Post by P(D)enny La(i)ne on Apr 22, 2010 11:21:38 GMT -5
This is absolutely fascinating stuff.
Enjoy.
Disclosure: Aryans, Mars and the End of Days
An interview with Jay Weidner
Part 1
www.jayweidner.com/Disclosure1.html
Part 2
www.jayweidner.com/Disclosure2.html
Part 3
www.jayweidner.com/Disclosure3.html
Hi, Jay. Welcome back.
I was reading the article section on your site today. I want to mention your site, www.jayweidner.com, now, in case people want to go there. On the articles page, there's some new information that I hadn't noticed before.
It was like my jaw dropped onto the desk when I read the first few articles, especially the ones about Stanley Kubrick. Can we start with the article on Stanley Kubrick's "2001: A Space Odyssey" and some of the amazing synchronicities that are occurring there?
Jay: The whole entire Stanley Kubrick odyssey - not just "2001," but the entire work of Stanley Kubrick - has to be understood by stepping back.
Step back as far away as you can and take a wide look at it. Stanley is obsessed with time. His third film, "The Killing " is intercut between many different times. This is 1956, way before "Momento" or any of these modern films.
When he moves forward to "Dr. Strangelove," again he is inter-cutting, not between different times, but in the same time. Time is different, even though it's at the same time.
When you're on the bomber, time is moving fast, but when you're at the President's conference in the War Room, time is moving very slow. When you're trying to get the code from General Jack Ripper, time is moving slower than erosion. Jack isn't going to tell you the recall code.
"2001" is doing the old m.f. with time too. We cut in 1/24th of a second between his thrown bone and a spaceship years later. Also we don't really know what time it is on Earth when the Star Child returns at the end of the film.
When you read my article "Alchemical Kubrick, Part I: 2001, the Great Work on Film, " you'll see there is a conscious thing that Stanley Kubrick is doing. He's designing the film to be an initiation.
When you blend together the other two articles that have about Kubrick in them and what I have now discovered about the films of Stanley Kubrick, an eye-opening expose is at hand. I'm intending to get the expose out here soon.
Stanley Kubrick cut a deal, I believe, with the US government to fake the Moon landings. I'm not saying they didn't go to the moon, they did go to the Moon. They went to the Moon, they brought back Moon rocks, they put reflectors on the Moon, they did all sorts of stuff.
Believe me, they've been on the Moon a lot of times, but they didn't go the way we were shown in the Moon landings, which were faked by Kubrick. In exchange, Kubrick cut a deal where he would be able to do the kinds of movies he wanted to do.
The first of these movies was "2001: A Space Odyssey," of course. He embedded tons of alchemical and esoteric information into the symbols and the script. You can also use "2001" as a springboard to understanding a bigger story that Stanley is telling, which is unveiled very secretly through the rest of his films.
Kubrick's bigger story is that this world is ruled by a group of people who are very advanced. Apparently, they have a secret space program, which they're hiding from us. They do not really time-travel, but they have a curious relationship to linear time. They appear to be able to move in and out of it.
This is all according to the films of Kubrick, not my opinion. These people are into deep and dark sexual practices. I'll try to be as nice about it as I can. The films, especially the films that follow "2001," are a long expose of a dark, sex-magic cult that rules the world.
It's all done very subliminally. It's a treasure trove that, like a zip file that keeps pouring out when you open it. At this point, I don't even know how to piece it all together because the amount of information coming out is so astonishing.
Lance: Well, it's hidden right there in front of us. I would say his movie "Eyes Wide Shut" is probably the closest to actually coming out and exposing the sexual side of life as a fictional movie, except that he's most likely playing it down quite a bit.
You mentioned in your article that there were some scenes cut out of it. It is unfortunate that the producers didn't really want to get out there.
Jay: There are incredible continuity breaks at certain points in "Eyes Wide Shut," which are impossible for a man of Stanley Kubrick's discipline to have allowed. I can't really tell you what happened in between these continuity errors, but there is something cut out. That happens several times in the movie.
From those continuity error breaks we can tell that something has changed. It's not left the way Stanley would have wanted it, but I can't go beyond that because Warner Brothers won't release the director's cut, the final cut by Kubrick, which I think he deserves. I mean, my goodness, it's his last film.
They releas Ridley Scott's director cuts; they releas Steven Spielberg's director cuts. Why can't they release the director's cut of "Eyes Wide Shut"? But they're not, and we can't hope for that anymore.
But, yeah, I would say that there's a deep and dark undertone to "Eyes Wide Shut" which no-one - well, there's one guy on the Web, an alchemist, who has touched on it. But it's quite an astonishing group of films; and one day I will write either my film or my book about this whole thing and get it all down in some sort of order.
But I tell you it is such a trip to sit in front of my big-screen TV with Blu-ray Stanley Kubrick films and step through them slowly and discover one marvel after another.
Lance: Well, I'm going to have to go back and watch them, because you astutely wrote that you didn't take a shining right away to his movie "The Shining" and I'm with you on that one.
For some - for whatever reason, I never - it was over - it went over my head; I took it on a very literal basis. But, when you explain the synchronicities and what's really going on there, it just makes me feel like an idiot that I - of course, you don't know until you know. And, you know -
Jay: No, the secret stays secret until it reveals itself. You know, it's like Schopenhauer said: when you say something unusual, everyone discounts it; then, the second time they hear it, they just shrug their heads and ignore it; then, the third time, they act like, you know, everybody knew it all along.
And I think that's what you're going to find with Kubrick in ten years. I'll be long forgotten, and it'll just become common knowledge. There'll probably be films made about him as an alchemist and all sorts of things that will happen here over the next ten, fifteen years, I predict.
Just as I predicted - by the way, I believe I've only been on your show once; right?
Lance: Correct.
Jay: Yeah. And I believe the last time I was on your show was in April 2008.
Lance: That sounds right.
Jay: Yeah. And, if you listen to that show, which somebody has put on the Internet - I don't know who - up on YouTube. Somebody wrote to me today about it. Apparently, in that show, I predicted the economic downfall of the fall of 2008. I'll have to listen to it, because I can't remember.
But, so, it's not hard, when you make a study of things, to predict; it doesn't take psychic ability. And I predicted a lot of things that are coming down the pike, and they have nothing to do with me being a fortune-teller.
I'm just a guy who reads a lot and then extrapolates forward. And maybe I have a psychic abilitywhich aids me that I'm unaware of, but it certainly doesn't help me with my investments or anything else.
Lance: Well, I'm with you on that one. Like I said, I listen to my guests, and sometimes I'll hear something later that I didn't hear the first time.
Again, it seems to depend on how awake I am in that moment, and it seems to change from day to day. So I try to put on my memory cap every day, so I don't forget everything I've remembered up to that point; but it doesn't always work, and sometimes I forget to put it on.
Jay: Yeah. Well, we all have our fading moments, as the world gets crazier and crazier.
Lance: Well, yes. Now, to what do you attribute that? You mentioned now, also, we could go into the numerous processes that you've studied, from ancient artifacts, from the Egyptian pyramids, to the Cross at Hendaye, to the Hindu artifacts and Mayan - I mean it goes on and on and on.
And, according to the Mayan calendar, we have just entered into the sixth night; so we're getting close to wrapping up these tick-tocks that they claim are the nine levels of consciousness that are supposed to be arriving soon.
Jay: Yes, I'm - yes. It's unscrewing itself. What's really going on is that there is a hardening of time. Time is a vortex, and we're moving down towards the tip. We're slowly cycling our way down towards the tip of this vortex.
And, as we cycle down, the concentric circles grow tighter and faster; so each circle around is faster, but also closer to the last one - and a reflection.
As the circle above and the circle below in the spiral are very similar to each other, they are mirrors; so you - whereas it would take 20 years, 25 years, to go from World War I to World War II, it only took a few years to go from Vietnam to the Gulf War, and now we're seeing two wars that are right next to each other.
So we're fighting a two-front war that started within a year of each other.
And, at this point, we'll start seeing reflections of this densification of time happening as we approach the tip. And, like the tip of a tornado - which is as hard as a diamond, even though it's only spinning air - when you have spinning time, it also is hard as whatever a diamond is in the fourth dimension, which is what time is.
And that's when things get really weird, because, at that point, the circles near the tip begin crossing themselves; and, when they begin crossing themselves, which is really what hardens up time, then you can go forward and backwards.
But what's really going on with this Mayan thing is that, as you approach the funnel, the bottom funnel of the time vortex, there are back waves.
Like in physics, when waves hit a wall and they come back and they're underneath the advancing wave, there are backwaves, which strike the membrane of time, the cone, the vortex cone, the tetrahedral -
If you take a tetrahedron and you look at it, you can see that it's like a squared-off tornado. And so we're approaching now very quickly this point and all of our reaction times are shortened, and so a mistake is sure to be made.
In fact, what's going on actually is - they're making a mistake a day or so, right now. Almost every day, they're passing another law which is just going to make everything much worse when we hit that eye at the very, very end of this trip down the vortex.
And then we're going to hit the eye, and then there will be no time. And that's what we mean by "the end of time".
Lance: Well, now, that brings up a few questions. At least the government and the shadow government - the one that you talked about, that has the second space program - they're fully aware of all this, aren't they?
Jay: They are.
Lance: But it seems that they're doing everything they can to halt this process, or at least to keep us from entering into it. But that seems like an inevitable process for it, as far as what you're describing.
Jay: Well, it is, because the actions of them are not easy to understand, and so we must realize that there is something afoot with them that doesn't make sense in the human realm.
Now, what I'm about to say - are we going to a break or anything?
Enjoy.
Disclosure: Aryans, Mars and the End of Days
An interview with Jay Weidner
Part 1
www.jayweidner.com/Disclosure1.html
Part 2
www.jayweidner.com/Disclosure2.html
Part 3
www.jayweidner.com/Disclosure3.html
Hi, Jay. Welcome back.
I was reading the article section on your site today. I want to mention your site, www.jayweidner.com, now, in case people want to go there. On the articles page, there's some new information that I hadn't noticed before.
It was like my jaw dropped onto the desk when I read the first few articles, especially the ones about Stanley Kubrick. Can we start with the article on Stanley Kubrick's "2001: A Space Odyssey" and some of the amazing synchronicities that are occurring there?
Jay: The whole entire Stanley Kubrick odyssey - not just "2001," but the entire work of Stanley Kubrick - has to be understood by stepping back.
Step back as far away as you can and take a wide look at it. Stanley is obsessed with time. His third film, "The Killing " is intercut between many different times. This is 1956, way before "Momento" or any of these modern films.
When he moves forward to "Dr. Strangelove," again he is inter-cutting, not between different times, but in the same time. Time is different, even though it's at the same time.
When you're on the bomber, time is moving fast, but when you're at the President's conference in the War Room, time is moving very slow. When you're trying to get the code from General Jack Ripper, time is moving slower than erosion. Jack isn't going to tell you the recall code.
"2001" is doing the old m.f. with time too. We cut in 1/24th of a second between his thrown bone and a spaceship years later. Also we don't really know what time it is on Earth when the Star Child returns at the end of the film.
When you read my article "Alchemical Kubrick, Part I: 2001, the Great Work on Film, " you'll see there is a conscious thing that Stanley Kubrick is doing. He's designing the film to be an initiation.
When you blend together the other two articles that have about Kubrick in them and what I have now discovered about the films of Stanley Kubrick, an eye-opening expose is at hand. I'm intending to get the expose out here soon.
Stanley Kubrick cut a deal, I believe, with the US government to fake the Moon landings. I'm not saying they didn't go to the moon, they did go to the Moon. They went to the Moon, they brought back Moon rocks, they put reflectors on the Moon, they did all sorts of stuff.
Believe me, they've been on the Moon a lot of times, but they didn't go the way we were shown in the Moon landings, which were faked by Kubrick. In exchange, Kubrick cut a deal where he would be able to do the kinds of movies he wanted to do.
The first of these movies was "2001: A Space Odyssey," of course. He embedded tons of alchemical and esoteric information into the symbols and the script. You can also use "2001" as a springboard to understanding a bigger story that Stanley is telling, which is unveiled very secretly through the rest of his films.
Kubrick's bigger story is that this world is ruled by a group of people who are very advanced. Apparently, they have a secret space program, which they're hiding from us. They do not really time-travel, but they have a curious relationship to linear time. They appear to be able to move in and out of it.
This is all according to the films of Kubrick, not my opinion. These people are into deep and dark sexual practices. I'll try to be as nice about it as I can. The films, especially the films that follow "2001," are a long expose of a dark, sex-magic cult that rules the world.
It's all done very subliminally. It's a treasure trove that, like a zip file that keeps pouring out when you open it. At this point, I don't even know how to piece it all together because the amount of information coming out is so astonishing.
Lance: Well, it's hidden right there in front of us. I would say his movie "Eyes Wide Shut" is probably the closest to actually coming out and exposing the sexual side of life as a fictional movie, except that he's most likely playing it down quite a bit.
You mentioned in your article that there were some scenes cut out of it. It is unfortunate that the producers didn't really want to get out there.
Jay: There are incredible continuity breaks at certain points in "Eyes Wide Shut," which are impossible for a man of Stanley Kubrick's discipline to have allowed. I can't really tell you what happened in between these continuity errors, but there is something cut out. That happens several times in the movie.
From those continuity error breaks we can tell that something has changed. It's not left the way Stanley would have wanted it, but I can't go beyond that because Warner Brothers won't release the director's cut, the final cut by Kubrick, which I think he deserves. I mean, my goodness, it's his last film.
They releas Ridley Scott's director cuts; they releas Steven Spielberg's director cuts. Why can't they release the director's cut of "Eyes Wide Shut"? But they're not, and we can't hope for that anymore.
But, yeah, I would say that there's a deep and dark undertone to "Eyes Wide Shut" which no-one - well, there's one guy on the Web, an alchemist, who has touched on it. But it's quite an astonishing group of films; and one day I will write either my film or my book about this whole thing and get it all down in some sort of order.
But I tell you it is such a trip to sit in front of my big-screen TV with Blu-ray Stanley Kubrick films and step through them slowly and discover one marvel after another.
Lance: Well, I'm going to have to go back and watch them, because you astutely wrote that you didn't take a shining right away to his movie "The Shining" and I'm with you on that one.
For some - for whatever reason, I never - it was over - it went over my head; I took it on a very literal basis. But, when you explain the synchronicities and what's really going on there, it just makes me feel like an idiot that I - of course, you don't know until you know. And, you know -
Jay: No, the secret stays secret until it reveals itself. You know, it's like Schopenhauer said: when you say something unusual, everyone discounts it; then, the second time they hear it, they just shrug their heads and ignore it; then, the third time, they act like, you know, everybody knew it all along.
And I think that's what you're going to find with Kubrick in ten years. I'll be long forgotten, and it'll just become common knowledge. There'll probably be films made about him as an alchemist and all sorts of things that will happen here over the next ten, fifteen years, I predict.
Just as I predicted - by the way, I believe I've only been on your show once; right?
Lance: Correct.
Jay: Yeah. And I believe the last time I was on your show was in April 2008.
Lance: That sounds right.
Jay: Yeah. And, if you listen to that show, which somebody has put on the Internet - I don't know who - up on YouTube. Somebody wrote to me today about it. Apparently, in that show, I predicted the economic downfall of the fall of 2008. I'll have to listen to it, because I can't remember.
But, so, it's not hard, when you make a study of things, to predict; it doesn't take psychic ability. And I predicted a lot of things that are coming down the pike, and they have nothing to do with me being a fortune-teller.
I'm just a guy who reads a lot and then extrapolates forward. And maybe I have a psychic abilitywhich aids me that I'm unaware of, but it certainly doesn't help me with my investments or anything else.
Lance: Well, I'm with you on that one. Like I said, I listen to my guests, and sometimes I'll hear something later that I didn't hear the first time.
Again, it seems to depend on how awake I am in that moment, and it seems to change from day to day. So I try to put on my memory cap every day, so I don't forget everything I've remembered up to that point; but it doesn't always work, and sometimes I forget to put it on.
Jay: Yeah. Well, we all have our fading moments, as the world gets crazier and crazier.
Lance: Well, yes. Now, to what do you attribute that? You mentioned now, also, we could go into the numerous processes that you've studied, from ancient artifacts, from the Egyptian pyramids, to the Cross at Hendaye, to the Hindu artifacts and Mayan - I mean it goes on and on and on.
And, according to the Mayan calendar, we have just entered into the sixth night; so we're getting close to wrapping up these tick-tocks that they claim are the nine levels of consciousness that are supposed to be arriving soon.
Jay: Yes, I'm - yes. It's unscrewing itself. What's really going on is that there is a hardening of time. Time is a vortex, and we're moving down towards the tip. We're slowly cycling our way down towards the tip of this vortex.
And, as we cycle down, the concentric circles grow tighter and faster; so each circle around is faster, but also closer to the last one - and a reflection.
As the circle above and the circle below in the spiral are very similar to each other, they are mirrors; so you - whereas it would take 20 years, 25 years, to go from World War I to World War II, it only took a few years to go from Vietnam to the Gulf War, and now we're seeing two wars that are right next to each other.
So we're fighting a two-front war that started within a year of each other.
And, at this point, we'll start seeing reflections of this densification of time happening as we approach the tip. And, like the tip of a tornado - which is as hard as a diamond, even though it's only spinning air - when you have spinning time, it also is hard as whatever a diamond is in the fourth dimension, which is what time is.
And that's when things get really weird, because, at that point, the circles near the tip begin crossing themselves; and, when they begin crossing themselves, which is really what hardens up time, then you can go forward and backwards.
But what's really going on with this Mayan thing is that, as you approach the funnel, the bottom funnel of the time vortex, there are back waves.
Like in physics, when waves hit a wall and they come back and they're underneath the advancing wave, there are backwaves, which strike the membrane of time, the cone, the vortex cone, the tetrahedral -
If you take a tetrahedron and you look at it, you can see that it's like a squared-off tornado. And so we're approaching now very quickly this point and all of our reaction times are shortened, and so a mistake is sure to be made.
In fact, what's going on actually is - they're making a mistake a day or so, right now. Almost every day, they're passing another law which is just going to make everything much worse when we hit that eye at the very, very end of this trip down the vortex.
And then we're going to hit the eye, and then there will be no time. And that's what we mean by "the end of time".
Lance: Well, now, that brings up a few questions. At least the government and the shadow government - the one that you talked about, that has the second space program - they're fully aware of all this, aren't they?
Jay: They are.
Lance: But it seems that they're doing everything they can to halt this process, or at least to keep us from entering into it. But that seems like an inevitable process for it, as far as what you're describing.
Jay: Well, it is, because the actions of them are not easy to understand, and so we must realize that there is something afoot with them that doesn't make sense in the human realm.
Now, what I'm about to say - are we going to a break or anything?
