How CIA destroyed American art culture (part 1)

How CIA destroyed American art culture (part 1)

Culture is the open expression of a nations creative spirit. But as shall be speculated here, the direction of that culture, since the middle of the 20th century until today, has been driven clandestinely, and from sources the public still largely remains unaware.

Could CIA have used modern art as a weapon ?

THE ‘LONG LEASH’

The answer, provided by documents available through freedom of information, is a resounding yes! Before the ‘cold war’ of the last century, an ideological struggle between the US and USSR, beginning soon after World War 2, the upstart agency was then dismayed at the growing influence of communism, not only in Hollywood, but in the modern artistic community in general.

That many of the artists were ex-communists themselves, was seen as an ideological advantage to be exploited over the rival communist regime that had to be exploited. This was done primarily to hold up the idea of cultural freedom and supremacy over the more inferior and creatively stagnant Soviet art. This policy of modern art promotion was clandestinely brought about in a program termed the ‘long leash, which provided funding for modern art projects through various ‘foundations’ set up by major industrialists like the Rockefeller, Vanderbilt, and Astor families. These prominent families are all inextricably linked to the Crown Temple in London, as well as intermarried with many of Europe’s royal bloodlines. Through an operation called Mockingbird, CIA controlled over 800 newspapers, as well as holding sway over the major television and radio networks, making the promotion of this particular brand of modern art immediately and widely successful.

The media sorcerers and intelligence agencies, specifically CIA, were not only synonymous then, this scenario remains intact until this day. To perhaps illustrate the relationship between art and CIA more clearly, this ‘long leash’ program, in coordination with Mockingbird, was a concerted effort to unite writers, musicians, and artists of all stripes, in order to demonstrate the West represented a bastion of cultural and intellectual freedom, as opposed to the Soviet system, which was comparatively regimented. It wasn’t as if there existed no opposition to this ongoing program. Both Congress and President Harry Truman, right from the outset of the agency’s program in the late 1940’s to early 1950’s, were deeply opposed to its funding. This is the reason given for CIA covert maneuvers. Ironically, the agency found itself in the position of encouraging cultural openness from the shadows. Thus, unknown artists like Jackson Pollock, became household names, along with writers then languishing in absolute obscurity like Steven Spender. This artistic transformation, caused more than a bit of cultural dissonance between middle American traditional tastes, and that of more high brow dispositions more commonly associated with metropolitan New York’s Fifth Avenue.

In fact, never had the prevailing cultural tastes of the public, and nihilist philosophy seemingly inherent in the newly  emerging abstract art  forms, been more sharply drawn. And yet, abstract expressions, increasingly throughout the 1950’s and 60’s, became increasingly commonplace, noticeable in mainstream magazines and television commercials. But, incremental and repetitive demonstration eventually accustomed the public at large to this cultural dissonance. So much so, that by the 1970’s, it can be argued the public no longer visibly flinched when subjected to repeated public demonstrations of abstract expression.

THE COLD WAR WAS A HOAX

The ultimate secret kept from the public, is that Crown Temple bankers, ruling over both US and USSR by virtue of their debt based pyramidal economic system deliberately schemed to subvert all private and public institutions in the West, including art and culture. While on the one hand appearing to fight against communism, CIA was secretly promoting collectivism. In essence, the cold war was merely an ideological smokescreen, secretly bringing forth what it purported to be endeavoring to destroy. Communism, as an ideological construct, is merely a wafer thin veil. Peering beneath this transparent facade, one can easily observe communism to be nothing more than monopoly capitalism in disguise-collectivism donned in democracy’s red, white, and blue cloak.

Americans may think they are free, but they are in fact tax slaves imprisoned within the debt based economic gulag conceived by the Crown Temple bankers in London.

During this ideological charade dubbed the ‘cold war’, tens of millions of American tax dollars were being diverted and funneled into a program wittingly designed to destroy American art culture. Meanwhile, respected figures in the national media, both in television and radio, were actively recruited and utilized by CIA to herald the arrival of this new degenerate art form. Even President Truman, albeit renowned for a conservative temperament, cast volatile aspersions during a private gallery tour at the white house, featuring some of the new artistic movement’s most noted luminaries.

One could accuse this blog post as a mistaken plunge into high brow pomposity. So be it!  In the last few decades alone, art and culture, both high and low, but particularly the former, have been purposefully destroyed by the media sorcerers. But as always, there is a method to their insane brand of madness. The true leaders of this planet, sitting on their thrones of the mighty, in fact do not care about cultural enrichment, only domination of trade markets to bolster their lofty positions. From objective remove, dare to delve back into the past, before the beginning of the last century, and one can readily observe, the  gradual deterioration of art and culture into utter bankruptcy. Once again, with exhaustive research, one will find this ruination to have been perpetrated, not by accident, but by deceptive calculation. The Crown Temple bankers, the true rulers of America and the world, have and will continue, to clandestinely plot the destiny of mankind. History, one will eventually find, is scripted well in advance. Has one never wondered, when local and federal governments call for budget cuts to the public school systems, why music and the arts are always the first to feel the brunt of the budgetary hatchet? Has one never wondered, when visiting the metropolitan museums, why the variety of ‘art’ classified as ‘abstract’ and ‘modern’ is more prominently displayed, than that of classical antiquity? To answer these pertinent questions, a more thorough examination researching the deliberate collusion between CIA and the bankers of the Crown Temple shall have to be undertaken.

The speculative answers to these questions, and perhaps more, shall be forthcoming  in the next blog post. Did CIA embark upon a well hidden program to destroy American art culture? Stay tuned, for Part II!

The Biggest Secret of the Bible (Part III)

The Biggest Secret of the Bible (Part III)

Now, finally, is delivered the final installment of the long promised series of blog posts on the biggest secret hidden in perhaps what is the most fascinating, if not popular books, ever published in the history of mankind.

In the previous posts, we revealed that the secret of human immortality is hidden in the bible under an avalanche of allegory, metaphor, and fable.

To review, I described the biological process promoting the elongation of human life hidden in the New Testament stories of Jesus life, crucifixion, and resurrection. This mythological story has been retold again and again, in not only the ageless children’s tales of Hansel and Gretel, Beauty and the Beast, The Lion King, but is also alluded to in some of the most heralded literary works of the last century, including James Joyce Ulysses.

This enduring myth has also been the creative basis of many of the twentieth century’s comic book heroes, and their mystical powers, legendary characters such as Superman, Captain America, Wonder woman, etc. etc.. In truth, the creation of such characters is merely a reworking of the ancient Greek myths, tales of Zeus, Apollo and Athena.

This hidden, esoteric secret of human immortality is the essence of one of the most enduring myths ever created. The concept of myths, it must be remembered, are recreated in exoteric stories disseminated to the masses. And yet, the esoteric kernel of the myth is always hidden, buried deep beneath the superficial narrative. In other words, what’s meant to be hidden is revealed in plain sight, but is visible only to those with the eyes to see, and the ears to hear. The ultimate understanding of this hidden myth within the bible, and these modern allegories, is within reach of everyone.

But unfortunately, due to public schooling, most minds are not adequately prepared to divine the truth hidden beneath the lies, through no fault of their own.  Followers of this blog will have learned that control of America does not lie with it’s elected representatives, rather, it lies with the bankers owning and operating the Federal Reserve, who in turn, answer to the board of directors housed in the city of London, known as the Crown Temple.

To digress for just a moment, for the benefit of those still harboring deep questions about the Crown Temple, and how is it they came to own and operate the corporation of the United States of America, my next major series of posts will deal in describing the origin, machinery, and methods of operation of this shadowy group, known in medieval times as the Knights Templar.

LEVI and PISO

Before delving into where in the bible this secret is hidden, we shall examine some of the historical figures responsible for the original text. One of those is the family of Levi, one of the most powerful and richest houses of the original twelve tribes of Israel.

The origin of the name of Israel is a combination of three words together: Is, or Isis, (the ancient goddess represented by the statue of Liberty in New York harbor), Ra, (Egyptian sun god from which the bloodlines of the earliest Egyptian Pharaohs are claimed to be descended), and El, or Elohim, (a reference to the god Saturn, twelve cycles of the zodiac, fullness of Time).

Two descendants of Levi described in the old Testament, Jacob, and his brother Aaron, led the tribe away from Israel to settle in the land of Caanan. Ironically, despite owning cities, in addition to being rich and politically influential, they were not land owners. It was decreed by the high priests of the temple, that the Lord God of Israel should be the tribes only true inheritance. This in and of itself is a powerful statement. If one endeavors to deeply research, it shall be discovered that these two bloodlines still rule over us, merely in different guises. The old Testament, when studied in depth, reveals the entire canon to be a recounting of the political and financial ascendance of the Levi family. It is they who in ancient times, much like the Rothschild’s of today, were the real power behind the thrones of many of the biblical monarchs. Being wealthy beyond all imagination, this bloodline had the wherewithal to employ vast numbers of scribes in order that their family legacy could be recorded for remote posterity. What later became known as the old Testament in the King James version of the modern bible, is nothing more than the biographical account of this powerful dynastic family. In ancient times, nobility such as this were indeed regarded as gods, since with vast political and financial influence, they had power of life and death at their disposal.

Notable descendants of Levi were Miriam, Samuel, Ezekiel, Ezra, and Malachi. Four of these, Samuel, Ezekiel, and Ezra, and Malachi, have chapters in the biblical text named for them. The old Testament, re-fashioned centuries later due to political expediency by King James forty-seven hand picked scholars, including Francis Bacon, were derived from the original texts and legends of these twelve families, the original twelve tribes of Israel. But the story of Levi is itself symbolic, the twelve tribes representing once again the number of signs and cycles of the Sun Zodiac. Whether contemporary Christians want to believe it or not, their faith is merely an exoteric reworking of the ancient pagan philosophies, which held sun worship as part of it’s creed. Jesus himself is merely a mythological representation of the sun, as were all the ancient gods preceding him. Worship of the sun is still secretly carried out in the Vatican, a closely guarded secret by the Order of the Jesuits, just one of the many esoteric secrets kept hidden from the flock of the Catholic faithful. If one looks closely, beyond the pomp and ceremony of the Vatican, the overt display of esoteric symbols shall become immediately noticeable. Around the identifying symbol of the Jesuit Order; IHS, is clustered a plethora of sun rays, points of light which are astrological representations of the Zodiac, or the cycle of Time, i.e. Saturn.

The Roman aristocratic family of Piso is an interesting study, for they represented the very political and financial power supporting the imperial throne. They were a prominent branch of the gens Calpurnia, which began it’s hegemony of Rome in the 2nd century AD. They were prominent land owners, as well as money lenders, and often were the paymasters of the imperial Praetorian Guard, the group of elite legionnaires who protected the Emperor from physical harm, much in the way the Secret Service serve the same purpose for the American President.

This was a key element in the continued maintenance of political power for the Piso family, in that if any particular emperor from the 2nd century on fell out of favor, the Piso patriarch could merely summon the head of the Praetorian Guard to carry out assassination. It is generally claimed by historians, mistakenly, that Piso rose from the ranks of the plebian, but this is not so. Right from the fall of the Roman republic with the victory of Julius Caesar over Pompey Magnus, this powerful patrician family had complete control over the ship of state, even with the power to appoint Senators and governors in charge of various Roman provinces.

As the Roman imperial throne cemented it’s hold over what became known as the Empire, the central organizing pagan religion began to loose it’s former hold over the people, mainly due to mass immigration from Rome’s far flung provinces into the capital city. Those seeking fame, fortune, or political influence, brought with them monotheistic philosophies, Christianity emerging as the most influential. With this mass influx grew the influence of non-pagan cults, much to the alarm of the imperial college of Pontiffs.

Observing  change had to be made, due to political expediency, the influence of the Piso family mobilized Roman scholars and intellectuals, fostering eventual religious transformation. By the fourth century AD, the mobs of plebes were growing tired of observing the worship of so many pagan gods. Incrementally, this change was brought to bear, culminating with the council of Nicaea, first organized by Piso and other powerful aristocratic families in the 4th century, 325 AD. This first ecumenical council represented the emergence of what became known as the Catholic faith. In truth, this merely represented a superficial placation for the mob, while underneath official state recognition, the foundation of the old pagan faiths remained. This pagan foundation is still prominent, yet well-hidden, secretly observed by the Jesuit Order, the true power behind the Pope.

In fact, the Roman empire never vanished as historians claim, it merely transformed itself, from an empire overtly deriving its power and influence from military and political strength, to that of religious or philosophical hegemony. Like the bloodline of Levi, Piso had the resources to employ their own band of highly educated scribes, and the new testament represents the rich  biographical tapestry of the power and wealth wielded via proxy through the imperial Roman thrones. Both the Levi and Piso royal houses are still with us, and their story, immortalized in the two major books known collectively as the Holy Bible, hides the secret of their longevity. Many may find this controversial, but it is believed that some of these biblical characters in fact never perished, that they are in fact still physically with us. It is within the allegorical text of the bible, that their great secret to biological longevity remains clandestine, until now!

These powerful dynastic bloodlines have since no doubt intermarried, the genealogy of such a union witnessed in the vast historical gallery of medieval royal history, right up to the present day. Burke’s peerage, a meticulously collected compendium of genealogical history, demonstrates how all the royal houses of Europe are in fact related, their lineage traced back to the source of these two bloodlines still ruling over the earth to the present day.

HOLY BIBLE HIDES SECRET OF IMMORTALITY IN PLAIN SIGHT

The council of Nicaea of the 4th century AD was ordered to take special care in coming to consensus about what would be ultimately demonstrated as the creed of the new faith.

Upon royal decree from Emperor Constantine, they were ordered to hide any reference to the potential of human immortality in the new holy book. This consensus was again reached in the 17th century by King James and his forty-seven royal scholars, hired to rework the Holy Bible for a new popular audience emerging into the age of enlightenment. Scholars such as Francis Bacon, were charged with burying the secret of the ages under inscrutable language that was sure to be indecipherable to the masses. This also meant that the masses of people would have to hereafter rely upon an educated priesthood for indirect interpretation. However, looking through the Bible with a fresh set of modern eyes, it is clear they did not hide it well enough. The first example cited is in the new testament, where it states in John Chapter three, verse thirteen: “And no man hath ascended up to heaven, but he that came down from heaven, even the son of man which is in heaven.”

The word heaven exhibited here is not a reference to an actual place one travels to upon physical death. Rather, it is symbolic of the process of biological regeneration, of the Christ oil traveling up and down the spinal column once per month, in alignment with astrological signs. Referring to part II of this blog series, this magical biological process occurs once per month, during the time when, in astrological terms, the moon enters one’s sun sign, or on the particular day one was born. Heaven is a symbolic representation of the cerebellum, hell, the solar plexus.  During the right time of month, per astrological observances,  the Christ oil rises from hell, from the solar plexus depths, up through the spinal column, and thence into heaven, or the cerebellum, eventually residing in the pineal gland, forever transforming the human biology. Dormant brain cells become activated, those long dead rejuvenated, DNA transformed.

Another pertinent excerpt of scripture is Romans 6:23, which states: “For the wages of sin is death; but the gift of God is eternal life through Jesus Christ.” The Christ is the magic elixir residing dormant in each and every human on this planet. God, is the brain that resides in heaven, or the head, the source of all human ingenuity, creativity, and intellectual ability, unique attributes separating the human species from the lower animals.

These are the biblical interpretations that one will never hear issued from the priests pulpit, for it is the job of the major religions to keep this information forever hidden from the masses. In an addendum to this post, we will speculate on just how this knowledge, should it become generally known, would utterly transform society. One thing is certain, the bankers of the Crown Temple, and their media sorcerers, would do everything in their considerable power to make certain that never occurs!