What do David Bowie and Karen Carpenter have in common? The answer to that question, shall be thoroughly examined, in what could be considered the most controversial, if not shocking post, in this ongoing series of installments. The masses love movies and pop music. But, how many are cognizant, of the fact many famous actors and pop singers have portrayed a number of roles, under various modified identities, spanning the course of their careers? Just as countries are corporations, so too, the famous characters one has come to familiarize with and perhaps even idolize. Many of the famous names adorning the pantheon of great stars, David Bowie, Karen Carpenter, have assumed the identities of other famous names. Buckle in folks, this promises to be a rough, but perhaps approached with an open and inquiring mind, the most adventurous ride of one’s life.
In past installments, one has thoroughly examined the psychological mechanics of mainstream news and or popular culture. It bears repeating, that what one observes broadcast on their television sets is a manifest illusion, a reality simulation, light forged from darkness. And yet, the masses still attempt to mimic the plethora of displays exhibited, whether it be social behaviors, political ideologies, and global perceptions. One’s perception of reality is reinforced with a combination of psychological elements. It is through the clever synthesis of light and sound, power of suggestion, and neural linguistic hypnosis, that one’s perception of reality is reinforced by television programming. In every sense of the word, one has been programmed to accept televisions grand theatrical productions as an accurate representation of what is ultimately perceived and agreed upon by the masses at large to define ‘reality’. In truth, what one has been programmed to perceive as reality is merely a theatrical simulation, a hypnotically induced hologram. When one becomes enamored with a ‘star’ and follows the career of a particular performer, it may never occur to one, the actors assuming the roles of David Bowie, or Karen Carpenter, may be playing other roles simultaneously, under another guise.
However, here is where the demarcating line between what one perceives as fantasy and reality is effectively blurred.
An actor may be employed as a pop or Hollywood movie star, but when the character reaches the limits or apex of notoriety, and the stars popularity index begins to plummet, the contract is thereby settled, and the ‘person’ or corporation holding that bond becomes deceased and therefore assumes another identity, or becomes another ‘person’, in essence free in proceeding to portray another character.
The legendary name of the former character, meanwhile, is held in trust by the umbrella corporation responsible for creating the character, thus making it possible to indefinitely profit from the myth. Unless one thinks this is rather harmless, think of it this way. Since an actor can portray various ‘persons’ concurrently, this means that they may double and even triple dip in accepting social security funds, making a mockery of the so-called systems’ vaunted integrity. One theorizes, this may be the sole reason for the inception of the social security system, serving as a personal piggy bank for the relatives of the rich and powerful, while the proletarian masses naively buy in, hoping to collect on the back end when they reach retirement age.
Perhaps, this is why, it has been rumored the social security fund may in fact be bankrupt. For generations, this clever identity masquerade is assiduously maintained employing all the visual and audio tricks of the Hollywood trade. More paramount, this is how modern legends are created; representing latter day versions of the pagan demigods of old. Even more importantly, after the mortal flesh of the star is perceived to have ‘died’, they become mythological and symbolic to posterity, indelible Technicolor images fixed in the mind that grow to become objects of adoration, lionization, and even devout worship.
In a very real sense, these ‘stars’ of song and screen are tantamount to Zeus, Apollo, and Athena, legendary and perhaps even visionary archetypes. More remarkably, the roles the actor may be contracted to portray are in no way limited to gender. This is where the idea of androgyny or the concept of transgender comes into play. In the case of David Bowie, this was an inherent element of his act while fronting the seminal glam rock act the ‘Spiders from Mars’ in the guise of ‘Ziggy Stardust’.
One has detailed the involvement of actors belonging to royal primogeniture participating in simulated crisis events, from Sandy Hook, Aurora, and Columbine. See: Columbine and Sandy Hook hoax connections
Collectively, all of the actors contracted for roles in Sandy Hook, Columbine, and Aurora, were all relations of royal nobility. In this way, the covert objectives of their globalist agenda can be incrementally unveiled to the public, without causing undue or revolutionary alarm that may even marginally disrupt the profitability of commercial and merchant banking interests. In keeping the secrets of their illusion ‘in the family’, as it were, such disruptive social and political upheavals are able to be thoroughly avoided. If there are to be any revolutionary movements, one can be certain it was created, scripted and controlled, tailor made to synthesize political and social agendas in shaping mass perceptions of reality.
Yet, there may be another objective.
These ruling bloodlines, colluding with the multi-national banking cabal of the Crown Temple, while posing as mere figureheads, nonetheless derive significant personal power from the focused attentions of the masses. In posing as moonlighting stars of stage and screen, they demand the focus of the masses mental intention, tricking millions of people into adoring and worshiping them.
Though the character of David Bowie is known to millions, a shroud of mystery has always managed to linger concerning his preternatural ability to almost capriciously transform into various personas throughout his distinguished career. But, it can now be reported, that in addition to the Ziggy Stardust and ‘the thin white Duke’, the character known as Bowie portrayed many other notable roles, the true identity of the host actor escaping notice of public and media alike. One has always suspected an inauthentic nature to Bowie’s British accent and glam rock posturing. Has one never wondered, why it was Bowie’s almost miraculous chameleon-like abilities, seemed so prevalent? Ear bio-metric and voice analysis has demonstrated that the character known as David Bowie served as the host actor for the brother of the ill-fated Karen Carpenter, Richard Carpenter, together known as the award winning 1970’s singing duo the Carpenters. More remarkable still, voice print analysis indicates he may also have doubled as British pop-rock luminary Robert Palmer, cult leader David Koresh, and radio star Howard Stern.
Indeed, we are talking about one very gifted artist and actor.
Further research indicates the Carpenter’s record label, RCA, is still held under the corporate umbrella of General Electric. As it stands, some of the largest public investors are European royals, including the royal families of Spain, Lichtenstein, and Luxembourg. Investigation into the royal family of the latter country, turned up a rather revealing discovery. One has always wondered, why it was David Bowie was dubbed, for a time, ‘thin white duke’. It can now be reported, ear bio-metric analysis reveals Duke Henri Albert Gabriel Felix Guillaume, and the artist formerly known as David Bowie, may indeed be one and the same.
And, unless one forgets the controversy over the alleged ‘death’ of the artist known as David Bowie, there is still more controversy to be delved. Not more than a day following the announcement of the deceased Bowie at age 69 (a number representing masonic concept of duality), a man appearing to be a virtual doppleganger, calling himself ‘Jack Stevens’, claiming to be a record company representative and former producer who had worked with Bowie, suspiciously appeared on British television:
Turns out, when one delves into the rather dubious circumstances of Karen Carpenter’s death, the possible derivation of the group’s moniker takes on an entirely new and rather revealing meaning. Adored by millions for her crystal clear contralto vocal style and innocent, family friendly image, it is claimed the alleged cause of the death of Karen Carpenter, one month before her 33rd birthday (highest degree of Scottish Rite Freemasonry), was heart failure due to complications related to an eating disorder known as anorexia. The time of her death also represents another curious masonic marker: 9:51 A.M., 9+5+1=15, or 555, (height of the masonic obelisk found in Washington D.C., the city of London, and the Vatican at 555 feet).
Here is a video of some of the original mainstream news coverage of Karen Carpenter’s death:
Note: the actor portraying Carpenter’s high school music teacher at 3:37 is identical to the one appearing at 11:25 in the previous video entitled David Bowie indictment part 2, starring as the concerned father of the Branch Davidion female cult member.
But, folks, the mystery behind Karen Carpenter deepens. Like the actor/singer paired with her in the Carpenter’s, Karen too, played multiple public roles. Voice analysis reveals that actress Natalie Wood and the actress portrayed the mythical Karen Carpenter, are indeed one and the same:
The ruling elites love to mock the masses with their play on words and accompanying numerology: Wood-Carpenter-get it? Jesus was also a carpenter and died at the age of 33.
Coincidence? One thinks not.
It can now also be reported that the host actress portrayed both Karen Carpenter and Hollywood actress Natalie Wood, went on to portray clothing designer Diane von Furstenberg. This is where yet another royal connection comes into play with the royal House of Furstenberg, a Swabian noble house in Germany, based primarily in what today is known as southern Baden-Wurttemberg, near the source of the Danube river. This is yet another noble house heavily invested into major war making corporations such as General Electric, a company, one shall recall, still retains ownership of RCA records, the Carpenter’s former record company.
As with all these investigations, folks, everything always seems to return full-circle.