As a salutary preamble, the author would like to thank all of those loyal readers who may have helped make the newly released novel, Sky Parlor, into an official Amazon Hot New Release! (https://amzn.to/2WBCSJw).
But now, on to the business at hand.
From a previous installment, one’s loyal readers may recall the author’s positive identification – through thorough investigation utilizing ear biometrics, and both facial and voice pattern recognition analysis – of Hollywood icon Burt Reynolds AKA Marlon Brando as the host actor behind the “official” historical portrayal of Russian Premiere, Vladimir Putin.
As we’ve discovered, many of America’s “elected” presidents were fictional characters set upon the world stage and portrayed by actors. Now, we are about to discover, America is not the only nation in world history to have participated in the sinister phenomenon we have all come to know as PMRS, or Post-Modern Reality Simulation.
Although many regular visitors and loyal readers may be less familiar with the vintage Hollywood comedy team of Abbott and Costello, and with the once revered Hollywood movie director/producer Mel Brooks, nevertheless, would you believe – though each individual career arc would seem unrelated, all of these characters – former Supreme Soviet leader Mikhail Gorbachev included – have one thing in common: An identical host actor?
Unexpectedly – or given past observations into the strange world of post-modern reality simulation, perhaps not – our investigation into former Soviet premiere, Mikhail Gorbachev, begins with the golden age of Hollywood, and a Vaudevillian comedy team called Abbott and Costello.
One suspects, however, there are those who will not find humor in the following published conclusions.
Nevertheless, that’s right folks, the man who led the former Soviet Union during the twilight of its hegemony on the world stage – like so many of his ilk examined before – was merely an actor portraying a scripted role. In fact – believe it, or not – the man who portrayed Comrade Gorbachev was not only himself an accomplished star of both stage and screen, he was the hidden father of the renowned Hollywood luminary now portraying Russia’s current premiere, Vladimir Putin AKA the “late” Burt Reynolds/Marlon Brando.
In the meantime – if there’s anyone who is not amused by the bold assertions the author has made thus far – the content of the following video clip may help to provide some preliminary comic relief.
ABBOTT & COSTELLO: WHO’S ON FIRST!
Although on the surface, the content of the video displayed above appears to be merely an example of a masterful comedic performance by a pair of accomplished vaudevillians, if we look beneath the surface, it is something else entirely.
Evaluated on its own, the content of the comedic material presented by the performers is – though amusing, considering it’s manic delivery – rather silly, even ridiculously juvenile.
More than the content of the comedy, however, what is truly significant – between not only the performers, but within the harmonic frequency of the audience – is the profound psychological and group dynamic created as a result of the very method by which the classic routine is delivered by the performers. If observed closely, the precise timing and performance synchronization of Bud Abbott and Lou Costello’s every practiced nuance, creates a frequency resonance that is not only pitch perfect, but is also comparable to the rhythmical methodology of neural linguistic programming and, even the psychological parlor trickery of professional hypnotists, rendering the audience mutably subject to a highly suggestible, collective alpha mind state.
Undoubtedly, Bud Abbot and Lou Costello, and their contemporaries – comedians and entertainers who also began their show business careers in vaudeville such as Bob Hope, Bing Crosby, Jerry Lewis, Dean Martin, Rodney Dangerfield, and Al Jolson – were masterfully trained to not only understand how to employ such unique psychological dynamics to maximize the entertainment value of their performances, but were also well aware of the profound psychological effects the techniques they routinely employed had on their audiences while they were on stage performing.
This often overlooked aspect was perhaps the singularly decisive factor as to why – a factor even more decisively effective when delivered by a performer of superior and inherent gifts or talents – these renowned entertainers became, and remained, such first-rate and memorable show business performers for a period of decades.
The precise rhythmic and perfectly synchronized cadence of the comedy routine observed in the video featuring Abbot and Costello is, fundamentally, no different than the subtle but effective methods of audio hypnotism utilized today by corporate news anchors, radio personalities, television talk show hosts, and commercial television narrations.
COSTELLO NAMED IN HONOR OF HOLLYWOOD ‘SILENT” FILM STAR?
The official show business biographies of Lou Costello (sums to 149 in English Ordinal gematria=14 or 77/2 7’s/twin lightning charges of Lucifer/angelic/occult transformation) proved an interesting, if not fascinating study. It is claimed that, on the 6th (6/33/high-degree Scottish Rite Freemasonry) of March (3rd month/33), 1906 (25=7/Kabbalah Zayin/the mind weapon) – as a newborn child – Louis Francis Cristillo was named after Hollywood ‘silent’ film star Helene Costello, who was once married to Hollywood star John Barrymore.
During his childhood, it is claimed Louis became enamored with silent movie comedian Charlie Chaplin (CC=33), who, as loyal readers may recall, was identified in past installments as the hidden father of comedian/Hollywood film producer Jerry Lewis AKA President Nixon’s American VP Spiro Agnew, and the grandfather of “voice of a generation” music star Bob Dylan AKA Gary Lewis/iconic Hollywood director George Lucas/Eagles’ guitarist Glen Frey.
While attending high school in Patterson, New Jersey, it is claimed, in his youth, Costello was considered a ‘gifted’ athlete, excelling at basketball (he was alleged to have been New Jersey’s schoolboy free throw champion) and later, during his young adulthood, at the sport of boxing.
When considering – within the context of the mysterious world of the occult – the early days of Hollywood filmmaking, the term ‘silent’ is an occult reference to Hippocrates, the venerated god of silence, which is why – if you’ve ever wondered – Oprah Winfrey’s production company is entitled “Harpo” (occult mirrored reversal/Oprah).
This is also why most Hollywood celebrities, when observed in publicity “still” photos or while pictured posed on magazine covers, can oftentimes be seen with an index finger positioned over their lips. This is done, in not only veneration of the occult god of silence, but as a way of communication to their Templar/Jesuit/Masonic masters, they have been indoctrinated into the tenets of the Babylonian ‘Mystery’ Schools, and will continue – at all costs and upon pain of public disgrace – to adhere to their “oath of silence” regarding its secrets.
In true quixotic fashion, Costello’s official biographies then inform us that, in 1927 (19/sun #+2 7’s/twin lighting charges of Lucifer/angelic/occult transformation), at the age of 21 (777/astral-theological/intelligence joker code) and in pursuit of his Hollywood dreams, he hitchhiked from the east coast in New Jersey to California where, it is alleged, he soon found employment at Metro-Goldwyn-Meyer – then the premiere Hollywood film studio – as first a laborer, then a stuntman, and finally, as a film extra.
Once again – all things considered – we have been faced with the heroic narrative of yet another celebrity/Hollywood biography begging the suspension of our collective disbelief to credulously accept – however unlikely – that a future and iconic Hollywood star, someone who – while armed with nothing other than a head filled with dreams combined with the all-American sense of can-do gumption – endeavors to embark upon an intrepid cross-country trip, and only to end up – of course – in Hollywood, where he immediately finds employment at the most prestigious film production studio during Hollywood’s so-called golden era.
After finding his way to Hollywood and into the employ of Metro-Goldwyn-Mayer, Costello headed back to the east coast of America. It is at this biographical juncture, we are asked to accept another unlikely detail. While stranded in Saint Joseph, Missouri, it is alleged Costello (double L=33) conned his way into convincing a local burlesque producer (American burlesque was a progenitor of the television variety hour programs later popularized by Ed Sullivan et. al, featuring Victorian burlesque i.e. strip tease, music hall, and minstrel shows) into allowing him to perform as a ribald “Dutch” comic (ethnic jokes of a lewd variety performed with a satirizing German accent).
Soon however, Costello made his way to New York City, and during much of the American Great Depression, remained content to work as a burlesque performer for a production company sporting the rather interesting moniker, “Mutual Wheel”.
Again, we are faced with a very sly occult reference hidden within the context of a Hollywood biography. The “wheel” is a Pagan/Wiccan/occult reference of astral-theological significance to the “Catherine Wheel”, a symbolic progression of the seasonal Equinox guided by the sun, which is, secretly, the reverential object of Templar/Jesuit/Masonic worship.
After his contract with the burlesque production company of Mutual Wheel ran out, Costello found employment with Minksys, where he met his future “straight man” and future comedic partner, Bud Abbott.
After being quickly signed on by the prestigious William Morris Agency, the comedy duo chose to remain in New York to establish their show business careers before, once again, returning to Hollywood’s Tinsel Town to make their considerable mark upon the movie industry. In 1938, the comedy duo’s popularity quickly grew after appearing on the Kate Smith Hour, a popular radio show with nationwide exposure. It was there, through the medium of radio before performing in numerous Hollywood movies, that Abbott and Costello developed their manic, infectious, and ground breaking brand of “slapstick” comedy.
The legendary comedy team went on to make several popular movie shorts and full- length celluloid vanity vehicles which skyrocketed their renown as Hollywood celebrities. During the era of World War II, it is claimed Abbott and Costello were not only the most popular comedy team in Hollywood, but were the highest-paid entertainers in the entire entertainment industry. It is also claimed – due to their immense fame – the US government employed their influence with the public to help sell “war bonds”. It is alleged that the famous comedy duo’s efforts at salesmanship garnered the US government an astonishing windfall of 85 (aces and eights/mark of the Jesuit order/13/summit of the masonic pyramid) million dollars, and in only 35 days (3+5=8/aces and eights/mark of the Jesuit order/Saturn).
The rest – as they say – is Hollywood history.
Considering Costello’s superlative efforts at having made the US government such an extravagant windfall profit through the sale of “war bonds”, one could legitimately theorize that, before faking his death in the late 1950’s, Costello transitioned, with the help of his masonic masters and cohorts at the American State Department, into his next character incarnation, an incarnation which, after posed as a Hegelian dialectical totem on the world stage, would go on to portray a major role in America’s “cold war” with the former Soviet Union.
“GORBACHEV” WAS ONCE A HOLLYWOOD CONTENDER?
For three short years (Three/EE=33) from 1988 (aces and eights/mark of the Jesuits/Saturn) until 1991 (91/19 in occult mirrored reversal/Templar/Jesuit/Masonic sun #/double 19/masonic duality of black and white sun/19X2=38/11/twin masonic pillars of Boaz and Jachin), Mikhail Sergey Gorbachev, as Chairman of the Supreme Soviet, Secretary General of the Communist Party, and president of the former Soviet Union, presided over the waning days of his nation’s “cold war” with their nemesis looming in the Western hemisphere, America. It is claimed that during his abbreviated presidential tenure, President Gorbachev remained committed to Marxist-Leninist ideologies but, then, before leaving his post, turned toward the much less hawk-like political stance of “social democracy”.
As loyal readers shall soon learn however, it is far more likely “Gorbachev” was a fabricated product of post-modern reality simulation, a manufactured historical character portrayed – like Putin, the current Russian Premiere – by a once famous Hollywood actor.
It is important to note, while considering the veracious merits of that last statement that, generally speaking, historical impressions are primarily – particularly those proffered by official mainstream scholars regarding the personal characteristics of history’s major figures – based not upon empirical or corroborative observation nor existing data, but the perpetual mutability of interpretable narrative. In other words folks, historical scholars, through the vehicle of their published narrative, print and publish only that which they believe to have been true, not that which can be ultimately confirmed.
Furthermore, it must be stressed that – from the perspective of the occult – such political ideologies as Communism and Marxism are synonymous with Luciferian doctrines, the occult revolutionary creed (order out of chaos) of the Templar/Jesuit/Masonic triumvirate.
In fact, if one bothers to consult the published works of historical scholar Anthony C. Sutton (The Best Enemy Money Can Buy), one will quickly discover that, throughout America’s alleged “cold war” struggle, the Soviet Union was nothing more than a paper tiger, a global trojan horse created and financed by the hofjude, or court Jews belonging to the international banking cartels (Rockefellers, Guggenheims, Astor, etc. etc. ) and working in concert with the agenda of globalist feudalism; the “Great Work” so long sought by the thirteen, ruling elite Jesuit families.
In his published text, The Best Enemy Money Can Buy, Sutton paints a stark picture, outlining how not only was the Soviet Union bought and paid for by the international banking cartels and Wall Street financiers, but the Soviet military infrastructure and, as well, the continual grain shipments sent to Moscow and to other Soviet provinces – both in return and as a reward for the tacit geopolitical cooperation of the Soviet Politburo – throughout the course of the “cold war” were, in fact, financed with American tax dollars stolen under false pretenses from the American people.
In other words folks, the American people, for decades during the mid to late 20th century, were paying their own government to psychologically terrorize them with fantastical and farcical notions of the threat of Soviet nuclear attack and communist global expansion. And during that entire duration – in both America and the Soviet Union – actors were portraying the roles of so-called “world leaders”.
In putting Mikhail Gorbachev in front of the television cameras to announce to the world that communism had been defeated and would be relegated to the dustbin of history, the thirteen, ruling elite Jesuit families were merely playing out a colossal geopolitical feint. In truth, communism never died – not surprisingly, much like Lou Costello’s host actor faking his death in 1959 – it has merely rebranded itself and been imported to the West under the guise of the concepts of political correctness, feminism, and LGBTQ and #Metoo/#Timesup movements . Throughout history – the counter-culture and Civil Rights movements of the 1960’s, for example – such heavily promoted “social justice” movements have been created as trojan horses for the covert promotion of globalist and Marxist tenets.
In the following video excerpt from “On the Waterfront”, starring Rod Steiger and Marlon Brando, keep in mind, you are watching two Hollywood actors who – not only secretly and respectively father and son – would go on to portray acting roles as leaders on the world political stage:
1954’s On the Waterfront:
Empirically, both ear biometric and facial recognition analysis confirm that Hollywood actor Rod Steiger was the host actor behind the mask of not only iconic comedian Lou Costello, but he also portrayed, before the “collapse” of the Soviet Union, Soviet president, Mikhail (Seig Heil/masonic/Joycean play on words) Gorbachev.
Gorbachev was often noted for the Port-wine stain blemishing his bald pate. Although it always appeared to resemble a genuine discoloration (nevus flammeus) of the epidermal layer, in the case of the former Soviet president, it was merely a clever application of latex stippling that resembled a birth-mark.
You will note, that Steiger employs what we’ve discovered to be one of the most obvious methods utilized by those active participants in the phenomenon of PMRS or post-modern reality simulation to distance themselves from their various character modifications: The donning of eye wear
Stay tuned for Part II, coming soon.
It turns out – though one alluded to it earlier in this installment – Comrade Gorbachev was not only a Hollywood “contender” as one of Tinsel Town’s greatest and most renowned comedians, he also became one of Hollywood’s most revered and respected movie directors!