As every decent American knows, or should know, Baseball is a kind of elaborately coded symbol for Freemasonry. I believe this was first revealed by Occam-sharp scholar Randy Lavello, who wrote an article on the topic entitled Occult Symbolism: As American as Baseball (date unknown).
Unfortunately the article is mostly a sad rehash of the usual band of accumulated factoids about the Illumino-Masonic "hell bentery" (Davidson, Tautology by Candlelight, p. 27) regarding world domination. Yet among the chaff, one may still find some wheat. This is brilliant poetry:
Baseball was obviously created by Freemasons, as it bears the unmistakable marks of Freemasonry. The field, from home plate to the left and right field wall forms a compass; the entire outfield wall is the semicircle which this compass draws. Upside-down, overlapping this compass, the bases form the square. Thus, the baseball field is the emblem of Freemasonry. Three strikes and three outs were assigned because three is the principle sacred number of Freemasonry. Four is a number of significance because it represents a square (the shape) and deals with the four directions, thus: four balls, four bases.
And then, in the immortal words of the King of Siam: "Et cetera, et cetera, et cetera." Or, as the "Free-Mason" might cry into the four dark corners of the Lodge Room, its floor a checkered field of play:
"Owa Tagoo Siam!"
(Say that, three, five or seven times aloud and see what happens).
At the climax of the sex-rituals conducted in such places:
"Shāh māt!" (شاه مات): "The King is Helpless."
Lavello concludes: This further explains the near obsession with numbers surrounding baseball averages, home runs, ERA’s, etc. It is truly a game for numerologists. One might even add a game for practitioners of the Assyro-Babylonian system known as gematria, which so enthralls Kabbalists steeped in the Mishnah and Talmud.
Needless to say the baseball bat is the lingam (लिङ्गं,) and the glove, the yoni (योनि). Hand in Glove?
Baseball isn't the only sport used by the Illumino-Masonic conspiracy to indoctrinate us through dazzling veils of numbers and distraction. Freemason Neil Laird (Kneel, Lord!) details the early "links" between the Craft and Golf. Somewhere along the line these "links" will undoubtedly lead us to sausages and shirt cuffs, but for now, let it suffice to say that yes, early golf clubs (the social organization and not the tool) had their origins in Masonic Lodges. As a Tiler might ask a suspected cowan (but not a Cohen (כֹּהֵן)): "Are you on, or off?" Links in a chain like the cars of the Express Kundalini, links in a chain chugging through the same cross-referential mirror-system in which the chain is the cable-tow, the serpent around the spinal column and the rod of Aesculapius. And more. The un-schooled hobo gives the bull the wrong response and is sent hurtling off into the speeding darkness.
But the Masons have a tool to revelate the method even more insidious than Twilight Language, Lady Gaga or Sports.
You may have heard of A Well-Behaved Mormon Woman's brilliant take-down of Frozen (Feb. 2014):
The gay agenda to normalize homosexuality is woven into Disney's movie Frozen not just as an underlying message - it is the movie.
She discusses some of what I will extrapolate upon in this post; what she glosses over, however, is the snowman. I pegged that dude as gay from the moment he first opened his swishy mouth. A discussion at Film Colossus tries to answer the question: Is Olaf, the snowman, in "Frozen", gay? No one actually seems to be discussing it though, which proves that there is no need to discuss it.
Let's start with the name of the snow golem: Olaf. An anagram for "Loaf". This brings us immediately back to golf and baseball, hours of which are televised and broadcast across the planet in order to ensnare the idle spectator. Lulled into a lazy hypnotic state in which the "imprintability [sic] of Masonry's numerological symbolism can be facilitated and homosexuality inscribed behind the eyelids, the dark side of the liminal" (Ronson, The Nine-Inning Ritual, p. 72).
"Olaf" also a palindrome: Falo. As in "phallus" or "fellatio." Is it any surprise that in one scene of Frozen, "Falo's" penis-like carrot nose ends up in the grinning mouth of the male reindeer, Sven? (A clear allusion to "seven"--yet another Masonic programming number).
The Masonic invention of sport and structured "loafing" given homage in the name "Olaf" is like totally, I mean so over-the-toply revelated in the following cartoon. Dig this evil bit of mind-fuckery:
Have the masons no shame? They're waving this stuff in our faces like a cock bulging in leather Speedos at a Gay Pride parade. Clearly these phallus-nosed monstrosities with "frozen" hearts are lures to "reel in" children (no coincidence the word applies both to fishing and film). Illuminati psy-ops experts used the love of adorable snowmen in Frozen to encourage "loafing" and "fellatio" and then had the gall to joke about it in a homoerotic cartoon with genocidal symbolism. Look at the lower left of the pyramid: KAR. K.A.R.
Kill. All. Religion.
Wake up sheeple! Before you know it they'll have your children spitting on the cross and buggering one another like Knights Templar. Led to the gay bar in (trance-) formation by the cable-tow! Those who cannot be converted will be led instead to the killing fields. Blood is thicker than water and the evil tree bears fetid "fruits."
Speaking of Templars, both Walter (meaning "rule" or "warrior") Elias (אליהו, Eliyahu, meaning "Yahweh is my God") Disney and Mickey (as in "slip someone a") Mouse were members of DeMolay. DeMolay is a Masonic youth organization (for male youths aged 12 to 21--again with the mirrors) named after the leader of the "heretical, sodomitical [sic] Knights Templar known today as Freemasons" (Werther, Baphomet's Sucklings, p. 9). About Jacques (Jock) DeMolay himself, noted web board poster StarLandVocalBand mentions that, "the least sympathetic [Non-Masonic historians] portray him as a power-hungry, bloodthirsty pedophile." DeMolay, or Demon lay? Disney's roots are in French soil; he was descendant of one Robert d'Isigny, reputed lover of William the Conqueror. During the First World War, Disney would contrive to "return" to France, homeland of Jacques DeMolay, at the tender age of 17.
DeMolay, "the boy-love Internationale" (McCaw, Sinarchy, p. 13), programmed Walt Disney, Cathy O'Brien-like, with Masonic and Templar ideals from a young age, which helps explain why Disney ("On your Dis knees, boy!"), created Club 33 in the heart of Disneyland. 33 is the highest degree of Scottish Rite Masonry, which in America derives its cult practices and dogma from one Albert Pike, Confederate general and admitted Luciferian. The highest six degrees of this Rite--including the 33rd--are Templar Degrees: "Conferred only by the Supreme Council, 33°, the Degree of Inspector General is a Templar degree throughout, in both substance and symbolism" (here). The final body of the York Rite is known as a Commandery and is comprised of three Templar orders and one degree. Independent of both of these Rites, Templar Preceptories award yet three more degrees. The Rite of Memphis (1838) was a blend of Templarism, alchemy and Egyptian occultism. It merged with the Rite of Misraïm (pre-1738) in 1881; the resulting The Rite of Memphis-Misraïm exists to this day.
Masonry is not only at the heart of Disneyland, but of all Disney productions. A club hidden in one of the most visited parks in the world, hidden in plain sight, is a metaphor for a club hidden at the heart of the world and a message hidden at the heart of its propaganda. All the better to implant their message at the liminal line between consciousness and unconsciousness. Club 33 is the only place in the park where alcohol is freely served, just as early Lodges first met in taverns and were infamous dens of drunkenness. And in the Middle Ages, "Drunk as a Templar" was a common phrase. The club's name refers to the 33rd degree of Freemasonry, but also to the 33 sponsors of Disneyland when the park opened; one look and you'll see this represents a cross-section of America's most powerful companies.
Perhaps this is also why two popular Disney Rides, Pirates of the Caribbean and Mr. Toad's Wild Ride, are, as former Church of Satan High Priest Boyd Rice points out, symbolic voyages of death and resurrection, like Masonic ritual.
"Shāh māt!" (شاه مات): "The King is Helpless."
See Children’s shows are exploding with hidden penises (LoS 10 Aug. 2013) for an introduction to a less veiled glorification of numerology in Disney's Donald in Mathmagic Land.
In Frozen, Olaf the snowman will never melt; he has his own personal climate, a control over nature that allows him to defy the effects of heat and time. This is the ultimate goal of Freemasonry. Immortality (immorality), with no more need to procreate and thus no real need for women: an occult agenda which will encourage men, no longer subservient to the dictates of nature and biology, to become homosexuals.
The doctrine of mastery over nature is in full praxis in the construction of the city park, nature brought to leash....or cable-tow. It's no coincidence that baseball, our numerological ritual, is played in a park. Progress and mastering nature were major themes in the 19th-century zeitgeist, a result of the same Enlightenment ideals most perfectly embodied in Illumino-Masonic doctrine. The first park built for the public is Princes (Disney films are rife with princes) Park in Liverpool, built on land purchased by Richard Vaughan Yates. Yates is memorialized in the park by an obelisk that describes Yates as "Enlightened." So very Masonic. So very phallic. And to top it off, it's a water fountain. One bends over before an enormous penis and drinks deeply from the fluid which shoots out when the "knob" is turned. One isn't drinking from Farrah's faucet here; this is Adam and Steve, not Adam and Eve. In the mirror language we've previously mentioned, it's worth noting that the first verbal exchange on the planet was a pair of palindromes:
"Madam, I'm Adam".
Back to Frozen. Olaf is a flamboyant swish, but the other male figures are also homosexual. First we have the the villain, Hans ("John", or a whore's customer), a Lothario who feigns to have feelings for Anna (a name meaning "Grace" in Hebrew, as in God's grace). Hans' false feelings for Anna are such that he's willing to let her die in order to assume power. Through his actions, Hans rejects women and God's grace simultaneously. Kristoff, the rustic, was raised outside of normal society, among hermaphroditic trolls and anthropomorphized animals. The film not only tries to legitimize this queer world but valorizes it above and beyond the normal, i.e. straight world! Kristoff (Christ-off!) also rejects God because of his unnatural communion with the reindeer Sven. He is shown serenading the animal to sleep before they share a bed. "Sven" is the origin of the world "swain"--a young servant boy! Masculinity is further undermined by to total inutility of Kristoff's profession: he is an ice seller in a world of permanent winter. He is redundant, impotent and unnecessary.
What about the female characters? The homosexual thread marking our voyage through the labyrinth begins with the Queen. Elsa (from the Hebrew for "My God is an oath") has shut out all suitors--a thorough rejection of men. She is an Ice Queen, an expression we often use to describe a woman who has, like Elsa, shut out all love and warmth from her heart, especially for men. Incidentally, a "snow queen" is a gay black male who favors white partners, especially Nordic types! The latter half of Frozen is built around the attempts of Christ-off to reunite with Anna, (Grace), so that she, and he, may be saved. This is described as an act of "pure love". Saved? Pure Love? This is clearly a reference to Christ's role as our savior. But the act of pure love never occurs, because for ersatz Antichrist Christ-off, "grace" remains frozen to his touch, dead. The movie manipulates the viewer into thinking that Anna will be revived by Kristoff's kiss. But no. It is Elsa, her God an oath, who saves Anna in an incestuous act of lesbianism made all the more vile by it's cloak of innocence.
Frozen, regaled by many critics as one of Disney's best recent films, has its origin in an aborted biography of Hans "Christian" Anderson. The real Anderson had a history of falling in love with unattainable women, frozen to him so to speak, so that he never actually had to get together with one. In life, he seem to have expressed more desire for men. Is it any surprise that so many Disney films are based on Anderson's work? The Disney world is one of talking animals, "bromances" and the normalization of eccentric and deviant behavior, of accepting those who are "different".
The Mormon I referred to a the beginning of this post lady is right. To use the revelator words of Pink ("gay") Floyd bassist Roger ("sodomy") Waters, we are being "amused to death". From the mincing and singing homos of Frozen to the homosocial domain of sport, from snowmen to the Georgia Guidestones (see population control), we are being programmed to accept the "sterility ideal" of a Malthusian zoo, one big Grand Lodge watched over by what Richard Brautigan ironically called "machines of loving grace". No need to sterilize, no need to cull, when the park animals are programmed into homosexuality.
* * * *
I hope that at some point, preferably from the get-go, you realized that this post is a joke.
What you've just read is not the post I intended to write and it kind of mutated into what it is as I was writing it. Which is just a fancy way to say I made it all up as I went along. Hence the abrupt and rather nonsensical transition from sport into a discussion of Frozen. I was being ironic, but not sarcastic, which can be a thin line. I wasn't making fun of people who might see a gay agenda in this film. This might sound ingenuous, but it's true. I was pretty much just goofing around in a Downard-esque mode and poking fun at synchromysticism.
While it's not something directed by decree from the offices of GLAAD, I think it's fair to say there is something of a homosexual agenda in Hollywood. Like the military is a bastion of conservatism, Hollywood is by and large a liberal sector of society. A Hollywood villain may actually have some likable qualities, but if they really want to portray an incorrigible baddie, writers make the villain a racist, or a homophobe. Discrimination against homosexuals is generally attacked and gay characters are portrayed as sympathetic. I don't know if this qualifies as an orchestrated "agenda" but it does demonstrate a kind of solidarity between the Hollywood and the gay community. Stating this does not imply a criticism of those efforts. On the contrary, as far as I even care about the issue, I wince at anti-gay slurs and support the legislative efforts to legitimize civil unions, marriage or otherwise, secure rights for homosexual partners and allow gay couples the right to adopt. In music, cinema and on TV, the trend is clear: homophobia is seen as cruel and petty, while acceptance of homosexuality is lauded. (Hip-Hop culture, for the most part, being the exception to this rule). I think here of Dallas Buyers Club as a perfect example, in which the crudest homophobe's transformation into a tolerant and compassionate supporter of his homosexual clientele is an important part of the film's message. In reality, the person depicted in the film was apparently not only not a homophobe, but was himself bisexual.
So maybe fiction is at times stranger than truth, but not always. I had obviously read about the Mormon woman's theory (without actually reading the entirety of her text) before starting this post. My post, a fiction, was largely written over two weeks ago, much earlier than when I first saw the following story, which was about a week ago.
Apparently some pastor with a podcast, invariably described as "conservative" or "right wing", denounced Frozen on his show. Using some of the exact same points I did, this pastor expressed his belief that the film promotes homosexuality....and bestiality to boot. Hey, I said that too. But I was joking.
Pastor Kevin Swanson and co-host Steve Vaughn haven't seen the film but have criticized its "progressive" agenda anyway.
TIME describes it like this:
The two claim that the movie’s Oscar-winning song “Let It Go” is a coming out song, marking the moment when Elsa realizes she was “born that way” and accepts who she is. [The Mormon lady also says this about the song.] They point out that the fiercely independent Elsa never considers a male suitor and assume she is therefore probably gay. They also say that Jonathan Groff’s character has an “unnatural relationship” with his animal buddy, Sven. All these plot points, they say, open children up to homosexuality and bestiality at a young age.
The podcast has the following summary:
Did millions of parents and children catch the homosexuality and bestiality reference in the last super popular Disney flick, Frozen? We wonder. Kevin Swanson quotes from a few websites maintained by our liberal friends. They're ecstatic over Disney's directions. But what about Christian parents?
(It appears that first link requires a log-in now, but you can hear the podcast here).Further context can be found in this transcript, where Swanson describes the film as "evil" and a form of "indoctrination". Honest, none of this was on my radar when I wrote my own post.
I thought I was just making stuff up. I actually did get a feeling from this film that the snowman was a vaguely "gay" character, which is probably an indication that I'm falling prey to stereotyping more than anything else, but clearly there is some vibe in the film which leads other people to think this as well. The Mormon woman is real. Pastor Swanson is real. The question posed on Film Colossuss (Is Olaf gay?) is real. And oddly enough, I jokingly wrote about homosexuality and bestiality in Frozen before I'd even heard of Swanson. My impressions about Olaf's "gay" personality came before I saw the question posed on Film Colossus. All of which puts me in some odd company.
I don't know if there is a specific "gay-friendly" undercurrent to Frozen, but it is not entirely inconceivable. Disney films tend to celebrate the underdog, the pauper, the outsider and people (or animals) who are "different". All of this is a part of Frozen's message. I don't object, but some people do; they are not on board with the program.
Anyway, I'd vowed at some point to avoid politics and synchromysticism because I either sound too strident or too goofy. Plus, arguing about politics over the Internet is always a depressing and pointless endeavor. I've even created another blog (unused for now) to serve as a vehicle for over-the-top, satire-oriented pieces, but eventually decided to place this one LoS. It does reproduce the methodology of the synchromystic and, as it turns out, just proves the old saw that if you can imagine it, it's already been done. To have posted this stuff without addressing the fact that someone really believes it would have been impossible, hence this coda that undercuts the question ("Is he for real?") that might have been floating through your head.
On a related note, apparently there's a culture of Disney fans that trying to figure out how to place all the films into space/time continuum of the same universe....