Urm. But, hey, it’s just art, right? Wrong again. Culture and crime are contextually interwoven in ways the average person can only have nightmares about, and then forget.
Fourth Base followed up a few hours later with some more brain-twisting & stomach churning connections:
Trigger warning, again.
(Body of Dahmer victim shown, you’ll see why.)
Picture that grin.
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All this is about context. This ^^^ is the culture in which these individuals move. So when there are suggestions of involvement in child trafficking and sexual abuse and blood rituals, all of this art and cooking and stuff becomes as relevant as Patrick Bateman’s doodles at work would be in his murder trial–if one ever happened. Was it all in his imagination (just art, right, Brett?) It might seem so until people start showing up dead; kind of like they do around the Clintons. Hmmm. But anyway, best not to think about that. . .
Fourth Base again:
But that’s not the kicker there, of course.
The Podestas’interest in Katy Grannan photos is.
The ones of the naked teenagers, he means. No images online that I could find here. I guess maybe that’s because they’re illegal? Art and crime, oh yeah, it’s a continuum. I went and forgot again.
At this point, ladies & gentlemen of the jury, we have motive, means, and opportunity. But yeah, it’s all circumstantial, don’t worry about it. It’s all a ploy to get you not to vote against THE MONSTER. To suppress the Shadow, no matter the cost. Fear of fascism ensures the emergence of fascism. Or something worse than…
As I said, my interest here isn’t in discouraging anyone from voting for Hillary. Those people (they do not read my blog) who are so deeply paralyzed by the (carefully orchestrated to be) terrifying specter of Donald Trump looming on their democratic horizon, they are going to vote for Hillary NO MATTER WHAT. And anyway, as my readers and listeners already know, I don’t believe (and never have believed) that votes have anything to do with who is going to be the next president, or that who is the next president has anything to do with what sort of changes are coming, to the US and the world: the neoliberal lockstep: or what I once (at age 20) called the designer fascists. Well folks, here they come.
No, my interest is rather in drawing people’s attention to the masterful and macabre underpinnings of the World Sorcery Theater, in the hope that our attention might move, however minutely and slowly, away from the sleazy spectacle out there, and back to the far-from-cathartic responses being triggered within the nervous system of each and every one of us (at least insofar as we are socialized humans, subject to our perceptions being managed, even when we aren’t looking at the stage). Because, yes, much as it pains me to say it, and to know it, we are all in this together.
The thing is, whether I believe the theater of accusations of Satanic parties, or whether I believe the theater of mockery and denials, either way I feel like I am being duped. Why? Because the information is being disseminated as part of a conscious strategy on the part of masters of perception, and these masters know exactly how to prevent the truth from setting us free, how to use the truth as a weapon against us.
James Shelby Downard talked about the revelation of the method. It’s been a while since I read (or gave much thought to) Downard’s ideas, but I recently summed up the ROM to a fellow writer, as follows: One way to shut down people’s consciousness is to awaken in it in such a way that there will be a corresponding reaction against what’s revealed, so consciousness shuts down even more tightly than before the revelation.
This is something to be aware of. The social engineers and perception managers–the designer fascists–are like master chess players playing against opponents (us) who they have taught to play, and who they have caused to forget we were ever taught these moves. They have taught us specific moves that will ensure we always undermine our own efforts to succeed (that we never allow the truth to free us), each and every time we use these methods. So our perception managers know every move which we–their amnesiac students and now “opponents”–will make; and they know exactly what move to play in order to illicit a given reaction from us. To them, it is child’s play to herd us into the beliefs, values, perceptions and behaviors that will further extend their control over us. To them that have, will be given still more; to them that have not, even the little we have will be taken from us.
The only move our perception managers cannot counter is a movement away from the board; because of course, the game is only a distraction designed to keep us focused on their moves in such a way that we will never see what they are actually doing. They create our reality; and by the time we are beginning to understand it, they have already prepared a whole new layer to lure us into, even as we are reacting to the old one. And so it goes, interminably deeper into the dream-nightmare of history.
This ain’t no party. It’s indefinitely sustained liminality in which the ceremony masters are leading us deeper and deeper into confusion, pain, and endless despair. And yet. There’s only one way they can continue to lead us, only one way, and that’s by holding our attention. The moment we withdraw our attention, they have nothing at all. They have gone from chess masters to lonely solitaire masturbaters.
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