By John de Nugent
In the January-February 2007 issue of The Barnes Review, my article on “Psychopaths and History” (http://democratic-republicans.us/psychopaths-in-power) triggered much discussion of which specific individuals and groups in history have literally proven to be psychopathic, i.e., those who go beyond the usual human greed, ego and prevarication and, to use traditional religious language, are “deliberately evil.”
Psychopaths, as described in the bestselling The Sociopath Next Door by Martha Stout, a 25-year veteran of Harvard Medical School, can deeply scar or destroy the lives of others: they lie constantly, act sadistically and maliciously and sacrifice others for their advancement and pleasure.
Why? Because they have an unlimited will to power over others, and possess neither inhibitions nor conscience nor any ability to truly love or feel compassion. Strikingly, Stout claims our ruling class is full of these maneuvering monsters, with many at the very top, and that they enjoy clear advantages over the decent and trusting majority–that is, until again and again the wrath of God and man strikes them down. In this article, I return with an appreciation of Mel Gibson’s December 2006 worldwide hit film, Apocalypto–now out of the theaters and flying off the video shelves around the globe. I claim that Gibson has consciously set out to do a film about psychopaths in power, paralyzing fear, and the inner turning point between victim and patriot–and that he has succeeded in this, his greatest masterpiece. Barnes Review readers seem to agree with this assessment: Some of our most thoughtful correspondents have seen this movie–about Mayans in Mayan, with subtitles–between four and six times. And it turns out that there lurk in the subtitles some heretical comparisons:
For months I had three objections to seeing this film–all defanged by the film itself:
One, although a former Marine, I detest anything that sounds like a “horror film,” and a film about human sacrifice sounds appalling.
In fact, the violence in this film, which does show human sacrifice and those escaping it and fighting back, is not gratuitous but at the core essence of the story, and Gibson shows only half the gruesome Mayan-Aztec reality which the Spanish terminated after 1502. It may make professional anti-racists uncomfortable, but Apocalypto cleaves tightly to reality in details both large and small, right down to the colors of the plant dyes used in native clothing, the jade used by different classes of women and the feather headdress of the great king.
(Using artistic license, Gibson does blend different periods of Mayan architecture and decor, and by the time the Spanish came, as shown in the film, the jungle Mayan cities already had been mysteriously abandoned. It was actually further north, in the very similar and neighboring Aztec culture with its own human sacrifices, that the Spanish would find the same psychopathic atrocities, which caused them to eradicate the Aztec regime root and branch with the aid of oppressed local tribes.)
Two, I detest our national tendency to mindless action movies. Methinks Americans should break with their hyperactive national character by doing less and thinking more, perhaps precluding further Ritalin kid-faux cowboys in the White House.
What Apocalypto represents, however, is a mindful action movie. It is done by a storyteller worthy of Homer, a director worthy of Cecil B. DeMille (Gibson’s movie has 700 extras, all in differing accurate costumes), and a deeply spiritual man (when not off the wagon; Mel in Australia used to drink two scotches in beer, which he called “liquid violence”).
Apocalypto transmits via entertainment a tremendous message, one that reflects the values of his father, Hutton Gibson, a courageous Holocaust revisionist, a Traditional Catholic–and an honored speaker at the 2003 conference held by this very magazine.
Not many Hollywood “action flicks” start with a quote from historian Will Durant (1885-1981), author of the Pulitzer Prize-winning, eleven-volume The Story of Civilization: “A great civilization is not conquered from without until it has destroyed itself from within.”
Third, I wondered how much relevance Mayan Indios in 1502 had to me, a white man in 2007, except for the possible fact that my Washington, DC area is now being flooded by illegal alien descendants of the Mayans and Aztecs. (The greater DC area is now only 54% white.)
Actually, plenty of relevance: The entire movie delineates how a tiny psychopathic ruling class misrules, lies to, entertains with mass festivals, impoverishes and oppresses an entire nation–and how God and man ultimately thwart them.
The title “Apocalypto” comes from one of the very many utterly unique scenes in this revolutionary piece of film making. Mayan manhunters pass through an orphan girl’s smoldering shell of a village, not unlike the pulverized Ramadi or Fallujah in Iraq, or Dresden in 1945 Germany or Gaza in Palestine. They take along their captives destined for human sacrifice, neck-tied to a wooden rail, heading for their torture and death. The psychopaths prod her aside;-they have no time for starving orphans; the clock is ticking for show time in the Yucatan.
She dries her little-girl tears and thanks to Gibson, from somewhere real, inside the character, come two riveting eyeballs trained on them and a voice of doom that “spooks” even the hardened enslavers. She then “reveals the end” of all that they represent; in Greek, she “apocalyptizes” the final things.
The official Apocalypto poster from Icon Productions (Gibson’s own film company that also did Braveheart), depicts a Mayan high priest, with an obsidian knife in hand, striding forth from his ziggurat where for years he has been sacrificing trembling humans.
In 1486, in fact, during an Aztec temple dedication before huge and roaring crowds (just 16 years before Columbus’s fourth expedition, which landed in Central America), in a four-day festival twenty thousand live captives, knowing in advance what was going to happen to them, consciously saw and felt their hearts, hands and feet being surgically sliced away by the glass-like but razor-sharp obsidian knives, this before their heads were cut off and flung, followed by the torsos, bouncing and flipping down the pyramid steps–naturally “as the crowd roared.”
Other Mayans were used as target practice for various elite weapons. Raids to small villages, as depicted in Apocalypto in an unforgettable 15-minute sequence, brought a never-ending supply of fright-sickened new victims.
But the Mayans also fought wars and humiliated captured foreign leaders; as Gibson relates in the fascinating “Director’s Commentary” on the DVD, they spent nine interminable years degrading, humiliating–and amputating various parts off–a captured head of state. As Gibson related, in the end the captives were just “balls of nerve endings.” It would appear that the sociopathic priests enjoyed making fools even of their own kings; the Mayan heads of state were persuaded to try accessing the gods by driving a stingray spine through their penis. (See sidebar: “Mel didn’t show half of it.”)
It reminds one of George Orwell’s description in the novel 1984 of the ultimate psychopathic regime. Big Brother’s spokesman explains with chutzpah to the captured Winston Smith: “Power is not a means, it is an end. One does not establish a dictatorship [or Mayan priestly rule] in order to safeguard a revolution [or new order]; one makes the revolution in order to establish the dictatorship.
“The object of persecution is persecution.
The object of torture is torture.
The object of power is power.”
–Part III, chapter three
Here speaks pure sociopathy from the summit of the State.
Vast swaths of forest were also cut down for fuel by the Mayan ruling class, heedless of devastation to the environment (especially of the top soil), all this to bake the clay bricks used for these ever-higher ziggurats.[However, the Mayan and Aztec cultures (and those of the Incas, Apaches, and other Amerindians) never even invented the wheel--except as a child's toy!--despite all those round logs they cut down and rolled and despite the vast distances encountered in the Americas. Nor did they possess horses in pre-Columbian America. So everybody trudged along, carried or pushed something with human power until Spain came in 1502.
Nor did the Mayans and Aztecs, canoers, invent the sail in a hundred generations of feeling the wind blow their canoe sideways. Perhaps they were waiting for the "white gods" to return.
Ethnographer-adventurer Thor Heyerdahl of "Kon Tiki" fame wrote in 2000 a book called Ingen Grenser--Norwegian for "No Boundaries"--where he renews his thesis, shared by many Indians 500 years ago, that ancient whites, the "white gods," had very long before founded their pre-Columbian civilizations before vanishing, along with their influence.)
All film dialogue is spoken entirely in the authentic Mayan of the Yucatan peninsula in Mexico where the film was made, and all actors, including the star, Rudy Youngblood of Texas, are Amerindians from North and Central America. (As a young man awakened by horror to his destiny and abilities, Youngblood's performance at the hands of producer-writer-director Gibson is superlative.)
It is said that in his 2004 The Passion of the Christ, the "antisemitic" (in reality "New Testament"!) remarks are left only in the Aramaic language and are not even printed in the subtitles. Interestingly, in the French subtitles to his most recent movie, Apocalypto, even more so than in the English or Spanish subtitles, the murderous high priest makes many Talmudic-sounding statements during the human sacrifice scene.
"These are the days of our great lament," the high priest intones to the crowds from atop his pyramid. Then he asserts to the overawed mob (again, this is in the French subtitles translating the Mayan): "Notre peuple a été choisi." That means: "Our people has been chosen." (French, because of the Norman conquest of England, is often similar in vocabulary to modern English.)
In the English and Spanish subtitles, this is prudently rephrased as "We are a people of destiny" (perhaps in dishonor of Franklin Roosevelt's inaugural address: "This generation has a rendezvous with destiny.")[footnote2: Hutton Gibson was strongly opposed to Roosevelt and his war, albeit he was wounded in 1944 in the Pacific as an Army officer.]
One recalls that when Apocalypto was released in December 2006, it was just four months since Gibson’s famous July 28, 2006 “antisemitic tirade.” On Gibson’s website one sympathizer, a born-again Christian, probably expressed best why the movie-going public shrugged off Gibson’s “anti-semitic rant” and went to see Apocalypto:
“I’d like to see what the Jews say about us when they get drunk!”
We further learn from Gibson in the Director’s Commentary on the DVD — which he dispenses together with the film’s Iranian co-producer and co-writer, Farhad Safinia– that for authenticity they had all the actors playing Mayan rulers “wear curved nose prostheses.”
The curvy-nosed priest then continues with his harangue: “We were chosen to be the masters of time; we were chosen to walk with the gods.”
In the telling closeup, the Mayan king and high priest nervously exchange glances during the high point of the killings. We know from archeology and temple architecture–when beams of light would fall on certain points–that the Mayan priests knew exactly when eclipses would take place, but the point was to be seen as miracle workers. But will the solar eclipse yet again “do the trick” and, as darkness overshadows the great city, overawe the trusting crowd, striking a quasi-9/11-like fear in them? Will the public believe forever that through killings their leaders protect the nation from ecliptic terror and doom?
The whole scam behind their grand pleasure in killing victims was that in this way the peuple choisi would “save the harvests and the nation.” (Writer Margaret Huffstickler has commented: “The eclipse is like 9/11, and invading Iraq and establishing Guantanamo and Abu Ghraib is the ‘necessary’ human sacrifice.”)[footnote: On Columbus's last expedition, in 1503-04, he was stranded for over a year on Jamaica with wrecked ships. In a scam designed to intimidate the Arawak Indians of Jamaica into feeding him and his men, he used his trusty Ephemeris from the German astronomer Regiomontanus to correctly predict the lunar eclipse of February 29, 1504. It worked; they kept feeding him.]
In the subtitle of the official Apocalypto poster, above, we read the slogan: “No one can outrun their destiny.” This certainly applied to the psychopathic native ruling class of pre-Columbian Central America. At the very end of the movie, ominously, the Spanish arrive in power from their great, dark ships, with soldiers, priests and brandished crucifixes, to eventually overthrow and annihilate the murderous Mayan ruling class. How interesting for Mel Gibson to introduce for the movie’s final scene the Spain that exactly ten years before, in 1492, had not only sailed the ocean blue but expelled the Jews and fully unleashed the Inquisition on the the marranos, the secret Jews still in power in the background. (To this day, 515 years later, only one resident of Spain in two thousand is Jewish.)
Through DVD technology, we can first enjoy the artist’s cinematic work and then, merely pressing the remote control, consult him personally through his commentary as to what he was thinking, aiming at and enduring technically trying to achieve each shot and scene. We can also appreciate his use of costumes, history, authentic weapons, makeup for men and women of different classes, and see the scenes, such as the one with the burnt and limping deer, that he cut for brevity or distraction of the storytelling flow.
Truly, in the hand of the masters, the cinema is the premier art form of our time. In Apocalypto, after viewing the two-hour masterpiece, the viewer therefore should spend another profitable two hours on another day reliving each scene with this truly great artist, Mel Columcille Gibson, and his brilliant Iranian colleague Farhad Safinia, and a third hour with the “Special Features” on the DVD of Apocalypto to understand the secret ocean of detail that Gibson has channeled into this mighty current. It is what Wagner would have called a Gesamtkunstwerk, a total art form. Then–as my Barnes Review-reading friends actually did–see Apocalypto another four to six times. That is doable with a great work of art.
What stands out, finally, is what the father says in the jungle to Jaguar Paw: “Fear makes you weak, and fear makes you sick.” This is, as the Will Durant quote at its beginning shows, a movie about now, about the psychopathic regime now, and about transcending the real fears we face now. And, as the hero says after he takes the plunge over the waterfall, “This is MY forest.” See the movie.
Gibson Mayan Film on the Cutting Edge
Viewers will recall the unforgettable scene at Eyipantia Falls (in Veracruz, Mexico) where Jaguar Paw, to escape the manhunters, hurls himself bravely over the massive cataract. Pulling himself from the water, he has “found himself” inwardly by this near-death act, and announces to the pursuing Zero Wolf and his fellow pursuers, perched high on the cataract’s edge: “This is my forest where my father hunted with me. And this is where I will hunt with my son!”
This is also where Gibson his incredible dedication to spectacular new photography. Not only is “Apocalypto” one of the first major movies shot with digital movie cameras, the Panavision Genesis model, and not with celluloid film, but for the waterfall scene they used the innovative “spider cam.” A cable was extended like a lip out over the fall, with the movie camera on it, and it follows the stunt man out over the edge and as he leaps hundreds of real feet downward; then, still in the same smooth and gliding shot, the cable pulls the spider-camera up and away from the falls and over toward the far shore, as depicted in the still photograph above.
THE FIGHTING GIBSONS
“When Irish eyes are smiling,” they did so for Mel even on July 28, 2006, after an arrest by a Jewish sheriff’s deputy–who may well have been laying in wait for Gibson; at blood alcohol 1.12 and 180 pounds, he may have had only two drinks.’Tis truly the luck o’ the Irish to look good — even on your police mugshot.
Speaking as a Nugent, I can say that Mel Columcille Gibson (both his first and middle names come directly from Irish saints) fulfills every cliché about the Irish: hard-drinking, hard-fighting, gifted with creativity, gab and storytelling, and perhaps a bit daft as well, with a mystical streak a mile wide, and even the classic dark hair and blue eyes of many sons and daughters of the Old Sod.
The only thing that is not particularly Irish is his voice; while the Irish voice tends toward a soft brogue that belies a combative spirit, and a relatively high pitch, the Peekskill, New York-born actor has a throaty, craggy baritone that borders almost on bass.
There are also still traces of Australian accent– historically a combination of Irish and of English prisoner Cockney influences–coming from the more than a decade decade that Mel’s father Hutton, a devout Traditional Catholic, took his family after 1968 out of the United States to Australia in the hopes of escaping the moral degeneracy of the 1960s here.
If any man can be proud of his son, and vice versa, it must be Hutton and Mel Gibson. Hutton has been morally and spiritually an Irish Rock of Gibraltar (not a trace of Blarney Stone) to Mel all his life; the famous son has said to hostile interviewers: “My father has never lied to me,” and “Never try to get me to talk against my father.”
Hutton Peter Gibson (1918-), who raised eleven children (one adopted) with his wife Anne from Ireland, at the American Free Press/Barnes Review conference in 2003 in Washington (the International Conference on Authentic History, Real News and the First Amendment) with famed, and constantly persecuted Australian Holocaust revisionist Fredrick Toeben, Ph.D. Mel and Hutton Gibson may have inherited artistic genes from Hutton’s mother, the Australian opera star Eva Mylott (b. 1875, Ireland, d. 1920, New York). Hutton once responded with Irish wit when he heard the pope had said Judaism was the “older brother” religion of Christianity: “Well, Abel had an older brother too.”
And in a Hollywood that does not even hide that it was founded by, and is run by Jews (whence the 1989 Neil Gabler bestselling book An Empire of Their Own: How the Jews Invented Hollywood), only Mel, with equal Irish parts of charm, artistry and pugnacity, could pull off the one of the first great feats of the 21st century (the other being the resurrection since 2000 of Russia under the Orthodox Christian Vladimir Putin, who goes to confession every week):
Mel Gibson is a barely-in-the-closet “antisemite” and overtly Traditional Catholic (a Latin Mass, pre-Vatican II believer)–with a very openly Holocaust- and Federal Reserve-debunking father whom he refuses to disown–yet has made back-to-back two worldwide blockbuster movies that go against the Jewish agenda while using the very resources and/or the distribution systems of Hollywood: The Passion of the Christ (2004) and Apocalypto (2006).
In a recent trip to a Hollywood Video store in Alexandria, Virginia to rent the gory Apocalypto, I saw three rows containing 60 empty covers for the film. At the desk, both the manager and a clerk told me that whites and Hispanics, men and women, the whole public was renting Gibson’s new achievement.
As Jesus Christ said–a hero of both Mel and Hutton Gibson, (and, some believe, a part-Keltic mystic himself, the Gal-ilee of Jesus and Peter being supposedly related to Gaul, Gal-atia, and “Kel-t”)–of those who oppose righteousness:
“There will be weeping and the gnashing of teeth.”
Of course, both movies also made a lot of money for Hollywood, which may be the magically delicious secret. But just perhaps the Jews are afraid to “crucify” one of the most beloved actors in the world, and one of the most powerful and richest (The Passion, which Gibson paid for himself as he did Braveheart and Apocalypto, pulled in $611 million worldwide). Thanks to both The Passion and Apocalypto, and his persecution by Jews, Gibson is now a hero across all racial lines to many of the world’s one billion Christians and 1.4 billion Muslims.
(Pro-Christianity films are normally never shown in Muslim countries, but The Passion was. Muslims believe Jesus was the last great prophet before Mohammed, not part of God, and do not believe in the Crucifixion, yet still they went to see Mel Gibson’s The Passion. They do believe the Jews cruelly persecuted and rejected Jesus, as they do the Palestinians–and Mel.)
Importantly, by both movies succeeding despite the “antisemite” label, Mel Gibson’s film Apocalypto, has further damaged the fabled “Jewish clout.” (Gibson has thus fulfilled writer Joseph Sobran’s dictum: “An antisemite is anyone hated by Jews.”)
Let us review: an action epic by an ‘antisemite,” filmed all in Mayan, without any name stars whatsoever and featuring Braveheart-level violence (“heart-rending,” one might pun) became a $50 million success story within a month. Released in December 2006, just months after the mega-star’s August drunk-driving arrest (by a Jewish cop) and his fiery (and/or firewater) assertion that Jews had started all the world’s wars, Apocalypto was hailed by alternative website giant Alex Jones as “the most powerful film of all time.” The pugnacious Texan added: “Gibson sets the tyrannical power of the state against the family and the rag-tag bands. It’s what we witnessed in The Patriot and Braveheart, but the message is driven home even more authoritatively in Apocalypto. In almost every case throughout history, the state is brutal, murdering and oppressive–and it is out to dominate and enslave the only people you can trust–your family, your brethren, your tribe.”
The major media trotted out a hostile interview about Apocalypto with Mayan art professor Julia Guernsey (the U. Texas website, my research found, says her full name is Julia Guernsey Kappelman), who claimed that while there were group human sacrifices by the Mayan rulers, “it would probably have been done as a pious act with solemnity.”[sic]
Further, the bones through the noses of the feared Mayan manhunters were, to Miss Kappelman, “ an esthetic display of beauty.”
(No photo was available as of press time of Miss Kappelman’s own proboscis.)
The ugly dilemma for Hollywood from December 12, 2006 through Oscar time, February 24, 2007, was how to avoid giving Mel Gibson Oscars for Best Picture and Best Director. (In 1996 he won those prizes, along with three other Oscars, for his 1995 Braveheart*.)
A New York Times article of December 5, 2006 by Sharon Waxman was entitled “Praise for Gibson Film, Quandary for Oscar Voters.” It stated:
“With some early reviews lauding the audacity and innovation of Mel Gibson’s bloody Mayan epic Apocalypto, Hollywood’s tight-knit community [a code word] of Oscar voters may find itself facing a difficult dilemma in the coming weeks: Will they consider the film for an Academy Award?
“The excitement of those [critics] who have seen it — like that among journalists who lingered to debate the film after a screening in Los Angeles last week — has been palpable.‘Apocalypto’ is a remarkable film,’ Todd McCarthy wrote in Variety. ‘The picture provides a trip to a place one’s never been before, offering hitherto unseen sights of exceptional vividness and power.’
“‘Gibson has made a film of blunt provocation and bruising beauty,’” famed critic Peter Travers wrote in Rolling Stone. ‘Say what you will about Gibson, he’s a filmmaker right down to his nerve endings.’”
Waxman continues:“[Some] studio chiefs . . . have said they would not work with Mr. Gibson in the future, but would not say so for attribution because they didn’t want to endanger their future business dealings. At least one influential publicist has declined to work on an Apocalypto Oscar campaign because of objections to Mr. Gibson’s views, but would not say so publicly for similar reasons.
“And yet, how can the 5,830 voting members of the Academy of Motion Pictures Arts and Sciences — an organization that, like broader Hollywood, includes many people who are Jewish — ignore a film that may well be considered by critics to be among the best of the year?”
In fact, the film ended up with no Oscar nominations by un-Holy-wood. But, as a famous New York ad for “Hebrew National” kosher hotdogs once proclaimed, Mel, like Hutton, “answers to a Higher Power.” And the Force seems to be with them.
* As time has shown, this anti-British film [Braveheart] has actually changed the politics of Scotland, creating an upswing of Scottish national pride. (It was filmed mostly in Ireland using extras from the Irish Army Reserve.) In March 2007, the Scottish independence party SNP won Scotland-wide elections. If they prevail, the entire United Kingdom may in time break up.
Mel didn’t show the half of it
Those who are motivated to attack Mel Gibson often use the accusation that the violence in his movies is too graphic, or excessive; one website bashing Gibson over Apocalypto called his description of the Mayan human-sacrifice rituals “racist” and even “pornographic.”
The Mayan cities flourished A.D. 200-900 and the neighboring Aztecs (600 miles to the northwest), bloodily flourished until the Spanish conquista in the 1500s; both civilizations descended from the likewise human-sacrificing Olmecs (900-200 B.C.). The Mesoamerican, pre-Columbian cultures did give the world the rubber ball and chocolate (that is , they gave them to the world when when the Spanish came across the Atlantic and got them), and used advanced astronomy–to stage their eclipse rituals where they “save” the gods through mass murder. The Mayans, more than any other Amerindian people in North, Central or South America, also had beautiful clothes, makeup, art, palaces, decor and of course temples–if one can avoid thinking about those temples’ use. Strikingly, the Mayans used the wheel only for children’s’ toys. They never invented metal tools or the pulley. They did everything with the muscles of their complacent and/or terrified, religiously brainwashed workforce.
The Mayans built magnificent temples for their mass murder, such as this one at Chichen-Itza. They cut down thousands of square miles of forest, devastating the topsoil, for fuel to bake the abundant limestone into powder; then they mixed the lime into clay to make stucco, which they covered over the exteriors of their brick temples. Stone, obsidian, was used to cut limestone. The Mayans trudged with the clay in baskets to the limestone kilns, although they had the wheel for use in toys.
In the “Director’s Commentary’ section of the DVD of Apocalypto, Gibson protests that the movie is not overly violent but rather hides the worst of the reality of what the Mayans did. By implication he is also speaking of the Aztecs, the neighbor civilization, whose cities were the ones existing when the Spanish arrive (1502) at the movie’s end.
The best depictions of Mesoamerican human sacrifice come from the Aztecs via the Spanish, who captured many of their artifacts intact. This applies especially to the Codexes, all original Aztec documents taken by the Spanish to Europe.
A scene, not from Mel Gibson, but from an Aztec codex.
What to do next about the victim’s skin? Of course, one also could flay the victim alive, which is what Jaguar Paw’s nemesis threatens to do to him in Gibson’s film if he should capture him: “You will see me wear your skin–and I will burn you alive.” But, before demise or after, the victim needed to be skinned; probably so a priest could wear his skin for 20 days. . . .
“Xipe Totec,” “Our flayed lord.” Here the priest is depicted in the Codex Borgia wearing a human skin. Note the human hands of a victim, dangling off the clergyman’s forearms. The Codex Borgia was a genuine 76-pp Mesoamerican document on rituals and divination, drawn on animal skins and later taken away by the Spanish, whence it arrived in the possession of an Italian Cardinal named Borgia. The great German scientist Alexander von Humboldt found it among Borgia’s affairs in 1805. It is now at the Apostolic Library of the Vatican. In the sacrifical scene on the right, note that the victim is white and his hair is BLOND.
Here are a few Aztec festivals: Atlcahualo, the “Spreading of corn” February 14 – March 5. Rituals include a ceremonial raising of a tree and the Sacrifice of Children to the god Tlaloc. Right after that festival was Tlacaxipehualiztli, the “Flaying of men,” March 6 – March 25. Rituals included Sacrifice and Flaying of Captives; mock battles; gladiatorial sacrifice; and the priests wear victims’ skins for 20 days. . . .
Once the sacrifices have been made, then what to do with all the skulls? One could of course encase a skull in rubber and make a ball out of it for a lethal game of Olmec/Mayan/Aztec loser-gets-sacrificed. Or one could make a decorative rack, not a spice rack, of course. A prominent feature of Mayan and Aztec urban life was the skull racks, a kind of abacus with skulls, and poles beaded vertically with human skulls. The poles were called tzompantli, displaying the heads of sacrificial victims or defeated ballgame opponents. The tzompantli and skull baskets for decapitated children’s heads are seen in Gibson’s movie. One can only imagine how a captive felt being led through such a psychopathic courtyard, despite leftists writing today that the victims felt “privileged” to be sacrificed to the gods. If so, why then did tribes subject to the Aztecs rise up en masse with the alien Spaniards and help Cortes overthrow them in 1519-1521?
Based on numbers given by the Conquistador Andrés de Tapia and by Friar Diego Durán, professor of anthropology Bernard Ortiz de Montellano (of Wayne State University, Michigan) has calculated that there were as many as 60,000 skulls on the Hueyi Tzompantli (Great Skull Rack) of Tenochtitlan, now in Mexico City. There were at least another five more, smaller skull racks in Tenochtitlan. Some sources say that the great sacrifice of 1487 killed up to 80,000 human victims.
It is noteworthy that the most militant and prominent organization affiliated with the National Council of La Raza (whose former director is a co-chairman of Hillary Clinton’s campaign for president), which demands amnesty for all illegal Hispanic aliens in the U.S., calls itself proudly “Aztlan,” after the Aztec nation it hopes to resurrect while sending “Europeans back to Europe.”
Of course, the greatest act of courage on Gibson’s part would be to do a movie or documentary not about long-gone civilizations but instead to examine the charges of child sacrifice raised by Professor Ariel Toaff’s book, Passovers of Blood. The old issue of Jewish human sacrifices re-emerged in 2007 in Italy, with Prof. Toaff, an Israeli citizen–and son of the Grand Rabbi of Rome–proving that some Jews accused of kidnapping and killing Christian children in ritual sacrifices in the Middle Ages were actually guilty as charged. (See the website of the Jewish convert to Christianity Israel Shamir or, for the text of Toaff’s work online–the book has since been withdrawn and destroyed–see the website of www.vho.org.)
One recent definition in Wikipedia of “psychopathy” in psychiatry and clinical psychology:
“A condition characterized by lack of empathy or conscience, poor impulse control, and manipulative behaviors. The manipulative skills . . . are valued for providing audacious leadership. Some have argued that psychopathy is adaptive in a highly competitive environment, because it gets results for both the individual and the corporations they represent.
“However, these individuals will often cause long-term harm, both to their co-workers and the organization as a whole, due their manipulative, deceitful, abusive, and often fraudulent behavior.
“In current clinical use, psychopathy is most commonly diagnosed using the checklist devised by Professor Robert Hare. He describes psychopaths as “intraspecies predators who use charm, manipulation, intimidation, and violence to control others and to satisfy their own selfish needs. .
mugwort writes: “A legacy from the old-timey Aztecs is the way Mexicans celebrate “El dia de los muertos,” or “Day of the Dead” (“All Souls’ Day” or “All Saints’ Day” in many other countries)–with lots and lots of human skulls:
The point is not at all to claim that all, or most, or only Mayans or Aztecs were psychopaths. Far from it. The Spanish conquistadors were psychopaths too.
The issue is the 4% (or more) psychopaths in every race, who scar life for the other 96% with a gift for manipulation and cruelty. Please see my post at 295564458.
My belief is that psychopaths, in the form of warlords, began to spread during the Bronze Age. The Catholic Church and the Spaniards both got their torture technology from the Romans, who as we saw clearly in the gladiator games in the Colosseum, had a strong psychopathic component.
Christianity was non-violent until co-opted around 330 by Constantine “the Great” (the great psychopath!), when the cynical and opportunistic riff-raff poured in. Once it became The State Religion, it was finished as the religion of Jesus., and out came the rack
So, yes, the Europeans did ghoulish things too. Or rather, their psychopaths did.
(I would plausibly also run far and fast if “Zero Wolf” threw out: “You will see me wear your skin”!, which was a genuine Aztec-Mayan atrocity.)
Mel surges forward, right; actors behind (manhunter and sacrificial slaves), center; and unique digital movie camera, left.
Nor, for that matter, is Mel’s masterpiece “The Passion” too violent, or the whipping scene “too long.” (I would recommend looking away for one minute, when the Roman bastards take out the razor whips. but hey, it happened, and Mel is merely the messenger.)
Mary Magdalen, Mary and brother James watch Jesus’ show trial
What I noticed today, out for a walk along the Potomac, is that when chatting with folks, they have read — and been victimized by — the sneaky, disparaging, Jewish-origin movie reviews implying that it is Mel Gibson that is “violence-obsessed.”
Well, the Mayans were the ones obsessed with COMMITTING violence, as were the Romans in The Passion, and as was the Jewish Sanhedrin in DEMANDING violence. (In fact, Gibson has the High Priest Caiaphas come up Golgotha to sneer blackly at Christ as the nails go in.)
Gibson, for showing one-quarter of the truth of what others were actually doing, is accused of loving violence. Ahh, gimme that good old Big Lie–works every time on the uncynical non-psychopaths who always trusts what the prestigious “expert” and authority figure says.
The ungolden rule: The perpetrator should always accuse the victim of his own crimes.
The Germans call this the “Haltet den Dieb” principle, ‘Stop the thief!”
That means that as you steal a handbag, you point at someone innocent walking away and yell “Stop, thief!” So people all look away from you, and you steal away with your stolen goods while the alert citizenry angrily collars a poor shlump.
Carl Jung, the great German-Swiss psychologist, broke with his original mentor, the Jew psychiatrist Sigmund Freud, over the sexual obsessions of this Jude and his potty-training mania. Jung then went on to announce a new concept: Projektion.
Carl Jung, inner voyager of the white mind
]In other words, certain people . . . “project,” deliberately or by instinct, their own inner filth and their outer foul actions on others, routinely, denouncing them, hating them, defaming them — and, for example, calling THEM the racists, haters, defamers, murderers and supremacists. “Accuse others of exactly your own misdeeds.” That is the ultimate Big Lie.
The glowering and sinister
Freud fled Austria for Churchill’s England when, to roaring cheers, the Third Reich marched in.
The story of how Carl Jung broke with Sigmund Freud in many areas marks a real breakthrough in racial psychology.
Jung found out that modern whites, educated Christians of 1900, consistently dreamed using symbolism that went back to the ancient Keltic and Germanic gods and goddesses of his clients’ very distant pagan ancestors. He called it the “group unconscious.”
Athena, goddess of intelligence, wisdom and skill
And Jews, in their own slumber, Jung learned over and over, resurrected ancient semitic Babylonian gods such as Marduk.
Marduk, god of semitic Babylon/Iraq, home of Abraham
Shortly after, Sigmund Freud started muttering that Jung had gone ‘antisemitisch.”
A Jew named Richard Noll wrote a hostile book, hardly to be recommended, about Carl Jung entitled The Aryan Christ: The Secret Life of Carl Jung. So the great book about this white hero and scientific prober into the white unconscious mind needs to be written. It may help us save our people.
BTW, it was Freud who used the term “SUBconscious” (UNTERbewusstsein, because he felt we all had a garbage-filled, filthy sewer mind down there — boys wanting to screw their own mother and kill their dad, for example — and this subconscious had to be papered over by civilization and punishment.
Jung’s term, however, was the UNconscious (UNbewusstsein, meaning we were just not aware of what that part of our mind was working on–but that much of it was very good, creative and a needed form of processing for the billions of bits of information we take in daily. (Imagine just strolling down a busy street and actually thinking about the hundreds of people, cars, flying birds, waving branches, muttering panhandlers, how much time was on each parking meter you passed, and a hundred ads for consumer shlock!)
Here’s an example of the unconscious mind’s infinite radar: You are sitting in a crowded, noisy cafeteria eating along with hundreds of others. You are yakking with a friend and munching a salad. Suddenly, at the other end of the 20-foot table, you hear througj it all your own name being spoken , and instantly your unconscious radar redirects your conscious mind to focus on that speaker.
In other words, your unconscious mind was clearly picking up all that ocean of chatter, i.e., it was taking in every other conversation at the table. Because it heard your name. And that is the vast planet of the unconscious mind, the unfiltered mega-information, and it can be a source of incredible creativity, memories and energy.
What is the “conscious” mind? A FILTER to screen out 90% of it, to avoid chaos and information overload, but at the price of missing the big picture.
This “unconscious” ocean of knowledge, which the great thinkers, poets and artists can access while awake and put together in new patterns, was the great discovery of the good Herr Doktor, Carl Jung.
Mel Gibson graduated in 1977 from Australia’s National Institute of Dramatic Art in Sydney. “Admission into NIDA is extremely selective, and its auditions highly competitive: on average, only one out of every hundred applicants is accepted.” (Wikipedia) A great cinematographer masters the technical, organizational and financial skills to produce a great movie; then from his Unconscious Mind erupts in a Mel Gibson-level person the universal vision of life.