Most would think the answer to the question posed in this installment’s headline would be obvious.
“Well like duh, Mr. Newsspell,” one can hear skeptics collectively howl, “everyone in America saw Oswald get shot on TV by that Ruby feller from the nightclub!”
And indeed, so you may have thought that was the case.
But Jack Ruby’s brutal murder of Oswald, as one shall soon attempt to explain, was a masonic ritual, performed no less, on live television, symbolically signifying the metaphorical process of death and rebirth. And, as loyal readers are well-cognizant, those characters participating in the phenomenon known as the actor based reality have a penchant for such seemingly miraculous transformations.
Indeed, the whole of recorded history consists of such magical transformations, of host actors portraying the roles of historical characters who, though they may die, are resurrected to live out another life under yet another fabricated pseudonym.
If anything has resulted from one’s research, it is this: history is merely a grand stage play, transforming the illusion of the magical into the mass consciousness of material reality.
The story of the historical character known as Lee Harvey Oswald is instructive if not, in its own way, begrudgingly enchanting. For it seems only in America could a man, cast as the lone gunman and accused of assassinating a president, proceed to become a celebrated host of perhaps the most popular prime time television show of its era!
It has often been asked, what’s in a name?
Well, it turns out, in the case of the alleged JFK assassin Lee Harvey Oswald, there is much to be learned. When it comes to understanding the occult doctrines of Freemasonry and the Jesuit order, one must recognize their signs, symbols and codes which collectively represent a lingua franca that is both secret and sacred, discernable only by those with their eyes wide open to truly observe and with ears properly attuned to discern those frequencies that to the majority register only as the sounds of silence.
Through the course of examination and research, one has managed to formulate an overarching premise regarding recorded human history, indicating that keystone historical events such as what occurred on September 11, 2001 and November 22, 1963, represent public displays of grand masonic rituals, those that were once termed by NASA’s legendary rocket scientist Jack Parsons and infamous occultist and MI5 spy Alistair Crowley as “Babylon Working.”
The powerful effect of these rituals does not emanate from any inherent magical power, rather, their magical effect is drawn from the strong mental intention of the practitioner combined with the equally strong emotional investment that is actively coaxed and summoned from the participating masses of humanity.
Indeed, demons and gods do not exist in some invisible, metaphysical, supernatural or spiritual realm.
Rather, divine potential dwells deep within each and every one of us, waiting to be summoned forth.
The magical concept of the “Babylon Working” is what occultist Dione Fortune once referred to as the formulation and reinforcement of the conceptual illusion of time and material reality.
For, believe it or not folks, we are all spiritual beings collectively existing as frequencies of living light, and once filtered through the geometric, three dimensional prism, our light frequencies at once appear to have been chaotically separated, then reordered and attuned, so that we might perceive this physical and material realm as individuals in the flesh.
The recording of mythical, historical events create a visual and audible frequential touchstone capable of gradually and permanently attuning human collective consciousness to the lower frequencies of the material realm. Maintaining and reaffirming this “magical” but artificial state of collective consciousness through the staged reinforcement of historical ritual benefits the perpetual profitability of the global commercial system which, from the very top of a pyramidal hierarchy, is solely controlled by the thirteen, ruling elite Jesuit families.
Each time an historical event such as 9/11 or the JFK assassination is heralded by the sorcerers of the mass media, collective human emotional investment is summoned by their magical works, thus reshaping and reinforcing the material and frequential parameters of manageable human perception.
These magical works always seek to attack the masses’ most vulnerable and primal survival instincts to induce quantum levels of collective fear. Keeping humanity vibrating at such a low vibrational frequency and attuned to the needs of mere survival is the ultimate goal of the ruling elites.
OSWALD AND RUBY
Numerological analysis has been virtually ignored by JFK researchers. Up until now, scholarly academics have refused to acknowledge its effectiveness as an investigative tool. Then again, the purpose of scholarly academia isn’t to investigate anything. “Scholars” and their widely published, “official” academic opinions aren’t truly designed to stimulate the public’s greater understanding of history. Nor, does the cable network’s History Channel exist to enlighten the public with insightful historical analysis.
Together, the community of historical scholasticism, augmented by television programming, exists to psychologically condition the public’s collective perceptions toward history.
That’s right folks, professors and historians merely exist to broadly suggest to the public at large how an event from a certain time period should be popularly remembered and perceived. Whenever expedient, the true job of academic historians and the History Channel is to condition and program the general public’s emotional response to history or historical events and, to even suggest how its emotional response should properly resonate.
In essence, their spell casting is ongoing, and the masses are constantly bombarded by psychological manipulations, whether through television, the movies, and even periodicals and popular literature. Particularly, in the case of the JFK event, Hollywood has played a significant role in this public process of constant psychological affirmation and alteration.
Regarding the retrospective historical narrative concerning the intelligence activities of Lee Harvey Oswald prior to November 22, 1963, cumulative research demonstrates every official historical account to have been deliberately convoluted and made contradictory at best. But perhaps the greatest clue of all as to the exact nature of Lee Harvey Oswald’s fabricated character comes from this clip culled from Oliver Stone’s 1991 (99=66/12/21/777/ 11=2/masonic pillars of Boaz and Jachin) Hollywood production simply entitled, JFK:
“What’s white is black and what’s black is white,” investigating attorney Jim Garrison informs his surrounding legal eagles.
Of course, as has already been mentioned, the director and executive producer of 1991’s JFK was Oliver Stone, who has been positively identified as a simulated Hollywood character that is publicly portrayed by Hollywood mogul Barry Diller AKA Austro-German prince Eduard von Furstenberg.
The quote from Kevin Costner’s Garrison is a blatant reference to the masonic and occult concept of mankind’s mirrored duality.
The “incriminating” photograph of Oswald featured in the opening video still is an obvious intelligence created “tip in” job, a badly conceived photographic composite that somehow passed as a legitimate photograph. But that is the nature of all psychological operations, in that the chief function of the accompanying images is to convey the power of suggestion.
Regarding Stone’s JFK film, just think for a moment about the magnitude of the rather brazen propaganda Hollywood has repeatedly peddled to the public.
Stone’s film is essentially a quasi-documentary about a simulated character’s role portrayed within a simulated historical event that is purported by scholarly history books to have been an actual event and not a hoax. As for Stone, he himself is a simulated Hollywood character portrayed by a royal prince acting under a pseudonym.
If that isn’t a conspiracy, huh folks?
Maybe, someone should make a movie about that?
The narrative of the JFK assassination resembles a mirrored funhouse and the historical reflections are expediently altered whenever it suits the political or social agendas of the thirteen, ruling elite Jesuit families.
From this perspective, Stone’s JFK film was produced, not to provoke penetrating thought or foster objective analysis of an actual historical event, but to misdirect and disinform the public away from ever considering the JFK assassination may have been a psychological operation.
THE NUMBERS TELL ALL
The name of Lee Harvey Oswald respectively sums to 230 (5/2 3’s=33/high-degree Scottish Rite Freemasonry) and 77 in English Ordinal and its Full Reverse Reduction (5/2 3’s=33/twin charges of Lucifer’s lighting/spiritual transformation).
Researchers both then and now, admit that Oswald was a creation of CIA intelligence aided by its Soviet counterpart, KGB, implying that despite the fact both nations were documented to have been at each other’s throats and on the precipice of apocalyptic hostilities, there did indeed exist more than some modicum of administrative political cooperation and coordination at the highest levels of both nation’s respective governments.
That further exploration in terms of the wider implications of this fact is all but avoided by so-called historical scholars is telling and indicative of willful cognitive dissonance. Additionally, one discovers such telling historical exclusion wasn’t merely typical of the alleged JFK assassination.
Routinely, historians always seem forgetful of one inconvenient fact regarding the Kennedy administration’s alleged nuclear missile crisis of 1962; the joint naval exercises involving US and Soviet naval forces off the coast of Cuba.
There can be no doubt, the ruling elites are well-cognizant of the catastrophic implications of allowing their puppet scholars free rein to publish and distribute the results of their objective research which might dangerously illuminate any such historical anomalies.
They are also fearful, if historians were allowed to publish a truly objective historical analysis through popular literary channels, that granting such license might in one fell swoop, permanently mar or even erase the cumulative psychological and propagandizing effect built up over a period of decades.
REANACTMENT OF HIRAM ABIFF MASONIC RITUAL
Having never viewed the footage of Oswald and Ruby in the video displayed above, one was immediately stricken with bouts of laughter while simultaneously wondering how it is the American people could have given it any credence. Comparatively, this staged scenario involving Oswald and Ruby is even more ridiculous than the assassination attempt of President Ronald Reagan (Actors in history’s grand stage play (Part X).
Examining more closely however, one shall note that all the expected symbolic, masonic markers are present. For one, there are the plainly visible partitions of bricks which collectively are symbolic of the hierarchical structure of the International Brotherhood of Freemasonry.
For another, if one freezes the frame during the long camera pan before Oswald is ushered out, one shall notice the X clearly marked with white masking tape on the floor of the Dallas police station’s basement floor. X, of course, is the 24th letter of the English alphabet and in gematria reduces to 6 or 2 3’s, which equals 33, a number representative of high-degree, Scottish Rite Freemasonry.
This staged “shooting” is a reenactment of the masonic initiation ritual of the legendary masonic figure Hiram Abiff, symbolizing death and rebirth.
Jack Ruby, who was alleged to have been a mafia connected Dallas nightclub owner, was yet another character created for the JFK event, and was portrayed by none other than merchant banker David Rockefeller Senior. That two of the characters (one being the slain US president) portrayed in the JFK assassination’s psychological operation were named “Jack” was no accident. “Jack” sums to 25 in English Ordinal gematria which equals 7, the Zayin or mind weapon of the Kabbalah.
The surname of Ruby sums to 66 in English Ordinal gematria which equals 12, while its occult numeral reflection equals 21 which in turn, equals 777 or the intelligence joker code.
David Rockefeller Senior:
Before this predesigned mayhem between Oswald and Ruby was allowed to play out its sinister script and before millions of Americans had tuned in to watch it, it should be noted that soon after unleashing three shots at President Kennedy (three/EE=33) and after fleeing from his so-called sniper’s nest at the Dallas School Book Depository, Oswald was found hours later by Dallas police cowering in a downtown MOVIE THEATER.
This is perhaps the most conspicuous clue the JFK assassination perpetrators left in plain sight, doing so full with the knowledge that most, if not all of those among the American public would be too preoccupied with grief to in fact have ever noticed it.
Just days prior to the alleged assassination of JFK on the 22nd of November, historians also unanimously inform that Oswald, reportedly while campaigning for the Fair Play for Cuba Committee (the sort of banal and nondescript moniker one would expect to have been created by CIA), became involved in a street corner scuffle with Carlos Bringuier, allegedly a local Dallas store owner and at the time, a man who claimed to have been an avid proponent of communist Cuban Premiere Castro’s political overthrow.
In reality, Bringuier was yet another actor, portrayed by this famous 1960’s television personality, the one time phony Hollywood “husband” of Lucille Ball AKA Queen Elizabeth II:
Note that Arnez is reading his scripted lines from cue placards hidden off-camera.
Of course, let us not forget that Arnez’s alleged show business spouse, Lucille Ball, also played a role in this JFK assassination stage play:
For three (33 for Freemasonry again folks) decades from 1962 until 1992, comedian and television personality Johnny Carson (son=symbolic one eyed sun god of the Jesuits/RA=occult/Egyptian sun god/C=three/EE=33) successfully hosted the renowned, prime time American talk and variety fest, The Tonight Show.
However, that Carson was virtually an unknown commodity in the entertainment industry upon taking the helm of the popular show which had been formerly hosted by Jack Parr seems to have been virtually forgotten.
And yet, corporate network brass did not seem at all reluctant in gifting the struggling night club comedian with what, at that time, was considered to be the most prestigious position on network prime time television.
Not unexpectedly, thorough examination of Carson’s official celebrity biography reveals that it is not only coded with gematria and masonic symbolism, but it is also filled – as loyal readers shall soon take note – with a greatly pertinent and fascinating anecdote directly relating to JFK’s assassination and to the fatefully tragic confrontation between Ruby and Oswald.
Also, Carson’s name is tellingly attached to a military connection, the US Navy, the same US Navy that participated in hoaxing the Gulf of Tonkin event, the very same event historical scholars repeatedly inform was responsible for officially beginning US involvement in Vietnam’s ongoing civil war.
Per Wikipedia, Carson joined the US Navy on June 8, 1943, and received V-12 Navy College Program officer training at Columbia University. After being commissioned as an Ensign just before wartime’s end, he served as – get this folks – a communications officer in charge of decoding encrypted messages. Earlier in his life at the age of 12 (777), Carson found a book on MAGIC at a friend’s house and immediately purchased a mail-order magician’s kit.
But, here’s where the plot thickens, as it were.
After mastering card tricks, it is said Carson was invited to give his first public performance as a magician at the local Kiwanis Club in Norfolk, Nebraska.
Of course, the Kiwanis is a global organization connected to the International Brotherhood of Masons. Worldwide, there are seven regions of Kiwanis spanning the globe from Africa to the Middle East, including regions in Latin America, and the Caribbean. Incredibly, and while still serving as a naval officer, Carson was invited to perform his magic act before the US Secretary of the Navy, James Forrestal.
Regarding the former US Naval Secretary, Forrestal allegedly later took his own life after a long convalescence at Bethesda Naval Hospital by plunging out of a window. Reportedly, Forrestal had sank into a deep depression after then US President Truman’s post-war decision in asking him to resign forthwith from his post.
However, Wikipedia’s account of Forrestal’s suicide is riddled with telltale numerological markers:
“Forrestal seemed to be on the road to recovery, having regained 12 (777) pounds (5.4 kg) (9=6/33) since his entry into the hospital. However, in the early morning hours of May 22 (77/twin Lightning charges of Lucifer/angelic transformation), his body, clad only in the bottom half of a pair of pajamas, was found on a third-floor (3/33) roof below the sixteenth-floor (7/Zayin the Kabbalah mind weapon) kitchen across the hall from his room.”
The Wikipedia account goes on to claim that Forrestal left a suicide note, a poem cited from classical literature, a modern translation of Sophocles’ Ajax. In Greek myth, Ajax is often classically portrayed as a tragic hero. In one mythical account, Ajax falls on his own sword after going mad, and out of his breast flowed the purple lily, which is classically symbolic of royalty. The name of Ajax is associated with the eagle which has great symbolic significance within occult circles and in Freemasonry. Even more fascinating is a passage from the final stanza of Sophocles’ poem as it relates to Oswald and his role as the JFK assassination’s patsy:
“No quiet murmur like the tremulous wail
Of the lone bird (lone gunman?), the querulous nightingale-”
In the occult, nightingales are often associated with the moon, which in turn is symbolically related to the concept of sacrifice. Could it be, that the JFK assassination symbolically represented the publicly staged reenactment of Sophocles’ play, a televised, theatrical portrayal of sacrifice, death, and rebirth, and that Oswald’s death at the hands of Ruby was classically symbolic, serving as a masonic initiation for Oswald’s host actor – Johnny Carson?
Lee Harvey Oswald:
After the nation’s grief over their slain president subsided, Carson assumed command of the Tonight Show, which went on to scale unprecedented heights in terms of ratings and public popularity.
In taking another look at Mister Forrestal and performing a comparative facial recognition analysis, one discovered a near perfect match between images of Jack Ruby, David Rockefeller Senior, and President Truman’s former Secretary of the Navy, James Forrestal.
David Rockefeller Senior:
It becomes clear that Forrestal’s suicide story is an intelligence cover to muddy the historical waters, so that researchers – the exception being the author and his loyal readers at Newsspell, of course – will never think to in any way link Carson with Forrestal through the naval military connection, and thus also linking Ruby with Oswald who weren’t what they appeared to be.
They were merely television actors, folks, playing out their roles in history’s grand stage play.