The legend of pop artist Andy Warhol – the man credited with having claimed ‘everyone is famous for 15 minutes’ (6/33/high-degree Scottish Rite Freemasonry) – represents the triumph of the psychologically manipulative mass marketing techniques perfected by 20th century social scientists such as Edward Bernays and, as well, the victory of post-modernist solipsism.
Though renowned for his “contributions” to the world of “art”, Warhol was nothing more than a bottom feeding cultural grifter – meaning – the only art the character known as “Warhol” ever perfected was the art of the scam.
Despite becoming one of American popular culture’s most notable figures during the counter-culture era of the 1960’s, Warhol was nothing more than a character played by an actor and a CIA trained social revolutionist playing dress-up; a destabilizing tool of the ruling class designed to psychologically manipulate and condition the proletarian masses to the Marxist/Fabian socialist engineered “changes” that would later, in the 21st century, incrementally and actively reshape the social, political and cultural complexion of the West.
As it turns out though, we have seen “Andy” before, starring in Hollywood productions such as Easy Rider and the cult classic Blue Velvet. Andy’s host actor is also a close and hidden relation to Hollywood icon, Jack Nicholson and popular 1980’s MTV generation pop singer, Gordon Sumner AKA “Sting”.
It also turns out that – with little surprise – Warhol’s host actor and Nicholson are connected to not only Hollywood but have genealogical ties to a prominent European royal family based in Denmark, a royal family with direct lineage to the Farnese, one of the most prominent and ancient of the thirteen, ruling elite Jesuit families.
Ready for another deep trip down the rabbit hole, folks?
Though the popular culture icon Andy Warhol has been historically credited with almost singlehandedly changing the face of popular culture and art in the West, he was not an artist, and did not actually create any of his most “famous” works of “art.” In case there is any lingering incredulity, perhaps some of the following accounts from none other than some of those who not only claimed to have been close confidants of Warhol, but were privy to first-hand accounts of some of the behavioral degeneracy of Warhol and those who frequented his “Factory.”
These retrospective accounts appeared in America’s so-called “newspaper of record” and “Old Gray Ledger”, the New York Times.
The first of these eyewitness accounts comes from Mary Woronov, who worked as a painter, writer, and actress during the latter half of the 1960’s at Warhol’s “Factory” in New York:
“The place seemed dirty. There were several drag queens limping around. They limped because they wanted to shock you. They really didn’t like you, and their recourse was to limp. It was so dark you couldn’t see any art. The place had silver foil all over it.”
Yes, folks – and when you discover the identity of Warhol’s European royal host actor, you will then acquire a solid sense of who is really behind the funding, marketing, and shameless promotion of the LGBTQ agenda in America.
And then, there’s this account from another worker at Warhol’s Factory, Andre Leon Talley, a fashion journalist:
“The Factory was very much a creative playpen, but there were still rules. You had to show up every day, or you would be fired. Andy was always walking around being very vague about everything. But you had to be enthusiastic. There was a seriousness about the place, a decorum and deportment. I typed on a manual typewriter that was spray-painted gold. I wish I’d kept that. There was a Jean Dupas silk-screen poster from the Normandie. I had that behind my desk. That was the Interview side. In a space behind us, people were typing on big IBM Selectric typewriters, transcribing tapes. Andy would paint in the offices in the back. You weren’t supposed to go back there, but I would spend hours watching him do the silk screens on the floor. The colors would be mixed for him. He would apply them with rollers. It was a process. That’s why he called the place the Factory.”
From these first-hand accounts, we are able to glean the exact nature of what exactly Warhol’s “Factory” represented, and how it conducted it’s business of mass producing “art” intended to serve as props of culural propaganda. We are given a glimpse into just how it was the CIA and its agent provocateurs were enployed to sow the seeds of cultural chaos and eventual disintegration while utilizing mass production methodologies developed in the 19th century during the Industrial Revolution and later perfected by men such as Henry Ford. Notice too, Talley’s reference to IBM, a company established and monopoloized by the thirteen, ruling elite Jesuit families and with long-standing ties to the international intelligence octopus and CIA.
Although at least superficially, Warhol may have appeared to the public as a revolutionary anarchist, he possessed, in reality, the ruling class mentality of a CEO running a profitable concern. If his employees lacked the enthusiasm for their assigned tasks in making a genuine effort to, as Talley himself put it, “show up every day” for work, they would be summarily reprimanded, terminated and shown the door on their way travelling the fast track to unemployment rather than promotion.
Historically, the image of Warhol’s Factory workers has been routinely characterized as those who were destitute, starving and economically downtrodden bohemians who walked off the street and happened into Warhol’s celebrity orbit simply because the anarchist ring leader thought they would serve as idle amusements.
However, judging from another first-hand account derived from the New York Times (https://www.google.com/amp/s/www.nytimes.com/2018/11/12/style/andy-warhol-factory-history-.amp.html) we can observe that popularly distibuted perception to have been a manifest mischaracterization:
“Many of the people around Andy were the sons and daughters of the wealthy burgeois collectors of his works – these abandoned people. Edie Sedgwick is a good example, but there were others.”
In other words folks, Warhol’s Factory workers consisted of those psychologically impressionable artistic diletantes of the wealthy and priveleged who were cast off into Warhol’s fold and once conscripted and molded – much like the counter-culture and feminist activists of that era – to dutifully play their roles in a conspiratorial effort to destabilize the traditional moral, social, and political values established by the constitutional republicanism (America is not a democracy but a republic) of the West and – through the deliberate inducement of anarchy and chaos – transform it into a Marxist utopia.
Yes folks, the conspicuous placement of so-called “modern art” at the forefront of American popular culture – of the sort shamelessly peddled by agents of chaos like Andy Warhol – was a deliberately staged attempt to degrade Western and American popular culture with the help of the praetorian guard of the thirteen, ruling elite Jesuit families, the CIA.
The international world of art, which has now been thoroughly infiltrated with the riff-raff of the intelligence craft, is also closely linked with two other profitable trades of white collar crime, the international distribution of narcotics and money laundering.
It has been alleged that one of Warhol’s works of “art”, entitled “Silver Car Crash”, once sold for an approximated 105 million dollars (6/33/high-degree Scottish Rite Freemasonry), after which, The Economist hailed Warhol “the bellwether of the art market”. One supposes the editors of that particular publication may have been in on the scam, blackmailed, or perhaps just a motely collection of obsequious mainstream parrots incapable of objective journalistic integrity.
A glance at Warhol’s official biographies telegraphs – through the usual masonic and numerological markers – the chronicling of a fabricated popular culture character. Allegedly, “Warhol” was born on August 6, 1928 in Pittsburgh, Pennsylvania (August/8th month/aces and eights/mark of the Jesuits/6/Saturn/33/high-degree Scottish Rite Freemasonry/1928=47/47th problem of Euclid/4+7=11/masonic pillars of Boaz/Jachin/Pittsburgh, Pennsylvania/PP=16+16=32/2 3’s/33).
Official biographies also alleged that Warhol died at the age of 58 (13/summit of masonic pyramid).
It is also alleged that Warhol lived an openly “gay” lifestyle, a carefully designed character component designed to not only further separate the host actor from the character portrayal, but a character modification also designed to mass promote sexual, cultural, and gender chaos. Promotion of the gay agenda also represents an occult homage to the pagan god of Bacchus, or the Baphomet, an occult modification of the ancient Grecian half-man/female goat god, Pan.
This specific character modification scheme was also utilized with the music entertainment character, Freddie Mercury (SEE: Has Freddie Mercury Kept Himself Alive?)
Warhol was also responsible for brining to the world a creative monstrosity entitled Exploding Plastic Inevitable, a multi-media presentation often accompanied by music from the execrable and barely serviceable noodling din of the band, Velvet Underground, which Warhol himself managed. These “performances” were often attended by various counter-culture hipsters and – how about this folks? – members of the New York Society for Clinical Psychiatry.
The psychiatric professionals who attended such spectacles no doubt duly noted the deleterious effects of the “entertainment” on those that regularly attended. Warhol’s shows often featured the utilization of stroboscopic light stimuli which, according to scientific studies, have resulted in causing adversarial and even negative effects on the human nervous system. (SEE: https://austinpublishinggroup.com/clinical-neurology/fulltext/ajcn-v1-id1010.php).
In cooperation with the brain deadening din produced by the Velvet Underground, there can be no doubt Warhol was quite cognizant the “entertainment” value of his multi-media presentations represented a thinly veiled façade for the opportunity of psychiatric professionals to observe the effects of the EPI presentation’s subversive psychological manipulation on those that attended as if they were nothing more than experimental guinea pigs.
By the way folks, in case there is anyone in doubt about the mockery to music represented by the Velvet Underground’s leader, Lou Reed, take a listen to his recent collaboration with Metallica – of all popular acts – an unfortunate collection of ill-conceived mayhem entitled “Lulu.”
Anecdotally speaking, this biographical detail of the character known as “Warhol” takes on greater significance when considering the genuine identity of his host actor and his genealogical connection to European royal lineage.
When one begins to further consider the myriad of other characters Warhol’s host actor has portrayed in the public eye – within the context of CIA intelligence activities and large scale psychological operations – his significance becomes historically profound.
WARHOL AN EASY RIDER?
In a past installment, one postulated an analysis of that film’s final scene when the pair of main characters, Captain America and his sidekick Billy, are tragically murdered by some pick-up truck driving red necks during their cross-country biking adventure.
The scene alluded to – which is meant to be conveyed on both a visceral and symbolic level – can be observed in the following video clip:
The deaths of Captain America and his sidekick Billy represent the death of American freedom and its constitutional republic. As alluded to in the previous installment, the pickup truck driver and the red neck assassin eerily and uncannily resemble both the infamous Jack Ruby and Lee Harvey Oswald who did, of course, play major roles in the JFK psychological operation/assassination simulation.
Previously, the author had identified actor Dennis Hopper as the host actor of the presidential historical character known as John Fitzgerald Kennedy.
Now, that more time has elapsed to make a more complete facial recognition, ear biometric, and voice analysis comparison, it can be absolutely confirmed the Hollywood actor known as Dennis Hopper portrayed the “assassinated” American president, JFK.
Additionally, further ear biometric and facial recognition comparison analysis reveal that Hopper also portrayed legendary counter-culture pop artist, Andy Warhol, among other prominent characters of American popular culture. Hopper is also the hidden Hollywood brother of Jack Nicholson (masonic/Joycean play on words/Nimrod’s son/Jack=the Joker/sums to 29 in English Ordinal gematria/29/2 9’s=2 6’s/occult mirrored reversal/12/21/777) and pop singer Gordon Sumner AKA Sting of the popular 1980’s rock act, the Police. Nicholson is also a fabricated Hollywood icon portrayed by a host actor with royal genealogy, the Danish prince consort, Prince Henrik, which means “Jack” is also related to the Danish Crown Princess, Mary AKA Megan Kelly AKA Nicole Brown Simpson who starred in the OJ Simpson murder hoax/trial.
Prince Henrik of Denmark:
Gordon Sumner AKA Sting:
Note that the Warhol character is donned in eyewear, which is often utilized within the context of the actor-based-reality to better shield positive identification of the host actor. Note as well in the final image of the historical character known as JFK, he is posed with the high-degree masonic sign the left hand path.
But wait folks, because further ear biometric and facial recognition analysis demonstrate Hollywood’s Dennis Hopper has also portrayed British star of stage and screen, and the star of vintage television’s Man from U.N.C.L.E, Robert Vaughn AKA former political television pundit and bombastic right-wing gas bag, William F. Buckley Junior, whose ties to CIA have long been well-established (SEE: https://www.lewrockwell.com/lrc-blog/the-phony-legacy-of-william-f-buckley-jr/). And believe it or not, our man of the hour, Dennis Hopper, also portrays the founder of CNN’s communist news network, Ted Turner, and formerly popular Hollywood television actor, Jack Cassidy.
William F. Buckley Junior:
The observation Cassidy AKA Hopper is donned with a jacket sporting black and white checkers – symbolic of Templar/Jesuit/Masonic duality/pillars of Boaz and Jachin/left-hand/right-hand path – assuredly escaped none of those numbered among one’s loyal readers.
After all, high-level masonic initiates such as the “late” Dennis Hopper, a man who, over the course of a single life, has portrayed so many famous historical characters, could never resist the temptation to demonstrate his absolute allegiance and compete obedience to his true masters.