Tag Archives: Hollywood

HOLLYWOOD

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Jim MelockNWO INDOCTRINATION

Holly Wood is “said” to be a symbol of goodwill, peace, health and happiness. Holly is also “said” to be one of the sacred trees of the faith of Wicca/Witchcraft. In folklore, the Holly tree/bush is associated with the spirit of vegetation and with the waning forces of nature. The mythical figure of the Holly King in the personification of the spirit of the holly. The Holly King rules nature during its decline from mid-summer through to mid-winter, when, at the winter solstice, he is defeated in ritual combat by his brother the Oak King.

In the 1960’s the Council on Foreign Relations and the Institute of International Affairs (New World Order front groups) decided which film industry would create the international culture of the future. It was agreed that Hollywood would be given the job to create the worldwide culture to the general public to create a global society.  This was an easy decision since the film industry is owned and operated by members of the “Global Elite“.

Holly wood is named “holy wood”.  The holy wood is the staff of the magi or the staff of the grand Magus (of occultism). The magi waves his wand and everything is changed with the casting of a spell. This staff was traditionally made with holly wood (as are chess pieces). It was used by John Dee, the court magician of Queen Elizabeth.

The people that named it knew what they where doing, they had a plan to indoctrinate their views on the unsuspecting movie goers.
The advent of the movies showing popular appeal for ideological purpose (brainwashing) that the unwary view as entertainment.

RED RISING REVIEW

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red rising“The Red Rising Trilogy is an epic Macho Cinderella Story. The story and characters are eloquently sculpted from well-weathered egalitarian clichés of Star-Wars-Hunger-Game-Of-Thrones post-apocalyptic-peasant-revolts set in a high-tech ultra-hierarchal-Greco-Roman-space-opera-society.  Brilliant prose, plot twists and legions of antagonists are collectively dedicated to dystopian gore, guts and glory of gold-obsessed class-based blood feuds wherein the purposelessness of human life is to learn to love pain and power.

Predictably, The “Golden Couple” get married and live happily ever after, as most human fantasy stories aspire… getting married, having babies, living in a castle, served and lauded by the peasants is a “happy ending”.

The unwritten story, as usual, is that humans all die, inevitably, with nostalgic finality to seek their reward in “The Veil”.

This trilogy is perfect Hollywood film fodder for servants of money-motivated vested interests of the planetary power elite. The subservient classes: Red, Pinks, Browns etc., will spend their minimum wages in theaters by the shovel full to wallow in the “beautiful dramatic pain” of egalitarian dreams crushed in the subterranean mines of Mars.

Sadly, the genius of Pierce Brown as a masterful wordsmith and epic storyteller is wasted on repeating the same worn out “Hero Epic” story line recycled ad nausea since the days of Homer. Humans live in painful servitude until they die to be rewarded in the “afterlife”.  All in a blink of the eye for the soulless of “gods” who worship power and gold.

Where have all the Immortals gone?  Buried in the gory-damn dust of impossible dreams.

~ Lawrence R. Spencer ~

Recasting The Girl, Spray-Painting The Pearl

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I will not soon forget seeing the horrendous Hollywood movie titled, “The Girl With A Pearl Earring” in 2004.  It is a fictional depiction of a fictionalized relationship between Vermeer and an imagined “…young peasant maid working in the house of painter Johannes Vermeer becomes his talented assistant and the model for one of his most famous works.” It was nominated for 3 Oscars by the Academy of Motion Picture “arts” and “sciences”.

This tragically tacky spin on the life of Vermeer is classic Hollywood magic:  take the true life story of a teen-age daughter of one of the finest painters in history, re-cast her as whore, and her father as an brutish ogre, spray-paint her naturally luminescent pearl earring with glitter glue and, presto! Nominate it for an Oscar!

Absurdly cliché characterizations contrived by the brain-dead writers invent a  debased relationship between a fictional “peasant maid” and Vermeer that are typical of the money-motivated Hollywood swill fed to and gobbled up by an uneducated  public.  The socially redeeming value of this food for swine (to be polite) is a pile of steaming shit!  Sexual intrigue may sell movie tickets, but pigs are stupid, and shit stinks.

The writers, producers and actors associated with this morose movie would have been more kind to Vermeer, his family and his artistic legacy if they had spent the budget for the film to visit the museums of the world, in which his priceless works hang, and spray them with graphic graffiti.

The film was written and directed without regard for historic fact or common sense.  The preposterous personae of Vermeer was portrayed by the British actor, Colin Firth, with the charisma of a cardboard cereal box.  Scarlett Johansson, who plays the role of the gawkish “girl”, is garish at best.

The premise of the ludicrous book and movie script, entirely ignores and abuses the obvious, and thoroughly researched historical information about Vermeer and his life.  A few of the grossest omissions are:

1) All of the women in the Vermeer paintings, with one or two minor exceptions, are his wife, and daughters.  To postulate that he hired a “peasant maid”, or that he had a painting assistant, much less that he had a sexual  relationship with such an imaginary person, are sick contrivances.

2) That the Vermeers could afford to pay a servant, who could spare the time away from vitally needed chores, to become an artists assistant, is blatantly stupid.  Household helpers were not something they could afford, except early in their marriage, at best.  Some of the thoroughly researched facts about Vermeer were that he and his wife produced 15 children in 22 years!  They lived in the small village of Delft, with his wife’s very Catholic mother, in her small house, to help reduce expenses.  He died from overwhelming depression due to his inability to support his wife and 11 surviving children, who were left in extreme poverty at his premature death at the age of 43.

In a plea to her creditors after her husband’s death Catharina stated, in the public record, the final footnotes to Vermeer’s brief life:

“during the ruinous war he not only was unable to sell any of his art but also, to his great detriment, was left sitting with the paintings of other masters that he was dealing in.”

Catharina summarized the circumstances of his death: “as a result and owing to the great burden of his children, having no means of his own, he had lapsed into such decay and decadence, which he had so taken to heart that, as if he had fallen into a frenzy, in a day or day and a half had gone from being healthy to being dead.”

Obviously, the man she describes is the antithesis of the man portrayed in the movie.

3)  That a woman would be allowed to become an artists apprentice or assistant,  is an absurd fantasy.  It was forbidden by the Guild of St. Luke which maintained strict, Puritanical oversight of the activities of every member.

girl_with_pearl_earring_blog4) The girl in the legendary painting (as well as in several other of his paintings) is his second daughter, Elizabeth!  Vermeer never hired models — he painted only family and friends.  It doesn’t take a cosmetic surgeon to compare the features of the women in the majority of his paintings to observe that the same women are being painted in their own home, again and again in different poses, settings, lighting and clothing.  Most of his paintings feature his wife, Catharina, who was not only his constant accomplice in creating a family, she was his foremost ally in his life as an artist!

The paintings named (by others), “girl with a pearl earring”, as well as “the girl with a red hat”, and “the girl with a flute”, and others, are all of his second daughter, Elizabeth, who was a teenager when they were painted.  He used her as the model for a series of very small “tronie” or facial portraits, which were popular at the time.

These miniature “head shots” were especially well suited to the use of the camera obscura to create what we know now to have a photographic quality, rendering the light and perspective differently than the unaided lens of the human eye perceives it.

The women in his family, during his lifetime, enjoyed dressing in the finest clothes and jewelry available to them, as well as exotic costumes, imitating the apparel of mysterious lands.  Many of the accessories included in these paintings were borrowed.  Trading vessels often brought fascinated news and relics to Delft from around the world.  He and his family rarely ventured more than a short walk or boat ride from home.

That Vermeer would have an elicit affair with a maid in his own home is an insult to common sense and decency.  Anyone who looks at paintings of his wife and nine daughters can plainly see his obvious love and devotion — if not  obsession — for the women in the small house they shared.  Vermeer’s family  permeated every aspect of his life, and dominated his home.

His days were consumed with his work with the Guild of St. Luke, the militia of Delft, and interaction with other painters for whom, like his father before him, he sold their paintings to earn money to feed and clothe his 15 children. As his family grew, Vermeer barely had time work on his own paintings!

That there was ever any enmity or discord between Johannes and Catharina during their lives is a fantasy contrived by the Hollywood money machine that perverts reality to appeal to the lowest common denominator of prurient interest suitable only for soap operas, pornography, and girl-gossip magazines.

The self-proclaimed “artists” of Hollywood, driven by money mongers, like any mindless mercenary who act the part they’re paid for, notoriously devoid of ethics or integrity, are akin to any common soldier who massacres innocent civilians, and justifies their crimes in the name of war.

Vermeer, in this movie, and in his own lifetime, was a victim of brainless  brutality.  The stupid soldiers of Louis XIV of France who invaded Holland, together with the bloody British aristocracy combined to murder peasants, and plunder goods to enrich and glorify themselves.  The net result for Vermeer was attested, after his death, by his wife, Catharina Bolnes, “during the ruinous war he not only was unable to sell any of his art but also, to his great detriment, was left sitting with the paintings of other masters that he was dealing in.” And further, “as a result and owing to the great burden of his children, having no means of his own, he had lapsed into such decay and decadence, which he had so taken to heart that, as if he had fallen into a frenzy, in a day or day and a half had gone from being healthy to being dead.”

Let us hope, sincerely, that those unfortunates who saw this “ruinous movie” can assess for themselves the denigrating massacre of an artist by Hollywood, compared with his own biographical portraits of a lifetime and the family he adored, magnificently embodied in his paintings, to judge for themselves the aesthetic intention and ethical integrity of the man, Vermeer.

— Lawrence R. Spencer

NEW ORDER ORDER ‘MERICA — WHAT COULD GO WRONG?

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The “immigrants” who sought freedom and opportunity in North America were our forefathers and fore-mothers (mostly Europeans) mixed with a relatively small number of slaves and slave labor from Africa and Asia. “Americans” inherited the legacy of their hard work, greed, murderous conquest of the indigenous natives, and desire to survive by overcoming all physical and financial obstacles.
Ideologically, “freedom” and “democracy” sounds reasonable. Historically, neither have ever lasted more than a few hundred years in any nation on Earth.
The Karma of our ancestors, and OUR actions in the present, seem to be moving our “civilization” toward the control of the Caucasian “elite” — a economic class, self-appointed as the “New World Order”. This tiny minority are international bankers, secret societies of criminals, perverts, pedophiles and global corporations who control mass-media, the US military and other hidden forces.
Socialism (just like in Russia and China) is coming to the US, enabled by money manufactured by Rothschild banks, made legal by a corrupt criminal class (Congress), propagandized by Hollywood, “the media”, enforced by the military / police and maintained by the “security state” (NSA, DARPA, CIA, HLS, et. al.) and global electronic surveillance apparatus of satellites, social media apps and drones.
Obviously, our “democratic elections” are a fraud and have no influence over who controls our government, economics or “freedom”.
I don’t know if “Americans” can change the “collective Karma” of accumulated atrocities our citizens have committed against the 100 million Indigenous people who were slaughtered between 1492 and 1910. Or, the millions of people US soldiers have killed in endless invasions of foreign nations around the world since 1776. The dead are dead. RIP.
However, we can still change ourselves as individual spiritual beings. We change our minds. We can change ourselves. We must continue to live into the future of Planet Earth. It could be a paradise, but it’s looking a lot more like Hell every day, unless stop agreeing with our past.