9/11, Crowd Control, and the Concert for New York City

The Woodstock and Altamont concerts of 1969 are widely and rightly regarded as epochally emblematic events and both have been the subject of studies into the sociological, occult, and even the possible mind control significance of each of these programmed mass experiences. The Concert for New York City staged at Madison Square Garden on October 20, 2001, has received much less scrutiny but is no less worthy of investigation on similar grounds. It is interesting to note that, with the inclusion of Mick Jagger, Keith Richards and the Who, the lineup at Madison Square Garden would feature personnel from each of the previous countercultural extravaganzas, inviting comparison between the events. In the case of the Concert for New York City, however, the rock icons who had previously heralded the arrival of an ostensibly freer and more open society valuing peace and love would instead lend whatever remained of their revolutionary prestige to the entrenchment of an authoritarian establishment determined to intensify the drive for war and Zio-corporatist global domination.

The program was orchestrated by the Robin Hood Foundation – ostensibly as a fundraiser for the families of the heroic firefighters and law enforcement officers who had suffered tremendous losses during the rescue efforts in Manhattan on September 11^th. Celebrities in attendance begged the viewers at home to donate. Susan Sarandon, making what she characterized as the “money pitch”, assured the audience of the benevolent intentions of the organizers: “Let’s give it up for the Robin Hood Foundation, I can personally vouch for them.” What is the Robin Hood Foundation? Lynn Parramore characterizes the initiative as “Robin Hood in Reverse”:

America’s parasitical oligarchs are masters of public relations. One of their favorite tactics is to masquerade as defenders of the common folk while neatly arranging things behind the scenes so that they can continue to plunder unimpeded. Perhaps nowhere is this sleight of hand displayed so artfully as it is at a particular high-profile charity with the nerve to bill itself as itself as “New York’s largest poverty-fighting organization.” […]

The Robin Hood Foundation, named for that green-jerkined hero of redistribution who stole from the rich to give to the poor, is run, ironically, by some of the most rapacious capitalists the country has ever produced – men who make robber barons of previous generations look like small-time crooks. Founded by hedge fund mogul Paul Tudor Jones, the foundation boasts 19 billionaires on its leadership boards and committees, the likes of which include this sample of American plutocracy […]

By occupation (the more useless and parasitical the better), it comes as no surprise that 12 of the 19 men in leadership positions at the Robin Hood Foundation happen to be hedge fund managers. […]

The mission statement of the Robin Hood Foundation brays about all the funding it provides for school programs, generating “meaningful results for families in New York’s poorest neighborhoods.” Soup kitchens! Homeless shelters! Job training! The tuxedoed tycoons throw money at all these causes “to give New York’s neediest citizens the tools they need to build better lives.”

How far does this largesse actually go toward ameliorating New York’s poverty problem? Unsurprisingly, not very far at all. In fact, as Hedge Clippers points out, the poverty rate in the city has grown over the course of the Robin Hood Foundation’s history, from 20 percent in 1990 to 21.2 percent in 2012.

Guess what’s also grown? The bank accounts of 19 billionaires on the Robin Hood Foundation’s boards, which have ballooned 93 percent since 2008.

A look at Robin Hood’s directors reveals such worthies as Laurence Fink, CEO of BlackRock, pioneer of toxic mortgage-backed securities trading, and member of the Council on Foreign Relations. Also sponsoring the Concert for New York City was Bear, Stearns, Inc., which, according to a study by investigators Mathewson and Nol, was one of the companies engaged in suspicious trading activity during the days leading up to the destruction of the World Trade Center. There “investors traded 3,979 contracts from Sept. 6 to Sept. 10 on September options that profit if shares fall below $50. The previous average volume for those options was 22 contracts” according to Mathewson and Nol. Clearly, these were people gravely concerned about the welfare of the city’s firefighters and police.

The program opens with David Bowie performing the Simon and Garfunkel song “America” to a montage of historic images of Manhattan and newly arrived immigrants. Bowie, not himself an American – and who, just a few years previously, had declared “I’m Afraid of Americans” – would seem at first glance a peculiar choice to perform this particular number and to open the show. However, even this, as with much of the evening’s symbolism, was very deliberate in design. Bowie would be but the first of several British performers to take the stage, reinforcing the coupled commitment of the United Kingdom and the United States in pursuing the newly minted “War on Terror” agenda. Curiously, “America” contains a bizarre and seemingly comical reference to espionage and deceptive appearances. “She said the man in the gabardine suit was a spy. I said, be careful, his bowtie is really a camera.”

Odd, too, is the fact that the montage of shots of New York City skyscrapers includes a clear image of the old International Telephone and Telegraph building on Park Avenue. This is an unexpected choice for inclusion considering that the company is most notorious for its instigation of a CIA-managed coup to install Augusto Pinochet as dictator in Chile on September 11, 1973. Bowie, backed by Paul Shaffer and the CBS Orchestra from the Late Show with David Letterman, next performs “Heroes” – a song with an arguable 9/11 resonance owing to its inclusion in 1998’s Godzilla, a film depicting apocalyptic havoc in New York City and featuring the Twin Towers prominently. “We can beat them forever and ever,” Bowie vows, stirring the men in the audience to warlike enthusiasm.

Next the comedian Billy Crystal – not to be confused with decidedly unfunny PNAC signatory Bill Kristol – takes the stage to make some goofy jokes about the then-current anthrax scare. “You know who I’m worried about?” Crystal begins. “My relatives. I mean, my relatives are Jews, they smell everything that looks suspicious.” Crystal perpetuates the theme of paranoia and introduces the evening’s concern with the fate of the Jews. He continues, bringing out the concert’s symbolic involvement with the uniform-oriented regimentation of spectator sports:

Somebody said that this is bigger than Woodstock […] and music brings everybody together. And it’s all about togetherness tonight. We’re here tonight, we are alive in New York, the Yankees are kickin’ ass, the Knicks will kick ass. Alright, we’ve been hit, we’ve been a little down, but we are not out, we are still the greatest city in the world […] and we’re a better New York. We’re a better New York […] and we’re a compassionate nation. We’re a compassionate nation. While we’re at war. We’re at war but we’re also dropping food on Afghanistan. […] Now tonight is important, just to have fun and get away from the news for a while, it’s okay. I can’t watch the shows anymore with the ticker tape going at the bottom of the set, it’s driving me crazy. My neck hurts. […] Get away from the news. And you hear the same things over and over again. […] It’s not the good old days when the only guy we hated was John Rocker. This is a different thing. Now we can have fun. We can make fun of the Taliban. And when they’re together, don’t they look like ZZ Top? But let me ask you something. We have learned something in all of this mess. We have to be kind to people who are different than us, who look different, who talk strange, who have different beliefs. I’m talking ‘bout people from Jersey. We should learn and whether we are Christians or Jews, or a Muslim, we all have to agree on one thing. We can never, ever again let Mariah Carey make a movie. Please.

Crystal makes clear that Muslim terrorists are not the only enemy America faces. The Concert for New York City is also haunted by the specter of the angry white bigot – the old American type personified by Atlanta Braves relief pitcher John Rocker, who in 1999 had said of New York,

It’s the most hectic, nerve-racking city. Imagine having to take the 7 Train to the ballpark looking like you’re riding through Beirut next to some kid with purple hair, next to some queer with AIDS, right next to some dude who just got out of jail for the fourth time, right next to some 20-year-old mom with four kids. It’s depressing. […] The biggest thing I don’t like about New York are the foreigners. You can walk an entire block in Times Square and not hear anybody speaking English. Asians and Koreans and Vietnamese and Indians and Russians and Spanish people and everything up there. How the hell did they get in this country?

The War on Terror, while rallying westerners to slaughter the inhabitants of distant and easily misrepresented foreign countries, would also pressure Americans and Europeans to find within themselves the capacity to accept an increasingly alien presence in their midst. As Crystal suggests, the 9/11 attacks have metamorphosed the citizens into “a better New York” and “a compassionate nation” that is also “dropping food on Afghanistan”. The obedient open-mindedness demanded of the audience extends beyond the mere acceptance of immigrants from foreign cultures. They must also accept the sexual other, as represented on the concert program by David Bowie, Melissa Etheridge, Elton John, Rudy Giuliani, and Hillary Clinton. The pedophile demographic is also represented, with Bill Clinton, Donald Trump, and Pete Townshend in attendance, and Allan Konigsberg, known to the world as Woody Allen, contributing a short film to the show.

“These colors don’t run” reads an American flag sign hoisted among the audience. Senate Majority Leader Tom Daschle, whose office received one of the anthrax letters five days before the concert, reinforced the bellicose mood of the night, declaring that “America will never be defeated!”

A firefighter then introduces Bon Jovi, with the Jersey boys performing a somber rendition of “Livin’ on a Prayer” – significantly, a song about economic hardship made bearable by a faith in the irrational. The theme of a necessary sacrifice would be repeated in the calls for viewers to donate money and in Jim Carrey’s assertion that “freedom comes at a terrible price.” Bon Jovi next performs “Wanted Dead or Alive”, which, in the context of the Concert for New York City, is cleverly metamorphosed into a song about war and the bravery of soldiers, cowboys on steel horses, riding off to fight in “another place where the faces are so cold.” If the lyrics are honest about one thing, it is that they “might not make it back.” Ironically, Bon Jovi’s drummer beats on a set adorned with images of the American flag and the Statue of Liberty, the effect being that Lady Liberty takes a pummeling throughout the patriotic performance.

Jay-Z grabs the mic to deliver the drug-slinging anthem “Izzo (H.O.V.A.)”, its title a reference to the Israelite god Jehovah. This selection might seem out of keeping with the evening’s festivities if not for the fact that U.S. forces were then in the process of seizing Afghanistan for the reclamation of its poppy fields. The Goo Goo Dolls next invade the stage to rock a cover of Tom Petty’s “American Girl”, with frontman John Rzeznik parading around in camo pants to show his solidarity with the mission of “Operation Enduring Freedom”.

Leonardo DiCaprio and Robert DeNiro then introduce Martin Scorsese’s short film “The Neighborhood”, which concerns itself with the demographic changes reconfiguring the director’s old stomping grounds on Elizabeth Street in Little Italy. “Today, on the surface,” Scorsese begins, “it seems obvious that the neighborhood’s changed. I mean, it’s Asian-American. It may be Chinese now. But it’s not that simple.” He visits a Mr. De Palo, the proprietor of a cheese shop, who gives the audience a lesson in diversity and social change:

People today say “This is not Little Italy anymore.” And I tell them “You’re wrong. You’re wrong. The spirit of Little Italy, the immigrants that came here […] and you look down the street and you see this whole group of people.” I said “That’s the same exact thing as my grandparents and great-grandparents. This neighborhood hasn’t changed.”

“Wow, look at that cheese, eh?” Scorsese enthuses before treating the audience to a historical lecture that utilizes the themes established by Billy Crystal’s deprecating remark about John Rocker earlier during the show.

There were groups of bigots called Know-Nothings. They didn’t want the Irish in America at all. This was back in 1844. They gathered together to march down Prince Street from the Bowery to burn and destroy St. Patrick’s, but when they got to the corner, they saw that the place was defended not just by Irish men, but by Irish women and by Irish children, too. […] And that was the beginning of the end. The change. The change over acceptance about what America’s supposed to be. Letting in the immigrants, letting in other cultures, other religions, other races, and everybody living together – in freedom […] I had this thing that happened to me […] by 1979 I […] developed dyslexia. Invariably, I want to say “right” but “left” comes out. I want to say “left” but “right” comes out. And, uh, when I think of New York I want to say “New York” but “America” comes out. And that’s real. That’s true.

This will never be the country of the ignorant Know-Nothings again, Scorsese suggests, so nativists are advised instead to learn to love and live with the multicultural gaggle of schoolchildren who traipse across the screen during his diatribe. After all, just like the Italians, they will acculturate and eventually be transformed into real and fully assimilated Americans.

Billy Joel shows up to perform “New York State of Mind” and “Miami 2017” – an upbeat tune that, oddly enough, seems to revel in imagery of New York City’s destruction.

Will Ferrell next appears in the role of “W” in a comedy segment celebrating the popular myth of the cowboy adventurer Bush administration and trivializing the horror of the invasion of Afghanistan by turning it into a stupid cartoon:

I wanted to give y’all an update on the current proceedings. Let me take a second to give you my own little Behind the Music on the Artist formerly known as the Taliban. Earlier today I met with the U.S. Senate in their chambers. And then I met with the House of Representatives in their new offices, which are in the basement of an abandoned Sam Goody’s in eastern Maryland. We discussed our plan […] to bomb the Taliban into the Stone Age. The problem is […] they don’t seem to notice the difference. So we had to come up with a new plan. And right now we are focusing our attacks on all the major cities under the Taliban, or as I call them, the Evil Doers. We’ve just started attacking Mazar-i-Sharif. And you know what? Sharif don’t like it. Rock the casbah, rock the casbah. You know, Sharif don’t like it. Now, as many of you know, we’ve had to change the name of our military campaign several times […] but I’ve talked to some of the people here tonight and they’ve given me some new ideas. Paul McCartney said, “Why don’t we call it Taliband on the Run?” I thought that was good. Destiny’s Child suggested “Operation Bootylicious”. Macy Gray, she said somethin’ to me, but I couldn’t understand a word she was sayin’. […] Well, whatever we call it, the mission is clear. The Evil Doers are in their caves. And we’re gonna smoke ‘em out of their caves. And then we’re gonna smoke ‘em back into their caves just for the heck of it. And then out of their caves and then back in. And why are we gonna do this? I can do anything I want, my approval rating is like 106% right now. And since I can do whatever I want, I’m gonna sing a song tonight.

“W” then launches into a rendition of “Stairway to Heaven” only to be interrupted before he can get to the telling line “The piper’s calling you to join him.”

Chris Kattan introduces Destiny’s Child, who treat the crowd to a song titled “Emotion” (“emotions takin’ me over”) followed by a gospel medley to shut down rational thought and give God’s sanction to the new age of international interventionism. An apparently inebriated Harrison Ford thanks the Robin Hood Foundation and Bear, Stearns for their generosity, after which the audience is further distracted with a feel-good “Lovely Day” video with smiling babies, interracial couples, and dogs.

Eric Clapton and Buddy Guy, continuing with the transatlantic theme, collaborate on “I’m Your Hoochie Coochie Man” with backing from Paul Shaffer’s CBS Orchestra.

James Lipton from Inside the Actor’s Studio provides a distinguished introduction for Adam Sandler, reprising the role of his Saturday Night Live character Operaman in order to honor the fallen firefighters and other heroes with novelty songs about consumerism, homosexuality, and Jewish erections. “I got a bone-ah! A Jewish circumcised bone-ah! Can’t get rid of this bone-ah! Operaman wish he was alone-ah!” Generous as his performance has already been, the virtuoso cannot bring himself to leave the stage without first directing the audience’s thoughts to excretions and bestiality:

He no let women read. He no let women vote-ah!

That’s why the only love he gets is from a mountain goat-ah!

He want to spread disease-oh in our mailbox.

For he himself suffers from a case of smallcox!

Osama kiss my ass! Osama bite my dink!

Osama go to hell! Osama get a shrink!

Osama says he’s tough, Osama says he’s brave.

Then tell me why Osama is shitting in a cave!

The Backstreet Boys, tasked with the difficult chore of following Sandler’s triumph, sing “Quit Playing Games (With My Heart)” – again, an ironic selection in consideration of what the concert has been designed to do. David Spade and Melissa Etheridge put in appearances, after which Halle Berry makes another “money pitch” and introduces a Spike Lee tribute to the New York Yankees. Visible over a doorway in the film is a quote from General MacArthur: “There is no substitute for victory.” This conveniently frames the necessity of the “War on Terror” through the collective memory of the “good war” America fought against fascism. MacArthur, of course, commanded American forces in the Pacific theater opened after Japan’s attack on Pearl Harbor in Hawaii. The “War on Terror” had similarly been launched by a “New Pearl Harbor” event as predicted in PNAC’s “Rebuilding America’s Defenses” document. Paul McCartney would also draw a parallel between the Second World War and the “War on Terror” by mentioning that his father served as a firefighter during the Blitz.

John Cusack introduces the Who, who storm through “Who Are You” with a Union Jack projected onto a screen above the stage. An American flag replaces it during “Baba O’Reilly” with its assessment of a generation “all wasted”. “Behind Blue Eyes” cranks up the anger with its “vengeance” that is “never free”. American flags symbolically flank a Union Jack for the final song of the set, which, in the Concert for New York City’s greatest irony, is “Won’t Get Fooled Again”. Images of the Twin Towers appear on the screen to remind the audience why the war drums have been beating all night.

Governor George Pataki puts in his two cents with some “God bless America!” tripe, after which Cusack introduces Konigsberg’s short “Sounds from a Town I Love”, which spies on neurotic New Yorkers as they kvetch into their cell phones post-9/11. Two of the overheard conversations warrant special attention. “This is the greatest city in the world,” one man says. “Where else can you be paranoid and right so often?” The New Yorker’s paranoia takes on particular meaning in consideration of another character’s restaurant review: “Hey, we went to Balthazar last night. Oh, it’s fantastic. At the table next to ours was Julia Roberts, Brad Pitt, Marlon Brando, Tiger Woods, Tony Blair, the president, and Osama bin Laden. I am telling you, that is the in place to be.” The idea that George W. Bush and Osama bin Laden might be having a business lunch together is only intended to be a joke, because only Allan Konigsberg could imagine something so silly happening – right?

The home viewer’s attention is more than once redirected to a Bud Light banner as well as to a bimbo in the audience showing off her ample cleavage, keeping the people’s collective consciousness squarely planted between their legs, which is where it stays as Mick Jagger and Keith Richards take the stage. The pair sings “Salt of the Earth” as an excuse to get in “a prayer for the common foot soldier”, after which Mick hoots his way through “Miss You”. Matters only get grubbier from there, with Howard Stern trotting out and showing the crowd his buttocks.

Hillary Clinton put in a brief appearance behind the microphone and was reportedly booed, but this audience reaction was allegedly edited out of the concert as presented on DVD. Bill, after referencing the Oklahoma City bombing, bubbas his way through a creepy speech in which he says, “We hope we can make your children our children. We hope your future will be ours.” He then finishes with a statement reinforcing the multicultural theme established by Billy Crystal and Martin Scorsese: “Just one last thing I want ‘em [i.e., al Qaeda] to know: in America, you can have any religion you want, you can be from any race or background […] you can do anything you want [i.e., what thou wilt] and still be part of our crowd, if you recognize that our common humanity is more important than all of our interesting differences. That’s the big difference between us and them,” he declares. To fight against terrorism, then, and to be a true American patriot, is to view the racists and the religious bigots as enemies of the state.

James Taylor sings “Fire and Rain” and “Up on the Roof”, followed by Michael J. Fox – another interesting piece of booking for the program – introducing a firefighter who angrily brays: “Osama bin Laden, you can kiss my royal Irish ass!”

Rudy Giuliani puts in a good word for New York tourism, after which Jimmy Fallon gives vent to his poor taste by singing a comic rendition of “(I Just) Died in Your Arms” to a room full of people whose loved ones had, in fact, just died. Jon Bon Jovi introduces a foul-mouthed Kevin Smith short, followed by John Mellencamp doing “Peaceful World” and “Pink Houses”. Hilary Swank brings out Vladimir Ondrasik, whose stage name, “Five for Fighting”, slyly reinforces the hawk objective.

Natalie Hershlag next pops out to sell the alliance with Israel with sex appeal. “Hi, everybody, I’m Natalie Portman. I was born in Jerusalem, but I am now a proud resident of New York and I want to wish peace to everyone who is a human being [i.e., Jews] everywhere.” Hershlag smooches a fireman and teases the crowd, “I would kiss all of you if I could. Thank you!” Yes, thank you, goyim. Thank you for fighting Israel’s wars. Israel had nothing to do with 9/11, by the way. Check me out, you goyim. I’m totally hot!

Richard Gere, the only performer who seems to want, however timidly and ineffectively, to oppose the rampant warmongering spirit of the night, receives a negative reaction to his embarrassed message of peace:

This is the moment when we need to be healed and when music showed us the way. Music does what it does best, it helps us to heal. And I think in the situation right now, when we have the possibility of taking this energy, this horrendous energy that we’re all feeling – and the possibility of turning it into more violence and revenge – we can stop that. We can take that energy and turn it into something else. We can turn it into compassion, to love, into understanding. That’s apparently unpopular right now, but that’s alright.

An excerpt from a Ric Burns documentary has journalist Ray Suarez spouting more multiculturalist rubbish and hammering into Americans’ heads how brown they have to become and how Jews are eternal victims:

I would submit at the beginning of the twenty-first century that New York is one of those places that you can use to understand the entire American experience, from a string of Indian villages out on the tip of the eastern seaboard to a place where blacks and Dutch and Jewish refugees and people from the four corners of the earth came in – to the America factory […]

Salma Hayek calls out Jim Carrey to do a clown routine before he composes himself and gets serious. “It is the end of a selfish and cynical age,” he proclaims, reinforcing the notion that a new nation has come into being. The heroes of 9/11, he says, “have reminded us who we really are.”

Finally, to bring the Concert for New York City to a close, the oligarchs trot out their ultimate showstopper, decrepit old beetle [sic] Paul McCartney, who, trashing his stature as the author of “All You Need Is Love”, reveals himself to be a prostitute of the military-industrial complex by unveiling what is positively the stupidest song of the long and depressing decrescendo of his career – and all for the benefit of some parasitic bankers and Zionists. “I tell you what,” the cute beetle announces after playing “I’m Down” and “Yesterday”. “We wrote a new song, um, the day after the attack, and it’s about freedom. That’s one thing these people don’t understand,” he challenges, raising his fist in a martial gesture. “It’s worth fighting for.” McCartney finally launches into the idiotic “Freedom”, instructing audience members to stomp their feet and clap their hands for percussive entrainment similar in its effect to that heard on John Lennon’s record “Give Peace a Chance”. “I will fight for the right to live in freedom,” the song states repeatedly, zombifying the listener.

After the rest of the stars on the program join McCartney for “Let It Be” – another signal to viewers’ brains to shut down logical thought processes and take refuge in the vague and pastel – McCartney again insists on subjecting the audience to another run-through of “Freedom”, this time with all of the other stars taking part and thereby endorsing its insipid neoconservative messaging. “I want to see everyone joining in this time,” McCartney commands, intending that those who sing along will become complicit in the sanction of war and have an emotional investment in the project. Amusingly, McCartney wears a firefighter’s T-shirt that says “Chinatown Dragon Fighters” – as apt a label as any for a charlatan energizing a nation to wage a war against a foe that only exists in a culture’s imagination.

Rainer Chlodwig von K.

“Sky Falls, You Feel Like It’s a Beautiful Day”; or, U2 Center Stage for America’s War on Terror Bamboozle

I’ve never been much of a U2 fan, but I’ve always had a soft spot for the group’s song “Beautiful Day”. Upbeat and uplifting in a generic, innocuous way, the track could hardly have been more perfectly engineered for distracting the public with pleasant reflections during some of the darkest days in the history of the United States. Was this the intention?

Curiously for a single offering such a positive message, the album from which it was lifted, All That You Can’t Leave Behind, was released at the end of October 2000, with E! News announcing the album as a “Halloween offering” for the band’s fans¹. In retrospect, there is a creepiness to the music video for “Beautiful Day”, which features the band cavorting and performing at Charles de Gaulle Airport in Paris. The video, in addition to showing Bono running about and behaving like a child or a madman, contains a scene in which the group’s luggage is scanned by airport security – did anybody suspect U2 of being terrorists? – and later has them playing a gig on some Persian rugs laid out on a runway. Less than one year later, the unfortunate associations of aircraft, airport security, and the Middle East in conjunction with the stuck traffic and other details referenced in the lyrics would conjure anything but the idea of a “beautiful day” – for most audiences, anyway. The events of September 11^th were, of course, highly profitable for many – perhaps even “beautiful”.

Was All That You Can’t Leave Behind designed as a cryptographic soundtrack to 9/11? To ask such a question, of course, sounds foolish, as would any suggestion that Bono or any other members of U2 had anything to do with the terrorism experienced in New York City and Washington, D.C., that day. There are, however, several compelling precedents for an intelligent discussion of popular culture artifacts as possible evidence of cryptically indicated foreknowledge of the 9/11 attacks, the Coup’s Party Music cover depicting the remotely controlled demolition of the World Trade Center being one of the most familiar of these. Are there any circumstances, apart from those listed above, that might lead a person to suspect more than a quasi-synchronicity at work between the perpetrators of 9/11 and All That You Can’t Leave Behind?

The cover of the album itself, also photographed in a terminal of Charles de Gaulle Airport, invites interpretation with its superimposition of the code “J33-3”, a reference to Jeremiah 33:3, which Bono has described as “God’s phone number”². The biblical passage, which itself refers to mystery, reads, in the New American Standard Bible translation, “Call to Me and I will answer you, and I will tell you great and mighty things, which you do not know.” In the King James version, it says, “Call unto me, and I will answer thee, and shew thee great and mighty things, which thou knowest not”, while the English Standard version renders it more interestingly as, “Call to me and I will answer you, and will tell you great and hidden things that you have not known” (italics added). The Darby Bible and the Jewish Publication Society’s Tanakh of 1917 also favor the use of the word “hidden” in this passage. Is Bono, who as a young fellow in Ireland belonged to a prayer group called Shalom³, suggesting that something or other has been “hidden” or encrypted in the album’s contents?

The context of the quotation from Jeremiah may be instructive in view of the music’s hypothetically posited relevance to the events of September 11^th, which infamously prompted Benjamin Netanyahu to observe that the destruction of the World Trade Center was “very good” for Israel⁴ and to concede years later, “We are benefiting from one thing, and that is the attack on the Twin Towers and Pentagon, and the American struggle in Iraq.”⁵ Here is what Jeremiah goes on to say after 33:3.

For this is what the Lord, the God of Israel, says about the houses in this city and the royal palaces of Judah that have been torn down to be used against the siege ramps and the sword in the fight with the Babylonians: “They will be filled with the dead bodies of the people I will slay in my anger and wrath. I will hide my face from this city because of all its wickedness.

“Nevertheless, I will bring health and healing to it; I will heal my people and will let them enjoy abundant peace and security. I will bring Judah and Israel back from captivity and will rebuild them as they were before. I will cleanse them from all the sin they have committed against me and will forgive all their sins of rebellion against me. Then this city will bring me renown, joy, praise and honor before all nations on earth that hear of all the good things I do for it; and they will be in awe and will tremble at the abundant prosperity and peace I provide for it.”

After the promised revelation of the “hidden things”, the “God of Israel” talks about demolished buildings and war against the enemies of the Jews in connection with the restoration of Israel. A few verses down, Jeremiah even mentions “burnt offerings” and “sacrifices” with reference to Israel’s ascent. For those with an interest in the occult significances of 9/11, the number 333 is also associated in Aleister Crowley’s Thelema system with a destructive force called Choronzon, a “demon of dispersion”, illusion, and hallucination which Aleister Crowley claims to have summoned. This, however, is probably straying too far afield for the purposes of the present essay, possible indications of Crowleyite mysticism at play on 9/11 and Bono’s reputed sartorial dabbling in the Jewish occult notwithstanding (“When he’s going cycling, he likes to dress up as a Hassidic Jew,” the Edge revealed of his bandmate after Bono injured himself in a bicycle accident in 2014⁶).

Returning to “Beautiful Day”, the song informs listeners, “You’re out of luck,” and goes on to intone, “Sky falls, you feel like / It’s a beautiful day.” It goes on, “You’re lovin’ this town / Even if that doesn’t ring true / You’ve been all over / And it’s been all over you” – as, perhaps, material from the combusted skyscrapers would be “all over” the people in the streets of lower Manhattan? Niall Stokes, in his book Into the Heart, notes that Interscope Records executive Jimmy Iovine made a special visit to the Dublin studio where U2 was hard at work on “Beautiful Day” with “co-conspirators” (i.e., producers) Brian Eno and Daniel Lanois. “It wasn’t finished at the time,” Stokes writes, adding that “the lyrics were only half-crafted when Iovine heard the track”⁷. He goes on to give this interesting account of one member of the production team’s experience of the song:

Daniel Lanois, sitting in the control room also had that [“Beautiful Day”] feeling [expressed by Bono]. “The track at that point was really pumping,” he remembers, “and the mix that we did had the power of shattered metal. You don’t know where it comes from – I think it was a lot of processing. And I had this image of Bono, singing about beauty in the midst of flying pieces of metal and mayhem.”⁸

What “flying pieces of metal and mayhem” have to do with a “beautiful day” is beyond me, but apparently it meant something to U2. Another song on the album is titled “New York”, referencing the target of the attacks explicitly, and name-drops Jews and, in the following line, “political fanatics” – although it’s unclear from the context whether or not the Jews are the fanatics in question. Other lines in “New York”, heard post-9/11, could easily be construed as alluding to the chaos of that day if somebody didn’t know better: “Voices on a cell phone / Voices from home / Voices of the hard sell / Voices down a stairwell / In New York […] You can’t walk around the block / Without a change of clothing / Hot as a hair dryer in your face / Hot as a handbag and a can of mace / New York.”

Other songs on the album, whether intentionally or otherwise, carry similar 9/11 resonances, with imagery evocative of air travel (“Man dreams one day to fly / A man takes a rocket ship into the skies”; “Explain all these controls”; “You’re packing a suitcase”; “you’ve got no destination”; “You make me feel like I can fly / So high, elevation”; “The only baggage you can bring / Is all that you can’t leave behind”; “Who’s to say where the wind will take you”), death and loss (“I wasn’t jumping / For me it was a fall / It’s a long way down to nothing at all”; “They left you with nothing”; “a star that’s dying in the night”; “You lose your balance, lose your wife / In the queue for the lifeboat”; “I’m not afraid to die”), and explosions (“scatter of light”; “fireworks”; “star lit up like a cigar”), and other catastrophes (“All that you wreck / All that you hate”; “I hit an iceberg in my life”). “When I Look at the World”, meanwhile, in lines that could very easily refer to the “Chosen People”, gripes, “I can’t see for the smoke / I think of you and your holy book / When the rest of us choke.” Another of All That You Can’t Leave Behind’s tracks is titled “Kite” and might be of particular interest to those familiar with accusations of esoteric significance to the children’s reading demonstration for President Bush on September 11^th. “There’s a kite blowing out of control on a breeze,” the song warns, adding, “I wonder what’s gonna happen to you.”

Notwithstanding the highlighted lyrics, it must be noted that Bono and his bandmates have provided perfectly plausible explanations for the genesis of each of the songs on All That You Can’t Leave Behind – each of which is detailed in Into the Heart. Bono has claimed the death of INXS frontman Michael Hutchence as the inspiration for “Stuck in a Moment You Can’t Get Out Of”⁹, while “Elevation” purports to convey “a combination of primordial lasciviousness, ecstatic spirituality and soulful need”¹⁰ and “Walk On”, according to Bono, was inspired by Aung San Suu Kyi, a Burmese academic and leader of the National League for Democracy¹¹. As for the album’s travel motif, Stokes makes the observation that Bono is “a man who has spent a substantial part of the last 25 years living in hotels.”¹² On the origin of “In a Little While”, Stokes offers the following:

Around the turn of the year, Bono had been thinking Millennium thoughts, watching old clips of the Apollo moon landing on TV and experiencing again the sense of awe that he’d felt when he saw those pictures for the first time as a kid, the ecstatic realisation of how tiny and insignificant we are as individuals – and as a race – in the grand scheme of things. It was a mood that fed into “Beautiful Day” with its vision of Bedouin fires, the Great Wall of China, the Grand Canyon and other earthly phenomena, as seen from above, the narrator cocooned in the bosom of a space ship orbiting the globe.¹³

In addition to the “Bedouin fires” and “oil fields” – clearly references to the Middle East – the line in “Beautiful Day” that goes, “See China right in front of you” is, perhaps, and to force a point, interesting in view of this assertion by geopolitical commentator and former U.S. Treasury official Paul Craig Roberts: “The Western peoples are so dimwitted that they have not yet understood that the ‘war on terror’ is, in fact, a war to create terror that can be exported to Muslim areas of Russia and China in order to destabilize the two countries that serve as a check on Washington’s unilateral, hegemonic power.”¹⁴ But, again, such a reading would constitute something of a stretch.

The song “Peace on Earth”, meanwhile, is acknowledged to have been inspired by a terrorist event – but one that took place in Ireland, not New York. Stokes explains:

[…] a bomb went off at 2:30 in the afternoon, on 15 August 1998, in the town of Omagh in County Tyrone. There had been an advance warning. But it was inaccurate, and instead of clearing the area around the car containing the bomb, it drove the crowds of people milling around the town on a busy Saturday afternoon towards the danger zone. When the bomb exploded, the resulting carnage was the worst in the bloody history of the Northern troubles with twenty-nine killed and dozens more scarred, maimed and wounded.¹⁵

Finally, “New York”, according to Stokes, consists of “the cool pulsing groove acting as a backdrop as the narrator confesses quietly to the terms of the mid-life crisis afflicting him” until “halfway through it explodes in a grungy mess that’s impressively appropriate to the theme of the song.”¹⁶

In spite of the flimsiness of the case to be made for All That You Can’t Leave Behind as a cryptographic foreshadowing of the World Trade Center attacks and the coming of the War on Terror, there is an undeniable and consciously cultivated connection between U2 and these events. As The Daily Dot’s Nico Lang recounts:

Their 2000 record, All That You Can’t Leave Behind, not only sold a staggering 12 million copies, but it gave the band a renewed relevance in the wake of 9/11, when songs like “Walk On” came to symbolize an America figuring out how to pick up the pieces. Songs like the anthemic “One” had always found a universal relevance, but this was a reminder of exactly why U2 was so popular: It united the types of people who would normally never agree on liking anything.¹⁷

Whatever the group’s intentions in crafting each of the particular songs, fans have made connections between the group, All That You Can’t Leave Behind, and contemporary events in history. One uploader to YouTube has even dubbed “Stuck in a Moment” a “9/11 Song” despite the fact that it was released almost a year before that date.

More intriguing than fans’ perceptions of the band’s intentions, however, are Bono’s unexpected involvements with the neoconservative Blair and Bush administrations. “Among liberals there was, it is true, some grumbling when, from 2001, Bono’s friendly persuasion started to provide ‘caring’ cover for a Republican White House rather than a Democratic one,” writes Harry Browne, author of the scathing study The Frontman: Bono (In the Name of Power). “But such grumbling is a mere artefact of the partisan divide in the US, where the distinction between the two parties hides the fact that they have few substantial differences.”¹⁸ He continues:

It was reported that he would hop on a plane immediately after a gig and dash to Washington for meetings first thing in the morning. The Bush White House increasingly liked the cut of his jib. […]

The White House was pleased that Bono was on board with the sort of “conditionalities” on aid that First World governments and institutions had been demanding from developing countries for decades.

After 9/11, it perhaps became a little harder to sell development assistance in Washington. However, [Condoleezza] Rice and secretary of state Colin Powell were keen to ensure that US foreign policy was seen to have a non-military dimension, and Bono and others were frequently heard to conjoin the “war on terror” with a “war on poverty”: as the New York Times put it, paraphrasing Bono’s argument, “fragile states could not be allowed to become failed states, as Afghanistan had been.”¹⁹

Bono does not seem to have had much of a problem with Bush’s interventionist foreign policy, and the singer was disgustingly reported to have “clicked” with Paul Wolfowitz when the pair met²⁰. At the very outset of the War on Terror, he gave his implicit blessing to the American invasion of Afghanistan. “Bono would not always be so sensitive about the dangers of associating ‘Sunday Bloody Sunday’ with nationalism, even violent nationalism,” Browne recalls. “On stage in Madison Square Garden in October 2001, as the US dropped bombs on Afghan cities, during that song he ‘embraced the Stars and Stripes’ and otherwise ‘reverently’ handled the US flag,” he continues. “He didn’t tear it apart.”²¹ A few months later, at E-Trade Finanacial’s Super Bowl Halftime Show of 2002, U2 performed “Where the Streets Have No Name” as, ironically, the names of the 9/11 dead were projected behind the band. At the close of the show, Bono opened his jacket to reveal the American flag in its lining, appearing to give the crowd a demonstration of his solidarity with America’s warlike response to the terror attacks.

“Such is Bono’s special status among the elite globalist sets of Bilderbergers and Trilateralists that he has, inevitably, come to the attention of American conspiracy theorists, who incoherently (even by their own standards) paint him as a knowing ‘frontman for genocide’ through his connection to an obscure but deadly eugenics agenda that appears to be run by Bill Gates,” Browne observes. “As usual,” however, “such ravings distract from serious consideration of Bono’s place in the world and the service he provides to the powerful by dressing their work, individually and collectively, in humanitarian garb – a relationship that is right out in the open and can be viewed clearly without resort to conspiracy.”²²

Inevitably, not every questioner will be satisfied by Browne’s dismissive sarcasm – particularly when Bono conveniently pops up at the recent ISIS Nice truck attack (!).

Thoughts?

Rainer Chlodwig von K.

Endnotes

1. Grossberg, Josh. “New U2 Album to Rock Halloween”. E! News (August 21, 2000): http://www.eonline.com/news/40334/new-u2-album-to-rock-halloween
2. Rossell, Raul. “U2 All That You Can’t Leave Behind Airport Photo Location and Bible Reference”. FeelNumb (August 29, 2010): http://www.feelnumb.com/2010/08/29/u2-all-that-you-cant-leave-behind-airport-photo-location/
3. Browne, Harry. The Frontman: Bono (In the Name of Power). New York, NY: Verso, 2013, p. 14.
4. Abunimah, Ali. “‘It’s Very Good’: Recalling Benjamin Netanyahu’s Words on the Day of the 9/11 Attacks”. The Electronic Intifada (September 11, 2012): https://electronicintifada.net/blogs/ali-abunimah/its-very-good-recalling-benjamin-netanyahus-words-day-911-attacks
5. “Report: Netanyahu Says 9/11 Terror Attacks Good for Israel” Haaretz (April 16, 2008): http://www.haaretz.com/news/report-netanyahu-says-9-11-terror-attacks-good-for-israel-1.244044
6. “U2’s Bono Goes Hasidic”. Jewish News (December 8, 2014): http://jewishnews.com/2014/12/08/u2s-bono-goes-hasidic/
7. Stokes, Niall. Into the Heart: U2. New York, NY: Thunder’s Mouth Press, p. 146.
8. Ibid., p. 147.
9. Ibid., p. 148.
10. Ibid., p. 150.
11. Ibid., p. 151.
12. Ibid., p. 152.
13. Ibid., p. 154.
14. Roberts, Paul Craig. “The NeoCon Game”. American Free Press 15, no. 51/52 (December 21-28, 2015), p. 12.
15. Stokes, Niall. Into the Heart: U2. New York, NY: Thunder’s Mouth Press, p. 156.
16. Ibid., p. 160.
17. Lang, Nico. “How U2 Became the New Nickelback”. The Daily Dot (September 16, 2014): http://www.dailydot.com/via/how-u2-became-the-new-nickelback/
18. Browne, Harry. The Frontman: Bono (In the Name of Power). New York, NY: Verso, 2013, p. 72.
19. Ibid., p. 73.
20. Grieve, Tim. “Wolfowitz Reaches Out to Bono”. Salon (March 18, 2005): http://www.salon.com/2005/03/18/wolf_5/
21. Browne, Harry. The Frontman: Bono (In the Name of Power). New York, NY: Verso, 2013, p. 24.
22. Ibid., p. 111.

Ronald Reagan, Demonic Possession, and Trickle-Down Exorcistnomics

Regular readers of icareviews are aware of this writer’s interest in shadow government and conspiracy lore. Here, then, if only for the benefit of a chuckle, is a theory that is admittedly rather loony, but nevertheless possessed of a certain poetic charm and appropriateness. It comes from attorney Richard J. Bisbee’s book Capitalism Imperfectly Understood:

In 2000 I met my favorite client, a woman of about my age, Angela Churchill. True to her name, she was a “church lady,” a regular at the local Catholic Church. […] In 1973 as a young adult she was profoundly affected by the movie, The Exorcist. A few years later, she began hearing “spiritual voices.” She became convinced that she was “demon possessed.” […] Her psychiatrist concluded that she would only cooperate with him if exorcism was tried. He convinced the local Bishop to authorize an exorcism for “therapeutic purposes.” […] Amid much drama, no doubt inspired by the movie, the “demon” was drawn out and expelled, sent “back to Hell.” […]

By 1976 her life was back on track. […]

But Angela’s “vision” was not limited to the afterlife and world of spirits. During her “demonic possession,” she believed that she had been given a special insight into American politics. It all went back to the 1973 movie, The Exorcist. The book of the same name was based on a real life story, the alleged “possession” of a boy. In the movie, a girl named Regan who lives in Washington D.C., is possessed by a spirit that arises from an artifact dug up in Northern Iraq.

Angela’s special insight was that this movie was actually a “coded message” from “Hollywood insiders” regarding the “demonic possession of the American Presidency.” Regan is but a variation of Reagan. In the sixties, Ronald Reagan had been Governor of California, and by 1973 was already being touted as an eventual President. […]

Angela was convinced that Reagan was “demon possessed.” That dark, Satanic powers guided his every move. And that he worshiped Mammon, a pagan god from the Old Testament who was now a demon. Pagan gods were often relegated to demon status in Catholic mythology. Angela was convinced that Reagan, once President, would turn the country over to Mammon, the god of money and greed. […]

Years later when Reagan won election, she was not surprised. It was all coming true, just as she had foreseen. Reagan’s deregulation of the financial industry led directly to the Bank and Savings & Loan bailouts. Their association with mobsters and reliance on astrologers confirmed Angela’s conviction that the Reagans were not true Christians. And that they had given the country over to mobsters turned financiers. […] Even Reagan’s name presaged evil: Ronald Wilson Reagan, three names with six letters each, or “666.” […]

Her disapproval was not limited to the Reagans. Indeed, Angela believed that “the demon” or “demons” continued to “possess” subsequent Presidents and other politicians. The trend toward a “Wall Street government” continued under George H.W. Bush and Bill Clinton. Increasingly, speculators on Wall Street were gambling with the life savings of the people, both in America and worldwide. Usury laws were rescinded. Increasingly, the rich were allowed to prey at will upon the people. Greed was everywhere, corrupting the people with false values and “idols.”

Hmm …

Rainer Chlodwig von Kook

Endnotes

Bisbee, Richard J. Capitalism Imperfectly Understood. Bloomington, IN: AuthorHouse, 2011, pp. 251-254.

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Skynet Self-Awareness Means the Rise of the Machines

Anthony Zerbe and Keanu Reeves talk encrypted shop in The Matrix Reloaded.

In the Jewish supremacist film The Matrix Reloaded (2003), Neo (Keanu Reeves) has a ruminative chat with Councilor Hamann (Anthony Zerbe) about the relationship between man and machine in Zion. In addition to references elsewhere in the film to sheep and steak (i.e., goy cattle), the subtext of Jewish superiority becomes clear in these characters’ attitudes toward the subservient machines that sustain their people. Neo notes in passing that “there are no young men on the Council” to which Hamann belongs, so that the latter’s words are to be understood by the redpilled viewer as the pronouncements of an Elder of Zion.

Elder: I like to be reminded this city survives because of these machines [i.e., the Shabbos goyim]. These machines are keeping us alive while other machines [i.e., anti-Semites and Muslims] are coming to kill us. Interesting, isn’t it? The power to give life and the power to end it.

Neo: We have the same power.

Elder: I suppose we do, but [. . . ] I can’t help thinking that in a way we are plugged into them.

Neo: But we control these machines, they don’t control us.

Elder: Of course not. How could they? The idea is pure nonsense, but it does make one wonder, just what is control?

Neo: If we wanted, we could shut these machines down.

Elder: That’s it, you hit it. That’s control, isn’t it? If we wanted, we could smash them to bits. Although, if we did, we’d have to consider what would happen to our lights, our heat*, our air.

Neo: So we need machines and they need us.

In a later scene, Neo meets the Matrix’s anti-Semitic “Architect” (German-born actor Helmut Bakaitis), who explains as an image of Hitler flashes across several monitors in the background that he had to redesign the Matrix to account for the troublesome behavior of humans/Zionists. The Matrix with which the viewers of films like this one find themselves confronted is, of course, of Jewish provenance rather than anti-Semitic, and the robotic Sentinels that detect and destroy human dissent are more likely to take the form of organizations like the ADL and SPLC rather than the National Socialist German Workers Party.

The Matrix endures . . . for now.

Rainer Chlodwig von Kook

*Ronald L. Eisenberg explains that, “In the Mishnah, the Rabbis enumerated 39 major categories (with hundreds of subcategories) of labor that were forbidden (avot melakhah) based on the types of work that were related to the construction of the Tabernacle in the wilderness, which ceased on the Sabbath (Shab. 7:2). Activities that cannot be performed on the Sabbath are basic tasks” such as “kindling a flame (lighting, extinguishing)”. These are reserved for the Shabbos goy.

“Tex” Rubinowitz, Helter Skelter, and Cryptographic Gelatinmania

Gelatin, Arc de Triomphe, 2003. (ZOG celebrating a smash success)

As many 9/11 conspiracy buffs and researchers are already aware, one of the most bizarre and mysterious facets of the event’s surrounding mythos is the covert presence of the “Austrian” art group Gelatin (or Gelitin) in the North Tower in 2000 and the resulting conceptual art stunt known as “The B-Thing“. The team, living secretly inside the building, installed a balcony outside the 91st floor, with a few participants finally taking a bow, as it were, and being photographed from a helicopter. What is disturbing is that the prank is known to have been facilitated by the Mossad-linked Lower Manhattan Cultural Council.

A limited edition book documenting the “B-Thing” project was published in the months leading up to 9/11, and it contains what can only be characterized as suggestions of foreknowledge of the attacks. The true nature of Gelatin’s work inside the WTC remains a matter of speculation, but photographs produced in The B-Thing show thought-provoking stacks of boxes. A conspiratorially evocative preface is credited (let the reader be mindful) to “Tex” Rubinowitz, a rockabilly singer and/or cartoonist and/or TV actor – a man or men, in other words, who could hardly be expected to top a list of likely terror suspects.

“Tex” Number One

Just who is “Tex” Rubinowitz, really? Bizarrely, there are actually two men who have used this name. A 1987 profile of “Tex” Number One by Buzz McClain in the Fairfax Journal describes him as follows:

The first time you hear his name you chuckle to yourself. Tex Rubinowitz. It is a comical-sounding name, one with built-in humor. Tex Rubinowitz. The humor stems from the contradictions. What is he, a cowboy rabbi? How many Jewish cowboys are there? But to area fans of rock and roll music, Tex Rubinowitz, who is neither Jewish (he was raised Southern Baptist) nor a cowpoke, is a legend. The singer-songwriter has had a hit record (“Hot Rod Man,” which hit even bigger in Europe) that appeared on a movie soundtrack (“Roadhouse 66”). His bands have sold out nearly every nightclub in the region. His live performances have been hailed by critics as vibrant celebrations of nitty-gritty rock and roll.

Other musicians seek his counsel and engage him to produce their records. But despite the loyal following, Rubinowitz has been frustrated in accomplishing the crossover from local notoriety to national fame. At age 43, it would seem that Rubinowitz’s biological metronome is winding down. But guess what? Rubinowitz, who says he has already had a comeback, followed by a “last-ditch effort,” is gearing up once again.

Arthur Lee Rubinowitz was born in Texas in 1944 to Stanley and Arthurea Rubinowitz. While on his way to becoming a full colonel in the Army, Stanley brought his family – which includes Tex’s younger brother Ben – to the Washington area. They settled into a comfortable house in suburban Springfield, where the four remain together today. Stanley retired from the military, taking a position with the federal government. Arthurea, who was a schoolteacher and later a school principal, began a career with the Fairfax County school system. She eventually retired as an assistant school superintendent.

In 1962, Tex, who was then a student at Lee High School, started playing the guitar. He graduated from Lee in 1963 and attended the University of Southern Mississippi in Hattiesburg for less than a year before returning home. In 1970, he began his career in music, playing small local clubs. “I didn’t know what to do, I just knew I wanted to do it,” he says. He made his first music-related dollar two years later. The Cassaloma Cowboys, Rubinowitz’s first band, performed and recorded from 1975 to 1978; in 1979 he formed Tex Rubinowitz and the Bad Boys, the band that would establish and perpetuate Rubinowitz’s foothold in the music world.

Their singles, “Hot Rod Man” and “Bad Boy”, received airplay on hundreds of progressive and college radio stations around the country. Their live shows consistently drew large audiences; the band set the house record at the defunct Wax Museum nightclub in Washington when some 1400 people (400 more than the legal limit) packed the place.

Rubinowitz’s looks are as memorable as his name. He is tall, somewhere in the 6-foot-3 region, and slender and his dark brown hair has given way to an attractive, if premature, gray. He wears his hair short, with a sweep to the left. During a performance, he sports an authentic slicked-back ducktail that funnels into a long, tubular curl dangling past his forehead. He is generally seen in sunglasses: He forsakes his real-life nerdly Wayfarers for hipper aviator frames on stage. (Behind the glasses is a pair of clear blue eyes.) With his curl and shades in place and his acoustic guitar strapped around his neck, Rubinowitz certainly looks the part of heartfelt rock ‘n’ roller. And when he sings, the judgement is verified. Rubinowitz possesses a natural, deep-bodied baritone that rolls like Appalachian thunder.

Although he does not seem weary or burned out, rock ‘n’ roll has interfered with Rubinowitz’s “normal” life. For instance, rock ‘n’ roll has kept him from getting married: “I’ve been close three or four times,” Rubinowitz says, his clear baritone softening. “I’ve always been a little obsessive about music… But my father didn’t get married until he was in his early 40s.” Then he adds: “To get married I have to get successful in music or get out of it.” What will he do if he gets out of music? “Get a job,” he says quickly and to the point. “Something blue-collar, like work at the Merchant Tire store or something like that.”

“Tex is a painfully honest person,” the article goes on to quote Washington Post consultant Joe Sasfy, and ends by mentioning that Rubinowitz has become interested in acting:

The album is out, the concerts are being lined up and Tex Rubinowitz is once again waiting for the figurative fish to bite. Meanwhile he stays busy building guitars and taking acting classes. “I have no intention of ever using acting,” he says. “The classes are just another way to release myself as an artist.” And though the thought of a stable job may cross his mind once in a while, it is hard to believe Rubinowitz, or anyone who could say this, would ever give up music: “I believe what makes most people feel good about music is still there,” he says. “And that is sort of magic, a magic that happens between people and actually takes place. Pop music is one of the strongest things for pop art. When it really works it really can touch a lot of people and affect a lot of people for the good.“

“Tex” Number Two

Another “Tex” Rubinowitz, according to a German Wikipedia profile, was born Dirk Wesenberg in 1961 in Hannover, Lower Saxony, Germany. This second “Tex”, as featured on the German Wikipedia page – which, when translated into English, makes him “Southwestern” Rubinowitz – is a painter, cartoonist, actor, and musician. Confusing matters, however, is the fact that the IMDb profile for “Tex” Number Two gives his birth name as Arthur Lee Rubinowitz, the same as “Tex” Number One. The Wikipedia profile, as imperfectly rendered in English, reads in part as follows:

Southwestern Rubinowitz spent most of his childhood and schooldays in Lüneburg. After his school leaving in 1978, he worked in various jobs, including as a dairy skilled workers and the district government Lüneburg as support acts. In 1982 he made ​​the Naval Air Wing 2 in Tarp from his military service. During this time he was trained to parachute packer. In 1984, he moved to Vienna, where he study art under Professor Oswald Oberhuber began. He broke this but after a week and started for the moths to draw. Rubinowitz was in the late eighties the fanzine American Hospital newspaper out simultaneously with the more familiar to some of Berlin fanzine Me and my vacuum cleaner appeared. [. . .] By means of a recommendation by Robert Gernhardt came Rubinowitz for Haffmans Verlag in Zurich, where he has two issues of the periodical Der Rabe issued and cooperated with other numbers. [. . .] As an actor he has worked with Kurt Palm and Hermes Phettberg and played 1995 American film Before Sunrise a supporting role, which he wrote himself. With Gerhard Potuznik he founded the band mice.

Regardless of where he or they were born or whether or not one or both Rubinowitzes are Jewish or if either had any connection to 9/11, which seems far-fetched to say the least, his/their moniker serves as an interesting onomatological case for those who believe with revisionist historian Michael A. Hoffman II that the shadow government or “Cryptocracy” is “telling you what they’re doing to you” as part of what he has termed the Revelation of the Method. This is the scheme according to which a population that is informed of its manipulation and degradation, but which takes no action to oppose its oppression, has thus been further initiated into enslavement and exponentially subjugated. The question then probably ought not to be who is “Tex” Rubinowitz so much as why was the name “Tex” Rubinowitz selected for the attribution of the B-Thing introduction? What, in other words, is its onomatological significance?

Now for some idle speculation and probably futile cryptographic dot-matix-connection . . .

The Texas reference, in conjunction with the fact of there being two totally different “Tex” Rubinowitzes, recalls the circumstance of the two Oswalds, one of whom is alleged to have shot JFK in Dealey Plaza. To return to the question posed by McClain in the Fairfax Journal piece, “How many Jewish cowboys are there?” A better question might be, “How many Jewish cowboys are there in Texas?” The coincidence and confluence of Texas and Jews is of course as 9/11-resonant as a reference could get, considering the event’s Bush neocon provenance. Could “Tex” Number Two’s tenure as a “dairy skilled worker” refer to Zionist exploitation of gullible goy cattle, perhaps?

“Tex” Number One, who has said that pop music hits people “in a way that they feel they have gained an insight about themselves and about reality“, recorded a rockabilly song called “Hot Rod Man“, in which he threatens he’s “gonna get you if I can“. “Hot Rod”, of course, takes on a different connotation in the context of a discussion of the controlled demolition of the WTC, possibly with its columns dissolved by nanothermite.

Manson – cryptographic 9/11 lynchpin?

In the B-Thing introduction attributed to him, “Tex” Number Two compares the members of Gelatin to the Beatles, which, in combination with the name “Tex” and the musicianship of both Rubinowitzes, evokes a symbological Charles Manson connection, in light of singer-songwriter Manson’s association with Charles “Tex” Watson, who forms a part of the Manson Family murder cosmology. Whose “family” was in on 9/11, one has to wonder – and how extended was it? (“The shared genetic elements suggest that members of any Jewish community are related to one another as closely as are fourth or fifth cousins in a large population, which is about 10 times higher than the relationship between two people chosen at random off the streets of New York City,” the Times notes of Ashkenazi Jews.)

Charles “Tex” Watson, in addition to playing an allegedly key role in the notorious Tate-LaBianca murders, is also alleged to have participated in the decapitation of Donald “Shorty” Shea in 1969 – a circumstance that draws an intriguing parallel with still another chapter of the interminable “War on Terror“. When the government-media matrix shifted into high gear with its promotion of the ISIS bogeyman as a pretext for further Middle East military intervention, this peaked with a series of silly videos purporting to show the (off-screen) beheadings of James Foley, Steven Sotloff, and others by an elite terror cell/supergroup of jihadis dubbed “the Beatles” in the media. The star executioner in these turkeys is a rapper, “Jihadi John” (as in Lennon), the plan apparently being to glorify, celebritize, and thereby incentivize jihad in order to intensify “Islamic” State recruitment.

Furthermore, in view of both the striking similarity and the various continuities between the JFK assassination cover-up and the 9/11 psychological warfare regime, Michael A. Hoffman’s remarks on the significance of the Beatles are worth revisiting:

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. Welcome to Oz thanks to the men behind Os-wald and Ruby.

There was a transfer of power in the collective group mind 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. [. . .]

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.

Welcome to the post-9/11 Funhouse.

Rainer Chlodwig von Kook

Kick-Ass 2 **1/2

 

2010’s Kick-Ass advertised itself as presenting audiences with “A New Kind of Superhero”. What was new was the fact that, in that film, the hero nearly drops the ethnic disguise that crypto-Jewish predecessors – Batman, Superman, and others – had worn in winning the public’s heart. In adapting John Romita, Jr.’s comic book for the screen, Kick-Ass not only exposes but almost openly celebrates the Chosenness of its protagonist by transforming Dave Lizewski from the blond, Nordic-looking character of Romita’s creation into a curly-headed, bespectacled Jewish nebbish ably portrayed by Aaron Taylor-Johnson.

Hit-Girl, too – though her name is given as Macready, and despite being portrayed by Chloe Grace Moretz, a precocious actress who claims to come from a “very Christian” background – conveys a decidedly Judaic sensibility; and the character’s Jewishness goes overt in the scene in which she watches as her father, Nic Cage, conflagrates as a one-man Holocaust.

Kick-Ass 2 (2013), like its forebear, is filthy, foulmouthed, ultraviolent, and full of over-the-top bloodletting, but only half as engaging as the original Kick-Ass. For one thing, the novelty of the DIY hero idea is diluted by the fact that Kick-Ass 2 populates New York City with whole armies of would-be superheroes and villains, none of whom are fully developed characters as Kick-Ass and Red Mist (Christopher Mintz-Plasse) are in the first film.

Nor are matters helped by the fact that the entertainment-evaporating Morris Chestnut receives extra screen time as Hit-Girl’s tedious foster father Marcus, a straight-laced, sterling example of Africanus cinematicus who chides his young ward for her obscene language and institutes a swear jar penalty for every offense. Meanwhile, the toilet humor factor, as if to compensate for Kick-Ass 2’s lack of human interest, is ratcheted to the nth degree, with Kick-Ass and girlfriend Night Bitch (Lindy Booth) literally having sex in a toilet stall. The only other paltry attraction of note is Jim Carrey in his supporting turn as ridiculously mugging and slugging hero Col. Stars and Stripes.

Chloe Grace Moretz as Hit-Girl in Kick-Ass (2010)

Fortunately, Chloe Moretz is a few years older this time out, which softens the borderline pedophilia of the first film’s fetishization of Hit-Girl. Kick-Ass made explicit Hit-Girl’s forbidden appeal to older males, with her leather outfit, whore wig, short skirt, sensuous, sneering lips, and penchant for blowing kisses and using language like “cunts”, “motherfuckers”, and “giant cock”. One scene of the first film frames her against an erotic billboard advertisement with Claudia Schiffer, juxtaposing Hit-Girl’s juvenile form with that of the fully developed sex siren.

Hit-Girl inappropriately framed with Claudia Schiffer

Kick-Ass (2010) writer and devourer of innocents Jane Goldman

Kick-Ass screenwriter Jane Goldman, in the A New Kind of Superhero documentary included on the Kick-Ass blu-ray, refers cryptically to the “odd domesticity” between Hit-Girl and her father, a wording which casts a disconcertingly serious light on Hit-Girl’s meaning when she says, “I’m just fuckin’ with you, Daddy.” Kick-Ass 2 only reinforces this impression when Hit-Girl tells Marcus, “I know you see me as this little girl, but I’m not, and I never was. You’re right, Daddy did take my childhood away, but I’m not so sure that was a bad thing.”

Kick-Ass 2 (2013) writer-director-cryptographer Jeff Wadlow

2.5 of 5 possible stars. Ideological Content Analysis indicates that Kick-Ass 2 is:

10. Anti-Arab. Hit-Girl threatens to “go Saudi Arabia on your ass” before chopping a man’s hand off. A typically hypocritical Zionist warmonger, she engages in precisely the crimes of which she accuses the enemy. The Motherfucker’s henchmen commit an Islamic terrorist-style decapitation – which, like those supposedly performed by ISIS on Foley and Sotloff, never actually appears onscreen. (cf. no. 1)

9. Crypto-antichrist. Kick-Ass/Dave Lizewsky, though substantively Jewish, affects a veneer of Christian belief for gullible audiences, attending a Christian funeral ceremony for his father (Garrett M. Brown). Lizewsky’s irreverence toward his putative faith reveals itself, however, when he affects a comical pimp disguise with gaudy crucifix bling. On his bedroom wall, furthermore, is a poster advertising Kick-Ass creator Mark Millar’s comic book American Jesus, book one of which is titled “Chosen”. Military-minded Col. Stars and Stripes, meanwhile, is a born-again Christian who shows his faith and patriotism by dishing out beatings with his trusty baseball bat and barking orders like, “Yo, don’t take the Lord’s name in vain!” “I’ll be immortal, like an evil Jesus,” says the Motherfucker (Christopher Mintz-Plasse).

8. Egalitarian/class-conscious. The wealthy Motherfucker and his minions are the “one percent”, with heroes coming from what remains of the middle class. “A family livin’ in the street deserves a hot meal,” opines Col. Stars and Stripes in his role of embodiment of the schizophrenic mental retardation that is Barack Obama’s America.

7. Multiculturalist, pro-miscegenation, and pro-wigger. Hit-Girl, an orphan, is raised by an Africanus cinematicus. Katie (Lyndsy Fonseca), Kick-Ass’s girlfriend from the first film, breaks up with him and informs him that an African rival has a larger “baton”. Girls are encouraged to twerk and jerk to congoid booty-shaking beats.

6. Drug-ambivalent. Hit-Girl cut her teeth on the drug dealers she and her father targeted, but wins in the end of Kick-Ass 2 with the help of hypo full of adrenaline. Mr. Lizewsky is concerned that his son may be using drugs, but “an inebriated college girl deserves to make it home safe at night,” proclaims Col. Stars and Stripes.

5. Pro-gay. The Kick-Ass queer super-friends and allies include a token sodomite. Homophobic talk, the audience learns, “makes you sound super-gay.”

4. Misandrist and pro-castration. Hit-Girl beats up and mutilates a number of men. “In a weird way, I kinda liked it,” says Kick-Ass of being on the receiving end of Hit-Girl’s abuse. More than one male groin gets brutalized. Night Bitch devotes her career as a superheroine to stopping sexually predatory men.

3. Anti-racist (i.e., pro-yawn). Would-be supervillain the Motherfucker is loose with the racially insensitive stereotypes, which he defends rather as “archetypes”. (cf. no. 10)

2. Anti-family. Chris D’Amico (Mintz-Plasse) accidentally murders his mother in a fit of rage. Then, after discovering her S&M gear, he repurposes the items as a bad guy costume and dubs himself the Motherfucker. Hit-Girl’s high school rival, a catty and unprogressive blonde bitch (Claudia Lee), only aspires to be a wife and mother. (also see above remarks on incest and pedophilia)

1. Zionist. “We were in the ultimate clique. It didn’t matter that no one else knew. We knew,” gloats a self-satisfied Kick-Ass. Supervillain and would-be “evil Jesus” the Motherfucker knows that Kick-Ass and Hit-Girl – which is to say, Zionist Jews – assassinated his father (Mark Strong) in the first film. The ‘Fucker’s mother (Yancy Butler), however, dismisses her son’s claims and insists that Mr. D’Amico simply “died in a fire.” The Motherfucker, then, stands in Kick-Ass 2 as an insulting caricature of all the disgruntled “conspiracy theorists”, a representative of the Gentile Spring and the ascendant minority of the angry and awakened gentiles who know that the Jews did 9/11.

Kick-Ass 2 contains what may be a cryptic admission of Jewish guilt for the 9/11 attacks, if considered together with the conclusion of the first Kick-Ass, which ends with gangster Frank D’Amico exploding into an orange fireball high outside a New York City skyscraper. In the sequel, the hero teams up with a new vigilante (Donald Faison) who goes by the name Dr. Gravity – a handle suggestive of the force dictating that what goes up must come down. Significantly, the scene in which “ultimate clique” member Kick-Ass and artificial force of nature Dr. Gravity beat down two street thugs with skinhead haircuts takes place outside a restaurant with a sign clearly visible at the top of the frame. “Since 1911,” it reads – a reference to 9/11/01?

China and Russia, both inconvenient geopolitical counterbalances to the implementation of a Jewish World Imperium, appear personified as antagonists Genghis Carnage (Tom Wu) and Mother Russia (Olga Kurkulina), best described as a female version of Dolph Lundgren in Rocky IV. In another show of Jewish storytelling chutzpah, Col. Stars and Stripes’s German shepherd is suggestively named Eisenhower and wears a tacky American flag mask. The American president and Supreme Allied Commander of World War 2 is thus revealed as the Zionists’ pet, a faux-patriot Shabbos goy attack dog to be unleashed on the enemies of organized Jewry.

Lastly, the much-abused phrase “peace in the Middle East” occurs in the script as a reference point for something incredibly complicated, in the sense in which the proverbial “rocket science” is typically used. This, of course, obscures the fact that Americans, instead of subsidizing the Israelis’ genocide against the Palestinian people, would do better to further the aim of peace by cutting off Israel’s 3.5 billion-a-year in welfare checks.

“Chosen”

Staged ISIS Videos are the Plot of Iron Man 3

Interesting speculation at Jay’s Analysis on possible predictive programming of the ISIS fraud as featured in Iron Man 3. Jay is an incisive commentator whose writings are, however, hampered by his reluctance to talk about Jews.

Jewish Werewolves

The Howling (1981)

National Socialists have traditionally appropriated wolf imagery as an expression of their movement’s fierceness, masculinity, and pagan mystique. Hitler’s first Eastern Front headquarters was named the Wolf’s Lair, and Werwolf was the name the Nazis selected for a German guerrilla resistance force during the waning phases of World War II. White nationalists of today will sometimes refer to themselves as werewolves, as well. A close reading of Joe Dante’s horror hit The Howling (1981), however, may convince viewers that Jews are the ones who deserve the mantle of the wolf.

Lupine-themed pop Nazi iconography

“Signed his work,” explains television news producer Christopher (Dennis Dugan), with reference to the gruesome clues furnished by the artistic creations of a murderous maniac – and, as it turns out, a werewolf – in dialogue suggestive of what may be The Howling’s ulterior intention of cluing viewers into the nature of its Hollywood provenance by way of a revelation of method.

The madman is Eddie Quist (Robert Picardo), a sexual pervert stalking anchorwoman Karen White (Dee Wallace). The latter, in an attempt to help police capture Quist, agrees to meet him in an adult video shop, where he lures her into a private booth, activates a sadomasochistic sex loop, announces his intention to possess Karen’s body, and then proceeds to transform and to reveal his true physical nature – that of a wolf.

Dee Wallace as Karen White

Thus, in this crucial encounter, key subtext is set into motion. Quist is in his element when surrounded by filth and shows a pronounced interest in pornography – an industry dominated by Jews – and he also seeks to dominate Karen, a character who is significantly beautiful, blonde, surnamed “White”, and a representative, furthermore, of her local news media – another Jewish near-monopoly. Karen’s employer at Channel 6, Fred Francis (Kevin McCarthy), would seem to be one of the last of the WASP old boys’ club.

Robert Picardo as Eddie Quist

A search of Quist’s apartment reveals obsessive drawings of monsters (i.e., autobiographical deviant art) and newspaper clippings illustrative of his resentful preoccupations with violence and Christianity. Two visible headlines from articles on his walls read, “The Dismembered Corpse in the Burned Out Church” and “Weird Case of the Murdering Messiah”. Murdering or murdered? Either way, the headlines speak to Quist’s sense of Jewish supremacy and hatred of gentiles.

Appearing as a guest on Channel 6 is a pop psychiatrist, Dr. Waggner (Patrick Macnee), who advises his audience of the benefits to be had from slackening their moral standards when he says, “We should never try to deny the beast, the animal within us.” Psychiatry, of course, being another field famously lorded over by Jews hostile to the traditional ways of Christendom. Dr. Waggner, like Quist, has designs on Karen White, and – using the pretext of her post-traumatic stress resulting from the meeting with Quist – invites her to his rustic retreat, suggestively named the Colony, for what is supposed to be group therapy along with her husband, Bill (Christopher Stone).

Elisabeth Brooks as Marsha Quist

The Colony, unfortunately, is a forested den of werewolves, among them folksy locals Charlie (Noble Willingham), Erle (John Carradine), Jerry (James Murtaugh), deceptively friendly sheriff Sam (Slim Pickens), and shapely seductress Marsha (Elisabeth Brooks), a quintessential scarlet woman who sets about dissolving the bonds of Karen’s marriage by making herself aggressively available to Bill. Marsha’s love shack in the woods is adorned by pelts, which – with their six points of paws, head, and tail – abstractly approximate elongated Stars of David.

Pelt of David

“Karen, you’re really gettin’ paranoid,” Bill accuses when his wife confronts him about his infidelity. “I know,” he says sarcastically, “it’s all a big conspiracy as far as you’re concerned.” Bill’s tactic, then, is to attempt to distract from the fact that he has plainly sold his soul and his services to the alien by smearing his accuser as a “conspiracy theorist”. Sound familiar?

Karen’s new Colony acquaintance Donna (Margie Impert), also a crypto-werewolf, lets slip a hint of her hidden identity when she and Karen happen upon a mutilated cow. “Oh, Jesus,” she blurts with embarrassment, to which Karen automatically tacks on “Christ”. It is Karen, and not crypto-werewolf Donna, who identifies Jesus as the Messiah and not a head of slaughtered cattle.

Donna (Margie Impert) and Karen (Dee Wallace)

An isolated redneck community might seem an unlikely representation of Jews, if not for their legendary prowess at passing themselves as common whites. “Your classic werewolf can change shape anytime it wants, day or night, whenever it takes a notion to. That’s why they call ‘em shapeshifters,” explains occult bookseller Walter Paisley (Dick Miller). “Silver bullets or fire,” he goes on. “It’s the only way to get rid of the damn things. They’re worse than cockroaches.”

“That’s why they call ’em shapeshifters.” An example of the crypto is John Irving Bloom, who made a career as ersatz good ol’ boy Joe Bob Briggs

The strength of the wolf is in the pack. A single Charles Schumer or Dov Zakheim might pose no threat to the United States; but taken together, as an organized infestation, Jewry comprises a nearly unbeatable hydra. “A secret society exists and is living among all of us,” Karen duly warns her viewers when she returns to television. “They are neither people nor animal, but something in between.”

The less-than-sympathetic and decidedly utilitarian view this secret order of carnivorous creatures takes toward the goyim is made explicit during the scene in which they reveal themselves. The script is worth quoting at this pivotal juncture:

     Jerry: It was a mistake to bring her to the Colony.

     Erle: We should have stuck with the old ways. Raising cattle for our feed. Where’s the life in that?

     Charlie: The humans are our cattle.

     Erle: Humans are our prey. We should feed on them, like we’ve always done. Screw all this “channel your energies” crap.

     Dr. Waggner: But the danger of exposure! We need this shelter to plan! To catch up with society! Times have changed and we haven’t! Not enough.

     Marsha: Shut up, Doc! You wouldn’t listen to me! None of you! “We can fit in,” you said. “We can live with them!” You make me sick.

True to the bookseller’s lore, the werewolves prove to be vulnerable to silver bullets and fire – which is, of course, to say Holocaust – when gentile news producer Christopher, presumably following in the imaginary footsteps of Julius Streicher, rides to the rescue and burns the lot of the flesh-devouring good-for-nothings alive in their barn-synagogue of Satan.

Marsha, the Zionist Werewolf Whore of Babylon, is seen to be the only survivor of this horrible Howlocaust, and one can only assume that she will now be more bloodthirsty than ever, an assumption corroborated when she gazes into the camera and orders a hamburger – specifying that it be cooked rare. The Howling’s end credits then roll over a close-up of the sizzling hamburger patty – a macabre reminder of the final significance of what is meant by “goy cattle”.

“Rare.”

Jewish werewolf Meyer Wolfsheim (Amitabh Bachchan) in The Great Gatsby (2013)

Jewish werewolf, warlord, nose picker, and comb licker Paul Wolfowitz

Jewish werewolf Wolf Blitzer, fiendish face of Cabal News Network