RAMZPAUL points out that “anti-racism” is really just a code word for anti-White
Make sure to visit RamZPaul’s website at my blogroll.
Systems and Symbols
Joining Matters Aright
Archive for the month “June, 2012”
Derpa Doom Dum Dum by JohhnyWhiteRabbit
After a consistent message, art is the critical weapon in the fight against White genocide and the Globalist Pig Dog New World Order (the art should convey the message). Music and screen plays (film, TV shows, animation) are the most effective mediums for conveying a message in modern times, but I encourage all forms of art; poetry, novels, short stories, paintings, sculpture, theater, (even interpretive dance lol ) whatever you’re good at.
JohnnyWhiteRabbit has been making an excellent contribution with his music. His prior songs mostly expressed the message found at Bob’s Underground Seminar (BUGS) and Follow The White Rabbit (both found in my blogroll), but this latest song seems to be more “fun” and appears to be telling us not to fret or allow ourselves to live in the state of fear that can be caused by our consensus-trance creating media.
Musically the song sounds like it may have a little Frank Zappa influence?
I recommend following JohnnyWhiteRabbit’s music. His website can be found below or at my blogroll.
Mad Men: A Jewish Fantasy Indulged In
The AMC television series Mad Men takes place in the early 1960’s and is centered around the advertising profession on Madison Avenue. The show’s main programming purpose is to convey to the viewer how terrible and backward life was when White gentiles (especially White gentile men) were the dominant cultural and political force in America.
The show is written in typical “Culture of Critique” (1) form in that it portrays most of the White gentiles as crude, ignorant, “racist,” sexist, materialistic, deviants with no redeeming human qualities. The show goes to great lengths to push these themes and appears to rely heavily on the book “The Authoritarian Personality” as its guide to White gentile representation (2)?
Every episode is full of over-the-top examples of White gentiles living in their “madness.” Sexually repressived housewives shooting birds in suburban backyards; White men singing in “black face;” crude jokes at the office relating to plane-crashes and other tragedies; husbands raping their wives, constant adultery; littering; and a plethora of “racist” and bigoted comments that are intended to traumatize the viewer while teaching White guilt and self-hatred.
The main character is Don Draper. Draper is the creative director of his advertising company and is skilled with words and in “creating happiness” in the minds of consumers. Don is supposed to be symbolic of the phoniness and plasticity of White gentiles and White gentile culture. In fact, we learn late in the first season that Don Draper isn’t even his real name. His real name in “Dick Whitman” (read Dick White-man) and he elected to take on the name and life of Don Draper to get him out of service in the Korean War. One of the subthemes of Mad Men is the idea of “hiding in plain sight.” The idea here is that while White gentile society looks attractive and sounds pretty on the surface, the reality is that it’s very sick and demented underneath.
The second most important character on Mad Men is Peggy Olson. Peggy’s main programming purpose is to show the viewer how difficult it is succeeding in a world dominated by White gentile men. She does the work but the White gentile men take the credit. She gets pregnant in the first season after being taken advantage of by one of her White male superiors in the office. Peggy has been styled as the Virgin Mary (3) and this stylization of her as the Lady Madonna is a peek into the minds and souls of the writers and creator (Mathew Weiner) of Mad Men. Peggy gave up her baby in Mad Men and this is most likely what the writers/creator of Mad Men wished the actual Virgin Mary did with her baby.
Another significant character is Joan Holloway. Joan is a secretary/office manager who wants very much to live a traditional woman’s role. She wishes to get married to a good man and have a family. She even scoffs at the other women’s desires at having careers. The writers of Mad Men constantly show Joan’s life as being one of disappointment. She’s married to man who appears good (a handsome doctor) on the surface (back to the “hidden in plain sight” theme) but really is a moron who rapes Joan and ultimately leaves her to serve in Vietnam (not out of a sense of service but because he feels important and more masculine as a soldier). The programming purpose with Joan’s character is as a warning to White gentile women that the traditional role of women will always lead to disappointment.
All of the major characters on the show are White gentiles. But in the small roles where we do see non-Whites these characters are portrayed as honorable and wise. The Jewish characters are very likable, level headed, and have positive human qualities. In the current season Peggy’s boyfriend “Abe” shows Peggy (and the viewer) what real love and romance is, which is a contrast to the White gentile men on the show who only know how to use and abuse women. One aspect this writer was impressed by was the honest portrayal of Jews as being highly involved in the revolutionary political movements of the 1960’s. This is true historically, as the 1960’s political and intellectual movements were led overwhelmingly by Jews (just as their grandfathers did during the Bolshevik revolution and Wiemar Period in Germany[4]).
While the major programming purpose of Mad Men is to program the viewer into believing that life was unbearable when White gentiles were the dominant force in America, the show also has a hidden overarching theme that is revealed to us in the opening credits. This theme is the idea of the “fall of the White man” (the fall of the “Whitman”). The opening credits shows a figure that looks like Don Draper/Dick Whitman jumping out of his office window (see video below). This White man falling is symbolic of the show’s overarching theme.
Snout Smack also believes that this scene is a hint into how Mad Men will end as a series. Snout Smack predicts that Mad Men will end as a series with Draper/Whitman jumping out of his office window when his past catches up to him and he can’t run anymore. This series finale will come as a “surprise” to viewers of Mad Men and they will be “astonished” and “awestruck” at an ending that was “hidden in plain sight.”
This idea of the “fall of the White man” is purely an anti-White, Jewish fantasy and one they’ve had the luxury of indulging in due to the Jewish cultural and political dominance of the last 50 years (in which domination of Hollywood is a critical part [5]). Unforchantly for Mr. Weiner (the creator of Mad Men) and his brood of sorceress writers (and others of their ilk) this period of Jewish cultural and political dominance is coming to end. Just like a bad television show, the time of Jewish cultural and political dominance is about to get CANCELED. And the Dick White-Men of this earth (and possibly others in the Universe [6]) are going to do the canceling.
(1)http://www.amazon.com/The-Culture-Critique-Evolutionary-Twentieth-Century/dp/0759672229
(2)http://en.wikipedia.org/wiki/Authoritarian_personality
(3)http://www.lippsisters.com/2010/09/07/lady-madonna/
(4)http://www.amazon.com/The-Culture-Critique-Evolutionary-Twentieth-Century/dp/0759672229
(5)http://mondoweiss.net/2010/08/if-we-dont-run-the-media-we-should-because-were-better.html
Following the White Rabbit through Deadwood part III
The arrival of the Olympian Hearst changed the vibrations of the camp entirely. Within seconds of dismounting his stage coach in his first scene of the series, Hearst/Zeus bows his head to a swastika as Al watches on. The swastika is camouflaged as a turning handle of some sort of device but it’s obvious that the creator/writers/directors wanted it to be known immediately that Hearst bowed his head to another higher power. The swastika is a very old symbol that symbolizes the sun, eternal rotation, and the cyclical nature of the universe. The swastika may be the “whirlwind” that CY Toliver referred to while mocking “God” as he tried to blackmail Hearst during the second season finale? Toliver walked outside in the next scene and a minister stabbed him in the gut while telling Toliver that “God is not mocked.” Although the scene didn’t seem related on the base level, on the higher level we see that messing with Hearst in any way (and mocking him or his God) generally ends up not very good for the person(s) who does.
The swastika as a symbol of the deity is different than the Judeo-Christian tradition of the incorporeal spirit judge sitting at his thrown in judgment on the day one passes from the earth. The swastika as a symbol of God is more like “the Force” in Star Wars. It’s the eternal aether in constant rotation. The more learned one is as an Adept of “the force” (and the universe’s mysteries) the more potentially powerful one is. Hearst’s understanding of” the force” was usually a step ahead of Al (Satan) or Bullock. When Bullock approached Hearst with evidence of Hearst’s possible involvement in his worker’s deaths, Hearst turns the tables on the sheriff by having even better information on murders committed by Al. Hearst makes Al “awestruck” when Hearst’s Captain Turner forces Al into Hearst’s hotel by gunpoint without Al’s men knowing what was happening. Hearst also sent Al a puzzle/diagram showing what his future actions were going to be but Al had to be smart enough to figure it out. This last idea has been covered by the White Rabbit when he discussed the idea of having to proclaim your intentions before carrying out a “magical act.”
The White Rabbit has discussed the “Olympians” and what may happen if they come back to earth. The White Rabbit described their return as being “humbling” to their enemies on the other side of the pantheon (Lucifer, Loki, Hades, Lucifer, Al, Enki). Al discovered this himself when dealing with Hearst in Deadwood. The only weapon that Hearst carried was a hammer (like the hammer of Thor) and he took off Al’s middle finger with one hard smack when Satan (Al) refused to comply with Zeus’s (Hearst’s) orders. Just as Al has a veranda over-watching the camp, Hearst makes his own viewing space by smashing a hole in the front of the Grand Central Hotel with a sledgehammer. Hearst shows the town that he can set up anywhere he wants.
{I realize this situation facing humanity may sound “impossible” but is it any more “impossible” than what most Evangelical Christians believe? How about the Matrix movie? People speculate on that possibility The White Rabbit speculates on another possibility for the human situation on this earth and one should be open minded enough to at least consider it. These beings (Zeus, Satan), after thousands of years of being thought of as “incorporeal,” or as ghost-spirit beings with unlimited power, were/are more likely to be in-the-flesh beings with technology that may appear “magic” to those who observe it?}
The character Hearst (Zeus) cannot be killed. He sees through lies and attempts at deceiving him. He has more raw power (technology) than his opponents in Deadwood (or earth), but he also has more powerful “magic” and “sight” compared to his opponents( he knew the “force” better). The show’s writers/creator portray him as a sociopathic, murderous, ego driven maniac. But you have to expect this with the creator, writers and producers for Deadwood. This group is not likely to be very welcoming to the whole Father God and his Angles on the day of judgement crowd. Deadwood is a tribute to The Devil/Lucifer/Hades/Enki. Hearst is the “fascist” father authority figure that these type folks loathe greatly.
During the Bonus Features in the DVD (1) for Deadwood the cast, writers, producers and creator go on about how Hearst is a “monster,” “murderer,” and a “jerk.” One of the directors during the bonus features laments about Hearst representing “big money.” Meanwhile they talk of Al as having some sort of moral foundation. The self-deception is remarkable with this group and is covered in detail in the work of Dr. Kevin MacDonald(2). The team from Deadwood somehow can’t see the fact that Al was a “murderer,” “jerk,” and even a “monster” as well on the show. Besides Mrs. Ellsworth, he’s also probably the wealthiest person in Deadwood? Al was willing to kill Sophia (the little blond Norwegian girl), kill rivals, abuse women, kill partners (Tim Driscoll) and dispatch road agents. When the director shrieks about Hearst threatening to destroy the town (like Gomorrah) “if he doesn’t get what he wants,” he appears to have forgotten that Al talked about burning the camp down in season I (the power of chutzpah is in full force with this director)?
In the real history of Deadwood Sheriff Bullock tries to buy votes in elections and was good friends with President Theodore Roosevelt. During the historical bonus features it was admitted that Hearst brought stability to the town for 25 years. I would also speculate that people within the Deadwood team probably have their own connections to “big money” or “big fraternal” or maybe to “big intelligence” themselves? So trying to appear like champions of the “hoopleheads” (or somehow disgusted by powerful people) seems to me like less than a full verity?
This show of disgust towards Hearst as “big money,” “big authority, and “big father figure” (as said by the chutzpah-powered director) is a PRETEXT(3) for disgust directed towards the Sky/Father God himself. Deadwood’s major programming purpose for the “hoopleheads” (the viewing masses) watching is to turn them against the Olympians who may be coming to earth to throw Satan into a pit of fire? The White Rabbit has speculated that the globalist elites may try to get the earth’s people to fight the Olympians in a last attempt at saving themselves (or to take down everyone else with them as the Father God returns on the day of judgement?)? This is why the Deadwood team is so negative on “Hearst.” Their “God” is Lucifer/Enki/Satan (Al). The Aryan Hero God is their worst fear and he may be coming to earth with his mighty hammer to smash the serpent’s snout?! Just like in Deadwood, Satan and his Adepts (the Illuminati) have to decide how to try to deal with the coming of the Sun God.
During the Bonus features when the chutzpah-powered director was talking about Hearst, he says something like “and if you want a war, we’ll have a war.” This was said from the camp’s point of view on the surface but actually was meant from the current globalist elite’s point of view and directed towards the Olympians, Nazis, and Germans who CURRENTLY threaten the Anglo-America-Judeo-Illuminati elite’s mission of bringing “Order out of Chaos” in the form of a New World Order (global government with Satan at the top of the pyramid and all of us profane/goyim/hoopleheads chiseled to fit as bricks in the pyramid wall). Of course, these Illuminati types don’t really want a war with the Father God or the Nazis and Deadwood shows us how a possible future conflict between the God of Heaven and Satan may conclude?
Deadwood didn’t end with a big fight with Al’s side winning by some miracle shooting work from Johnny Burns or the like. It ends with Satan and the Anglo-America-Judeo elite (Mrs. Ellsworth-Bollock-Star) giving in to Hearst by accepting that a war against the Father/Sky God in futile. I thought this ending was very brave of the creator of Deadwood. If this war between the Father Sky God (Hearst) and Satan-The Devil (Al) is truly happening, or is going to happen on this earth, then it is very possible that its conclusion will look like Deadwood’ s conclusion? It may be over before it even begins (as said by the White Rabbit)? The Anglo-American-Judeo elite will have to give some blood (someone will have to stand at the bar of Justice…in Deadwood a whore was sacrificed) but a large war may be avoided if rational heads can prevail? This writer hopes that Al (Satan) doesn’t burn the earth down himself because he “isn’t getting what he wants?” This mission of building a global government has been underway for thousands of years. Let’s hope that all their talk of “Justice” and “reason” and “logic” isn’t purely a nice sounding PRETEXT for building a New World Order? Let’s hope they really believe in “reason” and hope further that they can control their “murderous vanities” when mission failure looks final?
David Milch (the creator of Deadwood) did look truly depressed when talking about “the end” in Deadwood. He gave a hint during the bonus feature (“The Meaning of Endings”) when he tells the viewer to “not wait to be told something pretty for what’s about to come.” What is “about to come?” Was Mr. Milch using the show’s cancelation as PRETEXT for looking sad about “what’s about to come?” What is “about to come” Mr. Milch? If an Olympian or the God of heaven himself (Odin/Zeus/Enil) does come to earth (or his son Jesus/Thor/The Kalki), will Satan (The Devil), or any other God-like beings in his crew (his demons), or the Illuminati elites be able to just “clean up the blood stains and move forward?” Will they be able to accept that “conclusions never really occur in something that never really concludes” (as said by David Milch in the bonus features)? Or will they burn down this camp (Earth) in an egotistical rage over their mission’s failure? We can only hope that Milch is accurate in his prophesies of the near future (as seen in Deadwood)? As written above, the White Rabbit himself discussed this same point in that it “may be over before it even starts.” Let’s hope they’re both right. I highly recommend watching Deadwood but more importantly suggest that you Follow the White Rabbit (see my blog roll).
End of part III. End of Deadwood review. But I have much more to write about regarding Deadwood and other related subjects. Look for these writings in the future and read snout smack’s past writings as well.
(1)
(2)
http://www.kevinmacdonald.net/books.htm
(3)
http://en.wikipedia.org/wiki/Pretext
Deadwood Bonus Commentary
https://systemssymbols.wordpress.com/2012/07/15/deadwood-bonus-commentary/
Systems and Symbols 