This installment shall examine two prominent figures in American history, and while one is renowned for participating in a momentous event that has become known as the greatest engineering achievement in mankind’s history, the other, who portrayed an American president, is infamous for having been allegedly involved in a high-profile sex scandal.

Not only were both historical figures impostors, they were genealogically related, and the historical events they have become synonymous with, regardless of public perception, were in truth, mythical illusions.
The US government – as it is represented by the corporate, mainstream media, is merely a Hollywood inspired illusion, filled with characters portraying scripted roles, proxy vessels through which can be employed the machinations of social and political agendas.

Come with me now, and we shall take yet another revealing peek behind history’s obscuring veil.
One supposes, even considering the alacrity with which information is assimilated in this post-modern, digital age, enough time has elapsed for the American presidency of William Clinton to have reached mythical proportions. There are many – and no, one shall not attempt to slander them by issuing what has become an all too popular ideological ad hominem – who still consider him to have been, despite having suffered the stain of both controversy and scandal, a memorable political and historical figure.

To those blinded either by ideology, or merely by a sense of emotionally driven nostalgia for what they perceive to have been a simpler era in America’s storied history, no amount of empirical truth demonstrated to them shall serve to suitably persuade they have been utterly fooled by an impostor. But, such are the nature of minds stricken with a psychological cancer’s terminal intransigence.

Be that as it may, one shall proceed, once again, to shatter those glass temples of grand illusion.

Admittedly, there can be no doubt, America’s 42nd president represented a colorful, perhaps even charismatic character, and like so many before, a character capable of leaving an indelible mark upon the pages of America’s historical annals, whether perceived for good or ill. Nevertheless, the majority of Americans haven’t yet considered the idea that so-called presidential elections may be tantamount to political pantomime, that perhaps they represent a participatory exercise in futility, sanctioned by the ruling elites and designed to formulate in the minds of the populace the mere appearance of democratic process. In truth, executive decisions do not derive from the “elected” commander in chief, but emanate from a centralized governing body consisting of persons who shall never be observed on any television screen – anywhere.

The American presidency represents their political instrument.

That’s right, folks – only your participation is required to uphold the legality of the oligarchical political machinery the public perceives as democratic. After all, one cannot ultimately claim to be free when, from birth, and by virtue of accepting the commercial manifest and bond document known as a birth certificate, one has been designated a unit of commercial property, marked and tracked by a UCC inventory number, better known to Americans as a social security card.

The US is a corporation and part of a global consortium of other corporations held in legal trusts under the companies and guilds of London’s Crown Temple. The vast administration of these trusts are overseen by the multi-national bankers and attorneys called to the bar of the Crown Temple, who are sworn by oath to work in service to and on behalf of the royal owners, those who operate clandestinely and through legally selected proxies bearing pseudonyms, of which the man known as William Clinton was but one in a long line throughout American history.

Perhaps, if one finds the author’s written articulations insufficient, then one shall provide, as usual, what is a more popularly accepted tool of demonstration in the form of a visual aid. In the video displayed below, though it has been culled from a popular and award winning cinematic production of the 1980’s, one shall discover a perfectly articulated example of the true nature of the global commercial system. Though the general public has been conditioned to perceive Hollywood movies as mere entertainment, nonetheless, that is part of the magic the ruling elites utilize to confuse, distort, and preferably condition one’s perception of objective reality.

One should also center their attention on the facial features and the vocal mannerisms of the main character dominating the dialogue in this scene. If one truly concentrates, one must ask; does this actor look and sound familiar? Have you never witnessed this actor in yet another, and quite unexpected role?

Wall Street:

Before one addresses the actor portraying the iconic and villainous Gordon Gekko, one shall further dispel any further doubts concerning the genuine nature of the actor based reality. Like his father, Martin Sheen, AKA Michael Rockefeller, the actor known to Hollywood and the world as Charlie Sheen demonstrates similar chameleon-like qualities when it comes to assuming other character roles. Positive results from facial recognition and ear biometric analysis demonstrates that Sheen, the celebrated Hollywood star, is also this character:

Corey Feldman:

https://goo.gl/images/wYL4PW

https://goo.gl/images/tY4QvA

The suffix in the surname Feld(man) indicates yet another code utilized in character pseudonyms, and in gematria, the art of transcribing words into numbers, sums to the equivalent of 28 in English ordinal, or 2 8’s (88) = the mark of the Jesuit order.

This sheds new light on the Hollywood character of Feldman AKA Sheen/Rockefeller (Levinson), and his recent You Tube shill campaign, soliciting funds for his so-called cinematic expose on the practice of pedophilia in Hollywood.

Can one even begin to imagine – the sheer scope of the moral bankruptcy, perhaps even sociopathy exhibited by Charlie Sheen AKA Feldman/Rockefeller/Levinson? For, here is a man born into wealth and privilege, and while displaying the victim card as a badge of moral virtue, shamelessly shills for funds from those who shall never experience the material comforts afforded to someone born into one of America’s richest and prominent families?

Comparatively speaking, one should think such a demonstration of moral depravity hoists the villainous character of Gordon Gekko into the philanthropic ranks of Mother Theresa.

Considering this, Feldman’s role seems to be much the same as that of the creation of the fictional biography attached to the character of Anthony Bourdain, another project funded by the Rockefeller family, to spread not only propaganda but provide reams of misdirection and misrepresentation for an otherwise pertinent and socially relevant topic.

In essence, the character of Feldman is being utilized, on behalf of the Rockefeller’s, as a controlled opposition agent appearing to discuss and address a social ill while simultaneously controlling and spinning the flow of information.

Mulling the implications – it seems to have been most appropriate to cast the hidden son of a Rockefeller in a movie which featured the manipulation of Wall Street and the so-called Capitalist system as its major theme. After all, that is the sort of criminal activity the actor’s hidden family has been preoccupied with for more than a century. Perhaps more appropriate then – the movie Wall Street featured an actor cast as a villainous character who would later portray the Rockefeller’s puppet “commander in chief” in the White House.

Michael Douglas – the man behind Bill Clinton’s mask

Though Michael Kirk Douglas is renowned for his work in mainstream and independent film, both as an actor and producer, he shall most likely never be recognized for what could be considered his best role, perhaps more iconic than even than that of infamous Wall Street speculator, Gordon Gekko.

However, the words spoken by the character of Gekko in the scene featured above eerily reflects the truth, about not only the authentic nature of capitalism – which is merely, like communism, Marxism or fascism, another ideological label, a deceptive psychological manipulation designed to hide the globally centralized commercial system that has existed since the Medieval historical period – but about the true nature of democracy.

Of course, though one shall, from time to time, hear corporate mouthpieces and observe television pundits trumpet the advantages of the “free” economic system, what these shills shall never inform the public, is that the global economic system benefits only those thirteen ruling elite families who own and operate the rigged casino called Wall Street.

Additionally, one shall never witness these same scripted pundits admit that the “free” market feeds off the toil, energy and institutionalized ignorance of the peasant taxpayers, and while ensconced at the Wall Street casino, it is the taxpayer’s money with which the ruling elites play and from which they ultimately and handsomely profit.

This is also why the grand ruse of the actor based reality is so meticulously maintained, so that the peasant taxpayers, continually divided by racial, economic, and gender segmentation, shall never band together to figure out they’ve been fully swindled by a system merely designed to reflect the appearance of “democracy.”

Think about it, folks.

Though it has been articulated before, the scheme is a rather simple one to comprehend once one has thoroughly removed the blinders of social programming. The ruling elites have always adhered to this method of operation, and for centuries, have never deviated from it. The long-standing practice of setting up actors operating under fabricated pseudonyms that have been verified only by a clandestine third party, accentuates ambiguity regarding ultimate accountability.

This is why the true criminals – those directing the strings of the political puppet – shall never be adjudicated.

And, should news of any felonious criminal activity make its way into the ears of the masses, it is easily put off on the front person the true criminals have installed in public office.

For, while the public may direct its ire at the proxy puppet, the genuine criminals who remain clandestine shall never be indicted, tried, or convicted in any court of law.

When any high political figures, such as Richard Nixon or William Clinton, finally appear before congressional committee for impeachment proceedings, it is the actor operating under a pseudonym that takes the fall, and the political character is then replaced by yet another puppet resulting from the democratic pantomime of yet another “election.”

That’s right folks, the vaunted White House is merely a movie set, and whenever an official function or speech needs to be made, the puppet actor who has been well rehearsed regarding the particulars of his script, appears before the corporate network cameras in character, and expertly performs in the role, while the genuine executive decision making process takes place among those remaining unknown, unelected, and unaccountable.

Below – one shall find yet another example of this democratic ruse in action.

42nd American president, William Jefferson Clinton questioned by White House correspondent, Helen Thomas:

In a very real sense, the corporate mouthpiece known as Rush Limbaugh (another character portrayed by Rockefeller host actor Jay Rockefeller) is correct, the president had no foreign policy, because like the character of Limbaugh, he was yet another host actor playing out his scripted role. Michael Douglas, the man behind the mask and pseudonym of William Jefferson Clinton, was an executive character serving the US corporation as a corporate spokesperson, and charged with following his tailored script.

In the video above, the ruling elite’s playbook of manipulation is clearly on display – with a pair of Rockefellers acting out roles posed on extreme ends of the artificial right and left political paradigm, while the perpetually divided masses stand in the middle, caught between the rock and a hard place of a grand, theatrical ruse.

When watching the video of the press conference, one shall notice its extremely staged appearance, as if one were eavesdropping on the action of a movie set. Notice too, the gel-like quality and positioning of the overhead lighting that serves to veil the facial features of the president in a lingering haze, the telltale signs that this is not the recording of a live press conference, but an example of pre-recorded and pre-rehearsed political theater that has been altered in post-production, the same conditions under which the “live” televised resignation speech of former president Richard Nixon took place.

Helen Thomas is also a character portrayed by a host actor, the very same that portrayed this famous character:

Ayn Rand in a 1959 televised interview with Mike Wallace:

The name of the character, Rand, undoubtedly serves as a clue as to where the ghost writers of this character’s highly-touted literary tome happened to reside – at the Rand Corporation, a so-called “think tank” headquartered in Washington D.C., the city state operated in concert with the two other centers of global governance, London’s Crown Temple and the Vatican in Rome, the headquarters of the Jesuit order.

Therefore, it is no accident that the philosophy, as espoused by the author, inculcates the behavioral modification of selfishness and narcissism, a philosophy and behavioral mode that is most advantageous to the ruling elites and their global commercial system.

Speaking of ghost writers – noted geo-strategist, political scientist, and intellectual, Zbigniew Brzezinski (3 Z’s=777/intelligence joker code), along with celebrated academic, Carol Quigley, has often been hailed as one of William Clinton’s political mentors and behind-the-scenes political advisors. The latter part is most likely true, for Brzezinski’s host actor was no doubt directing the Clinton character as he portrayed his role, much like a Hollywood director working on a Sunset Boulevard movie lot.

Turns out though, folks, that Brzezinski, in possessing a perfect ear biometric match, is merely another character portrayed by our old friend, Barry Diller, AKA Prince Eduard von Furstenberg.

Zbigniew Brzezinski:

https://en.m.wikipedia.org/wiki/Zbigniew_Brzezinski#/media/File%3AZbigniew_Brzez…

Barry Diller AKA Prince Eduard von Furstenberg:

https://en.m.wikipedia.org/wiki/Barry_Diller#/media/File%3ABarry_Diller_Shankbone_M…

Once again, if one examines the details of Brzezinski’s photograph, not only is there evidence of lens distortion to aid in disguising the host actor’s identity, but there are also traces of post-production photo shop cropping. And, looking more closely still, the character has been treated with the usual Hollywood facial stippling. It also appears Hollywood “pancake” makeup has been strategically applied to distort the geometry of the jawline and brow ridges.

Brzezinski has several books credited to his sole authorship, and among these are such thrilling page turners as “Between Two Ages,” and “The Grand Chessboard,” all of which, given the royal identity of Brzezinski’s host actor, were most likely ghost written by the identical group of academicians and think tank members that composed those tomes attributed to the pseudonym of “Ayn Rand.”

Ghost written manuscripts are a long-standing royal tradition that goes all the way back to the sixteenth century and Henry the Eighth, who during the early part of his reign, published a book length excoriation of protestant reformer Martin Luther. Though authorship of the book was, at the time, credited solely to Henry, there exists a strong consensus among historians that the royal tome was most likely ghost written by those scholars and administrators closest to the king, including Sir Thomas Moore, and the king’s high chancellor, Jesuit Cardinal, Thomas Wolsey. It is likely then, that the tomes credited to the author/character, Zbigniew Brzezinski AKA Barry Diller/Prince Eduard von Furstenberg, are no exception.

In the case of Brzezinski, all of his books deal with the subject matter of a coming “new world order” for mankind, and the arrival of a new age ruled over by a select group of technocrats. Given that the subject matter of Brzezinski’s books is rather controversial, he chose to wisely hide his true identity behind that of a pseudonym, for it is likely that no one would take the book seriously if it were widely known to have been written by a royal European prince. In hiding behind the pseudonym attributed to a scholarly character, this gives the prince’s family, and the prince himself, a comfortable degree of plausible deniability when it comes to positively identifying and holding accountable the precise parties who are financing and shaping the future of mankind through their royal wealth, influence and prestige.

But, here’s where things get really interesting, folks.

The director of the award winning film of Wall Street was Oliver Stone, who is – by virtue of a perfect ear biometric match – yet another character portrayed by the host actor and Hollywood mogul, Barry Diller AKA Austro-German Prince Eduard von Furstenberg.

Oliver Stone, discussing American president, John F. Kennedy:

Considering the true identity of the Hollywood icon known as Oliver Stone, and the fact that he is yet another character portrayed by host actor Barry Diller, applies an entirely new spin on Stone’s so-called direction of 1991’s JFK, starring Kevin Costner. In truth, the film JFK was yet another propaganda piece produced by the royal genealogical relations who perpetrated the JFK assassination hoax. Per Wikipedia, the script for JFK was owned by Warren Beatty (See: Watergate covered up more sinister crime), who, of course, starred as a Rockefeller presidential puppet under the pseudonym of “Richard Nixon.”

Buzz Aldrin

And now, folks, for the coup d’ grace – revelation as to the true identity of the second of our American historical impostors to be examined – NASA Apollo “astronaut”, Buzz Aldrin.

Though NASA’s journey beyond the earth and to the moon may still be historically heralded as mankind’s greatest engineering feat, it was, in truth, nothing of the sort – merely another theatrical production and psychological operation.

Perhaps, renowned science fiction author Arthur C. Clarke (CC=33/Scottish Rite Freemasonry) put it best, that NASA’s journey to the moon represented “a hole in history.”

Since one has almost thoroughly examined the theatrical shenanigans of NASA in a series of previous installments, one shall not bother to once again traverse over well-traveled ground. Suffice to say, Buzz Aldrin was yet another character, a mythical hero starring in perhaps the grandest movie ever produced and financed by billions of American tax dollars – the fabled Apollo moon missions, which were presided over by none other than “Tricky Dick” Richard Nixon AKA Hollywood host actor Warren Beatty. But more than this, Aldrin’s host actor was a genealogical relation, father to William Jefferson Clinton AKA Michael Douglas.

Kirk Douglas, starring in Spartacus:

Kirk Douglas looks back on his role in Spartacus:

Performing a close examination and comparison analysis of the host actor’s facial recognition features to the NASA character of “Buzz” (double Z/ Kabballah mind weapon/77=twin lightning charges of Lucifer/angelic transformation) Aldrin, one can readily observe the similarities, absent the lighting and lens distortions. Voice recognition analysis also confirms Kirk Douglas as the host actor starred in the role of Buzz Aldrin.

Buzz Aldrin:

What is perhaps more telltale, if one listens closely to Aldrin’s testimonial reflections of his time with NASA, are the stunning similarities between his vocal and physical mannerisms and those of Hollywood actor, Kirk Douglas. In the video displayed above, one shall also notice the cleft in Douglas’s chin has been covered by extensive stippling and makeup in an effort to conceal the identity of Aldrin’s host actor.

That’s right folks, the famous words of the old bard, William Shakespeare, found in Act II, Scene VII of As You Like It, have once again proved remarkably poignant.

 

 

 

 

 

 

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