The Cold War is Not Over – International Socialism’s Attack

U.S.S.A.

“We believe that all men are created equal.” -J.F.K.

By: Jay

My recent research has involved international socialism and the Cold War attack on the West.  In many “conspiracy” circles, often tending towards leftism, it’s very popular to paint the picture that the Cold War was a giant facade intent upon bolstering the buildup of the giant surveillance state.  There is some truth to this: For example, Professor Antony Sutton did produce evidence of support from certain powerful Western elites for the Soviet Union and its rise, particularly with regard to Soviet industrialization, while David Rockefeller aided in the installation of Mao Zedong, writing in the New York Times that the Chinese model was to be the model for social transformation of the East and West.

Indeed, other writers have mentioned the convergence of East and West into a mixed economy of a world socialist state of a third or fourth way.  In this regard, fascist powers were not really in conflict with centralized state communist powers, and received Western elite support as well, as pawns in the global chessboard and as social engineering experiments.  Fabian socialism, international socialism/Marxism, international corporatism,  Imperialism, and shadow government/cryptocracy are all models that are global in extent.  While it might seem wisdom to speak of limitations of expansion and imperial hubris, the reality is, the world state is always in flux, with competing, multi-polar powers seeking to topple rivals.  That “peace” will be achieved by some legislation or utopian visions are, of course, products of human naivety and never realistic.

Our era is one of multi-polar powers, but those multi-polar powers are largely controlled by a shadow government/cryptocracy that is presently the Anglo-establishment.   While this structure has received much bad press over the century, the subtle complexity of our actual geo-political is not easily discernible.  Binary models of East versus West or capitalism versus socialism are oversimplifications, but in reality these forces are real and are in opposition.  To those of the school of convergence, the East and West will be merged into a world socialist republic ruled by a technocractic and financial elite.   This form elitism assumes itself to be based on Darwinianism mechanistic process and Pelagian, Enlightenment tabula rasa social engineering, intent on establishing a “rational” global order or global environmental  eugenic legislation.  This is the dominant ideology of the present Western liberal elite.  Mechanistic, materialistic Darwinism thus melds well with collectivist models like Marxism, as well as so-called individualistic anarcho-capitalism, known as social Darwinism.

Liberty! Equality! Bullshit!

One need only look to someone like H.G. Wells, who wrote in many places, including his Outlines of History, that a masonic socialist order would eventually arise from utopian socialism.  This leads to the thrust of this article: Grand Orient Freemasonry, the power behind international socialism and communism, is not dead, and continues to seek the destruction of the West.  Grand Orient Freemasonry, it must be carefully noted, is atheistic and Satanic.  In contrast to the more conservative British Masonic Orders that remain loyal to the monarchy, Grand Orient Freemasonry can be seen as tied into the P-2 lodge, with its scandals, as well as the infiltration of the Vatican through its power source, Moscow.  Moscow, aside from being aided by powerful western elites, did become a superpower and was a threat.  Whatever one’s view of the Vatican, the infiltration of Rome by all forms of subversion was very real, and was largely handled out of Moscow and aided by the Gramscian Italian communists.  In fact, the Grand Orient/P-2 were intimately involved in the assassination of John Paul I, as we know from the Roberto Calvi scandal. Read more of this post

The Box (2009): Esoteric Analysis – Shadow Government Revealed

Film Poster. Cameron will be sacrificed to Mars.

“You are the experiment.”

By: Jay

As I often lay out here, fictional films can show you more about what is really going on that the fictional mainstream news outlets  The Box is one of the most striking examples.  The Box (2009) is Richard Kelly’s most recent film—Kelly of Donnie Darko and Southland Tales fame. All of Kelly’s films contain deep esoteric themes, and The Box is no different. In fact, it’s one of the most, well, “illuminist” films I’d seen since Eyes Wide Shut. The Box also contains hints and homages toward Kubrick, in fact. On the surface, the viewer is presented with a moral dilemma: It’s a film about compromising morals and suffering the consequences. On another level, it describes the elite worldview and control system with stunning detail—but not just the elite perspective—it also contains an even deeper, initiatory quasi-masonic level, as I will argue. The film was not a critical success, but I suspect its meaning went over the head of most.

The story takes place in 1976, where NASA Viking Mission camera engineer, “Arthur” (James Marsden) and his wife “Norma” (Cameron Diaz), have just purchased a large, new home. They are the typical middle class suburban family, pictured as overwhelming mediocre, in fact (on purpose). We then learn that a certain “Arlington Steward” (Frank Langella) has been resuscitated and released from the burn unit. Early one morning Arlington arrives in a black Lincoln, a “man in black,” and mysteriously drops a box off at Norma’s door, while Arthur heads off to NASA to privately construct a prosthetic foot for Norma, who is slightly crippled. Recall, of course, that in many purported “UFO” experiences the so-called “men in black” arrive on the scene, etc. Note that I am not advocating aliens and the assorted myths attached thereto. This will be relevant later in the analysis, however. Norma discovers the box has another box in it with a large red button on top, and Norma is astonied.

Meanwhile, Arthur finds out he has been rejected from acceptance as an astronaut, a longtime personal goal. Presumable funding for the new house and car would come from the astronaut position he was counting on. Norma teaches English at a local Catholic private school, and significantly, they are studying Jean-Paul Sartre’s play, “No Exit.” A certain miscreant in class has appeared who attempts to embarrass Norma by asking her to show the class her club foot. Norma acquiesces. This is relevant to those in the know concerning Sartre’s philosophy—Sartre proffered that as we mature, it becomes evident we are simply hiding behind various “masks” as a kind of cloak to escape the radical freedom we are condemned to.

Jean-Paul Sartre. Someone should have made him wear a mask.

For Sartre, Norma’s clubfoot is an imperfection she hides because it’s a reminder that her beautiful appearance which masks the clubfoot is a facade. It’s not real. Were Norma to embrace her defect, she would actually be free from the stigma such defects produce in our psyches. Indeed, for Sartre, we even hide behind such roles as “suburban middle class wife,” because there is a kind of ease in accepting this pre-programmed role handed on from the previous batch of middle class suburban forebears. Sartre calls this “being in itself,” and likens it to inanimate rocks. Those who become “free” realize that reality presents “radical freedom,” and when this is accepted, one becomes “being for itself”-being that is free and undetermined. This will be relevant for the later “initiatory” reveal.

"Table for two, dude."

Norma mentions to another student in class the famous Sartre quote that “hell is other people,” because it would be like others “knowing all your faults.” We also note that Arthur’s young son doesn’t believe in Santa when the subject comes up in the kitchen, because Arthur is a “scientist.” It is also relevant that this is Christmas time. This is relevant because we are supposed to understand that “scientism” is another mask, Sartre would contend. The “scientist” hides behind the mask of “rational inductionist,” and when presented with mystery or radical freedom, he timidly avoids the fearful conclusion by resting his faith in the imagined totality explanatory power of “science.” Arthur and Norma are about to encounter something they could never have imagined.

Shadowy shadow government figure no one is aware of, who watches as Watchers do.

The next day NASA gives a press conference for the upcoming Viking Mars Probe and curiously interjects statements about the expected discovery of “alien life” and “ancient alien civilizations.” In fact, this is precisely what Arthur C. Clarke and the NASA videos at the time were promoting. Isn’t it somewhat obvious that you will find what you’re looking for? It’s not very scientifically “neutral” to be so completely sold on the idea of alien life. Instead, we are being given a larger clue as to the meaning of where the film is going—the underlying new mythology that the supposed “science establishment” has predetermined we will “discover.” The new “discovery” will be that there is “life” elsewhere in the galaxy, thus exotheology. Exotheology is the planned new cosmology that replaces man’s origins and telos with aliens and apotheosis. However, The Box is going to give us a veiled clue as to who the “aliens” really are. During the press conference, one reporter asks why NASA is working closely with the NSA, which goes unanswered. Read more of this post

Batman Begins – Esoteric Analysis

Batman becomes the dark side.

By: Jay

See Also: Batman: The Dark Knight Rises – Esoteric Analysis

Batman Begins marks a substantive renewal for the popular franchise. Taking the story in a much more serious direction from the 90s version (replete with Prince flopping around, humping the ground), the new version is much more sophisticated. And, along with being much more sophisticated, it also calls for an esoteric analysis. Just as with Christopher Nolan’s Inception I analyzed, so his earlier Batman Begins was modeled along the same lines of Jungian psychoanalysis, mixed with occult and gnostic themes, as well as other prevalent popular conspiracy theories and secret societies, as we will see.

The film begins with Bruce Wayne experiencing childhood trauma where he falls down a well, breaks his leg, and is terrified by a sudden battalion of bats. Falling down wells and trips to the underworld are common in Jungian, gnostic and literary exploits. It’s an archetypal scheme for both the inner subconscious, as well as the exterior metaphysical realm of the dead. The “underworld” of Homer and Virgil, is also, by association the subconscious from which our dreams arise, manifesting archetypal patterns. Bruce Wayne’s falling down the well is also a window into his unconscious mind, just as are the several layers of dreams in Cobb’s subconscious in Inception.

Childhood traumas and fixations are often formed from this stage in development, as both Freud and Jung noted, and this is precisely where Bruce Wayne experiences the defining moment of his future existence—he will eventually become the thing he fears—the dark and the demonic. Now that may sound strange, given that Batman is a good guy, and the Joker and others villains, but once one understands the pagan and gnostic scheme of reality, these words end up purely relative denominators. “Good” as an actual, absolute category is non-existent in this relativistic scheme. This is why Bruce Wayne’s journey will be to become his “higher self,” the alter ego “Batman.” Batman is the embodiment of Bruce Wayne’s “shade” or shadow self, his dark side incarnate.

Batman is not bound by laws, but is instead a Nietzschian vigilante overman, beyond good and evil: rex lex. Since the normative social structure of Gotham City is corrupt, Batman is a law unto himself. This is why Bruce is the billionaire capitalist: he is the representation of elite capital, but which also provides Gotham its vast social programs and welfare system, as well as public transportation, etc. This is yet another hint at the actual system that runs the real world—it is controlled by those at the top who are neither capitalist nor socialist. They are elitist, and who (in their minds) transcend dialectics. The Cold War, for example, was a closely steered conflict that allowed a vast intelligence and surveillance grid to be established under the auspices of nuclear threat. Now, our threats are repackaged as environmentalism and the “global war on terror.” Bruce Wayne thus embodies the “third way” which is where we are headed—a global corporate financial system that is the synthesis of communism and capitalism, under the guise of world “democracy.”

Read more of this post

Eyes Wide Shut (1999) – Esoteric Analysis

Mirror image film poster showing Nicole’s ‘open’ eye in the midst of sex: the characters’ inner pysches and problems are about to be mirrored in the ‘real’ world, as they realize they have been blind and ‘profane.’

By: Jay

Eyes Wide Shut is a film that failed to live to the expectations of many. It was supposed to be an edgy thriller that made statements about upper echelon decadence, while also utilizing the real world sex life of Tom Cruise and Nicole Kidman as a kind of doorway bridging the gap between reality and fantasy – something that does come up in other Kubrick films, such as 2001: A Space Odyssey.  In this Kubrick film, however, we have a statement about who runs the “show.”  The show is both the film itself, as well as reality, and Kubrick wants viewers to realize that reality is run by our present showmasters of the videodrome. The viewer is supposed to reflect upon the decadence of the Eastern elite establishment, but also notice that viewing the film itself is homage to present social hypocrisy, since the film is a wannabe voyeuristic step into the sex lives of others. In this regard, it functions as an initiation. None of the other analysts and commenters have really noticed this. Virtually every review I have read sees it as some elaborate “MKULTRA/Illuminati” mind control thing (as is supposedly everything on those sites), while other reviews from professors and academia see it as a social or psychological commentary.

I think it has elements of all this, but the real goal is, I believe, an initiation process. The viewer is at the film because he or she is curious about Hollywood secrets and elite lives. Think of all the silly gossip magazines we have.  The “average Joe” went to see the film for a glimpse of Nicole Kidman, and Kubrick wants the viewer to see the hypocrisy in such an action, given that most people will “judge” the film’s secret society cult. Eyes Wide Shut, then, is a descriptor of the audience, as well as the characters in the film, who don’t really understand the socio-political power base that runs things. The power base is not, according to Kubrick’s film, the average politician or wealthy doctor or lawyer in New York.  Indeed, this is precisely Kidman and Cruise’s characters’ status: they are unwitting inductees. Thus throughout the film, the viewers eyes are wide shut to the reality of the power structure, just as Kidman and Cruise’s characters are, until the end, when they have their eyes “opened,” as they both say at the end. Let us proceed.

The opening scene shows us Mrs. Harford (Nicole Kidman) between two pillars. This is the doorway to the initiation, in other words. The two pillars figure prominently in Freemasonry as the entranceway to the divine, as borrowed from Solomon’s temple:

Nicole stands between two pillars – Jachin and Boaz, setting the initiatory tone for the film.

The two pillars of Freemasonry borrowed from Solomon’s Temple, indicating the doorway to the “mysteries”

The viewer is being told from the beginning that they are to undergo an initiation into how the “mysteries” and the secret societies work, particularly from a sociological perspective.  The Harfords, we discover, are having marital troubles related to sexual frustrations. It is also significant that it is Christmas time, when the initiatory procedure takes place, as a kind of anti-traditional religious/anti-Christian statement. It is also important to remember that all details in a Kubrick film are significant – the placement of everything is meaningful and deliberate.

Masonry in True Grit

Mattie’s father in True Grit is a mason, and we see here amongst his things a square and compass:

Masonic Square and Compass among his belongings

Lemony Snicket’s Film – Esoteric Analysis

Film Poster

By: Jay 

Lemony Snicket’s: A Series of Unfortunate Events represents a deeper attempt at “hidden in plain view” revealing of occult secrets, than anything you might find in the more popular Harry Potter series. Harry Potter is an overt kind of participation in witchcraft, but Lemony Snicket’s is something else. It presents, in fact, a much more realistic and subtle allegory for the modern intelligence panopticon-inspired control system. Harry Potter focuses on superstition, while Lemony Snicket’s focuses on the actual workings of the cryptocracy. 

Admittedly, I have not read the book series, but I have seen the film several times and read in depth analyses of both, and it’s pretty obvious what the message is, if you have eyes to see. The most prominent symbol in the film is the eye, and particularly the symbolism of the eye as the All-seeing Eye. The eye here is not so much an Egyptian or religious symbol, but rather in the sense of the panopticon of control by secret societies. The eye is the means by which the populace is watched, as well as by which information enters the mind.  In the film, the Baudelaire children, having been orphaned by their apparently dead parents.  From the beginning of the DVD, we see this imagery, as the kids are attached to the marionette strings of Count Olaf, the antagonist/evil genius. 

Count Olaf holds the Baudelaire children on a marionette string with panopticon All-seeing Eyes

There is endless speculation and pyschonautery concerning the meaning of the eye among the conspiraciologists, but we need not jump to the extreme for understanding its real esoteric significance. Yes, there is the evil eye and yes, there are All-seeing Eyes that had to do with Egypt, but when you consider the modern relevance of this symbol, it has much more to do with technological surveillance of all areas of life and thus a constructed control grid than it does necessarily with ancient Egyptian deities. Indeed, the symbol itself is just a symbol of divine providence or omniscience. What the referent for “divine” here, or whose “eye” is meant is entirely up for grabs. It could refer to intelligence agencies, such as the old MI-5 Logo or the proposed DARPA logo (which is probably the most likely reference), or perhaps to Satan. Count Olaf, as well will see, will have “devilish” and God-like characteristics. Read more of this post

Collins Brothers on the Occulturation of Culture

The Collins brothers desconstruct the modern occult explosion in this podcast, in particular the Twilight tripe, as well as other dark manifestations.

Die Hard – 9/11 ?

 

“German” terrorists attack a lone buildng in L.A. while John McClain saves the day. This poster looks a bit like 9/11 though. Note that we are shown Bruce’s left eye, synonomous with the left handed path of chaos and evil. The attack will be one of black magic and psychological manipulation.

 

 

  

 

 

 

When the “terrorists” arrive, we see some interesting architecture.

The long-used hexagram of witchcraft, kabballah and the occult appears

 When the “terrorists” plant the bombs, we see an interesting number combo flash quickly: Read more of this post

Mainstream Historian on the Revolutionary Carbonari Conspiracy

By: Jay

As with my article on the prevalence of the masonic-Illuminati in top, mainstream historians’ works, the truth is often uncovered even in scholarship opposed to the principle of “secret cabals” influencing history.  Cambridge historian David Thomson writes on the back cover of his Penguin Europe Since Napoleon that “The pattern of European development since 1789 can be understood only by study of those all-embracing forces that have affected the whole continent, from Britain to the Balkans.” [emphasis mine]

One of these dark forces was the Carbonari.  Thomson writes:

“The ultimate models for most secret societies were the Lodges of eighteenth century Freemasonry and from them was derived much of the ritual, ceremonies of initiation, secret signs, and passwords.  The more immediate models were the secret societies formed in Italy and Germany to resist the rule of Napoleon: especially the Tugenbund (League of Virtue) in Germany and the Carbonari (the charcoal burners) of Italy, both founded by 1810.  But a rich variety of similar organizations appeared throughout Europe: the Federati of Piedmont and the Adelphi in Lombardy, the Spanish liberal societies after 1815, the Philomathians of Poland modelled on the German students’ Bursenschaften, the Russian Union of Salvation of 1816 and the Republican Society of the South.” (pg. 140) Read more of this post

Mass Brainwashing, It’s Technique and Process

By: Jay

If you’ve ever seen the clips of Hitler rallies, one cannot deny that the mass demonstrations are certainly moving. I’m not saying moving in a good way: rather, the pageantry and ritual enchants the attendee, sweeping him up into a frenzy, where emotions and primal drives hold sway. It’s not unlike the shaman and his tribe, who work themselves into a corybantic trance state, where anything the “shaman” says then becomes law. Is this pagan analysis too arcane and superstitious? Absolutely not. Psychologists, sociologists, intelligence agents and even advertising students know that public immersion in image, sound and mass group-mind rituals profoundly influence people–this is essentially what liturgy’s purpose is.

We witness this with huge crowds of Obamanaics, who cheered, chanting “Yes we can!” On the most basic level, this makes absolutely no sense. Yet Obama is a total tool of intenational bankers and has continued the same major policies of George W. Bush. Read more of this post

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