Proving that JEM (Jewish Esoteric Moralization) is not merely a real phenomenon but an important and specific phenomenon that includes the deployment of symbols in coherent and identifiable patterns, presents some challenges. For instance, JEM appearing in Art and particularly narrative Art, while commonly drawing from a broader shared symbol system, is, of course, often highly contextual. In other words, symbols appearing within works frequently gain at least some portion of their meaning through their contrast and interaction with other symbols appearing in the same works. Here, sometimes symbols reference the ancient, the mythological and the Biblical. Sometimes they reference the contemporary and, in such cases, frequently the political, particularly as they relate to the interest of Jews. Hence, knowing the time in which a work was created often becomes important.
This aspect of JEM requires that each parable be studied and each symbol evaluated by its use and meaning within the context of each parable while also being evaluated against its broader use in other parables. Obviously, a comprehensive survey of all JEM is well outside the scope of any single study. Likewise, it defies any simple method of survey. Though certainly methods of survey and investigation exist to begin the process of identifying such works.
Nevertheless, confirmation of JEM in each work, at least until more intelligent methods of computer-based research can be developed, becomes a long and painstaking task. Doubtlessly such identified symbols and motifs could become criteria in a comprehensive digital research among works. Perhaps, one day, even if necessarily employing teams of humans and computer technology, all works containing JEM or REM (Racial Esoteric Moralization) could be identified.
The second-best option lies in identifying broad reoccurring trends, whether of motifs or specific symbols. For the purposes of corroboration, however, this requires evaluating select texts where JEM appears deployed by the more salient and influential artists. Thus, this broader study, consisting of multiple volumes, is structured in the following manner.
First I provide an understanding of central mythic motifs and symbols from the ancient world that are commonly referenced in contemporary JEM. This will, of course, include an evaluation of Biblical symbolism. The reader may be surprised to learn that there is much to discover before moving to a discussion of contemporary works. Arguably, in some cases, much more worth learning than about the contemporary works themselves. Then again, the depth and deployment of JEM as it appears in contemporary works is no less fascinating. It will prove highly instructive to the Aryan artist and thinker.
Second, once the reader is familiar with these motifs and symbols, this study will evaluate selected texts from contemporary Jewish narrative Art where these elements are commonly deployed. Remarkably, contemporary JEM in general comes to serve as a Rosetta stone for many ancient myths and symbols. However within the broader Rosetta stone of contemporary JEM, there are especially succinct and symbol rich texts that perhaps truly deserve the term Rosetta stone. Hence we will reserve this term for them. Since we are interested in gaining a clear understanding of the symbol language of JEM, it makes sense to focus on “Rosetta stones.” These become a means not merely of understanding JEM but of recovering a coherent understanding of Myth, Religion and Art in general.
On the other hand, since we are interested in proving the phenomena highly salient, it also makes sense to conduct a much broader survey of Jewish produced works. My approach in the contemporary sphere is three fold. First, while discussing ancient symbols and motifs, I will find occasion to point out their appearance and use in contemporary JEM. Primarily the examples will be films, both in the popular and art house genres. Second, after we have concluded our discussion of ancient and Biblical Myth and symbolism, we will move on to salient Jewish authored American comic books where JEM pervades. Find one example at this link.
Here, so as to show the phenomena as salient and widespread, at least among a few important Jewish artists, my approach is fairly exhaustive. I have reviewed all of the major comic book superheroes created by the important Jewish writers working at Marvel and DC between 1939 and 1966, beginning with Superman and concluding with the Silver Surfer. I will also review several obscure superheroes created by these same writers and several “Bronze Age” superhero characters appearing after 1966, so as to further and strengthen my case.
Finally I will focus specifically on Jewish cinema. This shift in medium will show that the phenomena of JEM is not relegated to comic books or cinema but rather pervades various forms of narrative Art in which Jews are engaged. It likewise reveals this messaging to be targeted at all ages. Here it becomes most important to focus on salient films of significant cultural impact, appearing from a diverse group of Jewish Artists, both salient and less well known, across various genes, to show the use of a shared symbol language amid a diverse group of Jewish parabolists. After twenty five to thirty films, the reader will be convinced of the phenomena and understand further decoding and analysis redundant. One example of a popular film can be found at this link.
By the end of my proof, the objective reader will himself have gained the ability to read JEM in Jewish Art. His interest, though, will be held by the revealing of often the most subversive messaging in the most salient fictional figures and parables in popular culture. All of it, in any case, will “train the eyes.”
This study will establish the trend in popular, widely consumed contemporary Art as well as in works that might be classed “Arthouse.” “Arthouse” in this context means, more clearly, works targeted more internally toward a much smaller audience of Jews and urbane, Judaized Aryans and non-Jews. The reader should understand that this does not necessarily lessen their societal impact.
Rather here moralization and demoralization is directed at a highly educated, culturally, economically and politically influential group, with greater fealty to a Jewish worldview. This group is far more able to discern, sense and become moralized or demoralized by parabolic meanings. Here, in a sense, through Arthouse JEM in particular, the urbane Aryan and others learn “their place” vis-à-vis the Jew. Meanwhile the genre itself functions as JED or Jewish Esoteric Demoralization toward a broader Aryan herd which finds both its appeal and messaging inscrutable. Here they become aware that those whom rule them, have nothing in common with them and consider them, correctly, benighted rubes. One example of such a film is reviewed at this link.
Our challenge is to develop an Art and Religion that is both sophisticated yet relatable and energizing to all members of our race thereby uplifting and improving even its lowest element. The epic or the heroes’ tale, carefully encoded with symbol, is especially the solution here. This will not preclude an Art tailored particularly to a ruling elite which serves as a kind of sifter and “intelligence test” for aspirant elites. The latter is also requisite alongside the more accessible form. Nevertheless, all forms are required to venerate a eugenic masculine Aryan type whom we will come to refer to as Jupiter, Mars or Apollo.
The reader is encouraged to familiarize him or herself with the texts discussed in this study whenever possible, either when they are encountered or prior to their discussion. Though I trust the descriptions will be by themselves quite compelling. There will be no “spoiler alerts.” Indeed, the goal here is, in some part, to “spoil.” It is what sunlight does to rot. Yet it likewise makes it fertile soil.
 The term “Bronze Age”, in the comic book context, is used to describe a period in American superhero comics occurring roughly between 1970 and 1985.
8 thoughts on “Decoding JEM: The Brahmin Methodology”
Janus? Aryan or Semetic?
Two-faced. Associated with Saturn and the Winter. What’d ya think? Those instinctively drawn to this symbol reveal much about themselves.
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Spotting these things, even with instruction, requires an active eye. It seems certain that the primary motive is their moralisation, rather than our demoralisation, and that is more difficult to decode. Christianity, and that which came before, succeeded in yoking us, and nowadays it is more effective for them to moralise one hundred esoteric billionaires than wasting time demoralising us, esp. as demoralisation seems less sophisticated, as in the case of Get Out, and therefore easier to decipher…
Though of course in the long run, that which moralises them is effectively deleterious to us.
100% appreciate the work you’re doing, and I am employing this thought in my own projects; the salubrious is to be uplifted and glorified, the deleterious to be overcome.
Thank you. Appreciate your remarks. Will be happy to release the books and put it behind me.
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On the one hand I feel that your analysis of symbology and esoteric references is worthy of attention and praise, on the other i have to question tactics and the application of common sense.
Is there truly value when time and energy are limited, to thoroughly comb through all the movies and comic books that are known to have subversive meanings whether implicit or explicit, when we know enough even without such analyses that such serves to demoralize and corrupt?
We ought to also have the sense to pick our battles. I won’t say that there would be no value in developing counter strategies and fighting fire with fire.
But it’s ultimately unrealistic to expect to win the mainstream culture war anytime soon with these methods. This doesn’t mean we can’t win culture battles, or win the war in the end. But tact and wisdom is needed.
If we were to develop such systems this would not be the platform to do so. Some amount of secrecy would make sense.
Who ultimately benefits from secrecy? One might say, those who know the secret of course. But the truth is that all secretive masonic like societies achieve and serve the same ends. Jews have always had their subculture and their own language which the vast majority of Europeans would not have understood.
But for the most part throughout history Europeans understood the value of open and honest relations wile at the same time retaining the tact and intelligence required to live in a society with public, legitimate centralization of power, i.e monarchy. We have less tact today because of notions of free speech that has a dysgenic effect on allowing loose lipped morons to survive.
We have rulers today as they had rulers in the past. The difference is in the openness and clarity of power relations compared to today where our true rulers are more or less unknown to the masses.
The benefit gained by secrecy and the forming of subcultures, sub/secret societies is of a parasitic and domino like nature. There is nothing to stop there being a secret society within a secret society.
The benefits of encouraging or facilitating the ignorance of others wile simultaneously having secret organization results in the strengthening of faction, with the weakening of the whole.
For the past few centuries Europeans have been very good at strengthening different factions in their societies, wile weakening the society as a whole.
To win culture battles one simply has to limit the scope of whom one wishes to share culture with. You just aren’t going to compete with hollywood and other multi billion dollar industries. If you reduce your circle to immediate friends and family you can have more success and waste less effort.
I’ve written about this a fair bit in the past as a general philosophy of localism versus globalism. As it so happens being local, or one may say, tribal, is very natural and effortless. It’s the path of least resistance. Globalism, far from simply being the natural course and the way things are going, requires a lot of coercion and idealistic, some may say, psychopathic behavior.
Rockstars and other celebrities get high off cheering crowds and large numbers of fans and supporters, but even they still primarily value the relationships they can have with individuals.
Will stop for now.
Thanks for reading Joshua. I see value in localism and building small communities, however this battle is ultimately global. Without a cultural dominance on the global scene, whites will continue to see their local communities dissolve. The allure of power, to all people, assures this. Without a broader pan-culture to defend the purity and fertility of Whites, these smaller communities don’t stand a chance in the long run.
So, no, I don’t see my efforts as a “waste of time” as I don’t see those focused in localism wasting their time, even while understanding that if the larger battle is lost, their efforts are, indeed, ephemeral.
Nevertheless, I don’t require others to pursue my strategy in order to believe their efforts valuable. As far as my effort is concerned, it is happily nearly complete, as the symbol language is, indeed, finite. In my opinion, this deciphering will have tremendous value in the development of a future pan-culture capable of defending the relative purity, fertility and existence of Whites. But I am happy to move onto other useful things.
Black pilling is useless my friend. Smh. Especially versus the un-black pillable. LOL.
Apologies Joshua had to clean up some of the black pills you were dropping. Frankly it’s tedious, both enumerating the reasons for optimism and listening to the “sage” reminder of black pillers that resistance is futile and it is now time to disappear into our farming communities like Celtic Elves disappearing into an enchanted forrest. If that is your road, I won’t keep you from it.