Friday, October 9, 2015

Guest Post ~ The Media Behind the Curtain, Kevin C. Bennett

The Media Behind The Curtain

by Kevin C. Bennett

Literature isn’t bound by one set of political particulars or another.  Unfortunately, what often ends up happening is that whatever prevailing winds are pushing a country’s sails end up dragging that country ineffably in the direction of those political zephyrs.  And while it’s certainly possible to sail against the wind, it’s often difficult.  There is a way to sail into the wind, however.  You’ve got to angle your sail.  And the same thing can be done in writing.  

The problem is that people are programmable; but this is also the solution.  If you put a virus on your computer, it’ll glitch out and die.  You may deserve it for looking up all that porn, but it’s still inconvenient.  However if you run programs designed by the manufacturer, your computer will run well into its expected lifespan, and may even transcend it if you replace its components rightly.  You reading this are an individual who is probably smarter than the average orangutan; but you too can be easily programmed.  

Have you ever seen those videos on the internet where someone asks you to answer a series of questions honestly with the first things that come to your mind, and then predicts what you were thinking?  How did that pretty stranger know you thought of a carrot!  What witchery is this?!?!  Well, it turns out it’s not witchery, and at the same time it absolutely is.  

Certain questions in certain cultures about certain subjects influence one’s mind a certain way.  If you’ve got statistics and psychology on your side, it is very possible to get a good idea of how people think and behave.  A great example is Betty Crocker in the earlier part of the 20th century.  The “just add water” cake mix wouldn’t sell.  It wouldn’t sell even though women’s suffrage was nearing a zenith, and it was an inexpensive, time-saving option.  Why wouldn’t every woman in America want some cheap, time-saving, delicious Betty Crocker cake-mix?  So the ad execs consorted with fringe elements, somebody apparently stumbled into occult knowledge about the programmability of human beings, and they found a way to sell Betty Crocker cake mix.  What they did was introduce three small, simple little words to the box: “Add One Egg.” Betty Crocker cake mix suddenly started selling faster than just about anyone could have predicted.  

Now occult thinkers would have you believe that on a subconscious psycho-sexual level, women equate eggs with the womb, fertility, and that genre of psychology.  Thus, when the fertile symbol subconsciously emphasizing human femininity was introduced to the box, the women then purchased the Betty Crocker mix.  This is called “archetypal” reasoning, and depends on the idea that mankind is engineered in such a way that certain “archetypes” affect him at the subconscious level.  Consider a square.  A square is an archetype of a cube.  A circle is an archetype of a sphere.  And apparently an “egg” is an archetype of the womb.  While I don’t disagree that mankind was created—was engineered—with certain psychological presets, I doubt much of the occult world’s interpretation of this reality.  Here’s a perfect example.  The song “Shoe fly, don’t bother me; shoe fly, don’t bother me; shoe fly, don’t bother me—skip to the loo my darlin’!”  Made no sense to me as a child, and then I thought I understood it.  I thought: “Ah!  A sneaker with some little fly’s wings buzzing it around the room.  It’s a shoe fly!  Well, that doesn’t bother me; now I’ll go skip to the bathroom.”  In reality, it’s a song about a man dancing to the left (loo) with his girlfriend; and how the flies can’t even distract him because his love’s more important.  I think this is the difference between how occult thinkers rationalize the knowledge they’ve gained, and what that actual knowledge represents.  They think there are a bunch of shoes flying around, and there’s no reason to be bothered about it as you go to the bathroom, darlin’; when in reality something entirely different is going on.

The other mode of thought as to why the Betty Crocker cake mix sold so well after the introduction of the phrase “add one egg” is one I happen to think more likely.  Adding an egg was a single step which allowed women to feel as though they’d put something of themselves into the cake mix.  Especially at that era of American history, women liked to feel as though when they were cooking, they were putting love into what they made for their family; not cheapening it with a time-saving mass-produced fluff option.  The addition of one egg fulfilled this need.

Either way you slice it, human beings have a psychologically programmable capacity, and big corporations have been using this capacity to control people for decades.  From McDonald’s to Burger King, T-Mobile to Google, Apple to Microsoft and Trojan to Mountain Dew, big corporations use similar subtle programming techniques to induce thin-minded people into purchasing their wares.  As a result, corporate interests have found mankind can be manipulated in such a way as to ensure his continuing purchase of a certain type of product for no good reason.  

Consider Barbie dolls.  Why do you need more than a couple, max?  I’m no pre-pubescent female, but I had transformers as a young boy, and I think that’s a good analogue.  Why do you really need more than one or two of them?  Because they look different?  But what are those differences, really?  So Beach Barbie has a different bikini than Kitchen Barbie.  Bumblebee is a little smaller than Optimus Prime.  But they’re both robots that turn into cars.  And the Barbie dolls are both plastic miniature mannequins that can be positioned in a variety of poses, but the accessories don’t change the object’s core.  Yet some people go out of their minds trying to collect all the Barbie Dolls.  Or all the transformers.  Which is ludicrous, because with a successful toy lineup, you’ll naturally have continuous reboots and innovations as the brand name gains momentum.  But people collect everything anyway.  

Then you get into guns, and you realize most over-enthusiastic gun owners are a lot like collectors of Transformers and Barbies; it’s just that their toys are a little more lethal.  Still, if you’ve got one or a couple, why do you need a whole basement full?  Is there actually going to be a zombie-vampire apocalypse?  I’ll admit, I have a healthy skepticism as to the spotless nature of our government; but I don’t have a basement full of assault rifles because of it.  But I collect things of my own. 

In any event, Hasbro and Smith & Wesson, PlayStation and NBC and Fox, and MGM, and United Artists, and Disney, and Barnes and Nobel, and Wal-Mart, and Target, and Safeway all have some startling facts in common: they rely on the programmability of human beings to maintain their bottom line.  

The same can be said about Hollywood and the mass media in general.  There’s a reason school shootings, violence, pandemics, vaccinations, rapes, murders, kidnappings, bombings, and stock-market crashes are all you tend to see from the talking heads: they are programming us with an illusion that seems to venerate their own pointless existence.  Really they’re flies on a hot summer day; they’re an itch in the back of your mouth, they’re a dog barking in the distance or a child crying on an airplane.  In a word, they’re distractions.

The thing about distractions is, they’re distracting.  The mainstream media teaches us to follow opportunistic impulses into purchase decisions that facilitate greater naïve thinking, and thereby greater impressionability.  This trend is heading upward, not downward.  One of their most successful platforms for such propaganda stems directly from the mainstream media.  From sensationalism to outright lies, there is a reason consumer trust steadily declines in this area almost daily.

But it isn’t only the bobble-headed news anchors.  Let’s just take a peek at Disney.  Walt Disney had a bad relationship with his father and was likely molested as a child.  He was also a Free Mason until he died and had his head cryogenically frozen, and every movie that comes out of a Disney studio has some subterfuge Luciferian element. Pinocchio, for instance.  Pinocchio, who is visited by the Blue Fairy.  

Blue is often attributed to extraterrestrial abductions; but then according to the Bible, extraterrestrials are actually extra-dimensional infernal entities.  (See: “Return of the Nephilim”, by Chuck Missler) On the other side of that, a fairy is thought by many scholars to be rooted in real happenstance.  What if fairies, ogres, elves, giants, centaurs, pegasuses (pegasi?), satyrs, and demi-gods were based on real entities that lived on this planet at some time in the past?  And these “mythical creatures” are all we have to remember them by?  Certainly electricity seems magical to remote South American tribes.  Wouldn’t they call it man-lightning or something as mythical?  Meanwhile we in America have grown a human ear on a mouse in the laboratory.  Wouldn’t that seem magical to the remote tribe as well?  And what if man’s DNA were cogently mixed with that of a horse…?  Might not a centaur hybrid be a possibility?  What if our ancestors found a way to mix genes in such a way?  If you watch Pinocchio with this information in mind, suddenly the Blue Fairy looks a lot less like some benevolent magical creature, and a lot more like a malevolent subterfuge wrought from hybridization and meant to inculcate familiarity in an unsuspecting viewer for one reason or another.  Maybe the familiarity an unknowing child would have if visited by reality’s analogue to such an entity.  Wouldn’t a five year old have trouble differentiating between a blue angel-like demon, and a fictional blue angelic fairy?  

So this ET-looking indigo Demon tells Pinocchio to complete some ludicrous quest which involves leaving parental authority in order to become a real boy.  In brief, Pinocchio is instructed by a demon in blue on how to “work his way into heaven”. 

Working your way into heaven is the key difference between Christianity and all other religions.  Christianity says salvation comes by the Grace of God, Christ who died and rose again, through your faith.  That’s it. There’s no way to work your way into being a “real boy”; it’s a gift that’s freely given and must be freely taken, but salvation isn’t through works lest “any man should boast,” as the Bible says.  But from Catholicism to Islam, Buddhism to Hinduism, Scientology to Mormonism, Jehovah’s Witnesses to Unitarians, Secularists to Evolutionary Theologians, Existentialists to Nihilists, Luciferianists to Satanists and every religion in between, the mandate is to “work your way” into “paradise”.  

See, that’s what the Blue Fairy has told Pinocchio in the film.  So the dumb blockhead heads out on a quest to do exactly that which cannot gain him access into true reality, or “paradise”: work his way into heaven.  

Scripture is clear that the entire creation “travaileth” from the sin of man.  But people misunderstand sin.  Sin is merely this: imperfection.  The Greek word is “Hamartia”, which means “to miss the mark”.  Literally, sin is being mortal.  It’s tripping on the sidewalk, it’s bumping your head or cussing in front of a child.  People think of sin as premeditated evil; but the truth is, mankind is so imperfect, that’s enough.  But imagine that mankind wasn’t this way at one time in his history.  Before the fall in the garden, when the blue fairy serpent told Eve to eat the fruit and work her way to godhood.  Poor Eve and Adam, poor Jiminy Cricket and Pinocchio; out on a useless quest from the lies that come of a demon masquerading as an angel of life.

So Pinocchio is gone—poor Geppetto and the family cat must go find him; and since they’re incompetent cartoon characters, somehow everybody gets swallowed by a whale.  Now all which has happened so far is directly Pinocchio’s fault, you remember.  But then they’re sneezed out—because Pinocchio manages to work his way out of the hell of a whale belly with a “fiery” solution, and Pinocchio becomes a real boy from the magic of the blue fairy without ever having to apologize for the actions which nearly got his father killed, or even acknowledge the fact that his entire quest was unnecessary and wouldn’t have happened if he weren’t disobeying the best wishes of the authorities around him.  But “when you wish upon a star”-- read “pray to demons”--your “dreams come true”.  And you can’t always let your conscience be your guide!  If you’re addicted to weed, your conscious has no problem letting you buy another bag.  The thing is, over time your conscience will become polluted.  It’s not some anthropomorphic cricket!  And let’s not even get into the cigar-smoking and the jackass human/puppet/hybrid transformation shenaniganery.  

Aladdin also has a blue fairy of sorts start granting him materialistic wishes which culminate in everybody living happily ever after despite stealing from and lying to the closest people in their lives, and also involves a fair amount of human-animal hybridism.  Ariel runs away from her father—the hybrid’s in the fish/too-hot-for-prepubescent-children-teenage-girl-body combo in The Little Mermaid.  But her running away doesn’t get her in any kind of trouble; oh no!  After she consorts with a demonic witch-woman for a magic spell, she smooches some royal so-and-so who is willing to marry her without having ever had a conversation with her while the perverted Papist priest reads marriage vows with a hard on.  And then with a kiss, Ariel transcends her original self and lives happily ever after.  Or what about Simba killing his dad, getting a girlfriend, and inheriting a kingdom?  Last time I checked, everybody died in Shakespeare’s HamletLion King sure took some liberties.  Or Beauty and the Beast, where Belle has to learn to love a literal beast; a freaking animal, and that by changing her ability to feel love toward this creature, it will transform into a prince.  You’ve got the whole “love makes the world go round” song in The Sword and the Stone; need I go on? 

Are you seeing a trend?  Even if you discount the Lucifarian conspiracy theories, every Disney movie at its core is about children, or young protagonists with whom children identify, knowing better than their parental figures, and living happily ever after despite deliberate disobedience to those authority figures; often for reasons of a pseudo-sexual nature.  

This is how you get sex kittens.  Because where is the “heart” most often followed, but by young hormonally drenched teenagers that realize someone of the opposite sex might bump uglies with them if they play their cards right?  But then reality intrudes, there’s either a pregnancy, an STD, a harsh breakup, or some other awkward adolescent mishap.  Subsequently substance abuse follows suit, and soon Britney Spears shaves her head; and so do a good portion of her dedicated fan-base.  Or Miley Cyrus becomes a hip-gyrating super-slut that’s made twerking human anatomy like some kind of canine in heat somehow fashionable.  Or what about Shia Labeouf, hitting it big with movie fame then taking a ride on the crazy train?  Every one of them is a Disney kid.  Every one of them has been spun out by the programming.

Disney isn’t alone in this exact type of programming, either.  Throughout Hollywood and the conventional entertainment industry, people are fed solid lies about reality so subtly that unless someone were to come point them out to you, you’d never notice—but it’s exactly the same shenanigans as the Betty Crocker business earlier.  

Have you ever seen the television sitcom Friends?  In Friends, four late-twenty, early thirty-something friends work minimum wage jobs and live in mid-level income apartments in New York City; somehow having ample time to get into hilarious hijinks of the upper-middle class variety on a weekly basis.  The size of those apartments, the amenities, the location—all of those things are without conventional Americans’ price range; even if you’re doing well. Yet watching friends, all that seems like something easy enough to be taken for granted against a cadre of ephemeral materialistic plots which invariably encourage a self-centered morality.  

Or look at Two Guys a Girl and a Pizza Place; where an apartment in the middle of a city is kept by three folks working minimum wage; or Seinfeld, where a guy like Cosmo Kramer can run around being crazy and still live in a high-rise apartment complex.  Where is he getting two or three grand a month from?  And how does he eat

A lot of these shows are great, and entertaining—hey, I watch ‘em too! But the fact of the matter is, most of them inculcate subtle programming into those who watch them, such that you’re ultimately led one direction or another.  You start thinking things without your price range should be had by you and taken for granted.  Then you start “Renting to own” various pieces of equipment.  You mortgage a house when you should be in an apartment, or sharing rent.  Maybe you finance a car, or the tires on said car.  The media encourages us to keep up with the Joneses in ways we don’t even realize, and then we start getting ourselves in debt.

One place where this kind of expectational programming has been happening pretty much unchallenged over the last hundred years is in the realm of Science Fiction.  Where are the flying cars, you ask yourself?  Where are all the space colonies?  Why can’t I take a starship to the planet of the Jade Lightning with Captain Kirk, Luke Skywalker, and a cadre of Vulcan Klingon Ewok Jedi?

Many Sci-Fi writers vie with the ideals of guys like Aleister Crowley, or Jack Parsons.  Robert Heinlein even knew Jack Parsons personally.  For those of you who don’t know, Jack Parsons was a Luciferian Rocket Scientist at JPL (Jet Propulsion Laboratories) studying Thelema under Aleister Crowley, who thought he was the anti-Christ.  Parsons blew himself up in his LA house sometime in the fifties.  Or he was killed.  In any event, Parsons was hoodwinked out of a girlfriend and some cash by L. Ron Hubbard, of Scientology fame, and that’s just an entirely separate can of worms.  The point is, most science fiction—indeed, that from quarters often equated with “grand mastery”—comes from occult philosophy which has dominated not only that literary market, but most of the mainstream media.  This is the “prevailing wind”, and that which is currently pushing the ship of society.  There’s no way to fight directly against that wind; but by turning the sail at an angle, we can ride in the direction from which the wind comes despite its strength. 

It’s my goal as a writer to undermine the occult philosophies which subtly intersperse modern media from every echelon.  Video games are not exempt—played Final Fantasy recently?  In FFVIII, you might have cast an ice spell with Shiva, or you might have zapped some people with lightening via Quetzacoatl.  Or you could even have burned your enemies out with Ifrit.  All those words are either mythical beasts from religion or some other tradition which attributes those beasts to gods/demons/angels.  Sephiroth from FFVII is a term which comes from the Jewish Occult, Kabbalah.  See what’s going on? The games are softening you up subconsciously.

I know why.  I’ve discovered the reason.  I understand the fabric which makes up the matrix, and you can too.  That’s one reason I wrote “The Thief and the Sacrifice”.  It’s an antediluvian novel which is a tour de force of the pre-flood world as indicated scripturally.  Ecclesiastes 1:9 says: “The Thing that hath been, it is that which shall be; and that which is done is that which shall be done, and there is no new thing under the sun.”  This means mankind went to space before the 1960s, according to the Bible.  For “there is no new thing under the sun.” 

Modern television talks about ancient aliens, but there’s an entirely different mode of thinking which matches reality on that subject.  And it, too, acknowledges the ancients had advanced technological capabilities.

The world in which we live, and that which we see in this world, may not be the same.  I want people to understand this.  I want to open those doors, and see a society that operates as it should; not as it’s been manipulated.  The Thief and the Sacrifice is all about that kind of thing.  If you’d like a read that’ll blow your mind out the back of your head, give it a gander.  And then maybe you too will be inspired to open people’s minds to the truth.  

Mankind is a city at the base of a volcano.  The volcano is going to blow any minute, but we are all gathered in a stadium, asleep, distracted, and dedicatedly ignoring our impending doom.  Around us dance the phantasms, sprinkling pixie dust to keep us dreaming through the Disneyland of Americana, or the technological futurism of Japaniworld, or the multicultural spice of the Punjabi-Prime.  But the mountain is shaking, and it’s time to go.  Won’t you open your eyes past the pixie-dust lies?  Won’t you join the ranks of those running up and down the aisles, awakening the sleepers so they may escape the fire?  But not everyone can be aroused. 

The Thief and the Sacrifice on Amazon:  

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