Cristian
30th October 2014, 17:29
The very word "secrecy" is repugnant in a free and open society; and we are as a people inherently and historically opposed to secret societies, to secret oaths and to secret proceedings. We decided long ago that the dangers of excessive and unwarranted concealment of pertinent facts far outweighed the dangers which are cited to justify it. Even today, there is little value in opposing the threat of a closed society by imitating its arbitrary restrictions. Even today, there is little value in insuring the survival of our nation if our traditions do not survive with it. And there is very grave danger that an announced need for increased security will be seized upon by those anxious to expand its meaning to the very limits of official censorship and concealment. That I do not intend to permit to the extent that it is in my control. And no official of my Administration, whether his rank is high or low, civilian or military, should interpret my words here tonight as an excuse to censor the news, to stifle dissent, to cover up our mistakes or to withhold from the press and the public the facts they deserve to know.
~John F. Kennedy-
http://i.lv3.hbo.com/assets/images/documentaries/jfk-in-his-own-words/jfk-in-his-own-words-1024.jpg
[The following excerpt (http://ctrl.org/essay2/MCIJFKA3.html) is copyright (c) 1995 by Michael A. Hoffman II. All Rights Reserved. Used by permission.]
"...the ultimate purpose of that assassination was not political or economic but sorcerous: for the control of the dreaming mind and the marshaling of its forces is the omnipotent force in this entire scenario of lies, cruelty and degradation. Something died in the American people on Nov. 22, 1963 -- call it idealism, innocence or the quest for moral excellence. It is the transformation of human beings which is the authentic reason and motive for the Kennedy murder..."
The seemingly random and senseless slaughter of a President the week before Thanksgiving, by having his head blown apart in those now infamous Zapruder film frames, is the signpost of humanity's entry into what David Cronenberg in his Videodrome Rosicrucian cinematic manifesto termed, "Savage New Times."
It is a masonic riddle several magnitudes above the pedestrian, CIA-Mafia-Anti-Castro-Castro-KGB-Texas rightwing etc. etc. political "solutions" pushed by the various books and movies which sometimes only serve to confuse and demoralize us all the more.
The Alchemy of Ritual Murder
What ought to be unambiguous to any student of mass psychology, is the almost immediate decline of the American people in the wake of this shocking, televised slaughter. There are many indicators of the transformation. Within a year Americans had largely switched from softer-toned, naturally colored cotton clothing to garish-colored artificial polyesters. Popular music became louder, faster and more cacophonous. Drugs appeared for the first time outside the Bohemian subculture ghettos, in the mainstream. Extremes of every kind came into fashion. Revolutions in cognition and behavior were on the horizon, from the Beatles to Charles Manson, from Free Love to LSD.
The killers were not caught, the Warren Commission was a whitewash. There was a sense that the men who ordered the assassination were grinning somewhere over cocktails and out of this, a nearly-psychedelic wonder seized the American population, an awesome shiver before the realization that whoever could kill a president of the United States in broad daylight and get away with it, could get away with anything.
A hidden government behind the visible government of these United States became painfully obvious in a kind of subliminal way and lent an undercurrent of the hallucinogenic to our reality.
There was a transfer of power in the collective group mind of the American masses: from the public power of the elected front-man Chief Executive, to an unelected invisible college capable of terminating him with impunity.
For the first time in their history[...], Americans were forced to confront the vertiginous reality of a hidden power ruling their world. Sir James Frazer writing in The Golden Bough: A Study in Magic and Religion, explains that when the "divine king" is murdered by one who is himself stronger or craftier, those powers of "divinity" which were the king's are "Sympathetically" and "Contagiously" transferred from the vanquished to the victor.
The entry of this awareness into the subconscious Group "Dreaming" Mind of the American masses instituted a new simulacrum. The shocking introduction of a diametrically different, new "reality" is a classic scenario of another phase of alchemical programming known to the cryptocracy as "Clamores. "
Dave Marsh writing in Rolling Stone magazine (Feb. 24, 1977): "The Beatles have always had an intimate connection to the JFK assassination. He was shot the week before Thanksgiving 1963. By February 1964, the Beatles were number one in the national charts and the climactic appearance on Ed Sullivan's TV show occurred. Even Brian Epstein (the manager of the Beatles) believed the Kennedy assassination helped their rise -- the Beatles appeared to bind our wounds with their messages of joy and handholding... And the way was paved, replacing Camelot with Oz."
Now the American people were forced to confront a scary alternative reality, the reality of a shadow government, over which they had neither control or knowledge. The shepherding process was thus accelerated with a vengeance. Avant-garde advertising, music, politics and news would hereafter depict (especially in the electronic media) -- sometimes fleetingly, sometimes openly -- a "shadow side" of reality, an underground amoral "funhouse" current associated with extreme sex, extreme violence and extreme speed.
The static images of the suit-and-tie talking heads of establishment religion, government, politics and business were subtly shown to be subordinate to the Shadow State, which the American people were gradually getting a bigger glimpse of out of the corner of their collective eye. The interesting function of this phenomenon is that it simultaneously produces both terror and adulation and undercuts any offensive against it among its percipients, which does not possess the same jump-cut speed and funhouse ambiance.
There is a sense of existing in a palace of marvels manipulated by a beautiful but Satanic princess possessed of so much knowledge, power and experience as to be vastly superior to the rest of humanity. They have been everywhere. They have done everything. They run the show which mesmerizes us. We are determined to watch it. We are transfixed and desperate to see their newest production, their latest thrilling revelation, even when the thrills are solely based upon the further confirmation of our dehumanization.
J.G. Ballard: "In this overlit realm ruled by images of the space race and the Vietnam War, the Kennedy assassination and the suicide of Marilyn Monroe, a unique alchemy of the imagination was taking place... The demise of feeling and emotion, the death of affect, presided like a morbid sun over the playground of that ominous decade."
The role assigned to us is that of zombies called upon by our shadow masters to perform bit parts and act as stock characters in their spectacular show. This mesmerizing process produces a demoralized, cynical, double-mind.
--"Secret Societies and Psychological Warfare," pp. 91-95.
http://2.bp.blogspot.com/-vFbdCZbGOIw/U_A6CpEBxyI/AAAAAAAAGg4/n7mPGPawZTo/s400/28.jpg
Depiction of Hiram Abiff, sometimes amalgamated with Hiram, King of Tyre, in his coffin surrounded by the three assassins.
Hiram Abiff (also Hiram Abif or the Widow's son) is the central character of an allegory presented to all candidates during the third degree in Freemasonry. Hiram is presented as the chief architect of King Solomon's Temple, who is murdered in the Temple he designed by three ruffians during an unsuccessful attempt to force him to divulge the Master Masons' secret passwords. The themes of the allegory are the importance of fidelity, and the certainty of death. Wiki link (http://en.wikipedia.org/wiki/Hiram_Abiff)
~John F. Kennedy-
http://i.lv3.hbo.com/assets/images/documentaries/jfk-in-his-own-words/jfk-in-his-own-words-1024.jpg
[The following excerpt (http://ctrl.org/essay2/MCIJFKA3.html) is copyright (c) 1995 by Michael A. Hoffman II. All Rights Reserved. Used by permission.]
"...the ultimate purpose of that assassination was not political or economic but sorcerous: for the control of the dreaming mind and the marshaling of its forces is the omnipotent force in this entire scenario of lies, cruelty and degradation. Something died in the American people on Nov. 22, 1963 -- call it idealism, innocence or the quest for moral excellence. It is the transformation of human beings which is the authentic reason and motive for the Kennedy murder..."
The seemingly random and senseless slaughter of a President the week before Thanksgiving, by having his head blown apart in those now infamous Zapruder film frames, is the signpost of humanity's entry into what David Cronenberg in his Videodrome Rosicrucian cinematic manifesto termed, "Savage New Times."
It is a masonic riddle several magnitudes above the pedestrian, CIA-Mafia-Anti-Castro-Castro-KGB-Texas rightwing etc. etc. political "solutions" pushed by the various books and movies which sometimes only serve to confuse and demoralize us all the more.
The Alchemy of Ritual Murder
What ought to be unambiguous to any student of mass psychology, is the almost immediate decline of the American people in the wake of this shocking, televised slaughter. There are many indicators of the transformation. Within a year Americans had largely switched from softer-toned, naturally colored cotton clothing to garish-colored artificial polyesters. Popular music became louder, faster and more cacophonous. Drugs appeared for the first time outside the Bohemian subculture ghettos, in the mainstream. Extremes of every kind came into fashion. Revolutions in cognition and behavior were on the horizon, from the Beatles to Charles Manson, from Free Love to LSD.
The killers were not caught, the Warren Commission was a whitewash. There was a sense that the men who ordered the assassination were grinning somewhere over cocktails and out of this, a nearly-psychedelic wonder seized the American population, an awesome shiver before the realization that whoever could kill a president of the United States in broad daylight and get away with it, could get away with anything.
A hidden government behind the visible government of these United States became painfully obvious in a kind of subliminal way and lent an undercurrent of the hallucinogenic to our reality.
There was a transfer of power in the collective group mind of the American masses: from the public power of the elected front-man Chief Executive, to an unelected invisible college capable of terminating him with impunity.
For the first time in their history[...], Americans were forced to confront the vertiginous reality of a hidden power ruling their world. Sir James Frazer writing in The Golden Bough: A Study in Magic and Religion, explains that when the "divine king" is murdered by one who is himself stronger or craftier, those powers of "divinity" which were the king's are "Sympathetically" and "Contagiously" transferred from the vanquished to the victor.
The entry of this awareness into the subconscious Group "Dreaming" Mind of the American masses instituted a new simulacrum. The shocking introduction of a diametrically different, new "reality" is a classic scenario of another phase of alchemical programming known to the cryptocracy as "Clamores. "
Dave Marsh writing in Rolling Stone magazine (Feb. 24, 1977): "The Beatles have always had an intimate connection to the JFK assassination. He was shot the week before Thanksgiving 1963. By February 1964, the Beatles were number one in the national charts and the climactic appearance on Ed Sullivan's TV show occurred. Even Brian Epstein (the manager of the Beatles) believed the Kennedy assassination helped their rise -- the Beatles appeared to bind our wounds with their messages of joy and handholding... And the way was paved, replacing Camelot with Oz."
Now the American people were forced to confront a scary alternative reality, the reality of a shadow government, over which they had neither control or knowledge. The shepherding process was thus accelerated with a vengeance. Avant-garde advertising, music, politics and news would hereafter depict (especially in the electronic media) -- sometimes fleetingly, sometimes openly -- a "shadow side" of reality, an underground amoral "funhouse" current associated with extreme sex, extreme violence and extreme speed.
The static images of the suit-and-tie talking heads of establishment religion, government, politics and business were subtly shown to be subordinate to the Shadow State, which the American people were gradually getting a bigger glimpse of out of the corner of their collective eye. The interesting function of this phenomenon is that it simultaneously produces both terror and adulation and undercuts any offensive against it among its percipients, which does not possess the same jump-cut speed and funhouse ambiance.
There is a sense of existing in a palace of marvels manipulated by a beautiful but Satanic princess possessed of so much knowledge, power and experience as to be vastly superior to the rest of humanity. They have been everywhere. They have done everything. They run the show which mesmerizes us. We are determined to watch it. We are transfixed and desperate to see their newest production, their latest thrilling revelation, even when the thrills are solely based upon the further confirmation of our dehumanization.
J.G. Ballard: "In this overlit realm ruled by images of the space race and the Vietnam War, the Kennedy assassination and the suicide of Marilyn Monroe, a unique alchemy of the imagination was taking place... The demise of feeling and emotion, the death of affect, presided like a morbid sun over the playground of that ominous decade."
The role assigned to us is that of zombies called upon by our shadow masters to perform bit parts and act as stock characters in their spectacular show. This mesmerizing process produces a demoralized, cynical, double-mind.
--"Secret Societies and Psychological Warfare," pp. 91-95.
http://2.bp.blogspot.com/-vFbdCZbGOIw/U_A6CpEBxyI/AAAAAAAAGg4/n7mPGPawZTo/s400/28.jpg
Depiction of Hiram Abiff, sometimes amalgamated with Hiram, King of Tyre, in his coffin surrounded by the three assassins.
Hiram Abiff (also Hiram Abif or the Widow's son) is the central character of an allegory presented to all candidates during the third degree in Freemasonry. Hiram is presented as the chief architect of King Solomon's Temple, who is murdered in the Temple he designed by three ruffians during an unsuccessful attempt to force him to divulge the Master Masons' secret passwords. The themes of the allegory are the importance of fidelity, and the certainty of death. Wiki link (http://en.wikipedia.org/wiki/Hiram_Abiff)