Just Another Buck in the Wall

The George Floyd protests appear to be yet another Vladislav Tserkov-style “shiftshaping” operation drawn from avant garde theater. For background on such “political technology” it is best to watch Adam Curtis’s 2016 film “Hypernormalisation.” The idea is to turn politics into a sort of strange theater, where nobody knows what is true and what is fake. Tserkov’s ‘name’ is itself an aptronym — Tskerk — Circus — the man of Circuses. Bread and Circuses predate the Romans, but Tserkov’s critical innovation was to let it be known that putting on a show is what he was doing.

For this reason, many strange elements of the George Floyd protests and the initial video are obviously choreographed to the point it seems reckless — if you’re going to stage a psyop, why so lazy? Surely there have got to be better agent provacateur casting directors. Over-the-top aspects such as George Floyd’s porn video are gratuitous (his porn name is “Big Floyd” and I’ll save you by not linking to it), but is it really reckless to put out stories in the Daily Mail such as this one reporting Floyd and his assailant worked TOGETHER [all caps theirs]? That’s ‘mainstream’ media. I’m confused — this should be reserved for the evil conspiracy community. So, Daily Mail journalist, you’re just going to put the truth out there and slap it in everyone’s face while they can’t see it? Yuri Bezmenov would be proud.

Consider the use of the color Pink worn by agent provocateurs in the Floyd protests. Add in the numerous reports of pallets of bricks being pre-placed before the fire, and voila! We get “Another Brick in the Wall” from the Pink Floyd Live in Berlin album with it’s famous choral refrains, “We don’t need no thought control” and “hey, teacher, leave us kids alone.” These performances are both shape-shifting “reflections” of the current political unreality — or what my teacher at UC Berkeley Alexei Yurchak would have called “Hypernormal.” It might just be another one of those curious coincidences, except I will note the incident took place in MinneaPOLICE-St. Paul — a divided city as in The Wall: Live in Berlin. It’s important to note: as Tserkov was growing up, videos like this were broadcast on Voice of America: And just in case there was any question: take a look at this.

I do not believe “script supervision” is reckless; rather, the stagecraft transparency is part of the genre. Everybody can see the “fourth wall” but everybody ignores it, just like we learn to ignore the puppetmasters in Noh theater and its American analogue — Avenue Q. There’s a word for such experience of performance: engrossing. Outlets like ZeroHedge reporting from the fringe are reserved seating for those on the margins of the mainstream narrative. Readers take the cheap seats on the end of the atrium allowing one to peek from time-to-time beyond the wings, the bricks to be thrown in the riot-act laid out on a prop-table. The Bricks give away what’s coming. If you watch CNN, you get a nice solid center balcony seat. It’s comfortable. The NY Times is a ritzy box for some society matron who doesn’t know what she’s talking about.Although the cheap seats are less engrossing, those viewers might peek into the method behind the magic.

So, Code Pink shape-shifted to Pink Floyd. Why Chauvin? I don’t know…Chauvinism? Gotta have our aptronyms. Why George? I’ll get to that. The 1990 Concert featured Tim Curry and Ute Lemper, so why not Amy Klobuchar? I was a opera critic, so I picked up on the Pink Floyd references because I have the education and experience so that when I say something it’s intelligent, and if the news really is entertainment, then there are critics and there are fans, etc. To be honest, I don’t know the Pink Floyd work very well, but I knew enough to get the quote, and it does take some grit to say you see something nobody else noticed, and per Wikipedia, Act 1 of the rock opera is about a guy who builds a metaphorical wall around himself.

Talk about “social distancing!” I’m not a conspiracy theorist — I’m a circus critic because world has gone mad. I suspect “exposure” videos such as this one were not created by a citizen researcher but are rather part of the op. So too are the pundits. If they are fake, then who criticizes the fake critics? What is real? We all know national security folks have sophisticated social media tools to organize protests — the stage machinery details and exact mechanics don’t matter — the emotions that are deeply and profoundly real. As a critic, sadly — I felt nothing. If there’s a deus ex machina, all you have to know is that there’s a machine — you don’t have to work out the mechanics. In Tserkov’s strange unreality; it’s never quite clear whether there is a machine. The Censorship is part of the ritual whereby the performance becomes ephemeral. Make no mistake: it is a performance. They even threw in a JFK-assasination-style Umbrella man as eurotrash fedora and trenchoat costuming there for the arrogant effect….ooh! A conspiracy theory is coming! It’s a Leitmotiv! “I can’t Breathe” — its a ‘meme.’ Same difference.

My own perception of this show is itself shape-shifting as I engage with the various videos through which I experience it — the impact is virtual reality. It’s in many ways a gesamtkunstwerke where all I can do is think about needing to go to the bathroom but it’s impossible to leave. The show is that bad. I can’t help but think that Black Lives Matter shares an acronym with the Bureau of Land Management and that the Clive Bundy standoff with the BLM was contemporaneous with the Eric Garner protests. Once again, we get masonic imagery on the devils chessboard — a black life and a white life that don’t matter, lots of people acting like cattle, and violent standoffs with government thugs. What am I supposed to think about all this — well, it’s ambiguous, artistic — artsy — overartsy — arrogant. If you aren’t a high-art connoisseur (a “kenner und liebhaber” with a security clearance), it comes off as well, “bizarro” for the self-aware plebs such as this common-sense Navy Veteran: Don’t get it? Well, I’m sorry it went over your head, stupid. I bet you don’t like Schoenberg either if you don’t get Tserkov. Do you really think I want to be here? Let’s now slap on masks and look at urinals.

Through this process, we are all performers in a “cultural hot war” forming a broad campaign of persuasion to run away to the circus — and for some of the alt-media — a horror thriller (oh no! Bill Gates! SCARY! Darpa creepy stuff — eew). Whatever happened in Vegas in 2017? — that’s the point! It’s bizarro. It’s deliberately ambiguous. What happened happened. C’est sera sera! It’s a joke: It stayed in Vegas. What do you want next, Cliven Bundy riding into the Clark County Seat with Chelsea Manning trailed by a bunch of Elvises demanding the empanelment of a citizen’s grand jury against Sheriff Lombardo? Seriously, folks — Manning the transman Whistleblower — it’s a aptronym. Can’t you just see it? Do I really have to explain the circus to covidiots? Tskerkovian pysopish pageantry stuff.

George Floyd is American Abstract Expressionism playing out in a post-modern “happening.” We should understand that the CIA acts as the “Hidden Ministry of Culture” to quote Frances Stonor Saunders. If the public — and future historians — are to step outside of the frame — it is ultimately only through the techniques of art criticism and hermeneutics. We have to think like Alexander Dugin to get Alexander Dugin. He’s read Tolsoy. What is inside this strange mind of the American Architect of such floydfoolery? The acting in l’affair floyd is so effective and the pyrotechnics so cinema verite because the actors in the Floyd Farce truly believe in what they are doing: and the high-minded architects of this Masque are laughing at us because it is a comedy. We really don’t need no education — just throw bricks. HaHa! Oh, the ‘wokes’ are fearing Soros again! Teeheeehee!!

For me, the term ‘fake’ can be positive. It is a word used in Jazz — a Fake book is the American Songbook.

Avant Garde Expressionist Composer Karlheinz Stockhausen was the first (and alone with Chris Bollyn, the only) platformed-speaker to get 9/11 right: it was the “ the greatest work of art imaginable for the whole cosmos.” Circuses — Gladiators mano a mano! Jennifer LaFonataine gets it because she made a Review — it’s not about “news. There’s a reason David Foster Wallace killed himself. He too tried to escape the complex relationship he had with media, and like Pink in his 1979 opera (composed the year I was born), he ended up dismissing all he knows as “Just bricks in the wall.”

Why, the “Wall,” I will hazard a guess, or rather a “critical interpretation” — Trump said he would build a great wall — but walls can take many forms. I keep asking myself in San Francisco, “How can there be sanctuary in an antisocial city” (Mayor London Breed — the City of London! It’s a cult of transformation in a city of cults) After the outrage We have built invisible walls — a curfew is a wall. The National Guard is a wall. The police form walls. We have social distancing walls. We have “Psy-crinolines.” We have the physical walls of buildings boarded up. We have the walls where stay at home. We have the walls of the mask, which is itself a shape-shifting cult transformation if we recall the fear of the Islamic veil post 9–11. Women’s liberation — well, cover your face. Yet another cult transformed. Circuses!

As for the Coronavirus psyop — pay close attention to the early propaganda from March 11th 2020 or so and read about the history of the San Francisco Bathhouse debate — a debate about walls in 1984. It’s a shape shifting of the term “tea party” — the party of walls. Ted Cruz got it. Cruise Ships had it. Get it? Diane Feinstein’s “stock dumping” is X-rated, and I have no prurient interest. And here’s the patient-zero punchline: Though Bill Barr says he was a suicide, Jeffrey Epstein didn’t kill himself at the MCC. He needed AIDS in dying, after all, it was the Epstein-Barr Virus! </cringe>

And because I have a unicorn in the National Security State who occasionally sends me messages, I know the C in “covid” is for “Cult.” Ovid — Metaphorphosis — Kafka. All and All, I am just a fly on the wall.

As I pondered overnight: ‘Why George?’ I also considered my own impecuniary anxieties — there it was: “Buck Breaking.” A horrid ritual of slavery witnessed in my own time, but as I ‘stay at home’ down to my last Buck I saw my George Washington Federal Reserve Note, replete with mushroom cloud. We saw one Buck stop — a foreshadowing of a second. Dramaturgy! Intelligence wars can be played out on global scales in plain sight, and this does appear to be a double morality play. How does this shindig end? Floyd tries to pass a bad buck for middle eastern takeout. It’s the death-knell of the petrodollar.

Everything has a double meaning: the calling out of the National Guard — the militia — is one outcome of this buck breaking ritual — a Slave Uprising: “We don’t need no education! We don’t need no Thought Control!” Yet the militia of the Shot-heard-round-the-World at Lexington served a dual purpose: before it fought for liberty it was formed to put down slave rebellions and drive out the Red Man. This is the true nature of Antifa — the Antifascist Fascists with a logo of Red, Black, and White. Are they terrorizers or liberators? And what about that Wicked Witch of the West — the Yellow-Red Sun Rising? A Flaming International Orange menace out the Russiagate. Does the greenbuck-hoax wizard deflate or crash in this crossfire Hurricane? Kane — Caine — Krippen — Cripps — Bloods — Able — Danger Danger — PanPan….. Bucks vs. Bricks in a global currency war.