Perhaps one protests a bit too much, but this installment shall no doubt find itself heaped with quantum levels of scorn. Perhaps some ill-informed shill following this blog will earn his or her stipend of gift cards while assigned to the task of accusing the author of blatant racism.
But, this simply isn’t so.
One merely travels wherever the path of truth must lead.
And on this occasion, folks, the path shall lead right back to – where else? – America’s dream factory of Hollywood.
Scoff if you must, but Martin Luther King, the renowned civil rights leader, was portrayed by a host actor, and possibly the only actor of the era who could have successfully and credibly pulled it off.
Yes folks, there once was a dream.
But unfortunately, by the time one is done here, perhaps among the most epic of Hollywood dreams ever conceived – a fantastical dream made into official American history – shall be left shattered into fragments. Copious documentation exists – whether found here at Newsspellcom.org or elsewhere – the counter-culture and feminist movements of the 1960’s and 70’s did not develop from grass roots organization. Rather, they were infiltrated, controlled, and in fact engineered from the very beginning by the very powers against which mass protest appeared to be lodged.
It follows then, the American civil rights movement was no exception.
For, this is the method of operation always employed by the ruling elites. Time and again throughout the ages, they have cynically offered the masses messianic heroes, worshipful celebrities and cults of personality – the ‘Jacks’ found within the cultural deck of cards – and the bewildered and enraptured herds wishing to be part of something larger than the sum of their mundane existences inevitably follow suit.
During the course of the socially and politically turbulent 1960’s, there appeared to be no larger mythical hero other than the man known to American history as Martin Luther King.
But ‘King’ was merely yet another in a long line of actors playing out their parts on history’s grand stage play.
By now, loyal readers comprehend the methods of operation utilized by the ruling elite Jesuit families to create history.
Whenever one encounters a figure promoted by the mainstream media – whether David Hogg or Martin Luther King, whether hero or villain – the cynical and even devious philosophy behind their creation should always be kept in mind.
The ruling elites, through the manipulation of the masses’ perception of reality, constantly pose themselves as heroic arbiters and mythic saviors, causing the people to perceive the necessity for government intervention during times of national crisis. However, what the majority of the masses are never quite able to grasp, is that they have indeed been manipulated into giving over their own inherent power to decide the fate of their own destiny to those they have been conditioned to believe are powerful “authorities.”
In other words folks, the crisis you’ve been told only government intervention must be allowed to solve and the perceived danger from which you’ve been conditioned to believe only ‘government’ can save you has been and always will be manufactured and fabricated. This is the key in understanding how the thirteen ruling elite Jesuit families maintain their hegemony over those they perceive to be inferior and incapable of governing themselves.
King was a character
As problematic as this concept may be to some, “Martin Luther King” was a historical character portrayed by a host actor drawn from the front ranks of Hollywood’s stable of award winning celebrities and handled by government agencies such as FBI, and CIA. Much has been made in the American historical annals of the hatred harbored by long-time and fabled FBI director J. Edgar Hoover towards King specifically and the civil rights movement in general, but Hoover himself was nothing more than a character playing out an agreed upon historical storyline.
And over the span of decades Hoover’s federal organization of federal ‘investigators’ has proven to be little more than stage managers and back stage handlers for fabricated historical characters such as Lee Harvey Oswald, Charles Manson, and Martin Luther King.
Has one never wondered for what true purpose the Bureau may have wished to put King under constant surveillance? Could it have been these surveillance tapes served much the same purpose as the daily film ‘rushes’ from a Hollywood directed film script – to better develop and tweak the character’s mythical persona and to ensure the host actor hit all his marks and delivered his talking points with the requisite charismatic verve?
Beginning in the post-war era, FBI, under the direction of CIA, conducted a clandestine operation called Cointelpro (counter-intelligence operations). The purpose of operations conducted under FBI’s Cointelpro was to establish agents in the field with bona fides that would appear as public figures appearing to oppose the US government whether on a social or political basis, but were in fact handled, controlled, and directed by the very source they appeared to oppose. When FBI clandestine domestic operations were in full swing during the era of the 1960’s many of the program’s agents were regularly and prominently featured on American television and in newspapers and periodicals.
The insider definition of a counter-intelligence operator is for the assigned agent to be made to appear as something other than what he really is. Where as an agent labeled as a clandestine operator is part of an action or program in which the action itself is hidden and ideally unknown. For example, an agent breaking into an embassy safe to photograph the codebooks is performing a clandestine act (i.e. there is no conceivable cover that could innocently explain this activity). In contrast, an assassination, for example, might be a covert action (everyone knows it happened, they just don’t know who did it).
One such prime example of a Cointelpro agent hoisted into the forefront of American consciousness during this era was Timothy Leary, alleged to have been one of the more radical leaders of the American counter-cultural movement who became famous for spouting the buzz phrase “Turn on, tune in, and drop out,” simultaneous with yet another Cointelpro agent, Martin Luther King shouting from the pulpit of the Washington mall that he had a “dream.” Of course, the former fictional Cointelpro agent’s career – ultimately discredited – ended in disgraceful infamy, while the latter’s ended in a fiery hail of bullets – or so the public has been lead to believe. Either way, folks, the message of Cointelpro is this: RESISTANCE IS FUTILE!
Sir Sidney Poitier
Actor, director, author, and now diplomat Sir Sidney Poitier began his Hollywood acting career in the magical year of 1947 – the identical year CIA was officially established as America’s premiere intelligence agency.
Coincidence? One should think not.
Nevertheless, Poitier’s biography trumpets the fact he was the very first Bahamian and first black actor to receive the Hollywood Academy’s prestigious Best Actor award as well the Golden Globe for Best Actor for his landmark performance in Lilies of the Field.
Perhaps most notably, the subject matter of nearly all of Poitier’s films deals with the topic of the strained nature of American race relations. Also noteworthy, from the standpoint of numerology, is that in 1999 (999=666/mirror reversal/number of man) Sir Poitier was named among the Greatest Male Stars of classic Hollywood cinema, ranking 22nd (double 11=masonic master builder) on a list of 25 (7=’G’/masonic square and compass/Zayin or Kabbalah mind weapon).
Poitier was knighted by Queen Elizabeth 1 in 1974 (19/sun number/74=reverse mirror image of 47/year of CIA establishment). Among Poitier’s other citations, awards and titles, he served as Bahamian ambassador to Japan from 1997 until 2007, and on August 12, 2009 (8+12+11=31/13/mirror reversal/summit of masonic pyramid), he was awarded the Presidential Medal of Freedom (symbolic of the masonic eastern star/the sun/Lucifer/Jesuit object of worship).
It can now be reported, that ear bio-metric examination, facial recognition, and voice analysis have revealed Sir Sidney Poitier is in fact the host actor portrayed American civil rights leader Martin Luther King Junior. It should also be noted, in the classic tradition of the ruling elite’s love of word play and play on names, that the famous moniker of the character portrayed by Poitier derived from Martin Luther who was renowned in Western European history as the secret Jesuit agent leading the Protestant/Lutheran religious movement in sixteenth century Germany and the composer of the ninety-five Theses (9+5=14/77/angelic transformation).
It is also interesting to note that Kings name, when written out, represents a countdown in consecutive letters. Here, too, the concept of mirrored reversal comes into play, in that, in terms of the Pythagorean calculation of letters to numbers, the letters M, L, K and J are all in perfect sequence of a four (4/Daleth/Kabbalah door of perception) number countdown, only that they are backwards from how one would normally recite the alphabet (MLKJ=4, 3, 2, 1/assassinated on 4/4).
But that’s not all, folks, because the ‘slain’ civil rights leader was not the only historical character Poitier portrayed, and on the occasion of this historical gambit, a Rockefeller was involved.
The mayoral tenure of Wilson Goode in Philadelphia, after a racially charged campaign race in 1983 against candidate Frank Rizzo (more on him later) was reportedly marked with controversy and mired in corruption and graft. Two years into his term in office, Goode was faced with crisis when a communally based black liberation group called Move based on the philosophical principles of anarcho-primitivism – which is a form of ‘green’ politics advocating a return to nature (sound familiar folks, the modern climate change movement maybe) – and allegedly founded by John Africa (who, one wonders, comes up with this stuff?) became involved in an alleged confrontation with city police.
Not surprisingly, the details of this alleged standoff with police taking place in 1985 as reported by local and national periodicals were rife with numerology markers.
Per the alleged narrative, a police confrontation with Move ended when a police helicopter dropped a bomb on a Move compound, a row house in the middle of the 6200 (8=aces and eights/Jesuit intelligence code) block of Osage Avenue, causing a fire and killing eleven, including five children, and destroying an additional 65 houses (11+11+5=27/2 7’s/77/Lucifer in the form of lightning cast down from heaven).
Does this not sound like a precursor to the governments attack upon the compound in Waco, Texas occurring some years later?
An analysis of this obvious psychological operation reveals two things:
1.) Gain sympathy for the nascent environmental movement through the indiscriminate death of innocent children that would later morph into the ‘climate change movement’ and
2.) Sow the psychological seeds of social and political friction between blacks, whites and police.
In essence, Move was created by intelligence, and the operation for which it was designed was launched to cause social and political order out of chaos, the very same purpose the intelligence project known as “Black Lives Matter” was designed for by CIA’s intelligence operatives working today.
Keep in mind folks, this all occurred under the watch of a so-called mayor portrayed by the same host actor posed as a mythical hero during the American civil rights movement of the 1960’s.
Ironic, not to mention sinister, no?
Would it surprise one to learn that Wilson Goode’s mayoral opposition was a Rockefeller in disguise? After all, loyal readers have learned that when it comes to intelligence and media psychological operations in America, the prominent merchant banking family whose bottomless piles of cash founded the CIA are surely to be found lurking close by. And wouldn’t you know it folks, the host actor portrayed Wilson Goode’s political foil was none other than David Rockefeller Junior AKA godfather of the ‘truth movement’ Bill Cooper.