The Little Mad Genius and the Wilderness of Mirrors
“Remember: the enemy has only images and ILLUSIONS behind which he hides his true motive. Destroy the images and you will break the enemy.” –Shaolin Abbott to Bruce Lee, Enter the Dragon
Katt Williams opens a rare window into the struggle of a CIA MONARCH/MK ULTRA child victim to break free. It is rare to see it all playing out in the public domain like a Bourne Identity.
The Bourne Identity is a 2002 HollyWeird American-German action spy film loosely based on Robert Ludlum’s novel of the same name. Manchurian Candidate Jason Bourne was rescued from the ocean suffering from two bullet wounds. He recovered, but suffered from post-hypnotic amnesia barriers implanted by the CIA as cover for its clandestine assassination operations. Bourne struggles in an attempt to discover his true identity to break free from mind control programming amidst a clandestine conspiracy within the CIA to stop him from blowing cover.
It appears that Katt Williams has some recall, but not total recall. In distress, he seems to have some recall that his programming and distress has something to do with events and people surrounding the late American musician and artist, Kurt Cobain, best known as the lead singer, guitarist and primary songwriter of the grunge band Nirvana. Cobain committed suicide in 1994. Yet, many maintain that his death is related to the CIA and MONARCH/MK ULTRA mind control programming from an early impressionate age from infancy to 6 years.
Katt doesn’t openly express anything about MK-ULTRA whether it is fear or amnesia blocks, barriers and layers. I can’t be sure, but his symbolic or metaphoric expressions can’t be any clearer.
He doesn’t talk about what happened to him after forced into the South Carolina State Mental Health System for at least two weeks even though he was not a resident of the state and his net worth was at least $20 millions, which means that he had the resources to have had his own lawyers, psychiatrists, psychologists, social-mental health workers and physicians. What is odd is that he was forced into an antiquated public mental health system from the early 19th Century in the Post Ante-Bellum-Civil War South and not anyone lifted a hand to help him or protest.
In the recent TMZ video, above, Katt Williams revealed that his IQ was tested and measured at 163. There are three (3) generally accepted gradients within the gifted range: gifted, from 130-145 IQ; highly gifted, 140-160 IQ; and exceptionally gifted above 160 IQ. A measured IQ score of 163 would certainty put Katt in the genius range. But, he went on to divulge that he was being tested every six months. So, who and what entity is messing with Katt Williams’ brain every six months?
The extremely troubling and truly frightening part of what Katt revealed in the video (frames 128-136) was the statement, “I have been with Mensa since I was 10.” He doesn’t say that he was a member of MENSA, but after some recall he says that he was associated with some aspects of the society whether seen or unseen since about 1983. I wouldn’t necessarily write off anything that Katt Williams says. He is not necessarily an “evil little genius gone mad,” but a possible popularized “BOURNE LEGACY” with recall of events and circumstances surrounding CIA MONARCH/MK ULTRA programs longing to be free of harassment.
Mensa is the largest and oldest high IQ society in the world. Mensa’s requirement for membership is a score at or above the 98th percentile on certain standardized IQ or other approved intelligence tests, such as the Stanford-Binet Intelligence Scales. The minimum accepted score on the Stanford-Binet is 132, while for the Cattell it is 148. Most IQ tests are designed to yield a mean score of 100 with a standard deviation of 15; the 98th-percentile score under these conditions is 130.82. 
Mensa’s constitution lists three purposes: “to identify and to foster human intelligence for the benefit of humanity; to encourage research into the nature, characteristics, and uses of intelligence; and to provide a stimulating intellectual and social environment for its members”. To this end, the organization is also involved with programs for gifted children, literacy and scholarships, and it also hold numerous gatherings.
MENSA, Aquarian Conspiracy and LEBENSBORN
One of the founding fathers of MENSA was the eminent British Educational Psychologist and Race Scientist, Sir Cyril Burt (1883-1971). Sir Burt became the most prestigious, powerful, and influential psychologist since the American genius William James. He held the chair of psychology at London’s University College, was knighted in 1946 by King George VI, and received the Thorndike award from the American Psychological Association. Most of Burt’s career was based upon his statistical studies of the intelligence of identical twins, showing that poverty was due to inferior intelligence of the working class. In the 1940s, Burt was involved in setting up the British school (tracking) system which segregated students on the basis of an IQ test they took at age eleven.
AQUARIANS, Eugenists Sir Burt and Sir Julian Huxley, brother of Aldous Huxley, led the British Eugenics Society. Sir Julian Huxley, first head of the United Nations’ UNESCO, changed the name of their program for enforced birth control, zero economic growth, and the technology of mass mind control, and continued to apply the principles which created Nazi Germany’s mass murder programs against the “mentally deficient,” the “racially unfit,” the politically undesirable.
“The career of the venerated Julian Huxley is a classic of conspiratorial activity. Huxley was a director of the Abortion Law Reform Association in Britain from its inception; an Executive Committee member of the Euthanasia Society; an officer of the Eugenics Society; a leading member of the British National Association for Mental Health; and of the WFMH, and so on. Think again of Aldous Huxley’s book Brave New World. Julian Huxley was committed, all his life, to that “brave new world.”
Anyone who ever read that book remembers very clearly one curious thing about it. The population is divided, genetically and for enforcement, into Alphas, Betas, and so on all the way down to the synthetically produced ‘Epsilon morons.’
These divisions are accomplished by applied eugenics, or Nazi breeding laws. Different synthetically produced “I.Q. groups” are predetermined to perform different tasks for the society, and are kept happy in their pre-fixed places by mind-altering drugs. Every agency Julian Huxley worked with is committed to such a society.”
The AQUARIANS took over after the Fall of Nazi Germany to form the nucleus of a conspiracy of Global Aryan Dominance that maybe more powerful, dangerous, widespread, and clandestine than the THIRD REICH.
MENSA is veiled and shrouded in the ultimate secret global extermination of the “untermensch” (sub-man, sub-humans); “lebensunwerte leben” [useless eaters- life unworthy of life]; and the universal racial dominance the Bloodlines of WOTAN.
Around 1948, MENSA was formed – the first international organization for the intellectually ‘gifted.’ Sir Burt was its founding father and first president. Another founding father was Victor Serebriakoff, a White Russian émigré recruited by British and American intelligence services who was credited with greatly expanding membership in the organization, instituting the IQ test as a prerequisite of membership, and establishing American MENSA. Another founder, and the man who claimed to have come up with the idea for MENSA, was Dr. Lance Ware, a biochemist who had worked during World War II at Porton Down, Britain’s ultra-secret biological and chemical warfare facility.
1948 was also the year that Franz Kallman, who had been an associate of Ernst Rudin, founded a new eugenics institute, dubbed the American Society of Human Genetics. Around that same time, Dr. Otmar von Verschuer, who had served as the mentor of the notorious Demon of Death, Dr. Josef Mengele, founded the Institute of Human Genetics in Munster, Germany.
In 1950, Cyril Burt published the results of some of his twin studies, purportedly showing data that supported his eugenics views. His studies claimed to prove that poverty was due to the intellectual inferiority of the working class. In 1952, John Foster Dulles established the Population Council in conjunction with John D. Rockefeller III. Tens of millions of dollars of Rockefeller grant money were pumped in as the American Eugenics Society moved its headquarters into the offices of – and assumed the name of – the newly created Population Council.
The Pioneer Fund has been involved in the history of race science since its establishment in 1937. One of its founders, Harry Laughlin wrote a model sterilization law widely used in both the United States and Europe. Many of the key academic racists in both Right Now! and American Renaissance have been funded by the Pioneer and the Pioneer was directly involved in funding the parent organization of American Renaissance, the New Century Foundation. Most of the leading Anglo-American academic race-scientists of the last several decades have been funded by the Pioneer, including William Shockley, Hans J. Eysenck, Arthur Jensen, Roger Pearson, Richard Lynn, J. Philippe Rushton, R. Travis Osborne, Linda Gottfredson, Robert Gordon, Daniel R. Vining, Jr., Michael Levin, and Seymour Itzkoff.
Hans Jürgen Eysenck (1916 – 1997) of Nazi Germany was an eminent psychologist, most remembered for his work on intelligence and personality. Eysenck was trained under and was a disciple of Sir Burt. The Pioneer Fund openly espoused the Racial Science of Sir Burt.
Henry Garrett ’72-3 was a director of the Pioneer Fund, whose fundamental objective, stated in their corporate rationale was based on the SS-1 Heimlich Himmler’s Lebensborn.
One of the first American members of MENSA is alleged to have been the felonious pedophile, Walter Breen, that I discussed in brief detail in the previous post “Over the Rainbow” Katt Williams…” During the 1960s around San Francisco, UC Berkeley and Stanford University, Breen had one of the leading protagonists’ for THE CHILDREN OF THE ATOM, a special society and boarding schools for high IQ children. This group of people opened the San Francisco MENSA Chapter. 
Eldon Byrd was a member of MENSA. Byrd who worked for Naval Surface Weapons, Office of Non-Lethal Weapons, White Oaks Laboratory, Silver Springs, Maryland was commissioned in 1981 to develop electromagnetic devices for purposes including ‘riot control’, clandestine operations and hostage removal. Byrd and Uri Geller of “Space Kids” are good friends, from back in the 70s.
MENSA is a veiled LEBENSBORN’s program and a prime recruiting ground for CIA-MONARCH/MK ULTRA “Whiz Kids.”
Inglorious Bastards, A Shrouded Teutonic Lore of the SS
I respectfully disagree with Spike Lee. Quentin Tarantino’s Django Unchained does not rise to the occasion to be disrespectful of the heroics of my ancestors during slavery. There is a big difference between films expressing artistic freedom and instruments of deceptions. Halle Berry’s film Frankie & Alice from the Boys of Lookout Mountain is an instrument of deception and fraud veiling the MONARCH/MK ULTRA programs.
I also respectfully disagree with Katt Williams. Quentin Tarantino’s doesn’t want to be “Black.” He believes that he is cleverer than the Masses of the People. However, if Katt actually means that he desires to secretly command the energy, master the spirit and control the mass Black Psyche through LUCIFERIAN magkic, trickery, images, ILLUSIONS and deceptions than I agree wholeheartedly with him. Django has nothing to do with an artistic expression of American Slavery and “STUFF.” Django Unchained is an instrument of mass deception from the pits of HELL.
Satanic Quentin Tarantino and the Devil’s Horns hand gesture. Don’t believe your lying eyes. He does it twice. Yet, it may be the symbol of the Nazi Satanic Principle-Janus Faced Dualism. The right hand-Satan, the left hand-Love.
One evening, I sat down and watched Tarantino’s 2009 film, Inglorious Bastards. I had absolutely no idea what the film was about. One of my in-laws thought that I would enjoy the film. I had no idea of alternate history or alternative history genre. It is a genre of fiction consisting of stories that are set worlds in which history has diverged from the actual history of the world. It is “allohistory” (literally “other history”).
It is smoke and mirrors, ILLUMIONARY; and the re-imaging of history. Basically, Inglorious Bastards was a False Romanic Teutonic Lore of the SS and THRID REICH.
- “Most of you know what it means when a hundred corpses are lying side by side, or five hundred, or a thousand. To have stuck it out, and at the same time — apart from exceptions caused by human weakness — to have remained decent fellows that is what has made us hard. This is a page of glory in our history, which has never been written and is never to be written….” -Reichsfuhrer SS-1 Heinrich Himmler, The Posen Speech to SS officers (6 October 1943)
The main character of the film is Standartenführer (Colonel) SS Hans Landa, the Jew Hunter. Nevertheless, SS Landa is really a great guy- one of Himmler’s decent fellows. He is not a true believer in Nazi ideology; “he admits that he has no personal animus toward Jews.”
Compare SS Landa to California’s Resident SS Officer and Occulted Knight of the Black Sun, Hauptsturmführer SS Baron Otto von Bolschwing, the BEAST of Bucharest, Romania. He was the charming “David Niven of the SS.” SS Baron Bolschwing also didn’t really believe in Nazism, but was willingly part of the occulted SS declared by the Nuremberg Tribunal to be a human rights and war criminal organization against humanity responsible for the mass murder of millions in Eastern Europe and Africa. It is a bunch of HollyWeird propaganda and Romanized Bullshit and Mass Deception!
- I also want to mention a very difficult subject before you here, completely openly. It should be discussed among us, and yet, nevertheless, we will never speak about it in public. Just as we did not hesitate on 30 June to carry out our duty, as ordered, and stand comrades who had failed against the wall and shoot them. About which we have never spoken, and will never speak. That was, thank God, a kind of tact natural to us, a foregone conclusion of that fact, that we have never conversed about it amongst ourselves, never spoken about it, everyone shuddered and everyone was clear that the next time he would do the same thing again, if it were commanded and necessary. I am talking about the “Jewish evacuation”; the extermination of the Jewish people. It is one of those things that is easily said. “The Jewish people are being exterminated,” every party member will tell you, “perfectly clear, it’s part of our plans, we’re eliminating the Jews, exterminating them, Ha! A small matter.” -Reichsfuhrer SS-1 Heinrich Himmler, The Posen Speech to SS officers (6 October 1943)
Inglorious Bastards was described by its producer, Lawrence Bender, to have been a Jew’s “Wet Dream” revenge movie. It was an ILLUMINATI tradeoff of the Jews and powerful, murderous GERMAN interests.
Tarantino and Bender also found it necessary to cast the right German “to play the charming polyglot Landa …” Heinrich Himmler and Josef Goebbels couldn’t have done a better job to “re-image” the SS, the World’s Greatest Racial Mass Murderers, as charming and decent fellows to the Masses of the People.
For the job well done of veiling the Janus Face-Satanic Principled SS, the HollyWeird elite gave that right Teutonic Pagan Legatee and Bloodline, Christoph Waltz, an Academy Award.
Tarantino’s close friend and his major film producer, Bender, was nominated for a 2010 Academy Award for Best Motion Picture of the Year. Bender produced Lost in Oz. It was a 2002 television pilot for a planned series, an original sequel to The Wizard of Oz, inspired by the books of Oz of L. Frank Baum.
L. Frank Baum was a member of the Theosophical Society, which is an organization based on global occult research among civilizations. Baum had a deep understanding of Theosophy and, consciously created an allegory of Theosophical teachings when he wrote the Wizard of Oz.
The Theosophical Society is an occulted and notorious LUCIFERIAN organization, mainly based on the teachings of Madame Helena P. Blavatsky. She espoused the New Age of LUCIFER and the glorification of the GREAT ARYAN BROTHERHOOD given domain of everything on earth. See the excellent Occult Roots of the Wizard of Oz.
For me, Inglorious Bastards had been a living nightmare. My father had been among the first victims of one of the most secretive and classified collaborative between the Nazis and the U.S. Navy, Project CHATTER.
In 1948, they kidnapped him from his job at the U.S. Naval Base in Alameda, CA. They took him to Napa State-Navy Hospital and subjected him to SS Dr. Josef Mengele’s tortuous experimental electrical shock procedures (depatterning) developed at Austerlitz Concentration Camp. In just one session, he was subjected to a series of electrical shocks up to 35 times that damaged his heart and turned him into a human vegetable.
For decades, I had been dumbfounded by my father’s odd ravings recorded in his medical reports. Suffering under the duress of delusions created by mescaline or LSD, he constantly ranted about “silver slippers” and “floating in the air.” I subsequently found that I had been a victim of my own folly and didn’t factor in the rapid advances in 20th Century Technicolor film productions.
The original and early production of the Wizard of Oz (1939) had been in black and white. Dorothy’s original slippers were “silver slippers.” Someplace in the deep recesses of my mind, I recall my father raving about the “silver slippers” as he turned our lives upside down in absolute horror.
Click your heels, you can literally fly to other dimension and from one alter to another “Somewhere Over the Rainbow.” The Nazis didn’t die in Nuremberg or in any Tarantino and Bender fantasy fire in Nazi Germany. They were ran out of Eastern Europe by the Russians. They were smuggled into America to bring about a New World Order and once again prey primarily upon the “untermensch” (sub-man, sub-humans); “lebensunwerte leben” [useless eaters- life unworthy of life] under the cloak of U.S. National Security and the HollyWeird ILLUMINATI elite.
Bender and Tarantino are a key part of HollyWeird’s powerful LUCIFERIAN-ILLUMINTI. The theatre fire in Inglorious Bastards that consumed the Nazis was a vicious metaphor. It was the ceremonial burning of Valhalla, the Castle of the Wagnerian Aryan Gods. The fire consumed Wotan and other ancient pagan gods. They didn’t literally die, but entered into the “Dust and Twilight of the Gods” to make way for the coming of a New Age of LUCIFER.
Black People and the masses will not get a free “FEEL GOOD” pass from these ILLUMINISTS-MASTERS OF DECEPTIONS. They desire to penetrate the sub consciousness via mass media scientific “entrainment” of our brains. They are bent on extinguishing our minds and souls, our very BEING.
Django Unchained, another Shrouded Teutonic Lore
Tarantino didn’t consult with Black scholars or historians to create a meaningful script or plot for Django Unchained. It wasn’t created out of any dialogue or genuine concern for the aspirations of Black People that would validate and provide fuel and empowerment to Black Identity and their BEING. Tarantino’s pet Hip Hop Satanic Cult Negroes like Jamie Foxx or Samuel L. Jackson didn’t add to the script either.
As pointed out by Katt Williams, the name, Django, has absolutely nothing to do with the African Spirit and Experience in America. The name Django is an allusion to the hero of an obscure Italian spaghetti western film called Django played by Franco Nero.
The people of Germany immediately recognized what Django Unchained really was metaphorically about. The movie plot was another Tarantino veiled teutonic lore of Germanic Mythology, Culture and Experience. Tarantino invited Standartenführer SS Hans Landa (Christoph Waltz) to add his special native Volkisch-Teutonic Love to the movie script. Waltz and Tarantino deceptively paralleled the plot of the movie to Richard Wagner’s “Ring of the Nibelung.”
This is not my conclusion. They tell you from the very beginning of the movie that the Germanic personas and Occulted Mythology of Siegfried and Broomhilda from Wagner’s Ring Series are at the basis of Django Unchained. It is long and complicated with many variations, so please bare with my brief summaries to the Wagnerian Folktale of Siegfried and Broomhilda.
Django Unchained and the German Folktale Siegfried and Broomhilda
Though the cycle of Richard Wagner’s four operas titled Der Ring des Nibelungen, Brünnhilde (Broomhilda) appears in the latter three operas (Die Walkure, Siegfried, and Gotterdammerung), playing a central role in the overall story of Wotan’s downfall. In Wagner’s tale, Brünnhilde is one of the valkyries, who are born out of a union between Wotan and Erda, the personification of the wisest woman of the earth.
In Norse mythology, a valkyrie (from Old Norse valkyrja “chooser of the slain”) is one of a host of female figures who decide which soldiers die in battle. Selecting among half of those who die in battle (the other half go to the goddess Freyja’s afterlife field Fólkvangr), the valkyries bring their chosen to the afterlife hall of the slain, Valhalla, ruled over by the god Wotan (Odin). There, the deceased warriors become einherjar (lone fighters) that in particular to Wagner’s Ring Series that will help the gods in the great battle with the Nibelungs. When the einherjar are not preparing for the events of Ragnarök, the valkyries bear them mead (honey wine). Valkyries also appear as lovers of heroes and other mortals, where they are sometimes described as the daughters of royalty, sometimes accompanied by ravens, and sometimes connected to swans or horses.
Broomhilda play a major role in Wagner’s “Die Walkure” (1870), Wotan’s favorite daughter, the second of the four operas that comprise Der Ring des Nibelungen, in which the “Ride of the Valkyries” begins Act III. The heroine of the cycle, Brünnhilde is stripped of her immortality for defying the god Wotan (Odin).
In Wagner’s Die Walkure, Wotan initially commissions Broomhilda to protect Siegmund, his son by a mortal mother. When Fricka forces Wotan to have Siegmund die, Brünnhilde disobeys her father’s change of orders and takes away Siegmund’s wife (and sister) Siegline and the shards of Siegmund’s divine sword, Nothung. She manages to hide them, but must then face the wrath of her father who is determined to make her mortal and put her into an enchanted sleep to be claimed by any man who happens across her. Brünnhilde argues that what she did was in abeyance of the god’s true will and does not deserve such a fate. Wotan is eventually persuaded to protect her sleep with magical fire, sentencing her to await awakening by a hero who does not know fear.
Mime the Nibelung finds Siegmund and Siegline dying and pieces of the Nothung broken by Wotan. Siegline dies giving birth to Siegfried. Siegfried, the hero, is Wotan’s grandson, the son of Wotan’s twins, Siegmund and Siegline, who were slain by Fricka, Goddess of Youth and Beauty, because Wotan had given them the Enchanted (Dragonslaying) Sword Nothung.
Mime raised Siegfried from infancy hoping that he would be able to betray him to reforge his father’s Nothung to slay the dragon to steal the Rhinegold and the Ring back. 
In the movie, Django-Persona of Siegfried (Jamie Foxx) is focused not on freeing his people from the horrors of human bondage, but on one goal as set by King Schultz: finding and rescuing Broomhilda (Kerry Washington), the wife he lost to the slave trade (Wotan’s ring of fire). Broomhilda was named by her GERMAN mistress. Broomhilda speaks fluent German.
Django’s enslaver and mentor is Dr. King Schultz (Christoph Waltz), a GERMAN dentist-cum-bounty-hunter who like the Janus-Faced Standartenführer SS Hans Landa, has an ILLUSIONARY healthy hatred of racism and slavery. In fact, King Schultz tells Django about the pagan folktale of Broomhilda, a woman who is imprisoned on a rock by her father until the hero, Siegfried, slays the dragon (Fafner) with a reforged Nothung and walks through hellfire to rescue her.
So, what does the Nazi beloved pagan tale and the Wagnerian Gods of Richard Wagner (1813-1883) and his Der Ring des Nibelungens Operas truthfully have to do with the empowerment of Black People, the ancestors and human bondage in this country?
Peel away the veneer of Richard Wagner’s German-Aryan pagan fairy tales; Tarantino and Waltz’s Smoke and Mirrors and Teutonic Lore, you will be troubled at what you will discover and why Katt Williams, the Not So Little Mad Genius, is truly incensed about- promising (symbolically) to beat Tarantino’s Inglorious Bastard Ass for the Django Unchained Deception.
“Whoever wants to understand National Socialist Germany must first know Wagner.” -Fuhrer Adolf Hitler
Wagner’s, above, with the hidden hand gesture, friend was Arthur de Gobineau (1816-1882), the French racial theorist and author of The Inequality of the Races, which gained widespread acceptance in European communities, thanks to Wagner’s assiduous promotion. Gobineau’s theories corroborated what he himself had already decided about the “noble and ignoble” races.
“…there is nothing to show that, in the view of the first compilers of the Adamite genealogies, those outside the white race were counted as part of the species at all.” –Count Arthur de Gobineau
Count de Gobineau is the “Father of Modern European Racism.” All of his so-called race science experiments and theories concluded that “Caucausoids” were intellectually and physically superior to “Negroids,” “Mongoloids,” and other supposed racial categories,
“… We often hear of negroes who have learnt music, who are clerks in banking-houses, and who know how to read, write, count, dance, and speak, like white men. People are astonished at this, and conclude that the negro is capable of everything! And then, in the same breath, they will express surprise at the contrast between the Slav civilization and our own. The Russians, Poles, and Serbians (they will say), even though they are far nearer to us than the negroes, are only civilized on the surface; the higher classes alone participate in our ideas, owing to the continual admixture of English, French, and German blood. The masses, on the other hand, are invincibly ignorant of the Western world and its movements, although they have been Christian for so many centuries—in many cases before we were converted ourselves! The solution is simple. There is a great difference between imitation and conviction. Imitation does not necessarily imply a serious breach with hereditary instincts; but no one has a real part in any civilization until he is able to make progress by himself, without direction from others. What is the use of telling me how clever some particular savages are in guiding the plough, in spelling, or reading, when they are only repeating the lessons they have learnt ? Show me rather, among the many regions in which savages have lived for ages in contact with Europeans, one single place where the religious doctrines, the ideas, customs, and institutions of even one European people have been so completely assimilated that progress in them is made as naturally and spontaneously as among ourselves.” (Count) Joseph Arthur de Gobineau, Essay on the Inequality of the Human Races (1853), extracts.
In defense of the American Institution of Slavery and the Confederacy during the Civil War, the confederacy translated Count de Gobineau’s racial science, theories, agenda and works to justify and support human bondage of Africans in America.
Wagner’s Ride of The Valkyries is frequently used in HollyWeird movie productions. In the overt racist film, Birth of a Nation (1915), D. W. Griffith used the Ride of the Valkyries in the climactic scene of the third act, when “The former enemies of North and South are united again in defense of their Aryan birthright” against liberated African Descendants after the end of the Civil War. In the movie, a white group-white women are rescued by the Ku Klux Klan to the sound of Wagner’s Aryan chest beating music.
Wagner cited de Gobineau to support his views about the heroic superiority of the Aryans and the extreme cultural inferiority of the Jewish “race.” Wagner’s English son-in-law and biographer, Houston Stewart Chamberlain, characterized the Aryans as culture-builders and sustainers and the Jews as destroyers (Chamberlain, 1899). Fuhrer Adolf Hitler was heavily influenced by the views of Wagner and Chamberlain. Chamberlain inspired a vast literature on “racial purity.”
In fact, Adolf Hitler had been a devotee of Wagner, de Gobineau, and particularly British-born writer and occulted mystic Houston Stewart Chamberlain(1855-1927). They were all early proponents of Nordic (Imperium) supremacy and anti-Semitism. It was Chamberlain that “hails Hitler as the new leader of Germany in 1923.” Chamberlain “told a mass society, at the mercy of impersonal forces which was crushing it, that the Teutons were indomitable master builders, that in mysticism was freedom, and ‘every mystic’ is, whether he will or not, a Anti-Semite, and Darwin’s theory of natural selection justifies the structure against mingling of the races.” (Dusty Sklar, The Nazis and the Occult, Dorset Press, NY (1977), pg. 11)
Wagner, Gobineau and Chamberlain’s Aryan Agenda and race science theories are veiled in Wagner’s music and theatrical dramas and plays, particularly Der Ring des Nibelungens. Besonders gelte dies für die Rolle des entfesselten Titelhelden – dieser habe allerlei Prüfungen zu bestehen, um seine versklavte Frau zu befreien. Whereas, Wagner and Gobineau’s Aryan Agenda and race science theories are metaphorically veiled in Django Unchained.
In Django Unchained, Dr. King Schultz, with the hidden hand gesture, is the Wanderer. KING Schultz, the Native German Volk– Christoph Waltz, is Wotan, King of the Gods. The name Shultz (German) is a status name for a village headman, from a contracted form of Middle High German Schultheize (Old High German is Sculdheizo). The term originally denoted a man responsible for collecting dues and paying them to the lord of the manor. It is a compound of sculd(a), meaning “debt” or “due,” plus a derivative of heiz(z)an, meaning “to command.”
In Wagner’s Das Rheingold, Fafner is a giant/dragon that Wotan, the Wanderer, influenced Siegfried to slay with the enchanted dragonslaying sword. Wotan owed Fafner payment for the work of building Walhalla, Castle of the Gods. Fafner transformed into a dragon to guard the hoard of Rhinegold, including the “Ring of Power” taken from Alberich made from the Rhinegold that Wotan truly covets.
Alberich rules the Nibelungs in land of Nibelheim. Nibelheim is inhabited by a race of evil dark dwarves (creatures) down in the lower region of earth. Alberich had cursed love, stole the hoard of gold from the Rhinedmaidens (water nymphs) and forged the Ring of Worldly Power from mythical precious Rhinegold.
In Wagner’s Ring Series, Wotan is disguised as the Wanderer, symbolic of his self-deception, thinking he’s uninvolved with Siegfried’s life and efforts to retrieve the ring. His desire to control events conflicts with his need for a free agent to accomplish what he by law cannot: obtain the ring.
At the end of the movie, Dr. King Schultz dies at the Candyland Mansion that held Broomhilda in bondage. Django plants dynamite in the mansion. He kills most of the residents of Candyland, frees the house slaves than lights the dynamite’s fuse.
King Schultz is consumed by the explosion and fire just as Wotan had died in the burning Walhalla, Castle of the Wagnerian Gods.
Amidst the burning mansion, Django, the hero, rides away on a horse along with Wotan’s daughter, the Valkyrie, Broomhilda. It parallels Wagner’s Ride of the Valkyries.
It’s interesting that there is little critical analysis of the patent degradation and margination of Black Motherhood in the film. They don’t seem to reproduce, have husbands or family relationships. Even during bondage, it would have an important role of Black Motherhood to relinquish the stock, but their treatment in the film is unsettlingly consistent with Nazi racial theories and goals and policies of experimentation of the lower races. It also seems important that the right Black Women were casted in the film to go along with the film’s agenda of the patent degradation of sisters in a conspiracy of silence, like the use of MONARCH/MK ULTRA HollyWeird black Sex Kittens.
Broonhidla (Kerry Washington), [Spike Lee’s She Hate Me,] may do and show anything for a few pieces of silver, triggers or keys.
Black women in Django are essentially Candyland (Nibelheim) “Sex Slaves-Sex Kittens” except for Wotan’s daughter, Broomhilda. Recall her mission is to deliver heroes to Walhalla to battle the evil lower races (creatures) from the bottom layers of earth- the Nieblungs.
Candyland’s main candy-whore, Sheba (Kingdom of Sheba), is played by Nicole Galicia. Below, she appears in her “Alice Persona.” Alice in Wonderland is a commonly used theme to developed little girls into MONARCH/MK ULTRA mind controlled “Sex Kittens”.
Well, am I going off on the deep end? Look at HollyWeird Sex Kitten Halle Berry. Is it or is not overtly sexually persuasive and unnecessarily animal-analytic suggestive?
Below is Nicole Galicia and MONARCH/MK ULTRA Bunga-Bunga Ruby the Heart Stealer in their Sex Kitten Personas.
Django’s ceremonial so-called (Einherjar-Lone Fighter) revenge against the evil enslavers of the South is a “Seigfried Persona.” It is but another one of Tarantino’s ILLUSIONS. It is a crude metaphor of Siegfried slaying Niebelungs in chilling cold blood like the SS.
Alberich (Leonardo de Caprio) ruler of Candyland is slain. Django last and interesting battle takes place when he slays Stephen, Alberich’s brother Mime (Samuel L. Jackson).
Alberich and Mime are brothers, Nibelungs. I have not viewed Django Unchained and have no intention to look at it. But, I understand that Django’s most vicious fight in the film is with Stephen, the most despised and vile character in the film. It’s not my conclusion. In fact, it is exactly what Samuel L. Jackson admitted, ‘Oh, you really want me to be the most despised Negro in cinematic history?’ “Mime fares even worse, depicted as a stinking ghetto Jew. Siegfried, the Ring’s hero, who knows no fear and is free of conscience, hates him merely for his appearance and smell: “. . . that shuffling and slinking, those eyelids blinking — how long must I endure this sight? When shall I be rid of this fool? I’d like to catch you and end your shrinking and stop your blinking! So deeply, Mime, do I loathe you.” After being nearly choked to death, Siegfried brutally murders Mime with the sword, Nothung. This is Mime’s reward for having raised Siegfried, like a father, from birth. Since Siegfried represents the conscience-free, fearless Teuton, he feels no remorse. Wagner’s music would have us justify Siegfried’s form of personal vengeance. He is glorified as the warrior hero of the Ring, the archtypal proto-Nazi. It is absolutely consistent with Wagner’s racial agenda and the two-faced Janus Face of deception of Himmler’s SS. Himmler conditioned the SS to be two-faced, one kind and decent gentleman, while the opposite- mean, cruel, evil and homicidal.
Leonardo de Caprio’s 666 and the All-Seeing Eve of LUCIIFER and Quentin Tarantino’s SILENCE (SECRECY) IS GOLDEN Symbol of the ILLUMINATI. Wagner’s racist Ring Series is clandestinely played out with the collaboration of HollyWeird’s ILLUMINATI Black Goons. Django (Jamie Foxx) is also the metaphor for Siegfried’s struggle with Wotan (Dr. King Schultz), who is ready for his own doom to make way for a coming of a New World Order and the New Age of LUCIFIER and his servants.
Here is Fuhrer Adolf Hitler in the Seigfried Lone Standard Bearer Persona
For Hitler and the Nazis, GERMAN history was symbolized Wagner’s Der Ring des Nibelungen. Both Hitler and Josef Goebbels proclaimed that the tale of Siegfried and Broomhilda were their favorites.
Siegfried’s reforging of the enchanted sword became a metaphor German rearmament. Hitler’s final hour of symbolized defeat was the conclusion of his vast reenactment of the Ring, like Siegfried, Hitler’s body was consumed in a funeral pyre and both Brumhide and Eva Braun (symbolically) closely followed their lovers in death.
Django Unchained, the N Word and the Black Psyche
“If you tell a lie big enough and keep repeating it, people will eventually come to believe it. The lie can be maintained only for such time as the State can shield the people from the political, economic and/or military consequences of the lie. It thus becomes vitally important for the State to use all of its powers to repress dissent, for the truth is the mortal enemy of the lie, and thus by extension, the truth is the greatest enemy of the State.” Reichsminister Paul Josef Goebbels, 
According to the Supreme Court of the United States, there are certain well-defined and narrowly limited classes of speech, the prevention and punishment of which have never been thought to raise any constitutional problem. These include the lewd and obscene, the profane, the libelous, and the insulting or “fighting words” those that by their very utterance inflict injury or tend to incite an immediate breach of the peace. It has been well observed that such utterances are no essential part of any exposition of ideas, and are of such slight social value as a step to truth that any benefit that may be derived from them is clearly outweighed by the social interest in order and morality. Chaplinski v. New Hampshire, 315 U.S. 568, 62 S.Ct. 766, 86 L.Ed. 1031 (1942). The N word is one of those fighting words that come within the profane and insulting that by its very utterance inflict injury. It is a badge of degradation and has no other connotation to society.
During and after the Civil War, Southern whites would commonly use the word “nigger” instead of “Negro” in order to represent superiority over the blacks. This was especially common for slave owners to refer to their slaves as “niggers” in order to both debase Africans below human beings [“untermensch” (sub-man, sub-humans)]; and to show ownership over their lives. The N word also signifies worthlessness “lebensunwerte leben” [useless eaters- life unworthy of life].
Katt Williams discovered and then exposed to the general public that there are 176 instances of “F**k You Ni**ger” in Django Unchained,
“Everyone’s all ‘oh my god, Quentin’s written ‘nigger’ 176 times on a script again’… Django Unchained is essentially a spaghetti western exploitation movie with some Hong Kong overtones. He knows the movies that we like.”
The ILLUMINATI have carefully studied the films that Black People, particularly, tend to watch and enjoy. I suspect like Josef Goebbels Propaganda Ministry would had their psychiatrists, psychologists and social scientists test, measure, experiment then develop a formula based on the number of times the N-word need to be repeated to penetrate, internalize, subliminally affect and injure the Black Psyche; and also polarize the races by mass media vehicles.
“I was called a nigger almost every day in Texas.”
Jamie Foxx, Oscar-winning actor (Ray) born in 1967
I grew up with the healing melodies and the Genius of Ray Charles. One evening, I sat down to enjoy the 2005 feature film, Ray, starting Jamie Foxx. At first, I thought it odd that the movie was just called “Ray,” and Jamie Foxx, a despicable satanic, cross dressing Negro comedian got the leading role.
However, I put down my guard. I had so many warm, comfortable feelings and memories in regards to the beloved Ray Charles. I thought the movie would delight in his life and music. In the very opening scene, he was called out of name. He was both a ni**ger (untermensch) and useless blind (libensunwerte leben). It wasn’t necessary at all.
From the movie script,
Southern White Bus Driver: “Boy, I can’t take responsibility for some blind ni**ger traveling…miles alone.”
I turned off the television. I was mentally deeply hurt and betrayed. For me, the N Word is still a vicious “Fighting Word.” I had been suckered in to watch the movie believing it was a sincere “Feel Good” ticket about a man, legend and his music that healed our souls and settled our spirits. I was hit in the blindside again by the HollyWeird ILLUMINATI that only intended to assert command over my very BEING and reinforce a sense of worthlessness and powerlessness among the masses. I am presently unable to watch the movie. You can’t trust HollyWeird and its black goons.They gave Jamie Foxx an Academy Award for in 2005 being a loyal Negro ILLUMINATI Goon.
In Katt Williams’ denunciation of Django Unchained, he personally exposed and singled out Jamie Foxx, in particular, for condemnation. Katt Williams said that he knows a lot about HollyWeird behind the scenes. He is ready telling the public, WATCH JAMIE FOXX.
In Jamie Foxx’s 2009 music video, Blame It, featuring Satanic T-Pain in a Masonic-ILLUMINATI checkerboard pattern vest, it shows that Jamie Foxx had been initiated as a High Priest of some type of HollyWeird Satanic Cult with an animal deity coven with a Panda talisman. The Panda, subliminally, appears to be soft, sweet and gentle like a Teddy Bear,
T-Pain 666, Sign of the BEAST
“This brings us back to the secret occult meaning behind the teddy bear. The teddy bear symbolizes only the nice side of the actual bear’s duality. It is cuddly, adorable and non-threatening. We give children a toy that represents the safe side of life’s duality. It is meant to be reassuring.”
Yet, the bear, particularly the Panda, is a deadly animal with a nasty disposition that will attack humans without provocation. It is also symbolically patently dual (dualism); it is significantly black and white.
Blame It opens with the musical version of the black mass music played backwards in Stanley Kubrick’s classic satanic thriller, “Eyes Wide Shut.” It can’t be denied or explained away, the black mass music in the video denotes the start of a satanic ritual.
I had often related these gestures to the OSIRIS-ISIS-HORUS Mysteries of Kemet, All Seeing Eye of Horus. However, these people have absolutely nothing to do with Kemet. They are Two-Faced Janus Personalities, Deceivers and Masters of Deceptions and Disguises. This is what it is, the All-Seeing Eye of LUCIFER.
Appearing as satanic ritual coven members are Ron Howard, Forest Whitaker, Samuel L. Jackson, Jack Gyllenhall, Quincy Jones, Cedric the Entertainer, Morris Chestnut, Clifton Powell, Alex Thomas, DeRay Davis, Joe, Mos Def, Tatyana Alie, Jalen Rose, Bill Bellany, Ashley Scott, Electrik Red, Dawn Richard, Keshia Knight Pullman, and LeToya. BET named “Blame It” their No. 1 music video for 2009 on their year-end Notarized countdown.
Subsequent to posting an excellent video in PRECIOUS & DECEPTION: THE ROAD BACK TO NAZI SPIRITUAL SCIENCE AND MK ULTRA on May 4, 2010 analyzing its patent Satanic content, the original official “Blame It” musical video was pulled, and the highly edited video below took its place.
However, some very significant satanic content of the video had not been removed. At frame 1:26, there is the caged woman in dark, than at frames 1:37-2:41, Jamie toys with a woman in a leopard skin print. Jamie says that he can feel their but she don’t care- mind controlled Sex Kitten, then it flashes to the woman (Sex Kitten) moving in the dark (animal) cage. At frames 1:31, spades with symbols, death calling cards appear on alcohol bottles.
At frame 2:35, skulls appear at the bottom of two cocktail glasses. At frame 2:41, the Panda Deity Talisman dance and a woman wearing an animal print scarf begins to dance in trance flashing the devil’s horns hand symbol from frames 2:42-2:52; then the frame switch briefly back to the woman in the cage, linking the woman in the cage with the dancing women in trance with animal skin prints.
What is missing from the original video is that the Panda Deity Talisman’s dance with women in a ritualized dance that invoke and conjure up a demon patron-spirit. Some of the most chilling, disturbing and significant satanic scenes begins at this point in this video and its satanic and demonic nature can’t be denied for what it is.
From frames 3:32-3:56, a young woman (demonic patron) with strange dark-black fixed eyes who appears to be in a zombie zone with the devil’s horns finger symbol in her mouth began to dance in trance. Her moves are distorted, bizarre and possessed like the possession dance scene of the demonic patron in the 1987 Santeria cult film, The Believers.
The video is significantly red with flashes of blue and purple. In illuminati symbology, red is the color of fire, blood, danger, chaos; and often symbolizes sin. In Wiccan, blue is associated with the God Zephyrus. Zephyrus is associated with fertility and love, and the hour of twilight. Blue is also associated with “blue bloods,” and LUCIFER. Purple is associated with royalty but likely privilege in this instance. Samuel L. Jackson appears to be trance throughout the video.
At the end of the video at frames 6:51-7:00, Jamie Foxx exposes himself as receiving the Panda Deity Talisman becoming the High Priest of the Satanic Coven. The Little Mad Genius turns out to be not too mad after all.
Finally, the Seigfried Persona is extremely dangerous and frightening prospect if it has not already been done (Jamie Foxx). Imagine MONARCH/MK ULTRA programmers and handlers using Siegfried Persona Alters to develop Black Manchurian Candidates to slaughter their own people to protect Walhalla and the Bloodlines of Wotan.
Yesterday, the Academy of Motion Picture Arts and Sciences nominated Django Unchained for 4 academy awards including Best Picture and Best Original Screen Play. Of course, the Volkisct –Blood of Wotan Christoph Waltz got the nod from the academy for the 2013 Best Supporting Actor for clandestinely-subliminally WOTANIZING the entertainment film industry for the New Word Order and the Age of LUCIFER.
As I speak, Katt Williams has been taken off the street again by the Los Angeles Police Department on an outstanding $100,000 arrest warrant out of Sacramento. I pray that they don’t suicide him or lobotomize his brain to keep him from smashing mirrors, images and ILLUSIONS of the ILLUMINATI, permanently!
 Richardson, Herbert, New Studies in Richard Wagner’s The Ring of the Nibelung, The Edwin Mellen Press, Lewiston, NY (1991) pgs. 162-195)