Wednesday, September 18, 2013

The Usurocracy and the mob

Thomas Arne wrote the music to match the sentiment 
With the Dutch invasion of England and the founding of the Bank of England, the empire of Usura* entered history. Its hallmarks were power through the seizure of the money supply and the build-up of military might. These are what enticed the backers and collaborators of the invasion. These would be the twin pillars of Usura from this point on. Of the first £1.2 m raised as a loan with the Bank of England, half was spent on the building of warships. The omens were there right from the start.

It all began with money - the trafficking of money and illegal money-lending by a minority of outsiders who were forced to hide within the very pores of the social organism. Usura was born of a long and bitter struggle between the usurer and the rest of mankind. That which was once held to be profane, permitted to serve the people in only a limited way, had now usurped power.

Man had exchanged the God of heaven for the ‘god of the world’, Mammon. Under no account is historical development in this era to be seen as a progression to a new enlightened modernity. That would be falling into the trap of believing the victor’s history and philosophy. Man exchanged one belief for another: one based on the vision of attaining as close an alignment as possible to the cosmic order, the other based on money. There is no neutral choice. To view Whig history as though it represented an enlightened rationality is to choose the path of Pharisaic self-righteousness. It is a choice that has had catastrophic consequences for millions upon millions of people since Usura was founded, and continues to do so with increasing ferociousness to this very day.

The founders of Usura renounced love for power and gold in the manner of Wagner’s Albrecht the Nibelung. Sings Albrecht addressing the old gods...

You who aloft in the soft zephyrs' breeze
laugh and love,
all you gods I'll grip
in my golden grasp!
As I renounced love,
all living things
shall renounce it!
Allured by gold,
for gold alone shall you hunger.
On radiant peaks
you live,
lulled in bliss:
the black gnome
you despise, you eternal revellers!
With the seizure of power came the manipulation of the masses. By 1700, London was the largest city in the world with over 500,000 inhabitants. In the London mob, the Usurocracy had a ready-made means of securing its grip on power, and it ensured that it could steer the mob in any direction it wanted with the introduction of nationalistic patriotism. After the Act of Union in 1715, the Union Jack became the symbol of this new Whigism. Thomas Arne wrote the music to match the sentiment. In 1740, theatre audiences were singing along to his Rule Britannia and, by 1745, standing to God Save the King. The mob that had so recently been enslaved to the national debt was induced to to sing, with cruel irony, that ‘Britons never, never, never shall be slaves’. The timing of these instruments of psychological enslavement conditioned minds in readiness for the 45 rebellion, a lost cause from the start given its disorganisation, but buoyed along remarkably by popular sentiment for the restoration of the rightful king, particularly in the North, where the instruments of Usura’s propaganda had not yet penetrated. Less than a hundred years later, the Usurocracy felt it safe enough to unleash democracy as its means of securing power against those who could see through its facade of governance to the rottenness of legalised counterfeiting corruption at its core. To this day, the Usurocracy relies on mob rule to maintain and extend its power. It fights wars to extend its grip over the money supply in the name of democracy.

*I have employed Ezra Pound’s collective noun describing the distended western economy with its lopsided foundation upon banking and the principle of "interest". Held within the term is the perennial struggle between the usurer and the producer, and the foetid decline when the former holds sway. Pound's famous poem says it all, and more.


With usura hath no man a house of good stone
each block cut smooth and well fitting
that delight might cover their face,

with usura

hath no man a painted paradise on his church wall
harpes et luthes
or where virgin receiveth message
and halo projects from incision,

with usura

seeth no man Gonzaga his heirs and his concubines
no picture is made to endure nor to live with
but it is made to sell and sell quickly

with usura, sin against nature,
is thy bread ever more of stale rags
is thy bread dry as paper,
with no mountain wheat, no strong flour

with usura the line grows thick

with usura is no clear demarcation
and no man can find site for his dwelling
Stone cutter is kept from his stone
weaver is kept from his loom


wool comes not to market
sheep bringeth no gain with usura
Usura is a murrain, usura
blunteth the needle in the the maid's hand
and stoppeth the spinner's cunning. Pietro Lombardo
came not by usura
Duccio came not by usura
nor Pier della Francesca; Zuan Bellin' not by usura
nor was "La Callunia" painted.
Came not by usura Angelico; came not Ambrogio Praedis,
No church of cut stone signed: Adamo me fecit.
Not by usura St. Trophime

Not by usura St. Hilaire,

Usura rusteth the chisel
It rusteth the craft and the craftsman
It gnaweth the thread in the loom
None learneth to weave gold in her pattern;
Azure hath a canker by usura; cramoisi is unbroidered
Emerald findeth no Memling

Usura slayeth the child in the womb
It stayeth the young man's courting
It hath brought palsey to bed, lyeth
between the young bride and her bridegroom


They have brought whores for Eleusis
Corpses are set to banquet

at behest of usura.
John Dunn.