Monday, February 20, 2023

Forty Years in the Wilderness of the Unreal

They say History repeats, first as tragedy and then as farce. But how exactly does that work when Reality itself is irreparably broken?

Forty years may seem like a long time to a lot of you out there, but it's hardly an eye-blink in the grand scheme of things. And 1983 seems more real to me than any number of intervening years since. And if 2023 isn't 1983 on repeat, then it sure as hell rhymes.

Think about it: we have a senile saber-rattler in the White House playing a deadly game of chicken with an extremely pissed-off Russia. 

We have a new spin on the Religious Right in the Woke death cult, which is infinitely more powerful, entrenched and widespread than the old Moral Majority ever dreamed of being. Ironically, our new puritanical scolds hate and fear the New Age movement even more than their Eighties mirror-images did. 

Also, we have a lot of weird tech hitting the market, the effects of which can't even be imagined yet.

But a lot of the more interesting and creative things that came to light in 1983 are now dying slow, ugly and protracted deaths, particularly in the cultural sphere. Comics and superheroes are a great example. 

1983 saw the rise of the comic book auteur with Frank Miller launching Ronin (which set the stage for Dark Knight) and Alan Moore getting his start in US comics with Saga of the Swamp Thing (which set the stage for Watchmen). Without these successes you'd never have seen the rise of the comic book movie, which the Miller-derived first Batman movie kickstarted.

The creative well ran bone-dry a long time ago, but Hollywood was able to repackage old ideas and present them as new to an audience that were obvious to the source material. But you can only chew on the same stick of gum for so long and we're well on the downslope for the genre, even for the movies.

The playful androgyny of first-wave MTV has gone irredeemably and maliciously rancid, thanks to the greedy sorcerers leading lonely young people off the cliff of permanent medical mutilation. Don't get me started on all that, because it's all too goddamned depressing.

Heavy Metal went mainstream in 1983 - Quiet Riot's Metal Health became the first Metal LP to hit #1 on the Billboard charts - but is practically invisible now in the US and UK, meaning the countries that originally birthed it. However, Metal is more popular than ever in other parts of the world, like Latin America, Eastern Europe and Asia. Places where governments aren't so hellbent on breaking the wills of their young male population, I reckon.

As I've said, the New Age movement - which the Democrat establishment is now trying to eliminate, regarding it as a breeding ground for dissent - took off in earnest with Shirley MacLaine's Out on a Limb

It's all so ironic, given MacLaine's close and extensive ties to the pre-Woke Democratic establishment. But that may as well have been in another universe. Certainly another America, nothing at all like what we have today.

So let's take another look at what began to tear at the fabric of reality forty years back.

You're on it right now: the Internet as we know began in earnest in 1983, with the introduction of the TCP/IP network protocol. Remember it was all ARPANET, a Pentagon project from the gitgo.

That was nothing compared to this innovation, which we will all come to rue one day. These were very dumb phones, mind you, but set us down the road to where we are today. Meaning a world of shattered attention spans, rampant intellectual incompetence and mentally-shattered children.

1983 saw the rise of the unimaginable fortunes that Ba'al Gates and Steve Jobs would accrue, with the introduction of Microsoft Word and the Macintosh computer. Gates would turn around and rip off the Mac OS for Windows, feeding him the wealth he needed to develop the medicines of mass destruction he is now so notorious for.

Oddly enough, Gates' partner in crimes against humanity, Dr. Fausti, would make his bones with HIV/AIDS, first isolated in 1983. Odder still, rumor has it that Gates' archrival - the aforementioned Steve Jobs - actually died of AIDS and not pancreatic cancer, leaving 1983's indelible mark all over the place.

Just to make it all the more insane, 1983 saw several breakthroughs in the use of computer graphics in film. A mixed blessing for Tinseltown: it made for unimagined profits for big SF and fantasy films, but brought about the "uncanny valley" effect that ultimately broke the spell the cinema once had over us. 


The most powerful weapon of all in the never-ending war on consensus perception has been the blending of live action and CGI, which we first saw in 1983 with the horror anthology, Nightmares

Note this film also featured two prominent TenThirteen players, Lance Henriksen (Millennium) and Veronica Cartwright (The X-Files).

Weirder still, the scene we just watched features Emilio Estevez, who also filmed this iconic scene with Tracey Walter in 1983. Repo Man captures the energy of the Year that Broke Reality better than any filmed treatment had until the first Stranger Things. It also heralded the concept of Synchronicity, which of course was also the title of one of 1983's best-selling albums.

A lot of people didn't realize it at the time, but 1983 also gave us two movies dealing rather explicitly with the psychotronic technologies being developed in earnest by MKULTRA successor programs, not to mention the whole fantasy of consciousness uploading, as well as a preview of the kind of panopticon tech that we see everywhere today. 

The two films took much different approaches but were dealing with the same fundamental issue, that being the power of advanced technology to change the fabric of Reality - meaning "to break it" - by changing the perceptions of humanity on an industrial scale.

Neither film has aged particularly well as cinema, but both are remarkable prophecies - and predictive programs - of the kind of control mechanisms that have been baked into high technology since day one. 

Unfortunately, no one way back in 1983 could fully imagine the ubiquity and volume of media that the average person would be exposed to every day.

Given the fact that 1983 is when the Oracle of the Apocalypse first rose to prominence in her home country, it's no surprise that we had a series of white-knuckle superpower scares that year. It's no surprise that these events coincided with major events in the Oracle's day job, either.

The first of these was the downing of Korean Airlines Flight 007 by a Soviet jet. Anti-Communist Congressman Larry McDonald was onboard, leading to speculation something more than a fatal misunderstanding was at work. This led to a diplomatic blowout that coincided with the release of This Mortal Coil's first single, the B-side of which was "Song to the Siren."

Later that month saw another major scare, the Soviet false-alarm incident. The following night, DJ (and probable British Intelligence agent) John Peel premiered "Sugar Hiccup" on British Armed Forces radio.

A remixed version of "Sugar Hiccup" would be featured on an EP called Sunburst and Snowblind, the release of which coincided with yet another major scare over NATO's Able Archer wargames.

Sure enough, a "sunburst" could describe a nuclear explosion and "snowblind" might describe nuclear winter.

I bring this up now because I am writing this on the eve of the first anniversary of the beginning of the Third World War, which came mere hours after the Sibyl announced her first major release in 26 years.

Allow me to remind you that the cover of that record- created by Banksy AKA Robert Del Naja - looks very much like a mushroom cloud superimposed over the silhouette of a head. 

There's no doubt in my mind whatsoever that Banksy and his erstwhile partner Adam Curtis are fully aware of the Sibyl's powers and clearly presented her as an apocalyptic oracle back in 2019.

Whatever your opinion of the music, I strongly recommend you think about all of this. For all our sakes.


A major feature of war we didn't have to worry about all that much before - before we became an open-borders country, I mean - is large-scale industrial sabotage. We've seen a lot of it in Russia, Iran and China over the past year and I'm seriously beginning to wonder if we're not seeing it here and now. 

The usual explanation is to blame the Agenda2030 crowd - who I have no qualms about blaming absolutely anything and everything on, mind you - but I'm seriously starting to wonder if we're not seeing a major sabotage campaign here now.

Our so-called leaders are so Woke and arrogant they would never have prepared for such an eventuality, and with this country having become an absolute free-for-all for all and sundry there's probably jackshit they could do about even if they had. 

I'll continue to monitor the situation as it unfolds.

Anyhow, I'm still collating information, but our Brother JB pointed me to an angle on the East Palestine situation that hasn't been done to death by everyone and their grandmother:
White Noise actually showcases an insane commitment to realism in one respect, given that the production designers have devoted more energy to recreating a specific era – 1983, as proven by the movie Krull on a cinema marquee – than any recent film you can remember. An entire A&P grocery store is a recurring set, with the camera traveling down aisle after aisle, taking in every product a real 1983 grocery store would have on its shelves, with all the original 1983 packaging lovingly recreated, or possibly exhumed from the pantry of a recently deceased octogenarian.

There you have it. 


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