i don't agree with painting all people who belong to an organization with such a broad brush as this article seems to do. i post this rather because i feel that between the lines there is a rather profound insight into the workings of the way the power elite operates to maintain power and think it is VERY fitting for the current insanity that pervades.http://www.conspiracyarchive.com/NWO/Masonic_Ritual_Murders.htm" . . . After all, conspiracies of States are always informative because of the depths of depravity that show what men will do to preserve the status quo of the Ruling Class and Power Elite. In this case, the movie deftly illustrates that xenophobia and unvarnished hypocrisy are the hallmarks of the outwardly prim and proper Victorian Age. The flood of immigrants. The rising tide of socialism. The perceived threat of Catholicism to the Crown. The possibility of working-class uprising. These were all political factors in an age when the debauchery of the Ruling Class was a fact of life, as were the ruthlessness and corruption of the Crown.
"A great deal is at stake if the Establishment considers it necessary to operate a full scale cover-up," writes Knight. "For the truth of the Jack the Ripper affair to have been painstakingly concealed can mean nothing less than State security was at risk, or that someone high in the Government or the Royal Family was involved."
Author Stephen Knight, in his out of print masterpiece, "Jack the Ripper: The Final Solution," explains how Britain's entire political system at the end of the 19th century was threatened by the hidden facts -- Prince Albert Victor ("Eddy") was not only bisexual, but he had married a Roman Catholic girl and fathered a child with her. Evidently these debaucheries were so scandalous that the Ruling Class would not abide even the slightest hint of this revelation.
When a group of working girls (Annie Chapman, Marie Kelly, Elizabeth Stride and Mary Nichols) decided to blackmail the Royals, the Marquess of Salisbury, then Prime Minister, had to take care of the problem. He entrusted Sir William Gull, physician and abortionist to the Royal Family, for the mission.
One of the country's most prominent Freemasons, Gull understood that "Freemasonry was the power behind the Government and it was the unseen influence of the Masonic elders which dictated major policies, not the pleasing façade of Commons debate."
The deliberately engineered panic, i.e., the murder of five prostitutes, was done according to Masonic ritual. The ritual murder and disembowelment "met with such ghastly success because of the audacity with which they were executed," said Walter Sickert, Knight's informant whose painter-father had intimate knowledge of the Cleveland Street murders. This so-called "audacity" is a trademark of Masonic "mischief-making."
"Freemasons applaud violence, terror and crime, provided it is carried out in a crafty manner," writes Knight. "Humor is all important and the most appalling crimes may be committed under its cloak."
In fact, one of the key Masonic insights into human nature, says Knight, is the reaction of people to terrorism and serial ritual murders executed with great skill.
In other words, people will marvel and say, "What a dirty trick, but how skillfully executed. What a swindle, but how well and with what courage it has been done." This macabre sense of humor (or base insanity) is the trademark of Masonic Magick -
to cause an effect, by an act so devilish yet cunning, that the entire world pays attention - while it's virtually terrorized and traumatized in the same collective gasp of horror. "Ghoulish murders with a Puckish sense of fun" characterizes these atrocities.
(For example - how could they possibly drive those planes into the towers?)
"If Masonic supremacy appears in jeopardy, it is reestablished by a show of strength, by crimes of violence, perpetrated to demonstrate the continuing power of Freemasons for the benefit of Brothers abroad," writes Knight. "Crimes of violence would have been committed to reestablishing Masonic authority in the eyes of Masons everywhere."
"All Jack the Ripper victims were dispatched according to age-old Masonic ritual," Knight continues. The mutilations of the "unfortunates" were done according to Masonic tradition, the standard way of dealing with "traitors." In fact, the oath recited by initiates promises a ghastly death and mutilation -- in the case of "betrayal."
"From Hell" actually shows a Masonic ritual of initiation, and the candidate's recited vow of promised retribution in the case of his "betrayal" sounds like a dictation from the devil himself.
It is, after all, the standard Illuminati Two Fer (Two, Two, Two for the Price of One). In this case, Number One is to eliminate the blackmailers and witnesses, the prostitutes who knew about Eddie's indiscretions. And Number Two is to instill terror in the general populace by horrific murders (and "unsolved mysteries"), which traumatize the people into deeper submission and subconscious programming.
The "deliberately engineered panic" to which Knight refers has been used historically to shift the paradigm from a scam which is about to be uncovered to a new collective "concern."
The movie "Wag the Dog," of course, illustrates this concept with unsurpassed brilliance. Divert attention from a potential scandal (the President's sexual indiscretions) to a greater potential problem (a "manufactured" war) and the entire population is once again under a "hoodwink."
As Dr. Albert Mackey, a 33rd Degree Freemason writes in "The Encyclopedia of Freemasonry," a hoodwink is "a symbol of the secrecy, silence and darkness in which the mysteries of the art should be preserved from the unhallowed gaze of the profane."
In other words, when attention is diverted even for a nanosecond, the con artist (shell game practitioner, or magician) once again confuses his mark. The street-wise expression is simply "The House Always Wins." . . . "
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