Sorry folks, but the author duly apologizes for making his loyal readers wait for so long between installments. Though it may be the Christmas season, rest assured, in lieu of unwrapping gifts, one has been busy with a novel’s manuscript draft which shall soon become a new science fiction/alternative history/thriller, slated for release on Amazon in May 2019, entitled Sky Parlor.
Oh, and of course, one has also been diligently compiling research for this latest installment which shall, no doubt, garner its share of vitriol from naïve naysayers, paid shills, and garden variety online gang stalkers.
Yes folks, Elton John, perhaps the most iconic of classic rock and pop show stoppers, is not who you think he is. Though his considerable musical gifts cannot be denied, there exists copious empirical evidence the man known as Elton has spent decades leading the general public down the yellow brick road, straight to the man behind the curtain who pulls the levers of the music and entertainment industries.
Only, no one has bothered to pull back the curtain and dared to look, that is until now.
The first indication something was amiss with Elton was when one endeavored to examine his official biographies, only to discover that his birth year is listed as 1947.
In numerological terms, this is problematic.
Primarily, one shall note that the year of 1947 marked the official establishment of the Rockefeller funded Central Intelligence Agency, those vigilant vanguards of freedom, liberty and the American way.
Putting sarcastic barbs aside for the moment, loyal readers shall also note that the numbers four and seven equal eleven, which together, are symbolic of black and white duality and, the Freemasonic pillars of Boaz and Jachin.
As one can readily observe at this early juncture, Elton is treading on brittle grass.
Elton’s birthdate is officially listed as 25 March (7 and 3/occult mirrored reflection=3 7’s/3X7=21/777 intelligence joker code).
Although this fact is not often accentuated by mainstream media sources, Elton’s official name was changed from Reginald Dwight to Elton Hercules John. The name Hercules is rather curious, in that it is the name of a mythological figure said to have originated in ancient Greece. The story tells of an ancient god, Zeus, who betrays his son, Heracles, and sells him into slavery. This mythological tale and its iconography was later adopted by the Romans during the 1st century AD.
Due to the assumed familiarity with this popular myth, which has been retold in countless movies and television productions, one shall not now labor to recount it in bold detail.
Suffice to say, however, the mythical narrative of Hercules, in so far as it relates to the legendary entertainment career of Elton John, shall grow into greater significance when the identity of his host actor is revealed along with the identity of his parents, one of whom portrayed a former US president, the other a latter day presidential candidate.
Moving on with the biographical analysis, one also noticed some curious masonic markers when it came to the official music recording sales statistics said to be associated with John’s collaboration with lyricist, Bernie Taupin.
It is has been officially claimed, that not only did the songwriting duo work together on 30 albums worth of recorded music (3/EE=33/high-degree Scottish Rite Freemasonry) but the John/Taupin collaboration has also resulted in album sales of ‘more than 300 million records’ (33) and, 50 top forty hits (2 3’s=33). Additionally, our man Elton (El=biblical Elohim/sums to 66 in English Ordinal gematria=12/21/777/intelligence joker code) has officially racked up 58 (13/summit of masonic pyramid) Billboard Top 40 singles, of which 27 (2 7’s=77/twin lighting charges of Lucifer/angelic transformation) officially reached the Top 10.
But the genuine clue Elton represents an artificially created entertainment industry icon is thoroughly indicated by his decision in 1997 (777) to rewrite and retitle one of those Top 40 hits, Candle in the Wind, in honor of the late Diana Spencer, the former Princess of Wales, a song which reportedly sold 33 million records (there’s that masonic # again folks, think someone might be telling us something?). The original version of this composition, was written in honor of another iconic but manufactured historical character, Marilyn Monroe (MM=33) AKA Hollywood actress and Broadway star, Ann-Margaret.
Then again, Elton’s connection with the British royal House of Saxe-Coburg-Gotha does not represent a profound revelation. For, in 1995 (33), Elton was appointed a Commander of the Order of the British Empire and officially knighted by the sitting British monarch, Queen Elizabeth II on 24 February (28X2=48/4+8=12/21 occult mirrored reflection/777 intelligence joker code) 1998 (36/3 6’s/666).
In essence, much like Mozart, Brahms, Beethoven and other musical composers of classical antiquity, Elton John represents the continued tradition of the concept of the royal court composer, carried into the modern era.
In addition to his royal connections, Elton’s biography features a military connection. Empirical analysis has demonstrated time and again, that when it comes to keeping the secrets of the actor based reality and protecting the ruling elite’s monopolization of the entertainment and music industries, military and law enforcement bodies, those worker bees of the International Brotherhood of Freemasons, are oftentimes employed.
Elton’s biographies allege that his father, Stanley Dwight, served as a flight lieutenant in the Royal Air Force or RAF. Furthermore, official biographies also alleged Elton’s parents were both musically inclined and, at the age of 7 (Kabbalah Zayin, the mind weapon) he took up formal piano lessons. At the age of 11 (masonic pillars of Boaz and Jachin) Elton allegedly was gifted with a scholarship to the Royal Academy of Music.
It is important to note, that while carrying out research, one must be careful not to overlook or discard treasures of truth hidden beneath the nearly labyrinthine layers of biographical canards, in that this latter biographical detail of Elton’s rings true, bolstering the premise that the abilities of those child prodigies who go on to portray the entertainment industry’s most iconic stars, by virtue of their birth into elite and prominent family bloodlines, are identified very early on, then honed to a fine edge at the finest performing arts schools in the world, until they come of age and, are ready to assume the mantle of fame and fortune set aside for them.
Because their skills are trained and honed to such a fine edge, it must also be considered that such extensive training enables their thorough participation in the global phenomenon of the actor based reality. Prodigies such as the host actor portraying Elton John, become thoroughly competent at not only performing successfully with various instrumentations, but doing so while donning a virtually inexhaustible number of popular culture characterizations, and personas well capable of performing in any variety of popular musical genres.
It follows then, that the popular musical icon known as Elton portrayed more than one notable and iconic figure.
Samuel Burt Kinison, or as he was more popularly known, simply Sam Kinison, which sums to 7 (Kabbalah Zayin, the mind weapon) in both English Ordinal and Full Reduction gematria and, sums to 11 in Reverse Ordinal and Reverse Full Reduction, was for a time, a popular comedian noted for his zany and intense stand-up comic routines. Here too, the character of Kinison presents an official biography laced with numerological markers. Though it is claimed Kinison was born in Yakima, Washington, his family then allegedly chose to migrate east to East Peoria, Illinois when Sam was but three months old (3/EE/33).
Another numerological marker appears when it is learned that Kinison’s parents divorced when he reached the age of 11 (masonic pillars/Boaz and Jachin). Kinison’s biographies also accentuate a religious fundamentalist background and education, which he later went on to exploit and lampoon when performing as a stand-up comic. Wikipedia’s biographical entry for Kinison informs that after his mother’s divorce and speedy remarriage to a fundamentalist preacher, he moved with her to Tulsa, Oklahoma and, between the ages of 17 and 24 (6 years/33) he too, it is claimed, tried his hand performing in the church pulpit before striking out to Texas to begin his career in show business performing in small nightclubs.
It is noteworthy that the satirizing of fundamentalist religion became such a strategic staple of Kinison’s short-lived stand-up act, for destroying the fundamentalist philosophies of the world’s exoteric religions in lieu of secularizing the occult has been an ongoing project of the international intelligence octopus since the turn of the twentieth century, a project which began with the influential efforts of the Eastern Star occultist, Helena Blavatsky.
In this regard, heavily promoted entertainment icons such as Sam Kinison serve as social destabilization agents.
Through facial recognition analysis, one has been able to determine that late comedian, Sam Kinison, was in fact portrayed by the same host that has portrayed popular music icon, Elton John. If one well scrutinizes the following series of images, it shall become readily apparent that strategic applications of stippling, latex and makeup have helped to conceal the host actor behind the character illusions of both Elton John and Sam Kinison.
In the case of Elton John, keep in mind that eyewear is always utilized as a strategic staple with each character incarnation in helping to conceal the identity of the host actor. In seemingly every image of Elton John, he seems to have donned some sort of concealing eyewear. However, when closely studying the facial geometry of both characters, one shall begin to readily notice similarities in both the slope and width of the nasal cavities, as well the distinct configurations of the brow ridges. Eyewear also serves to not only conceal the eyes and frustrate facial recognition analysis, but can also significantly alter one’s ocular perception of the facial geometry. Nevertheless, if one closely focuses and, examines the eyes of both characters, the realization that both are portrayed by the identical host actor shall become readily apparent.
But there is yet another noteworthy biographical element bridging commonality between the entertainment personas of both Elton John and Sam Kinison – cocaine.
It has been readily observed before, the abuse of narcotics is always written in to the biographical narratives of many such iconic entertainment figures. Other than for their value as profitable corporate assets, celebrities, music and entertainment stars serve as public behavioral models. The ruling elite families of these iconic stars have not only monopolized the music and entertainment industries, but between the thirteen, Jesuit families, the colossal scope of the international narcotics trade serves as perhaps their most reliably profitable source of revenue generation.
In putting on a credible act they are drug addled fiends requiring rehabilitation, the stars of the music and entertainment industries are purposefully playing out a role that not only serves to normalize such behavior, their convincing portrayals are scripted psychological operations causing such abhorrent behavioral habits to appear as socially acceptable to their millions of adoring fans.
In that sense, stars such as Elton John and Sam Kinison become salesman, shilling for a most destructive but profitable product.
Through their children posing as stars who popularize drugs like cocaine, the ruling elite families catch significant percentages of the public in the death grip of a psychological pincer. On the one hand, under the watchful and protective cover of law enforcement and intelligence agencies, they are selling the drugs which reap enormous but illicit profits and, on the other, the insurance conglomerates, which are also owned by the ruling elite families, make a profit yet again on the back end from the state sponsored rehabilitation centers.
Through the hypnotic and psychological spell cast by the music and entertainment industries, in combination with the soul deadening products peddled through the international narcotics trade, the ruling elites find the masses much easier to manipulate, manage, and ultimately control. The ruling elite’s monopolizing hegemony over these industries is, of course, protectively garrisoned by the masonic wall of the international intelligence octopus.
Though it may seem incredible or even dubious at best, nevertheless, extensive ear biometric and facial recognition analysis clearly demonstrate, the host actor behind the show business characterizations of both Elton John and Sam Kinison is none other than the son of Warren Beatty AKA former US president, Richard “Dick” Nixon, Rick Springfield AKA former teen idol David Cassidy.
Earlier, one made reference to the myth of Hercules as it relates to the iconic career of Elton John. The narrative of the myth concerns an ancient god who not only betrays his very own son, but against his will, sells him into slavery. Could it have been that Rick Springfield, son of Hollywood icon, Warren Beatty, while under the boot of Hollywood mogul, Barry Diller and his powerful son, David Geffen, was sold into contractual slavery at a tender age, to be forever incarcerated by the soul crushing treadmill of the music and entertainment industry?
Now that his character’s host actor has been identified, it is quite possible to view the following sample of lyrics, excerpted from one of Elton John’s most recognizable compositions, from an entirely fresh, if not wholly revealing perspective:
Goodbye Yellow Brick Road
You know you can’t hold me forever
I didn’t sign up with you
I’m not a present for your friends to open
This boy’s too young to be singing, the blues