The vital spirit of revolutions is fueled by deluded romanticists. The black smoke billowing from romanticism’s flame blinds followers of revolutions to the notion that they’re merely being utilized as strategic instruments by the very oppressive forces against which they’re attempting to rebel. While motivated by the passionate belief that efforts in fomenting a social or political revolution will change the status quo in their favor, such is quite the opposite. The efforts of revolutionaries, whether of a violent or non-violent nature, only serve to bolster the hegemonic strength of the prevailing status quo. Throughout history, revolutions have been funded by bankers and have been scripted, stage-managed by intelligence agencies to serve private economic, commercial interests and for ulterior sociopolitical motives which only serve to satisfy the impression or perception something is about to change or will change in the favor of the hoi polloi. Therefore, such impassioned followers are only being led straight into the tightening tyrannical grip of their corporate owners by the betraying revolutionary leaders in which they’ve so completely placed their juvenile hopes, utopian dreams, and simple-minded trust. During the 1960’s, the famous revolutionary, anti-establishment lawyer known as William Kunstler, legal defender of the Freedom Riders and The Chicago Seven, was one such betraying agent employed by CIA to only appear as a champion of the people.
However, as shall be shortly demonstrated, Kunstler’s carefully cultivated revolutionary image among his colleagues in the legal profession was nothing more than a well-crafted deception.
KUNSTLER & RUBY
Media-generated characters like “William Kunstler” have proved most useful to the clandestine objectives of intelligence agencies, specifically Jesuit-controlled CIA. Now, in 2026, those positioned at the highest levels of CIA know that victory in their decades long war against the American people has been well-secured. Since 2001, however, with the help of their private tax gouging subsidiary Homeland Security, the agency has been fighting to secure the peace, a struggle which, they also realize, could prove to be just as potentially volatile.
Prior to entering the legal profession, according to Wikipedia, Kunstler served in the U.S. military as a cryptographer. Cryptography is an activity involving code breaking and code translation which has been an invaluable tool utilized by CIA since its inception. As has been demonstrated repeatedly, mainstream news stories are coded with occult symbolism and messaging. While in the U.S. army, Wikipedia reports that “he {Kunstler} was noted for his theatrical portrayals in the Fort Monmouth Dramatic Association.”
In other words, Kunstler had a flair for acting.
Of course, CIA has always found actors useful in achieving hidden objectives.
Before adding his courtroom defense of the Chicago Seven to what was already considered to be a most controversial, even infamous legal resume, William Kunstler served as the chief defense counsel representing none other than Jack Ruby, the mob connected Dallas nightclub owner alleged to have shot and killed JFK “assassin” “Lee Harvey Oswald” (aka Sir Anthony Hopkins) on live television.
As shall soon become quite evident, given Kunstler’s hidden identity as a Hollywood actor/singer who, throughout his career in Hollywood, was rumored to have ties to organized crime elements, Ruby’s alleged connection to the ‘mob’ was an inside joke, a joke being played on the public. Ruby’s ridiculously outrageous gun toting gangster act played out before a live American television audience at the Dallas police station in 1963 was nothing more than staged theatrics. Ruby’s subsequent “trial” with Kunstler as his legal defense counsel was also a CIA-directed stage show.
Comparative ear biometric, facial recognition, and image analysis indicates that “Jack Ruby” was a fabricated character scheme portrayed by a Hollywood actor cast to play a pivotal role in the theatrical farce that was JFK’s “assassination”. “Jack Ruby” (Jack=Knave or Court Jester/Ruby=Red, symbolic of Mars, God of War) was portrayed by Hollywood actor Jon Voigt, a character modification of Jack Nicholson (aka Prince Henrik of Denmark), a family relation to Princess Marie of Denmark (aka Madonna Louise Ciccone/Angelina Jolie/Jennifer Lopez/Ellen DeGeneres/Lorena Bobbit/Cyndi Lauper/Marie Osmond, and many more).
SEE: Famous Face Behind Ellen DeGeneres
Below from L to R: Jack Ruby, Jon Voigt
Below from L to R: Jack Ruby, Jon Voigt
Not only does ear biometric comparison analysis confirm an exact match between Jack Nicholson (aka Jon Voigt/Jack Ruby) and Prince Henrik of Denmark, but, as indicated with arrowed red marker in the series of images posted immediately below, the lobes of the respective ears also have an identically placed epidermal striation. The planes of the respective foreheads feature identically aligned epidermal creases. Additionally, as indicated with encircling and arrowed red marker, both Nicholson and Prince Henrik of Denmark share an identically placed epidermal landmark – either a blemish or birthmark – found below the respective cheekbones and just above the jawlines.
Below from L to R: Prince Henrik of Denmark, Jack Nicholson
1968’S CHICAGO DEMOCRATIC CONVENTION ‘RIOTS’
After greater examination, scrutinizing analysis of the mainstream news footage alleged to depict a violent clash between police and protestors in Chicago during 1968’s Democratic Convention, there is every indication this was a staged event simulation, a psychological operation primarily designed to discredit the ongoing anti-Vietnam war protest movement, a calculated maneuver to not only instill fear in the American public but to encourage the public to remain passive and submissively obedient while suffering under the jackboot of what was an increasingly tyrannical U.S. corporate government.
Mainstream news footage of 1968’s Chicago Democratic Convention riots demonstrate what first appears to be not only unarmed protestors being either pushed, shoved, and even clubbed into submission then forcibly dragged away by brutish gangs of Chicago police, but also media personnel, including cameramen and photographers. And yet, despite this, in the aftermath of what appeared to have been apparent police brutality, there were no lawsuits filed against the city of Chicago by protestors claiming to have suffered injuries. The lack of lawsuits represents a clear indication this was a staged event, indicating complicity between the organized protestors and the masonic police guilds in perpetrating a staged simulation motivated by covert sociopolitical objectives.
While looking at the mainstream news footage of the riot more closely, although police appear to be attacking protestors with brandished batons, no one appears to have been actually struck or to have suffered injuries. Also, although at one point during the ‘riot’ there appears to have been clouds of noxious tear gas released by the Chicago police in an attempt to disperse the protestors, none of the police are observed to be wearing protective facial gear or masks, nor does the protestor’s movements or behavior, as would be expected, seem to have been negatively affected.
What appears just as peculiar is that the MSM reported culpability on the part of the Chicago police in causing and escalating the violence at 1968’s Democratic Convention. Such adamant mainstream media statements, made both in print and on television news casts, were later echoed and corroborated by a federally authorized report published by U.S. National Commission on Causes and Prevention of Violence in December of 1969. This report was made publicly available before the ending of the trial of the Chicago Seven who were charged by the U.S. Department of Justice with conspiracy and crossing state lines to incite a riot.
This fact, however, seems to have escaped the notice of the very lawyer representing the defendants charged in the trial of the Chicago Seven, William Kunstler. After all, any clever defense attorney with beforehand knowledge of the government’s report implicating the Chicago police would’ve immediately pinpointed such information as the deciding factor in leading to their client’s rather speedy acquittal of all charges relating to conspiracy to incite a riot. If Kunstler had chosen to address both judge and jury in open court as to the details of the government’s report implicating Chicago police, it seems logical that, after careful consideration, the presiding judge would have had no choice but to summarily dismiss all charges lodged against Kunstler’s clients. Furthermore, in keeping with his renowned reputation as an anti-establishment legal advocate, Kunstler would also have surely known that any government published report implicating the Chicago police in inciting a riot would not only have meant the acquittal of his clients but would also have led to the legal prosecution and possible disgrace and or dismissal of scores of both city and public officials, including Chicago’s police commissioner and perhaps even the city’s mayor. Though there were never any among the rank and file of Chicago’s police or officials at Chicago’s city hall held to subsequent accountability, Kunstler’s inaction on this point is rather telltale, indicating legal incompetence or suggesting that “Kunstler” was an actor controlled by CIA playing the role of a lawyer and that the Chicago Seven trial was nothing more than a government sponsored theatrical showpiece.
Instead, the Chicago Seven (seven=Kabbalah Zayin/the hook or mind weapon) trial was allowed to lengthily commence in the absurd manner of some demented Shakespearean comedy, a badly scripted reality television show filled with all manner of outrageous theatrics on the part of the principals involved.
Why would one characterize these legal proceedings as theatrical?
Because the results of extensive ear biometric, facial recognition, and image comparison analysis confirms that “William Kunstler”, defending attorney for the accused Chicago Seven, was a fabricated, media-generated character scheme portrayed by Hollywood actor/pop singer Frank Sinatra (aka Ronald Reagan/King Constantine II of Greece and Denmark) modified with a wig and strategically applied faux sideburns and facial prosthetics.
SEE: Ronald Reagan the Great Prevaricator
Below from L to R: William Kunstler, Frank Sinatra
Below from L to R: William Kunstler, Frank Sinatra
Below from L to R: William Kunstler, Frank Sinatra, Ronald Reagan
Ear biometric and facial recognition analysis confirms that William Kunstler (aka Frank Sinatra/Ronald Reagan) is a character modification of King Constantine II of Greece and Denmark.
Below from L to R: William Kunstler, Frank Sinatra, Ronald Reagan, King Constantine II of Greece and Denmark
Below: Frank Sinatra, King Constantine II of Greece and Denmark
Below from L to R: William Kunstler, Frank Sinatra, King Constantine II of Greece & Denmark
