This is the first chapter of Michael A. Hoffman II's excellent book Secret Societies and Psychological Warfare, which was completed a few months before 9/11.
From 007 to 2001
“But we confess and witness openly … that it shall first happen that the stones rise and offer their service …” Rosicrucian manifesto, Confessio fraternitatis (1615)
The occult Cryptocracy processes the Group Mind of the masses mainly through psychodrama. The alchemical and Rosicrucian command dogmas were literary works. In the course of receiving the establishment’s reports and accounts of Jack the Ripper, the Hillside Strangler, Son of Sam and the Unabomber, a mental virus is implanted in many percipients. The hypodermic needle in this case is nothing more startling than a campfire story, only the campfire is the crackling electrical current of a television and the story is of our extinction. The narrative, the plot, the characters and the symbolism all constitute the imprinting that is one of the highest functions of cere-monial, cereal murder.
There is a dark poetry to ritual murder, to twilight language,  to the fantastic convergences to known as coincidence. Most “conspiracy researchers” miss these. The best investigator – of the occult or of almost anything else – has a child-like sense of curiosity and wonder about seemingly mundane things. John Stilgoe, professor of Landscape History at Harvard University, in his book, Outside Lies Magic, writes of the “ordinary” in our lives:
“The whole concatenation of wild and artificial things, the natural ecosystem as modified by people over the centuries, the built environment layered over layers … take it in … and quickly it becomes the theater that intrigues … fascinates … and above all expands any mind focused on it. Outside lies utterly ordinary space open to any casual explorer willing to find the extraordinary. Outside lies unprogrammed awareness that at times becomes directed serendipity.”
The preservation into adulthood of childhood’s inherent appreciation of the true “magic,” which may be found in what is generally dismissed as the “ordinary, everyday world,” was expressed with childlike glee by the born-again Christian mystic Thomas Traherne in the 17th century:
“Your enjoyment of this world is never right ‘till every morning you wake in heaven; see yourself in your father’s palace and look upon the skies, the earth and the air as Celestial Joys: having such a reverend esteem for all, as if you were among the angels … ‘till the sea itself floweth in your veins, ‘till you are clothed with the heavens and crowned with the stars … infinitely beloved of almighty God.”
British intelligence asset Arthur C. Clarke, through the command dogma embedded in his immensely influential “science fiction” work, Childhood’s End, attempts, through self-fulfilling futurism, to make inevitable the end of serendipity and wonder, after sufficient processing by modern technology and mental viruses.
The virus embedded with the ritual murders of John F. Kennedy and the victims of “Unabom,” are in the tricksy, punning lingo of the Hermetic fraternity’s Camelot, “once-and-future” tales possessing the intention of self-fulfilling prophecy; what I term, “inevitabilism.” This inevitabilism is disseminated within literary and cinematic representations, sometimes as part of the genre and imagery of science fiction, (“sci-fi”).
The “virus” containing this meme (“contagious” idea pattern), infects the host with the sense that it is:
• Useless to resist central, establishment control. • Or it posits a counter-cultural alternative to such control which is actually a counterfeit, covertly emanating from the establishment itself. • That the blackening (pollution) of earth is as unavoidable as entropy. • That extinction (“evolution”) of the species human being is inevitable. • That the reinhabitation of the earth by the “old gods” (Genesis 6:4), is our stellar scientific destiny.
The Laboratory of the Gadarenes
When Secret Societies and Psychological Warfare was first published, Tom MacDonald, an organic farmer, sent a news clipping titled “Eating Raoul … and Others” which was subsequently reproduced in a later edition of this book. It was among the very first notices of the crossing of swine with human beings for the purpose of manufacturing “spare parts for humans,” through the harvesting of genetically engineered pig organs.
By “coincidence,” while I was writing this foreword, the PBS television network broadcast on March 27, 2001, a week after the first day of Spring, part one of a Frontline documentary, titled “Organ Farm,” which graphically depicts a number of scientist-gods and the high priests who have access to their medical inner sanctum, trafficking in genetically engineered, part-human pigs. The program shows a young woman with a debilitating disease whose symptoms were “miraculously” ameliorated through the injection into her brain of altered cells from a “humanized transgenic” pig. Genetically-engineered pig organs were shown being “xeno-transplanted” into humans.
The tone of the program was one of qualified adulation for the mad scientists thus engaged. The only cautionary note was sounded by animal rights activists who felt it was unfair to test the genetically modified swine organs on simians. Billions of dollars in profits are at stake for the corporations who own the patents on the “transgenic” human-swine monstrosities.
The concluding segment, “organ Farm II,” was broadcast on April 3 and was even more revealing. At the conclusion of the “Organ Farm II” broadcast, as credits rolled and ads selling a video of the program were broadcast, two oracles appeared. First, a haunting illustration of a pig with human features, including blue eyes, was briefly shown without commentary of any kind. Then a quick commercial for Frontline’s sponsor, an Internet service provider, was flashed which depicted an ape morphing into a bearded, Victorian man, presumably Charles Darwin, high priest of Evolutionanity.
Apart from the science chatter in these documentaries, the graphic surgical footage and the talking head medical “discourse,” the crux of the programs consisted in the nationwide display of these two omens, which represent a wake-up call, a planetary fire-alarm, a Rosicrucian confessio and a “Truth or Consequences” dare.
The slant of the “Organ Farm” documentaries imparted to the PBS Frontline viewer the sense that to “cure” deadly diseases associated with aging and the catastrophic eating and lifestyle habits of modern people, mixing human cells with pig cells and creating a hybrid beast which is neither human nor animal, was the wonderful new benefaction which science had bestowed on mankind.
It is interesting that modern scientism and “medicine” have devolved into a pigsty, rather than say, a horse-stable or something anthropoid, such as a monkey menagerie. But no, it was not to be. For some reason or other, Frankenstein’s castle is now demarcated by the contours of the swineherd and one wonders if the principal laboratory, or the operation as a whole, is a code-named Gadarenes:
“And they came over unto the other side of the sea, into the country of the Gadarenes … Now there was nigh unto the mountains a great herd of swine feeding. And all the devils besought him, saying, Send us into the swine, that we may enter into them. And forthwith Jesus gave them leave. And the unclean spirits went out, and entered into the swine …” (Mark 5: 1-13).
The sight of this scientific pigsty, as broadcast on national television, would in better times have generated a furious peasant uprising which would have cleaned it out with fire and a hangman’s rope. But considering the typical bleatings of pastor and priest in the whorehouses of Judeo-Churchianity, such a healthy reaction is unlikely:
“Dear Friends in Christ, the genetic engineering of pig organs and the implantation of these organs into humans, thus rendering humans a species of monstrous beast, is indeed troubling to us all and especially to Christians, for whom the human person is a manifestation of the divine. We must ask whether science has gone too far and what the repercussions for us all may be.
“On the other hand, let us not rush to judgement, lest by doing so, we condemn those among us afflicted with strokes, multiple sclerosis and Parkinson’s disease to a life without hope. If science can offer our afflicted brethren relief, we must weigh this relief against the dangers intrinsic to the operation. Let us therefore prayerfully consider what God’s will for us may be, prudently mindful that in forming a negative judgement we ourselves may be usurping the judgements of the Almighty.”
This sort of paralytic homily with its semantic evasions, is endemic to our Revelation of the Method era, where people are so transfixed by the scientific marvels that parade before them, that they are frozen in the act of spectating. As the Church cleric wrings his hands and counsels “prayerful consideration,” he is only buying time for the accursed Frankensteins to march their “golems, gorgons, hydras and chimeras dire” onto center stage, and to render all dissenters after the fact as the insane ones.
This humanoid-beast creature prepared in the gleaming laboratories and research-hospitals, fulfils the occult mandate for the return of the legendary, god-like “beast with reason,” Oannes, an animal with a human head, reputed to have been the bringer of civilization to Sumer, in the dimmest reaches of antiquity. 
In the shoulder-shrugging existentialism of the modern world, we can live with the return of the beast. What would make us livid with outrage is if some fundamentalist Taliban army were to take a blowtorch to the pigsty and the possessed who operate it.
But even more toxic is the mental malaise, or occult virus, if you will, that damns the only healthy reaction and makes the scientific tampering possible. We have arrived at the point in human devolution represented by the symbolic, “2001,” not by accident but by design, by a process, first set in motion by the state religion of Pharaonic Egypt.
The Occult Significance of 2001
2001: A Space Odyssey, directed by Stanley Kubrick and based on the writing of Arthur C. Clarke, is, with hindsight, a pompous, pretentious exercise. But when it debuted it sent shivers up the collective spine. It has a hallowed place in the Cryptosphere because it helped fashion what the Videodrome embodies today. At the heart of the film is the worship of the Darwinian hypothesis of evolution and the positioning of a mysterious monolith as the evolutionary battery or “sentinel” that transforms the ape into the space man (hence the “odyssey”).
Clarke and Kubrick’s movie, 2001, opens with a scene of the “Dawn of Man,” supposedly intended to take the viewer back to the origins of humanity on earth. This lengthy sequence is vintage Darwinism, portraying our genesis as bestial and featuring man-like apes as our ancestors. In the film, the evolution of these hominids is raised to the next rung on the evolutionary ladder by the sudden appearance of a mysterious monolith. Commensurate with the new presence of this enigmatic “sentinel,” our alleged simian progenitors learn to acquire a primitive form of technology; for the first time they use a bone as a weapon.
This bone is then tossed into the air by one of the ape-men. Kubrick photographs the bone in slow motion and by means of special effects, he shows it becoming an orbiting spacecraft, thus traversing “millions of years in evolutionary time.”
The next evolutionary level occurs in “2(00)1” (21, i.e. the 21st century). In the year 2001, the cosmic sentinel that is the monolith reappears again, triggering an alert that man is on to the next stage of his “glorious evolution.”
By the time the movie 2001: A Space Odyssey (which was made in 1968), reached classic status in the eponymous year 2001, the resulting “evolutionary being” was revealed to be not a child of Homer, whose sails are powered by a solar wind, but rather a homunculus out of the shadows, from which emerges Set-Shaitan-Cynocephalus, guardian deity of alchemical miscegenation,  an entity beyond the spiral of Nature; the maker of an alien wasteland more barren and sterile than any envisioned by T.S. Eliot or Samuel Beckett.
The mute monolith of 2001 is harbinger of what Clarke calls in another of his works, the Overlord. It is the ashlar of the secret societies. The monolith represents the shaping function of the occult magus, who tames and tampers with the natural world. The 2001 monolith is the stake that impales the divine-organic in favor of the anthropomorphic-artifice. It is one of the totems of human brain power and of the cryptocrats who imagine themselves the most cerebral of us all. They believe there is no god but themselves, ascendant on the ladder of evolution. Yet they humor our need for a transcendent god, so they stoop to offer us the mystery totem of 2001 to satisfy our craving to bow before an idol in ritual place and time.
The uses of the artificial constructs of time, calendars and clocks has not been sufficiently studied.  Time as now measured is as contrived and scripted as any other feature of the establishment’s system.
In relation to the end of one millennium and the beginning of the new one, we see the familiar outline of anti-climax and climax. A legion of false prophets and con-men, who wore an anti-establishment mantle, but whose views were trumpeted by the establishment, predicted financial collapse in 1999 and the “end of civilization as we know it” in 2000, and these soothsayers raised both the physiological and psychological adrenaline of the masses, in some cases to fever pitch in what became an anti-climax of the apocalypse.
At the same time, the establishment’s popular culture conspired to offer a libertarian antithesis to the soothsayers’ fear-mongering by funding a worldwide network of national and municipal celebrations on the eve of 2000, to celebrate a “new millennium.” But either the horde of celebrants and organizers of this bacchanal, which was broadcast worldwide on New Year’s 2000, were atrociously deficient in arithmetic or a hidden hand had deliberately labelled the last year of the old century (2000) as the first year of the new millennium. And so it was that the goyim were piped by their pipers into city squares in London, Prague, New York, Paris, San Francisco and other major cities on the last night of 1999, to “welcome the new millennium.”
But the Cryptocracy had rather clearly, through the medium of anointed prophets like Arthur C. Clarke, signalled to initiates and those percipients whose alertness is sufficient to qualify them as self-initiates, that 2001 would serve as the climax entry point for the epoch of human alchemy, as indeed it might be rather elementary to predict, since 2001 is the actual Year One of the “new millennium.”
One by-product of the intentionally bad timing was that the 2001 New Year’s celebrations were strangely muted. When it was pointed out to celebrants that the year 2001 was the actual first year of the fabled new millennium and that this should be the time that witnessed the mammoth celebrations and welcome, the goyim responded lamely and hesitantly with a slightly stunned head-scratching, “Well, we did that last year.”
But it is in 2001 that the prestigious TV network of the educated and refined of America, PBS, revealed for the first time in such detail and with such drama, the bestial nature of the occult imperium, albeit under a self-congratulatory layer of bromides from the gospel of evolutionary “progress.”
So it is that 2001 begins the final phase in the Kali-nigredo vision. This message is symbolically imparted to exactly the audience that had been sought, an exhausted, preoccupied “been there, done that” mass of “molasses in January,” who could not sound an alarm or countenance anything beyond consumption and existence because “we already did that last year.”
Now the black stone appears before us, to – as the Rosicrucians prophesied nearly 400 years ago – “offer … service.” In keeping with the script, in the first dark hours of New Year’s 2001, a “mystery monolith appeared on a grassy knoll in Magnuson Park in Seattle, Washington.” The image of this monolith was that of an almost exact replica of the one featured in 2001: A Space Odyssey. Neither the media nor the police would say how the monolith got on the “grassy knoll” or who was responsible. The 2001 monolith stood for a few days while the Seattle parks department debated its fate. Then it disappeared. 
This Freemason’s radiating ashlar, this transmitter monolith, is a sentinel that we allegedly trigger with our awareness – a “progressive development” which is in turn conveyed by the sentinel to the “higher powers” (“dark gods”).
The movie that was an enigma in the year of its debut, promised gnosis in the year it foretold. The message of 2001 is a startling and bold one: that merely by the fact of having arrived at this moment in time one is an initiate simply by being alive in the here and now. The masses at large in the early 21st century have had as many occult experiences and absorbed as many occult cues as most of the old Lodge brothers. Two hours in front of a screen watching the movie The Matrix should sufficiently program even the most wholesome eagle scout or the most innocent Mayberry resident to the level of the first degree of occult apprentice. That is the nature of the Videodrome.
2001 takes the occult game of hazard to the next highest level of peril and opportunity: 1. The perilous gamble: “Satan” becomes more and more evident on earth among us. 2. The occult opportunity: instead of overthrowing him and his human sponsors, many of us find that he’s not so bold after all!
The appearance of the Sentinel from 2001 at the beginning of the year 2001 and the century it symbolizes (the 21st), marks the symbolic end of the preparatory-processing phase intended to program us into accepting the appearance of the devil himself as our presiding Overlord. The 21st century is intended by the western secret societies to serve as the stage for the literal, undisguised materialization of a being resembling classic medieval images of the devil, to rule over what Arthur C. Clarke terms “One World.”
The magico-religious component of the image generated by advanced science corresponds to Clarke's most famous dictum, “Any sufficiently advanced technology is indistinguishable from magic.” In Childhood's End, Clarke foretells the arrival of corporeal demons on earth. He styles these demons, the “Overlords”:
“It was a tribute to the Overlords’ psychology and to their careful years of preparation, that only a few people fainted. Yet there could have been fewer still, anywhere in the world, who did not feel the ancient terror brush for one awful instant against their minds before reason banished it forever.
“There was no mistake. The leathery wings, the little horns, the barbed tail – all were there. The most terrible of all legends had come to life, out of the unknown past. Yet now it stood smiling, in ebon majesty, with the sunlight gleaming upon its tremendous body …
“In the Middle Ages people believed in the devil and feared him. But this was the twenty-first century … It was One World.” 
The materialization of this gyp,  this diabolic nightmare was inseminated by a millennia old esoteric current, fine-tuned and propelled by England’s royal astrologer and secret agent, John Dee, code-named 007 during the Elizabethan age, for full viral materialization in our 2(00)1 age. The process began with the number 7 and culminates in a hermetic game of hazard or “chance,” 21. 
The working in its entirety represents the process of human alchemy, dedicated to the transformation of base matter (humanity) into the “gold” that is the man-beast, within the psychodrama that is the Revelation of the Method/Making Manifest of all that is Hidden, which was initiated just a few years after Dee’s death, in the pages of the 1615 Rosicrucian manifesto, Confessio Fraternitatis, or “Confession of the Laudable Fraternity of the Most Honorable Order of the Rosy Cross.”
The psychological warfare contained within this esoteric “confession” is predicated on the following strategy: One day when we have secured our victory we will confess our crimes to a ritually-bound public. The Confessio foretold this nearly 400 years ago: “… that which in … before times hath been unseen … shall be spoken forth and uttered … maketh manifest … innumerable secrets.”
The western masses enter thraldom and bestiality with enthusiasm. They cheer programming and suppression of dissent, they volunteer for digital surveillance, they idolize their executioners and exterminators, they celebrate their new, swinish identity.
To process a population of goyim sufficiently depraved to devour unborn children for the benefit of the elderly, mix races and species and rebuild the Tower of Babel, it was necessary to immerse the people of the West in an era that would idolize the material world and deny the spiritual. An era where heedless, perpetual juveniles may consume genetically-modified junk “food” not fit for human consumption, from demineralised soil, and be saved from the consequences of these faulty choices by great god science.
Are you a career girl and need to postpone child-bearing? Modern Sarahs will have children unto age 100 courtesy not of the God of the Old Testament but of the god of the test-tube. Are you a drunk who destroyed your liver? Pray for the death of a young motorcyclist or the execution of a hapless dissident in Red China and you may have a new liver or failing that, a hu-hog liver. Are you a Parkinson’s patient or a stroke victim? Relief is around the corner courtesy of the injection into your brain of a needle containing cells taken from the corpse of a baby murdered in the womb, or from the body of a living pig-man. And so it goes with a contumacious, carnival-like madness.
Why is this depravity stronger and more lethal now, in the 2001 epoch than at any other time in recorded human history? Because in the past man could exculpate himself by pleading ignorance. But in the Revelation of the Method/Making Manifest of all that is Hidden era, man knows!
2) In the secret societies, “twilight language,” was advertised as the “Adamic language.” Cf. for example, the passages pertaining to the testimony about Enoch by the Ethiopian priest (a Prestor John archetype) in Guillaume Postel’s De Originibus (1553).
3) In Sumerian lore, Oannes is described as having a “repulsive appearance.” In Childhood’s End, Clarke predicted that in the near future the hideous appearance of the demonic overlords would no longer repel mankind.
4) The word miscegenation was coined by the Irish-American writer D.G. Croly in 1864 in his book of the same name; from the Latin Miscere, to mix, and Genus, the classification of orders of species.
5) Cf. Gerhard Dohrn van Rossum’s History of the Hour: Clocks and Modern Temporal Orders, and the less satisfying though useful, Calendar by David Ewing Duncan.
6) Its erection and removal would later be attributed to “pranksters.”
7) Arthur C. Clarke, Childhood’s End (NY: Ballantine Books: 1974 reprint of the 1953 original); pp. 68 and 70.
8) Gyp: a con, a fake, a swindle perpetrated by Egyptians, a.k.a. “Gyp-sies,” who emigrated to India and later to Europe.
9) Dee was a mathematician and a Kabbalist, so number-obsession in this context is not far-fetched. Indeed, modern Americans are evermore reducible to a string of numbers, be it their “Zip” codes, Global Positioning Satellite addresses or the social security number without which they may not buy or sell. The Zohar says that “everything lies veiled in numbers.” This principal corresponds to the three sevens of the 2001 gateway to the “21” epoch. The mechanics of numbers as delineated in the Zohar and elsewhere in the Kabbalah, are the product of a consensus about measurement. Dee’s significant number 7 and Clarke’s only slightly disguised, significant number 21, are arbitrary yardsticks imposed on our perception of the temporal order so as to orient us to the space-time conjunction necessary to the maintenance of the once-and-future inevitability of the Cryptocracy’s Camelot allegory. The contrast between the reign of number and the world of poetic serendipity, is analogous with the contrast between metric and traditional measure. Traditional measure (pounds, pecks, gallons, bushels, leagues, fathoms, furlongs etc.) represents measurement on a human scale, containing the quantities of serendipity and poetry, which constitute mankind’s defense against the empire of the machine. Modern measure, on the other hand, polices our world with the lifeless rigidity of the metric system, first imposed in 1795 by Freemasons.
2001: A Space Odyssey, was released in 1968, 33 years before 2001. Director Stanley Kubrick (Cube-brick) died on March 7, 1999, 666 days before the beginning of 2001. Kubrick died just days after completing Eyes Wide Shut. Some speculate that Kubrick was murdered/sacrificed for revealing too much in that movie, having already been threatened after the release in 1971 of A Clockwork Orange.
The number 16 Tarot card, The Tower, seems to predict/script what happened in New York on 9/11. It even depicts the jumpers:
The 5-sided Pentagon, itself an occult symbol, was also attacked. (9/11 also happened to be 60 years to the day after construction on the Pentagon began.)
16 + 5 = 21
Similarly, the date of the London bombings was 7/7/2005, or 777
which again totals 21, or "Blackjack".
According to Hoffman, Blackjack is one of the names for the Devil, which I hadn't heard before. But it's very interesting when you consider that there's an actor called Jack Black, and he had the audience participating in a prayer to Satan at the 2009 VMA awards:
"Jack Black" is also in Tenacious D in The Pick of Destiny, in which a piece of one of Satan's horns is used as a guitar pick that magnifies the guitar player's talents, and The School of Rock, in which he gets a class of school children to say a prayer to the "god of rock".
At one point, his character in The School of Rock says to the children's parents that their children have touched him, and that he's pretty sure he's touched them too. He is then seen running away as the parents run after him, which is presented at face value as a joke/misunderstanding.