Though, those that rule over the masses may wish for you to be fearful, you have nothing to fear. The world is not a dangerous place, though that is what the ruling elite family of the Rothschild’s wish for you to think.
Remember, these televised crisis events are psychological in nature-black magic spells to direct the flow of mass human consciousness.
Don’t be suckered into the vortex of their elaborately and geometrically concocted spell, or as the Sandy Hook character Doctor Wayne Carver said at his infamously comical post-event press conference, ‘magnificent thing’.
In this installment, one shall learn the origins of these theatrically displayed crisis events. The concept of public theater to advance political and social agendas is not novel nor a recent development in the twenty-first century, but has existed for five-hundred years.
Rather than respond with fear, the only way to break the spell is to respond with love. Turn to those around you-friends, family, co-workers, even strangers in your communities-and tell them, in whatever manner you wish, that you both love, and cherish their presence in your life. Remember, those ruling over you only do so because you surrender your inherent power and energy to them in the form of work, taxes, and the reception, investment, and surrender of their debt paper dollars. Those sitting on the thrones of the mighty only continue to retain their lofty positions because you let them. Now, more than ever, we must not succumb to fear and mistrust among ourselves, for that is precisely what they want. Rather, now is the time to remember, that it is they who are fearful, undisciplined, deceptively weak, and believe in nothing, save retaining their own vast wealth and power, at any and all costs. Now is the time for all of us, to start believing in ourselves, to start believing we can live in a world, without them ruling over us.
The mainstream reporting of this event, as usual, was rife with both the common denominators of numerology codes and symbolic markers:
“Breach, breach, breach.” = 111, or 137 (33rd prime number, also 66, or 666, 303, or 696 flipped in the mirror of reflection to the speed of Saturn, or the fullness of time, 6.96 km per second). The New York Times claims there were 23 weapons found in assassin Stephen Paddock’s hotel room= 2 3’s, or 33, the highest degree of the Scottish Rite of Freemasonry. Also, the numbers of dead and wounded quoted by the New York Times are coded with numerology, 59 killed=14, or double 7 and 527 injured=77, or 14+14=28, or 2 8’s=88, or Saturn, which symbolically represents the fullness of time. Saturn represents a Jesuit reference to the suns astrological wheel, or complete zodiac cycle travelling through the heavens.
The Jesuit order are secret worshipers of the sun as indicated by the symbolism of their emblem of a burning orb. Ironically, the news networks, and government agencies involved in staging this event, may not even be aware of the significance of these numerology and astrological markers. After all, they are merely servants, doing what it is they are told, and if pressed, would most likely rely on the standard Nuremberg trial justification, “I was only following orders.”
88, the mark of the Jesuit order
Throughout the centuries, the Jesuits have demonstrated their mastery at staging public displays of theatrical spectacle to advance certain social or political agendas. The Jesuits are not, as popularly believed, an ecclesiastical priesthood, but rather a secret military order. Only, the type of war the Jesuits practice, is not fought on an open battlefield between armies armed with tanks, guns and bombs, but fought on the battlefields of the masses collective subconscious and conscious mind.
The men of the Jesuit order are Gnostics, and believe that the elite of mankind has been elevated to the level of demigod. The Jesuits believe they are numbered among the exalted, the illuminated, and by virtue of this self-conception, believe they have the divine right to control other men believed to be below them in stature like mere pieces on a chessboard.
The world is their stage.
They have written the history books, and teach the lessons in all the prestigious universities and pubic schools spanning the globe. However, the Jesuits recognize that within the duality of good and evil exists free will, and that one must be allowed to choose to serve one or the other. Part of their philosophical creed is the concept of mirrored reversal, that black is white, Satan is god, and evil good. It is this concept, they utilize as part of their psychological warfare upon mankind, in order to bypass one’s power of free will, and trick mankind into following their distorted creed. One of their most effective tools, has been the concept of theater through the artistic disciplines of opera, Broadway plays, Hollywood movies, network television, and the music industry. Crisis events, or what used to be called crowd artistry or street theater, has become yet another lethal weapon in the Jesuit arsenal of global psychological warfare. But, the Jesuits deftly brilliant development of modern theater as we have come to know it today, started centuries ago, during the era of William Shakespeare.
Jesuit drama, scripted programs of theater developed for educational and propagandist purposes, began in the colleges of the society of Jesus during the 16th, 17th, and 18th centuries. Cultivated as a medium of disseminating Roman Catholic doctrine, drama flourished in the Jesuit schools for more than two-hundred years, evolving from modest student exercises to elaborate productions that often rivaled the contemporary public stage, both in polish and technical skill. The earliest recorded performance of a Jesuit play was in 1551, at the newly founded Collegio Mamertino at Messina, in Sicily. In less that twenty years, plays were being performed at more than a dozen of the new Jesuit colleges springing up in cities across the continent, including Rome, Seville, Cordoba, Innsbruck, Munich, and Vienna.
By mid-seventeenth century there were nearly 300 Jesuit colleges in Europe, and in almost every one at least one play was given each year. Originally, plays were to be pious in nature, expressing true religious and moral doctrines; they were to be acted in Latin, decorously, and with little elaboration; and with no female characters or costumes were to appear. All these rules were relaxed or revised as Jesuit drama evolved. Favorite subjects came from biblical histories , the lives of saints and martyrs, and incidents in the life of Christ, but Jesuit playwrights drew upon material from pagan mythology, ancient history, and contemporary events, all reinterpreted in terms of Catholic doctrine.
The Jesuits are masters when it comes to hiding the esoteric nature of their creed in the exoteric, or concealing obscure secrets within those mainstream doctrines that have become familiar to the common man.
Dramas were frequently performed in the national languages or with vernacular prologues that explained the Latin text. From that point on, Jesuit plays became increasingly elaborate, and their stagecraft kept pace with all the newest technical developments of European theater. Music, of course, became an important element in most Jesuit plays, ranging from simple songs to works that called for a large orchestra and chorus. The elaborate musical productions of Austria and Southern Germany reflected the influence of Italian opera as well as the long tradition of music in the church. The colleges of France even introduced ballet in their performances. The extravagance and luxury of many of the Jesuit productions became enormously expensive, and it was charged that students in some colleges did little more than prepare and perform plays. Opponents of the Jesuit order seized upon such charges and made them part of the wave of anti-Jesuit feeling that grew during the mid-eighteenth century. Dramatic performances were prohibited or limited in many areas, and they ceased altogether in 1773, when the society of Jesus was temporarily suppressed.
Mozart, at the age of eleven, wrote his first music for Jesuit theater. His father was one of the director’s of Jesuit drama, and was also a high degree Freemason. But, the Jesuits didn’t disappear altogether, they merely went underground, only to reappear in another form.
Cleverly, the Jesuits merely took their theatrical arts in to the school system, making it a part of what the order calls ratio studiorum. In this sort of Jesuit curriculum, were the elements of entertainment or dramatic production-composition, rhetoric, and eloquence.
These courses of study interlinked with the Spiritual Exercises to intensify the experience of Catholic doctrine over scripture and Protestantism. This resulted in a genre of spectacular plays that won distinction as ‘Jesuit plays’. Jesuit priest Anthenasius Kircher (1602-1680) contributed powerfully to Jesuit theater as sensory experience. With his megaphone, which enabled the voice to reach thousands, Kircher invented broadcasting. He also fathered modern camera theory with his perfection of the lanterna magica. The magic lantern projected sharp images through a lens upon a screen, giving audiences the illusion of burning cities and conflagrations. Kircher’s work influenced the creation of the phenakistoscope (1832), the zoetrope (1860), the kinematoscope, (1861), the kineograph (1868), the praxinscope (1871), and finally Thomas A. Edison’s kineograph for filming action to be projected onto a screen through his kinetoscope (1894). As one can readily observe, the Jesuit order is responsible for creating the modern supernatural experience, where images become fixed in the mind to influence conscious behavior.
This is the very definition of what one has seen projected onto one’s television screens, a supernatural experience of images that delve into the subconscious mind, and upon further psychological triggering manifest into the conscious mind through social cues.
The Jesuits, through their Freemason agents in the mainstream media, represent the modern media sorcerers, performing their spells utilizing the tools of Hollywood cinema and network television broadcasting.
Many Hollywood actors made an appearance in this lavish production of Jesuit crisis theater. First up, it can now be reported Harrison Ford portrayed the role of Doctor John Fildes. While this role is no doubt a step down from Hans Solo and Indiana Jones, one must perform when one’s Jesuit masters pull the puppet’s strings. An interesting anecdote concerning Ford is that he matriculated at Ripon College, that while claiming to be non-denominational, is affiliated with the National Forensic League, an interscholastic speech and debate organization serving middle and high school, and college students across the United States. It is organized into regions which correspond to Roman Catholic dioceses. It appears, Mr. Ford’s connection to the Jesuits may have begun early in life.
The next actor identified portraying a role as a Las Vegas law enforcement official is none other than Paul Sorvino. Sorvino is best known for his role as a ruthless mob boss in the classic and landmark film Goodfellas. Apparently, it was felt Sorvino’s experience portraying roles of an authoritative nature would better serve to communicate the dire and tragic nature of a mock mass shooting. See him in his role here at around 27:53.
And now, it can also be reported that the actor portraying Mike Cronk, who allegedly witnessed his ‘buddy’ sustain three bullet wounds to the chest is none other than a very well disguised George Clooney. Admittedly, this is sort of an appropriate role for him, given Las Vegas was the location of perhaps one of Clooney’s most beloved film roles in Oceans Eleven as the jilted heist man seeking revenge on the Casino owner who stole the love of his life, Tess, portrayed by Julia Roberts.
In his recorded biography, Clooney details how his family was staunchly Roman Catholic. Before taking a crack at professional baseball in the late 1970’s, Clooney matriculated at Cincinnati University, a school whose crest features the Latin motto ‘Juncta Juvant’, which in English means ‘strength in unity’, a common Jesuit theme. The university crest also features a sword crossed with the Caduceus, itself a symbol of the Kabbalah tree of life. Together, the crossed implements are symbolic of the ‘X’, a Jesuit code for revolutionary change.
“Change we can all believe in”-sound familiar, folks?
If nothing else, the Jesuits are a military organization bent on revolutionary change, to change a disarmed America into a third-world cesspit that cannot defend itself against it’s onslaught of psychological tyranny.