Is there a royal lady hidden behind the poker face?

Believe it or not folks, one is sometimes just as susceptible to the psychological trap of emotional investment as anyone. One must confess, exposing the host actor hidden behind the public facade of this particular pop princess was somewhat painful – in that one actually enjoys some of her more infectious pop music selections. Nonetheless, one must dare to venture wherever the path of truth may happen to lead, and on this occasion, one shall examine the career of the pop star known to millions of fans as ‘Lady Gaga’.

Once again folks, the biography of this pop music star claims she was ‘discovered’ by music industry titan LA Reid. And how did Reid come upon this future jewel of pop music glory? Well, one account (Reid has changed his story many times over the passage of years, most recently on the Ellen Degeneres show) claims Stephanie Germanotta – as she was alleged to have been known then – was working as a secretary in Reid’s office, when he happened to hear this obscure industry employee warbling along with some ditty or other on the office radio.

Oh, how the public continues to truly relish these sort of romantic Cinderella stories, no?

Before too long, Reid felt compelled to offer the young Stefani a recording contract and America appeared to finally possess an heir apparent to the pop music throne long occupied by the likes of Madonna and Britney Spears. But, there soon developed a problem for Reid, in that after allegedly hearing Germanotta’s demonstration tape, he decided to forego exercising the option on the contract. Reid now claims – in retrospect – he regrets having done so. And, as one shall soon observe, the dubious biography of one ‘Stefani Germanotta’ (that pseudonym represents a huge clue as to the identity of Gaga’s host actor) is a complete and utter hoax. 

Although ostensibly the premise here is to expose the host actor hiding behind the pop music character known as Lady Gaga, this installment shall also attempt to connect – with what may appear to some, perhaps even loyal readers, circumstantial evidence – the intimate and conspiratorial relations between the global entertainment industry, the Anglo-American intelligence octopus, and the ruling European royal families.

The inspirational impetus for this installment came about while one was compiling research for the career of American pop star Jon Bon Jovi (See: Unholy trinity: sex, drugs, and rock and roll part III). One’s mind harked back to the discovery of the host actors hidden behind the image of classic rock idols Keith Richards and David Bowie, and pondered – could there be anyone else of royal lineage now performing similar public roles – could this in fact be a family tradition extending back decades, even perhaps centuries?

Before one begins in attempting to definitively answer that hypothetical query, perhaps there exists a question just as pertinent – what’s truly in a name?

In the case of Stephanie Germanotta, or Lady Gaga, both monikers, as it turns out, are blatant or perhaps even deliberately created clues something may be amiss. If one has learned anything, the ruling elite families love to hide clues of their sinister deceptions right out in the light of day. Fortunately for them, the general public, despite suspicions from time to time something may be amiss, remain largely content and unaware.

That is, until now.

The man that turned his back on a shining star

Def Jam’s LA Reid, along with David Geffen and a mere handful of other powerful music industry executives, represent what is often referred to as ‘star makers’. These are the men any prospective music star must impress in order to further their career and make it to the top of the pop charts. As alluded to before, Reid now claims he is regretful upon having passed up the chance at contractually locking up a prospective star who would go on to be admired by millions. However, like the dubious biography of Lady Gaga, Reid’s account of his ‘discovery’ also appears conveniently specious, for his story seems to change every time he is asked to recall. Of course, no one in the mainstream media seems to bother to inquire regarding these inconsistencies.

But, do they ever, folks?

One fact amidst all the media subterfuge is clear, however. The music industry is a multi-billion dollar business, and the decision making process of calculating business men like Reid, Geffen, or anyone else occupying a high-level executive position, is surely not found to be dominated by whim or spontaneous caprice. The stockholders would never stand for a CEO they perceive to have a penchant for gambling with the future of a company in which they’ve heavily invested. After all, folks, it’s not called the music business for nothing.

First, allow one to provide a brief chronological account of the rather amusing inconsistencies and alterations LA Reid has offered the public over the years regarding his discovery of the future pop princess, Lady Gaga. Here is a short excerpt from Lady Gaga: Behind the Fame by Emily Herbert, briefly detailing Reid’s first discovery of the young woman then known as Stefani Germanotta. This published account is made to appear as if the Chairman of Island Def Jam had a mere chance encounter, and that Germanotta – one would assume – may have been employed serving in some capacity by Reid’s company:

“When Stefani was nineteen, she received her first, albeit brief, breakthrough. Ultimately, this would come to nothing. LA Reid, Chairman of Island Def Jam music group, heard her singing in the hallway of his office and promptly signed her to Def Jam recordings, The association was brief, given that they dropped her after three months.”

Notice the presence of the number 19, the symbolic number for the sun representing new beginnings. In this televised account taken from a mainstream news affiliate, although Reid appears to retain regret over allowing Germanotta to slip from his contractual grasp, he also seems to convey the distinct impression the nature of his first meeting with the nineteen-year old would be pop star was not a chance encounter, but rather a scheduled audition:

 

During the interview, one of the network hosts makes reference to a recently published biography of the music industry titan’s experiences in the business, and states that Reid’s account of his first encounter with Stefani Germanotta is chronicled on page 237 (777, intelligence joker code). Reid states that the young woman then known as Stefani Germanotta, donned in tall white go-go boots, created quite a stark initial impression. With the young Germanotta performing while poised behind a piano in Reid’s office, the music industry titan went on to state he thought Germanotta struck him as a singer-songwriter in the vein of Billy Joel, and that his final impressions at the close of the audition compelled him to feel as if the demonstrated talents of the prospective professional artist had “the potential to change the world of music.”

And yet, a mere three months after this ‘audition’ which claimed to more than mildly impress, Reid claims he chose to drop the artist’s contract. Not only does Reid fail to convincingly or adequately explain exactly why he would choose to distance himself from an artist but a mere three months previous he thought would “change the world of music”, but Reid’s inability to provide a consistent historical account of his very first meeting with the star that was so soon to become known to the world as Lady Gaga, America’s future pop princess, makes little sense.

Unless, Reid had ulterior motive(s) for providing such blatantly inconsistent accounts with regard to his discovery of Stefani Germonatta. Perhaps, Reid manufactured lies to conceal the bitter truth about the music industry, and to perhaps maintain and even bolster the myth that anyone with a modicum of talent like Germanotta, from an alleged humble background, can become a shining star. Or, perhaps Reid continues prevaricating to keep hidden from the public the music industry truly represents – like all corporate industries – a tightly controlled global business based on nepotism, and that although companies like Island Def Jam appear to be independent companies, they are in fact but one franchise, held under a conglomerate monopoly umbrella.

Indeed, Reid’s disingenuous nature seems to indicate a more than subtle reminder of the Beatles Svengali Brain Epstein and his tall tale of how he happened to have first encountered the group of ill-clad Liverpool scruffs on stage at the dingy Cavern club (See: Actors in history’s grand stage play part VI).

Loyal readers have discovered – supported by reams of empirical evidence – that nothing in the entertainment industries, whether it be music, Hollywood movies, or professional sports, such as the NFL, happens by mere chance.

Could it be, ‘Lady Gaga’ was a project Reid was initially contracted to evaluate, and then with his extensive experience and contacts in the music industry, charged with connecting the young Germanotta with producers, song doctors, and other seasoned industry figures – industry professionals like George Martin and Phil Specter serving in similar capacities for the Beatles – who while working under Reid in overall charge of artist development, would fully sculpt and script the popular persona of ‘Lady Gaga’ until the character was fully prepared to appear on the international pop music stage?

Given that all the major record companies are owned and operated as commercial profit vehicles by the ruling elite Jesuit royal families, this would seem to be the most likely and probable conclusion. Indeed, ‘Lady Gaga’ did not arrive under the bright lights of stardom merely as the result of a random encounter with a music industry heavyweight like LA Reid. A later examination of the major stockholders of Island Def Jam and Lady Gaga’s current recording label will bear this argument out.

Aside from the inconsistencies of Reid’s first meeting with Germanotta, one noticed an almost distinct facial similarity between Reid and Hollywood actor Danny Glover. Since Reid isn’t the focal point of this installment, one did not feel overly compelled to perform an ear bio-metric analysis. Although, given that most high profile CEO’s are merely publicly displayed actors and PR fronts operating under pseudonyms, one would not be surprised to discover if Reid and Glover turned out to be one and the same. Per Herbert’s tome, while still in the early stages of career development and subsequent to Germanotta’s contractual rejection by Island Def Jam, the young Lady Gaga became familiar with a music producer working under the pseudonym of ‘Redone’:

“{I met her} through my management, New Heights – they used to manage her,” Redone recalled. “Actually, at the time I started working with her she had just been dropped from her record label. My manager called me and said. ‘You have to meet this girl -she is the most incredible artist.’ If someone is good, it doesn’t matter to me if that person has a deal. The first day we worked together, we came up with a song called ‘Boys Boys Boys’ and we just clicked.”

If one manages to read between the lines, as it were, one can observe the casual passing off of a fallacious statement. For one, no matter the industry, contractual obligations are made iron clad upon the agreement of all parties, and any attempt to circumvent those terms and conditions is served with a lawsuit. If Redone had any impetus to work with an unknown artist, it was not because he was creatively involved with the young Germonatta despite the existence of an ongoing contractual negotiation, rather, it was because as a low level industry functionary, he was most likely held under contract and therefore obligated to do so, on behalf of perhaps either Reid or Def Jam’s parent company, in turn held under the corporate umbrella owned by the ruling elite Jesuit families.

In other words, folks, Redone’s impetus in working with Germonatta had less to do with creative possibilities, and more to do with the fact he was getting paid.

According to Herbert, Stefani then encountered another artist and industry mover and shaker, Akon, someone who would turn out to be Gaga’s strong ally within the industry. It was Akon who would make a deal with Interscope’s Jimmy Iovine to bring the bright young artist to his Kon Live distribution label. Remember, what one mentioned earlier concerning monopolies, folks? Well, one shall shortly provide more interesting information on the artist known as ‘Akon’, Kon Live, and a direct connection to its parent companies, Universal, Vivendi and the corporate umbrella covering all, Royal Phillips Electronics.

But first, it was with up and coming music producer/song doctor Redone that Germanotta would craft ‘Just dance’, her first chart topping hit, the very song that would set her on the path to becoming an internationally renowned pop star. Prior to this achievement however, as part of her ongoing artist development – like the Beatles in days of yore – Germanotta had to spend some time in the minor leagues, as it were, performing some exclusive club engagements. One of those more prominent club engagements took place at New York’s renowned ‘The Bitter End’, which has played host to a slew of artists that would, to one degree or another, move quickly onward to the dizzying heights of international fame.

This is a rare video taken from that particular live performance, where Germanotta and her band performed the Led Zeppelin classic D’yer Maker:

The 230 person capacity ‘Bitter End’ nightspot in New York has a long and historic pedigree as a crucible of artist development for those later becoming household names. Many artists, both musicians and comedians – Neil Diamond, Bob Dylan, James Taylor, Joni Mitchell, and Woody Allen – would go on to star studded careers in the American music and entertainment industries after performing some of their first live engagements there. Perhaps more noteworthy regarding this legendary Greenwich Village nightspot, however, is the fact Hugh Romney aka Wavy Gravy of Woodstock fame once read poetry there.

Deep research into both Romney aka Wavy Gravy and the culturally seminal Woodstock American pop music festival of the late 1960’s shall ultimately reveal connections to CIA and the agency’s creation and counter-intelligence management of what came to be known as the ‘counter-culture’ movement of the 1960’s. In 1968, Paul Colby, who worked with pop legend Frank Sinatra as a song plugging publisher (loyal readers shall recall it has been established Sinatra’s host actor may have been a European royal figure. See: Actors in history’s grand stage play part XVI) became the manager and booking agent, and in 1974, became the owner and held controlling interest in the club until his recent death in 2014.

One can surely see the clear implications here.

Lady Gaga, unlike other local musicians lacking her high-level industry connections, most likely did not have to schlep and ingratiate herself to the club’s management in order to get a gig at what has always been considered one of the most prestigious night spots in New York. For, here was a man, Paul Colby, intimately involved in the career of a royal prince having portrayed at least three characters (Sinatra, Humphrey Bogart, and Ed Sullivan) considered iconic in the history of the American entertainment business. And before Colby’s death in 2014, he was most likely instrumental, perhaps along with LA Reid, in bringing Stefani Germanotta and the future mega star Lady Gaga to the stage of the renowned Greenwich Village night spot. But that’s not all folks, because as it happens, the Bitter End’s original owner, film and television producer Fred Weintraub, in fact produced and directed the official film documentary of the seminal 1960’s cultural event at Woodstock. Therefore, one has made the first of many connections between European royal families, the American entertainment industry, and CIA. And all of these more than coincidental connections sinuously lead a path towards the creation of pop star Lady Gaga.

‘Akon’, Kon Live, and Royal Phillips Electronics

The artist known as Akon, who reportedly was the first to evince interest in Stefani Germanotta’s career shortly after LA Reid had discarded her, possesses a most curious biography. Although it is claimed Akon is of Sengalese descent, most biographies list his place of birth as St. Louis, Missouri, matched with a birth date steeped in numerology codes:

April 16, 1973 (April the 4th month+1+6= 11(destruction code) + 19 (sun number/new beginning)+73, or three 7’s flipped in the mirror’s reflection/new identity/intelligence joker code).

Oddly, most of Akon’s publicity photographs appear to have been altered with photo shop, and there is every indication the pop star’s appearance has been masked with CGI and or prosthetics.

When it comes to publicity photos – either with politicians, public figures, Hollywood celebrities and pop stars – such noticeable cosmetic alterations are to be expected. With the Akon character, however – and there is every indication this is a concocted pop music persona – the presence of digital masking and military grade photo shop seems all the more apparent. Additionally, considering Akon’s birth date, his fist pop hit did not appear on the charts until he had chronologically advanced into his thirties, which comparatively speaking, is a rather advanced age for one to suddenly appear in the public eye as a newly christened pop star.

But stranger even still, are the dubious biographical details of Akon’s path to pop stardom and the threadbare and even more dubious details of his early childhood.

This from Wikipedia:

“The child of a dancer mother and a percussionist father, Akon learned to play five instruments, including drums, guitar, and djembe. At age 7, he moved with his family to Union city, New Jersey, splitting his time between the United States and Senagal until settling in Newark, New Jersey. Growing up in New Jersey, Akon had difficulties getting along with other children. When he and his older brother reached high school, his parents left them on their own in Jersey City and moved the rest of the family to Atlanta, Georgia.”

The family’s solution to their young child’s difficulties was to leave him and his older brother on their own in Jersey City? The Wikipedia biography of Akon then adds this detailed oddity:

“In regards to his birth date, Akon is very protective of it, which is the reason many media outlets have reported incorrect dates. However, legal documents released by the Smoking Gun list his date of birth as April 16, 1973.”

Now folks, how is it that a mere pop star could so tightly control any vital information released by the media, unless he was a member of a powerful family rich enough to control the flow of vital information reported by mainstream periodicals, magazines, and corporate television affiliates?

In addition, how did Akon, a mere pop star under contract to a large corporation with a net worth of multi-billions, compile enough powerful financial leverage from just song royalties and record sales that he was able to enter into a supreme bargaining position with industry heavyweight Jimmy Iovine? From where did the necessary capital and such a powerful position of bargaining leverage and controlling stock interest derive, that in a few short years from the time of his first pop hit in 2004 until the time of the alleged deal in 2008, he was able to negotiate his own distribution deal and form Kon Live?

Unless, Akon’s family (and one isn’t referring to the concocted family of the dubious Wikipedia bio) already owned controlling interest in Interscope’s parent company Universal, which is in turn owned by Vivendi and it’s parent company, Royal Phillips Electronics?

Could it be ‘Akon’ is indeed a pop star character portrayed by a host actor hidden by layered CGI?

Believe it or not, folks, an intuitive hunch helped facilitate circumstantial evidence to bear out this wild premise. What if, one speculated – since the largest stockholders of Royal Phillips Electronics are European royals and merchant bankers, including the Rothschild family – the pop star moniker ‘Akon’ was a clue as to the identity of the possible host actor behind the character?

Following the trail of money, there can be no doubt Akon’s private distribution company that picked up Gaga’s contract option, Kon Live, is in fact contractually affiliated with Interscope, which falls under the global corporate umbrella of Royal Phillips Electronics. Phillips proper corporate title was changed in 1997 to Koninklijke Phillips N.V. (an honorary title meaning royal given to certain companies by monarchs in Belgium and the Netherlands) but remains popularly stylized as simply Philips. Phillips is not only invested in consumer electronics, lighting, and the health care industry, but is tied in with General Electric, which in turn represents a cornerstone of America’s military industrial complex, including CIA and the global intelligence octopus.

Now, a genuine attempt shall be made to confirm or debunk one’s intuitive hunch regarding ‘Akon’.

Allow one to kindly introduce the Crown Prince of Norway – Haakon (Akon?).

https://goo.gl/images/LrjPxu

Incredible, folks? Well, just bear with the following.

One shall recall it was pointed out that nearly, if not all, of Akon’s publicity stills appear to have undergone heavy treatments of high end photo shop. Photographic analysis bears this out. In addition, it appears that nearly all video of public appearances by ‘Akon’ appear to have been treated in post-production, and even perhaps in real time with CGI and layering. Although one may scoff at the suggestion CGI and video layering cannot be applied in real time, one may recall the appearance of what was claimed to be a live holographic projection of the late Tupac Shakur some time ago at England’s Coachella festival.

Here is an article from Gizmodo pointing out that in fact, from a technical standpoint, what the festival audience witnessed was the result of real time CGI, and not a holographic projection as had been trumpeted by the mainstream media:

https://www.google.com/amp/s/gizmodo.com/5902625/tupac-hologram-wasn’t-a-hol…

Let us also not forget, folks, that for eight years, here in America, a majority of the masses were fooled by a CGI president in black face (See: 911: terror’s symbolic black magic ritual part I).

But above all of this, the clue clincher in terms of positively identifying the host actor behind the fictional character of Stefani Germanotta/Lady Gaga – in addition to ear bio-metrics, photographic and facial analysis – was when one encountered this particular image online with Gaga’s parents, Joe and Cynthia, accompanied on a red carpet by a strange elderly lady that appeared strikingly familiar:

https://www.gettyimages.com/event/billboards-10th-annual-women-in-music-outside-arrivals-595986685#lady-gaga-s-father-joe-germanotta-grandmother-angelina-calderone-and-picture-id501055568

The woman centered between Gaga’s parents appears to bear a striking resemblance to none other than the sitting monarch of Great Britain, Queen Elizabeth II. As well, Gaga’s alleged parents, who appear to be heavily treated with facial latex and perhaps even stippling, bear a striking resemblance to the Crown Prince of Norway, Haakon, and his consort and former commoner and single mother, Mette-Marit, the Crown Princess: https://en.m.wikipedia.org/wiki/Mette-Marit,_Crown_Princess_of_Norway

However, the character name of Germanotta also provided a key clue. Any genealogical analysis shall indicate the origin of the royal House of Saxe Coburg Gotha is not British, but German. And so folks, it can now be reported the secret identity hidden behind the eccentric glamour of the character known to the world as pop star Lady Gaga is in fact – Princess Beatrice, Duchess of York.

Believe it, folks.

 

 

 

 

 

 

 

 

 

 

2 thoughts on “Unholy trinity: Sex, drugs, and rock and roll (Part IV)

    1. One hasn’t looked into Winehouse, though there is little doubt Gaga and the Duchess of York are one and the same. This makes perfect sense from a business standpoint – as major stockholders with controlling interest in the entertainment industry they create their own content using talent from the ranks of their own families to ultimately increase profits and maximize their stock positions.

      Liked by 1 person

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