THE DERAILING ROOM

[Seneca]

Therefore, knowing that deep down everything in existence is connected and even made of the same “stuff” is important and useful, if applied in the right way. But if we took the principles of quantum physics at face value and tried to apply them directly to the “material world” all around us, we’d be heading for disaster. Knowing that something is made of 99.9% empty space won’t help you when you want to go somewhere and there is a wall in front of you. If you think “This wall is just an illusion of my perception” and head towards it without even slowing your pace, you’ll end up bumping your head on it and maybe even getting a concussion, just to make a trivial example.

I think Christian principles work pretty much in the same way. For spiritually inclined people like me, it’s important to know that all humans are essentially the same, brothers or neighbors like Jesus said, because it helps you not to be completely carried away by the emotions produced by your interactions and frictions with them. It gives you a deeper awareness that ultimately informs your actions towards other beings, but it’s like knowing that everything is 99,9% empty space: you still have to figure out how to avoid bumping into objects all around you or, in this case, how to deal with people who still haven’t realized their essential oneness with you, even assuming that you have.

I like the analogy, a very good explanation.

I think Jesus’ principles were meant to be applied and mastered first of all on an inner level. Let’s consider the famous “Don’t resist evil” part, together with the connected “Love your enemies” or “Turn the other cheek” bits, for example (forgive me for leaving out their context, but I don’t want to write a whole book just yet). If you start applying these principles to yourself, you may discover that by allowing “evil” or just undesirable thoughts or impulses in your consciousness, without resisting them, but also without acting on them, after a while they just dissolve. This way you can learn that, instead of wasting your energy to resist what you don’t want, you can direct it towards what you want, for example.

But if, before having mastered this inner principles (as it happens to most “Christians” I'm afraid), we try and apply them in our relations with other people – and especially with people that, like the Jews most of all, follow opposite principles based on hostility towards others – this will lead to our undoing sooner or later. Which is what I see already happening, as a matter of fact.

This interpretation seems very useful. I was wondering if this was a new interpretation or that his was what Christ (whoever he was/they were) intended. I found this quote from the "sermon on the mount":

this offering of the other cheek may be done outwardly; but only inwardly can it be always right;

Don't know if I am interpreting this right but it reminds me of what your are saying.

Descending to the practical level, how many of you think that, if someone attacks you physically, the best way to go would be letting them have their way, or even hugging them (as a manifestation of love) or literally turning the other cheek? Maybe some could consider this as a desperate move, because they’re afraid of responding to the attack, thinking they wouldn’t stand a chance. But that’s not love; that’s cowardice, and deep down you know it will lead to your being beaten to a pulp much more probably than to your salvation.

Let’s go back to the example of Jesus for a minute, because I think it fits us perfectly to the most essential details. For starters, he had the same “enemy”, i.e. the Jews, or better Jewish cultural and religious conditioning. He was even born into it and had risen to a position of power inside it, assuming that, as it seems, he was a Rabbi. Our position is not much different even on that respect, after all, since it could be said that we were all born in a society heavily conditioned by Jewish culture, and many of us have reached at least a decent position in it.

Well, I’m sure Jesus had to go first against himself, against his own conditioning and fears, before he could find the courage to renounce his status and position in a society he considered unjust. Then he rebelled against it outwardly, like when he stopped people from “legally” (in the sense that it was a socially accepted practice in Jewish society at the time) stoning a woman to death (risking to be stoned himself in the process, I guess), or even violently, like when he physically chased the merchants out of the temple. He wasn’t a “lamb” then, but a “lion”; he had the balls to go explicitly against the powers that be of his time.

Only after having done that he decided to tackle everybody’s deepest fear, that of being physically hurt and dying, by giving himself over to his outer enemies (certainly not expecting them to love and spare him), because he had already defeated the inner ones. That was the ultimate demonstration of his having “overcome the world”, because he had faith in something that would have survived even the death of his physical body (I think his “resurrection”, in this sense, was more symbolic than actual, but we don’t need to go into that here).

What I’ve just outlined is the real “Christian process” for me. It goes from the inside out. But unfortunately what I see today in our Western world, still first and foremost influenced by Christian values, is people renouncing, consciously or not, the “lion” part to become directly sacrificial lambs on the altar of other more aggressive cultures (from the Islamic world to Chinese culture, for example), all maneuvered by the most hostile one.

I think this is the most important thing to realize before getting to the “what we could do in practice” part in a next post. First comes the inner (awareness, in this case), and then the outer, remember?

Meanwhile, I welcome any feedback on your part. I hope it will be useful suggestions or observations.

But be warned: not even negative comments will stop me from pursuing my line of reasoning to its more practical conclusions.

Please don't stop :-)

[ICfreely]

And the Oscar for 'The most naive journalist of 1976' goes to...

Shah of Iran & Mike Wallace on the American Jewish Lobby - 39 Yrs ago

full link: http://www.youtube.com/watch?v=6kySR3fpa5s

0:57
Mike Wallace: You think the Jewish lobby in the United States is too powerful for the interests of Israel?

Shah Pahlavi: I think so. Sometime they are disserving the interest of Israel because of – they’re pushing around too many people.

Mike Wallace: Why would the President of the United States pay attention to that lobby?

Shah Pahlavi: They are strong.

Mike Wallace: Strong in what sense?

Shah Pahlavi: They are controlling many things.

Mike Wallace: Controlling…what?

Shah Pahlavi: Newspapers, medias-

Mike Wallace: Your Majesty-

Shah Pahlavi: Banks, finances and I’m going to stop there.

https://www.youtube.com/watch?v=6kySR3fpa5s

Mike Wallace!


P.S.
During WWII Iran took in thousands of Jewish refugees. Furthermore, 'Iran was the second Muslim-majority country to recognize Israel as a sovereign nation after Turkey.'
https://en.wikipedia.org/wiki/Foreign_r ... _of_Israel

[jumpy64]

Please don't stop :-)

I won't, Seneca, don't worry!

Thank you for your support, and for quoting what I think is an inspired and inspiring interpretation of the "Sermon of the Mount". I didn't know it, but you're right, it's exactly what I mean.

And thank you, ICfreely. You always link to or quote enlightening articles, and I can say I've practically read them all (I just missed some of those on the "Einstein" thread, because I must confess they're too difficult for me sometimes ), but this one takes the cake IMO. I agree with the quotes from Goethe and Thomas Aquinas in particular, and with the author's (I couldn't find his name) rightfully merciless analisys in general.

But I agree on one thing above all others: we must heal from the "Goy disease"!

Together we'll find a way, I hope.

[jumpy64]

A link Simon provided in a recent post on the Rolling Stones’ song “Sympathy for the Devil” in the “Songs that Expose Truth” thread led me to discover a Jewish journalist by the name of Seth Rogovoy who, on the “Forward” magazine at http://forward.com/author/seth-rogovoy/ reveals the “Secret Jewish History” not only of the Rolling Stones, but also of many other famous non-Jewish musicians like Patti Smith, Joni Mitchell, Public Enemy, James Taylor, Grateful Dead, Ornette Coleman, The Who, U2, Bruce Springsteen, Beach Boys, Tupac Shakur, Cher, Aerosmith, Paul McCartney (the “Jewish Beatle” who married two Jewish women, the late Linda Eastman and the current wife Nancy Shevell), David Bowie, and Pink Floyd (who are actually the only ones quoted because of their critical stance against Israel).

He wrote also a couple more articles on “The Secret Jewish History of Steve Jobs and Apple” and on “How Bob Dylan, Barbra Streisand and Lenny Bruce Changed Judaism Forever”. I’ve filed them all under the category of “Jews bragging about their control of the music industry”, a sub-category of “Jewish control of the media”.Together with the just mentioned Dylan and Streisand and many others, another very influential Jewish contemporary musician is Leonard Cohen. He may be a poet, as many say, but for me he writes musically boring songs and sings them with a monotonously creepy voice.

There are also creepy elements in his personal history, as outlined in these two very interesting articles which portray him both as a product of “Illuminati” (which translates into JPMs for me) mind-control (http://henrymakow.com/2014/09/Leonard%2 ... ntrol.html) and as an “Illuminati Jewish” agent (http://henrymakow.com/2015/01/Leonard-C ... agent.html).





In the latter article, the author Ann Diamond writes:

By the eighties Cohen was penning songs filled End Times programming scripts and triggers. His small cult audience had privileged access to the 'secret text' that now entailed divine punishment for the generation that had embraced sex, drugs and rock and roll.

Increasingly his songs resembled predictive programming for mass destruction, darkness and the Flood. Introducing the NWO religion to western audiences, Cohen's music draws on Freemasonry, Kabbalah, and Babylonian mystery cults which he tastefully markets to his sophisticated fan base of baby boomers and their kids.

The most blatant example of such predictive programming is a Cohen’s song entitled “The Future”. I’ve posted its ominous lyrics on the “Songs that Expose Truth” thread, but here I want to offer you what I consider a very accurate and enlightening interpretation of them. I found it on the cached page of a now censored website. It’s by a guy who calls himself Jimmyhardball, and is said to be “under surveillance” (I don’t know by whom, but it doesn’t sound good, does it?). It’s ironic to observe that, in times when even kids can find online articles and images about every kind of violence and pornography, brilliant articles like this are the things that get censored…

Here it is, anyway, also as a tribute to Jimmyhardball, whoever and wherever he is. It’s a long article, but definitely worth reading, I think. Actual lyrics of the song are in bold and in quotation marks.

Generally anyone who attempts to critique Jewish influence on Western culture, from Kevin MacDonald, to Douglas Reed's Controversy of Zion, to David Duke, usually adopts a strategy of referencing and insisting upon utilizing primarily Jewish sources to validate the 'perspective of subversion' or 'group evolutionary strategy,' as MacDonald as aptly labeled it. Not only because Jews often understand and can give a more accurate and politically correct voice to their own behaviors than Europeans, but also non-Jewish writers on the topic do so, so as not to be perceived as "antiSemitic." Although this might seem redundant, even with those who are familiar with the above mentioned perspectives, I would like to apply an analysis of the Canadian Jew poet/musician Leonard Cohen's song and music video "The Future".

When I was younger and more naïve in my days as an undergraduate, I loved Leonard Cohen's poetry and music. Fact is as a lover of poetic expression, form, and the written word generally, aesthetically and emotionally, much of it I still do. It is ideologically that today I find divergence in his works; his voice today often strikes me as particular or even alien (but strangely modernism has made us all sympathetically Jewish to some degree and thus receptive to their perspective) it is through the looking glasses that I have chosen to wear that allow me to view Cohen and his art differently and with a boarder perspective and understanding than before. I have not listened to Cohen for some time now, and randomly I watched the music video for his song the Future, and it struck me as telling, so as to deserve further examination and analysis.

Now to break it down, line by line, stanza by stanza:

“Give me back my broken night my mirrored room, my secret life it's lonely here there's no one left to torture / Give me absolute control over every living soul and lie beside me baby, that's an order!"

The first lines denote the aspiration for alienation merging with desire.

"Broken night" may allude to the experience of the Kristallnacht, or the Night of the Broken Glass. The "mirrored room", reaffirms the connection with the glass imagery but also refers to a place of reflection of the self, this can also be a sense of the self which is reaffirmed in a community which mirrors a sense of identity upon its members, its ingroup.

This mirrored room ingroup membership is an experience of a "secret life" for many Jews, who even today have names for their Jewish community and names adapted to fit whatever culture they are in. The "secret life" may refer to a sense of insulated Jewish identity outside of the Goyim civilization. Cohen, who is a strongly self-identified Jew, certainly feels this sense of double or fractured identity and is asking here for its recapitulation.

Various analyses of the song are available online, one by Heidi Hochenedel, Ph.D, gives an example of a good, politically correct academic reading but does not ascribe Cohen's voice properly - even when Cohen explicitly identifies himself as "The Jew," which we will see is really identifiable to the figure of "the eternal Jew". Nevertheless, Hochenedel asks good questions such as: "Why does the speaker want these things (division, alienation, and a sense of self) restored to him?" Her answer, however, is surface level - she says he wants these things restored to him simply because they have been taken away from him in 'the future' which is true, but that is not a thorough reading of the lyrics.

But, Cohen himself in the next line answers why because: "it's lonely here there's no one left to torture". This denotes the lack of separation in the future, when cultural-historical-biological identity has been erased in the future there is no longer any division or diversity - if everyone is the an interchangeable part of the social experiment of modernism the individual becomes further atomized and feels a sense of acute anomie. Not just the Jew needs division in order to make sense of the world, but possibly it is solely the Jew who requires division in order to have someone "to torture." For the Jew without torture life is lonely, he needs his ghetto and his West Bank, his Palestinians, and Europeans, his stock markets and pyramid schemes he needs his superiority reflected back to him by pandering politicians beating their heads on the wailing wall in Jerusalem.

One is tempted here to speak as someone such as William Pierce, who might in venomous diction relate that the Jew lives off other civilizations as a vampire, playing with his victim, by transforming his victims mind to fit his mold, changing the culture to adapt to his predatory nature - in a sense, a very sophisticated form of torture. This sophisticated form of torture was exactly what audiences of the Weimar era saw in the Doctor Mabuse films, as an allegory for the inflation of the Depression. But German audiences read the film as an anti-Semitic metaphor for the "torture" affecting Germany. Like Cohen's protagonist in the Future, Mabuse wears many masks "his roles as a psychoanalyst, as a banker in the stock market, as a revolutionary in the workers' pub and most obviously as the Jewish peddler (Widdig, 122)."

A national socialist reviewer of the character describes it as such: "This is the image of the Eternal Jew… marching through the centuries, always with one goal in mind: mastery over the world, even if entire nations perish (quoted in Widdig, 122)." Thus, the next line: "give me absolute control over every living soul…" This corresponds to a rabbinical Jewish mandate of the chosen or elect, who should rule over everyone by the providence of the covenant with god.

We won't go too deeply into the following line "And lie beside me baby, that's an order!" which denotes sadistic sexual control over the female. This has historical reverberations since the Jews historically have been associated with the sex industry in European prostitution rings and the Jews are the primary peddlers of the contemporary multibillion dollar pornography industry, there is also the current sex slave trade into Israel from European countries, mainly the former Soviet Bloc . In Germany "liberal" attitudes towards sexuality from Sigmund Freud to the lascivious Babylonian chaos of the Weimar Republic's sexologists Magnus Hirschfeld and Ivan Bloch was always spearheaded by a Jewish effort to undermine traditional European sexual mores - "if you knew what to look for, you could find anything, anything known to man in the sexual world was available in Berlin.

"Give me crack and anal sex, take the only tree that's left and stuff it up the hole in your culture. Give me back the Berlin wall give me Stalin and Saint Paul I've seen the future brother: It is murder”.

Here Cohen is calling forth destruction upon the host culture. Filling it with drugs and lewd sexuality, Sumner Redstone's MTV or the Weimar years in Germany? He then wishes to take the only tree left and stuff it up the hole in the culture. A soft reading of this passage, such as by Hochenedel, interprets this stanza as a resignation for the decline of civilization, and most importantly of ecology. But that is not at all what Cohen is actually saying, for repentance is not what he had in mind, which he will make clear afterwards, but like Mabuse the narrator is recalcitrant in fact he instead shows resolute revelment in the disorder, calling forth more disorder: he asks for the Berlin wall, Stalin and Saint Paul, he calls forth division and disorder, he welcomes it, because it restores to him his "mirror room and secret life".

Stalin and the Berlin Wall were products of Marxist Communism, a messianic Jewish-led utopianism that divided and killed its host population and scores of other Europeans, setting up a rigid police state, dividing walls pitting Europeans against each other. St. Paul, who was Saul of Tarus, the “converted” Pharisee who became "enlightened" on the road to Damascus and began converting Jews and gentiles to the new Utopianism of Christianity in the Ancient Roman Empire, also has his part to play in the destruction, if temporarily of the hated host and conquering culture, but I will get to that in a minute.

The symbolism of the tree here is important; the tree is a symbol of rootedness of connectedness to the soil, to a particular place, where we have history and roots. The tree is also a primary symbol of growth and life itself. The tree is therefore a symbol of its people, of its continuation and renewal that is why we graphically represent our linage with family trees, for example, or why Christmas trees mark the end of the wintersolstice, to a time when life can grow again, to the return of the rising sun gods, Ra, Horus, Sol, Helios and Apollo. As, Europeans, our trees are dying as our solar deities have before them and it is through this poisonous culture that they and we are being deracinated.

Cohen and his elk want to facilitate that process, they want to watch us die, as they did in the Soviet Gulag, or when slave turned on master in Roman times and the Christians killed the Pagans. Nietzsche is not alone in his theorizing for the turning over of values resulting from a Christianized Rome that lead to its collapse, historian Edward Gibbon, famously theorized that Christianity was a catalyst for the fall of the Empire - Cohen and company give lip service to universalisms like "brother" and "comrade" like a Christian or a Communist, but what they mean is "murder" and "slave" like their bloodthirsty and vengeful god Yahweh. Saul or Paul, like Marx, the son of a rabbi was a "Hebrew of Hebrews" a Pharisee, like Cohen, who grew up with messianic tales of brining a descent of the royal line of Aaron.

“Things are going to slide in all directions. Won't be nothing, nothing you can measure anymore. The blizzard of the world has crossed the threshold and it has overturned the order of the soul. When they said REPENT, I wonder what they meant”.

Here we see what Zygmunt Bauman, among others, has termed liquid modernity, as a self-referring product of modernity, disconnected with Traditionalism everything becomes everything thereby becoming nothing particular. This 'postmodern' deracinated world of "crack" and "anal sex", has so "overturned the order of the soul" meaning the traditional soul of pre-Christian pagan Europe or what Cohen later calls "the ancient western code."

As the order of the republican fascist Roman soul, becomes overturned, measurement becomes impossible because everyone is the same, everyone has been dwindled down to a consumer and practitioner of the total leveling falsity of democracy. Within the world of the egalitarian last men, hierarchies are considered evil, measurement of a people or civilization is considered narrow-minded, Eurocentric, and racist. To measure, is to validate, is to discriminate, is to hierarchize, and to do so would mean implementing order. In 'liquid modernity' one must allow the predatory banks to engage in Ponzi schemes, to defraud hundreds of millions of dollars, because to measure or to order would be fascist, the rule of the market lies above everyone, the rule of the indiscriminate dollar.

Herein, the boundaries between self and other, between identity and nonidentity, between Europeans and non-Europeans, between civilization and its "discontents" become blurred. Order demands, hierarchies; it demands boundaries, distinctions, validations and discriminations in order to be stabilized.

Finally, like Evola's warriors standing among the ruins, when European man finally points the finger at the Hebrew swindlers and demands repentance! But the tribe does not even understand the notion, "what do you mean, you don't like your liberalized, free-market, multicultural, consumerist wasteland? We are helping you become more 'human,' we are a light onto nations!" They sneer and laugh in the privacy of their mirrored rooms, in their knowledge and cronyism, in their secret lives.

Then Cohen, high priest of the tribe, really shows his hand, seals the deal as they say, in the next lines:

“You don't know me from the wind you never will, you never did / I'm the little Jew who wrote the bible”.

Here Cohen equates himself with "the little Jew who wrote the Bible" which is a reference to Saul of Tarsus who became St. Paul, but it is more than that, it is the figure of the relentless subversive eternal Jew that Cohen is conquering. "This is the image of the Eternal Jew… marching through the centuries, always with one goal in mind: mastery over the world, even if entire nations perish (quoted in Widdig, 122).

"I've seen the nations rise and fall / I've heard their stories heard them all /but love's the only engine of survival. Your servant here, he has been told to say it clear to say it cold: ‘It's over, it ain't going any further’. And now the wheels of heaven stop and you feel the devil's riding crop. Get ready for the future it is murder".

Is the song, along with the music video, Cohen addressing T.S. Eliot's accusation in Gerontion: "My house is a decayed house, And the Jew squats on the window sill, the owner." For the video indeed shows Cohen fixing attire, throughout he adjusts his black suit and tie with a white shirt, (a sort of modernist rabbi costume, dress British, think Yiddish), all done in the remains of a dilapidated and flooded house. Is this decayed house Eliot's Europe, of course it is! While, it sinks, the Jew who has "seen the nations rise and fall…heard their stories heard them all" fixes himself to presentable appeal - repent what?

"Love's the only engine of survival" Cohen wrote a book called “Flowers for Hitler”, which was his third collection of poetry, published in 1964. The book obviously uses the idea of hippy 'flower-power' love against a tyrannical evil foe. Why can't we all just get along? Cohen here offers a purely simplistic Manichean-Judaic-Christian divide between good and evil, love and hate, floral botany and Hitlerism. "Love's the only engine of survival" - is this Christian humanist love? Or Communist workers love? Or the liberal universal love of human rights? Love in all these guises disguises Jewish supremacy. No HATE speech! Don't you know Christ was a Communist? Love indeed has been the basis of Jewish survivalism, preach love and leech. How can a Christian defend the Roman Empire? Don't you know you must love your enemy? Turn the other cheek, the one with the painted flower.

The rest of this stanza seems to me to be rhyming apocalyptic drivel tied to Cohen's celebratory death of the West. Just like the Jews funded the NAACP and promote miscegenation and desegregation in their media products like create a simplistic narrative of "Love vs Hate" which all the postmodern morons can easily understand and stand behind their president in the self-congratulatory circle jerk of the secularized righteous dimwit masses.

“There'll be the breaking of the ancient western code / Your private life will suddenly explode / There'll be phantoms, there'll be fires on the road, and the white man dancing. You'll see the (your) woman hanging upside down her features covered by her fallen gown and all the lousy little poets coming round trying to sound like Charlie Manson”.

Here Cohen is directly addressing Nietzsche: "There'll be the breaking of the ancient western code" which can only refer to aristocratic morality. The ancient Western code is what built Europe, as Europe, it survived in muted forms under Christendom, within the virility of the Renaissance, or even the energies of warfare, in Aetius, the last Roman, and in the Ghibellines in their imperialism, and in the Order of the Teutonic Knights, in the conquistadors, in the hundreds of recurrences of the primal energies of Zeus, Jove, and Odin, in the Classical forms. When the West completely loses its character, its code, it becomes part of everything else - everything morphs into a "flat world" as Milton Freidman calls it, without summits and peaks, without shallows, and groves, everything merges into everything else, one homogenous-international-social-welfare state-governmental-bureaucracy, people deracinated and expendable, community based on the transcendental universalism of love and the earth stuffed up the hole where culture and people used to be, no more boarders, freedom of mobility, atomized individuals free at last at the end of Marx's history and John Lennon's pipe dream.

You'll see the (your) woman hanging upside down her features covered by her fallen gown And the white man who is "dancing," which is a euphemism for entertained, distracted and preoccupied with the nauseating products of the culture industry - all the TV shows and musical acts that are of a purely entertainment value are filling in his timeslots between working. The Jew's pornography fills in the spectrum of his sexual horizons, mindless pumping into vacuous orifices, like the service industry jobs that await him, also devoid of meaning. And if the white man who is caught in the Jewish swindler's whirlwind of cultural shit finally looks up - he no longer sees his woman - because she too is caught up in the shitstorm and her gown has fallen to the degenerate f*****s who have an inflamed pride in themselves as overcomers of slavery and discrimination, who hangout on the periphery of the dancefloor, like hyenas watching their prey, they partake in the defenseless white women and she gives birth to children with his features.

Thus her features covered by her fallen gown. Because as the traditional role of the man was to guard his women, that tradition is broken and to exhibit that sort of behaviour, which is natural of any species seeking survival, is "hatred". As Cohen says these lines in the music video he moves past a classical painting of a woman who idealizes European beauty, to a shot of a white man drowning, and eventually dying with a pool of blood rising from him, later in the place of the painting of the classical European beauty there is Cohen's backup singers - a Jewess in front of a negress - and all the lousy little poets coming round trying to sound like Charlie Manson.

Here again Cohen displays his cunning, knowing full well that few could even grasp the meaning of his lyricism, and given the prophetic apocalyptic imagery and his brooding voice and the dark gospel sound of the song most would assume that he is talking eschatological madness. But also he is commenting on how disengaged the poets are from what is befallen Western civilization, they are instead concerned like a Bukowski or a Ginsberg on garnishing attention by being shocking and outrageous, instead of like Eliot or Pound who were indignant over what was happening to our civilization.

[ICfreely]

Holy Moshiach, Jumpy!

Thanks for posting that Jimmyhardball article. It really struck a nerve with me. Upon reading it I kept thinking to myself, ‘Could Jimmyhardball be my Tyler Durden?’

[jumpy64]

Holy Moshiach, Jumpy!

Thanks for posting that Jimmyhardball article. It really struck a nerve with me. Upon reading it I kept thinking to myself, ‘Could Jimmyhardball be my Tyler Durden?’

I sure hope so, IC! We need more men like him



And seriously, the wakeupfromyourslumber article you posted is inspiring me a lot too, actually more and more every time I read it (thrice so far).

In fact, I will quote it again at the beginning of the next post I'm writing on how to heal from the "Goy disease".

[SmokingGunII]

However, there are a lot of questions that we need to answered with regards the global or ball earth as it is being referred to.

What are those questions?

Let's take them in an orderly fashion, one at a time, beginning with the physics question that you think casts the most doubt on the spherical shape of the Earth.

Post your question here please, rather than linking to another site, for the record.

Over to you.

Let's start with the question I posed regarding the distance from the sun and the difference in temperatures from the equator to the poles. Bear in mind the sun is 109 times larger than Earth.

Post your answer here, in your own words, rather than cutting and pasting from other sites. Over to you.

[Painterman]

Those musings are not a physics question. So you think it's "ridiculous" to claim the Sun is 93 million miles away. That's fine, but do you know any observational facts to be inconsistent with that distance? If so, what are those facts, and what is the nature of the inconsistency? And how is this relevant to the shape of the Earth question? Show your work, please.

[jumpy64]

In nation after nation, people have been kind to Jews, only to be betrayed. This pattern continues because of the “Goy disease,” a bizarre phenomenon that makes Gentiles devote their creativity to excusing Jewish atrocities. […]
Notions about the “Illuminati” and so forth are more Goy disease. “Conspiracy theorists” imagine there are mysterious critters running the show – critters that remain interesting because they can never be fully exposed. They’re so brainwashed by Jewish lies that they are in a trance. This is the Goy disease. Without it, Jews would be finished. Without it, Gentiles would “wake up from their slumber.”

The Goy disease makes Gentiles think that Jews succeed because Jews are smarter than other people. Thus, Goys have a slave mentality. It says Jews deserve power, and by logical extension, Gentiles deserve slavery.

From http://wakeupfromyourslumber.com/exodus-revisited/ , quoted by ICfreely.

So, the Goy disease. Are we infected by it? I think most of us are. And understandably so, at least to a point, since JPMs have a decisive influence on our perception through their control of the media and of most contemporary Western culture.

What to do, then? Remembering that effective action must start from within, here are what I consider various “healing points”, or lines of defense.

WARNING! Politically incorrect and “reactionary” viewpoints ahead.

RACIAL IDENTITY - I think we must first of all regain consciousness of the intrinsic value of our ethnic group, the white European race influenced and even informed by Christian values.

If what I’ve just said makes some of you cringe, or think something like “Yeah, here comes another KKK supremacist type”, that already proves how much we’ve been conditioned to be ashamed of ourselves. If blacks can be proud to be black and say it, as they’ve been encouraged to do in our Western world since the 1960s, Muslims can be proud to be Muslims (even at the price of being suspected sometimes of being “terrorists”, if they appear too proud), and Jews can continue to declare that they are a superior race, why should we be disapproved or laughed at if we decide to say that we are proud of our own race?

Jewish anthropologists like Franz Boas and others have even tried to convince that race doesn’t exist, it is a social construct or even a pathology that leads to supremacism and to what Jews fear the most, i.e. “persecutions” against them (which I think is actually a sign of paranoid bad conscience on their part). All this was just propaganda directed to white people, evidently, because other races were at the same time encouraged, by the same controllers of our culture, to strengthen their ethnic identities. This evidently means that JPMs fear us, and this should be considered another proof of our power.

Yes, power. Over the last decades at least, we’ve been conditioned (especially through bad examples) to think it is a bad word. Jews are proud of their power, and they brag about it at every occasion. Black power has been a popular slogan in recent decades. Say “Chinese power!” to a Chinese or “Indian power!” to an Indian and they’ll probably go “Yeah!”. Only whites have to keep their head down to convince everybody else they’re not Nazis, white supremacists or at least bigoted racists.

In fact, history demonstrates that, on the whole, white European people, in addition to having led the way in scientific and technological progress, have put at least some of their power to advance worthy humanitarian causes which later have been even used against us. Take slavery, for example. Every population on earth has used slavery at one time or another, but Christian whites were the only ones (apart from a couple of abolition attempts by Indian and Chines dynasties in ancient times, even before the birth of Christ) who effectively protested against it and ultimately managed to abolish it. It happened since the XVII century in England, and especially in America, where a civil war even led to the abolition of slavery with Abraham Lincoln in 1863.

Jews, on the other hand, were always heavily involved in the black slave trade (and suspected of being also behind "white slavery", but this is another subject), as a downloadable book titled “The Secret Relationship Between Blacks and Jews” ( https://www.radioislam.org/islam/englis ... 20Jews.pdf ) demonstrates also with documents of the time. But since people prefer to watch a movie than to read a long book, and JPMs control Hollywood, in people’s perceptions white Christians are only the evil slavers (in successful BS movies like “Amistad” or “12 Years a slave”, for example, and in countless others) instead of being also the progressive liberators of slaves, while Jews stay out of the picture.

We white Christians are also the ones who to this day keep on helping blacks and other minorities, and even welcome their invasion in our countries in the name of “multiculturalism”, but they repay us mostly with hatred instigated by Jewish propaganda.

The same propaganda makes us feel guilty and deserving of such hatred. Most of us think we’ve been just the evil slavers (and the only ones, to boot), so now we deserve the flooding of other, often hostile and resentful races in our country, which is amounting pretty much to a “white genocide”.

By the way, on this subject I hope to respond, at least in part, to Flabbergasted, when he wrote he wanted to “know more about the arguments and evidence”. A specific post in the future is not excluded, but for now I can suggest to watch this video ( https://www.youtube.com/watch?v=uMfk5UeGw4E ), and most of all to consult this very informative site ( http://whitegenocideproject.com/about-white-genocide/ )

So let’s wake up to this destructive propaganda and refuse to believe it.

SEXUAL IDENTITY – I have avoided on purpose the term “gender” because gender is one of these “newspeak” words created to mold our perception in the way desired by our controllers. There are only two sexual identities – male and female – and not dozens of interchangeable “gender identities” ultimately created just to confuse from childhood (by teaching this vicious BS in schools) both sexes, but particularly males.

In fact, the white heterosexual male is the focus of the attack by Jewish propaganda, because it’s the subject they fear the most. An intelligent, lucid, strong, motivated and racially proud white heterosexual male with a family to love and to defend, even with arms he knows how to use if necessary, would be too difficult to conquer.

That’s why such a subject is in the line of fire since at least the “fabulous Sixties”, which is when the all-out attack began (maybe that’s why people born in the Sixties are called “Generation X”, i.e. “target generation”). Nowadays a white heterosexual male is guilty, until proven innocent (but that’s practically impossible) of being a racist, a reactionary, a sexist, if not even a rapist or a kid molester, and ultimately a repressed, “homophobic” (newspeak for normally disgusted by homosexual practices) gay (newspeak for homosexual).

Women can be proud to be women (even if they’re white!), especially when they’re also “feminists” (positive term) and rebel against the male-chauvinists (negative term), kids are incited to rebel against figures of authority (i.e. ultimately the “father figure”), and especially homosexuals, of course, must be proud of going against nature and of using their bodies in grossly inappropriate ways (would also someone who sips broth soup through their ears have anything to be proud of, I wonder? ). And if you throw also the racial factor in the mix, you can easily see that everybody is encouraged to lash against us (I say “us” because I am a proud white heterosexual male), and we can’t even fight back.

For example, if you slap a woman (or a kid, God forbid!), you can go to jail. Conversely, if a G.I. Jane type of woman decides to beat you up on a whim and you call the police, you’ll be most probably laughed at and called a “pussy” (a term you can’t use for homosexuals, but when it comes to offending a white heterosexual male all bets are off). It’s even worse with homosexuals. If you shove one who’s maybe provoking you, you’re a homophobic brute, while if a “gay” musclehead decides to kick your ass (which might be actually a best case scenario in such a circumstance ), you’re not only a homophobic pussy, but you deserve it.

Of course, if you hurt a representative of a racial minority (but things may even go worse if minorities become majorities in our countries, I’m afraid), you’re in trouble. And if you’re as unlucky as to be attacked (maybe from behind) by a Jew, you can just hope he doesn’t hurt his hand in beating you, otherwise you’re a nazi son of a bitch.

Anyway, the “pussyfication” of the white male is passing also through the elimination in most (if not all) Western countries of compulsory military service. I’m not a militarist (actually, I was a conscientious objector), but in retrospect I must recognize that through military service common men could learn to fight and use firearms (which could be dangerous for “them” if people decided to resist a police state, for example), and also learn to respect male authority figures, while nowadays kids are encouraged to rebel against them, when broken families even allow their presence in the household.

So we must cling proudly to what’s left of our sexual identity (even if we’re not exactly a cross between Arnold Schwarzenegger and John Holmes ) to avoid succumbing to a Brand-New-World-like scenario of unisex, amorphous and isolated beings, and learn to stand up in every way we can for our dwindling rights.

P.S. I have nothing against homosexuals per se. I’ve had homosexual friends in the past, I cared for them and I’ve even forgiven a couple of them for having attempted to make a pass on me. I think there’s a very small minority of people who are wired in a certain way and can’t help it, and they should have the same rights as anybody else, except to marry in a Church and adopt kids to brainwash into homosexuality, even more than they already are by our gay-friendly society and propaganda. That’s what I question as strongly as I can: the propaganda aimed especially at kids to cross-wire them before they can form a proper sexual identity on their own. And of course Jewish control of such propaganda, if someone doubts it, could be the subject of a next post, after having already exposed Jewish control of pornography, which is another destructive tool used against young and very young people especially.

SPIRITUAL IDENTITY – Materialism is a JPMs' ruse to deprive us of a dimension that goes beyond the material one, which they have (almost?) total control over.

I’m not saying we (as white Europeans) should be all Christian, also because misinterpreted and controlled Christianity has done its part in emasculating us. We can choose any spiritual perspective we want, as long as it empowers us, giving us faith in something that goes beyond the physical plane, and a wider perspective for enhancing our inner, moral strength. But I think that at this point Christianity, being another focus of Jewish attack, must be at least outwardly defended as our official and rightful religion against people who want to substitute crucifixes with menorahs (which is already happening, and I’ll write a post about this soon).

Also connected to this is the belief in the evil nature of man that Jewish propaganda is doing its best (or worst) to convince us to adopt, probably by projecting themselves onto us. I think common white people (and even people of other races, of course, but I’m concentrating on the most endangered species here) are (still) essentially good and moral (although mostly asleep, unfortunately), and that’s why they’re working so hard to convince us otherwise.


In order to regain ground in all the areas I’ve just explored, the first thing I think we have to do is to limit our exposure to Jewish propaganda machines, i.e. the mass-media and other forms of passive “entertainment”.

Television should be watched (but always in moderation) only to debunk media hoaxes, as we do so effectively here. As for movies and tv series, do we really need them? I definitely think we don’t, especially after disintoxicating from them as I hopefully have, after having been a movie buff for decades. Of course there are a few good movies (even Hollywood ones like “The Truman Show”, “Groundhog Day” or “Memento”, for example), and I prefer to watch them over and over again instead of new ones which most probably will only attempt to poison my mind, while tv series are all poisonous IMHO.

As a much better alternative – if we really can’t spend all our free time interacting with others, doing creative things like writing or playing an instrument or just sitting in meditation to quiet our hyper-active mind, which otherwise craves more and more for new things to be occupied with – there are lots of enlightening books (or websites like Cluesforum) to read. They can strengthen our resolve instead of undermining it.

Unfortunately, contemporary music is another very dangerous area, as I’ve tried to at least begin to demonstrate with some of my most recent posts (or posts by others like ICfreely on the “Songs that Expose Truth” thread). I’ve been a rock fan for most of my life (I even play drums, the noisiest and most barbaric instrument of all! ), but recently I’ve come to question this passion of mine too, because even less commercial rock music (I won’t even go into pop music here) is a repetitive (and thus ultimately mind-dumbing) vehicle for mostly negative, disempowering and essentially pro-Jewish establishment messages (including the use of drugs – artificial ones especially – which are generally much more mind-numbing than mind-expanding). And of course it’s been heavily promoted and controlled by JPMs since the get go (here we’ve read about the Jewish managers of Rolling Stones, but even Beatles’ music is said to have been written by Theodore Adorno, for example). There are certainly exceptions, and I’ll be glad if someone wants to point me to them, but so far the most notable one IMO is a band called The Social Service.

Yes, it’s Simon’s band, but I’m not advertising it to do him a favor here. I really think it’s the best example of a band that uses contemporary rhythmic music in an intelligent, refined and thoroughly enjoyable way in order to convey a potentially awakening message. Even those who haven’t listened to it yet can imagine what the message is. But it’s still worth listening to it in musical form.

Since this is a spontaneous “pitch”, I don’t even know where you can get the old Social Service albums (you can ask Simon directly, if you want), which are all excellent. But my favorite is their latest effort, titled “Realitivity”, and you can find it at https://thesocialservice1.bandcamp.com/ ... ealitivity

Otherwise, from time to time I still enjoy progressive rock, jazz and classical masterpieces of course, which are also a way to rediscover our culture before its “Jewification”.

But often the “sound of silence” is the best music you can hear to re-center yourself and nourish your inner strength.


That’s all I can come up with right now regarding things each of us can do on the personal level to resist cultural domination by JPMs, but I hope someone will come up with points I may have missed or with better solutions.

Of course what’s still missing concerns what we can do collectively. But that will be the next, final (and probably most controversial, and also shortest, thank God ) movement in my “what to do score”.

Brace yourselves!

[ICfreely]

Holy Moshiach, Jumpy!

Thanks for posting that Jimmyhardball article. It really struck a nerve with me. Upon reading it I kept thinking to myself, ‘Could Jimmyhardball be my Tyler Durden?’

I sure hope so, IC! We need more men like him

Jumpy,

The following article is right up your alley. It's quite long so I'm only posting the intro. I highly recommend you read it in its entirety when you get the chance.

A Copy of a Copy of a Copy: The Matrix, American Beauty, and Fight Club as Retellings of Pink Floyd’s The Wall
A Sneak Preview from You Do Not Talk About Fight Club: I Am Jack’s Completely Unauthorized Essay Collection

Mercer Schuchardt

1999 was the year that everything changed. It was the year the dot.com bubble burst, a year after the Internet became a mass medium, and the year Entertainment Weekly said all the rules of cinema were reinvented. It was a year of overmediation in one medium and reflection upon that very fact in another.

Entertainment Weekly was calling it the year that changed everything in reference to new special effects techniques in The Matrix and new narrative techniques in films like Being John Malkovich and Run Lola Run. But it was also, in retrospect, a year of incredible movie-making that included films like Fight Club, American Beauty, and Magnolia. I think that no small part of that cinematic greatness came from a merging of two forces that had been gathering steam for the previous century: 1) the increasing tendency of cinema, as both a medium and as a physical environment, to replace the cathedral in its place, purpose, and meaning in daily life, and 2) the increasing fear, loneliness, and alienation that Americans felt as a result of their increased wealth, technology, and supremacy in the post–Cold War order. I believe these two trends collided to create a cinema of profoundly honest spiritual yearning that was surprising, beautiful, and powerful. You could almost feel how powerfully embarrassing it was when, not two years later, the teen-angst satire Not Another Teen Movie created a Ricky Fitts (from American Beauty) parody character dubbed “The Beautiful Weirdo.” The parody character was necessary because Ricky Fitts had been a little too beautiful, a little too honest, and in retrospect many felt like it had to be gotten over quickly. An alternate reaction was the near-instant commodification of the spiritually-yearning movie formula, which produced such transcendent clunkers as J.Lo.’s Angel Eyes, among others.

But still a deeper trend ran through many of these films: instead of a generic spiritual search that the protagonists were put into, three films stood out as particularly revealing in their willingness to address the specific historical moment of our spiritual crisis as it intersected with the family, with mass media, and with gender roles. In order of their appearance, The Matrix, American Beauty, and Fight Club (released between April and October 1999) all dealt in some way with the following three themes: overmediation, fatherlessness, and homosexuality. These three movies both articulate these themes and present them as intricately but often subtextually interconnected. Ironically, these three films also have something profoundly familiar in them when compared to Roger Water’s 1979 classic, Pink Floyd’s The Wall, made into a film by Alan Parker in 1982. If cultural texts come and go like fashion, it was almost as if the three authors of the 1999 films produced their most creative work by unintentionally recreating their favorite movie from adolescence.

All three films, like The Wall, had phenomenal soundtracks. All three films, like The Wall, showed a man fighting a system against which he had no control but towards which he felt incredible rage and anger. And all three films, like The Wall, ultimately dealt with the fact that it was not Big Brother, but rather “big mother” who was watching you, and presented the world as a system in which the psycho-social and psycho-sexual consequences of fatherlessness are played out to the nth degree in the life of the male protagonist.

Each film has its own take on the subject, but in every instance the male protagonist has to fight physically against an overfeminized system as a key to achieving his identity. From a media effects point of view, these films are all not merely fictional manifestations of Neil Postman’s 1992 thesis in Technopoly—that culture had surrendered to technology—but to the idea that the feminine image had so replaced the masculine word that men were beginning to feel effeminate as a result. That the result was either homosexuality, rage, or a combination of the two in the lives of the authors or the protagonists, is telling. A culture-wide technological conditioning of homosexual inclinations, predicated on the absent father and the domineering mother in the form of mass media, may partially explain why Chuck Palahniuk’s Fight Club was so popular. From a marketing point of view, writing a gay novel for a straight audience is a sure way to lose 90 percent of the market, unless the market comes from a culture that has already been feminized. As Weezer sang, “Everyone’s a little bit gay,” and so the story strikes the audience as normal, or even documentary-like, in its presentation of gender and gender roles.
…….

http://metaphilm.com/index.php/detail/a ... of-a-copy/

I'll need some time to properly address your 'Goy Disease' post. Although I get where you're coming from, I have a slightly different take on it. So brace yourself for my peer-review ombre!

Now, off to the plantation I go...

[jumpy64]

Jumpy,

The following article is right up your alley. It's quite long so I'm only posting the intro. I highly recommend you read it in its entirety when you get the chance.

I have just read it, thank you. The premises are interesting and potentially "up my alley" as you say - I particularly liked the idea of the feminine image replacing the masculine word - but then the article becomes overintellectualized and overlong, with its interminable checking lists, and loses its punch IMHO.

I think it ultimately justifies the male feminization process by intellectually brooding over it, without looking neither for causes nor for a way out. Actually, my impression is that the author wants to reinforce the issues he's talking about, by presenting them not really as problems or degenerations, but as mere and inevitable "signs of the times".

In a word, he seems to write from inside the establishment, not from outside of it.

And then forgive me, but his writing style, his qualification as "cultural critic" (which reminds me of the enlightening book by professor Kevin MacDonald titled "The Culture of Critique - An Evolutionary Analysis of Jewish Involvement in Twentieth-Century Intellectual and Political Movements", a must read for anyone interested in the subject) and his German sounding name make me suspicious. I couldn't find any direct confirmation of my suspicions, but I found that he also writes with Jewish authors on Jewish themes a lot. Like Chuck Palahniuk, the author of the book "Fight Club" is based on, who's not listed as Jewish (a site responds to a direct question by saying "no information that he is Jewish") but has another strange sounding name, and wrote a Christmas tale called "How the Jew Saved Christmas" (I'd like to read it, but the title sounds highly improbable).

I wouldn't want to sound paranoid, but I find it frustrating and greatly annoying that people belonging to a different, hostile culture (and not necessarily the ones I just mentioned, because I can't be sure) define themselves only as "American" and mingle with those they consider their enemies to surreptitiously undermine them.

In fact, many even change their names, especially in Hollywood, like so many actors I had always considered "American", like the following (from a partial list I had to get from... a censored website, of course!)

Joey Adams ............................. Joseph Abramowitz
Eddie Albert ............................Eddie Heimberger
Woody Allen............................. Allen Konigsberg
Lauren Bacall .......................... Joan Perske
Jack Benny ............................. Benny Kubelsky
Milton Berle ........................... Milton Berlinger
Ernest Borgnine .........................Effron Borgnine
George Burns ........................... Nathan Birnbaum
Joan Blondell........................... Rosebud Blustein
Joyce Brothers ..........................Joyce Bauer
Mel Brooks ............................. Melvin Kaminsky
Joey Bishop ............................ Joey Gottlieb
Charles Bronson ........................ Charles Buchinsky
Rona Barrett ............................Rona Burnstein
Cyd Chrisse .............................Tula Finklea
Tony Curtis ............................ Bernie Schwartz
(daughter is Jamie Lee Curtis)
Joan Crawford .......................... Lucille Le Sueur
Dyan Cannon ............................ Samile Friesen
Kirk Douglas ........................... Isadore Demsky
(son is Michael Douglas)
Bob Dylan ...............................Robert Zimmerman
Rodney Dangerfield ......................Jacob Cohen
Douglas Fairbanks, Jr. ................. Douglas Ullman
Joel Grey .............................. Joel Katz
(father of Jennifer Grey)
Elliott Gould ...........................Elliott Goldstein
Zsa Zsa Gabor ...........................Sara Gabor
John Garfield .......................... Jules Garfinkle
Judy Garland ........................... Frances Gumm
Paulette Goddard ....................... Paulette Levy
Eydie Gorme............................. Edith Gormezano
Cary Grant ............................. Larry Leach
Lorne Green .............................Chaim Leibowiz
Judy Holliday .......................... Judith Tuvin
Leslie Howard .......................... Leslie Stainer
Buddy Hackett .......................... Leonard Hacker
Jill St. John .......................... Jill Oppenheim
Danny Kaye.............................. David Kominsky
Alan King .............................. Irwin Kniberg
Larry King...............................Larry Zeiger
Tina Louise............................. Tina Blacker
Ann Landers..............................Esther Friedman
(Abigail Van Buren is her sister.)
Dorothy Lamour ......................... Dorothy Kaumeyer
Miehael Landon ......................... Mike Orowitz
Steve Lawrence ......................... Sidney Leibowitz
Jerry Lewis ............................ Joseph Levitch
Karl Maiden .............................Maiden Sekulovitch
Ethel Merman ........................... Ethel Zimmerman
Jan Murray ............................. Murray Janofsky
Lilly Palmer ........................... Maria Peiser
Jan Pierce.............................. Pincus Perelmuth
Roberta Peters...........................Roberta Peterman
Eleanor Parker.......................... Ellen Friedlob
Joan Rlvers .............................Joan Molinsky
Tony Randall ........................... Sidney Rosenberg
Edward G. Robinson ..................... Emanuel Goldenberg
Dinah Shore ............................ Fanny Rose
Shelly Winters ......................... Shirley Schrift
Gene Wilder............................. Jerome Silberman
Walter Matthau ......................... Walter Matasschanskayasky

The last on the list, Walter "Matthau", is the only one I can't really blame for changing his name!

I'll need some time to properly address your 'Goy Disease' post. Although I get where you're coming from, I have a slightly different take on it. So brace yourself for my peer-review ombre!

I look forward to it!

[ICfreely]

I have just read it, thank you. The premises are interesting and potentially "up my alley" as you say - I particularly liked the idea of the feminine image replacing the masculine word - but then the article becomes overintellectualized and overlong, with its interminable checking lists, and loses its punch IMHO.

I think it ultimately justifies the male feminization process by intellectually brooding over it, without looking neither for causes nor for a way out. Actually, my impression is that the author wants to reinforce the issues he's talking about, by presenting them not really as problems or degenerations, but as mere and inevitable "signs of the times".

Exactly! He, like just about all 'intellectuals' just casually dismisses the degradation of society. Is it just the "signs of the times"?

Jigga PLEaZe!

IMO, it's a well coordinated plan to dumb-down the Goyim!

And then forgive me, but his writing style, his qualification as "cultural critic" (which reminds me of the enlightening book by professor Kevin MacDonald titled "The Culture of Critique - An Evolutionary Analysis of Jewish Involvement in Twentieth-Century Intellectual and Political Movements",...

I've sourced The Culture of Critique in the 'Einstein...' thread. It's a great, but limited, book. Limited because he fails to realize Einstein played a BIG role in the conspiracy!

I wouldn't want to sound paranoid, but I find it frustrating and greatly annoying that people belonging to a different, hostile culture (and not necessarily the ones I just mentioned, because I can't be sure) define themselves only as "American" and mingle with what they consider their enemies to surreptitiously undermine them.

Seeing as I've grown up in the most multicultural city, in the most multicultural state, in the most multicultural nation I'm also puzzled by what it means to be an 'American.' Jews are the 1st to criticize every other culture but get butt-hurt when their own culture is even benignly critiqued. Double standard, anyone?

In fact, many even change their names, especially in Hollywood, like so many actors I had always considered "American", like the following (from a partial list I had to get from... a censored website, of course!)

Well, now days Gentiles are changing their last names to Jewish ones in order to break into Hollywood. Oh my, how the times have changed!

As they say, "The town changes the boy [Goy] and the boy [Goy] changes the town."

I've adopted the 'be wise as serpents - peaceful as doves' mentality! I'm keen to Jewish subversion but don't feel threatened by the multicultural 'invasion.' I'll elaborate further in my peer-review of you 'Goy Disease' post. I ask for a bit of patience so that I can properly do so. Fair enough?

[jumpy64]

I've adopted the 'be wise as serpents - peaceful as doves' mentality! I'm keen to Jewish subversion but don't feel threatened by the multicultural 'invasion.' I'll elaborate further in my peer-review of you 'Goy Disease' post. I ask for a bit of patience so that I can properly do so. Fair enough?

Of course, IC, take your time. And thank you for reminding me of the "wise as serpents - peaceful as doves" mentality. There are so many great Jesus quotes that I can't remember them all at once, and lately I had forgotten this most useful one.

Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and peaceful as doves (Matthew 10:16)

Actually, we seem to be in the midst of wolves... in sheep's clothing!

[Starbucked]

I humbly conclude that this flat earth nonsense can be put to rest, finally.

The unmanned Japanese spacecraft, Hayabusa 2, captured a humbling photo of our Earth and Moon in one image. The image was taken on November 26 from 1.9 million miles away as it is in search of a nearby asteroid to sample.

http://www.forbes.com/sites/trevornace/ ... pacecraft/

We all know that Japanese don't lie, with the exception of the men to their wives. RIP flat earth.

[pov603]

Sorry if this is slightly off topic but just came across this:

Leonard Nimoy discussed the origin of the Vulcan salute in his autobiography I Am Spock.[18] As a bit of stage "business" in the episode "Amok Time", he invented the famous "Live long and prosper" Vulcan salute based on the hand symbol used by Jewish priests (kohanim) during the Priestly Blessing in the synagogue. The gesture actually emulates the initial Shin of the Shema (Nimoy has also commented that the "sh" could also indicate Shaddai, or the Almighty; more recently, on William Shatner's Raw Nerve, he associated it with Shekhinah.) On numerous occasions, for example in the 1983 TV special Star Trek Memories (which is often syndicated along with The Original Series), Nimoy recounts how as a child, he peeked during the blessing and witnessed the gesture, although the congregation are supposed to put hands over eyes or turn away at this moment in acknowledgement of the presence of the Almighty

https://en.wikipedia.org/wiki/Vulcan_(Star_Trek)

Those 'Vulcans', so much ahead of us poor normal 'humans' all this time. 'Live Long And Prosper'...indeed...