Douglas Mercer
October 19 2024
Our reality is a projected framework—a projection by an artifact, a computer like teaching machine that guides, programs and generally controls us as we act without awareness in our projected world. The artifact has created our reality as a sort of mirror or image of itself so that it can thereby obtain an objective standpoint to comprehend itself (Phillip Dick). This is nearly on the mark but misses many things (close but no cigar). As always William Pierce, unclouded by massive methamphetamine use and unending doses of LSD-25, hits the nail on the head: the creator has created the universe in order create a coming race of gods—namely, us, the Aryan Race. What Dick glosses over is the word “teaching” (we are one man learning, Pascal). Surely the god does not need anything external to it to comprehend itself, but it creates other beings who are to become independent of it because it has a primal will and urge to do one thing: create. This was once a paradox but time has given its proofs; that is it is the abyss into which philosophy always falls. In this ongoing game of machine learning what is the god teaching us? Answer: how to be gods.
The game Second Life touts itself this way: Expect the unexpected. Explore now: With thousands of virtual experiences and communities, you'll never run out of places to explore and people to meet. Music clubs, role-playing communities, virtual cinemas and more. Second Life is always wonderful, sometimes weird, and 100% wow-worthy.
Second Life is a multi-level multiplayer interactive virtual world that allows people to create an a avatar for themselves and then interact with other users and user-created content within a multi-user online environment.
The term gamer originally meant gambler, and has been in use since at least 1422, when the town laws of Walsall, England, referred to any dice-player, carder, tennis player, or other unlawful gamer. However, this description has not been adopted in the United States, where it became associated with other pastimes. In the US, they made their appearance as war games. War games were originally created as a military and strategy tool. When Dungeons and Dragons was released, it was originally marketed as a war game, but later was described by its creators as a role-playing game. They called their players gamers and this is where the word changed definition from someone who gambles to someone who plays board games or, more usually now, any brand of interactive video games using a host and multiple players interfacing in the cybernetic field.
LARP: Live Action Role Play
LARP def: a type of interactive role-playing game in which the participants portray characters through physical action, often in costume and with props: a live action role-playing game in which a group of people enacts a fictional scenario (such as a fantasy adventure) in real time typically under the guidance of a facilitator or organizer A live action role-playing game (LARP) is a form of role-playing where the participants physically portray their characters. The players pursue goals within a fictional setting represented by real-world environments while interacting with each other in character. The outcome of player actions may be mediated by game rules or determined by consensus among players. Event arrangers called game masters decide the setting and rules to be used and facilitate play.
The first LARPs were run in the late 1970s, inspired by tabletop role playing games and genre fiction. The activity spread internationally during the 1980s and has diversified into a wide variety of styles. Play may be very game-like or may be more concerned with dramatic or artistic expression. Events can also be designed to achieve educational or political goals. The fictional genres used vary greatly, from realistic modern or historical settings to fantastic or futuristic eras. Production values are sometimes minimal, but can involve elaborate venues and costumes. LARPs range in size from small private events lasting a few hours, to large public events with thousands of players lasting for days or weeks or, if desired, longer.
The game is a game of facets and aspects and there are a myriad of them naturally; and the game that subsumes all games has been going on forever, but we are nearing the point where there will be a qualitative change in the nature of the game; that is the game is going live, it will be broadcast on the air, and the screen will dissolve and fade to real when we are ready for our close up.
You can learn how to play the game
You can learn how to be you in time
How does it feel to be
One of the beautiful people?
Now that you know who you are?
What do you want to be?
Tuned in so naturally
Now that you've found another key
What are you going to play?
All play the game
Existence to the end
The game we find ourselves in (Dick’s projected reality) is game of symbols (cymbals). Whoever controls the symbols controls the game.
The motto of the Central Intelligence Agency is the truth will set you free.
Rain
Reign (Reich, Thousand Year Reign). In 1923 German cultural critic Arthur Moeller van den Bruck published Das Dritte Reich (The Third Empire or Reich). Written at a time when the Weimar Republic was struggling to contain revolutionary forces from the left, Moeller’s treatise espoused a doctrine that called for the elevation of German intellectualism and nationalism.
Umbrella
Raincoat
The movie Rainman concerns a conman who seeks his father’s inheritance only to see that it was given to his brother, an autistic savant with total recall. The conman travels to a local mental institution to find his brother adheres to strict routines, has a flawless memory, and show no emotions save when he is in distress. Their drive across country is complicated by the fact that the autistic brother will not travel when it rains. The conman realizes that the autistic brother had actually lived with the family when he was young but in his memories of him he had always thought of him as an imaginary friend. The conman then goes to Las Vegas and his plans to make a big score are realized due to his brother’s phenomenal ability to count cards.
It is time for stormy weather
We’re in for nasty weather
You may need a raincoat
When the rain comes
They run and hide their heads
When the rain comes
We slip into the shade (umbra, umbrella)
Have you ever seen the rain come down on a sunny day?
Dip into the pocket of my raincoat
You and I wearing raincoats
Saving up our money for a rainy day
Tomorrow will rain
I believe I'm going to rain
You may need a raincoat
(See Rain And Shine, White Biocentrism, June 1 2024)
Why don't we drive in the rain
Straight through eye of the hurricane
Go for a ride in the driving rain
A Mackintosh is a type of raincoat
Who the devil is McIntosh?
The man in the mac said we wish you success
The banker never wears a mac in the pouring rain
(See Conceptual Art, White Biocentrism, October 6 2024)
In the book Tavistock Institute the author postulates the world as a grand psy-op of unknown purposes, and discusses issues related to mind control (Esalen, Stanford Research Institute), brainwashing, and MK-Ultra. He postulates that the assassination of John Kennedy replicated the occult set piece of killing the king (Oswald: Oz / Jack Ruby, ruby slippers). Taken as a whole the book posits a world that is created as a projection, a world of smoke and mirrors, where nothing is as it seems, a sort of live action role play of a game, or staged rehearsal for death, with a cast of characters, where the players play, and the players are played, in this imaginary world a White Knight talking backward might get up and tell you where to go.
And the truth of the matter, when the final positions of being are arrayed with and against one another, is that the friends and enemies will be of a confusing nature — so much so that any but the most perceptive will not be able to tell who is who and which is which, at least until the masks all come off and the faces appear in their final clarity. At the time of the denouement a peculiar catty corner effect will ensue where all will seem up for grabs or in the air.
There is blood on our hands and there are documents. This is history. You can’t have one without the other. Blood. Documents. Guilt. Innocence. Knowledge. Ignorance. Frustraion. Fear. You don’t know history unless you now fear. History is to be something then go away. The rest is bookkeeping. We are not in Kansas anymore, but we have seen our life beyond the Yellow Brick Road.
The author curates a congeries of words related to rain, rain man, umbrella which emanated from a host of squalid stars whom he surmises are involved in occult practices ranging from Eminem, Fat Joe Feat, Rihanna, Savage, Lady Gaga, Black Stone Cherry, Jamie Foxx, The Game, Jay-Z, Usher, Pharrell, WASP, Ya Boy, Tupac, Fatboy Slim, Puff Daddy:
Lryics: possessed by the devil by the name: rain man, speak of the devil it’s the attack of rain man, release me: rain man, we make it rain like rain man when we play with the glove (a gamer reference), they call me rain man she tried to rain dance, hey everybody say rain man can we have a rainy day?, illuminati want my mind, illuminati make my body sleep.
Rihanna’s song Umbrella propelled her from a rising pop act to worldwide superstardom and eternal pop icon (selling one’s soul to the devil): let it rain rain man is back in anticipation of precipation, when the clouds come we roc-a-fella (new world order reference), we fly higher than the weather, stack chips for a rainy day, rain man is back, when the sun shine we shine together, took an oath I stick to it to the end, going to let the rain pour, now it rains more than ever you can stand under my umbrella, it’s raining raining raining come into me, come under my umbrella ella ella ella ell ell ell.
El is the Hebrew word for God (see Kabala, elohim, the name unspeakable).
Bob Dylan: when the rain man comes with his magic wand
Tanya Tucker: she said you call yourself the rain man
Hey kids shake it loose together
The spotlight is hitting
Something that’s been
Known to change
The Weather
We will kill the fatted calf
Tonight so stick around
(Incantation of Invocation of a rain dance)
Raining blood
Form a lacerated sky
Creating its structure
Now I reign in blood
They Used Dark Forces is a novel in which Sallust is sent to investigate rumors of a German superweapon being built in Peenenmunde. He is wounded following an air raid and encounters Ibrahim Mallacou, a Jewish Satanist who uses hypnotism to relieve his pain whilst treating his injuries. He encounters Mallacou again when he is trapped in Poland attempting to smuggle out parts of a V1 rocket. After several adventures including imprisonment and dinner with Herman Goring the the unlikely pair find themselves in Hitler’s bunker during the siege of Berlin where they attempt to persuade him to take his own life rather than fight on.
***
Who is the rain man? Who’s there?
Umbrella: death shade
Let’s game it out.
The Umbrella Academy is an American television show which revolves around a dysfunctional family of adopted sibling superheroes who reunite to solve the mystery of their father's death and the threat of an imminent apocalypse.
In Roald Dahl’s The Umbrella Man the narrator of this story is a 12-year-old girl who has gone to London with her mother to visit the dentist. The girl has a tooth filled, and then she and her mother go to a café afterwards. When it’s time to go home, they discover that it’s pouring rain and they have no umbrella. They decide to get a taxi. While they’re watching for a cab, an old gentleman sheltering under an umbrella approaches them. The man offers to sell them the umbrella which they purchase but suspicious of him they follow him and learn that he is stealing umbrellas from pubs. Eventually they find themselves at a pub called The Red Lion and they watch as the old man finishes his drink and goes to retrieve his coat and hat. Just before he leaves the pub, he smoothly plucks a wet umbrella from the coat rack and takes it with him. So that’s his game! the mother explained. They see him head back to the main street and sell the umbrella to another unsuspecting person. Then he heads off in another direction for another pub. He could be doing this all night, the girl says. Yes, of course, says the mother. But I’ll be he prays like mad for rainy days.
The umbrella man, later identified as Louie Steven Witt, is a figure who appears in several films and photographs of the assassination of John Kennedy. He was one of the closest bystanders when the President was first struck by a bullet, near the Stemmons Freeway sign within Dealy Plaza. The figure's behavior raised suspicion among investigators due to his maneuvering of an umbrella, as Kennedy was passing him, despite clear skies. Louie Steven Witt came forward to the Congress in1978, identifying himself as the umbrella man in the footage. Witt said that he brought the umbrella that day to heckle Kennedy, as an indirect reference to his father’s support of Neville Chamberlain. A person popularly dubbed the umbrella man has been the object of much speculation, as he was the only person seen carrying, and opening, an umbrella on that sunny day. Thompson and Sprague suggested that the umbrella man may have been acting as a signaler of some kind.
The name Chamberlain is of English origin and is derived from the Middle English word chaumberlein, which means chief servant or chamber servant. It was originally an occupational surname given to someone who worked as a high-ranking official in a noble household, responsible for managing the chambers or private rooms of the lord or king. The name Chamberlain signifies a position of trust and authority within the household, emphasizing the individual's role as a loyal steward or custodian of the chambers.
The year before, at the Munich Conference, British Prime Minister Neville Chamberlain was invariably depicted holding a (furled) umbrella, in the manner of a saint and his icon. The imagery suggested a weaponlike thing that was not and would not be used as a weapon, hence its aptness and its stickiness. The following year, Chamberlain traveled to Rome to try, unsuccessfully, to apply some diplomatic pressure to Mussolini. And the New York Times ran a feature that reproduced several editorial cartoons about Chamberlain’s mission. Every one showed him with an umbrella.
Neville Chamberlain’s umbrella was ubiquitous during the Munich Crisis and in its aftermath, as material object, as a commodity, and as political emblem that came to represent the temperament and character of the Man of Peace who had brought relief to the world by striking a gentleman’s peace with Hitler on 30 September 1938. This culminated in the damning portrayal of the Prime Minister as the Umbrella Man in Cato’s Guilty Men (1940). Throwing the spotlight on the material object of the umbrella can illuminate the popular dimension of these highly charged diplomatic events, and offer some insight into how foreign policy was lived across the social spectrum and across borders. We can chart dramatic fluctuations in both mediated and visceral public opinion in the changing symbolic uses of the umbrella. By blowing the dust off Chamberlain’s old umbrella, this article suggests an alternative perspective on the politics and culture of appeasement.
His name is almost a synonym for peace and the portrayal of Chamberlain’s saintliness was constantly reinforced with the visual hook of the umbrella. The Savior of Peace got quietly into his car, umbrella and all. However, it did not take long for Chamberlain’s detractors and satirists to rain on his parade, and the Premier was demeaned and damned through a process of objectification of the umbrella. In Cato’s stinging denunciation of 1940, Guilty Men, Chamberlain was given a starring role among the band of fumbling and bumbling appeasers, but more specifically, he was cast as the metonymous Umbrella Man, becoming one with the quintessentially utilitarian English accoutrement that so often supported his elongated but curling septuagenarian frame. The Star predicted that the umbrella, stiff, straight, rigid, tightly rolled up, rather like its owner, may take its place in history. In fact, umbrellas, and Chamberlain’s umbrella in particular, were omnipresent in the visual and material culture, and in the rhetorical constructions of the Munich Crisis and in its aftermath. Chamberlain’s umbrella was easily the most produced and reproduced political emblem of late 1938–9, represented in a wide range of textual and visual forms in the media, and in consumable forms as accessories, adornments, novelties, souvenirs and edible delicacies. In Britain and abroad, and especially in France, the umbrella came to stand for a distinctly British form of diplomatic engagement. The Yorkshire Post asked: Is there any other single object that could be turned to so much symbolism? Perhaps it was the association of ideas between Mr. Chamberlain’s mission and the purpose of the umbrella that struck foreign imagination, as the umbrella has no bellicose connotations. It is shelter, protection (originally against sun as well as rain). New directions in political history scholarship—taking into account linguistic, visual, affective, material, rhetorical and consumption turns, and a spate of biographies of individual objects—make the study of the umbrella as political symbol and as material entity especially apropos. As Frank Trentmann has declared, things are back, and the material world has too much history in it to leave it to the social sciences.
Chamberlain’s umbrella was indubitably the most pervasive emblematic object of the crisis. By searching for the meanings of the gamp, this essay therefore offers an evocation of the times. If the approach taken here includes some elements of a jeu d’esprit, it is because this echoes the whimsical ways in which Chamberlain and his umbrella were represented in the sources. In tracing how the umbrella was initially used to fete but very soon discredit its owner, we can unmask neglected discourses and levels of experience in the prelude to the People’s War. It will reflect on the quasi-religious significance accorded the umbrella—immediately after the Four Powers Conference, Chamberlain’s umbrella was instantly recognized as an artifact of deep historical significance, a museum piece, and even a relic. Lastly, and perhaps most obviously, the umbrella became the metaphoric stick with which to beat Chamberlain
In addition, Chamberlain’s umbrella has not been the only symbolically resonant brolly, and he competes for exclusive rights to the umbrella as metonym of English national identity with the Hollywood version of Mary Poppins (1964), and the Avengers’ (1961–9) umbrella-carrying, bowler-hat topped unflappable Cold Warrior John Steed (played by Patrick Macnee). Experts on the John Kennedy assassination will also be familiar with the mysterious umbrella man who stood along the route of the Dallas motorcade, and conspiracy theorists believe he was either signaling to the assassin or that he may have shot a poison dart at the President from the tip of his gamp.
What is the meaning of the umbrella and what does it stand for in the specific context of Britain in the 1930s? It is first and foremost a functional object, providing protection mainly against foul weather. It elicits English virtues of pragmatism, the boy-scout wisdom about always being prepared, a boy’s own spirit of adventure and self-reliance, and that rather uninspiring Baldwinian obsession with the weather, with meteorologically oriented subjects the most acceptable in polite company across the social spectrum. In England the weather is an ever-interesting, even thrilling topic, and you must be good at discussing the weather.
The English virtue of always being prepared for a rainy day was captured in a spot of mass observation conducted by Daily Mail reporter Charles Graves from a front table at Oddy’s, Piccadilly in the spring of 1938. He recorded the ratio of umbrellas to walking sticks was about 8 to 1. Five pessimists carried mackintoshes: twenty or thirty wore overcoats despite the warmth.
In Orwell’s famous exploration of British national identity, The Lion and the Unicorn the umbrella completes the outfit of his much disdained Whitehall-based colonial administrator.
If you don’t like the weather wait thirty minutes—an old British saying. Standing in an English Garden waiting for the sun, if the sun don't come you'll catch a tan standing in an English Rain.
The best-known example of appeasement is British foreign policy towards Nazi Germany in the 1930s. In popular memory, appeasement is primarily associated with British Prime Minister Neville Chamberlain (in office, 1937–1940). However, appeasement of Nazi Germany was also the policy of his predecessors, James Ramsay MacDonald (1929–1935) and Stanley Baldwin (1935–1937).
In 1937, the Duke and Duchess of Windsor set off on a tour of Germany, when the National Socialist regime was in full control of the country. This would be all over the world— photographs of Wallis and Edward with Hitler, historian Jane Ridley says in the documentary that this this would be acutely embarrassing and unacceptable to the royal family. In October of that year, the duke wrote a thank you letter to Hitler after spending time with him at his mountain retreat. It's written in German, but the translation reads: To the Führer and Chancellor, the Duchess of Windsor and I would like to thank you sincerely. Our trip through Germany has made a great impression on us. Many thanks to you for the wonderful time that we had with you at the Obersalzberg.
***
They say that difference between white and black magic is paper thin or a matter of degrees; but really it is all the difference in the world.
Long after the Black Swan has sang its beautiful last the White Swan will be warbling its woodnotes wild forever. Sweet Swan of Avon! a sight it was to see thee in our waters appear and make those eternal flights upon the banks of the Thames.
Risk is the game of global domination. And these insipid amateurs playing the funny games of the occult are children playing with fire and when the time is right it will blow up in their faces for the whirligig of time is famous for nothing less than bringing in its revenges. Whoever controls the symbols and the images controls the world and as we appropriate them we own them. For fate is not set but made, anyone can play once they’ve learned the game and the one with the most powerful narrative wins. The stakes are always high and the rules specify that it’s winner takes all.
It is over determined, it’s easy, it’s piece of cake.
Paul McCartney put an album under the name of The Fireman.
The fireman rushes in in the pouring rain.
But what says the fire-marshal? The fire-marshal, he says—well, at other times the fire-marshal is a very pleasant and refined man; but at a fire he does use coarse language—he says or, rather, he roars out: Oh, go to hell with your buckets and hand-squirts! The right man will understand at once, as did the fire-marshal, that the crowd must be got out of the way; in fact, that their presence and puttering around is the most dangerous ally the fire could have. Only, that in matters of the spirit it is not as in the case of the conflagration, where the fire-marshal needs but to say to the police: rid me of these people! When finally the right man arrives, he who in the highest sense is called to the task—for all we know, chosen early and slowly educated for this business—which is, to throw light on the matter, to set fire to this jungle which is a refuge for all kinds of foolish talk and delusions and rascally tricks
And tonight Mr. Kite is topping the bill!
***
A character in Kurt Vonnegut’s Cat’s Cradle (man who helped create the atom bomb) was asked what he did for relaxation and he replied why should he play made up games when there are so many real ones going on?
That is to say, in the case of a fire the whole way of looking at things is a very different one from that of quiet every-day life. The qualities which in quiet every-day life render one well-liked, viz., good-nature and kindly well-meaning, all this is repaid, in the case of a fire, with abusive language and finally with a crack on the head. For this is just as it should be. For a conflagration is a serious business; and wherever we have to deal with a serious business this well-intentioned kindness won’t do at all. But what is true in the case of a fire holds true also in matters of the spirit. Wherever a cause is to be promoted, or an enterprise to be seen through, or an idea to be served—you may be sure that when he who really is the man to do it, the right man, he who, in a higher sense has and ought to have command, he who is in earnest and can make the matter the serious business it really is—you may be sure that when he arrives at the spot, so to say, he will find there a nice company of easy-going twaddlers pretending to be engaged in serious business. But the right man will see at a glance, as the fire-marshal does, that the crowd who in the kindness of their hearts mean to help in extinguishing a conflagration by buckets and hand-squirts—the right man will see that the same crowd who here, when there is a question, not of extinguishing a fire, but rather of setting something on fire, the crowd will be seen then to be just playing games.
