Tennesse Williams is recognized as one of America’s greatest twentieth century authors, playwrights. Some of his most famous theatrical works – Glass Menagerie, Streetcar Named Desire – were not only adapted for Hollywood’s big screen, but they are also still recognized by literature aficionados, theatrical critics, and academics as premiere works of literary greatness.
Below: Tennessee Williams
But despite all of the awards, accolades afforded him and being counted among the pantheon of literary renown, “Tennessee Williams” was not who he claimed to be. As so often happens when held beneath the microscope of investigation, the foundational credibility of Williams’s ‘official’ biography becomes reduced to the realm of myth. Turns out, the most destructive investigative factor which contributed to the demise of the literary figure’s legendary status was the revelation that Williams had something in common – SEE: Cold Blooded Truth about Truman Capote – with literary contemporary “Truman Capote”.
Turns out, they were both media-generated fabrications portrayed by European royalty. Despite claims to the contrary, Williams wasn’t from the state – Tennessee – after which he took his name. Rather, he was a royal prince emanating from a family of German princely nobility, one consisting of Dukes and Holy Roman emperors, who also had an intimate connection with legendary MSM news correspondent/talk show hostess Barbara Walters (aka Hollywood actress Audrey Hepburn/Princess Ira von Furstenberg).
Below: Princess Ira von Furstenberg, Audrey Hepburn, Barbara Walters
Below: Prince Alfonso Hohenlohe
ROCKEFELLER FUNDED WILLIAMS NOT FROM TENNESSEE
Many famous personages, notable historical figures, whether Hollywood celebrities or major figures in the political arena, subject(s) of numerous past investigations on this site, were found to be genealogically connected to or emanated from European royalty.
This occasion proved to be no exception.
Early on in one’s investigation into “Tennessee Willliams”, a significant clue, connecting the famous playwright to an ancient German royal/noble family, quickly arose. Not only that, but according to official biographies, Williams’s nascent literary career received significant boosts in the form of financial grants from both the Rockefeller family (aka House of Saxe-Coburg-Gotha/Hanover/Windsor/Rothschild) and the U.S. corporate government during the presidential administration of Franklin Delano Roosevelt (aka Prince Tassilo von Furstenberg/Jimmy Stewart/Henry Fonda/Fred Astaire/Walt Disney/Walter Cronkite) who, it also turns out, was a hidden royal family relation of “Williams”. Before the stunning and critically acclaimed debut of Williams’s play Glass Menagerie on Broadway in New York City in 1944, Williams is credited with authoring I Rise in Flame, Cried the Phoenix. For most of his illustrious professional career, Williams was known by the nickname “Bird”, undoubtedly an occultic reference to the mythical winged Phoenix which burned but was then miraculously resurrected from the raging pyre. At the time of Glass Menagerie’s Broadway debut, Williams was reportedly thirty-three years old (33=highest degree of Scottish Rite Freemasonry). Not so coincidentally, as observed in the image posted below, the motto accompanying the coat of arms associated with the family of German princely nobility – House of Hohenlohe – from which the royal host actor identified in portrayal of “Tennessee Williams” emanated states: Ex flammis orior, which translates from classical Latin into FROM FLAMES I RISE.
Below: Coat of Arms, royal House of Hohenlohe
Prior to Glass Menagerie, I Rise in Flame, Cried the Phoenix, Williams authored Battle of Angels – a Rockefeller funded play poorly received and critically panned – and he is also credited with penning an obscure and lesser- known work entitled Auto da Fe, which, during the historical period of the medieval Papal Inquisitions throughout Europe, was a form of religious heretical execution by immolating fire utilized by the Jesuitical inquisitors. The symbolic theme of fire also featured prominently in Williams’s first published work, appearing in 1928 at the age of sixteen, a short composition for which he was paid the then handsome sum of thirty-five dollars, equal to over four-thousand dollars today, by the editors of Weird Tales, a popular fantasy magazine. Williams’s maiden publishing effort – The Vengeance of Nitocris – spins the tale of an ancient Egyptian queen who avenges the death of her Pharoah spouse but then, to escape retribution, elects to commit suicide. According to Williams’s story, after a bridge spanning the Nile River built by the Pharoah collapses and extinguishes the sacred fire of Osiris, a sacrilegious act for which he is sentenced to death by Pharaonic priests, Queen Nitocris cleverly plots an act of vengeance disguised as atonement by inviting the priestly executioners to her magnificent temple for a feast. The Queen’s atoning invitation soon becomes a deathly entrapment when a sluice gate connected to the Nile River opens and floods the palace, drowning the Queen’s unsuspecting guests. Fearful of retribution for her vengeful act, the Queen lays herself on a bed of fiery hot coals and dies of asphyxiation. Of course, such stories of ancient Egyptian myth, lore are commonly associated with the pseudo-religious cult of freemasonry.
By all accounts, during his formative years, Williams was something of a lazy dilettante who despised the idea of physical labor – he once gained employment as a menial laborer at a shoe factory through his disapproving father, a job Williams reportedly loathed – and while matriculating at several colleges, though he proved to be a rather disinterested and even delinquent student, he was invited to attend the New School for Social Research’s Dramatic Workshop in New York City, an institution not only founded and funded by the Rockefeller family and staffed with professors who were avowed Marxists, but as most may recall from a previously published article – Columbo & NFL Enter the Twilight Zone – also included Peter Falk (aka Rod Serling/Vince Lombardi) among its alumni. Before hosting the Twilight Zone, Serling (aka Falk/Lombardi), like Williams, also ventured into the playwrighting trade.
According to Wikipedia and other biographical sources, Williams utilized the financial windfall granted to him by the Rockefellers and monies bestowed from the U.S. corporate government’s depression/FDR era WPA (Works Progress Administration) social welfare program to resettle in New Orleans.
This begs a question, though.
Why would the Rockefellers have become interested in loaning money to an academically deficient college student from rural Tennessee?
Perhaps the biographical detail of Williams’s short-term employment at a shoe factory provides a clue. Shoes or footwear are part of the masonic ritual called the Rite of Discalceation – taken from classical Latin, discalceare, meaning to pluck off one’s shoes – or blue slipper ritual, indicating the physical confirmation of a spoken deed or bond. Though this biographical detail is undoubtedly interpreted by most in a literal fashion, the Jesuit/CIA hacks working at Wikipedia are covertly informing the public through an example of freemasonic ritualistic symbolism that Williams had taken an oath and sealed his bond to the ranks of freemasonry. The Works Progress Administration was part of U.S. President Franklin Delano Roosevelt’s executively ordered ‘New Deal’ responsible for building roads, bridges, including San Francisco’s Golden Gate, and for the building and staffing of Japanese internment camps during WWII. Despite the fact historians claim the U.S. corporate government was broke, insolvent during the 1930’s Depression era, it nevertheless inexplicably coughed up billions of dollars for vast construction projects staffed by financially destituted and formerly unemployed workers who were essentially used as government sponsored slave labor and to fund the careers of playwrights like “Tennessee Williams” then suffering in artistic obscurity.
But as things turned out – due to being a hidden European royal and his connections to freemasonry – “Tennessee Williams” didn’t suffer in obscurity for very long.
FAKE FRIENDS IN HIGH PLACES
After triumphing with seven successful consecutive Broadway play productions and being universally hailed as one of America’s leading literary giants, in the late 1950’s, “Williams” started palling around with John F. Kennedy and literary contemporary Gore Vidal, both of which, of course, have also been identified as fabricated character schemes/intelligence assets, the former portrayed by Hollywood actor Dennis Hopper and the latter by television actor/comedian Carl Reiner.
SEE: NASA’s Fake Hollywood Space Cadets
In the images posted below, everyone will notice the comparatively identical structural, geometrical proportions of the respective brows and eyes between JFK and Hopper. The epidermal structures of the respective ears are also identical.
Below: Dennis Hopper, JFK
In the pair of images posted below, both Hopper (aka JFK/Roger Daltrey/Andy Warhol/William F. Buckley) and alleged JFK “assassin” Lee Harvey Oswald (aka Hollywood actor Sir Anthony Hopkins) are observed to be nearly identically positioned with rifles in hand, depictions which represent a deliberate mockery of the general public.
SEE: Anatomy of a Hollywood Death Hoax II
Below: Dennis Hopper, Lee Harvey Oswald
Speaking of firearms, an article published at https://www.kwls.org/key-wests-life-of-letters/gore_vidal_tennessee_williams/, describes a visit from both Gore Vidal and Tennessee Williams to JFK’s vacation home in Palm Beach, Florida in 1958. During their time together, the article reports, while “Jackie {Jaclyn Bouvier Kennedy} flitted about taking polaroids,” Williams, Vidal, and JFK took turns banging away with a rifle at a target. Not only is this scenario charged with irony given the historical claim that a mere half decade later JFK was allegedly slain by the Warren Commission’s ‘magic bullet’ shot from a barely serviceable WWII Italian rifle wielded by a lone assassin, but even more revealing is Vidal’s response to a homoerotically charged comment Williams is reported to have made concerning JFK’s derriere.
SEE: JFK Hoax Executed by Wizards of Oz
From the perspective of Vidal’s recollection later recorded in the New York Review of Books, the article at kwls.org reports, “At one point, while Jack was shooting, the Bird {Williams} muttered in my ear, ‘Get that ass!’ I {Vidal} said, ‘Bird, you can’t cruise our next president.’ The Bird chuckled ominously: ‘They’ll never elect those two. They are much too attractive for the American people’.”
Perhaps the most telltale aspect of the preceding quote is Vidal’s implication he somehow knew that JFK would become president, underscoring the premise of Post-Modern Reality Simulation and demonstrating that the arena of American politics is nothing more than a television program, a Hollywood-styled production consisting of staged, scripted theatrics. Of course, as Jesuit/CIA controlled intelligence assets, “Vidal” (aka Reiner), “Tennessee Williams”, and JFK (aka Hollywood actor Hopper) would likely be privy to that fact, while at the same time joking and shooting a gun, the very same type of weapon which ultimately led to JFK’s demise.
Or so academics, historians, and the MSM by stubbornly held consensus would have us believe.
Another significant aspect of the JFK story brought forth by the article at kwls.org is that during the entire time Williams, Vidal were shooting guns with the future president in Palm Beach, Jackie Kennedy (aka Shirley Temple Black/Judy Garland/Marilyn Monroe/Helen Thomas/Madeleine Albright) was snapping pictures, indicating the presence of a hidden clue that the principals were playacting roles – much like the actors cast in Williams’s plays – for the purpose of recorded historical posterity. It is also noteworthy that like their literary contemporary “Truman Capote” (aka King Leopold III of Belgium/Hollywood actor Bing Crosby), both “Williams” and “Vidal” were alleged to be homosexual which, as high-profile media figures, served the ulterior agenda(s) of their Jesuit/CIA intelligence masters, to influence, shape, and ultimately control the public’s social discourse, perception, and social behavior.
During his public career – SEE: https://muse.jhu.edu/article/950361/pdf – Vidal was often quoted on the record regarding his advocacy for and approval of depopulation and eugenics. While Vidal’s early novels featured blatantly homosexual relationships, an examination of Williams’s plays demonstrates they are cast with socially dysfunctional, comically pathetic, and emotionally immature characters whose only form of meaningful communication seemed to exist through sexual congress and even senseless acts of violence.
In essence, “Capote”, “Gore”, and “Williams” were wholly created as high-profile media-generated fabricated character schemes to introduce social turbulence, controversy, and chaos into the traditional fabric of middle-class American society through the arts and published literature. Given that they were intelligence-controlled media-generated fabrications, it is also likely that the published works of “Capote”, “Vidal”, and “Williams” were ghost written by teams of classically trained but hidden scribes, writers connected to intelligence operations and employed by major publishing houses monopolized under a vast corporate ownership umbrella, the majority shareholders of which are the royal families so often alluded to on this site.
WILLIAMS=PRINCE ALFONSO
The history of the German princely/royal house of Hohenlohe is richly extensive, as they had a significant impact on the history of not only Germany but the whole of Western Europe. Prince Alfonso of Hohenlohe-Langenburg – one time spouse of Princess Ira von Furstenberg (aka Hollywood actress Audrey Hepburn/Barbara Walters/Suzanne Pleshette/Rona Barret) – and the House of Hohenlohe are related to the House of Saxe-Coburg-Gotha (aka Hanover/Windsor/Rockefeller/Rothschild) through Prince Phillip (aka Errol Musk/Billy Graham/James Arness/Dick van Dyke), Princess Alexandra and Queen Victoria’s half-sister Princess Feodora of Leiningen. For centuries, the House of Hohenlohe ruled over an immediate territory of the Holy Roman Empire. Their imperial dynasty is also related to the 12th century Holy Roman Emperor Frederick Barbarossa (red beard), who was also crowned king of Germany, of Burgundy, and of Italy by Pope Adrian IV in Rome in 1155. Facial recognition, ear biometric, and image comparison analysis confirms that Prince Alfonso of Hohenlohe was indeed the host actor (live-action role player) in portrayal of the renowned 20th century playwright known as “Tennessee Williams”.
Below from L to R: Tennessee Williams, Prince Alfonso of Hohenlohe
