Bunglegate Hammer
Bunglegate The Beginning
The Alchemy of Bunglegate
Stalin Making Lists
Gulag Bodies
Stalin Steganography - The Celebrity Code
Pulp Comic Burglar Supervillain
Team Bunglegate
Bunglegate Hammer
Bunglegate The Beginning
The Alchemy of Bunglegate
Stalin Making Lists
Gulag Bodies
Stalin Steganography - The Celebrity Code
Pulp Comic Burglar Supervillain
Team Bunglegate

The Celebrity Code – #Bunglegate – 100 Years of Totalitarianism – The Forgotten Anniversary – Part Two

The Celebrity Code – #Bunglegate – 100 Years of Totalitarianism – The Forgotten Anniversary – Part Two


“Naturam expellas furca, tamen usque recurret et mala perrumpet furtim fastidia victrix: Drive Nature out with a pitchfork, she’ll come right back, victorious over your ignorant confident scorn.”

It’s been a long time since I’ve been out and about, so an explanation is in order for the people trying to get in touch, for people who have missed my presence, for those wanting to hook up for old time’s sake, or those checking my website to see what I’ve been up to, only to see no new shows and wondering why.

Well I have not faded away into a humdrum existence as some may have construed in the absence of any overt ‘action’.

Neither have I been scared into silence or in the least bit intimidated by the dark machinations of the culture industry’s Black Ops dept, just the opposite, rather I retain the full vigour of resistance at the pinnacle of my creative power, for I have not given up on the celestial trajectory of grim toil in to enable virtuosity in traditionally skilled arts, as the ultimate spiritual calling.

In fact despite repeated attempts at ‘thought reform’ and attacks on my personality, which will become apparent in due course I have not  changed one jot, except for the better in my newfound ability to focus my energies with ‘laser-honed’ precision upon the job in hand.

I have not given up on personal freedom of expression and action as the transcendental tool enabling planetary harmony.

I have not given upon open meritocracy as being the only possible enabler of true democracy.

Nor have I given up on the justice of morality as the governing star of civilisation.

Nor do I intend to.

Insomuch I remain living proof that attempts at thought reform and vigorous coercion; by professional ‘change-agents’ can prove calamitously counterproductive

Despite an upbringing devoid of opportunity to fulfill my creative powers, I gladly found sanctuary for my ingenuity and autonomy in the marginalised pursuits of graffiti art and then oil painting however, through seasoning my visionary faculty fixing my temperament as a faithful disciple of the magical in nature, I always maintained assuredness in my possession of some innate ability in whichever aesthetic I may apply my will to.

Accordingly, since I  stumbled unwittingly into the parallel universe of the contemporary Culture Industry in  blissful ignorance of the extremist agenda for the incremental elimination of that very essence of culture, ingenuity and autonomy in creative powers; I have been blessed, somewhat counter intuitively, with a golden opportunity for the full actualisation of my own ingenuity and autonomy, and to fulfill my creative powers to their potential, way beyond my imagining, in exposing this ongoing Crime Against Humanity, by meticulously documenting the exact methodology of the atrocity in literary form, for global posterity.

Thus I have needed to be strict, to isolate myself to a certain degree from any social situations that may drain my energy unduly, wherever possible, bar the very odd respite of intimate indulgence, to recruit energy in order that a higher purpose may be served, but reasons below will hopefully explain the importance of writing in solitude for a canonical study.

Insomuch I have been enabled in a mid-career change of my vocation, setting aside my preferred medium of pencils, brushes and spray-cans temporarily, in humbly serving my fellow man, for I have inadvertently assumed the mantle as a dissident in capacity as a writer of nonfiction, using  hard-won insider knowledge contextualised by my lifetime of learning across the spectrum of human experience, from a deep insider perspective of the contemporary Culture Industry, in order to write my first book; in order that people may at last understand what is going on in the art world and the Culture Industry  in coherent aesthetic, cultural, historical, political, anthropological, economic, neurological, mythological and archetypal context.

The reasons below will hopefully explain the importance of remaining solitary to enable the writing of something this big; for I have been forced to apply a strict and somewhat hermetic regimen of discipline upon myself, forsaking the many pleasures indulged in by the somewhat irresponsible, aesthetic and hedonistic facets of my innately extrovert personality, which has been duly balanced by this grave duty to humankind.

This has occurred as the opportunity for exposure of these flagrant Human Rights Abuses has been thrust upon me, as a burden.

Accordingly, I have needed to be strict to isolate myself to a certain degree from social situations and interpersonal relationships that may drain my psychic energy unduly, wherever this has been possible, in order that this higher purpose may be served to the standard it deserves, for ‘The Celebrity Code’  is an encyclopedic volume deconstructing the methodology of a global confidence game underwritten by murderous censorship in imposing by stealth, a  scam sustained by enforcing a hermetically sealed hierarchy on an unwitting world, a scam using all the totalitarian tricks of brainwashing to befuddle planetary consciousness with black propaganda, a scam to dumb down the masses and net trillions in currency, while consigning the future of art and thus civilisation, to the dustbin.

As a result of my efforts this ongoing racket has finally been deconstructed  into its individual constituent elements, and contributory factors, in order that people may at last understand exactly what is (or indeed what  isn’t) going on in the contemporary arts in the supposedly democratic West, through identification of the exact cast list and deconstruction of its exact methodology.

This is a task which uncovers a crypto-fascist fifth column of spurious celebrities and their pitiful handlers, a traitorous rabble of opportunist mountebanks and charlatans, confidence tricksters of the lowest order betraying the western democratic tradition of freedom of expression by spearheading a hitherto hidden insurgency against the very life-function of culture itself, attempting to inflict mindless subservience by stealth, hiding in the plain sight of billions.

So prepare to meet the traitors selling out Western civilisation and thus betraying planetary consciousness  and humankind’s mortal soul in exchange for spurious public honours, enormous wealth and fame far exceeding their betters in generations preceding them in their individually allotted fields, wealth and fame enabled not by the people’s meritocratic reward of raw talent, ingenuity or hard work, as we have seen for centuries, but instead by eliminating the competition and  looting the common wealth using Machiavellian machinations in manufacturing adulation and appreciation for a vapid collection of cretins, cantankerous in spurious self-congratulation, on a stage incrementally cleared of competition, ironically in the service of the smooth running of the so called ‘Free Market’.

The gargantuan encyclopedic institutional analysis I have written attempts to explain the problems in the most current and coherent way as possible, using everything I have learned in order to shine light on the exact motives and methodology of the new order.

However, due to repeated harassment from the Black ops dept. of art market insiders and their appointed pawns, idiot shills, laughable lackeys, dimwit doofuses and pretentious patsies this has taken longer than I thought, not due to the harassment which rather than scare me from my vocation, has merely served to fascinate me; to escalate my determination and inform further the remit of my scope, and mark the targets of my investigation, in the revelations about the nature of the Culture Industry and the epiphanies regarding the organisational affiliation and political methodology of the exact political species of cultural expression whose grave symbolic taxonomy, as a marker of their affiliations and aims, needed to be recorded in order that it may be categorised in historical context.

The Celebrity Code – is the book no one should ever have had to write, created during a manufactured hell no one should have to endure, detailing a global atrocity no-one should be living through, at the hands of the art market and Culture Industry controlled, by advertising mogul and wife strangler Charles Saatchi who exercises, through his power over massive advertising budgets, a dictatorial power over the media.

However there is something entirely bizarre about this literary phenomenon.

For the last two years, since December 2015, The Celebrity Code has been secretly read by some of the most influential people on the planet.

Indeed what places The Celebrity Code amongst the most eagerly anticipated works in literary history is the fact that until the burglary of the USB stick containing key portions of the manuscript in late 2015, I, Jon Hammer, the author, had no intention of even finishing my book for another year or two!

However it appears that those implicated in my oppression, and responsible for this gargantuan atrocity, often hacking my PC, phone and email, could not wait for the book’s completion in order to read it with everyone else, so they stole it in a dwelling burglary at my disabled girlfriends property, and appear to have shared it between the corrupt power elite of the establishment, as countless curious high profile media events will duly attest to, when viewed in hindsight of the books startling revelations.

In fact the actions in certain sections of the celebrityscape can only be understood in context of The Celebrity Code and its burglary – #Bunglegate.

Its story of a fascist movement ascending from the heart of the Establishment Elite, and what were once the planet’s most hallowed institutions, a movement conducting the biggest hoax in human history through the medium of celebrity, has apparently been:

  • scrutinised by the establishment elite,
  • analysed by innumerable media organisations,
  • berated by beffudled broadcasters and journalists,
  • assessed by countless PR experts and branding wizards, and
  • pored over by countless corporate titans

…for The Celebrity Code, blows the whistle on, and exposes the horrific truth behind the purported champions of humankind, at institutions that represent the acme of civilisation, the world’s key media darlings, so-called celebrities, contemporary artists, art dealers and curators among them, an entire institution of corruption, often funded by the taxpayer and Lottery, and united by a secret code of braggadocio and coercion, a vile secret code using all the tricks of propaganda in order to signal virtue, vice, affiliation, perversion, blackmail, abuse and utterly evil intent.

A code which, once seen, cannot be unseen.

The book’s shattering revelations have placed investment fund managers on alert, as enormous wealth parked in imaginary commodities of contemporary art dangles in the balance alongside the reputations of the many among the so-called ‘elite’ establishment.

United by a shared desperation to neutralise the book they have been engaged in secret summits, formulating survival strategies, reinforcing security arrangements, revising PR maneuvering, implementing hasty tokenism and forging unlikely allegiances to saturate the media with ever increasing ‘fake news’ in the form of:

  • audacious red herrings
  • preposterous damage limitation exercises and
  • unlikely affiliations
  • optimistic charm offensives

Countless exhibitions, events, occurrences, and allegiances have been boldly paraded in the media as spurious signifiers of imaginary virtue in a desperate attempt to secure the oppressors continued credibility, and partially neutralise the book’s efficacy.

Simultaneously, in the light of the burgled book’s horrific revelations, apparently ironclad allegiances that have stood monumental, sometimes for decades, topple like dominoes.

This has also meant that for all their countless trillions in combined wealth, none who have read my book- the richest and most privileged of the upper class, have paid me, the author, among the poorest and least privileged of the underclass, so much as a single penny for the privilege of reading the book that finally exposes their collective crimes, and which I have tirelessly worked on exposing, for nine years while under continual attacks, smears and threats of the most heinous kind.

However very soon the public, for whom the book was written with the purpose of revealing the truth about celebrity, can very read it for themselves and discover exactly why the Establishment Elite have been so keen to stop YOU, the public, from reading it.

For the book exposes for the first time the exact cast list of the frontline of this new totalitarianism and insomuch possibly the biggest threat civilisation has yet faced.

So the burglary has been yet another example in a nine year long campaign of oppression of the arts, directed against myself, characterised by the repeated kneejerk-foot- shooting in reactionary overconfidence peculiar to those only of particular cluster of pathological personality disorder of the Dark Triad

…a pathological sickness of institutional sadism, micromanagement and horrific bullying so widely over-represented in the Culture Industry, its aim is to enable the exclusion of autonomous traditionally skilled art, and enable the end of the avant-garde, and destroy beauty through their attendant hierarchy of opportunist celebrity idiots, a shower of demented mediocrities currently enabling this Crime Against Humanity.

This is a feat achieved with the help of key elements within  the  mainstream media, particularly those representing the so-called liberal left, those governors of the world’s most prestigious art galleries and museums, those ‘politically correct’ universities, academics and even human rights organisations, which now serve to propagate and legitimate these dubious celebrities, their corporate sponsors, the galleries and auction houses; the publishers and leading brands which support them, the global corporations who manufacture them, together with those ‘experts’ who legitimate the usurpers with spurious signifiers of credibility, and whose collusion with deadly gangs of ‘violent criminal thugs’ enable the continued success of what may be the  biggest swindle in the history of humankind, while the public look on in puzzled incredulity now they have an answer.

This ‘celebrity endorsement’ is enabled using a vile secret code, in the form of a symbolic language of terror which is broadcast in plain sight through the mass media very often in ‘fake news’ articles using benevolent imagery of the ‘personality cult’ to hide boasts of violence and murder, vile insinuations, subtle but horrendous smears and often threatening framing for non-existent crimes, threats of abduction and murder , exactly as it did  under Communism, to bully, to boast, to smear, to ridicule and to tweak perceptions below conscious level using the secret techniques of Nazi mind control, to censor autonomous voices, and thus brainwash the masses using all available developments in technology to engineer subjugation, and thus slavery, and then ridicule the public, including those who fall for their lies,  in the most sadistic manner.

So who am I, the author of this earth shattering tome?

Well, I am not a world renowned academic fêted in literary and broadcasting circles, but instead a self-taught, working class, traditionally skilled, British artist skilled with resplendent virtuosity after decades of hard work, but without media support, publisher, PR agent, or even gallery representation!

All have been made inaccessible to me by this legion.

Accordingly I write not from a Hampstead conservatory amidst giant ferns and grand pianos, as one may expect from such an author, but due to the sabotage of both mine and his partners’ careers by art market insiders, and due to the burglary of a USB stick containing the manuscript of this book from my disabled partner’s dwelling, by some of the richest and most powerful people and entities,  we were forced into homelessness, relocating from the crime scene; meaning me and my severely disabled partner, having been made homeless, jobless and without money, due to sabotage of both our careers, have for much of 2016, shivered on a mattress on the concrete floor of an uncarpeted council flat, without kitchen appliances, washing machine nor internet connection, surviving on tins from the local food bank heated in a Salvation Army microwave.

During this period, and ongoing, we have been victimised by  psychological torture implemented in an atmosphere of scarcely suppressed violence surreptitiously underscored by the actions of some of most famous celebrities on the planet, apparently in exchange for ongoing coverage of their pitiful mediocrity in order to ‘police’ the aforementioned predetermined celebrity hierarchy of slebs and protect these ‘luvvies ‘ from unwanted intrusions from we the ingenious ‘plebs’, thus enabling the Free Market’s  rapine pursuit of corporate profit by the looting of the planet, unimpeded by such things as dissent that may ensue from freedom of expression of autonomous artists.

This disaster has thrust upon me in my perception of their repeated mistakes, a duty extremely grave, in furnishing me with intimate knowledge of the mechanics of ‘intimate terrorism’ gleaned from victimisation in a heinous vendetta which has enabled the writing of The Celebrity Code.

For rather than neutralise me as the technique intended, it has, merely served to fortify my obstinacy, and fire my determination, in their unwitting revealing of their organisational structure, demonstrating the exact cast list and methodology of their group supremacism that powers their actions and that psychopathic para- logic that throws a smokescreen thereupon, precariously underwriting any remaining imaginary  value, meaning that this book has taken longer to write than I anticipated, not due to any effect on my resolve from the harassment I have received, which rather than scare me from my vocation, has through my innate self-belief, merely served to escalate my determination and inform further the remit of my scope, to enable the incremental inclusion of the entirety of those that comprise the phenomenon.

I never foresaw myself as a guardian of the public morality and protector of the principles of civilisation, what with lil ol’ me with my own life spent in and out of the gutter wallowing sporadically, but always respectfully in those seedier sides of life so familiar to the artist, indeed it is indicative of the gargantuan scale of the current higher immorality that it has taken someone of my comparatively small personal failings to draw attention to this unparalleled manifestation of hypocrisy and decadence, for any mildly dissolute endeavours and indulgences I have ever been prone to, pale into insipid insignificance compared to the spectacularly monstrous evil of institutionalised corruption, defilement and debauchery that actually prides itself on parading its flagrant immorality, hiding it in plain sight of the public in the most unbelievable hypocrisy as the compulsory ‘house badge’ of allegiance of its adherents.

Indeed my apparent ability to be victimised and the threat that any comparatively small vices may be somehow leveraged against me to seek to invalidate my voice, and turned into smears and falsity, may be the key to how I have come to learn so much about this organisation, and thus present such a damning indictment, and the key to the impending public outrage at the situation.

Meanwhile the heinous campaign of intimidation and stalking that has characterised the creation of the document, by the richest and most privileged against the poorest and most deprived, has continued at our new refuge, in burgling the property, tampering with the apartment’s contents and fittings, committing acts of vandalism, interfering with mail and our rubbish, making sinister symbolic death threats, apparently using the (license payer funded) BBC to issue death threats, as we will soon expose on the Propaganda Watchdog, and otherwise engaging in the vigorous harassment that has characterised the creation of this book.

My partner Jenny has also been awarded a property, in her status as a disabled person, recovering from childhood abuse / trauma based mind control, that has left her, in adulthood, with Functional Neurological Disorder and the agonising muscle diseases Dystonia and Fibromyalgia, such is the reality of such trauma of child abuse victims, however her plight has not deterred attacks but attracted them, for her flat, her sanctuary after years of abuse, has also been compromised by the stalkers, as will soon be exposed in a forthcoming short film.

Indeed The Celebrity Code is unique in the annals of literature in that it has been written during a nine year vendetta of the tactic of zersetzung, a trauma based mind control schedule, based on the work of the Nazis, at the hands of and a gang of secret police thugs and some of the world’s most famous celebrities and so-called contemporary artists who despite public ridicule for their pathetic output have the sheer effrontery to reinforce the real world harassment with coded actions, seen by millions in the weaponised mass media.

Zersetzung, their tool, which is widely regarded as among the worst forms of torture was, after use by the Nazis refined by the Stasi, the most feared spy agency in human history. Wikipedia:

“The Ministry for State Security…commonly known as the STASI…was the official state security service of the German Democratic Republic ][…]. It has been described as one of the most effective and repressive intelligence and secret police agencies to have ever existed…[…] fighting any opposition by overt and covert measures, including hidden psychological destruction of dissidents.”

Operating as communist Russia took over East Germany and East Berlin in the 1950s  following World War II, the Stasi forced Communism on millions, who quite naturally rebelled, and so severe measures were necessary in order to stem dissent, however beatings, tortures, and disappearances, created bad publicity under the spotlight of the world’s media, and so new methods of control were required and so with the guiding hand of the Soviet secret police the KGB,  Zersetzung was born as a complete torture schedule, using the most heinous techniques refined over decades by the Nazis, KGB to be perfected by the Stasi, constucted into one vile package intended to drive the target insane, through the ‘destruction of the human soul’, for Zersetzung (or Zersetzen) is a German word borrowed from chemistry meaning bio-corrosion, or disintegration, and used to describe, a ‘no-touch’ torture that leaves no physical marks on the target and is designed to turn life into a living hell.

“Zersetzen: Was developed by the East German secret police – the STASI – to persecute dissidents [and] is illegally used today…[t]o persecute – Whistleblowers, Enemies of establishment power-elites [and]…is about: Slander & Character Assassination, Surveillance, Stalking, Intimidation, Harassment, Threats…

Its purpose is to poison every aspect of a person’s life. […]”: the 1975 Church Committee Report of the US Senate defined “D & D” as an acronym for “Disrupt and Discredit” – “Disrupt” the targeted victim and his family with a never ending program of intimidation, harassment and threats. “Discredit” him with professionally spread slanders and lies designed to render him unemployable, and impoverished, and to ostracize him from his friends and community.”Russell – Zersetzen

 Now that Soviet Communism, the Third Reich and the Stasi have fallen and crumbled, these horrific crimes, rather than being consigned to the dustbin of history, as they should have been, if the civilisation is to be continued, have instead been ‘dusted off’ by rogue elements controlling aspects of Western capitalism and have been re-appropriated and reinvigorated into a terrifying new torture schedule for the 21st century, a virulent torture schedule harnessing all new available technologies and implemented with the assistance of certain elements of the security services, paramilitary thugs and some of the world’s most famous so-called celebrities to enable, my  book will reveal for the first time,  the imposition of institutionalised censorship and blacklisting of true talent in the form of social apartheid which takes zersetzung to the next level of sadistic glee in the gang of Culture Industry psychopaths, through modern technology of the electronic media. Sounds crazy?

Some of these tactics will sound insane because they are deliberately designed to make someone appear as though they are suffering from a mental disorder.” Russell – Zersetzen 25 Precedents

From my forthcoming book – The Celebrity Code:

“[Zersetzung] provides a wealth of information on the ‘modus operandi’ of the fascist totalitarianism of the 21st century, as it is propagated via the medium of celebrity  the exposure of which has become my reluctant task, for I never particularly wanted to write a book, let alone this one. I’d much rather be painting! All I ever really wanted to do since I was a little boy just able to reach a surface with my grubby hands was to make marks.

It is something I have done with utter infatuation for almost as long as I have been alive and a skill with which I have through hard work long ago achieved virtuosity  to the breath taken amazement and elation of my peers and friends and even the joyous weeping of strangers, is a vocation I have been forced to call almost a complete halt to, for nine  years, in order to write the words you are reading, meaning my ‘Magnum Opus’, that ‘Great Work’ of my calling, my vocation, has turned out not to be pictorial as I had hoped, with exhibitions, auctions, publications and reviews under my belt and mine and my friends work contextualised in the canon of the history of art with our own artwork in museums and key public collections as a endowment for the community illumination.

Nor has it featured in private collections as a just recompense for our lifetime’s toil, sacrifice and innate ingenuity carving a new horizon at the cutting edge of culture, such as we have seen through the ages. In order that the wealthy may connect with the life of their times and to behold beauty as embodied in ingenuity, to get in touch with the life f the poor enabling a redistribution of wealth and ideas, however in this time, to quote Joseph Campbell-in Hero With a Thousand Faces, we have been under the control of:

“…the hoarder of the general benefit… the monster avid for the greedy rights of “my and mine.”

…meaning that under the spurious rule of a self-appointed dictatorship, an unelected ‘invisible government’ , I have had no opportunity to participate in continuing this tradition in order that humanity’s aesthetic transition through generations of successive mutation can be observed in consecutive historical context; however the lifelong passion for literature and truth and a ferocious will to fight injustice which has enabled me to write such a volume has been enabled by this vocation of painting.

Indeed, thanks to myself (and the genuine art movement from which I come) having been stopped from even being considered for access to art history, the new dictators may, in forcibly subduing the planetary aesthetic, have succeeded in merely activating otherwise latent faculties within myself and my peers and thus unwittingly gifted society with something of infinitely greater value:

“You do not become a dissident just because you decide one day to take up this most unusual career. You are thrown into it by your personal sense of responsibility, combined with a complex set of external circumstances. You are cast out of the existing structures and placed into a position of conflict with them. It begins as an attempt to do your work well and ends with having been branded an enemy of society.”
Vaclav Havel – The Art of the Impossible / towards a civil society

I never even wanted any personal recognition aside from that which may have naturally arisen from the appreciation of my artwork from those who might like it if they ever got a chance to see it should they so desire an understanding of its source.

I’m fine in who I am without selling my soul in order to colonise media columns with narcissistic ballyhoo and ‘fake news’, merely to feel worthy, for I’m perfectly happy with who I am in my own skin without the need for ostentatious celebrity, adulation or concocting fabrications to attract fans or followers to reinforce any self-worth.

I have never felt even the slightest desire for the spurious social eminence brought by grand contrived public displays, imaginary lives concocted and lived in the spotlight, endless proliferations of outraged utterances, unrealistic comparisons to historical figures or of conspicuous consumption of countless ostentatious properties, cars, tattoos, boats, clothes, legions of kids with idiotic names or rent-a-mob females trumpeted in the mass media to be seen by millions or any other of the external manifestations of ostentatious displays and displays of grandiose secret symbolism assumed to serve as fictional affirmation of imagined worth.

I merely wanted to set up my easel in a well-lit studio, paint in an ecstatic frenzy of inspiration and quietly show my paintings through a gallery, and so thus be financially and socially enabled to quietly continue with my work, of making new paintings, of ‘grand narratives’ refracted through the prism of contemporary perception, then transferred from my mind to yours, using just some pigments, and the ancient techniques of the Old Masters (and some new ones), in brand new never-before-seen ways, to give birth to new art, to pioneer innovation, to show people new ways of expression, exactly as has been the method for centuries, which I would like to have been given the opportunity to do, with my one and only life; however the more I tried to show my work, the more the oppression intensified.

This is achieved by censorship, blacklisting and the Stasi secret police protecting a legion of impostors. This ‘celebrity endorsement’ is enabled  using a vile secret code, in the form of a symbolic language of terror which is broadcast in plain sight through the mass media very often in ‘fake news’ articles using benevolent imagery of the ‘personality cult’ to hide boasts of violence and murder, vile insinuations, subtle but horrendous smears and often threatening framing for non-existent crimes, and abduction and murder exactly as it did  under Communism, in such barbed and ambiguous propaganda issued under the personality cult of Stalin as a benevolent father of the people, in a poster released in the 1930s purges which saw the arrest torture and murder of between 3.5 and 60 Million people (Wikipedia) who were all famously arrested according to the requirements of Stalin’s meticulous lists.

The poster reads:

“Stalin in the Kremlin is Taking Care of Every One of Us”

Get it?

Clue: Taking Care. has two meanings, even in the Russian

The humour relies on the sardonic sense of humour, and psychological knowledge of the psychopath, and the sense of powerless persecution of the victim, and the death threat relies on the secret code method of Steganography and knowledge of the “shared secret” of the purges so:

“Stalin in the Kremlin is taking care of every one of us.”

…would have had an utterly terrifying meaning.

The Twilight Meaning…

“7 million people entered the Gulag (where huge numbers died) in the years 1934-1941”
The Black Book of Communism

Yet again we find, this time in communism that there is a:

“… certain kind of layering or schizophrenia of ideology … The outer layer closest to the original content is used for the group’s propaganda purposes, especially regarding the outside world….The second layer presents the elite with no problems of comprehension: it is more hermetic, generally composed by slipping a different meaning into the same names.

Since identical names signify different contents depending on the layer in question, understanding this “doubletalk” requires simultaneous fluency in both languages. Average people succumb to the first layer’s suggestive insinuations for a long time before they learn to understand the second one as well.

Anyone with certain psychological deviations, especially if he is wearing the mask of normality … immediately perceives the second layer to be attractive and significant; after all, it was built by people like him. Comprehending this doubletalk is therefore a vexatious task, provoking quite understandable psychological resistance”
Dr. Andrzej M. Łobaczewski – Political Ponerology

Many people under Stalin, despite what was happening around them, with husbands, wives, children and neighbours disappearing, found they just could not accept, despite the enormous evidence, that the cult of Communism to which they had devoted their entire lives was a complete sham, and that Stalin was not kindly and benevolent ‘Uncle Joe’, but instead a Machiavellian, narcissistic, mass murdering psychopath.

Some were even so conditioned that even when they themselves were sent to the Gulag that they, despite being witness to the full horrors of the camps after faithful lives spent in the unswerving service of the party, still kept the ‘mind lock’ intact, especially that around the Stalin cult.

So we must revert to the sage words of Professor McMurtry:

“When people come to examine any way of life in the world, they are conditioned not to expose their own social order to the same critical eye with which they view a different or opposed social order.  This is because they identify with their own way of life as normality, and thus the other as abnormality.  If the other is not only different but also opposed to the home order, then to abnormality is added the offence of…[hostility].

There is not only a rule against recognising the monstrous in one’s own social system, but a rule against recognising that there is such a rule. This mind-lock is as old as civilization itself.”
[added emphasis]

The ‘mind lock’ was enabled to be kept in place in all the cases we have examined  by certain key tactics of oppression, that of using ‘Twilight Language’ enabling plausible deniability not just for the tyrant and regime issuing threats in the face of awkward questions from critics, but for the people living society in which they are used, and in order that the ‘mind lock’ may say in place, as a form of comfort, a cognitive dissonance, for the very reason that they had given their entire lives to Communism, as many before had given their lives to England… This is the reason for the ‘mind lock’:

…a phenomenon readers will become well acquainted with as they progress through [The Celebrity Code].

The aim of both Soviet Communism and the contemporary Culture Industry?

The infliction of emotional violence in order to complement and reinforce the of the real-world terror by warning potential victims, to ‘behave’, or else all in the plain sight of millions, before the entire world, with the purpose of incapacitating the population in their knowledge of the ‘shared secret’ through fear and thus disabling resistance, while simultaneously appearing benevolent to those not ‘in the know.’ Through plausible deniability.

Indeed zersetzung’s most ‘spectacular’ contemporary manifestation today is in the service of the culture industry, media in the arts as we shall duly see.

Its’ apparent purpose is to maintain the artificial status quo of contemporary culture and in particular contemporary art, thus keeping its frozen hierarchy free from unwanted intrusion, and thereby artificially prolonging any value of their efforts in the public perception in the only way possible – by secretly destroying traditionally skilled artists of genius who dare to stand up for themselves, using technology that the Gestapo, SS, KGB and STASI would envy.”
Jon Hammer – The Celebrity Code

This Stalinist tradition is continued today through zersetzung, a word borrowed from chemistry by the dreaded East German Communist secret police, the now defunct Stasi.

Zersetzung is a word meaning bio-corrosion, or disintegration, and used to describe what is widely regarded as one of the worst forms of torture, a ‘no-touch’ torture that leaves no physical marks on the target and is designed to turn life into a living hell.

However rather than destroy me as intended (and as most likely as it has done to others) it has, thanks to the aforementioned qualities, instead served as a rather poor tasting but highly efficient super-nutrient, of Positive Disintegration that leaves physical marks in the plain sight of millions in the media.

“[W]hen tragedy strikes and our previous sense of self or identity is swept away like leaves on a breeze that we are at our greatest potential for growth. When we begin to question not only what we know, but who we are, we are able to pick up the pieces of ourselves that we want to keep, leave the ones we don’t, and construct a new identity that is authentic to our true selves
Courtney Ackerman – Theory of Positive Disintegration 101: On Becoming Your Authentic Self

…thus gifting power-up after power-up focusing my energy and will with an ever enhanced precision and illuminating the scope of my investigation exponentially enabling me to more carefully hone my remit, and distill my literary concoction into a potent portable cocktail of incandescent truth,  regarding the organisational affiliation, ideological allegiances and political chicanery which have enabled clear identification of the exact taxonomy of political and psychopathological  species of Faustian group supremacism, fanatical racism and Social Darwinism, not harnessed not to the bogus utopia of Aryanism of the Nazis, but an equally spurious utopia of suicidal materialism of ostentatious brand consumerism, fostering an unattainable oasis of corporate greed and arcing in idiotic imagery of personality cult propaganda across the planet, imagery invariably struck through with fascist symbolism just as sure as the repetition of writing in a seaside stick of rock candy identifies its source resort!

Those people who know me well, will be aware that the best way to encourage me to do something is to tell me I can’t do it, or to try somehow and bully me into submission or acquiescence, and in fact that the best way to inspire me to greater and greater deeds is to somehow try and repress me stifle or limit my output, this strength of character is probably due to difficulties faced in pursuing my vocation when growing up, and which forged my resolve to the pursuit of my freedom of expression again and again, despite the furious incandescent rebuke, and relentless punitive action leading to repeated homelessness and addiction.

In recovery, this vigour and lust for life, and veneration for freedom of expression, has been the driving force of the tome,  not in the stroppy immature arrogance of an ex-teenage rebel, nor the omnipresent Hitlerian narcissistic envy of the inadequate wannabe artist , neither the sardonic sneer of the impostor poseur, but instead a meticulously constructed objective analysis of a seasoned yet humble creative mind that has spent a lifetime immersed in learning, and thus versed fluently in myriad disciplines and armed with all the analytical data across the spectrum required in focusing on key objective facts pertinent to the ongoing crisis, and wide awake to the song of the universe.

However in the course of my journey, in writing this book, in late 2015 my girlfriends Hertfordshire abode in a disused chapel which served also as my studio and office was broken into, bypassing two locked doors and an alarm system, and a USB stick containing certain sections of the manuscript was stolen!

Indeed anxious to keep my work private and used to repeated intrusions into my computer and phone already related on this blog, I had constructed the entire work offline, though felt free to discuss during telephone conversations, indicating to those hacking my phone that my efforts had not been stymied by their repeated efforts to derail the project, so unable to get their hands on the documents through the standard means of hacking they appear to have contrived yet another in a long series of burglaries, meaning that those tiny minority involved in colluding to contrive the corruption of the arts and culture have had forewarning of certain of the content and thus time to attempt to reposition themselves, prepare new work and new angles of propaganda, taking into account the content of the book, utilising deflection strategies and charm offensives in the mass media as red herrings to cover their tracks as to their crimes, while engaging in more harassment, through the force of the most heinous techniques of totalitarian oppression applied and enforced often by the most celebrated in society, so as a result of their act to:

‘Burgle’ – definition:

“Verb. Enter (a building) illegally with intent to commit a crime, especially theft.”

…as epitomised by the archetypal super villain that these people aspire to:

Has become a:

‘Bungle’ – definition

“Verb. Carry out (a task) clumsily or incompetently. Make or be prone to making many mistakes.”

“Noun. A mistake or badly carried out action.”

…as epitomised by the mistake prone bear from Rainbow, the popular children’s television programme from the 1970s.

It would appear then from information received that the burglary of the document has served the opposite purpose to that which was envisaged for rather than protecting the alliance, it has damaged them irrevocably, for in the delivery of The Celebrity Code to the public, and thus insight into their actions will merely enable the public with the benefit of hindsight to clearly understand the motivations behind their deeds, which have often mystified and perplexed millions, and which will manifest in understanding of their true context via the hashtag #Bunglegate which will explain to all the true reason behind the frantic efforts to ameliorate their evil deeds of institutionalised group supremacy and complicity in the most heinous subjugation.

Any institution even the most corrupt,  has a style, a tradition, a way of doing things, and the annihilation of the arts through deskilling and nepotism, by an atomised secret army of ‘plain clothes’ fascists, has enabled planetary consciousness with a fascinating opportunity to scrutinise the surreptitious strangulation of the planetary aesthetic, and thus examine the destruction and desecration of myriad ecosystems across the life-spectrum, by  a movement so sadistic, so secretive, so depraved and so far removed from the calculated benevolence of  its media mask, (and so insulated in its smug delusions of security ), that nothing approaching it has ever been recorded in history, however now in the light of recent revelations as to the true nature of the so-called elite, even the most radically unlikely truth finds a willing ear through the increasingly  ‘red pilled’ masses.

So the burglary has been yet another example in a nine year long campaign of oppression of the arts directed against myself characterised by the repeated shooting in the foot in reactionary overconfidence peculiar to those only of particular cluster of personality deficiency now widely represented in the Culture Industry.

While primarily outraged to those who committed the burglary of my manuscript I thank each and every one of you, heretofore insulated in your echo chamber of smug self congratulation, for the ongoing enabling of consequences the weight, gravity and severity  of which  of which no amount of virtue signalling, money, connections or PR can shield anyone, a self-created situation of vicious and sadistic oppression, subjugation and Cultural Genocide upon myself and other artists, a banished generation, replaced by a legion of tragically inept mountebanks, an entire industry laughing in the faces of the public, which has enabled a viral social process now outside of even my control, for the manuscript has been circulated widely, read by ever more outraged ‘dupes’ of your confidence game, as the as the shadow of the future looms  ever more certain, in the immediacy of impending toxic status, blistering brands into a heretofore unseen untouchability.

To those good people existing among the evil, enlightened by the subsequently unauthorised circulation of the  burgled manuscript, I thank you from the bottom of my heart for your surreptitious support and allegiance, and your ability and strength to effectively join me in saying enough is enough, and however covertly all in your own separate astonishing ways and means of spectacular expression, in standing up against this long -bankrupt status quo,  in aiding and enabling the exposure and accelerating the impending disintegration and prosecution of the organisation responsible for what one day soon will be seen to be the most heinous crime in the history of cultural oppression, outweighing even the Nazis to whom they aspire, in global ambition for domination and annihilation of art.

Thus the irritation tactics of Zersetzung has served not to destroy me, planting in my mind not seeds of self doubt as intended but serving instead much as the irritation of grains of grit serve to cultivate in an oyster, after many years, a pearl through:

“[A] chronicle of a descent into hell, transformation, and triumphant return to the world with knowledge of that hell that [is] priceless for the rest of us, particularly in this day and time when…hell is enveloping the planet.”

 Editors’s Preface – Political Ponerology

After years of attacks then, you are to be presented with a vast array of such ‘pearls’ of wisdom collected from the depths of depravity and corruption of the contemporary arts, and using the  energy I have gained from the outrage, the hypocrisy of the schedule which has produced, such ‘pearls’, strung elegantly together in this unique volume, ‘The Celebrity Code’, a tome which showcases the revolting nature of the schedule, exposing the weaponised culture industry, media and the arts, not to mention the rotten core that lies at the heart of the British and global elite, a task enabling me not to crumble and cease to be a ‘problem’ to the art market and Culture Industry as intended, but instead to use my substantial insider knowledge of the above together with the knowledge of Zersetzung,  to create through ‘Positive Disintegration’, The Celebrity Code, whilst effectively existing as a Prisoner of Conscience in the United Kingdom, living in enforced exile from my adopted home-town of London, a totalitarian situation which has enabled 100 Years of Totalitarianism -The Forgotten Anniversary to be commemorated by forthcoming publication of The Celebrity Code.

If I am in any way incapacitated prior to the release of this book, I authorise the release of The Celebrity Code into the public domain for free under Creative Commons License-Attribution-NoDerivatives 4.0 International (CC BY-ND 4.0) and ask any donations from grateful readers be given to my partner Jenny who has supported me and suffered under the persecution I have endured

Jon Hammer

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