What if, one of your favorite award-winning celebrity personalities, belonging to the world of popular music and Hollywood entertainment, was discovered to be a European royal family member in disguise?
Would you believe it?
Or, would you scoff and ignore what appeared to be an absurd assertion, even if such a conclusion were proved to be supported by both corroborative and empirically-based evidence?
If hypothetically, your first impulse were to tend toward the latter rather than the former scenario, you shouldn’t become overly disturbed. Those unfamiliar with the sinister nature of the phenomenon we’ve come to identify as Post-Modern Reality Simulation are often prone – at least at first – to impulsively revolt against what might appear as absurd notions.
Though we have already examined the biographical history of the Oscar-winning Hollywood actor known as “Al Pacino” and were able to identify him as the host actor behind the mask of one of the music and entertainment industry’s most legendary figures, Bruce Springsteen, we are about to discover yet another iconic music industry character portrayed by the same man – a well-known performer of popular music – who rose to prominence during the 1960’s as the lead guitarist of one of the most influential and successful British pop and rock acts.
But behind the mask of these legendary characters is disguised a certain European royal, a well-recognized prince who – under the guise of the name “Al Pacino” – also portrayed two of the most memorable characters known to the history of Hollywood cinema, Michael Corleone, and the mad Cuban drug lord, Tony Montana.
More incredibly folks, during the course of the following pair of instalments, we will also discover an interconnecting and intriguing web of connections. between the host actor of “Al Pacino”, a legendary guitarist from the Rolling Stones, a very prominent European royal family and a mythological princess who, though alleged to have died, remains still very much alive!
While the general public has been conditioned to consciously view Hollywood movies as entertaining fantasies, they might not be aware of the subtle effects intended to embed images, symbols, ideas, and entire historical narratives within the depths of their subconscious faculties.
On this occasion, we shall endeavor to intrepidly look beyond the silver screen’s dazzling blare of dramatic colors to discern the truth.
Although, the Academy-Award winning actor known as Al Pacino is well-known to moviegoers and the general public alike, what is less well-known are the plethora of other roles he has covertly and successfully portrayed over the span of many decades.
What has remained completely unknown – until now – is the identity of the European prince behind the well-conceived Hollywood façade(s).
It turns out, the name of “Al Pacino” exists as a character pseudonym, created for a fabricated Hollywood celebrity persona portrayed by a host actor hailing from a European royal family, a host actor who has also portrayed a pair of iconic legends in Hollywood’s music and entertainment industry.
While one’s loyal readers here at Newsspell might very well recall Pacino has already been identified as the host actor behind the legendary portrayal of the superstar performer dubbed the music industry’s “working class hero”, Bruce Springsteen, we shall also endeavor to discover the identity of another music legend portrayed by the award-winning actor.
By the conclusion of part II, we will have definitively discerned the genuine identity hidden beneath the fabricated image of the iconic celebrity known as “Al Pacino” as well as his other famous character modifications.
Rest assured too, we will also become certain of Pacino’s surprising genealogical connection to a very prominent European family.
THE MAN WHO BECAME THE GODFATHER
Alleged to have been born Alfredo James Pacino, on April 25, 1940, Al Pacino – as he is professionally known – is also best known as one of Hollywood’s most legendary actors, film makers, and producers.
Suffice to say, “Al Pacino” is also one of Hollywood’s most well-awarded film performers – one of only a handful of such performers to eclipse what has been dubbed the “Triple Crown of Acting” (Oscar, Emmy, and Tony Awards) – with a sterling career that has spanned more than five decades.
Before consulting Pacino’s official biographies, let’s take another look at Pacino’s “official” DOB to summarize a numerological analysis: April=4+25=29 (2 9’s/9+9=18/666), 1940/19+4=23 (2 3’s/3+3=6/33/high-degree Scottish Rite Freemasonry).
Returning to our investigation of Pacino’s Hollywood biographies, we are told his alma mater was the Actor’s Film Studio, a school of “method acting” attended by Marlon Brando AKA Burt Reynolds/Vladimir Putin, yet another renowned Hollywood actor and major participant in the phenomenon of Post-Modern Reality Simulation with whom we’ve become familiar through our examinations from a series of past installments and, of course, an actor with whom Pacino co-starred in the Academy-Award winning Italian gangster film extravaganza, The Godfather.
Pacino’s maiden appearance in a major Hollywood film arrived in 1969 with the release of Me, Natalie, followed by his lead portrayal of a vagabond heroin addict in The Panic in Needle Park, which came in 1971. Investigating further, we discover that the screenplay for Me, Natalie was based on an original story co-composed by Stanley Shapiro and Patty Duke, who also starred in the title role, a portrayal that garnered Duke a Golden Globe Award. Just prior to her award-winning performance in Me, Natalie, Duke starred in The Valley of the Dolls, a film adapted from Jaqueline Susanne’s best-selling novel.
When we examine the Hollywood persona of “Patty Duke” further, we discover that image comparison analysis – including voice and facial recognition – confirms she and her Valley of the Dolls co-star, Sharon Tate, are portrayed by the same host actor (Ann-Margaret/Queen Silvia of Sweden).
Ann-Margaret AKA Queen Silvia of Sweden – as we discovered through the results of investigations published in several past installments – has portrayed a major historical character in American history closely related to the JFK assassination hoax (Jaqueline Kennedy) as well as some of the American music and entertainment industry’s and popular culture’s most legendary figures, including rock singer Janis Joplin and the “late” Hollywood sex symbol, Marilyn Monroe.
Yes folks, our ongoing investigations have – and shall here again – expose the genuine faces of European royalty, scheming while hidden behind the concealing masks of Hollywood’s most beloved and renowned music and entertainment stars.
The involvement of Patty Duke in connection with Al Pacino’s first appearance in a major Hollywood film, therefore, serves as a major clue as to the genuine identity of Pacino’s hidden host actor.
For now, however, we shall continue to concern ourselves with further and thorough examination of Pacino’s official biographies.
In 1972, the dramatic acting talents of “Al Pacino” were introduced to a wider audience and to greater acclaim with his performance as Michael Corleone in the iconic Francis Ford Coppola-directed film, The Godfather.
What seems rather anomalous, perhaps even strange – when considering the career arcs of other major Hollywood stars which began in their teens or, at the latest, in their early twenties – Pacino’s ascent to Hollywood stardom began at a comparatively late chronological juncture, at the age of 29.
Surely, the numerological and symbolic significance hasn’t escaped anyone (29/2 9’s=18/666/2 9’s/occult mirrored reversal=2 6’s/12/21/777)?
Historically, during the modern era in Hollywood, deciding to begin a professional acting career at the age of twenty-nine would be considered desperately foolish and, at the very least, somewhat unorthodox.
Which therefore begs the question: what indeed, had “Al Pacino” been doing before he was “discovered”?
Could the depraved and drug-addled plot of the movie for which he portrayed the starring role, 1971’s Panic in Needle Park, provide us with a pertinent clue?
Through the course of our investigations, we have learned that the thirteen, ruling elite Jesuit families – the major shareholders of the American music and entertainment industries – have repeatedly utilized popular music and Hollywood cinema entertainment formats as surefire vehicles with which to promote their social and political agendas and, most of all, to generate profitable commerce.
As owners and major shareholders of both the West’s and the globe’s entertainment industries, and as the primary proprietors of all the world’s natural and human resources, including the international narcotics trades, it therefore stands to reason: what better way to promote the widespread consumption of heroin in America – the refinement, distribution, and means of production of which is completely controlled by the thirteen families – than through the dramatic narrative of a nationally distributed Hollywood-produced movie starring “Al Pacino”, a young actor who was becoming critically and popularly lauded as one of Hollywood’s foremost and emerging stars?
Consider for a moment, the historical context with which Pacino’s starring role in Panic in Needle Park happened to have coincided.
With both the “assassination” of “Martin Luther King” and the “Charles Manson” (AKA Hollywood mogul David Geffen) serial murder psychological operation, the CIA’s controlled-opposition social movements – Civil Rights and “hippie” counter-culture – were being openly discredited and therefore made to look ridiculous and untenable in the eyes of the majority of conservative middle and working class Americans.
The promotion of narcotics consumption – both directly and indirectly marketed to those youthful demographics sympathetic to the conceptual spirit of both popular social movements – served as both an effective and destructive instrument, to further weaken the last vestiges of what, hypothetically, could have developed into the influential forces of uncontrolled social chaos.
Perhaps most importantly, the utilization of popular Hollywood movies as a promotional vehicle for the widespread consumption of heroin and other “street” narcotics – such as Pacino’s Panic in Needle Park – represented a well-planned, covertly psychological, and highly organized operational methodology which, in hindsight, resulted in the subsequent restoration and bolstering of the establishment’s prevailing political order.
PACINO ADOPTED BY REAL LIFE CORLEONE FAMILY?
Concerning what are alleged to be biographical anecdotes from Pacino’s youth, we are informed his parents were a pair of Italian immigrants who settled in East Harlem, New York but were divorced when Pacino was but two-years-of-age.
Surely, everyone noticed the presence of the number two which, as we’ve learned from past investigations into such celebrity biographical accounts, is meant to subtly and symbolically represent the twin masonic pillars of Boaz and Jachin.
But get this folks, next we are told, after the divorce of Pacino’s parents, the child’s mother reportedly delivered the young Alfredo into the care of her immediate parents who emigrated from – wait for it, folks – Corleone, Italy.
The moniker of Corleone, it turns out, is significantly loaded with occult symbolism.
Corleone is the “Heart of the Lion.”
The lion, in turn, is an anthropomorphic symbol of the Sun.
The heart of the sun is the symbolic light source which flows through the rising star of the East from the source of the hidden or occult star of Sirius or Lucifer, which represents the secretive but sacred object of revered worship for those high initiates of the Templar/Jesuit/Masonic order.
Pacino’s official biographers also allege that the young “Alfredo” (that name sound familiar from the Godfather, folks?) was known as “Sonny” (Sonny Corleone?) to his close circle of childhood friends, representing another subtle symbolic reference to the Templar/Jesuit/Masonic order.
It is also alleged Pacino was nicknamed “The Actor”.
It would appear, the entire Hollywood career of “Al Pacino” was carefully fabricated to serve the social and political agendas of the thirteen families as a colossally effective, but especially mind bending, psychologically oriented intelligence operation.
Reportedly, after dropping out of Herman Ridder Junior High School, Pacino began matriculating at the High School of Performing Arts, located on 120 West 46th Street in Manhattan, New York. Reportedly, the parents of his alleged biological mother disapproved of Pacino’s career choice, which led to the young Alfredo leaving home and financially supporting himself with menial employments such as busboy, janitor, and postal clerk.
Clearly, Pacino’s official biographers strained themselves into painful hernias while attempting to convince us he once braved the miseries of abject poverty before assuming the life of luxury in the Hollywood penthouse.
More interestingly, his official biographers also allege Pacino sought and gained employment, for a time, at Commentary magazine, a monthly editorial periodical founded in 1945 during America’s post-war era by the American Jewish Committee.
From the years 1960 until 1995, Commentary magazine’s chief editor was Norman Podhoretz, a confirmed CIA affiliated controlled-opposition agent and one of the chief stalwarts of the American conservative “Neo-con” political movement.
Podhoretz’s name has recently appeared in recent documents officially released by the CIA, documents which would appear to corroborate Podhoretz’s former status as a high profile controlled-opposition agent employed either directly or indirectly by the CIA, a Templar/Jesuit/Masonic-controlled branch of the international intelligence octopus solely established to help protect the global hegemony of the thirteen, ruling elite Jesuit families from its headquarters in Langley Virginia, located in close proximity with one of the three global Crown Temple principalities (also consisting of The City of London’s “one square mile” and the Jesuit controlled Vatican basilica in Rome), Washington’s District of Columbia.
Thus far in our investigation, we have not only uncovered curious connections between the Hollywood actor known as “Al Pacino” and Ann-Margaret AKA Queen Silvia of Sweden but with the CIA, through a known government controlled-opposition agent, one formerly employed by a periodical which – at various times during its publishing existence – actively promoted right or left-wing styled ideological propaganda.
But concerning Pacino, as we shall soon observe, the deceptive web of sinister connections has been intricately woven.
LIKE A ROLLING STONE
Officially, despite having been educated at one of New York’s finest and most exclusive performing art’s institutions and the Actor’s Film Studio, Pacino did not appear in any Hollywood film until 1969, at the age of 29 when suddenly, bursting forth from the dregs of obscurity, he appeared in a high-profile and award-winning film starring Patty Duke.
Merely three years later, Pacino went on to landing a major role starring in the Academy-Award winning The Godfather with the legendary Marlon Brando.
Was “Al Pacino” blessed with merely good fortune to have achieved, in such a miraculously short time period, the sort of widespread fame which often remains elusive to the vast majority of professional actors, many of whom remain in utter obscurity for the entire duration of their careers?
Or, most likely, were there other more plausible and less mysterious forces at work which were responsible for quickly hoisting a complete unknown to the pantheon of Hollywood greatness in a mere three year period?
Would it surprise you to discover that, before he became known to the general public as “Al Pacino”, he had already eclipsed superstardom in the music industry as a member of the Rolling Stones?
Yes folks, ear biometric, facial recognition, and image comparison analysis have affirmatively determined the iconic Hollywood actor known as “Al Pacino” and Keith Richards, the legendary lead guitarist and co-song composer of the equally legendary pop and rock act the Rolling Stones, are portrayed by the identical host actor.
Regarding the legendary rock and roll character of “Keith Richards”, image comparison analysis indicates his rebellious pop music persona, combined with elements of the working class biography meticulously concocted for the Hollywood persona of “Al Pacino”, became the alchemical character foundations upon which the pop music characterization of the working class hero “Bruce Springsteen” was molded.
“Springsteen” was modified into public consciousness without Richards’s copious layers of strategically applied facial stippling in the areas of the cheeks, chin, brow ridge, and nose.
These specific character modifications help “The Boss” appear much younger than Richards despite both characters share an identical host actor.
When considering the plethora of legendary stories concerning Rolling Stone Richards’s drug and heroin abuse (it was even rumored Richards once had his heroin addled blood “changed” by a Swiss doctor) it appears to have been no coincidence “Al Pacino” was similarly cast as a derelict narcotics addict in 1971’s Panic in Needle Park.
Obviously, it now appears Pacino was cast in this particular movie role, precisely because his other characterization, “Keith Richards”, was more than accustomed to portraying that sort of “outlaw” character.
Concerning this triad of legendary pop cultural characters, however, there exists an identical host actor in common and, in part II, the host actor hailing from prominent European royalty who, for decades, has remained well-concealed behind such cleverly conceived masks will finally be revealed.
Stay tuned folks!