"Political language—and with variations this is true of all political parties, from Conservatives to Anarchists—is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind.... Who controls the past,' ran the Party slogan, 'controls the future: who controls the present controls the past.'" —George Orwell
Gerald Celente gives an accurate analysis and prediction of what is coming to America, along with a clear summary of the historical circumstances leading to our national demise. What he felicitously avoids is fingering the actual culprits. This is routine practice with the intellectual elite. Even if they are exceptionally brilliant and honest in their chosen professions, they invariably fail to understand the spiritual reality of the forces involved, nor do they have even basic acquaintance with the spiritual realm that has total control over what happens on Earth.
Celente is, in my opinion, in the top rank of knowledgeable analysts. However, what he's refusing to acknowledge or even consider in his analysis is what all other economic materialists lacking spiritual knowledge. Everyone whose education and wisdom derives solely from the learning and teaching of man, no matter how vast their research and reading, is invariably blind to all reality. ("Let them alone: they be blind leaders of the blind."--Matthew 15: 14) Note that throughout the interview, the accusatory finger is firmly pointed elsewhere when it comes the evil culprits that have brought about the present economic catastrophe. It couldn't possibly be that average Americans, in their selfless compassionate goodness and wisdom, unerringly guided by their chosen corporate wall street deities, television guru/priest, or psychoanalyst dispensing pharmaceutical panaceas curing all their afflictions, have brought this "hell on earth" down upon their own heads.
The word pharmaceutical is itself derived from the greek pharmakeia, which translated means drug-related sorcery. The culprits are easy enough to identify. They're the people watching the various financial prognosticators, all trying to get some angle on where to place their investment money, should they have any to invest. They're also the people taking massive doses of media entertainment/fake news and whatever drug or combination of drugs of choice that smooth it all out in one way or another allowing them to exist in tranquility inside their own private social network fantasy enclaves. The prevalent magical belief is that the current gang of corrupt military industrial congressional media corporation complex was imposed on us by dastardly outside agents. It couldn't possibly be they've been voting into office over and over again for half a century, no matter how glaringly criminally corrupt they prove to be the minute they take office or re-take office, as the case is in this instance. And this magical belief is just as much prevalent throughout the intellectual elite as it is throughout the "conservative" voters watching women mud wrestling.
This is true in the sense that the same corrupt regimes have been elected year in and out for centuries, and not "since the greatest generation" who won World War II. Just take a look at the enshrined truth that America won World War II by defeating the Germans, Japanese, and Italians. This is the falsehood that currently fuels the American insanity that with our credentials as the mightiest nation of warriors on the planet, we can easily take on the combined nuclear power and massive industrial resources and armies of Russia, China, and North Korea, along with the countries in the Middle East, southern Americas, and throughout the world currently aligning with who will be the obvious victors of this catastrophic war.... should Americans fail to re-orient themselves to basic material reality. I do not see the least sign that they have even begun this process of re-orientation. This is due to the simple reason that they were never oriented to basic human reality in the first place.
Firstly, America did not win World War II. If a single country were absurdly to be chosen as victor over Adolph Hitler, that would be Russia. The Russian people were the ones who captured Berlin. America's immediate declaration of war against them, along with sheltering the murderous Nazi gestapo and scientists by providing them safe passage to the Americas, . They were the ones who bore the enormous losses suffered with the invasion of their country by their "ally" Germany. And this might be taken into account by Western thinkers like Celente and others when considering why Russia isn't going to allow a re-armed Germany and other countries another chance at destroying them. This is where the objectivity of Western (American\European) analysis breaks down through undetected confirmation bias. Brilliant thinkers like Celente, who can understand the obvious myopic blundering of the American military in Vietnam, Iraq, Afghanistan, and now China (as laid out in his summary above) can't clearly see that the same myopia applies equally to our blundering into nuclear showdown with Russia.
The confusion and errancy in their thinking comes from the complete lack of awareness of the operation of spiritual forces, along with the reality that the Earth is ruled by Satan at the moment, not God. "Now is the judgment of this world; now will the ruler of this world be cast out." (John12: 31) I can well understand why the intellectual classes would continue to not understand this. They are entirely under the spell of the evil one himself in their worship of both the false idols of money and of its companion the false idol of science. Both of these beliefs appeared and blossomed into the Renaissance "Enlightenment", who were the originators of wokeness. The first founding father of the nation himself, who Celente depicts as the source of all wisdom and genius, was symbolically installed as God himself int he Capitol building. The city itself was designed along Freemasonic principles and design by the Frenchman Pierre L'Enfant . The phallus of Osiris is represented in the Washington Monument.
The cornerstone of the Capitol building itself was laid by George Washington, in parody/mockery of Jesus Christ, who is the cornerstone of God's earthly kingdom. George Washington, along this his surname being used as the name of the capitol city, is being enshrined as not only the nation's "Father" but as God Almighty. The US Capitol is not just another government building. It's the spiritual center of the United States. George Washington was a 33rd degree freemason. And the Capitol building was designed by Freemasons as a declaration of the building as the temple/devotional shrine of their religious beliefs.
The fresco painted on the ceiling of the rotunda inside the Capitol in 1865 is titled "The Apotheosis of Washington." Brumidi was a Vatican painter. Vatican being the city where the first Jesuit Pope is currently enthroned as the head of the one world religion, which unites Christianity with all the other pagan religions on earth under one head.
Not nearly as exciting as Michelangelo's heretical version. Why is Michelangelo's portrait of God heretical? Exodus 20: 4-5 says: "Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, the earth beneath, or that is in the water under the earth. Thou shalt not bow down thyself to them, nor serve them: for I the Lord thy God am a jealous God..." This is the second commandment of God given to Moses. The first and greatest commandment as Jesus said (Matthew 37-38) reads: "And God spoke all these words, saying, 'I am the Lord your God, who brought you out of the land of Egypt, out of the house of slavery. You shall have no other gods before me."
The second commandment follows both logically and ineluctably from the first. If God had allowed every self-empowered Roman to make images of God, then what is there to stop every Tom, Dick and George Washington to have their own images as God Almighty painted on the ceiling of their own personal shrine in a city named after them no less? On top of that the American Capitol dome painting is a kind of cheesy rip off version of the baroque artist Tiepolo who painted his masterpieces a century before him. One thing that can be clearly seen studying art history with an eye to quality is that it's a steady downward slide from the Renaissance, when man decides that God is not just irrelevant to the profession of artist, he's actually a hindrance who needs to be jettisoned so that artists can get on with the job of exploring their deepest psychosexual traumas and desires. Brumidi was learning to copy these "old masters" during his student days at the Academy of St. Luke where he studied for 14 years. Talk about a slow learner.
While so many Americans are under the mistaken and misguided notion that America is a Christian nation, this simply isn't the case. America is a pagan nation. Freemasonry is a pagan religion. Deists are pagans. The first five leaders of the church of Latter Day Saints were Freemasons. Mormons were just one of the astounding flourishing of New Age religion, complete with polygamous harems that were typical of the 60s new age groups of the 60s. Calling this Christianity is obviously absurd. in the same way calling the Freemasons who designed their Capitol city with Egyptian Gods worshipped at its center and named after their own secretly anointed and proclaimed deity. George's ancestry traces back his royal bloodline to who else but a lay abbott in 11th century Scotland, Crini "the Thane" of Dunkeld.
These facts are all "hidden in plain sight", which is a central principle of freemasonry. They're easily available with simple google searches, both to the point of finding pdf files of 19th century texts, along with information like that on Washington's family history and so on available on Wikipedia. Historians, particularly of the leftist variety who are the current pagan rulers of the American universities system, can do all the pseudo-intellectual posturing they want blathering about "crazy right-wing conspiracy theories." The so-called Christian conservatives, most of whom are anything but conservatives with their trillion dollar deficits to the moon, can as well. But the literal fact resolutely remains that design of Washington, DC and the shrines themselves weren't constructed by either whimsy or accident No more than Vatican City or Chichen Itza were. And the ancestors of the two-party system were not serving the "people," any more than the Founding Fathers were serving the "people". And all the ridiculous rhetoric about power to the "people" from multimillion dollar corporate rockstars on stages inside stadiums named after as well as festooned with the logos of the actual masters being served couldn't be more painfully evident.
Political or military commentators, like astrologers, can survive almost any mistake, because their more devoted followers do not look to them for an appraisal of the facts but for the stimulation of nationalistic loyalties.—George Orwell
How much more obvious does the fact that America long ago ceased to be a Christian nation, primarily because it was not conceived by the men who founded it as one? How much longer before Americans will take a deep look at their own historical origins along with their current public and private behavior, and then see the truth George Orwell points out in the quote above? What kind of "Christian" nation would have a capital building with a mortal human being painted on its ceiling as the Father of the nation? What kind of "Christian" nation would create "monuments" representing Egyptian deities Isis and Osiris as the foundation center of their nation? The truth is self-evident.
One thing that identifies America today as fully immersed in pagan belief and ritual can be seen on any social network stream. And where did all this "passion" for art that now engulfs everyone at every coffeeshop and shopping mall selling art, t-shirts, mugs, dragons and dungeons juvenilia to aspiring magicians, witches and wizards arrive from? It was all but entirely absent from any city other than a handful of "art capitals" up through the early 1960s. And right up until this overnight explosion in 1968 the only the only American City that might claim for itself avant-garde status along with primacy was New York. As late as the mid-1970s, the notion that a Saturday Evening Post illustrator like Norman Rockwell was a real artist, much less a significant genius for the ages, would have been considered laughable in any self-respecting art school. It would have been unimaginable that in the year 1995, an adult porn ("underground") comic artist would be called the Peter Brueghel of the 20th century by the standard Time magazine art critic blowhard named Robert Hughes in the documentary "Crumb". And that this would magically catapult Crumb into museum retrospectives in art capitals all over Europe starting in Cologne, Germany in 2004. Naturally, this was part of the established fact at this point that American comic book artists, through the incredible progress in human evolution and intelligence and artistry have eclipsed all their own American artist predecessors, not to mention the entire Renaissance.
My point isn't to ridicule or show scorn for the achievements, such as they are, of the endless flood of juvenilia onto social platforms both public and private. My point is that Hughes' characterization of Crumb as the equivalent of Pieter Bruegel or any other European artist of the 16th century is complete hogwash. If Hughes actually believed this he was an utter moron, along with any of his other colleagues who went along with this ridiculous lie. The New Yorker illustrator Saul Steinberg was at least honest about what business he was in: "The art world is like the pimp world." Steinberg is of note because his generic '50s New Yorker cartoons were selected by the New York art critic Harold Rosenberg to be singled out as singular works of artistic genius to rival Michelangelo and presumably surpass Jackson Pollock, since Steinberg was indeed part the wave of the Pop Apocalypse that began with the Neo Dadaist nothingness of mass reproduction and art hype.
Why is the characterization of Crumb as the equivalent of Pieter Bruegel complete baloney? For one thing, Crumb isn't enough of a competent draftsman to even copy accurately a Bruegel painting. much less does he have the imaginative depth to dream any of them up in his mind. Secondly, Bruegel was not a pornographer drawing pictures of himself or cartoon animals sodomizing fantasy women or other cartoon animals. Thirdly, Bruegel was a Christian artist and his works derive all their meaning in relationship to Christian theology. Crumb was not only nothing close to equivalent to Bruegel in the 20th century , Crumb is the direct opposite of Bruegel. Crumb makes this transparently clear in his Book of Genesis, which is a pornographic mockery of the Old Testament. It doesn't just tediously expose the extreme limits of Crumb's overhyped artistic genius, it completely lacks all the invention and visual energy of the earlier comics.
But it does something else as well, and this is what's of the most interest. As Crumb said in the documentary, all his visions, characters and convoluted sexual fantasies came to him under the influence of LSD. Just as, at the same time, LSD was having precisely the same "inspiration" on musicians like Jimi Hendrix, Jimmy Page, Bob Dylan, Jim Morrison, Lennon/McArtney, Brian Jones, Brian Wilson, Brian Epstein, Syd Barrett, Charles Manson. And, of course, the writers/poets/gurus Ginsberg, Kesey, Cassidy, Watts, Ram Dass.
A person listening to the music, looking at the art, reading the words and combining that with the violent mayhem and anarchy ushering it in would have to be willfully ignorant not to realize that all of this "art" arriving full-blown at exactly the same time was from exactly the same source. There's also the elephant in the fact room that many, if not most were perfectly candid about their commitment to idols and occult practices of all sorts and methods including blood sacrifice and Satan worship along the lines of Aleister Crowley. Crowley is shown in the collage on the cover of Sgt. Pepper's along with an array of other patron saints of the permanent countercultural avant-garde revolution.
There's long been this tendency for each successive generation to be looked at with disdain by the older generation. There's little sense today that the '68 revolutionaries were retro to begin with. And the retro versions were notably inferior to the original versions that were being either unwittingly parodied or completely dumbed down through lack of any deep understanding of the original. Read the lyrics to a song like the Jefferson Airplane's "White Rabbit" along with it being a sophomoric copy of Ravel's Bolero. Note that I'm not criticizing the Airplane's music abilities. After all they were in their mid- 20s when they hit the big time. And we can't all be Maurice Ravel. The comparison is simply to point out the enormous decline in vision and achievement from the beginning of Modernism in late 19th century Paris to its graveyard in global cyberspace via the 60s global hippie music and art revolution.
I'm also indicating that Modernism's death was a foregone conclusion, seeing that its birth took place in decadence, death obsession, sexual depravity/disease, cultural appropriation (colonial ripoffs of authentic aboriginal work), and mental illness. Bohemian fin de siecle Paris was the collapse of the megalomania of Romantic Art, which was the birth of the cult of personality. Maybe the best way to look at this work I'm doing is a revisionist history of the crackpot revisionist historians of the counterculture. It's not an attack so much as an appeal to common sense and reason. Let me put it this way: Just because the Museum of Modern Art declares a urinal a work of art, that doesn't make it one.