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I stumbled upon a fascinating blog from 5 years ago from a woman that had worked in many areas of the Entertainment Industry (from Broadway to Hollywood). What followed were some fascinating observations on MANY celebs that have never been mentioned in these “conspiratorial circles” before, along with many that have, but with new information. She covers everything from mind controlled models, Michael Jackson clones, where the d-list actresses have gone, “serpents” in the Industry, to secrets behind Beauty Pageants and more. I compiled some of the most interesting here, I believe. Check it out, think for yourself of course, and you decide.Via: Your News Wire
Close Encounters with Celebrities & Show Business
by ‘feliciag‘ http://doppels.proboards.com2010 Aug
I’d like this thread to be a place where anyone who has firsthand, in person, experience with interacting with celebrities can talk about what they have observed. This includes anything “anomalous” which might speak to the idea of replacements, clones, synthetics, and – yes- spiritual possession.
Even if all you did was see someone perform “live” at a concert, or you attended a book signing or political rally, or maybe you had a random moment where you walked past a famous person, I’d love for you to post observations here.
Also I would love people who have worked onstage professionally, worked as model, or worked on film, TV, or music video sets to share any observations they might have about weird “things that make you go ‘HMMMMM?” The entertainment world is FULL of high strangeness.
My own history comes as both a former actress/singer and also as a writer. Also, I am just someone who has come across a lot of celebrities and people who work in show business as part of my daily life. Some of it comes from the area where I live, which is an artistic area where lots of celebs and artistic people chose to vacation and/or retire.
I think I only understood the idea of replacements being possible on an intuitive level for a long time. Most of what I’ve observed has to do with significant emotional/spiritual/and interpersonal changes that happen when people are presented with really big show business opportunities.
Please understand something very important as you read this thread. At any given time, the members of the Screen Actors Guild are 99% unemployed. And there are many, many other actors who are non-union who are also working in the industry on and off, and they are also about 99% unemployed. There is also a TV actors union called AFTRA, and a union for stage actors called Equity.
For the years I worked as an actress I was “Equity eligible,” which at the time was a sub-category of stage performers who had worked on jobs earning Equity minimum rates, but had never actually been hired in an Equity show. At the peak of my “acting career” I was making Equity minimum rates, which in the late 80’s/early 90’s was $300 per week. That was “rich living” in the acting industry, believe it or not!
Most acting jobs last from four weeks to three months if you’re doing a stage show, such as with a regional theater, dinner theater, or youth theater. That’s part of the reason why the unemployement rates are so high. Jobs don’t last very long because shows might have a run for just a few weeks, and then you have several weeks of rehearsals before that. So your entire “work” period might consist of a very short period of time.
I was lucky to work steadily during the time I was a professional actress. I never took work as a waitress, for instance, to keep me going between jobs. I seemed to always have a gig going on. Most of my friends, in the meantime, made more as waiters and hostesses in restaurants and worked for 2/3rds of the year in the restaurant industry. And many of them were a LOT more talented than I was. Show business is just a brutal, brutal industry.
The competition for women is also horrible. For every fifty women who would audition for a show, there would be one or two men. This was at the Actors Equity offices in New York. And then you have the horrible math of the shows themselves. Almost always, there would be about two major female roles to about 10 – 15 male roles in a given show. So to get a major speaking role, let alone a major role, as a female performer took a helluva lot of work – and some talent. I only ever worked in major roles as an actress with the exception of one dinner theater musical I did as a chorus player. So I think I was pretty good back then!
In the stage world, which centers in New York, you have the Gay Mafia running things. Befriend this crowd and you will continually get work. Piss them off, and you’ll never work in this town again.
I had written a play once that a former Broadway producer was looking at. She was a lesbian woman who had worked on several big name Broadway musicals in the 1980’s and 1990’s. At one point, she pissed off some of the gay males who run the industry in New York. And she literally became homeless almost overnight from blacklisting. She liked my play but told me she couldn’t really help me since all her former friends had turned on her. So, to be clear, it is the gay MALE mafia that runs the theatrical world in New York.
This makes for a very weird dynamic when you seek stage work in New York, as I did. Many gay males took to me because at the time I was pretty glamorous and looked like Jennifer Connelly/Brooke Shields, a popular look at the time. They got me work.
When the rare straight male stage director auditioned me, it was always a casting couch situation – sleep with me or you dont’ get work – and I always refused. So the only work I got in the theater from my New York auditions was from gay male directors.
On the flip side of things, if you were a gay man auditioning for work and a gay male director was casting, you also needed to be ready to sleep with the director. One of my friends was very willing and got a supporting role in a Broadway musical – but the show bombed, unfortunately. He didn’t care about sleeping wiht the director, he thought it was just fun!
I am explaining the background here about the stage world. The stage is very different from TV and film, which I’ll discuss in a moment.
Most of my steady work came from auditioning in New York for theaters that were out of town, so I travelled and did tons of work up and down the East Coast. A lot of the jobs were very fun (again, because I worked for either gay male directors who admired me or straight female directors who simply cast me for my talent.) I mostly did comedies, kids shows, and period pieces like Shakespeare, with a few musicals thrown in.
Stage work can be very beautiful because you get to project loving and positive energy to a crowd and attempt to share something uplifting or educational with the masses. All of the actors I knew were very sweet, and we all tended to be the typical right-brained creative types who were idealistic and naive about the world.
And often very, very over-sexed. Any cast I was in always became an orgy of almost everybody sleeping with everybody else! Where it got weird was when the power players, the producers or directors, “adopted’ a cast member as a lover. Then that person was usually elevated to a position of power – they suddenly took over the lead, for instance, with the original person suddenly not showing up for work, etc.
But the theaters I was involved with were relatively small time, so I didn’t see much of the bigger, darker stuff until I started to work in TV and film.
I will continue that story in my next post…
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