Another Brick in the Wall?
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“From our comfortable seat in life…we never could have imagined that thousands of well-off adults, integrated and even cultured, find pleasure in seeing children tortured and killed.”
From a front-page editorial in Italy’s orriere della Sera (reprinted in The Irish Times, September 29, 2000) [ Archived here ]
The Omagh Bomb Message
The coded message broadcast by the bombers mobile phone and picked up live by GCHQ British Intelligence to indicate that the Omagh bomb was in place was identical to the one used two weeks previously in a Red Cavalier at Banbridge on Lughnasadh and was:
‘The bricks are in the wall’:
Screenshot from Panorama: What the Police were Never Told. Source: Fair Use. Available from: YouTube
…which is a phrase which ‘coincidentally’, again, refers to Masonry:
“Brick Masonry Definition:
Brick masonry is a highly durable form of construction. It is built by placing bricks in mortar in a systematic manner to construct solid mass that withstand exerted loads. There are several types of bricks and number of mortars which can be used to construct brick masonry. The bond in brick masonry, which adheres bricks together, is produced by filling joints between bricks with suitable mortar.”
‘Brick Masonry Definition, Types, and Construction’, The Constructor: Building Ideas [ Archived here ]
Bricklayer or mason at work on a construction site in Belgium. Source: CC BY-SA 3.0, Attribution: Jamain. Available from: Wikicommmons [ Archived here ]
It is worth considering the idea that we should always:
“…remember what is being told to us on a subtextual level.”
Michael Tsarion, ‘The Occult History of Ireland: An Introduction’ [ Archived here ]
This is yet another symbol which apparently refers directly and explicitly to Freemasonry, the object of which is stated thus:
“By thus doing his part in the reorganization of society…[Freemasons are] the Master Craftsmen of the universe!”
Manley P. Hall, p. 417, Lectures on Ancient Philosophy; The Hall Publishing Co., Los Angeles, 1929 [Added Emphasis] [ Archived here ]
The context of ritual violence is apparently the accepted ‘tool’ for shaping society, it certainly appears that:
“…Freemasons applaud violence, terror and crime providing it is carried out in a crafty manner. One section of the (masonic) notes says humor is all-important and the most appalling crimes may be committed under its cloak. The one (Jack the) Ripper letter likely to have been genuine suggests that Jack the Ripper was going about his crimes in just this way, committing ghoulish murders with a Puckish sense of fun.
If Masonic supremacy appears in jeopardy, it is re-established by a show of strength, by crimes of violence, perpetrated to demonstrate… the far-reaching power of Freemasonry to initiates the world over…”
Stephen Knight, Jack the Ripper: The Final Solution, Granada Books paperback edition pp. 158-162
This Masonic symbol of the coded bomb message: ‘The Bricks are In The Wall’, also apparently ‘coincidentally’ refers not only to the ‘work’ of a ‘mason’ but also to the Pink Floyd song ‘Another Brick in the Wall’ the videos of which shows children, literally being turned to mincemeat as they were at Omagh as a result of the bomb.
In the Pink Floyd video accompanying the song apparently referred to in the coded message:
“The bricks are in the wall.”
…a nightmarish world is depicted which, like Ireland during the Troubles, is ruled by what appears to be sadistic glee. Also like Ireland during the Troubles human life is smashed to ground meat:
Screenshot – Pink Floyd – Another Brick in the Wall. Source: Fair Use. Available from: YouTube
This ruthless and soulless bureaucratic machine is symbolised by anthropomorphic goose-stepping hammers, reminiscent of Nazism:
with hammer being a primary tool of the stonemason
and thus a primary symbol of Freemasonry.
This symbol is also ghoulishly reminiscent of the Fabian Society window depicting two blacksmiths hammering the world into their desired shape:
https://elitesesotericsymbols.blogspot.com/2018/11/three-smiths.html
On esoteric level, the symbolism of the hammer is about shaping the world into the liking of the “Elite”. This is communicated loud and clear in the famous Fabian Window in London School of Economics. Hammer has become the symbol of the socialist (collectivist) agenda of the “Elite”.
https://elitesesotericsymbols.blogspot.com/2018/11/three-smiths.html [Archived here https://archive.is/wip/YPirG]
The Fabian society’s other logos tell us more about them
https://tetraktys.co.uk/the-fabian-society/
The wolf in sheeps clothing originates from the Sermon on the Mount by Jesus recorded in the Christian New Testament:
“Beware of false prophets, which come to you in sheep’s clothing, but inwardly they are ravening wolves”.
https://www.biblegateway.com/passage/?search=Matthew%207:15-20&version=KJV
The sermon then informs us that the truth of their nature will be revealed by their actions:
“by their fruits shall ye know them”,
ibid
erse 16).
hammer symbol in symbolic association of the Omagh bombing as an apparent enabler forcing the peace process by disempowering the Republican paramilitaries, may also mockingly refer to the ancient Celtic deity Goibniu, who, interestingly in Celtic mythology is the father of the god Lugh, who is celebrated, often sacrificially, at Lughnasadh.
The symbolism associated with Goibniu is deeply entwined with his tools of trade – the forge, anvil, and hammer. These items are not mere instruments but potent symbols in Celtic mythology. The forge represents transformation and creation, a place where raw materials are reshaped into new forms. The anvil stands as a symbol of endurance and resilience, reflecting the unyielding strength of the Celtic spirit. The hammer, Goibniu’s primary tool, symbolizes the power of creation and destruction, a tangible representation of the god’s might and skill.
https://mythohub.com/celtic-mythology/goibniu-the-master-craftsman/ [ Archived here ]
These symbols collectively paint a vivid picture of the ancient Celts’ views on creation and craftsmanship. To them, the process of forging was akin to a sacred act, a fine blend of physical effort and mystical influence. The Celts revered the transformation process in the forge, where they saw a point of convergence between the earthly and the divine
ibid
The working in its entirety represents the process of human alchemy, dedicated to the transformation of base matter (humanity) into the “gold” that is the man-beast, within the psychodrama that is the Revelation of the Method/Making Manifest of all that is Hidden, which was initiated just a few years after [Sir John] Dee’s death, in the pages of the 1615 Rosicrucian manifesto, Confessio Fraternitatis, or “Confession of the Laudable Fraternity of the Most Honorable Order of the Rosy Cross.”
[…]
The Black Arts adepts who wear police badges, occupy judge’s seats and media editor’s desks are not simply “crazed,” nor are such intensely publicized ritual murders merely superstitious sacrifices to some kooky devil-god.[…]
Secret Societies and Psychological Warfare
This theater of death began as a ritual for the cult-members themselves and ended as a giant magical ceremony for the processing of the entire nation[…]
because in the worldwide broadcast …. was also broadcast the magical symbols…
This is the alchemical psychodrama for the transformation of humanity. We are processed just by reading or watching “the news.”
We are processed by associating death and terror, power and potency with….old demonic symbols…[…]
The psychological warfare contained within this esoteric “confession” is predicated on the following strategy: One day when we have secured our victory we will confess our crimes to a ritually bound public. The Confessio foretold this nearly 400 years ago: “…that which in…before times hath been unseen…shall be spoken forth and uttered…maketh manifest…innumerable secrets.”
Secret Societies and Psychological Warfare
As the doomed children sing:
“We don’t need no force control”
[…]
“All in all you’re just, another brick in the wall“
Another Brick In The Wall (Part II)” [Roger Waters & David Gilmour:]album: “The Wall” Pink Floyd (1979) [Fair Use] Available from https://www.azlyrics.com/lyrics/pinkfloyd/anotherbrickinthewallpartii.html [ Archived here ] [Added Emphasis]
The main job of the leader appears to be turning the faceless children into mincemeat:
…exactly as happened in the Omagh bombing!
“Lying in the roadway were large amounts of …parts of human bodies including arms, legs, hands and parts of face and head.’
Ruth Dudley Edwards, ‘Aftermath: The Omagh Bombing and the Families’ Pursuit of Justice’, 2009, Pg 44 [ Archived here ]
The French adept Antonin Artaud, architect of the “Theater of Cruelty” with its transformative power, and the prophet of the extreme
sex-and-death media of our time, had this to say about the processing of the Group Mind:
“Aside from trifling witchcraft of country sorcerers, there are tricks of global hoodoo in which all alerted consciousnesses participate
periodically…That is how strange forces are aroused and transported to the astral vault, to that dark dome which is composed above all of… the poisonous aggressiveness of the evil minds of most people …the formidable tentacular oppression of a kind of civic magic which will soon appear undisguised.”
which will soon appear undisguised.” Artaud wrote those words in the 1940s. The public sorcery he forecast is here, now.
The issue of controlling humanity with esoteric words and symbols encoded within a play, a media spectacular or a ritual is one of the most difficult for people to comprehend. That is why most people are viewed with utter contempt as “cowans,” “the profane,” the “gentiles” and the “goyim” by secret society initiates.
“I think we are farmed,” Charles Fort said of humanity. It was Fort who also suggested that man deliberately invented the dogma of
materialism in order to shield himself from the evidence of what was being done to him by means of psycho-spiritual warfare methods
hyped by “coincidence,” symbolism and ritual.
The closer a researcher gets to the Son of Sam case, the more one
sees an elaborate ritual. I
Propaganda Watchdog breakdown:
#BBCNewsnight
#OmaghBombing
THE MATHEMATICAL ODDS OF THESE ANOMALIES BEING COINCIDENTAL LESSEN WITH EACH CHAPTER…
It is worth bearing in mind at the end of this book, during which we have seen stacks of ‘coincidences’ that:
“[A]n intimidating magical weapon[…i]n multilingual Ireland, people cursed …in English, Irish or Ulster-Scots, [or in] non-literal [form]…real cursing used scarier and more complicated wordplay.[…] Sometimes, for real cursing, they were piled on top of each other, as if to multiply their effect….curses were believed to be most powerful when their victims remained silent, as if dumbstruck by the lyrical ingenuity of the dreadful utterances.
[However…]Proverbs in Gaelic and English reiterated the point: ‘Curses, like chickens, come home to roost’.
Irish Cursing and the Art of Magic, 1750–2018*- Thomas Waters- Past & Present, Volume 247, Issue 1, May 2020, Pages 113–149, https://doi.org/10.1093/pastj/gtz051
[W]itchcraft [in Ireland] was linked to other crimes… in an era of expansion of courts and policing. This […] reveals witchcraft to be an overlooked context in which interpersonal violence was exerted…”
Witchcraft, the Press and Crime in Ireland, 1822-1922
Sneddon, A., & Fulton, J. (2019). Historical Journal,
62(3), 741-764. https://doi.org/10.1017/S0018246X18000365
