…by Jonas E. Alexis
Keanu Reeves seems to be learning pretty fast. A news report has recently pointed out that
“Few actors have delivered as many box-office hits as Keanu Reeves has over the last 30 years, and few have suffered more as a result of Hollywood studios’ new era of franchise building and risk aversion.”
After prostituting himself in movies such as My Own Private Idaho, Reeves eventually got his celebrity status with the box office hit The Matrix, directed by the Wachowskis brothers, who themselves implemented Nietzschean ideology and Gnostic thought in the same film.
Yet Reeves has been somewhat abandoned by Hollywood studios lately. Why? Well, you know the drill: Reeves has not been able to hit it big at the box office since the past two years or so.
The news continues to say, “The inability to land a studio film is not for lack of trying on Reeves’s part.”“It sucks,” Reeves said. “But it’s just the way it is.”
But what Reeves needs to understand is that the Dreadful Few need him only when he is able to produce millions upon millions of dollars for them, which is another way of saying that they only like his “talent” and not Keanu Reeves himself. If he cannot make a huge hit, he has to hit the highway.
Perhaps Reeves needs to pick up the phone, call DMX, and ask him what he meant when he said,
“The industry doesn’t have to do with talent; it’s about playing the game…The industry—money, bitches, hate…The industry is like ‘Wait’! But in the street we’re like, ‘Get them’!
“The industry—if you ain’t got a strong mind—will break you down, [and] it’s a matter of time. The industry vultures with nothing to feast on…The industry play in the dirt, stay in the dirt—test the wrong one in the industry and you will get hurt.
“The industry wanted, dead or alive, new artists to sell their souls…to survive. The industry don’t give a fuck about you! But the industry couldn’t make a dime without you!”
When Miley Cyrus’ wrecking ball was creating a huge controversy all over the world, O’Connor, who has been in the industry for years and who made millions of dollars from it, quickly realized that Cyrus was being pimped either by the music industry or by Miley Cyrus herself.
O’Connor wrote an open letter to the young shiksa who has been prostrating before the Dreadful Few for money and fame, in which we read:
“The music business doesn’t give a shit about you, or any of us. They will prostitute you for all you are worth, and cleverly make you think its [sic] what YOU wanted … and when you end up in rehab as a result of being prostituted, ‘they’ will be sunning themselves on their yachts in Antigua, which they bought by selling your body and you will find yourself very alone.
“None of the men ogling you give a shit about you either, do not be fooled. Many’s the woman mistook lust for love. If they want you sexually that doesn’t mean they give a fuck about you.
“All the more true when you unwittingly give the impression you don’t give much of a fuck about yourself. And when you employ people who give the impression they don’t give much of a fuck about you either.
“No one who cares about you could support your being pimped … and that includes you yourself.
“Yes, I’m suggesting you don’t care for yourself. That has to change. You ought to be protected as a precious young lady by anyone in your employ and anyone around you, including you. This is a dangerous world.
“We don’t encourage our daughters to walk around naked in it because it makes them prey for animals and less than animals, a distressing majority of whom work in the music industry and it’s [sic] associated media.
“You are worth more than your body or your sexual appeal. The world of showbiz doesn’t see things that way, they like things to be seen the other way, whether they are magazines who want you on their cover, or whatever … Don’t be under any illusions …
“ALL of them want you because they’re making money off your youth and your beauty … which they could not do except for the fact your youth makes you blind to the evils of show business. If you have an innocent heart you can’t recognise those who do not.
“I repeat, you have enough talent that you don’t need to let the music business make a prostitute of you. You shouldn’t let them make a fool of you either. Don’t think for a moment that any of them give a flying fuck about you.
“They’re there for the money… we’re there for the music. It has always been that way and it will always be that way. The sooner a young lady gets to know that, the sooner she can be REALLY in control.”
Reeves certainly would understand what DMX and O’Connor have said. The industry takes young and impressionable people like Cyrus and turns them into sluts, whores, pimps and prostitutes.
Cyrus is receiving millions upon millions of dollars from the Dreadful Few in America, but authorities in the Dominican Republic do not want her in the country because her acts “go against morals and customs” of the country.
Even the homosexual magazine the Advocate had this to say: “Miley Cyrus is twerking hard for the money, but the Dominican Republic government isn’t having it.” The magazine continued to say,
“The Dominican Republic government commission overseeing public performances came in like a wrecking ball and canceled the Miley Cyrus concert scheduled to take place September 13 in the country’s capital, Santo Domingo, on the grounds that the singer promotes immoral acts including lesbian sex…
“In a statement released Thursday, the commission said the concert was to be called off because it would ‘offend the morals, good customs and relationship between friendly countries’ because of ‘Cyrus’ common engagement in acts during her concerts that defy morals and customs in ways usually penalized by Dominican law.’
“The commission also claims Cyrus ‘uses inadequate attire, corrupts language, uses perverse imagery and phrasing, uses phrases with double meanings, glorifies crime, violence and denigrating acts against civility and promotes sex, lesbian sex and the use of inadequate [sic] objects in public.’”
To make matters worse, during a concert in Mexico Cyrus “gulped down some water and spit it at her fans—which was first met with shouts of joy before disgust.” That is not all: she whipped her “fake butt with the national flag.”
That is the kind of freedom that the Dreadful Few would like to see in much of the world.
People like Cyrus think that by pimping the system, they deceive themselves into thinking that they are in charge. What they must understand is that the Dreadful Few set up the ideological rule: shiksas have to be whores.
Moreover, by being whores and corrupting the culture, those shiksas can bring in multiplied millions of dollars to MTV and Hollywood producers.
The sad part is that when youthful energies and sexual attraction begin to fade away, when a few pounds begin to take a toll, and when the Dreadful Few aren’t laughing all the way to the bank anymore, people like Cyrus will be just relics of the past—and the Dreadful Few will be on the road looking for fresh blood.
And every year, new breeds of whores and pimps and sluts seem to pop out of nowhere and declare openly that they want to do whatever it takes to make it to the top.
In the old days, the sluts of Hollywood and the entertainment industry were people like Joan Crawford, Mae West, Marilyn Monroe, Marlene Dietrich, Jane Fonda, Sharon Tate, Elizabeth Taylor, among others, and most of those people flirted with the occult and indeed Jewish occultist Antorn Lavey.
More importantly, nearly all of them had to cross the sexual rubicon in order to survive in the industry. One of the new shiksas, Nicole Scherzinger, understood that point very clearly. She declared unambiguously last year:
“To be honest with you, I sometimes wish I were more slutty. I’d probably be a lot more successful if I were… This is such a tough industry, you know. To make it, you really have to sell your soul to the devil.”
This is a tough industry indeed. Scherzinger probably looked at the lives of new sluts such as Rihanna, Britney Spears, Beyonce, Christina Aguilera, Jennifer Lopez, Tila Tequila, Christen Stewart, etc., and saw that they all made it big precisely because they basically sell their body for money. And the industry indeed is always looking for those new shiksas.
Moreover, if you are a shiksa and you suddenly realize that a particular film or production is violating your moral reasoning, you probably will be sued if you do not finish the project. Listen to this:
“The production company behind Cinemax’s Femme Fatales has been given the green light by a California judge to go forward with its countersuit against Anne Greene for allegedly breaching the ‘Nudity Rider’ of her contract by refusing to film nude sex scenes.
“Greene, whose credits include Saw 3D: The Final Chapter, sued first, alleging in a complaint against Time Warner, HBO, Cinemax and production company True Crime that she was bullied, sexually harassed and placed in a dangerous work environment…
“Greene says she never would have agreed to the job if she knew it involved ‘soft-core porn.’ She says she only went ahead with simulated sexual intercourse ‘under duress,’ the result of a $100,000-plus threat for breaching her contract, and that the producers violated multiple union rules and regulations, including the requirement to have a closed set and a requirement to make the performer aware in writing to any script changes involving explicit nudity and depiction of sexual intercourse.”
Other reports stated that Greene will be sued for $85,000. If she continues to say no to sexually explicit projects, her career as an actress will basically be over. She has to submit to the powers that be.
Remember “innocent” Kristen Stewart and Robert Pattison, who came on the Hollywood scene in the Twilight movie series? Where are they now?
Pattison ends up acting and pornographic films such as Cosmopolis and Maps of the Stars, and Stewart in On the Road.
Certainly the Dreadful Few in Hollywood are looking for shiksas who are willing sell themselves. Jewish actress Rachel Weisz, who begged director Alejandro Amenadar if she could masturbate in the movie Agora, openly admitted in a 2001 interview:
“Hollywood’s run by Jews. I was advised by an American agent when I was about 19 to change my surname. And I said ‘Why? Jews run Hollywood.’ He said ‘Exactly.’ He had a theory that all the executives think acting’s a job for shiksas.”
Weisz went on to make this stunning remark,
“In some way acting is prostitution, and Hollywood Jews don’t want their own women to participate. Also, there’s an element of Portnoy’s Complaint—they all fancy Aryan blondes.”
This is not new at all. Scholar Albert S. Lindemann notes that around the 1900s,
“In Great Britain there were…rumblings about ‘Yiddish gorillas’ who preyed upon Gentile women.
“One writer complained that ‘no Jew is more of a hero to his fellow tribesmen than one who can boast of having accomplished the ruin of some friendless, unprotected Christian girl.’ He concluded that Jews were ‘probably the most lecherous breed in existence.’”
Yet while the Dreadful Few want the Goyim to prostitute themselves, hundreds upon hundreds of shiksas such as Amy Adams (American Hustle), Eva Green (Sin City 2 and 300: Rise of an Empire), Keira Knightley (A Dangerous Method), and Julianne Moore (Maps of the Stars) are willing to do be whores in films in order to get a piece of money, power and fame for a season.
But what is the actual goal of this project? We have already seen how people like Eli Roth made the declaration that their work will “fuck an entire generation.” Now let us listen to Oliver Stone. Stone said more than two decades ago:
“I think America has to bleed. I think the corpses have to pile up. I think American boys have to die again. Let the mothers weep and mourn.”
The Jewish director is not finished. He moved on to add this diabolical statement:
“I believe in [Jim] Morrison’s incantations. Break on through. Kill the pigs. Destroy. Loot. Fuck your mother. All that shit. Anything goes. Anything.”
Here Stone surely was not talking about actual blood, but moral and spiritual decay. Once that is done, then the family will be in disarray, and mothers and fathers will weep for their sons and daughters who have been hooked up on drugs, pornography, violence, etc. And keep in mind that Stone is the director of Natural Born Killers:
As we have seen in previous articles, one of the quickest ways to destroy a society is to flood it with pornography, eroticism, and sexual innuendoes. Children and teenagers who cannot distinguish right from wrong and who sometimes cannot even tie their own shoes properly will quickly be aroused by those sexual tsunamis. And MTV and Hollywood have meticulously crafted dozens of shiksas to do that very job.
For example, Kristen Stewart started off with Twilight, which many parents think is safe, but she gradually moved to On the Road, which is obviously pornographic in its orientation.
Stewart literally ends up stripping down while sitting in a car and masturbating two male characters in On the Road.
In response to criticism, Stewart said,
“I wanted to do [the scene]. I love pushing. I love scaring myself. I’ve always wanted to get as close to experience as I could.”
Here Stewart was in denial, for she herself declared,
Robert Pattison seemed to be saying almost the same thing. He declared that a sex scene in the movie Little Ashes “was mortifying.”
Going back to Scherzinger’s statement—“to make it, you really have to sell your soul to the devil”—perhaps she is saying something profoundly diabolical here, for people like John Lennon made similar admission. As the Beatles became a successful phenomenon, Lennon told one of his musician friends, Tony Sheridan:
“I’ve sold my soul to the devil.”
According to both Albert Goldman and Lennon’s tarot card reader John Green, Lennon was not speaking metaphorically. Goldman reported that during the course of the Beatles’ breakthrough, bizarre things happened which has no scientific explanation.
For example, Yoko Ono, Lennon’s wife, went to South America with John Green to divine the future of Yoko and Lennon’s life. In the process, they eventually consulted a witch. Here’s a synopsis of what happened during a specific ritual:
“During the days that followed, the old witch displayed the full resources of her art. She poured jars of consecrated water over Yoko while she stood in a tin tub.
“Then she pranced about her client, her big splayed feet slapping the tiles of the inner courtyard as she uttered the piercing cries of jungle birds and animals.
“Giving Yoko unpalatable potions to drink and unintelligible spells to recite, Lena [the witch] also operated upon the combs and underwear that belonged to John and Sean [Lennon’s son].
“Finally it was time to consummate all these spells by making a living sacrifice and signing a pact with the devil. For Lena was not a ‘white’ witch.
“She was the real thing—a practitioner of black magic. There was no knowing what she planned to do to seal the bond with Lucifer. All she would say was that a witch’s moon was nigh, and they had to make ready for the sacrifice….
“Yoko approached the witch’s altar, clutching John Green’s arm. As the smiling Lena beckoned and cooed, ‘Closer, child, come closer,’ the terrified Yoko edged forward, impelled to the last by the hope of having all her desires fulfilled. The final step, however, was sinister.
‘Green wrote: Yoko reached the edge of the little pile of debris that [the witch] had chosen for her stage. ‘Now, child, it is time to sign.’ Her eyes directed Yoko’s to the altar and a fettered dove that lay beside the sputtering flame.
“The old witch slipped her long powerful fingers into a pocket and removed a folded piece of paper, the contract. This she opened with deliberate care and placed on the altar as if for the dove to read.
“Its surface was covered with a crazy-quilt pattern of writing that I recognized as a witch’s alphabet, the sort used in Elizabethan times. Again the bony fingers dipped into a pocket, this time retrieving what appeared to be a small sharpened stick.
“One long arm reached out and swept up the dove. Powerful fingers held back the wings and forced its tiny head downward. [The witch] rolled back her eyes and prayed her prayers of sacrifice.
“Suddenly, deftly, the hand with the stick moved and did its work. The dove had no warning and made no outcry as the instrument pierced the back of its neck and erased its brain. Slowly [the witch] removed the point and held the victim outward.
“‘Sign, child, sign now.’
“‘I want Charlie [Green] to do it.’
“‘Sign, child!’ The tone was more demanding.
“‘But…’ Yoko was clearly panicking. Suddenly, she turned to me. “Charlie, do it! Please, Charlie, I’ll take care of you, John and I will! Just do this for me. Sign it.’
“John Green took the proffered pen and signed the document in blood. When he was done, Lena smiled with satisfaction and dismissed her clients.”
Yet whose names did John Green sign? Green, indeed, was not stupid. He signed John Lennon and Yoko Ono.
Perhaps Lennon was up to something when he said,
“I felt like a hollow temple filled with many spirits, each one passing through me, each inhabiting me for a little time and then leaving to be replaced by another.”
Lennon had this to say about song writing:
“But my joy is when you’re like possessed, like a medium, you know. I’ll be sitting around and it’ll come in the middle of the night or at the time when you don’t want to do it—that’s the exciting part.
“So I’m lying around and then this thing comes as a whole piece, you know, words and music, and I think well, you know, can I say I wrote it? I don’t know who the fuck wrote it—I’m just sitting here and the whole fucking song comes out.
“So it, you’re like driven and you find yourself over on a piano or guitar and you put it down because it’s been given to you or whatever it is that you tune into.”
And then this:
“When the real music comes to me…[it] has nothing to do with me, ’cause I’m just the channel. The only joy for me is for it to be given to me, and to transcribe it like a medium….”
Yoko Ono added her own perspective on the Beatles:
“[The Beatles] were like mediums in a way. It was more than four people…As I said, they were like mediums. They weren’t conscious of all they were saying but it was coming through them…”
But in December of 1980, three years after Green signed the pact for Ono and Lennon, Lennon’s contract was up—and it was not renewable. Mark David Chapman, before he shot Lennon, “heard a voice in his head saying: ‘Do it…do it…do it.’”
John Lennon, the man who had it all, lost it all after several bullets ran through his body. But before he got shot, he had to do some dirty job as well. Biographer Philip Norman wrote that while in Hamburg, Germany,
“John, each Sunday would stand on the balcony, taunting the churchgoers as they walked to St. Joseph’s. He attached a water-filled contraceptive to an effigy of Jesus and hung it out for the churchgoers to see. Once he urinated on the heads of three nuns.”
Lennon’s life seems to illustrate Scherzinger’s point. She moved on to declare that she hasn’t “quite reached the top of my mountains” because she hasn’t completely sold herself. She added,
“I mean, where’s my Tony Award, my Grammy, my Oscar? Why don’t I have any of those things yet?”
Scherzinger, who was raised in a Catholic family, is now lusting after money and sex. She is now prostituting before the industry:
But those who have been in the industry for many years know pretty well that there is a price to pay—and it is huge. Bob Dylan and others are classic examples. Listen to him at the end of this interview:
Going back to Reeves, perhaps what he needs to realize is that there are things that are more valuable than money, power and fame. As Christ told some of his listeners,
“For what shall it profit a man, if he shall gain the whole world, and lose his own soul?”
The industry indirectly turns that statement on its head and seems to declare, “What good does it do if a man possesses a soul but cannot make money, cannot corrupt the youth and the culture, and cannot enjoy his fame all over the world?”
Perhaps it is high time for everyone to challenge the moral pretension of that assumption, for our young people deserve better.
 See for example David P. Hunt, “The Sleeper Awakes: Gnosis and Authenticity in the Matrix,” R. Douglas Geivett and James S. Spiegel, ed., Faith, Film and Philosophy: Big Ideas on the Big Screen (Downers Grove: IVP Academic, 2007), chapter 5.
 Sinead O’Connor, “Sinead O’Connor’s Open Letter to Miley Cyrus,” Guardian, October 13, 2013.
 Daniel Papalia, “Miley Cyrus Banned From Performing in Dominican Republic,” Forbes, August 21, 2014.
 See for example Brad Steiger and Sherry Hansen Steiger, Hollywood and the Supernatural (New York: St. Martin’s Press, 1990). For similar studies, see Hugh B. Urban, Magia Sexualis: Sex, Magic, and Liberation in Modern Western Esotericism (Berkley: University of California Press, 2006).
 “What’s new Pussycat? Nicole Sherzinger on being a global pop star and conquering an eating disorder,” The Independent, March 10, 2013.
 “Producers Allowed to Sue Actress for Refusing to Film Nude Sex Scene,” Hollywood Reporter, October 20, 2014.
 Emma Forrest, “Rachel Weisz,” IndexMagazine.com, 2001; see also Danielle Berrin, “Rachel Weisz Climbs the Charts,” JewishJournal.com, October 22, 2009.
 Albert S. Lindemann, Esau’s Tears: Modern Anti-Semitism and the Rise of the Jews (Cambridge: Cambridge University Press, 1998), 380.
 Quoted in Michael Medved, Hollywood vs. America (New York: HarperCollins, 1992), 217.
 Ibid., 313.
 “Kristen Stewart’s Bad Attitude: ‘I’m a Miserable C—!’”, Huffington Post, October 9, 2012.
 Quoted in Ray Coleman, Lennon: The Definitive Biography (New York: Harper Perennial, 1992), 348.
 Albert Goldman, The Lives of John Lennon (New York: William and Morrow, 1988), 585-87; readers are encouraged to read the entire chapter; the story is also told by John Green (Lennon and Ono’s tarot card reader) in his book Dakota Days.
 Ibid., 373.
 John Lennon, Yoko Ono, and Andy Peebles, The Last Lennon Tapes (New York: Dell Publishing, 1981), 113.
 Quoted in Mickey Hart and Frederic Lieberman, Spirit into Sound: The Magic of Music (Petaluma, CA: Acid Test Production, 1999), 134.
 David Sheff, The Playboys Interviews With John Lennon and Yoko Ono (New York: Putnam Publishing Group, 1981), 106.
 Goldman, The Lives of John Lennon, 684.
 Philip Norman, Shout!: The Beatles in Their Generation (New York: Fireside, 1981), 152.
 “What’s new Pussycat? Nicole Sherzinger on being a global pop star and conquering an eating disorder,” The Independent, March 10, 2013.
Posted by Jonas E. Alexis on October 27, 2014, With 25335 Reads Filed under Life. You can follow any responses to this entry through the RSS 2.0. Both comments and pings are currently closed.