On the Road Again?

images-1

I probably won’t be checking out The Hobbit this weekend, as the reviews are dreadful and I didn’t even care for the bloated Rings trilogy. However, there’s an upcoming release that does attract my interest, a remake of Jack Kerouac’s masterpiece On the Road, a book that launched thousands of teens on vision quests around the world to find their true identities, while searching carefully for any potential sacraments that might aid in that mission.

Today a lot of people complain On the Road is meandering and structureless. They fail to understand the book introduced a new zeitgeist and trumpeted the appearance of an emerging counterculture that had been incubated inside the jazz scene for a century. Kerouac found an edge where Zen met Congo Square, and the two cultures were essentially revealed to have the same foundations. The counterculture actually began in Congo Square in New Orleans and the one element it prizes above all else is unfiltered, improvisational energy. On the Road was the literary equivalent of a wild jazz solo. And just as important, the book introduced tribal and Eastern concepts of spirituality which allowed a new spiritual vocabulary to emerge, one that dealt with vibrations and telepathic energies.

The Beats were inducted at the 12th Cannabis Cup, and Carolyn Cassady, the great love of both Jack and Neal, was the High Priestess. The thing Carolyn most wanted to convey was that everyone was extremely conservative in the 1940s, including the Beats, most of whom had conventional ideas about love and marriage. Jack’s biggest accomplishment, according to Carolyn, was his ability to inject meaning into everyday life and to treat every moment as a sacred experience.

By the way, if you attempted to read On the Road and were turned off because the narrative wasn’t pronounced enough for your taste, I suggest you pick up Big Sur, Kerouac’s greatest masterpiece. You won’t be disappointed.

The 12th Cannabis Cup provided a huge jump in terms of the video I was self-producing on limited budget because that year iMovie was released, giving me an opportunity to really delve into non-linear editing. Check out the short highlight reel I produced that year:

Surfing the Mind Control Matrix

Ever wonder why the media has fallen into the ownership of only a handful of corporations? That’s because the media is the key programming tool used to manage our collective archetypes, having replaced religion in that role since the arrival of television.

There’s a good reason why most Americans distrust hippies, and that’s because the archetype created in the media was intentionally negative. This campaign started even before the hippies arrived, when their immediate predecessors, beatniks, came into public consciousness. The entire beatnik phenomenon was orchestrated in large part by Allen Ginsberg and the Village Voice, in response to the Jack Kerouac/Neal Cassady adoration societies that emerged after the publication of On the Road. That book introduced concepts of Eastern religion while encouraging the ritual use of cannabis and alcohol to achieve enlightenment.

Because of its revolutionary message and popularity, On the Road needed to be co-opted but quick. In television, the beatnik archetype first appeared as the bumbling Maynard G. Krebs, but eventually, Kerouac’s buddy bromace morphed into the politically and spiritually empty Route 66, a show more designed around selling Corvettes than preaching enlightenment.

In analyzing the real seats of international power, one cannot overestimate the role of secret societies to create and forge new archetypes, as well as manage their depictions in the media.

In this regard, J. Edgar Hoover certainly played a key gatekeeper role throughout most of his professional career. When he was 26 years old, Hoover joined the Washington Lodge of the Scottish-Rite Freemasons and his early career was marked by his clever exploitation of a string of terrorist attacks. Without those terror attacks, Hoover would not have been able to armchair himself into control of that American gestapo known as the FBI.

Clint Eastwood’s film on Hoover has just appeared on HBO and I watched the film with great interest. Unfortunately, it is based mostly on Hoover’s own self-serving accounts of his rise to power and fame, and only hints at the deeper corruption.

Although it may seem strange, aside from Freemasonry, Hoover’s other network of influence appeared to be the Catholic Church, which rewarded Hoover for a lifetime of devoted service, even though he was a German protestant by birth. Freemasons were supposed to be opposed to the Catholic Church, but over history some lodges actually wondered if they’d fallen prey to secret Jesuit control. (In today’s world, that role is played by Opus Dei, currently the most powerful secret society inside the Vatican.) And Hoover was not the only key person inside the national security apparatus who enjoyed a close relationship with the Vatican. James Jesus Angleton, head of CIA’s counter-intelligence operations certainly comes to mind in this regard.

Archetypes are often employed to help move populations toward war, which is the primary means of achieving quick profits as well as keeping people following orders. The traumas inflicted by war and terror are key to advancing the mind control matrix, which runs mostly on shock and awe.

Our current war is obviously constructed around a Christian/Jewish versus Muslim confrontation. However, since the Muslim resources are so small in comparison to the Christian/Jewish empires, this necessitates a new form of war based around terror instead of standing armies. It’s all very similar, in fact, to the sort of terror that cleared Hoover’s path to power. At some point in time, people are going to have to consider the possibility that much of the so-called “left-wing” terror that has been perpetrated over the years has actually been false-flag attacks designed to advance right-wing agendas.