notably, she starred in 1964’s Kisses for my President with Fred McMurray, where she was cast as the first woman to be elected American president. More interesting still, Bergen starred in 1963’s Move Over, Darling with James Garner, in a role originally slated for Marilyn Monroe.

It is claimed Monroe took the role before her death just as the movie began shooting in 1962 and then was fired by director Michael Gordon, got hired again, and then tragically died soon thereafter.

However, recalling past installments concerning the character of David Bowie (Duke Henri of Luxembourg/See: US government goes wacko in Waco), the death of a high profile star often means the host actor is either retiring from the role or their contract has expired, in either case it seems this may be the prevailing scenario here.

Given that Monroe’s death took place on August 5 of 1962, could it be Darla Hood, the principal host actor for both the Kennedy and Monroe characters had decided to retire from both roles, and in order to cover for the character’s simulated death, an experienced and polished actress such as Bergen was slated to not only replace Hood in the role of Jaclyn Kennedy pre and post-assassination, but could this be why she was called upon to step in for the late Monroe to co-star with Garner in Move Over, Darling?

Prior to starring in a spate of movie roles, Bergen was primarily known for her especial brand of “torch singing”, a vocal styling first popularized by Ethel Merman and Judy Garland, and characterized by octave sweeping vocal gymnastics requiring a highly skilled control over not only one’s tone, vibrato and vocal sub-harmonics but one’s breathing, phrasing, and diaphragm.

Needless to say, one would never hear this highly demanding vocal style attempted by any contemporary female pop singers who now rely primarily on merely marketing, image, and auto-tune software to create for themselves any semblance of a career in the music industry.

As one can observe from the video sample above, Bergen was an electrifying vocalist, featuring the sort of vocal pyrotechnics that could almost be classified as operatic. Surely, a vocalist commanding such great control over the harmonics of the human instrument could have easily produced the distinctive speaking voice that came to be associated with the historical character of Jaclyn Kennedy?

It can now be reported that voice comparison analysis of both the Monroe and Kennedy characters indicates a positive match.

Could it be, after Darla Hood was retired from portraying both the Monroe and Kennedy characters upon Monroe’s death in August of 1962, that Bergen – serving as the vocal host actor aided by the application of the media sorcerer’s post-production voice synthesis – stepped in as the Kennedy host actor when Darla Hood was switched out in 1962?

If one has any doubts folks, consider these anecdotal facts: Not only were both Bergen and Jackie Kennedy known to be notorious chain smokers (identical brands/Salem), but could it be that Bergen’s substitution for Hood in the public role of Jaclyn Kennedy post-1962 was the reason the Kennedy character became famous for wearing dark and oversized Wayfarer sun glasses whenever she was photographed, most likely to hide the host actor substitution made in 1962 subsequent to Monroe’s tragic death?

More fascinating still, is that before her death, Bergen starred in an episode of the popular HBO series the Sopranos, portraying the character of Fran Feldstein, a character that was not only cast as a former lover of the protagonist’s father, but at the end of the episode it is also revealed she was the former lover of- wait for it folks – JFK!

After considering all of this, one has come to the inevitable conclusion that though Americans may have felt an endearingly close but no doubt still vicarious personal relationship with the historical myth of Jaclyn Kennedy, it becomes clear that in an ironic sense, no one really knew her at all.

And why? – because outside of the myth created for historical posterity, she never existed.