Decade of Lockdown pt 2 – Contextualises Covid-19 as Continuation of a Bloody History of Oppression

…continued from Part One:

Yes, why artists first? For Cultural Genocide through blacklisting, zersetzung, and worse, has been enforced upon us for decades:

Why are artists banned from working?
Why are we forced to change our behaviour?
Why are we forced to ‘socially distance’?
Why are we forced to be prisoners in our homes?
Why are we stopped from communicating with the public and our range of friends and contacts?
Why are experts who have laboured for years to be experts in art, silenced, just as medical doctors and professors who do not advocate lockdown, social distancing, mask wearing, are stopped from speaking to the extent that their presence is actually banned from the Mainstream Media and deleted from social media?
Why are personalities who have no skill in art promoted in our place, just as those who are not Medical Doctors but who advocate lockdown, social distancing, mask wearing, but who advocate compulsory vaccination, promoted and boosted in the media and on social media while Doctors re silenced and censored and disappeared?
Why is there an elite group to whom the lockdown rules do not apply, almost as if it WAS NOT REAL?

Well to attempt to partially explain I quote from my still, at the time of writing, unreleased-due-to-censorship book ‘The Celebrity Code: The Black Book of Contemporary Arts’:

“Art and the arts are the highest method of communication in humankind, and as any military commander will tell you, the first thing to ‘knock out’ in a war is the enemy’s communications systems, and celebrity has traditionally been the top of the public’s ‘Chain of Command’ in this regard…[and] it would appear that ‘We the People’ are now the enemy of the so-called ‘elite’.[…]

[Mass atrocities] have happened before. For if we examine history for we find that those at the front line of culture, with our autonomous ‘grand narratives’, our new ways of understanding our world or ourselves, have been first to feel the wrath of an attack and to be the victims of its advance guard…

This has been proven time and again in atrocities that characterise the annihilation of tradition and folklore, indeed history shows us that we artists are almost invariably the first to undergo attack and lose status and freedoms in the event of a serious threat to mankind; why?

We artists have throughout history proven a good ally to good governance and a potentially fatal threat to corrupt elites, for we have been the most insightful, imaginative and outspoken in any given society and have thus enabled insight in our peers through the virtuosity of communication through the gift of genius, in order that others may glimpse the full spectrum of human experience, and thus perceive what is happening around us.

Through our gifts we have the ability to crystallise the essence of our times and the trials and tribulations of our people and the gift to communicate this as reality to others.

This is considered dangerous by authoritarian regimes […]

Ergo, in dark times throughout history our freedoms of expression and beloved traditions have been annihilated, our heritage looted and legacy plundered in acts enabled by the tenuous moral justifications of the ever changing ideological masks as an ever changing cast list of usurpers have successively trampled on individual liberties as they strove for plunder and control.

Insomuch it has been our fate throughout history to provide society with a kind of ‘litmus test’ of freedom, a barometer warning of an approaching storm, for to quote Rosa Luxemburg:

“Those who do not move do not notice their chains.”1

Therefore it has been an often unenviable job of we ‘movers and shakers’, the artists, we innovators of originality throughout history, to point out, to our previously unaware brothers and sisters, their unaware bearers, the fetters’ existence, their weight and the limits they proscribe upon our collective movement, and thus to signal to our kith and kin any approaching storm.

The Burning Of The Library In Alexandria Egypt By The Romans Under Julius Caesar.
Source: Public Domain.

As William Blake wrote in his ‘Songs of Experience’:

“Hear the voice of the Bard!
Who Present, Past and Future sees:
Whose ears have heard the holy word
That walk’d among the ancient trees”2

For systemic conquest and annihilation of autonomous and indigenous culture, expressed in subjugation of free expression, destruction of hallowed sites, pillage of cultural assets, forced elimination of traditions, the desecration and destruction of the finest minds and attacks upon the most charismatic autonomous ‘alphas’, the installation of low impostors and charlatans as arbitrary rulers and puppet figureheads in their places, serves as a clear signal that flags the presence of a fanatical fundamentalism contaminating society with group supremacism.

Certain key characteristics of the current situation facing autonomous artists has been demonstrated time and again from the ancient Roman conquest’s massacres:

Herbert Schmalz, Ancient Roman Conquest Massacres and Persecutions. Source: Public Domain. Available from: Wikicommons, (accessed May 11, 2019).

…and persecutions, such as that under Valerian in 258:

Popesixtus II. Source: Public Domain. Available from: Wikicommons, (accessed May 11, 2019).

Image depicting Romans murdering Druids and burning their groves. Source: Public Domain. Available from: Wikicommons, (accessed May 11, 2019).

…in the persecution of mystery cult of the Gnostic Christians whose knowledge was based on personal perception by the holy by Orthodox Christians:

“[In] the very first centuries [what] was to become Christian orthodoxy vehemently suppressed those Christians of psychic, shamanic, or visionary temperament [who were] stigmatised as heretical”3
Roger A. Woolger, ‘Other Lives Other Selves’

…leading to the eventual elimination of almost their entire canon through a cultural genocide.

Then later of course the infamous Byzantine iconoclasms of 726 and 814AD:

Source: Public Domain. Citation details lost/stolen in PC hack.

…a tendency repeated in the plunder and invasions of the Vikings such as the atrocity perpetrated at Lindisfarne in 793AD:

The Norwegians landing in Iceland in the year 872AD. Source: Public Domain. Available from: Wikicommons, (accessed 11 May, 2019).

…a type of cultural annihilation recurring upon the Norman Invasion with imposition of feudalism and Forest Law upon the English after 1066.It happened again in1209-1229 in the Roman Catholic Inquisition against the Cathars and Albigensians, the Episcopal Inquisition, the Crusades of Europe against the Islamic so-called ‘infidels’ and their often far superior arts, crafts, science and technology, and yet again, closer to home, in the legendary mass-‘slaughter of the bards’.

John Martin, Painter, The Bard. Source: Public Domain. Available from: Wikicommons, (accessed 11 May, 2019).

…by King Edward’s soldiers in 13th Century Wales, and again under the Spanish Inquisition against the Jews, Muslims, protestants, the papists burning Martin Luther’s works.

Paptists burning Martin Luther’s works. Source: Public Domain. Available from: Rationalwiki,’s_works.jpg (accessed 11 May, 2019).

…not to mention those protestants who read them, as well as countless ‘cunning’ men and women throughout the appalling blood libels, smear campaigns, persecutions, torture, burnings, and destruction of culture which continued its wave of mass hysteria through propaganda into the heretic-hunting of Europe and the Americas.

Plate from book Malleus Maleficarum (Hammer of Witches) by Heinreich Kramer and Jacob Sprenger. 1487. Source: Public Domain. Available from: Wikipedia, 
read it in English here (accessed 11 May, 2019).

Also occurring in England from the ‘other side’, was the Dissolution of the Monasteries and the destruction of the culture and artefacts of the entire church by Henry VIII, amounting to an appalling wave of Cultural Genocide amounting to the total destruction of the great treasures still visible all over the UK at many historic sites and in museums.

PHGCOM – Own work, photographed at the Museum of London, Source: CC BY-SA 3.0, Available from: Wikicommons, (accessed 11 May, 2019).

Such systemic conquest, annihilation and Cultural Genocide, was repeated once more the massacres of both the indigenous South:

Inca-Spanish Confrontation. Source: Public Domain. Available from: Wikicommons, (accessed 11 May, 2019).

…and North American natives:

North American Natives ‘Ghost Dance’. Source: Public Domain. Available from: Wikicommons, (accessed 11 May, 2019).

…in the American genocide such as at the Massacre at Wounded Knee:

Scene of the Wounded Knee Massacre. Source: Public Domain. Available from: Wikicommons,
(accessed 11 May, 2019).

…not to mention the theft of indigenous Africans and atrocious treatment of slaves and attempted annihilation of their African folklore and traditions both during the ‘middle passage’.

Diagram of a Slave Ship. Source: Public Domain. Available from: Wikicommons, (accessed 11 May, 2019).

…and under subjugation of slavery in the colonies:

Scourged back of a slave. Source: Public Domain. Available from: Wikicommons, (accessed 11 May, 2019).

…a species of interhuman disaster happening at the hands of the British against the rebels in the American War of Independence:

British Army in Concord against the rebels in the American War of Independence. Source: Public Domain. Available from: Wikicommons, 
(accessed 11 May, 2019).

This systemic attempt at the eradication of autonomous culture was repeated once more during the forced urbanisation of the English peasantry by the Industrial Revolution and the Enclosure Acts; under the British in India, and is a species of subjugation continuing at the hands of the zealous Christian missionaries of the west in their forced imposition of the ‘superiority’ of Christianity over ancient indigenous animism of Africa, Asia and South America, and their subsequent destruction of much of three continents’ wonderful and evocative ancestral treasury of  handmade cultural artefacts as ‘satanic’ only to be burned and replaced with industrially mass-manufactured sentimental idols.

Such actions were closely followed by the Tsarist anti-Jewish pogroms, and then the Russian Revolution and subsequent Russian civil war, under Lenin’s personality cult and diabolical ‘Chekist’ secret police; a continent-wide atrocity followed rapidly by the purges of the Red Terror by the NKVD under the jealous Stalin:

Photograph of Benjamin of Petrograd. Source: Public Domain. Available from: Wikiwand, (accessed 11 May, 2019).

…fomenting continent-wide paranoia to enable supremacy of his personality cult by the almost total destruction and looting of the great treasures of the Orthodox Christian church, Russia’s beloved glorious and unique hand painted icons and churches.

Photograph of the destruction of the original church of Christ the Saviour in Moscow, Russia. 1931. Source: Public Domain. Available from: Wikicommons, 
(accessed 11 May, 2019).

…and the subsequent torture and genocide of innumerable priests in the cellars of the Lubyanka and the concentration camps of the Gulag:

Photograph by Unknown, Tomasz Kizny, Gulag: Life and Death Inside the Soviet Concentration Camps. Source: Public Domain. Available from: Wikimedia, (accessed 11 May, 2019).

…a horrendous fate which they shared with the indigenous Siberian shamanic folk.

Indigenous Siberian shamanic folk. Source: Public Domain. Available from: Wikiwand, (accessed 11 May, 2019).

Both culture’s beautiful sacred objects were to be compulsorily replaced with plaster busts and mass produced sentimental posters celebrating Stalin’s ludicrous cult of benevolence:

Photograph of Stalin’s picture in the Russian Church. Source: Public Domain. Available from: Regels, (accessed 11 May, 2019).

…and the heroic kitsch painting of Soviet Realism, all contrived spurious sentimentality that flattered the leaders and the common man with the characteristic utopianism, while he was, alongside his natural leaders, being destroyed in the ‘meat grinder’ of the Gulag concentration camps.

Again we saw mass cultural Genocide on numerous occasions in the First World War, usually at the hands of the inherently war-like Germans, who punished the neutral Belgium for its’ resistance against the efforst of their army to pass through its’ territory by mass Genocide (thus violating its’ neutrality), and prompting the summary execution of its’ people from the youngest children to the oldest and infirm.

This ‘Rape of Belgium’ was accompanied by the destruction of 837 communities in 1914 alone as well as the City of Liége, Andenne and most famously Leuven, where rampaging soldiers destroying it’s world-famous library on 25th August 1914 in which 203,000 volumes including Gothic, Renaissance and Medieval manuscripts were burned with petrol and incendiary pellets. As if this was not enough, the University Library was destroyed by shelling with the loss of 500,000 books, alongside much of the rest of the City as was much of the territory swept over the Germans.

Destruction of the Louvain University Library during the Rape of Belgium by German soldiers. 1914. Source: Public Domain. Available from: Wikicommons, (accessed 11 May, 2019).

“There’s always been a pattern of struggle and defeat,
Never that cycle incomplete,
Never enough to tip the scales,
Too many people rotting in jails,
Or bloodied on the battlefields.
The history books from every age,
Have the same words written on every page,
Always starting with ‘revolution’ and ending with ‘capitulation’
Always silenced by the truncheon,
Or bought out with concessions,
Always repetition…
But we’ll be kept apart by philosophies,
And moral stances and policies,
We’ll be stuck in our own little ghettos forever,
‘Til we start to work together”
Chumbawamba, ‘Liberation Stagnation’

This universal tendency, in the modern age no more prevalent than Germany, was tragically repeated in the destruction of the intellectuals, poets, artists, scientists, dissidents, and musicians, by the rises of both European Fascism:

Prisoners at Dachau Concentration Camp. Source: Public Domain. Available from: Wikicommons,äftlinge_beim_Appell.jpg (accessed 11 May, 2019).

…less under the personality cults of Mussolini in Italy than in Germany’s Third Reich under Hitler:

Adolf Hitler and Adolf Ziegler visit the Degenerate Art Exhibition, Entarte Kunst art show. Works behind them derides works of Dadaists with depreciatory comments and slogans. Source: Public Domain. Available from: Wikipedia,
(accessed 11 May, 2019).

…with his banning of progressive artists as ‘degenerate’ and forced imposition of yet more deplorable contrived spurious sentimentality, demonising the Jews, the sick, homosexuals, Romani and others while glorifying the German people with corny utopian depictions, distracting them with flattery, while they were, of course rounding the ‘undesirables’ all up for annihilation in concentration camps and invading every country within reach to enable their globalist ambitions, and were thus, of course, in line for total annihilation themselves.

Peter, Richard Sen, Photographer, the view from the City Hall (Rathaus) of the aftermath of the bombing of Dresdon, Germany. Taken between September 17, 1935 and December 31, 1945. Source: Public Domain. Available from: 

This tireless cycle of the extermination of autonomous culture was a propensity repeated yet again under the personality cult of Mao in China’s Communist Cultural Revolution:

Personality Cult of Mao in China’s Communist Cultural Revolution. Source: Fair Use, Public Domain. Available from: Wikipedia, (accessed 11 May, 2019).

…and the Cambodian Agrarian Revolution, in which millions died and with the public torture and yet more corny mass manufactured spurious sentimentality openly reviling intellectuals and flattering the common folk with utopian promises, as they were, yet again, being destroyed.

This destruction of autonomous culture and its obfuscation with contrived sentimentality continued in the late 20th Century in Soviet invasion of countries such as Czechoslovakia, Hungary, Romania and others, not to mention in the wars against so-called socialism/Communism in South America and Vietnam.

Subjugation and suppression and its amelioration with sentimentality continued  meanwhile, at home in the USA against dissidents such as the Black Panthers and the Civil Rights movement and many others under the illegal COINTELPRO programme, and also in Communist East Germany under the STASI both using variants of the indescribably horrific ‘no touch torture’ techniques of Zersetzung ‘gaslighting’ to mentally destroy dissidents, intellectuals authors, scientists and artists through smears, burglaries, gang stalking, threats and sadistic mind games.

Similar destruction of culture occurs to this day in the conflict in the Middle East between Israel and Palestine, in persecution against women, artists and poets under the rule of the Taliban, and Al Qaeda. Now in the devastation of Iraq on false pretences of WMD, the so-called Islamic State which ravages and openly destroys autonomous cultures both ancient and modern, in pursuit of an Islamic Caliphate in Syria, Iraq and the Levant. Islamic extremism is also now spreading to murders and ‘political correctness’ in Europe subjugating freedom of expression yet again, often over depictions of their prophet.

Now this tendency is reportedly happening in Russia in the persecution of dissidents, in China in the persecution of Muslims, dissidents, artists, Falun Gong practitioners and Tibetan Buddhists, in America and Europe from the forces of globalisation, promoting through the media, the elimination of the culture of national identity by smearing it as racist, the demonization of white people with the racist illusions of ‘white privilege’ blaming the sins of the historical injustices perpetrated against ethnic minorities on those separated by generations from the crimes, destroying statues and persecuting men with allegations of ‘toxic masculinity’ and ‘whiteness’ with the radical third wave feminism of identity politics painting all men as rapists, thus promoting the rule of divide and conquer, through stirring up racial and sexual animosity into xenophobia while simultaneously promoting the rights of immigrants, flooding of countries with unchecked immigration and the actual rape it so often brings.

Meanwhile as a subset of the attack on national identity, artists, as the key traditional identifier of national identity, are attacked through the systemic destruction of the creative arts by censorship, smear campaigns, blacklisting, stalking, the sabotage of autonomous shows:

Photograph of Author’s exhibition held at Brick Lane Gallery. Source: Author’s private collection.

…violent attack and even the potential murder of autonomous artists, the threatened murder of myself and my partner, ten years of zersetzung stalking, and annihilation of grassroots Hip Hop and graffiti writing pioneered by a fake Saatchi sock-puppet controlled by the advertising industry and globalist banking…

Source: Fair Use. Citation details lost/stolen in PC hack.

…a situation obfuscated with the saturation Fake News coverage of a prefabricated, corporate-friendly sock-puppet in the Mainstream Media, Social Media and Big Tech exposed herein as another chapter of corny mass manufactured sentimentality as the narcotised world hurtles toward its’ doom, for it:

“…embodies a particular kind of pre-packaged sentiment, but conveys the sentiment that this sentiment is universally shared, that it is appropriate, and importantly, that it is enough….it…reduces political complexity.”5
Marita Sturken, ‘Tourists of History: Memory Kitsch and Consumerism from Oklahoma City to Ground Zero’

…and that propaganda system would appear to have been achieved by the corruption of the last remaining bastion of free and autonomous expression the counterculture, in the creation of, the 21st Century celebrityscape from mediocrities, achieving the replacement of autonomous genius with automaton geniis.

“…the public relations departments…have become the early warning system of the upper class, picking up and countering the slightest remark…that makes funny lines on their sensitive radar. Thanks to them public opinion is well monitored, with an assist of course from the alert social scientists in certain university institutes financed by the big corporations and foundations. Wayward opinions, once detected, are duly corrected…”6
G. William Domhoff, ‘The Higher Circles’

For the kind of imaginative and pioneering folks that have traditionally taken the key roles in the public imagination and have often inadvertently become what Lobaczewski describes in ‘Political Ponerology’ as:

“…reformers and moralists…”7
Dr Andrew M. Lobaczewski, ‘Political Ponerology’

…down through the centuries and thus who have exercised influence in differing ways are, by virtue of their imaginative vision and pioneering nature, not narcissistic show offs seeking attention in any way they can manage, but instead selfless, humble, insightful, moral and compassionate.

Thanks to the ingenious gifts of imagination and fluent communication inherent in autonomous ‘alphas’, as manifest in such roles as poets, artists, musicians, storytellers, speakers, builders or people’s champions, are thus able to outline attractive, imaginative ways to offer creative and realistic solutions to bad times- a role which while utterly vital will inevitably contradict the aspirations of those who benefit from the continuation of the corruption.

So under globalisation dissenting voices in the public domain these have needed to be replaced with corporate puppets to act out the roles.

This crypto-fascism is a dynamic now happening right here right now in the supposedly civilised, democratic and superior ‘free’ west in the hideously violent suppression of autonomy in their pursuit of total control over contemporary art and culture. The driving force as always, a fanatical fundamental extremism, but not a flawed doctrine of social utopianism as we saw in the 20th Century from the Nazis, Fascists, Soviets, Communists, Khmer Rouge, Taliban and in the 21st Century by Islamic State.

Such cosmetics have been dispensed with by the globalist banking dynasties and replaced by the naked desire for raw plunder such as was pursued by the Vikings, the Conquistadors and the Privateers- a desire to create more and more wealth for those with most wealth at the expense of the annihilation of anything that stands in its way from individual to ecosystem to nations and entire civilisations.

However in this media age of the clampdown on dissent and the stranglehold over the news, globalised corporate advertising and public relations has colonised planetary consciousness, largely through the personality cult of the celebrity, and aura of sentimental benevolence, ‘diversity’ and ‘victim culture’ counter-intuitively enjoying the ‘full spectrum dominance’ of the media ecosystem, thanks to the Mainstream Media and tech giants such as Google and the Social Networking platforms YouTube, Twitter, Facebook, which has become almost exclusively a private ‘hothouse’ for globalism; silencing or neutralising any dissent aimed at those:

“…tribes, armies and organisations [which] appear and devour the heritage of the former super-power, often from within.”8
Dominic Frisby, Narrator, Four Horsemen Documentary

…to what end of mass destruction we may only imagine.”9
Jon Hammer, ‘The Celebrity Code: The Black Book of Contemporary Arts’

But now it has a name-THE GREAT RESET. The last time there was a reset?

“In April 1975, the Khmer Rouge captured the Cambodian capital, Phnom Penh. Led by Pol Pot, they reset the calendar to ‘Year Zero’ and attempted to transform Cambodia into their vision of a communist, rural society. All inhabitants of Cambodian cities and towns were expelled to work in agricultural communes. Money, private property and religion were abolished. Thousands were murdered in special detention centres and thousands more died from starvation and overwork.”10
BBC History


  1. Luxemburg, Rosa quotation, Polish, Marxist, Theorist, Economist, Philosopher, Anti-War Activist and Revolutionary Socialist.
  2. Blake, William. Songs of Experience.
  3. Woolger, Roger A. (1987). Other Lives Other Selves.
  4. Chumbawamba, (1985). Liberation Stagnation.
  5. Sturken, M. (2007). Tourists of History: Memory, Kitsch, and Consumerism from Oklahoma City to Ground Zero. Durham: Duke University Press Books.
  6. Domhoff, Prof. G. William. (1971).The Higher Circles: The Governing Class in America.
  7. Lobaczewski, A. M. (1998). Political Ponerology, A science on the nature of evil adjusted for political purposes. (L. Knight-Jadczyk, H. Sy, Eds., & A. Chciuk-Celt, Ph. D, Trans.) Grande Prairie: Red Pill Press (corrected by the author in 1998). Pg 218.
  8. Frisby, D., Ashcroft, R. (Writers), & Ashcroft, R. (Director). (2012). Four Horsemen Documentary [Motion Picture].
  9. Hammer, Jon. Artist and Author. The Celebrity Code: The Black Book of Contemporary Arts.
  10. BBC. Pol Pot (1925-1998). History.

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