With all the divisive and volcanic rhetoric bandied about concerning the issue of gender-identity and gender politics, this installment shall prove especially noteworthy, and as usual, perhaps even controversial.

But as loyal readers have surely come to learn, the sinister concept of political correctness – due to its deceptively Orwellian nature – merely represents a barrier to penetrative analysis and ultimately, free thought.

Any such barriers deserve to be utterly smashed to bits.

What if one was to learn that the radical feminist ideology and its recent offshoot movements currently tearing the West asunder (i.e. #MeToo, Times Up, etc. etc.), were artificially created for ulterior commercial purposes and upon false premises, and that some of the earliest and most staunch proponents of this paradigm changing social movement during the era of the 1970’s were nothing more than artificially created social agitators spewing lines from a script handed to them by a queue of intelligence masters at Langley.

Furthermore, what if a case could be made that renowned feminists Claire Booth Luce, Gloria Steinem and Dame Rebecca West –  the first of which was a figure from Hollywood’s golden era while the latter two were European royalty in disguise – were portrayed by actors and all continue to be an integral part of the maintenance of the post-modern phenomenon known as the actor-based-reality?

Moreover, what if it could be determined beyond shadow of doubt that all were characters and in fact nothing more than straw parties – a trio of theatrical props set up and funded by that ubiquitous and prominent family of merchant bankers, the Rockefellers – designed to carry out the sinister objectives of an agenda clandestinely driven by the ulterior and commercially profitable motivations of the thirteen, ruling elite Jesuit families?

Stay tuned folks, as we once again dare to tear the veil of illusion aside, and proceed to cast the detritus of imposed popular perceptions into the four winds.

Oh, and there is a Sandy Hook connection!

As the incipient feminist movement first swept into the consciousness of America and the West during the late 1960’s and early 1970’s, Claire Booth Luce (sums to 149 in English Ordinal gematria/77/Lucifer’s twin bolts of lightning/angelic transformation/Full Reduction=5/2 3’s/33/High-Degree Scottish Rite Freemasonry) emerged as one of its foremost, most recognizable and outspoken proponents. However as we shall soon observe, her official biographies provide plentiful clues – in the way of her career pursuits and achievements – as to the true identity of her cynically constructed and theatrically performed character’s well-disciplined host actor.

Meanwhile, for the edification of one’s loyal readers and for the purposes of sight comparison analysis, the following video excerpt contains footage from a 1970’s talk show performance from Gloria Swanson (sums to 167 in English Ordinal gematria/14/77/Lucifer’s twin bolts of lighting/angelic transformation/Full Reduction=5/2 3’s/33/High-Degree Scottish Rite Freemasonry), a renowned actress noted to have been among those stars of Hollywood’s golden era during the 1930’s:

Though both characters appear to have similar facial geometry, the character of Claire Booth Luce is distinguished by a decidedly more conservative wardrobe when compared to the more flamboyantly attired character of Gloria Swanson.

Luce is also donned in eye wear which decidedly distorts the ocular perception of the host actor’s facial geometry.

In past installments, the utilization of eye wear has been identified as an element of concealment, used to cleverly hide or mitigate any positive sight comparison analysis or identification of the character’s host actor. Though the distinguishing wardrobes of both characters may distract the viewer from observing the similarities of facial geometry, it cannot be denied there are also clear similarities in terms of unique vocal pitch, tone and nuance, none of which in both cases, appear not to have been significantly altered with post-production voice synthesis.

Suffice to say, both characters are portrayed by the identical host actor, but that host actor’s genuine identity can be linked to Barry Diller AKA Prince Eduard von Furstenberg and his spouse Diane von Furstenberg AKA Barbara Walters.

But as shall be demonstrated further on in this installment, the host actor of both renowned feminist Luce and Hollywood actress Gloria Swanson has a hidden granddaughter, Nelba Marquez Greene, who starred in the Sandy Hook mass casualty simulation back in 2012 as a bereaved parent.

Not only does this hidden daughter of Barry Diller and Barbara Walters – actress Tammy Taylor – possess an extensive Hollywood resume, she is also currently starring as Cressida Dick (the ruling elite families and their helpful minions cannot resist making vulgar references to the reproductive human anatomy), who has not only been awarded a CBE by the sitting British monarch, but now serves as the appointed commissioner of the Metropolitan Police Service in London.

But first, one shall now delve into the notorious family of American merchant bankers, the Rockefellers, and their financing of what came to be known as the feminist movement in both America and the West.

WAS FEMINISM AN ARTIFICIALLY CREATED SOCIAL MOVEMENT?

There exists a peculiar irony when observing the emergence and the continued momentum of the feminist movement, in that there is a plethora of empirical evidence demonstrating its impetus was not only created by think tanks such as the Ford Foundation and Redcliffe Institute which are both connected with merchant banking families like the Rockefellers, but was copiously funded by the very patriarchs upon whom feminists such as Claire Booth Luce and Dame Rebecca West heaped reams of scorn and righteous indignation, those they freely and pejoratively labeled “male chauvinist pigs”.

And yet in recent memory, not a single “journalist” employed by the MSM has ever devoted an investigation to the curious money trail proved to have funded the feminist movement, much less dared to publicly allude to it.

Perhaps the source of funding for the incipient feminist movement is avoided at all costs chiefly because it would utterly destroy the dubious notion that women residing in America and the West are an oppressed class and suffer under the boot of a patriarchal tyranny.

Meanwhile, it is that very ruling “patriarchy” that is writing and signing the checks and providing any additional largesse necessary in perpetuating the momentum of the “feminist” movement.

Considering the concept of feminism from this lucid context and freed from the taint of  propagandizing however, perhaps it would be more accurate to describe the feminist movement as not one that seeks to nullify the oppression of women at the hands of the patriarchy, rather it is the patriarchy’s covert exploitation of women’s emotional vulnerabilities for the purpose of ulterior motives, a sinister and even cynical but profitable mass manipulation to which the movement’s seemingly millions of supporters have remained largely and willfully blind for these last several decades.

Of course, as the latter statement of the preceding paragraph implies, this revelation does not in any fashion represent novel information.

In fact, this information – albeit largely suppressed by the Rockefeller controlled and funded CIA and MSM – has been left in plain sight for those wishing to seek it out since the feminist movement’s so-called “second wave” beginning in the 1970’s.

To wit: an article published in the Village Voice on September 6, 1979 (https://newslog.cyberjournal.org/how-gloria-steinems-cia-role-was-censored/).

When news of the article’s publication reached CIA in Langley, Franklin Thomas, president of the Ford Foundation, immediately resolved to retain the services of the law firm of Greenbaum, Wolff and Ernst, which summarily threatened to file suit if the Village Voice proceeded to publish its findings as regards the source of the feminist movement’s funding and the CIA training and mentorship provided to one of the movements more prominent leaders, Gloria Steinem.

Though the vintage Village Voice article may not have been reticent to detail the CIA’s involvement in the maintenance of the feminist movement and the training of the movement’s leaders, it failed to investigate as to whether or not “Steinem” may have been a trained CIA agitator portraying a role while operating under a pseudonym which cleverly hid the identity of yet another famous and iconic Hollywood actor, Ann-Margaret.

Ann-Margaret:

https://www.gettyimages.com/detail/news-photo-/actress-ann-margaret-attends-the-2018-afi-fest-world-news-photo/1060161810

https://binged.it/2OnVUka

https://binged.it/2OwBndn

Gloria Steinem:

https://binged.it/2OnW238

https://binged.it/2OqsLET

Both voice and facial recognition analysis positively identify Steinem’s host actor as Ann-Margaret, who has portrayed several of America’s most prominent historical figures, Jaqueline Kennedy, iconic actresses Sharon Tate and Marilyn Monroe, as well the widowed former wife of the late king of rock and roll, Priscilla Presley.

She is also the royal consort of the sitting Swedish monarch, His Majesty Carl Gustav.

Queen Silvia of Sweden:

https://binged.it/2Oo9x2F

https://binged.it/2OnFIzr

SEE: What really happened to JFK assassin Oswald? (Part II)

That’s right folks, the host actor who portrayed feminist Gloria Steinem was a woman born into wealth and privilege, the consort of a European royal monarch who for decades also starred as more than one Hollywood icon but also posed as an American “feminist” agitator appearing to vehemently protest an oppressive “patriarchy”.

Is it just me, or does this scenario represent a grotesque irony?

BARBARA WAWA AND HER MOTHER – GLORIA?

Along with Steinem, Claire Booth Luce was one of feminism’s most highly publicized champions. She also became the first American woman to be named to an ambassadorial post overseas when President Eisenhower officially appointed her ambassador to Brazil, a post which strangely, lasted only from April 28, 1959 until May 1 (occult date of Beltane) of that year.

Before that, Luce served in the House of Representatives from Connecticut’s 4th district from January 3, 1943 until January 3, 1947, during which time she went on record as being heavily critical of President Franklin Roosevelt’s foreign policies.

So much for women being held back from attaining positions of social and political prominence by that cruel gaggle of privileged ogres known as the “patriarchy”, huh?

As alluded to before, this portion of Luce’s official biographies – and more importantly the man who appointed her as an official, though short-lived ambassador – represent a colossal clue as to her genuine genealogical origins.

Luce was also a creative force in the American theater, and in 1936, she wrote and produced the hit play The Women, which featured an all-female cast.

One could assuredly ascertain therefore, there weren’t any oppressive members of the dreaded “patriarchy” barring Luce from entering the theater to produce a highly successful play either?

Luce was also active in not only writing plays, but she is credited with having written other works of drama, Hollywood screen plays, published fiction, as well extending her creative forays into the professions of journalism and even war reportage.

Now folks, do any of these biographical details appear to resemble what could be described as the woeful and downtrodden account of a woman’s life resulting from any sort of crushing tyranny exerted upon an oppressed class?

Given that Luce (pseudonym referencing the god of the Templar/Jesuit/Freemason triumvirate Lucifer or the sun) was born to both wealth and privilege, then proceeded to accomplish much in the realm of various professional disciplines and became one of America’s foremost proponents of “feminism”, is there no one else observing the obvious and utterly absurd contradictions here?

From a detailed analysis of Luce’s political career, it is clear her character was posed as a conservative and an American isolationist, a position which advocated for the national avoidance of American involvement in foreign entanglements.

Nevertheless, given Clair Booth Luce – and like a majority of those now serving in not only the House of Representatives but as well the Senate – was a Hollywood actress disguised as a politician, and her political positions as an “isolationist” and a “conservative” were clearly designed as superficial poses calculated for the purposes of public appearance and mass perception.

It is also claimed her most noteworthy accomplishment during her time in the American congress came with the passage of the Luce-Celler act of 1946, which called for quotas of immigrants from the Philippines and India to be admitted within the borders of the US to become naturalized.

Sound familiar, folks?

After all, during the post-war era, at a time when America’s emerging middle classes were expanding into suburban areas away from metropolitan or urban regions, Luce’s elite masters saw the need for copious amounts of cost-efficient human resources in helping to facilitate the construction of this suburban expansion and its accompanying infrastructures.

If one analyzes American history with a critical eye, one shall observe that – as in this latter-day era – calls for permissible levels of immigration, whether legal or illegal, have little to do with so-called expressions of progressive ideology, but rather often come from puppet politicians whenever it is economically expedient for the ruling elites to do so, and whenever nearly unlimited employment pools of workers are needed to perform menial labor and in occupations performed under often hazardous or what would appear less than ideal conditions.

How do we know Claire Booth Luce is an actor?

The results of facial recognition analysis demonstrate that Gloria Swanson, the iconic actress from Hollywood’s golden era featured in the video displayed earlier in this installment, is not only the host actor portrayed feminist Claire Booth Luce, but she is also Liliane Nahmias, the hidden mother of Diane von Furstenberg AKA legendary television personality Barbara Walters. the current spouse of Hollywood executive titan Barry Diller AKA Prince Eduard von Furstenberg/former US President Dwight D. Eisenhower.

Dwight D. Eisenhower:

https://binged.it/2OodLar

https://binged.it/2OpdwMD

Barry Diller:

https://binged.it/2OnFlok

https://binged.it/2OpehoX

SEE: Watergate covered up more sinister crime (Part II)

I guess we now know, why and how it is Claire Booth Luce was appointed the first woman ambassador abroad by Dwight D. Eisenhower AKA Barry Diller, right folks?

Liliane Nahmias:

https://binged.it/2U0HYTn

https://binged.it/2TXt2Ff

Liliane Nahmias with Diane von Furstenberg AKA Barbara Walters:

https://binged.it/2Ot2LJa

In the guise of Barbara Walters, Diane von Furstenberg has been modified with hair dye as well copious and strategically applied makeup, which serve to distort the ocular perception of the host actor’s facial geometry.

In the past, the image observed in Walter’s publicity stills, as well the image seen during her television appearances, without exception, are modified in post-production with lens distortions, photo shop, CGI rakes, and lighting angles.

Diane von Furstenberg:

https://binged.it/2TYhqSs

https://binged.it/2TYFTHt

https://binged.it/2TWQT8h

Barbara Walters:

https://binged.it/2TTF2ri

https://binged.it/2TXBjJw

https://binged.it/2OmIKE3

NELBA MARQUEZ GREEN, THE GRIEVING SANDY HOOK PARENT

It should be pointed out, that the aim of the artificially created social movement of feminism is no different than the deceptive nature of any other social or political movement or psychological operation funded by the ruling elite families, in that the often popularly stated altruistic purposes conceal consistently ulterior commercial motives.

Upon deeper analysis, the ultimate purposes of these simulated mass casualty exercises is not just to generate mass apprehension, but to generate the flow of multi-faceted revenue streams. They are designed to make a profit for not only the gun manufacturers, but for the participating cities, states and towns looking to benefit from tax free government grants, and secondarily, to achieve greater control over the masses through the inducement of social and political divisions along racial and ideological demarcations.

For example, the purpose of the recent psychological operation in Christchurch was not to provide a casus belli for banning guns, but rather to create the requisite mass apprehension which would induce certain population segments to purchase and stockpile more weapons.

The ruling elites don’t want to prevent the masses from purchasing firearms, nor eliminate the right to bear arms, simply because the international armaments trade is a source of lucrative commercial profit.

Rather, their goal is to expand legal but unlawful measures that would make it more difficult to obtain or commercially purchase weapons (such as the AR-15 or other semi-automatic or automatic weapons) with the capability to threaten or compromise the overall strategic advantage enjoyed by the masonic law enforcement guilds, while at the same time, they wish to make an additional profit from those determined to jump through the necessary bureaucratic hoops to own an AR-15 or other such similar weapons.

Those seeking to purchase such weapons in future, will bear the brunt of exorbitant charges designed by the state’s bureaucracy to obtain additional revenues from the sale of licenses and, from the further issue of copious and accompanying extra fees.

Yes folks, it is always primarily about the money.

Such were the objectives of the Sandy Hook mass casualty simulation/psychological operation, which starred a character by the name of Nelba Marquez Greene, which is a character pseudonym concealing the host actor, Tammy Taylor AKA Princess Tatiana von Furstenberg, the daughter of Barry Diller AKA Prince Eduard von Furstenberg and Barbara Walters AKA Diane von Furstenberg.

Tammy also starred with her father Barry in the John Benet Ramsey hoax posing as John Ramsey’s wife.

Nebla Marquez Green:

Tammy Taylor:

Patsy Ramsey:

Tatiana von Furstenberg:

https://binged.it/2TXM4eS

https://binged.it/2TYruuC

Though the resolution is rather poor, look closely at this alleged interrogation footage from the hoaxed Jean Benet Ramsey case. Do you see any facial similarities between the character of Patsy Ramsey and the character of Cressida Dick, featured in the images displayed immediately below the video excerpt?

Patsy Ramsey interrogation:

Cressida Dick, Commissioner, London Metro Police:

https://binged.it/2OoxAOT

https://binged.it/2OnESCI

Cressida Dick (sums to 105 in English Ordinal gematria/6=33/84 in Reverse Full Reduction/12/21/777 intelligence joker code) is the first woman to be appointed the head of London’s largest police department. Consider the significance of that when you also take into consideration the grandmother of her royal family, the House of von Furstenberg, Liliane Nahmias AKA Claire Booth Luce, portrayed the role of a prominent American feminist.

And folks, though Cressida Dick AKA Patsy Ramsey AKA Sandy Hook’s Nelba Marquez Greene, beyond shadow of doubt, was involved in two of history’s most blatant hoaxes, she has been awarded with not only the grand distinction of a CBE medal (Most Excellent Order of the British Empire) from the sitting British monarch, but awarded London’s top law enforcement position.

After all, what better way to protect a criminal than to put her in a high-level position surrounded by hordes of well armed and officially uniformed goons, right?

Yes folks, the grander your lies, the greater the magnitude of reward bestowed by your Templar/Jesuit/Masonic masters.

Most Excellent Order of the British Empire:

https://binged.it/2TXP6jg

As you will observe, the symbolic medal of the Most Excellent Order of the British Empire features the image of the Templar cross.

Oh, and speaking of the sitting British monarch…

DAME REBECCA WEST

Firstly, it is important to note that the official biographies of feminist Dame Rebecca West admit her moniker is an adopted pseudonym, which of course duly raises suspicions. Furthering those suspicions is the fact West’s dates of birth and death are heavily coded with the triple 7 intelligence joker code and the number 33, which signifies the Freemason’s highest known Scottish Rite degree: 21 (777) December (777) 1892(2 9’s/occult mirrored reversal2 6’s=12/21/777), 15 (6/33) March (3/33) 1983 (21/777).

Awarded with a DBE, a royally bestowed award recognizing contributions to the arts and sciences, West AKA Dame Cicily Isabel Fairfield was noted during her lifetime as a major British author, journalist, literary critic and of course, a tireless supporter of women’s suffrage and eventually, the Rockefeller funded American feminist movement.

While viewing the video sample displayed below excerpted from Dame West’s appearance on the cerebral talk fest Firing Line hosted by CIA agent William F. Buckley AKA British stage and screen actor Robert Vaughn – and especially for those among one’s loyal readers from the British Isles – try to ascertain if West’s voice and facial geometry appear eerily familiar?

Dame Rebecca West

If you can, fast forward the video to 4:53 and when freezing the frame, examine very closely the profile of the character. From this vantage point, with the camera angle positioned from behind the talk show talent, does she look familiar?

Notice the architectural styling of the character’s hair, and what of the tone, pitch and nuances of the voice, do you recognize these characteristics and have you heard this voice before?

Yes folks, further examination with voice analysis and facial recognition reveals that Dame West’s host actor is in fact the sitting British monarch, Queen Elizabeth II AKA American comedienne, Lucille Ball. What one finds truly fascinating, is that while in the character guise of Dame West, one can almost sense that through the expression of this character, the Queen has very much let her guard down and feels free to express her natural inclinations – her intelligence, wit, and even daring sense of humor, particularly in the manner with which she savages other notable British historical personalities like the disgraced MI5 spy and turncoat, Kim Philby.

As for the character’s literary feats and accomplishments in the field of journalism, it is quite likely the British Queen, while in the guise of Dame West, did what other monarchs throughout history have done, and that was wisely choosing to publish works ghost written by teams of scholars and academics labeled and credited to her character’s pseudonym, while those toiling under her employ were no doubt later rewarded with royal accommodations, titles, and perhaps even prestigious knighthoods.

Nevertheless, considering in total what has been revealed as to the genuine identities behind some of the feminist movement’s most publicized luminaries, are you now perhaps beginning to sense there may be an ulterior agenda hidden beneath the altruisitc notions and superficial sloganeering repeated ad nuaseum about the social and political advancement of women?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

One thought on “The Rockefellers and Their Phony Feminists

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