3 thoughts on “Alex Jones Censorship Makes Me WORRY About Society!

  • Negentropic

    It’s the “Outlaw Industry” game which has been going on now for a very long time. AJ almost went mainstream just last year and is now designated an “outlaw” role again to herald a new reality where the conservatives are the new “freaks” instead of the so-called liberal “outlaw” freaks of the 1960s?

    TV and The Outlaw Industry: How Our Paranoias Are Exploited for Fame and Profit by Dr. Timothy Leary, Ph.D. – written while incarcerated in federal prison, San Diego, 1976, and originally published in the National Review on April 16, 1976.


    post #360

    This is most of the original essay written in prison for the National Review where Leary runs John Lennon, Mick Jagger and especially Bob Dylan aka Robert Zimmerman straight over the coals.


    It’s a must-read in its original form. In later 1980s re-printings of this article, Leary edited out his rants against Lennon, Jagger and Dylan because he was back on the “Outlaw Industry” lecture-circuit gravy-train making plenty of money entertaining those same types of liberal Lennon/Jagger/Dylan fans.

    • That is a fascinating read, thank you for sharing.

      There are a few things which stood out to me in that. I have just finished reading Cosmic Trigger (1977) by Robert Anton Wilson (RAW), a great admirer (and apparent friend) of Leary’s. Leary wrote the foreword to Cosmic Trigger and described RAW as an ‘Intelligence Agent’, as an apparent compliment.

      I don’t know how seriously to take anything which any of these guys ever wrote or said, partly because I am suspicious of all of them, partly because they all openly admit to doing large quantities of mind-altering drugs, and partly because they also admit to practicing what RAW calls ‘guerilla ontology’ i.e. making shit up for the hell of, supposedly as a means to keep their audience ‘on guard’.

      With that said, I found the description of RAW as an ‘Intelligence Agent’, offered by Leary as an apparent compliment, to be conspicuous. It fits in well with my theory-in-progress that the CIA itself is a hoax, in the sense that it is nothing like what we are shown on our telescreens and movie theatres. James Bond is a fictional character, but the masses (including the conspiratards) seem to believe that such men actually exist. Covert operatives working for King and Country. Ask a conspiratard to describe to you what a ‘paid shill’ might look like, how his day might unfold, how he might be trained, etc. Watch the conspiratard’s imagination run wild, because that is all this is: imagination.

      It seems more than plausible to me that RAW, Leary, and others were ‘Intelligence Agents’ in the sense that they saw themselves this way, as conduits to something bigger. After reading Cosmic Trigger I am convinced that if RAW actually believed most of the crap he was saying (about ‘space travel’, ‘life-extending science’, ‘quantum physics’ and other complete claptrap), then he is was nothing more than a very smart dumb man. That is, an articulate, creative and charismatic fool. If what he relayed about Leary’s life and thoughts were accurate, then the same assessment may be made of Leary, too. Maybe these guys really did believe the nonsense they were spouting.

      Useful idiots doing the bidding of people above them? Lackeys put in the public spotlight by the top-tier culture creators? Anything is possible.

      Getting back to the piece in the National Review you linked to, it is interesting that Leary focused on the song ‘Like a Rolling Stone’. Is that really a ‘depressing’ track, ‘barbiturate barbarism’ as alleged by Leary? Seems to me like with all art it is a matter of subjective opinion. for example, I happen to have fond memories of that track, because I remember well how it was playing at Suncorp Stadium when I attended the Horn-Pacquiao fight in 2017. I even captured video footage of it at the time. For reasons I won’t go into now, the lyrics resonated with me, in ways very different to what old mate Leary seems to be proposing.

      But this is only tangential. The basic point Leary seems to be making in that article is that these ‘outlaws’ are anything but. And you are suggesting that Alex Jones is the latest in a long line of faux-outlaws. And I completely agree with you about that. Imagine how much traffic Infowars has been getting over the past few days. The Streisand effect writ large. If YouTube ever deletes my channel, I honestly expect to get one or two new members to this site as a result. ‘Too Skeptical For Youtube’ will be my new tagline.

      If I have said it once, I have said it 1,000 times: the entire ‘truth movements’ on YouTube is a complete and utter joke.

      • Negentropic

        Yes, Alex Jones is now defined as a “Celebrity Outlaw” within their controlled opposition dialectic just like Leary and his big running mouth were 50 years ago. They gave him the usual banning outlaw “street cred” he needs to keep pulling people in to his limited hangout gate where he shills for Jews and only Jews 24 hours a day.

        I don’t find it at all odd that they seem to have also gone after the “Alex Jones Exposed” site by ZOG, which exposed over 30 of his advertisers, by name and family and religious and racial affiliation as Jews, his ex-wife as half-a-genetic-Jew from her mother’s side which makes her a Jew by Talmudic law, his kids as quarter-Jews maternally descended which makes them also “Jews” with right-of-return to Israel, and even his new ex-stripper girlfriend/wife as yet another Jewess.

        They probably had one of their many thousands of big-time shyster Jew lawyers write ZOG-press a cease-&-desist letter to take only that particular site down, since as you can see, all his other sites naming and putting a picture to every Jew name are still up,


        only the Alex Jones section, the most popular one and up for as long as I can remember (I must have linked to it a hundred times), can no longer be retrieved and seen. They think that by leaving ZOG’s other sites alone, which do name the Jews also, just not the exact Jews behind all of Alex Jones’s businesses and within his own family, they will not arouse suspicion.

        What they want is to make Alex’s big fat “crazy” Chinese-&-EU-blaming arse, with 30 or more Jew advertisers always intact, to represent the face of “Outlaw” opposition. They might even hoax-try him in a kangaroo court and shove him in a fake prison for a year or two for the ultimate street cred, something they are very familiar with in the past having even passed off as real the 18 years of “solitary confinement” for the crime of “Outlaw anti-Nuke-weapon-ism” which their designated “heroic” Jew clown Mordechai Vanunu, nicely suntanned and looking very nifty in most of the photos available on the internet, supposedly suffered.

        This way, by using this fake actor Vanunu, the cockstuffers in the Mossad could fly two symbolic birds with one stone: 1) a vintage, aged-for-18-years-in-solitary, genuine liberal, “anti-establishment” symbolic hero to wave around and virtue signal the liberal lefty political crowd through, molded after the Chomsky-deep-cover-agent/con-artist model; 2) a propagandizer and fear-monger of the fake doomsday weapons they need everyone imagining as real to keep them in line.

        If you read any of the Leary biographies, you will notice endless Jews around him at every stage of his rising celebrity and notoriety, from Nambla-Ginsberg down to Richard Alpert aka “Ram Dass” (rammed ass? lol Is it just synchronicity that a homosexual college professor should name himself thus?) who were really there to control his message, make sure the uppity goy Irish intellectual dug himself a hole he couldn’t get out of, and was forced to abort the process of research into real expanded consciousness and turn it over to the watered-down, half-assed, new-age, retarded, degenerate hippie schlock that SJW’s feed on.

        Since, nothing is more obvious to average Jews than the fact that the big-money Jews in full control of the world’s power structure through banking and media will leave their asses out to dry if need be to assuage rising world anti-Judaism, anything that threatens the power-structure of the big-money Jews and can be gate-kept successfully through some form of verbal obscurantism, disinformation, lawyerly shysterism and utterly bullshit controlled dialectics, will get them brownie-points to move up the social ladder.

        Basically, the goal of every so-called “average Jew” (those making less than 300 grand a year as part of the richest ethnic group in the USA) is exactly as Joel Stein, a more-or-less average Jew journalist, arrogantly stated in his well-known L.A. Times article of 2008 called “Who Runs Hollywood? C’mon”:

        “. . . I don’t care if Americans think we’re running the news media, Hollywood, Wall Street or the government. I just care that we get to keep running them.”


        As far as the victim game goes, here are some random observations I’ve made that ring true to me, give me insights that the usual spoken and printed words are there to hide and obscure:

        Direct agent or useful idiot/ego, the mission is accomplished through a dishonest, confidence game which takes advantage of those labeled “in a weak position,” “victims” or “down-trodden,” by telling them that their weakness, their relative lack of options-availabiliity compared to other apparently similarly equipped humans labeled “successful,” is not due to their own actions or lack-there-of but to the deliberately calculated, immoral and unjust acts of those labeled by the director of the-world-stage-trauma-drama-extravaganza master-script to be “in stronger positions of power,” seeking to keep them down and unable to collect their just merits.

        Like any game, the VG (victim game) has created its own system of rewards and punishments and possibilities of strong emotional payoffs through fear-based traumatic-dramatic symbolic trigerrings.

        Switching into that modality of victimhood (or us ‘victims’ and underdogs vs. the oppressors) is the main thing that gets them that super-strong emotional “rush,” not dissimilar to the “fear-rush” that almost everyone is addicted to but few acknowledge as a sickness, instead claiming it as merely a well-practiced habit of being alert, aware and careful. That’s just their excuse to go back to injecting the full doses of fear heroin they need to feel alive directly into their veins.

        After a while, fear and the almost speed-like adrenaline rush that it creates become the only strong emotion the drama-trauma-force-farce game addicts can feel. It becomes much easier to just trigger the fear rush every day than to try harder and mediate a way back to a balanced, t-root-ful, grounded state capable of emotional subtlety as well as clear vision and hopefully, as virtuous circles spiral upwards, facility in the difficult philosophical task, the internal martial art of negotiating temperances-without-compromise between seemingly contradictory ideas and their frustrated but generally well-meaning energies.

        When the deconditioning is accomplished, you might end up laughing at all the triggers that used to scare you before. But now you get a different kind of rush: the rush of rising confidence knowing you can operate your own subconscious programming by saying NO whenever you KNOW you’re trapped in a game of false dialectics intended to drain your energy (your inner-grace and efficient force transference/processing capability) and waste your time.

        Your common-sense can now fearlessly and in a relaxed, cool and collected manner use the many indirect methods of solving puzzles you were afraid of before. You can now understand the essence of a subject by humoring it, by meeting it in a completely indirect but always valid fashion, by tempering and surfing the pipeline of paradox, balancing on the edge of paradox and coming out on the more sensible side of the equation to see more sunlight and give birth to further riddles to be solved by others later, the side that can be more comprehensively sensed in what can be called “a loving and peaceful but always alert manner,” by not allowing your emotions to get involved in it.

        You are not being pushed this way or that by the simmering sea of your emotions. You are here to dance with concepts, with terms, with viewpoints, with metaphorical understandings. You are here to have a good time, to experience life in the here and now through what you have come to k-now, and extract your premium of joy and pleasure (play-sure) thereby. You are here to even ignore symbols altogether and mumble and grunt and moan all day, without any direct verbal concepts attached to them, if you think you can still do your “thinking and thinging,” your switching back-&-forth between supposedly subjective and objective modalities, without them.

        You are able to “be cool” and “stay cool” under pressure, qualities that only a small minority of physically and emotionally strong human beings with subtle and well-developed sensibilities and gradations of psychological insight can ever possess, not the millions of poseurs you see every year trying to pretend to be “cool” in ridiculous ways that are shown up as phony as soon as the first real Alpha walks in the room. Women are programmed from deep within their subconscious and their genetic, cellular memories to look for the qualities that these guys possess, the pack leaders, the strongest possible fathers and protectors for their potential future child, given the weights and balances of current circumstances.

        A genuinely cool guy does not subject himself to irrationally constructed and ridiculous fears. He only experiences and registers real fears that are an actual threat to his well-being. He can physically or mentally wrestle anyone and laugh while doing it, a guy that specializes in win-win dialectics on all levels of life, turning what would be inconveniences for most people into adventures. When you are a genuine “cool guy,” you can keep the fire or steam contained inside, like the internal combustion engine of a car and let out only what is needed to fuel the journey, do a car’s work of leveraged energy rather than a horse’s. When you bump into a conflict with somebody else, it’s just a knot of unreleased force jammed up, creating unnecessary over-expression and pain in one area, that needs to be gently unknotted and spread out to even itself out fluidly and smoothly through all areas open to motion, without any spaz moves.

        You can even come to understand an actual physical bump on the street as the mistake of a (grown-ass) child that ran too fast through his or her maze of ordained dialectics and linguistic servitude to outmoded symbols of the establishment and bumped into you, the more mature person, seeking guidance or re-direction of thwarted and frustrated energy, in this case, actually physical energy, into positive and fertile channels. You show them the dance moves and therefore the foundational aesthetics of the next level of consciousness that they will need to ascend to, without condescension, fully knowing that you were in that child-adult state yourself bumping into things haphazardly just a few short eons go.

        Once they (the candidates of enlightenment) see that you can dance around most of the minor annoyances that drives them up the wall, they know they have someone to emuulate and copy, a leader, a member of a rare and creative minority, who can save them lots of misspent energy. You are running an unofficial club they have decided to join if they can, even if they’ll never tell you that they’re copying you or acknowledge the influence of your aura or way of doing things, your “coolness,” to use the slang term, on them. A male hierarchy is formed that follows the cool-guy on top, sometimes without even physically meeting the cool guy, just his mysterious aura on the internet.

        Of course, in person, the cool guy demonstrates his superior position by teaching the others how to fight and act like men, physically and mentally, and by easily attracting beautiful women that the guys lower on the hierarchy, even the better looking ones, could not even get a second glance from. As long as the good-looking women are after him, all the guys who want the same high-status try to steal his secrets. But here’s where the genuine Alpha always holds the winning card by being humble.

        Since he is humble and does not seek to show off, the others can’t cut him “down to size” without looking like frustrated children in the process. Since he gives his secrets to anyone who genuinely asks for them, he can’t be blamed for “holding out” to give himself elite advantage. Since he knows that few will have the intelligence, discernment and discipline to lay the foundational stones he gives them in a way that builds unfailing structures of maximum flexibility and not yet more outlets for channelling neurotic absurdities, there is no need to secretive. Nature has already ensured his just rewards for very difficult work well done.

        The secret has always been out-in-the-open. What has come to be called “cool” or the ability to have “grace under pressure” is THE necessary quality of real manhood. But without the exact proper rituals, the rite way of achieving its neurological reality within your nervous system through efficiently co-ordinated and leveraged mental and physical movements, just as you would with an internal martial art, the combination does not unlock the gate behind which you are kept in a perpetually agitated and anxiety-ridden state as an easily programmable and triggerable half-man.

        The conditioned victim mentality is the flip-side-of-the-coin of the heavy rush of fear addiction. On the one hand you care so much for the “oppressed” others that you cry a flood-of-tears to sad, maybe even wailing music like “The Great Gig in the Sky” by Pink Floyd (as so manipulatively used in connection to the 9-11 made-for-TV movie) and on the other, you fear so much for yourself and your family and the rest of fear-oppressed humanity that you drive yourself paranoid and bitter and unable to enjoy and draw nourishment from a meditated, concentrated and anxiety free daily existence in the k-now-ledge of the k-now.

        You start to ‘know’ when you explore the k-NOW enough to begin to be able to literally say ‘NO’ to certain choices and options and therefore know them to be less desirable than those you say YES to. Therefore, in order to ‘know’ the ‘k-NOW, you have to go through enough “no’s” to arrive at a “yes” or a non-no, the best possible choice among the bunch. That YES a boy then becomes That ES a boy and finally That IS a boy. Not very hard to see how it probably phonetically developed from the roots of the basic binary choice of on/off, yes/no, etc.

        Since teenagers, due to the odd phenomenon of clashing world-views called “the generation gap” usually feel oppressed by their “square” parents, playing the role of little prisoners in the process, their nervous systems and emotional reactions are already trained to the specific cues and signals of “the victim game.” They’re conditioned to act the part of victims through the gap (even to shop in clothing stores called The GAP, lol), they’re struggling against the same patriarchal forces and “powers-that-be” which other victims-of-the-world are suffering through, albeit probably not nearly to the same degree. That is one of the balms on their own suffering, knowing that they’re lucky “victims” compared to the so many millions of the always-on-hand/always-worse-off-than-you’s.

        Basically, teenagers and the younger crowd being more likely to be naive and inexperienced are in a vulnerable place and easier to exploit through the bait of art.

        It’s not that art is bad any more than food or sex, but art and the realms only it can map and travel: any and all symbolically crafted spaces of intangible essense within what is called the psyche or spirit of human beings – are valuable because they provide direct pathways into the subconscious.

        Art is not something those who have developed enough language to have a culture can do long without since that very development of language was symbolically done through an essentially metaphorical or artistic process starting from the very first word learned and uttered by a child. Without art and the process of metaphorical identification and expansion of sensory symbolic vocabularies, there is no language and no communication. Even an infant’s pre-verbal crying is a sound-metaphor for “help me.” Nothing communicated can possibly be outside the realm of symbol and metaphor, since then it would have to be outside the realm of the human sense organs as well.

        This very deep need for art, for methods of travelling to the source of our psychological well-being, drawing our being from that well, and affirming our higher mission as spiritual beings, makes it the perfect bait to attach toxic and unhealthy ideas and attitudes to as hooks, which, by the time they’re noticed to have been smuggled through, will have already done subconscious damage, re-orienting our entire nervous systems and sensibilities to a falsely manufactured “reality” that only exists in the minds of those conditioned to think it exists through their emotions at an early age.

        If everyone is conditioned this way or most people, this false reality then becomes “the real world” or the puppet choreography they dance to all the time, the predictable and fixed roles of its script finding their way into all of life’s little stage plays from suburban bedrooms to federal courtrooms to company boardrooms.

        Since, not just one generation, but many consecutive generations are bombarded with this same “real world” nonsense over the course of centuries, most people are firmly trapped within and unable to see through or beyond the walls of the linguistic and dialectical prisons they’ve been led to make for themselves through too much vanity and pompous trust in these ridiculous noises of the mouth called words and numbers (mind numb-ers). This falsely conditioned and deliberately unstable collective reality then produces the neurotic majorities of robot stock we see everywhere in absurd collectives going around playing silly dramatic-&-traumatic games their whole lives through to the beat of the same old drum.

        Artificial emotions triggered in large collectives can sometimes be dangerous and troublesome if not reigned in but are ultimately far more profitable than doing the complex psychological work of expertly triggering only the natural emotions proper to handling each situation that presents itself. What creates a major foundational imbalance creates concurrently the myriad markets for alleviating and curing all the structural problems or symptoms of that instability. When the Pavlovian symbols of the “Victim Game” are sounded and/or drawn and/or scented and/or touched, the rush of salivating emotions that the conditioned subject experiences completely obscure the fact that there is no real meat or any-idea-that-makes-logical-sense on the plate. There is only some processed sausage with lots of artificial ingredients and preservatives added to make it look-the-part of food.

        Any beautifully constructed new map of a certain realm of the spirit/psyche or maybe even a first map of a never-before-seen-or-explored realm is what people call art. Others might define it a thousand difference ways but that’s what it essentially is: mappings of the ‘intangible’ realms of spirit through certain harmonies and affinities and balanced rhythmatizings of forms that trigger interesting combinations of complex emotions and put you in a certain “mood.” Once that area is accessed through an artfully done piece of music, for instance, associations are made and allowed trigerred memory access through whenever that music is played again, sometimes whenever even a few seconds of that music plays, the triggers are all activated collectively.

        I’ve had this happen to me. I’ve had favorite songs that used to trigger me a certain way in the past which I then consciously decided to change my reactions to because I now realized I was being really silly and sentimental and, this being the most important part, that the song was good enough to be enjoyed on a level higher than the silly and sentimental, therefore, I was applying this emotional discipline to myself so that I could keep enjoying the song in a different way. I realized the potential of that work of art outside the frame of the made-tricks/dialectics and its dramatic-tramautic sentimental nonsense and re-framed it to my own taste.

        I still enjoy the song but not in a pre-scribed fake ‘traumatic-dramtic’ and sentimental form as before. Now I like it for other reasons. I can give any song my own emotional trigger if I want and then take it away. I just have to say: I won’t feel sad if I hear this song next time but “dreamy and fascinated and amused” and I can usually train myself to react differently. The enjoyment is still there, but the whole modality of it becomes a positive through the new way that I view it.

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