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ANARCHYINALBION? - Frater Nexhagus XXIII - part 3 of 4 From: John.C.S.Quel <John@fnord.demon.co.uk> It is an established fact that the Occult Establishment have been indoctrinated into accepting the `Beast` system (one of the ways of immanentizing the New World Order). This has been perpetuated by their fascistic process of domination and control (information pertaining to the `Beast` system being incorporated into barcodes can be obtained from the previously mentioned issue four of HOAX! magazine.) Two of the most important sigils that are used to support this system of control and order are said to be the number 666 and the `Swastika` symbol. The swastika is an ancient symbol that has been around for thousands of years as either a religious sign or as a decorative emblem. It has been found in Ancient Egypt, India, China, and Mu and is thought by some scholars to have been first used as a representation of the sun (and additionally represents the cyclic nature of the seasons). It appears on ancient Greek coins, on artefacts of early Roman Xtians and in Celtic and Scandinavian settlements. The swastika has also been found among native peoples of North and South America, where it was used to represent infinity (and was also used to ward off evil spirits. The name swastika comes from the Sanskrit Svasti, meaning `well- being' or `good luck'. Contrary to popular belief, the direction in which the arms of the sign point holds no significance for black magick. The symbol used by the Nazis was the same as that used by Hindus or Buddhists (The anti-clockwise variety is used in the worship of the goddess Kali). If shown in a clock-wise motion it symbolizes life and fertility, while in an anti- clockwise motion it denotes death and decay. Hitler`s interest in the occult therefore made the clock-wise swastika his chosen symbol in the hope that this would provide beneficial powerful influences. The Nazis adopted the swastika as their symbol through the mistaken belief that it represented their ideal of Aryanism, a link with earlier Scandinavian and Germanic peoples and the idea of racial superiority. The swastika ultimately represents an enigmatic and evocative powerful divine energy. There are few symbolic marks so widely distributed over the Earth. It is a primal symbol which denotes the centre of the universe, a symbol of being and creation/destruction. "In the swastika we see the Victory of the idea of our creative work." - Adolf Hitler. "The leftward-spinning swastikas spin into the unconscious; the rightward-spinning ones spin out of the unconscious chaos." - Carl Gustav Jung. At dawn on the Summer Solstice of 1914 (the beginning of World War I) Dr. George Watson MacGregor-Reid was head of the Druid Order. Although he had previously stood for Parliament as one of the first Labour Party candidates, he was also an advanced Magickian. It is frequently cited that the Sect of the Druids were responsible for conducting human-sacrifices, but this fact pales into insignificance when in the same year a huge, mad, ritualistic blood sacrifice swept Europe. Dr. MacGregor-Reid, the `Anointed Chosen Chief`, sternly defended the tradition of a Druidic ceremonial rite at Stonehenge on Midsummer morning, and declined all requests by the authorities to desist in carrying out the ancient ceremony. He was then forcibly ejected from the sacred site (as have many others since). It can be clearly seen from the photo provided that Dr. MacGregor-Reid wore a sigil of a Swastika whilst at Stonehenge (due to it`s solar aspects and in no way connected to it`s later Occult use as adopted by the Nazis). Dr. MacGregor-Reid is in fact the great-uncle of anarchist artist Jamie Reid. Jamie Reid, punk plagiarist and arch anarchist artist designed the popular punk band `The Sex Pistols` graphics and produced the original `Anarchy in the U.K.` artwork. In his autobiography "UP THEY RISE: The Incomplete Works Of Jamie Reid" his poignant picture of Parliamentary power incorporates potent imagery of Swastikas instead of a clock-face on Albert Tower. (This artwork has also appeared on the back-cover of VAGUE #21 and the front-cover of Heartbreak Hotel #4). Perhaps, this is an unintentional subconsciously inherited aspect of his ancestor`s past coming back to haunt him as prophecy? [Yet another prophetic `coincidence` connected to the levitation is that of a picture of the Albert Tower being in flight over the Thames as shown on the back-cover of Nocturnal Emissions `Songs of Love & Revolution` album. This recording also features the vocals of Ian Bone (a prime mover in instigating `Anarchy in the U.K.`) on the track "We Are Everywhere". When Nigel Ayers of the group was approached for a copy of this intriguing artwork, the original had mysteriously (suspiciously?) disappeared... ] Discordians possess a myriad of mystic signs (just like the Masons and everybody else). One of them has been blandly lifted from good old Tory warmonger Winston Churchill; it was the V-for- Victory motif that Winnie had used throughout World War II. To the Discordians it has many special meanings: the V, being the Roman numeral for 5, illustrates the Law of Fives. The way the sign is made, with 2 fingers up and 3 bent down, exemplifies the hidden 23 within the Law of Fives. The fact that this sign is also used by Catholic priests in blessing and by Satanists in invoking the devil illustrates the essential ambiguity of all symbolism, or the Cosmic Giggle Factor. [It has also been suggested that this gesture was a powerful cabalistic sign intended to dilute the lethal potency of the ancient swastika, which had been adopted by the Nazis. Churchill is said to have decided upon this particular retaliation after secret consultations with the magickian Aleister Crowley.] The V-sign has subliminally infiltrated the whole counter-culture via prolonged exposure to sacred Discordian texts, such as, the Principia Discordia. Therefore, at the Parliament demonstration it should be no surprise to witness hundreds of thousands of protesters utilizing this potent hand-signal. The odd part will be that virtually nobody using this gesture will probably be aware of its significance. The V-sign reversed and used as an insult, originates back to the battle of Agincourt. This potent hand-signal is formed by raising the hand in front of the body, with the palm turned towards the gesturer`s face. The forefinger and middle finger are extended to form a V shape. The remaining fingers are fully bent. The hand is then jerked upwards in the air two or three times (five maximum). The dominant meaning for this gesture is `victory`, although, it`s older role was initially interpreted as an obscene insult. The true origin has been the subject of much debate. Even today its primary derivation is still in doubt, this being due to the strong taboo associated with the gesture (its public use has often been heavily penalized). The idea of the Churchillian Victory sign, introduced during the Second World War, was deliberately reversed (a magickal technique which Crowley was very fond of), so creating an insult. As the Churchill version is performed with the palm facing outward, away from the face of the gesturer. By rotating the hand through 180 degrees, it has been suggested that it was possible to create an insulting distortion of the original message. In other words, the reversal of the hand posture reversed the original meaning of the sign - from victory to defeat. Instead of saying "I wish you Victory", the gesture now said "I wish you defeat:, rather in the way that K.O is the opposite, both in form and meaning, of O.K. The modern usage of this hand-signal was initiated by a Belgian lawyer named Victor De Lavelaye (inspired perhaps by his own forename?) on January 14th 1941. De Lavelaye was unhappy about the use of the letters R.A.F as a resistance graffito (this being before those letters re-emergence as the logo for resistance fighters the Red Army Faction in the heady Seventies). These initials were being scrawled on walls in Belgium by the underground, as a method of insulting the Nazis, but in a foreign language they lacked clarity and he was looking for something simpler which could be more universally understood. The idea of V for Victory not only exploited the English word (and paid homage to his own name), but also fitted the Flemish vrijheid and the French victoire. After his initial broadcast, proposing the V, the BBC mounted a highly successful propaganda campaign employing the morse code symbol for V (dot-dot-dot-dash) and the opening bars of Beethoven`s Fifth Symphony (Weishaupt`s Law of Fives again, due to Beethoven`s connections with the Illuminati). It was after this that Churchill adopted the sign and used it publicly at every opportunity. Nazi propagandists became so alarmed at the success of the symbol, that they started their own counter-project, V for Viktoria, but it was too late. The Allied V-sign had already swept occupied Europe, and was indelibly associated with the anti-Nazi movement. The earliest record of the insult V comes from the 16th Century writings of Francois Rabelais. In 1532 he described a gestural `duel` in which an explicit copulation sign is made by a stretched out forefinger and middle finger held asunder and thrust upwards. In 1611, George Chapman, in his comedy May Day, has the following line: "As often as he turns his back to me, I shall be here V with him." This passage is quoted in late Victorian times to illustrate that `to make V`, as it was called, was a `derisive` gesture. Coming nearer the present day, the insult V was used by the crowd at football matches to a marked degree, before the advent of the first World War. Further evidence shows that the insulting version is the original version and the Victory version is a very late arrival. There is much evidence that indicates that Churchill was unaware of the existence of the rude, palm-back form, and he originally used this version in error on certain occasions. There is early film of him unwittingly making the rude V-sign at his troops and thereby inadvertently telling them to `get stuffed`, instead of wishing them victory in battle. Since all later film records show him performing the gesture palm-out, it seems certain that someone must have taken him on one side and gently explained the problem, so that the final and surviving form of the Victory sign became fixed and distinct from its unsavoury predecessor. (Even today, however, not all politicians have learnt this lesson. Conservative leader Margaret Thatcher was frequently photographed making a palm-back V-sign at moments of electorial triumph, whilst under the mistaken assumption that it was the V-for-Victory sign. Other theories postulate the V-sign being a variation of the Cuckold sign (with the forked fingers representing the highly symbolic Cuckold`s horns); an altered version of the ancient Roman phallic finger-jerk insult, digitus impudicus (now known as the middle-finger jerk, done with that digit alone erect. e.g. "Sit on this!"); a slight variation of the last theory, but the two forked fingers representing, not one enlarged penis, but two separate penises (e.g. `one penis for her vagina and one for her anus.`); representing the fingers themselves inserted into the vagina during sexual foreplay (the spreading of the forefinger and middle finger into the V shape then represents an attempt to provide maximum vaginal stimulation by stretching the passage as widely as possible.); another interpretation indicates the female`s legs (or the genital`s labia) spread wide, ready to engage in copulation; an eye poking gesture; and the Hippies `Peace Sign` which was used as an covert insult by being sufficiently ambiguous to prevent the authorities taking any action, as it could be continually rotated, thus giving a veiled form of the phallic finger "Up Yours!" gesture. [The symbol `V' in the ancient inscriptions of MU, the Motherland (Empire of the Sun), stood for "The Eye Closed By Force, Forced Down".] The ancient & archetypal V-sign has been reckoned to be too salacious by the dominant patriarchal male-god worshipping society who have decided that it should be suppressed because of its strong undercurrent of Goddess symbolism. The ritual was scheduled to commence at approximately 2.00 PM. At this precise time all the participants had already gathered around the assembly point at Jubilee Gardens and started to march towards the intended target. All preparations, conjurations and incantations took place at the Palace of Westminster, with the desired climactic result occurring between 2:23 -> 2:30 (It should also be noted that Parliament meets during the week at 2.30 PM.) An exercise of exorcism to expel these spiritual squatters commenced at 2:23 PM. The invocational words "Out, Demon, out!" were chanted, starting out as an inaudible whisper and slowly developing into a chaotic crescendo of speaking in tongues, ritual chanting, etc. The ritual was then followed by an appropriate banishing ritual (by employing the magickal act of using an emotional device such as laughter to prevent the evil spirits causing more chaos than that which it was hoped would be conjured during the invocation). The expected outcome of this auspicious occasion successfully kick-started a karmic domino effect in the cosmic game of life. The ritual act of `levitation' was almost thwarted at one point by some specially deployed masonic police officers who tried to employ a secret anti-levitational technique. There was no absolutely no fear of creating a negative vortex which might have caused serious damage to the ozone layer (as was suspected might happen when the Neoist Alliance carried out their levitation in Brighton in 1993). Many reports neglected to mention that the levitation actually took place at all (before, during, or after) and suppression of these facts will now result in an I.O.D magickal action directed against these mass media manipulators. Some reports even suggested that the building did not even start to rise and stayed fixed on terra firma.