Podcast Episode 26
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Money is one example of the Mark of The Beast:
Licensing as Mark of the Beast:
"The Licensing Act of 1737 was a pivotal moment in theatrical history. Its purpose was to control and censor what was being said about the British government through theatre. The act was modified by the Theatres Act 1843 and was finally named as the Theatres Act 1968."
Royal Sword as Idol: The land and the monarch are one.
"Morgana bears a son, Mordred, and a curse caused by Mordred's unnatural incestuous origin strikes the land with famine and sickness. A broken Arthur sends his knights on a quest for the Holy Grail, in hopes of restoring the land. Many of his knights die or are bewitched by Morgana. Morgana captures Perceval, who narrowly escapes. Perceval encounters an ugly bearded old man with armor under his tattered robes, who preaches to followers that the kingdom has fallen because of "the sin of Pride". A shocked Perceval recognizes the man as Lancelot. After Perceval fails to convince Lancelot to come to Arthur's aid, Lancelot and his followers throw Perceval into a river. Perceval has a vision of the Grail, during which he realizes that Arthur and the land are one. Upon answering the riddle he gains the Grail and takes it to Arthur, who drinks from it and is revitalized, as is the land, which springs into blossom."
"The Creators, subtitled A History of Heroes of the Imagination, is the story of mankind's creativity. It highlights great works of art, music and literature but it is more than a recitation or list. It is a book of ideas and the people behind those ideas. It encompasses architecture, music, literature, painting, sculpture, the performing arts, theater, religious expression and philosophy. It can be viewed as a companion to The Discoverers which chronicled the history of invention, exploration and technology. The Creators traces the creative process from pre-history Egypt to modern times and like The Discoverers, follows both a topical and chronological structure. Boorstin writes in "A Personal Note to the Reader", "After The Discoverers... " I was more than ever convinced that the pursuit of knowledge is only one path to human fulfillment. This companion book, also a view from the literate West, is a saga of Heroes of the Imagination. While The Discoverers told of the conquest of illusions - the illusion of knowledge - this will be a story of vision (and illusions) newly created..." If The Discoverers is the story of the inventive human mind then The Creators is the story of the searching soul."
Mass culture; the popular arts in America
"Comprehensive collection of writings on mass culture in film, literature, radio, TV, advertising, and popular music. Forty nine articles by varied writers including Alexis de Tocqueville, Walt Whitman, S.I Hayakawa, Marshall McLuhan, Hortense Powdermaker, and George Orwell. Articles include: "Avant-Garde and Kitch", "The Problem of Paperbacks", "Simenon and Spillane: The Metaphysics of Murder for the Millions", "How to Read L'il Abner Intelligently", "Mass Appeal and Minority Tastes", "Popular Songs vs. the Fact of Life", and "Popular Culture and the Open Society". The writers address the question "Should we adopt the classic intellectual rejection of mass culture, or should we give mass culture our critical support?" The Free Press engage two editor who were in radical disagreement on this question in order to be certain that both sides were well supported."
Revelation 13:16-17 King James Version (KJV)
"16 And he causeth all, both small and great, rich and poor, free and bond, to receive a mark in their right hand, or in their foreheads:
17 And that no man might buy or sell, save he that had the mark, or the name of the beast, or the number of his name."
The Globus Cruciger
"The globus cruciger (Latin for "cross-bearing orb"), also known as the orb and cross, is an orb (Latin: globus) surmounted (Latin: gerere, to wear) by a cross (Latin: crux). It has been a Christian symbol of authority since the Middle Ages, used on coins, in iconography, and with a sceptre as royal regalia. The cross represents Christ's dominion over the orb of the world, literally held in the hand of an earthly ruler (or sometimes it is held by an angel). In the iconography of Western art, when Christ himself holds the globe, he is called Salvator Mundi (Latin for "Saviour of the World"). The 16th-century Infant Jesus of Prague statue holds a globus cruciger in this manner."
"A symbol of 800 years of monarchy, the sovereign's coronation regalia is the only working set in Europe – other present-day monarchies have abandoned coronations in favour of inauguration or enthronement ceremonies – and is the largest set of regalia in the world. Objects used to invest and crown the monarch variously denote his or her roles as Head of State, Supreme Governor of the Church of England, and Commander-in-Chief of the British Armed Forces. In 1953, a new pair of armills or bracelets were made for the coronation of Queen Elizabeth II to represent her role as Head of the Commonwealth."
"An orb, a type of globus cruciger, was first used at an English coronation by Henry VIII in 1509 and then by all subsequent monarchs, apart from early Stuart kings James I and Charles I, who opted for the medieval coronation order. The Tudor orb was deposited with St Edward's regalia at Westminster Abbey in 1625. The Sovereign's Orb used today is a hollow gold sphere about 16.5 cm (6.5 in) in diameter and weighing 1.2 kg (2.6 lb) (more than twice as heavy as the original) made for Charles II in 1661. A band of gems and pearls runs along the equator and there is a half-band on the top hemisphere. Atop the orb is an amethyst surmounted by a jewelled cross, symbolising the Christian world, with a sapphire on one side and an emerald on the other.Altogether, the orb is decorated with 375 pearls, 365 diamonds, 18 rubies, 9 emeralds, 9 sapphires, 1 amethyst and 1 piece of glass It is handed to the sovereign during the investiture rite of the coronation and is borne later in the left hand when leaving Westminster Abbey. Queen Mary II's Orb, originally set with hired gems, is a smaller version made in 1689 for Mary II to hold at her joint coronation with William III; it was never used again at a coronation, and is now set with imitation gems and cultured pearls. The orb is 14.6 cm (5.7 in) in diameter and weighs 1.07 kg (2.4 lb). Both orbs were laid on Queen Victoria's coffin at her state funeral in 1901. Officially, no reason was given for using Mary II's orb, but it may have been intended to reflect Victoria's position as Empress of India."
The Revelation of The Whore of Babylon
"The word "Whore" can also be translated metaphorically as "Idolatress"
"worship of idols and images"
"The Whore of Babylon or Babylon the Great is a mythological female figure and also place of evil mentioned in the Book of Revelation in the Bible. Her full title is given as "Babylon the Great, the Mother of Prostitutes and Abominations of the Earth." (Greek: Βαβυλὼν ἡ μεγάλη, ἡ μήτηρ τῶν πορνῶν καὶ τῶν βδελυγμάτων τῆς γῆς; transliterated Babylōn hē megalē, hē mētēr tōn pornōn kai tōn bdelygmatōn tēs gēs.)...The Whore is associated with the Antichrist and the Beast of Revelation by connection with an equally evil kingdom. (The word "Whore" can also be translated metaphorically as "Idolatress"). The Whore's apocalyptic downfall is prophesied to take place in the hands of the image of the beast with seven heads and ten horns. There is much speculation within Christian eschatology on what the Whore and beast symbolize as well as the possible implications for contemporary interpretations."
Actor, agent, artist...
"actor (n.) late 14c., "an overseer, guardian, steward," from Latin actor "an agent or doer; a driver (of sheep, etc.)," in law, "accuser, plaintiff," also "theatrical player, orator," from past participle stem of agere"to set in motion, drive, drive forward," hence "to do, perform," also "act on stage, play the part of; plead a cause at law" (from PIE root *ag- "to drive, draw out or forth, move"). In English from mid-15c. as "a doer, maker," also "a plaintiff at law." Sense of "one who performs in plays" is 1580s, originally applied to both men and women. Related: Actorish; actorly; actory."
"agent (n.) late 15c., "one who acts," from Latin agentem (nominative agens) "effective, powerful," present participle of agere "to set in motion, drive forward; to do, perform; keep in movement" (from PIE root *ag- "to drive, draw out or forth, move"). Meaning "any natural force or substance which produces a phenomenon" is from 1550s. Meaning "deputy, representative" is from 1590s. Sense of "spy, secret agent" is attested by 1916."
"artist (n.) 1580s, "one who cultivates one of the fine arts," from Middle French artiste (14c.), from Italian artista, from Medieval Latin artista, from Latin ars (see art (n.)). Originally especially of the arts presided over by the Muses (history, poetry, comedy, tragedy, music, dancing, astronomy), but also used 17c. for "one skilled in any art or craft" (including professors, surgeons, craftsmen, cooks). Since mid-18c. especially of "one who practices the arts of design or visual arts." "
SATURN IS THE GOD OF GOVERNMENT
Persons of Interest
"A persona (plural personae or personas), in the word's everyday usage, is a social role or a character played by an actor. The word is derived from Latin, where it originally referred to a theatrical mask. The Latin word probably derived from the Etruscan word "phersu", with the same meaning, and that from the Greek πρόσωπον (prosōpon). Its meaning in the latter Roman period changed to indicate a "character" of a theatrical performance or court of law, when it became apparent that different individuals could assume the same role, and legal attributes such as rights, powers, and duties followed the role. The same individuals as actors could play different roles, each with its own legal attributes, sometimes even in the same court appearance. According to other sources, which also admit that the origin of the term is not completely clear, persona could possibly be related to the Latin verb per-sonare, literally: sounding through, with an obvious link to the above-mentioned theatrical mask. In the context of the social web, users create virtual persona which are also termed internet or online identities. Personae in fan fiction and stories written through the medium of the internet are often utilised by authors as a means of subtle self-insertion."
"Terror of History"
"According to Eliade, this yearning to remain in the mythical age causes a "terror of history". Traditional man desires to escape the linear march of events, empty of any inherent value or sacrality. In Chapter 4 of The Myth of the Eternal Return (entitled "The Terror of History") and in the appendix to Myths, Dreams and Mysteries, Eliade suggests that the abandonment of mythical thought and the full acceptance of linear, historical time, with its "terror", is one of the reasons for modern man's anxieties. Traditional societies escape this anxiety to an extent, as they refuse to completely acknowledge historical time. Eliade describes the difference between ancient and modern man's reactions to history, as well as modern man's impotence before the terror of history, as follows:
"In our day, when historical pressure no longer allows any escape, how can man tolerate the catastrophes and horrors of history—from collective deportations and massacres to atomic bombings—if beyond them he can glimpse no sign, no transhistorical meaning; if they are only the blind play of economic, social, or political forces, or, even worse, only the result of the 'liberties' that a minority takes and exercises directly on the stage of universal history? "We know how, in the past, humanity has been able to endure the sufferings we have enumerated: they were regarded as a punishment inflicted by God, the syndrome of the decline of the 'age,' and so on. And it was possible to accept them precisely because they had a metahistorical meaning [...] Every war rehearsed the struggle between good and evil, every fresh social injustice was identified with the sufferings of the Saviour (or, for example, in the pre-Christian world, with the passion of a divine messenger or vegetation god), each new massacre repeated the glorious end of the martyrs. [...] By virtue of this view, tens of millions of men were able, for century after century, to endure great historical pressures without despairing, without committing suicide or falling into that spiritual aridity that always brings with it a relativistic or nihilistic view of history"
Of Theatrical Revolutions
"The Boston Fruit Company began importing tropical fruit from the Caribbean in 1885; it is a predecessor of United Fruit Company and Chiquita Brands International."
"Boston was part of the New England corner of triangular trade, receiving sugar from the Caribbean and refining it into rum and molasses, partly for export to Europe. Later, confectionery manufacturing would become another refined product made from similar raw materials. Related companies with facilities in Boston included the Boston Sugar Refinery(inventors of granulated sugar), Domino Sugar, the Purity Distilling Company, Necco, Schrafft's, Squirrel Brands (as the predecessor Austin T. Merrill Company of Roxbury) American Nut and Chocolate (1927) This legacy continued into the 20th century; by 1950, there were 140 candy companies in Boston. (Others were located in and some moved to nearby Cambridge.) The Boston Fruit Company began importing tropical fruit from the Caribbean in 1885; it is a predecessor of United Fruit Company and Chiquita Brands International."
History of theater:
The Royal Court Theatre
"The Royal Court Theatre, at different times known as the Court Theatre, the New Chelsea Theatre, and the Belgravia Theatre, is a non-commercial West End theatre on Sloane Square, in the Royal Borough of Kensington and Chelsea, London, England. In 1956 it was acquired by and remains the home of the English Stage Company and is notable for its contributions to contemporary theatre."
The West End Theatre
"West End theatre is a common term for mainstream professional theatre staged in the large theatres of "Theatreland" in and near the West End of London. Along with New York City's Broadway theatre, West End theatre is usually considered to represent the highest level of commercial theatre in the English-speaking world. Seeing a West End show is a common tourist activity in London. In 2013, ticket sales reached a record 14.4 million, making West End theatre the largest English-speaking audience in the world. Famous screen actors, British and international alike, frequently appear on the London stage."
" Theatre in London flourished after the English Reformation. The first permanent public playhouse, known simply as The Theatre, was constructed in 1576 in Shoreditch by James Burbage. It was soon joined by The Curtain. Both are known to have been used by William Shakespeare's company. In 1599, the timber from The Theatre was moved to Southwark, where it was used in building the Globe Theatre in a new theatre district formed beyond the controls of the City corporation. These theatres were closed in 1642 due to the Puritans who would later influence the interregnum of 1649. After the Restoration (1660), two companies were licensed to perform, the Duke's Company and the King's Company. Performances were held in converted buildings, such as Lisle's Tennis Court. The first West End theatre, known as Theatre Royal in Bridges Street, was designed by Thomas Killigrew and built on the site of the present Theatre Royal, Drury Lane. It opened on 7 May 1663 and was destroyed by a fire nine years later. It was replaced by a new structure designed by Christopher Wren and renamed the Theatre Royal, Drury Lane. Outside the West End, Sadler's Wells Theatre opened in Islington on 3 June 1683. Taking its name from founder Richard Sadler and monastic springs that were discovered on the property, it operated as a "Musick House", with performances of opera; as it was not licensed for plays. In the West End, the Theatre Royal Haymarket opened on 29 December 1720 on a site slightly north of its current location, and the Royal Opera House opened in Covent Garden on 7 December 1732. The Patent theatre companies retained their duopoly on drama well into the 19th century, and all other theatres could perform only musical entertainments. By the early 19th century, however, music hall entertainments became popular, and presenters found a loophole in the restrictions on non-patent theatres in the genre of melodrama. Melodrama did not break the Patent Acts, as it was accompanied by music. Initially, these entertainments were presented in large halls, attached to public houses, but purpose-built theatres began to appear in the East End at Shoreditch and Whitechapel."
Theater in poor districts. Urban living needs social engineering management.
From agricultural based feudal system to industrialized urban feudalism. A rose by any other name... rebranded slavery is still slavery. Tax payers are wage slaves.
"… Already long ago, from when we sold our vote to no man, the People have abdicated our duties; for the People who once upon a time handed out military command, high civil office, legions — everything, now restrains itself and anxiously hopes for just two things: bread and circuses."
Aristocracy in NYC: https://en.wikipedia.org/wiki/Eyes_Wide_Shut
September 11, 1888
"The torso was matched by police surgeon Thomas Bond to a right arm and shoulder that had previously been discovered on the muddy shore of the River Thames in Pimlico on 11 September. The Times newspaper had initially suspected that the arm was placed in the water as a medical students' prank."
History of Theater
"In the late 18th century, New York's only playhouse was the decaying and increasingly low-brow John Street Theatre. Tired of attending such an establishment, a group of wealthy New Yorkers began planning the construction of a new playhouse in 1795. Investors bought 113 shares at $375 each to cover the estimated $42,375 cost. To plan the structure, the owners hired celebrated architect Marc Isambard Brunel, a Frenchman who had fled to New York to avoid the Reign of Terror and was currently the city's engineer. Part way through construction, however, the project ran out of money. The owners sold more shares for what would eventually mount to a construction cost of more than $130,000. As a cost-saving measure, Brunel's exterior design for the building was not implemented. The resulting three-story structure measured 80 feet (24 m) wide by 165 feet (50 m) deep and was made of plain dressed stone. The overall effect was an air of austerity. The interiors, on the other hand, were quite lavish. The building followed the traditional European style of placing a gallery over three tiers of boxes, which overlooked the U-shaped pit."
"The section of Manhattan where the theatre stood was not stylish: the New Theatre, as it was called, was neighbor to Bridewell Prison, a tent city's worth of squatters, and the local poorhouse. Lewis Hallam, Jr., and John Hodgkinson, both members of the John Street Theatre company, obtained the building's lease. They hired remnants of the Colonial Old American Company to form the nucleus of the theatre's in-house troupe and thus give the establishment the sheen of tradition and American culture. Meanwhile, the men quarreled, and construction continued languorously. The theatre finally held its first performance on 29 January 1798, despite still being under construction. The gross was an impressive $1,232, and, according to theatre historian T. Allston Brown, hundreds of potential patrons had to be turned away."
The English are coming.. no they were already here...
Lewis Hallam Sr.
"Hallam is thought to have been born in about 1714 and possibly in Dublin. His father was also an actor who had been killed by actor Charles Macklin, allegedly over a wig. Many of his siblings were actors and one was said to be an admiral. Hallam had a child Isabella who was baptised in London in 1746. He and his brother, William had only moderate success in Britain and they decided to try their skills in America. Hallam arrived in North America in 1752 with his theatrical company, organized by his brother William, who was joint owner of the company with him. Lewis had been an actor in William's company in England, but it had failed, prompting the North American venture. The new company landed at Yorktown, Virginia. The company began their performances in Williamsburg, then the capital of Virginia Colony. Here they hired a large wooden structure, which was roughly altered to suit their purposes. It was so near the forest that the players were able to shoot wild fowl from the windows of the building. Their opening performance was George Granville's The Jew of Venice, which Hallam billed as Shakespeare's The Merchant of Venice. Music was supplied by a single player on a harpsichord. From Williamsburg, the troupe traveled to Annapolis and Philadelphia. In 1754, Hallam built the first theater in Manhattan on Nassau Street. He and his theatre company also toured throughout the thirteen colonies.mHallam died in Jamaica, where the company had gone to perform. His widow (d. Philadelphia, 1773) married David Douglas, with whom she formed the American Company in 1758. Her son by Lewis, Lewis Hallam, Jr., known as Lewis Hallam the Younger, became an actor in his mother and step father's company."
Lewis Hallam Jr.
"Lewis Hallam Jr. (c. 1740-November 1, 1808) is an England-born American theater manager, son of Lewis Hallam, one of the pioneers of Theater in the United States. In 1769, he performed "Dear Heart! What a Terrible Life I Am Led", the first documented white stage performance of an African American-styled song."
"Hallam came to America in 1752, with his family, and first performed in The Merchant of Venice in Williamsburg, Virginia. After his father's death, he worked with a company run by his mother and stepfather, and Hallam became the star of the company. He was the "earliest known American Hamlet and (played) Arsaces, the hero of the first professionally produced American play, The Prince of Parthia" in 1752. Hallam continued to work in American theatre throughout his life, except for a period, during the American Revolutionary War, when he moved to the West Indies. The theater building at Prince George's Community College in Maryland is named the Hallam Theater."
John Hodgkinson (actor)
"John Hodgkinson (born John Meadowcroft) (1766 - 12 September 1805) was a well-known actor in the United States in the late 18th and early 19th century. He was born in England and came to the United States in 1792. William Dunlap and Hodgkinson managed the John Street Theatre together for a few years in the 1790s."
"Samuel Phelps (born 13 February 1804, Plymouth Dock (now Devonport), Plymouth, Devon, died 6 November 1878, Anson’s Farm, Coopersale, near Epping, Essex) was an English actor and theatre manager. He is known for his productions of William Shakespeare's plays which were faithful to their original versions, after the derived works by Nahum Tate, Colley Cibber and David Garrick had dominated the stage for over a century. Phelps made his début as Shylock in London at the Haymarket Theatre in 1837 and appeared under the management of William Charles Macready at the Theatre Royal, Drury Lane, who recognized Phelps as a potential rival and gave him little opportunity to display his talents, although Phelps did gain popularity in the roles of Captain Channel in Douglas William Jerrold's melodrama The Prisoner of War (1842), and of Lord Tresham in Robert Browning's A Blot in the 'Scutcheon (1843). It was not until the abolition of the Patent monopoly on theatrical production that Phelps was able to take over the management of the then-unfashionable Sadler's Wells Theatre and revolutionize the production of Shakespeare's plays by restoring Shakespearean performances to the original text of the first folio and away from the adaptations by Colley Cibber, Nahum Tate and David Garrick that had been favored by the theatre-going public since the Restoration. Phelps staged all but four of Shakespeare's plays at Sadler's Wells, some of which (like The Winter's Tale and Measure for Measure) hadn't been performed since their premieres at the Globe Theatre."
"The patent theatres were the theatres that were licensed to perform "spoken drama" after the Restoration of Charles II as King of England, Scotland and Irelandin 1660. Other theatres were prohibited from performing such "serious" drama, but were permitted to show comedy, pantomime or melodrama. Drama was also interspersed with singing or dancing, to prevent the whole being too serious or dramatic. Public entertainments, such as theatrical performances, were banned under the Puritan rule in the English Commonwealth. After he was restored to the throne, Charles II issued letters patent to Thomas Killigrew and William Davenant, granting them the monopoly right to form two London theatre companies to perform "serious" drama. The letters patent were reissued in 1662 with revisions allowing actresses to perform for the first time (Fisk 73). Killigrew established his company, the King's Company at the Theatre Royal, Drury Lane in 1663; Davenant established his company, the Duke's Company, in Lisle's Tennis Court in Lincoln's Inn Fields in 1661, later moving to Dorset Garden in 1671. In Dublin, the Theatre Royal opened on Smock Alley in 1662; this building survives and was reopened as a theatre in 2012. After problems under the direction of Charles Killigrew, Thomas' son, the King's Company was taken over by its rival, the Duke's Company in 1682. The two companies merged and the combined "United Company" continued under Thomas Betterton at Drury Lane. After some disagreements, Betterton obtained a licence from William III to form a new company at the old theatre in Lincoln's Inn Fields in 1695, which moved to the Theatre Royal, Covent Garden in 1720 (now the Royal Opera House). The two patent theatres closed in the summer months. To fill the gap, Samuel Foote's Theatre Royal, Haymarket became a third patent theatre in London in 1766. Further letters patent were granted to theatres in other English and Irish towns and cities, including the Theatre Royal, Cork in 1760, the Theatre Royal, Bath in 1768, the Theatre Royal, Liverpool in 1772, and the Theatre Royal, Bristol in 1778. These monopolies on the performance of "serious" plays were eventually revoked by the Theatres Act 1843, but censorship of the content of plays by the Lord Chamberlain under Robert Walpole's Theatrical Licensing Act of 1737 continued until 1968."
ABSURD USO TOURS
"There was a sense of emergency among leading politicians in France in the summer of 1793 between the widespread civil war and counter-revolution. Mr. Barère exclaimed on 5 September 1793 in the Convention: "Let's make terror the order of the day!" They were determined to avoid street violence such as the September Massacres of 1792 by taking violence into their own hands as an instrument of government."
"terrorism (n.) 1795, in specific sense of "government intimidation during the Reign of Terror in France" (March 1793-July 1794), from French terrorisme, noted in English by 1795 as a coinage of the Revolution, from Latin terror "great fear, dread, alarm, panic; object of fear, cause of alarm; terrible news," from PIE root *tres- "to tremble" (see terrible)."
"The September Massacres were a wave of killings in Paris and other cities from 2–7 September 1792, during the French Revolution. There was a fear that foreign and royalist armies would attack Paris and that the inmates of the city's prisons would be freed and join them. Radicals called for preemptive action. The action was undertaken by mobs of National Guardsmen and some fédérés; it was tolerated by the city government, the Paris Commune, which called on other cities to follow suit. By 6 September, half the prison population of Paris had been summarily executed: some 1200 to 1400 prisoners. Of these, 233 were nonjuring Catholic priests who refused to submit to the Civil Constitution of the Clergy. However, the great majority of those killed were common criminals. The massacres were repeated in many other French cities. No one was prosecuted for the killings, but the political repercussions first injured the Girondists (who seemed too moderate) and later the Jacobins (who seemed too bloodthirsty)"
Justice League Film
Third part of Superman as savior trilogy. The character Cyborg represents the power of the internet and Superman represents natural truth.
"Resurrectionists were commonly employed by anatomists in the United Kingdom during the 18th and 19th centuries to exhume the bodies of the recently dead. Between 1506 and 1752 only a very few cadavers were available each year for anatomical research. The supply was increased when, in an attempt to intensify the deterrent effect of the death penalty, Parliament passed the Murder Act 1752. By allowing judges to substitute the public display of executed criminals with dissection (a fate generally viewed with horror), the new law significantly increased the number of bodies anatomists could legally access. This proved insufficient to meet the needs of the hospitals and teaching centres that opened during the 18th century. Corpses and their component parts became a commodity, but although the practice of disinterment was hated by the general public, bodies were not legally anyone's property. The resurrectionists therefore operated in a legal grey area. Nevertheless, resurrectionists caught plying their trade ran the risk of physical attack. Measures taken to stop them included the use of increased security at graveyards. Night watches patrolled grave sites, the rich placed their dead in secure coffins, and physical barriers such as mortsafes and heavy stone slabs made extraction of corpses more difficult. Body snatchers were not the only people to come under attack; in the public's view, the 1752 Act made anatomists agents of the law, enforcers of the death penalty. Riots at execution sites, from where anatomists collected legal corpses, were commonplace. Matters came to a head following the Burke and Hare murders of 1828. Parliament responded by setting up the 1828 Select Committee on anatomy, whose report emphasised the importance of anatomical science and recommended that the bodies of paupers be given over for dissection. In response to the discovery in 1831 of a gang known as the London Burkers, who apparently modelled their activities on those of Burke and Hare, Parliament debated a bill submitted by Henry Warburton, author of the Select Committee's report. Although it did not make body snatching illegal, the resulting Act of Parliament effectively put an end to the work of the resurrectionists by allowing anatomists access to the workhouse dead."
Sections 9 and 11 of The Murder Act
"The Act included the provision "for better preventing the horrid crime of murder" "that some further terror and peculiar mark of infamy be added to the punishment", and that "in no case whatsoever shall the body of any murderer be suffered to be buried", by mandating either public dissection or "hanging in chains" of the cadaver. The Act also stipulated that a person found guilty of murder should be executed two days after being sentenced unless the third day was a Sunday, in which case the execution would take place on the following Monday. On 1 July 1828, this Act was repealed, as to England, by section 1 of the Offences Against the Person Act 1828 (9 Geo 4 c 31), except so far as it related to rescues and attempts to rescue. The corresponding marginal note to that section says that effect of this was to repeal the whole Act, except for sections 9 and 10.
Section 1 This section was repealed by section 1 of, and the Schedule to, the Statute Law Revision Act 1871.
Section 9 This section provided that any person who, by force, set at liberty or rescued, or who attempted to set at liberty or rescue, any person out of prison who was committed for, or convicted of, murder, or who rescued or attempted to rescue, any person convicted of murder, going to execution or during execution, was guilty of felony, and was to suffer death without benefit of clergy. This death penalty was reduced to transportation for life by the Punishment of Offences Act (1837).
Section 11 This section was repealed by section 1 of, and the Schedule to, the Statute Law Revision Act 1871."
"Resurrectionists have also been known to hire women to act the part of grieving relatives and to claim the bodies of dead at poorhouses. Women were also hired to attend funerals as grieving mourners; their purpose was to ascertain any hardships the body snatchers may later encounter during the disinterment. Bribed servants would sometimes offer body snatchers access to their dead master or mistress lying in state; the removed body would be replaced with weights."
The Possible Origins of Some of The Whitehall "Victims"
"The Anatomy Act 1832 (2 & 3 Will. IV c.75) is an Act of Parliament of the United Kingdom that gave freer licence to doctors, teachers of anatomy and bona fide medical students to dissect donated bodies. It was enacted in response to public revulsion at the illegal trade in corpses."
"Body snatching is the secret removal of corpses from burial sites. A common purpose of body snatching, especially in the 19th century, was to sell the corpses for dissection or anatomy lectures in medical schools. Those who practiced body snatching were often called "resurrectionists" or "resurrection-men". A related act is grave robbery, uncovering a tomb or crypt to steal artifacts or personal effects, however grave robery differs from body snatching in that grave robbing does not involve stealing the corpse itself."
Propaganda– History is a Weapon (1928) by Edward Bernays link: http://www.historyisaweapon.com/defcon1/bernprop.html
The power of the number 11 revealed:
"The Armistice that ended the fighting in western Europe of the First World War took effect at 11 a.m. Paris time on November 11, 1918, "the eleventh hour of the eleventh day of the eleventh month". "
1963: The Yellow Smiley Face is Born
"A smiley (sometimes called a happy face or smiley face) is a stylized representation of a smiling humanoid face that is a part of popular culture worldwide. The classic form designed by Harvey Ball in 1963 comprises a yellow circle with two black dots representing eyes and a black arc representing the mouth "
Smile, you're on candid camera... The Smiley Face Murders
"The Smiley face murder theory (variations include Smiley face murders, Smiley face killings, Smiley face gang, and others) is a theory advanced by two retired New York City detectives, Kevin Gannon and Anthony Duarte, that a number of young men found dead in bodies of water across several Midwestern American states over the last decade did not accidentally drown, as concluded by law enforcement agencies, but were victims of a serial killer or killers. The term smiley face became connected to the alleged murders when it was made public that the police had discovered graffiti depicting a smiley face near locations where they think the killer dumped the bodies in at least a dozen of the cases. The response of law enforcement investigators and other experts to Gannon and Duarte's theory has been largely skeptical."
"The ‘Smiley Face Killer’ Theory That Connects 40 College Students’ Deaths"
"Is a shadowy but organized cabal of serial killers responsible for murdering 40 or so drunken white college-aged males and then dumping their cadavers in waterways to wash away the physical evidence? And are these demented ’n’ demonic bastards taunting police by drawing smiley faces near where they send the bodies to a watery grave? Should we—as Americans generally, but more specifically the drunken white college-aged males among us—be very, very afraid? Or is the “Smiley Face Killers” theory simply some implausibly grandiose delusion concocted by a pair of attention-starved former police detectives who’ve woven a fairy tale around what most experts insist is a string of accidental and unrelated drownings? In other words, is the theory for real…or just really dumb? Either way, it is stubbornly persistent. It won’t die, no matter how many people try to kill it. In 2008, retired New York police detectives Frank Gannon and Anthony Duarte went public with what many have dismissed as a cockamamie theory. They claimed that starting around 1997 and stretching across eleven states from New York to Minnesota, more than three dozen waterlogged corpses that had been dredged from rivers and lakes and ponds shared too many similarities for it all to be coincidental..."
"Why debunked 'Smiley Face' killer theory emerged in Hudson River deaths"
"HOBOKEN -- Soon after the recent discovery of a young Hoboken man's body in the Hudson River, discussions suggesting there were links to other drownings in the city and to a larger debunked conspiracy theory started to appear in comments on news stories and in social media. 24-year-old Matthew Genovese was found in the Hudson River in Hoboken on Jan. 26, after last being seen drinking with friends days before at a local pub. Genovese had left the pub to walk home alone. Despite authorities asserting that there are no indications of "foul play" in the case, several people have commented online linking Genovese -- and three other cases in the past two years in which young men also ended up in the Hudson River in Hoboken after last being seen drinking with friends -- to a roughly 10-year-old conspiracy theory that was debunked six years ago by a leading center for homicide research."
"The theory, which gained its name from "smiley face" graffiti found near some of the police scenes, has been derided by skeptical researchers. It was promoted starting in the 2000s by two retired New York Police Department detectives, Anthony Duarte and Kevin Gannon, who now work at a private New York-based investigation firm called "Nationwide Investigations." In 2010, the Minnesota-based Center for Homicide Research released a list of 18 reasons it believes the theory deserves to be dismissed, based on a review of news articles and other studies (see box). Dallas Drake, the co-founder of the Center for Homicide Research and its principal researcher, said those promoting this theory are making unreasonable conclusions."
DC Comics: The Joker
"The Joker is a fictional supervillain created by Bill Finger, Bob Kane, and Jerry Robinson who first appeared in the debut issue of the comic book Batman (April 25, 1940), published by DC Comics. Credit for the Joker's creation is disputed; Kane and Robinson claimed responsibility for the Joker's design, while acknowledging Finger's writing contribution. Although the Joker was planned to be killed off during his initial appearance, he was spared by editorial intervention, allowing the character to endure as the archenemy of the superhero Batman."
"However, his chemical genius provides his most-notable weapon: Joker venom, a liquid or gaseous toxin which sends its targets into fits of uncontrollable laughter; higher doses can lead to paralysis, coma or death, leaving its victim with a ghoulish, pained rictus grin"
DC Comics – The Watchmen logo: "...blood-stained smiley face..."
"Creatively, the focus of Watchmen is on its structure. Gibbons used a nine-panel grid layout throughout the series and added recurring symbols such as a blood-stained smiley face. All but the last issue feature supplemental fictional documents that add to the series' backstory, and the narrative is intertwined with that of another story, an in-story pirate comic titled Tales of the Black Freighter, which one of the characters reads. Structured at times as a nonlinear narrative, the story skips through space, time and plot. In the same manner, entire scenes and dialogue have parallels with others through synchronicity, coincidence and repeated imagery."
It's All A Yellow Journal Joke
"Gilbert Gottfried on His Infamous 9/11 Joke and ‘Too Soon’"
"It was a couple of weeks after 9/11. There was a weird feeling in New York. People were walking around in a daze. I was at the roast of Hugh Hefner, and I just wanted to be the first person to make a really-poor-taste joke about September 11. It was impromptu; I don’t remember thinking about it beforehand. I said, “I have to leave early tonight, I have a flight to California. I can’t get a direct flight — they said I have to stop at the Empire State Building first.”
"Today Gilbert Gottfried revisits the 9/11 joke he told at a Friars Club Roast of Hugh Hefner mere weeks after the attack. It kicked off the trend of jokes being delivered “too soon,” which still continues to this day. (That joke, and his legendary version of the Aristocrats that followed, were completely scrubbed ..."
"The Aristocrats is a 2005 American documentary comedy film about the famous dirty joke of the same name. It was conceived and produced by comedians Penn Jillette and Paul Provenza, edited by Emery Emery, and released theatrically by TH!NKFilm. The film is dedicated to Johnny Carson, as "The Aristocrats" was said to be his favorite joke. "The Aristocrats" is a longstanding transgressive joke amongst comedians, in which the setup and punchline are almost always the same (or similar). It is the joke's midsection – which may be as long as the one telling it prefers and is often completely improvised – that makes or breaks a particular rendition. The joke involves a person pitching an act to a talent agent. Typically the first line is, "A man walks into a talent agent's office." The man then describes the act. From this point, up to (but not including) the punchline, the teller of the joke is expected to ad-lib the most shocking act they can possibly imagine. This often involves elements of incest, group sex, graphic violence, defecation, coprophilia, necrophilia, bestiality, child sexual abuse, and various other taboo behaviors."