Monday, 2 March 2009

Blind Boyard

Start with the obvious. Why Blind Boyard. What they say about Boyard is that he, poor horse, was chosen by a Templar to go out to Boyard's leap, I assume it was called something else at the time, and face off a witch. Well, the legend says one of the not-so-poor Knights of Christ and Temple was off to face the witch and could find a horse brave enough to accompany him due to the old hag's hideous visage, but there were plenty of knights and it isn't too far to walk. So Bayard the wonder horse, called blind Boyard because the knights though only a blind horse could stand the sheer horror of the old woman's features carried the knight into battle with the poisoner of wells. The name Boyard's leap comes from the next part of the story, that the witch scratched the poor horse on the arse with her talons and it leaped some prodigious distance, leaving it's hoof marks of the place of landing. Horses can be skittish, or so I'm told. Herodotus believed they were scared of donkeys so jumping at a demoniac's nails being driven into your rump would be par for the course for our equine friends.

I'm drifting.

I have, in fact, been to Temple Bruer, one-time home of our horsey hero. One of my relatives lived there long before I was born. I've never been to the remains of the Templar preceptory itself, not that I remember anyway, but I hardly remember my visit to the place. It belongs to some farmer now who doesn't want people walking all over his land. I heard interesting things that day, from my formerly resident relative, although my normally reliable memory refuses to yield most of them. There are seven of something in Temple Bruer it tells me that he said, but it neglects to tell me of what. Houses, perhaps, or roads leading from the village. Google earth doesn't show either of these to be noticably the case. Why such a thing should have been mentioned to a visiting young boy who has been dragged out into the country by a relative to see one of the many villages he'd lived in isa matter for debate itself. Incidentally one of my earliest memories is of said relative using a screwdriver to undo the lock whilst I was having a bath.

That's probably a road we don't want to go down, but that still leaves six more to look at.

Brother, Where Art Thou?

There'sa very good reason that humans are the most dangerous game. I used to think the focus given to movies by some of the internet conspiracy community was just a dead herring, as Baldrick might say, but now I'm not so sure. I'm thinking there is a great deal of symbolism in these movies and TV programmes. This sort of thing scares off the novitiate, and the ardent materialist alike. Hugh Manitee Wins (note 1) on the rigint boards calls it woo. I had assumed this was meant onamatopaeically to represent a mad-sounding noise, but he uses it as an acronym meaning wonderment occluding objectivity. He's wrong though. We and our enemies live in a world fundamentally different to that perceived by the masses. I'd like to go for the bells and whistles myself, occlude some objectivity and brainwash people with my HTML skillz, but I'm not good enough at it to do that. The world might not be a wonderful place but its a place full of wonders. Not this website, though, so don't expect much.

I've been especially sceptical about the idea of Keyword Hijacking, but old Hugh might be onto something there too. I was reading David Leigh's "The Wilson PLot" and saw two names that are familiar, and espeically relevant given the accusations against Star Trek made by both Hugh and Fritz Springmeier, along with the theory that Roddenberry was in Contact with the Nine.

The names Were a Leonard McCoy who was then involved in CIA subversion of European democracy, not the doctor of the original starship Enterprise, and Patrick Stewart who was a wheel-chair bound interrogator and pinko-hunter for MI5. The captain of the Next Generation of the Enterprise was played, of course, by a then-obscure Thesp called Patrick Stewart who later appeared in The X-Men in a wheel chair.

The above film is one I once saw on Channel 4, many moons ago, which I was impressed by at the time. Haven't seen it since, not even up here on the web, but perhaps it's best to go by those bits which struck me enough to still be in my memory several years later.

Firstly, I don't think I saw the beginning of the film. I remember it being very clearly divided into chunks, on the one hand the forest idyll where the abused children find solace with each other, presumably representing the idealised world presonailities are put into when the desired personailities are conjured out during episodes of abuse. On the other hand there is the every day reality of terror and upset, abusive parents and of the two of them having no public association.

It's also a very dismal film in which the idealised periods are clearly nothing more than a period away from the inevitable horror. It's the opposite of the cheery film "The Straight Story", an American film about an old man who rides a lawnmower across America and finds friends at every turn, although the audience would like to see him brutally murdered. What happened to giving the audience what they want? What happened to sex and blood-soaked, intestine munching violence? On that topic there's another film that comes to mind, called a History of Violence with Viggo Mortenson, from the Lord of the Rings films and the 90s remake of the classic Vanishing POint. History of Violence, in which there is also the woman from Thankyou for Smoking (deaturing the initiiation of a child into the PR cult) as the wife who refuses to believe her husband is a blood-stained mafia hitman on the run from his brothers under the skin. History of Violence in which the lead character has successfully adopted a whole new persoanlity until his Delta persoanlity comes out and he goes on the rampage eliminating his enemies in droves. That's more like it. that's what we like to see. Bit of sex, lots of violence. That's what got Hollywood where it is today.

British films, like My Brother Tom above, generally go the opposite route although there are exceptions such as "Going off Big Time" in which a villain recounts the tale of his criminality to a lawyeress he's befriended then borrow her car and gets his brains blown out by a young boy he had sexually belittled.

MY Brother Tom also features a part-domesticated hedgehog being burned as the result of a lover tiff, often the gruesome fate of the pets of abused children, and ends in the very un-Hollywood fashion of the hero throwing himself in front of a train, the girl being thrown out of his funeral by the father who abused him on the grounds that they didn't know each other and his ghost coming back to prevent her suicide. Not many Hollywood films like that. Maybe something by David Lynch. The only suicide film from Hollywood that comes to mind is Falling Down, in which Michael Douglas does what many people do in computer games, he walks through a city disarming anyone who attacks him and subsequently taking their weapons to add to his arsenal, ending up with a rocket launcher. End: Suicide by cop. But that doesn't feature all the aspects of Omega programming that My Brother Tom does.

My Brother Tom somewhat resembles the book/film Secret Garden in one respect, namely the eponymous secret garden in which the ego can hide while reality is too harsh for childish intellects to face.

A twist: the film identity with John Cusack. A man discovers he is an alter in the mind of a murderer. His only hope is to kill the murderer-alter and take over the body. In the end he and the one he thinks is the murder kill each other, the love interest female alter think she's the only survivor until the kid we thought had been blown up comes back. Turns out the kid was the murderer. Hope that doesn't ruin it.


Too many movies. Let's have some music.

Don't be reading too much into that. Mind you, the emos have something called the emo fringe, at least according to an emo colleague of mine, which covers one eye, a standard MK trope.

Back to business

What the hell's this monster?:

Answers on the back of a postcard. I saw one of his television series not at all lond ago, Magnetic North. Quite interesting in places, ends with him stepping back into a darkened doorway which he has made it quite clear is symbolic of the entrance to the womb.

Sorry, I need some more music after that. I'd give you the Ting Tings, but they don't like embedding. Look up their YouTube channel, though, the front page has a song which features the words "You never alter". Certainly grabbed my attention.

Anyway, there's always Jasp:

As the man says, if you're thinking of switching over, forget it.

Okay, that's not music, try this:

Onward, then.

May God Strengthen the hands of the righteous

A last word, I think, on thr movies. I wouldn't but I was just watching the demented Cremaster Three. I think someone like ray or pseudoccultmedia might be more attuned to it than I, but I cant recommend it.

True Lies is more my sort of thing, explosions and Eliza Dushku hanging off a Harrier jump jet, not allegorical modern dance.

Florida was the place chosen for the exemplary nuclear explosion in True Lies, which provides a nice segue into the next topic: the Florida 9/11 circus. I'm no Daniel Hopsicker, I'm afraid, but I notice something odd in Welcome to Terrorland. Hopsicker is interviewing Amanda Keller, the surprisingly obscure stripper girlfriend of Atta, the supposed 9/11 ringleader. She telling him that Atta did coke, associated mostly with Germans, had a small penis, was a foot fetishist and all the rest and it's just slipped in that Amanda Keller worked ina strip club used for sexual blackmail operations on Florida figures, jjust the sort of thing the CIA speicalises in, as testified by Paul Bonacci who was one of the Boystown/Craig Spence victims.

This is a place where the guards are former rozzers, the clientele are the elite of international terrorism and the manager is making his money by filming his cadre of lesbian whores cavorting with local politicos.

This is the sort of thing Hopsicker never delves into. In Barry and the Boys he casually mentions that Barry Seal and David Ferrie had photographic memories. Of course he doesn't mention that this is a classic sign of TBMC, indeed that's the sort of thing that never gets mentioned by the hero-reporter. Everyone has their limits, the point which their beliefs won't go beyond. Someone like Palast can accept that Bush isn't acting in the best interests of his nation, evenin his own head. But he can't accept that the American government might spend their time dealing drugs and attempting to control peoples minds.

TO be honest I don't think Hopsickers' books would have gained anything by mentioning these things, buthis little allusions are good material for the rest of us to work from anyway.

Mind Control, especially the ritual abuse of children for the purposes of Trauma-Based Mind Control, is the great taboo that very few people will accept. People are more willing to accept that someone is lairy of mirrors because they've been abducted by aliens than that they might be victims of mind control, like Candy Jones.

That could be a coincidence, as could the millenia long belief that mirrors are the portal to another world, a belief also held about other reflective surfaces such as lakes and pond, into which offerings were thrown to the Gods of the underworld and into which the kings of el Dorado supposedly swam while communing with other realms.

I don't really believe in co-incidence. See the co-incincidence theorists guide to 9/11. Also see this film, taking particular notice of the bits relating to the elder George Bush, his lack of imagination and the Zapata/Barbara stuff:

I don't know who made that or what their agenda might be, I've certainly become suspicious of everything and everyone (although "become" implies this was once not the case, wrongly), but the film stands up on it own merits.

I seem to be rambling.

The point of this website is merely to arrange my thoughts and records. I believe that's what I started out with the intention of saying.

Note 1:

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