Oftentimes, pop stars are not who you think they are.

In truth, the music industry represents perhaps one of the grandest psychological operations ever performed upon the unsuspecting public.

However, acquiring the ability to peer through this deeply woven veil is but the first step in comprehending the implications of the actor based reality.

To the owners and executive decision makers of the entertainment and music industries – maintaining the actor based reality translates to continued profits for their stockholders, and if the empirical evidence gathered through research for this installment is any firm indication, any talented, contractually bound performer, one who possesses the chameleon-like capability to assume various roles and demonstrates the ability to successfully perform in a number of musical genres represents great potential in becoming a profitable commodity.

Such was the case with one such genuinely talented performer – one who in three consecutive decades reached platinum renown multiple times performing under different pseudonyms, names that a majority of one’s loyal readers will undoubtedly recognize.

Get ready, folks, for yet another dizzying ride upon the roller coaster known as the actor based reality.

Hey – we’re the Monkeys!

During the decade of the mid to late 1960’s, teen pop sensations the Monkeys, were not only adored by hordes of screaming fans, but seen on millions of American television sets, and became a hit staple on AM radio stations in every major market from coast to coast. For group member and guitarist Michael Nesmith, he had not only reached the apex of pop music fame, but he and his bandmates were often mentioned as America’s answer to the four “mop tops” from the other side of the Atlantic.

That they were panned by critics as a made for television, disposable teen pop phenomenon did not seem to slow record sales, nor did it visibly effect the profits made from massive concert gate receipts.

In retrospect, and though the latter day music press is loathe to admit as much, their well-crated discography of popular hits seems to have experienced comparable, if not equal staying power to other contemporary classic pop and rock acts afforded the reputation of having possessed more street credibility.

Even “Head”, the film representing the Monkeys’ final hurrah in the Hollywood spotlight and produced by the same people directed Easy Rider, still stands up as a dark, subversive and satirical piece of cinema that dared to not only skewer their own manufactured image, but the commercially degenerated American culture that produced it.

Despite having been weighed down with the dreaded teen pop albatross, the television manufactured Monkeys sold more records during the brief span of their three year career than seasoned entertainers considered the music critic’s darlings, bands such as the Rolling Stones, Grateful Dead, Jefferson Airplane, the Doors, and Jimi Hendrix, with whom the Monkeys briefly toured before their loyal fans booed the vaunted guitarist and his “Experience” band off the stage. Perhaps the screaming throngs of Monkeys fans understood something the self-appointed pop music scribes had not, after all.

Speaking of James Marshall Hendrix, the legendary rock guitarist who allegedly died at age 27 (77/occult symbolism of the twin lighting charges of Lucifer/angelic transformation), on September 18, 1970 (777/intelligence joker code), he was but another character charismatically portrayed by a familiar host actor:

Morgan Freeman:

https://goo.gl/images/QUyK6F

Jimi Hendrix:

https://goo.gl/images/P8oYuP

Incredibly enough, ear biometric and facial recognition analysis indicates that Freeman also served as the host actor for this celebrated historical character:

Nelson Mandela:

https://goo.gl/images:3W6JnT

One has asserted previously that military biographical details are almost always significant and telltale signs of a character created for commercial profit aided by CIA intelligence on behalf of their masters, the ruling Jesuit elite, the corporate industrialists, multi-national merchant bankers, and European royal bloodlines.

The character creation of the tragic, musical legend James Marshall Hendrix appears to have been no exception. Biographical details additionally claim the character of Hendrix was enlisted in the Army paratroopers, and it is alleged, he had been subsequently released from active duty and granted with an honorable discharge after suffering from an ankle injury during a training exercise while serving with the 101st (101/symbolic of masonic pillars of Boaz and Jachin) Airborne Division at Kentucky’s Fort Campbell in 1962.

This series of events seems dubious, especially considering the historical circumstances of America’s increased involvement in Vietnam during the early 1960’s, and paratrooper units and personnel were a valuable military resource in terms of the distribution and delivery of valuable manpower and supplies to a prospective warzone.

Like the character of Elvis Presley, did Hendrix AKA Morgan Freeman receive training as a psychological warfare asset before his meteoric rise to music superstardom?

Fort Campbell, for decades, has been the headquarters of an extensive and well-funded psychological operations unit (the Airborne, 4th psychological operations group) that undoubtedly possesses links to CIA, the Pentagon, Hollywood, and the international intelligence octopus. And it is likely, given that the 4th psyops group is designated Airborne, the paratrooper story is a cover for Hendrix’s true assignment.

More intriguing still, there exists circumstantial and even empirical evidence Hollywood icon, Morgan Freeman, may be linked with European royal genealogy, specifically with the royal house of Saxe-Coburg-Gotha. One has grown to believe, in the case of Freeman, the rabbit hole runs very deep, and evidence of his royal connections will soon be examined further in a future installment.

However, in the case of Monkey, Michael Nesmith, what the adolescent audience filled with rabid fans who scoffed at Hendrix’s theatrical pyrotechnics hadn’t realized, is that the legendary guitarist was not the only performer to have appeared on stage that evening working under a pseudonym. One of the objects of their fervent adoration – Michael Nesmith – would go on to star with other high-profile, platinum level acts, performing under other names that would, in their own right, grow to become well-recognizable and even legendary to fans of rock and pop music the world over.

This is what is meant by selling your soul for fame and fortune. Not in the literal sense, of course, but in strictly legal terms.

Selling your soul – legally speaking

In the parlance of legal terms and conditions, your name, once bonded and sealed by a commercially coded manifest, or birth certificate, becomes a corporation, and by legal extension, becomes subject to the terms and conditions of Uniform Commercial Code. Legally speaking, your soul is bonded to the fictional, corporate name given to you at birth. Once the bond is sealed on the birth manifest, per the terms and conditions of Uniform Commercial Code, you become a “person”, a corporately registered and taxable unit of commercial trade. This bond, attached to your person, can legally be bought and sold.

But, in the case of the music industry, a talented performer can be “reborn” under various names, thus becoming several persons during the course of an entertainment career. Each time an entertainer agrees to adopt a pseudonym which is secured under the strict terms and conditions of a proprietary contract, that person possesses the potential to create long-term profitability from the sale of recordings, merchandise, copyrights, acquisitions and distributions of music discographies and catalogues, as well from numerous other ancillary revenue streams.

It is always in the best fiduciary interests of a recording company to maximize its profit potential in completely securing under contractual lock and key any multi-talented performer capable of generating multiple revenue streams. Securing the name(s) of such a talented performer elevates the stock of the company, and also enables the company to secure a larger market share, which in turn, brings in more investors and maintains stockholder profitability.

However, when an entertainer’s term of contract expires, and that entertainer refuses to renegotiate for better terms but instead wishes to seek better conditions elsewhere, the performer must surrender the character pseudonym back to the contractual proprietors. In the event of the character’s retirement, or “death”, the entertainer’s “person” can retain the right to collect social security and retirements benefits. In other words, folks, a single entertainer can have several careers during the span of one lifetime, and profit very handsomely.

In the case of Monkey, Michael Nesmith, one was able to trace the trail of this entertainer’s performing pseudonyms, which have been both extensive, and quite extraordinary.

Bette Nesmith Graham

As with most renowned pop stars, Michael Nesmith was born to wealth and privilege, although his biography would seem to indicate he was yet another music star hailing from humble, and even working class origins. His mother, Bette Nesmith-Graham was alleged to be the inventor and patent holder of liquid paper. While working as executive secretary for W. W. Overton, chairman of the board of Texas bank, Graham (maiden name McMurray) looked to formulate an idea for a product that would correct small mistakes on bank documents, rather than having to retype the entirety of the text. One day – or so the biographical accounts inform – after watching the bank’s window designers correcting their mistakes with an additional layer rather than removing them entirely, she decided to apply the same technique to the office, utilizing a white, water based tempera paint.

The product grew in popularity with the other secretaries at Overton’s office, and eventually, Graham founded her own company complete with a production facility located near North Dallas. After demand soared for her product, dubbed “mistake-out”, Graham applied for a trademark and patent in 1958. Eventually, the headquarters for Graham’s company moved to Dallas in 1975, and just six months before her death in 1980 at age 56, she sold her company to the Gillette Corporation for a reported 47 million dollars.

One discovered photographs of Nesmith-Graham with her son Michael were indeed rare, and the sole image available online is a grainy, but no less revealing portrait, if one knows what to look for. Wikipedia’s biography of Graham is rather scant other than the aforementioned details.

Nevertheless, even those scant details were not completely bereft of clues, and it is claimed that after his mother’s death, Nesmith was bequeathed the whole of his mother’s estate, which due to the contractual arrangements with Gillette for his mother’s liquid paper company, turned out to be quite considerable. Though it seemed strange there existed such a dearth of childhood photographs of an iconic pop star and his family, a brief examination of the Gillette company and its founder, King C. Gillette turned up some rather interesting information concerning the man who purchased Nesmith-Graham’s company and managed to essentially monopolize an entire niche market.

Upon closer examination of the single photograph displayed above, one shall notice the background pattern of latticed diamonds between Graham and her young son, which symbolically represent the number 33, the highest degree of Scottish Rite Freemasonry. The photograph also appears to have been cropped and manipulated, and it appears to be a portion or fragment cut from perhaps a larger portrait, with the images of the woman and child appearing to have been possibly pasted together.

Regarding the late King C. Gillette, the man who founded the corporate giant purchased Nesmith-Graham’s company six months before her death, it is interesting to note the full reduction of his name in English gematria is 62 (8/aces and eights/intelligence code/ Saturn/mark of the Jesuit order).

There are other intriguing facts about Gillette.

He not only created the concept of the modern, disposable shaving razor, he was also an author, and a Utopian Socialist.

In 1884, he published a lengthy tome entitled the Human Drift, which advocated that all industry should be taken over by a single corporation. Gillette also espoused the idea that everyone in the US should live in a giant city called Metropolis powered by Niagara Falls (This may have been the basis for the seminal Hollywood production known by the identically named film produced in the 1920’s). Yet another book was published in 1910, entitled World Corporation, in which Gillette elaborated on his Utopian Socialist ideals.

Gillette’s ideology sounds eerily similar to the latter day Agenda 21 globally mandated by the United Nations.

Examining the photograph of Nesmith-Graham more closely, one discovers an uncanny resemblance to Dolores Hope, the second and long-time spouse of popular and iconic American comedian and entertainer Bob Hope.

Dolores Hope:

https://goo.gl/images/vf5SVr

Hope springs eternal

The biography of legendary American entertainer Bob Hope details that he was married twice, first to his vaudeville partner Grace Louise Troxell, a secretary from Chicago, Illinois, while just one year later, he divorced Troxell to marry the former Dolores Reade. According to Hollywood biographers, there is no record of Hope’s marriage to Dolores Reade in 1934, and once again, photographic records of Troxell are hard to find – save this one:  http://4.bp.blogspot.com/-afoFZMPSwzU/VG4YHtoGu7I/AAAAAAAAO5w/hFPnacUOLOM/s1600/untitled.png

Unless one’s eyes are truly deceiving, the woman in the above photograph not only closely resembles Dolores Hope, but Nesmith-Graham. What began to confirm one’s intuitive suspicions yet another example of Hollywood biographical trickery and misdirection had been detected, was the discovery of an article regarding the confounding scenario of Bob Hope’s first marriage: http://greatentertainersarchives.blogspot.com/2015/05/the-first-mrs-bob-hope.html?m=1

Other than explaining Hope’s marriage with Dolores represented the longest in the history of the entertainment business, and the fact she remained at home to raise their four adopted children while Hope went off to Europe during the latter half of the second world conflict to entertain the troops on behalf of USO, the article confirms, despite the celebrity couple’s claims to the contrary, there is no record of their marriage in February of 1934, and perhaps even stranger still, there are no surviving wedding photos.

The article goes on to further explain Hope and Dolores wanted to keep their marriage quiet to avoid scandal and, at the very least, avoid becoming a target of the rampant Hollywood gossip mill.

But, perhaps there was another reason Bob and Dolores wanted to keep their marriage quiet?

Could it be Dolores Reade, Troxell (X/Saturn/double l/33/el/biblical Elohim), and Nesmith-Graham are indeed the same woman? Does the possibility exist both Hope and Dolores Reade were hiding behind pseudonyms, and their origins were not as humble as their concocted show business biographies suggest?

If so, is there an additional possibility Dolores Reade was a close family relation to King C. Gillette, and is it also possible the product line of “mistake out” was bequeathed to Dolores upon Gillette’s death under a pseudonym, for not only the purposes of careful and selective test marketing, but as a capital gains and corporate tax dodge?

This is a common corporate practice when it comes to the test marketing of newly produced products designed to open untapped markets which have yet to demonstrate significant demand, particularly in the automotive production industry.

During the 1960’s, Toyota corporation first decided to expand a new product line into Western markets to compete with the growing post-war baby boomer demands for racier and sportier street automobiles such as the Chevrolet Corvette.

Rather than risking the loss of enormous capital investments and a blemish on the global reputation of the well-established Toyota brand should the product fail to garner significant demand throughout North America, Toyota executives decided to instead create a corporate subsidiary entitled Datsun behind which they could safely and in a limited and incremental fashion, introduce their new “Skyline” car to the growing demand in Western markets.

Both the biographies of Reade (further investigation indicates additional biographical misdirection as various biographies claim Dolores Hope’s maiden name was DeFina) and Nesmith-Graham claim they were both employed as secretaries during the identical time period, the former in Chicago (a city that will play a role in the biography of another famous celebrity pop star related to Michael Nesmith) and the latter in the city of Dallas, a city populated with a masonic grand lodge, and of course, the city helped stage the JFK assassination hoax.

In addition to the photographs and biographical synchronicities, there are other elements that tie Bob Hope and King C. Gillette together.

In 1926, Gillette purchased property for a large ranch in the Santa Monica mountains near Calabasas in Southern California, which was later sold to Bob Hope in 1952. Hope immediately gave it over to the Claretian order of the Catholic church, who then established the Church of the Universal and Triumphant, a church reportedly specialized in the spreading of new age dogma. The Claretian Catholic order of missionaries was founded by – get this folks – a Jesuit priest, St. Anthony Mary Claret in 1849.

Years after her divorce from military man Nesmith, the mother of Michael Nesmith married a Robert Graham. Though there were no photographs or additional information regarding Robert Graham available at Wikipedia or from other sources, further investigation availed yet another possible Jesuit connection:

Father Robert A Graham, SJ, an American Jesuit priest and world war II historian for the Catholic Church: https://en.m.wikipedia.org/wiki/Robert_A._Graham

Yes, folks, the Jesuits seem to rear their ugly heads wherever one happens to look. Could it be, as an historian and expert administrator, as the Jesuits are known to be, Father Graham was involved in the fabrication of Bette Nesmith-Graham’s biography?

More noteworthy still, the Gillette Corporation was also a generous and regular sponsor of Bob Hope throughout his career, and in 1975, Hope hosted the Gillette Cavalcade of Champions, starring none other than our old friend Barbara Walters AKA Princess Diane von Furstenberg.

It seems strange a man such as Bob Hope, a popular radio host who during his incipient days in the entertainment industry emerged at Paramount Studios as a Hollywood box office draw possessing the image of a virile, and even romantic leading star, would later decide to adopt children with Dolores. There doesn’t seem to exist any verifiable or identifiable source which would explain why the celebrity couple could not biologically conceive their own issue.

Taking into account the outstanding questions regarding Bob and Dolores Hope’s biographical information, could there be another possibility as to why an otherwise healthy couple would decide to adopt children?

Or, is this story yet another biographical canard to conceal Hollywood nepotism?

Could it be, Michael Nesmith is indeed, the hidden son of Bob and Dolores Hope, and like many other stars of stage and screen his meteoric rise to fame was due, at least initially, to family relations?

Performing a comparison and contrast analysis of the following Hope family photograph with that of the cropped and manipulated example provided earlier, do the woman and male child posed on the far left of Bob Hope appear to possess facial similarities?

https://goo.gl/images/3m89a1

The child posed to the left of Dolores Hope possesses not only identical facial recognition with the child identified in the previous photograph as a very young Michael Nesmith, but there are similarities to be found in the shape and prominent protuberances of the ears, as well the contours of the brow ridges, and in the sloping contours and overall geometry of the nose.

There are additional facts to consider regarding Hope – unknown to many, he and his family emigrated from England in Eltham, and like many of the other iconic entertainers examined previously, Bob Hope was awarded a royally bestowed title, and in the twilight years of his life was made a Knight of the British Empire or KBE by the sitting British monarch, Queen Elizabeth II AKA Lucille Ball.

Could it be, Bob Hope’s biography is hiding a secret royal genealogy?

In a 2012 article published in Rolling Stone featuring an interview with Michael Nesmith, Nesmith responded in the following manner to a question regarding his former bandmate, David Jones:

“…He {Jones} was the focal point of the romance, the lovely boy, innocent and approachable. Micky {Dolenz} was his Bob Hope. In those two – like Hope and Crosby – was the heartbeat of the show.”

Live at Budokan

In the late 1970’s, American pop/rock act, Cheap Trick from Chicago, Illinois soon grew into mass popularity with the release of their seminal recording, Live at Budokan (Japan). But little did the Japanese teens heard screaming in adulation at lead singer/rhythm guitarist Robin Zander’s long tresses of hair dyed ice blond realize, he’d experienced this sort of crazed reaction a decade before while working under another familiar and famous name.

Robin Zander:

https://goo.gl/images/RG1Eo5

One shall notice Zander is posed atop a floor patterned with lattices of black and white diamonds, which is symbolic of the Freemasonic principle of the mirrored duality of man, the identical pattern observed in the photograph displayed earlier of Nesmith and his mother, Bette Nesmith-Graham. Also noteworthy, is the fact Robin Zander has often been dubbed by music critics as “the man of one-thousand voices.”

Michael Nesmith:

https://goo.gl/images/LJwy7k

One shall observe in this photograph, Nesmith is posed before a wall of red bricks, symbolic of Freemasonry’s pyramidal structure. Note too, the comparative similarities in facial landmarks between Nesmith and Zander (Z/Kabbalah Zayin =7/the mind weapon).

After the release of the Monkeys’ film “Head”, co-written by a young Jack Nicholson, which was not only panned by critics and puzzled their legions of screaming teen fans, Michael Nesmith decided to leave the Monkeys to record what became a successful top 40 hit with his group The First National Band, entitled “Joanne.” The recording featured Nesmith’s noted prowess with the twelve-string guitar and the country-rock flavored pop stylings reached even greater popularity with groups such as America and the Eagles. Nesmith’s only other biographical accomplishment of note during this period was the production of a children’s television show, entitled “Elephant Parts.”

Following the era of the early 1970’s into the MTV era of the 1980’s, one began to notice identical and distinguishing facial landmarks between Michael Nesmith and two other familiar and renowned pop stars. Though seemingly an incredible notion to contemplate, facial recognition and voice comparison analysis indicate all were most likely portrayed by the same host actor, former Monkey and likely hidden son of entertainment legend Bob Hope, Michael Nesmith.

Rod the Mod

Like his hidden father, Bob Hope, pop singing legend Rod Stewart has been bestowed the royal title of CBE by Queen Elizabeth II, or Commander of the Order of the British Empire. Stewart was born and raised in Highgate, London, which is a mere fourteen miles from where Bob Hope was raised in Eltham as a youth before his family emigrated to America. Stewart first gained prominence with Ron Wood and the Faces, and before that, with legendary rock guitarist Jeff Beck, who also played with Led Zeppelin’s Jimmy Page in the Yardbirds.

Open Arms

During VH1’s Behind the Music Documentary, Journey, the Director’s Cut, the narrator spins a dubious yarn the band’s lead singer, Steve Perry, was discovered while repairing turkey coops on a ranch in Southern California. In fact, at approximately 13:44 in the video displayed below, one shall observe Perry as he turns away from the glare of the camera and his face riddles with duping delight. Perry then badly attempts to recount the rather ridiculous yarn, but the entire time, seems to have difficulty remaining solemn. Cleary, Perry’s body language reflects that of someone who is uncomfortable, worried he may become entrapped in a gross prevarication. Perhaps he knows something the audience does not, that the story he recounts is indeed, a turkey.

While keenly attuning one’s aural senses to the audio from the following interview with Rod Stewart, one can attempt to compare it with the nuances of Steve Perry’s speaking voice featured at 13:44 in the interview segment from the video above. Stewart’s wobbly British accent notwithstanding, one will eventually discern the nuanced similarities between the pair of voices.

Taking into account the facial landmark similarities between the two singers (nose/ears/ brow ridges, shape of chin) and even without the benefit of voice analytical software, one should readily discern there can be little doubt the pair of popular performers are being portrayed by the identical host actor:

Rod Stewart with BBC talk host Parkinson:

 

Bob Rafelson

Returning, to the subject of the creation of Michael Nesmith’s first renowned act, one happened to have stumbled upon this video featuring the director of the Monkeys’ aforementioned late 1960’s cinematic production, Head, Bob Rafelson.

Rafelson’s comments concerning not only the manufactured nature of the Monkeys, but the deeply subjective nature of the film he made with the band are quite stunning.

Beginning at approximately 19:14 in the video displayed below, Rafelson’s remarks concern not only the fabricated nature of media, the media creation of pop culture and the manufactured concept of war, but he goes on to make certain edifying remarks concerning the general public’s conditioned, Pavlovian behavioral responses to what is observed through the medium of television:

“Wars in some sense are staged,” Rafelson says. “Television makes you inured to the realities of life.”

One couldn’t have said it any better, folks.

 

 

 

 

 

 

 

 

 

 

 

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