The Nature of Power

In the past several days we’ve watched as the ruling class and the leftists media has done what it has been doing my entire life and push the diversity lie onto the brainwashed masses. As images of low skilled and no skilled bad parents and criminals fill our screens they screech louder and louder about how we must accept these invaders into the neighborhoods that we, not they, live in. Let them into the hospitals that we, not they, must share with them. Let their children into the schools that our, not their, children attend and generally share the meager table scraps they have tossed onto the floor for us, all the while grinning as we fight like animals to protect what little we have left.

But they don’t do it just because it amuses them, although I’m beginning to think that might be part of it, they do it because the more they can splinter and annihilate our culture, the more easy it is for them to control us because they understand the true nature of power. They do it to keep wages down, and force them down even lower, so they can continue to live off the slaves that are too busy fighting for the unwanted speck of meat they discarded from their own plates. When we’re not fighting to protect our people, we are fighting to protect theirs. We fight their wars against their competitors around the world so they can increase their treasure and conquer new territories to house even more slaves. This is the world we live in, you might think i’m exaggerating but what if i told you they’ve openly admitted just as much.

Hollywood, the propaganda wing of the ruling class, has made several films sympathetic to immigration and open borders, but because they have been boiling the frog slowly and conditioning the public over the span of decades you have to go back a few years to really see the mask slip.

One film in particular that includes some stunning admissions is the 2002 film “Gangs of New York.” “Gangs of New York” was directed by Martin Scorsese and produced by, among others, Harvey Weinstein and his production company Miramax films. It was nominated for best picture and the cast is a virtual who’s who of Oscar winning actors.

“Gangs of New York” is one of those movies that Hollywood claims is based on a true story in order to sell tickets but in reality is mostly fictional and doesn’t even match up well with the official ruling class telling of history, but that said, it does contain some important truths.

The film begins in New York in 1846, but because the producers likely saw “Braveheart” and were trying to cash in on the Celtic barbarian aesthetic, it’s a little bit confusing at first as we watch two groups of rival Irish gangs preparing for an epic battle in a neighborhood called Five Points. What isn’t clear, but will be explained later, is that these 2 gangs consist of 2 different groups. The group of American born Irish, who have some ties to the founding, and the new immigrant Irish. This is a stunning admission. For some reason in 2002 Hollywood was completely fine with highlighting the problems of multiculturalism that can exist even between 2 people with roots in the same part of the world.

The “natives,” as they call themselves, see themselves as different, as real Americans. Americans whose fathers died in the Revolutionary War. Americans who came to the country before it was America to create the build the country, not inhabit what others had built. They are no longer Irish. Because of this connection that they have with the founding of the country that today Hollywood and all the other carpetbaggers on the left will tell you doesn’t matter at all as they tear down the statues of your ancestors and seek to rewrite your ancestors laws and desecrate their culture, but I digress.

Maybe Hollywood was able to admit these important cultural aspects because both groups were white… ..well, sort of, they were Irish so.. ..I’m kidding! Sorry, I couldn’t resist.

Anyway, so in this battle, the natives defeat the newly arrived Irish by killing their leader. Daniel Day Luis, playing the part of Bill the Butcher, declares victory and the son of the leader of the Irish immigrants, simply called priest and played by Liam Neeson, runs away.

We then fast forward to that boy all grown up and newly released from prison. This is Leonardo DiCaprio playing the part of the priest’s son who is now called Amsterdam. As soon as he’s free from prison the first thing he does is dispose of his bible in dramatic fashion. Hollywood has always had an anti christian fetish, so no real surprise there.

Things have changed in Five Points since Amsterdam was a boy, but a few things are the same. For instance, Bill the Butcher is still the man in charge. It’s 1862 now and the Civil War is heating up and there is an environment of chaos and anarchy in the city.

Another thing the filmmakers will do repeatedly is they will keep trying to conflate the new immigrants with blacks. There is a constant theme of slavery, the new immigrants are always hanging out with blacks and other “marginalized” groups. They even go so far as to, and this is pretty shocking that they did this in 2002, but the immigrants even enjoy the company of a statistically impossible amount of transgender people. The film seems to be trying to lump everyone into 2 big groups, the same 2 groups they use today, the whites who founded the country and their descendants, and then everyone else. The left hasn’t just recently decided to attack white males in the last few years, that has always been their target. The difference now is that they just make it more obvious because they’ve been winning and don’t have to beat around the bush anymore.

Another group the film defines, and this is actually quite shocking, a third group that is almost never spoken about in Hollywood films because much of Hollywood itself belongs to this group. This group is the ruling class. This film, despite its many other flaws, does a stunningly good job of somewhat accurately showing the audience a glimpse of the ruling class, how they interact with the people, and why they seem to want a constant flood of immigrants.

In fact, one of the first things we see is a local politician welcoming new immigrants getting off of the boats and bribing them with food and coffee to try to get their vote. We then see this same politician meeting with Bill the Butcher, who you could say is similar to a figure like the godfather. The head of an organized crime community, and much like in real life, rather than the ruling class looking to clean up this illegal power structure, they are looking for ways to use it for their purposes.

Just like we’ve seen the ruling class in modern times. Like when Robert Mueller let Whitey Bulger kill people en masse with the full knowledge of the FBI as long as he did what Mueller wanted and the same thing with the Obama administration working with MS-13 and allowing Islamic extremists to deal cocaine, and quite frankly endless examples that go all the way back to founding. This is in fact how the ruling class operates in this country and countries around the world. It’s not just the narcotic smugglers south of the border running those governments with violence or Jewish oligarchs and organized crime in Russia, or the Mafia in Chicago. This is how every government around the world works including our own going all the way back to the founding. Washington himself was, in many ways, a crime boss if not a war criminal who often threatened congress and ruled through intimidation. At the end of the day intimidation is what rules and controls humans and if you have a lot of money but you aren’t very intimidating, you find people who are, and pay them off to do your dirty work behind the scenes. This is how the world works now and it’s how the world worked back then, it’s just surprising how honest this movie is about the whole thing.

In this scene we see the local politician, the ruling class, and in another stunning aspect of this film, the quiet unassuming banking class wormtongue character who is always hovering close by. They are trying to get the support of Bill the Butcher to intimidate voters and do his dirty work. He explains exactly why the ruling class has to make these unholy alliances rather than just use law enforcement to oppress the people.

“The appearance of the law must be upheld, especially while it’s being broken.”

Think of all the ways that applies to today and to today’s ruling class. You see, this is why at a certain point it becomes impossible to clean up the corruption. Once you start pulling on that thread you unravel the whole system. The ruling class is inseparably connected to organized crime and always has been.

So, after this meeting with Bill the Butcher, we go back to Amsterdam who has returned to the underground tunnel where he buried some personal items as a boy and he meets up with the immigrant Irish/”Team Diversity.” He gets the lowdown on what has happened since he left and since his father was killed, and also meets the predictable strong independent woman character that seems to be mandatory in every movie made after 1990 played by Cameron Diaz… …Diaz, is that an Irish name? No matter, neither is DiCaprio, i guess cultural appropriation is ok since we’re just talking about cultureless white people anyway.

So later on Amsterdam’s friend takes him to go sell some things they’ve stolen and we see yet another aspect of government corruption that goes all the way back to the founding and before: the dirty cop. This cop used to be one of the Irish immigrants that fought with Amsterdam’s father, but has now sold out and is working for the establishment. One of the perks, of course, is he takes a cut from the lower level gangs, like this one, and in exchange he allows them to continue to operate. This again is a fundamental principle of how the ruling class operates. It’s always turning a blind eye here, and arresting your rival there, so that they get their cut of your stolen goods. Remember that, it’s not just dirty cops taking a cut from 2 bit thieves, the culture that allows this to happen goes all the way to the top. It’s the very fabric of our society. We are all ruled by intimidation and it’s all about who can intimidate who. Because the cop is higher in the hierarchy than these thieves, he is allowed to dominate them and exploit them, but as we’ll see later in the film, there will be a reversal of roles when the cop encounters those who are above him in the hierarchy and that is when he will be intimidated and extorted. Think of it as a giant pyramid scheme with countless sociopaths stabbing each other in the back to be at the top. Welcome to humanity.

In fact, it’s this aspect to humanity that leads Amsterdam to meeting Bill the Butcher, the man who killed his father. They have gone to pay their tribute to the men above them in the hierarchy, in the same way the men above you in the hierarchy demand large portions of your paycheck that the take from you with a threat of violence. Sure, they’ve made it all very official sounding calling it a tax code and added lots of paperwork to confuse as many people as possible. This also allows their friends who are higher up in the pyramid scheme to avoid making the same kind of payments that the people at the bottom make, but it’s all the same thing really. You are paying tribute to the ruling class to avoid the violence that will happen to you if you don’t. Like everything else, it’s rule through intimidation.

Bill the Butcher tells the young gangsters about a new job they can do for him. There’s a ship in the harbor he’d like them to rob, of course he doesn’t even need to mention that even though they will be doing all the work and taking all the risk, they will once again be required to pay their tribute to the men above them in the pyramid scheme.

So they go to do the job but find out someone has beat them to it, they still need to pay tribute so they decide to steal one of the bodies and sell it. This impresses Bill the Butcher as does Amsterdam’s ability to beat up one of his henchmen, and so through violence and brutality Amsterdam begins to move up in Bill the Butcher’s organization and the social hierarchy at large.

Later, we see Bill the Butcher once again meeting with the ruling class. The politician tells him that in order to keep the public happy and under the impression that the law is being upheld that they need to put on a show and publicly hang some scapegoats. He explains that they shouldn’t hang any of the real criminals, because they are assets, but to find innocent men of no consequence, people that have outlived their usefulness, or people that have become nuisances to the ruling class and organized crime gangs that they can pass off as criminals and hang in the public square to keep up the appearance of law and order. This is another tactic of the ruling class. They never seem to be able to prosecute the real criminals, but they are always fast to throw the book at those who have become a thorn in their side. This is the real purpose of law enforcement. Keep the little people who commit crimes from becoming rivals and creating their own criminal enterprises that threaten their own, all the while giving the public the impression that the law is being upheld because as he said before “The appearance of the law must be upheld, especially while it’s being broken.” and the best way to do this is through intimidation.

Another strangely accurate insight this film offers is shown later on in the film when it gives us a glimpse as to why the ruling class really wants immigrants. The politician is once again asking Bill the Butcher get the new immigrants to vote for him and explains they need more and more immigrants because they need more and more votes. It’s all about votes and maintaining power. This idea is disgusting to Bill because, for all his faults, he has what these immigrants don’t have. He has a genetic connection to the people that founded the country and because of that he is protective of the society in a way that someone who comes to enjoy that which is already created can not appreciate in the same way. Or, as Bill himself explains:

“My father gave his life making this country what it is. Murdered by the British with all his men on the 25th of July, anno Domini 1814. You think I’m gonna help you befoul his legacy… …by giving this country over to them what’s had no hand in fighting for it? Why? Because they come off a boat, crawling with lice and begging for soup?”

The politician of course feels no such loyalty to the country. For him and his silent wormtongue friend, it’s all about power. We see this reinforced as the camera pans around to show men who are fresh off the boat, receiving their citizenship only to be suited up and then sent into the meatgrinder of the front lines of the Civil War to replace those who are coming back in caskets. The ruling class wants immigration because they want slaves that vote for them and fight their wars. Some things never change.

So fast forward, and I’m skipping over several aspects of the film, like the love story stuff and the whole Amsterdam being conflicted about working for the man who killed his father and planning to get revenge someday because those aren’t really what’s important about this movie. I’m just focusing on the glimpses of the nature of the ruling class and the nature of power that this movie accurately gives us. The rest of the stuff is just filler or added to get your girlfriend to want to go to the movie with you and overlook the all the violence because they get to see Leonardo Dicaprio and Cameron Diaz pretend to be Irish together. One of these glimpses of truth comes when Bill the Butcher, wrapped in an American flag, explains how he survives and how he rules.

“I’m forty-seven. Forty-seven years old. You know how I stayed alive this long? All these years? Fear. The spectacle of fearsome acts. Somebody steals from me, I cut off his hands. He offends me, I cut out his tongue. He rises against me, I cut off his head, stick it on a pike…  …and raise it high up so all in the streets can see. That’s what preserves
the order of things. Fear.”

The spectacle of fearsome acts. Power is always about intimidation. You know, it used to confuse me why Muslims would conduct terror attacks on the countries that were letting them in with open arms. It seemed to be completely counterproductive. I couldn’t understand how it would help them achieve their goals. It seemed like it would to the exact opposite. Now, certainly, many of these attacks we know now were false flags performed by the ruling class themselves using this same unholy alliance we see in this movie. The ruling class leveraging the violence of others to get the things they want done, done. But whether you are talking about false flags are talking about legitimate terror attacks, it doesn’t matter. It all boils down to the same thing. “The spectacle of fearsome acts.” It’s always about intimidation. I remember years ago when South park wanted to show Mohamed in an episode and Comedy Central forced them to censor it. In the same episode the censors allowed the depiction of Jesus in the most blasphemous way possible. The whole thing was very revealing. The executives at Comedy Central were afraid to show Mohamed in a completely normal situation because of what had happened in the Charlie Hebdo incident. They were being ruled by fear. The spectacle of fearsome acts had controlled their behavior. Christians, on the other hand, aren’t intimidating at all, so, they had no problem at allow allowing this disgusting depiction of Jesus while censoring the normal appearance of Mohammed. It’s always about fear.

So later on, when the film is demonstrating once again how multiculturalism doesn’t work, how instead of a melting pot, there are a series of self segregated communities all competing for resources and power, Bill is told in Chinatown that his apprentice, Amsterdam, is the son of the his fallen arch nemesis, the preacher from the beginning of the film. He’s told that Amsterdam is planning to kill Bill the Butcher to avenge his father. Because of this, Amsterdam’s plan is foiled and Bill decides to spare him after putting on a show, or a spectacle of fearsome acts.

Amsterdam is nursed back to health by Cameron O’Diaz and declares war on the butcher. The butcher calls on the cop from earlier in the film, who is lower in the hierarchy, to go take care of the problem, but he fails. And now Amsterdam, having learned the true nature of power, puts on his own display of a fearsome act. He too is now attempting to rule through fear and intimidation, because that is the only way to move up in the hierarchy.

In a system that rewards brutality, the only way to move up is to be more brutal than your opponent and Amsterdam has finally learned the lesson that most NPCs will never learn. They will refuse to believe it  because it contradicts their carefully crafted programming. It goes against everything they are ever taught in public by any of their leaders. They are told again and again and again that power is only gained by turning the other cheek and through non-violence. Never will you hear a member of the ruling class or anyone who is allowed to have any platform that the opposite is true. Because if the secret to the ruling class and their power were to be revealed, the hierarchy would be overwhelmed with violence and chaos and that can never be allowed. This is a secret that must be kept safe in order to preserve the hierarchy.

Bill the butcher responds with yet another fearsome act. He tortures Amsterdam’s friend, the one that betrayed him but who Amsterdam had since forgiven, and Amsterdam kills this friend in both an act of mercy but also resolve. He knows that power comes from violence and he is focused now on gaining power and overcoming the emotional blocks and the programming that even a criminal in the lower levels of the hierarchy must overcome to claw his way to the top. He then continues his terror campaign by killing one of the butchers henchmen and things begin to escalate.

The ruling class, the politician at the top of the pyramid, begins to notice the shifts in power and does what the people at the top of the pyramid do best, he attempts not to fight these criminals, but too leverage their violence and their power for his own needs. Amsterdam, still clinging to the idea that there are peaceful solutions when dealing with a hierarchy of brutality naively finds an Irishman that he thinks he can convince to run against the establishment candidate and be their voice in the ruling class.

In the following scenes the film openly praises voter fraud as the new Irish immigrants vote numerous times to elect their candidate. The audience is now exposed to yet another truth, that in the pursuit of power nothing should be off the table. That if you want to win you must employ every tactic available to you because if you don’t your opponent will. Willing to do what it takes, the Irish end up winning the election with voter fraud.

“Remember the first rule of politics: The ballots don’t make the results, the counters make the results. Keep counting!”

Bill, aware of the fraud, and the outcome of the election, decides to remind people of how the hierarchy really works. He goes and publicly kills the Irish immigrant candidate in another violent spectacle.

This, of course, dismays the establishment because although he was initially against the idea of having a new Irish, the structure must be respected. If this Irish member of the ruling class could be killed by Bill the Butcher, that threatened structure in which he himself used for power. The ruling class must remain untouchable no matter what and so with some interesting symbolism on his clothing that is too obvious to miss, he visits Bill the Butcher to explain that he has crossed the line. But Bill, aware that without the fear and intimidation the politicians authority is meaningless, tells him to leave Five Points and that he will be killed if he ever comes back.

While all this is going on, the Civil War has continued. The ruling class is running out of immigrants to send to war and begins to draft members of the public. They exempt themselves by creating a loophole that allows you to buy your way out of the draft so that all the members of the ruling class can avoid fighting their own wars and that only those on the bottom of the pyramid will ever have to shed their blood. The lower classes begin to riot in response and it is in this environment of chaos that Amsterdam challenges Bill to a final showdown. Neither one is willing to be intimidated so the only answer is the elimination of one or the other.

We are treated to glimpses of the ruling class discussing the violence as casually as one might talk about a billiards game. They are disconnected and insulated. They have mastered the hierarchy and are confident in their positions in it. Meanwhile, the streets below descend into chaos and Amsterdam and bill have their fight.

In this climax of violence, death, and brutality, the audience is reminded once again that the only way the ruling class can manage to stay in their positions of power is if they are able to maintain the necessary threats and intimidation needed to keep the public in line. That without this threat of violence they are not just vulnerable but the most vulnerable members of society. These scenes also serve as a reminder to the ruling class themselves why it is so important for them to maintain control over the brutal forces within the hierarchy. That without them they are nothing. And so they order their soldiers to turn their guns on the citizens and put down the insurrection using the only power that really matters in the society, brutality. As Amsterdam and Bill the butcher fight to the death. The images reinforce this truth again and again the true nature of power.

In the end, as if to admit visually the truth that these power dynamics never change. Times passes until we are left with a skyline that prominently features the twin towers that at the time of this film’s release had already fallen in the world greatest spectacle of a fearsome act. It is in this moment we are left to reflect on the nature of power. What it meant in the past and what it means for the future.


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