“Tex” Rubinowitz, Helter Skelter, and Cryptographic Gelatinmania

June 13th, 2016

Awake Goy

Another “Tex” Rubinowitz, according to a German Wikipedia profile, was born Dirk Wesenberg in 1961 in Hannover, Lower Saxony, Germany. This second “Tex”, as featured on the German Wikipedia page – which, when translated into English, makes him “Southwestern” Rubinowitz – is a painter, cartoonist, actor, and musician. Confusing matters, however, is the fact that the IMDb profile for “Tex” Number Two gives his birth name as Arthur Lee Rubinowitz, the same as “Tex” Number One. The Wikipedia profile, as imperfectly rendered in English, reads in part as follows:

Southwestern Rubinowitz spent most of his childhood and schooldays in Lüneburg. After his school leaving in 1978, he worked in various jobs, including as a dairy skilled workers and the district government Lüneburg as support acts. In 1982 he made the Naval Air Wing 2 in Tarp from his military service. During this time he was trained to parachute packer. In 1984, he moved to Vienna, where he study art under Professor Oswald Oberhuber began. He broke this but after a week and started for the moths to draw. Rubinowitz was in the late eighties the fanzine American Hospital newspaper out simultaneously with the more familiar to some of Berlin fanzine Me and my vacuum cleaner appeared. [. . .] By means of a recommendation by Robert Gernhardt came Rubinowitz for Haffmans Verlag in Zurich, where he has two issues of the periodical Der Rabe issued and cooperated with other numbers. [. . .] As an actor he has worked with Kurt Palm and Hermes Phettberg and played 1995 American film Before Sunrise a supporting role, which he wrote himself. With Gerhard Potuznik he founded the band Mice.

Regardless of where he or they were born or whether or not one or both Rubinowitzes are Jewish or if either had any connection to 9/11, which seems far-fetched to say the least, his/their moniker serves as an interesting onomatological case for those who believe with revisionist historian Michael A. Hoffman II that the shadow government or “Cryptocracy” is “telling you what they’re doing to you” as part of what he has termed the Revelation of the Method. This is the scheme according to which a population that is informed of its manipulation and degradation, but which takes no action to oppose its oppression, has thus been further initiated into enslavement and exponentially subjugated. The question then probably ought not to be who is “Tex” Rubinowitz so much as why was the name “Tex” Rubinowitz selected for the attribution of the B-Thing introduction? What, in other words, is its onomatological significance?

Now for some idle speculation and probably futile cryptographic dot-matix-connection . . .

The Texas reference, in conjunction with the fact of there being two totally different “Tex” Rubinowitzes, recalls the circumstance of the two Oswalds, one of whom is alleged to have shot JFK in Dealey Plaza. “Tex” Number One’s birth name, Arthur Lee Rubinowitz, incorporates both the King (Arthur) and his assassin (Lee), plus the assassin’s assassin (Ruby). He also attended Lee High School. In addition, the mother’s name, Arthurea, reinforces the Camelot association, and his father’s name, Stanley Rubinowitz, very closely mirrors that of a notable Washington, D.C. rabbi, Stanley Rabinowitz. To return to the question posed by McClain in the Fairfax Journal piece, “How many Jewish cowboys are there?” A better question might be, “How many Jewish cowboys are there in Texas?” The coincidence and confluence of Texas and Jews is of course as 9/11-resonant as a reference could get, considering the event’s Bush neocon provenance. Could “Tex” Number Two’s tenure as a “dairy skilled worker” refer to Zionist exploitation of gullible goy cattle, perhaps?

“Tex” Number One, who has said that pop music hits people “in a way that they feel they have gained an insight about themselves and about reality“, recorded a rockabilly song called “Hot Rod Man“, in which he threatens he’s “gonna get you if I can“. “Hot Rod”, of course, takes on a different connotation in the context of a discussion of the controlled demolition of the WTC, possibly with its columns dissolved by nanothermite.

Manson – cryptographic 9/11 lynchpin?

In the B-Thing introduction attributed to him, “Tex” Number Two compares the members of Gelatin to the Beatles, which, in combination with the name “Tex” and the musicianship of both Rubinowitzes, evokes a symbological Charles Manson connection, in light of singer-songwriter Manson’s association with Charles “Tex” Watson, who forms a part of the Manson Family murder cosmology. Whose “family” was in on 9/11, one has to wonder – and how extended was it? (“The shared genetic elements suggest that members of any Jewish community are related to one another as closely as are fourth or fifth cousins in a large population, which is about 10 times higher than the relationship between two people chosen at random off the streets of New York City,” the Times notes of Ashkenazi Jews.)

Charles “Tex” Watson, in addition to playing an allegedly key role in the notorious Tate-LaBianca murders, is also alleged to have participated in the decapitation of Donald “Shorty” Shea in 1969 – a circumstance that draws an intriguing parallel with still another chapter of the interminable “War on Terror“. When the government-media matrix shifted into high gear with its promotion of the ISIS bogeyman as a pretext for further Middle East military intervention, this peaked with a series of silly videos purporting to show the (off-screen) beheadings of James Foley, Steven Sotloff, and others by an elite terror cell/supergroup of jihadis dubbed “the Beatles” in the media. The star executioner in these turkeys is a rapper, “Jihadi John” (as in Lennon), the plan apparently being to glorify, celebritize, and thereby incentivize jihad in order to intensify “Islamic” State recruitment.

Furthermore, in view of both the striking similarity and the various continuities between the JFK assassination cover-up and the 9/11 psychological warfare regime, Michael A. Hoffman’s remarks on the significance of the Beatles are worth revisiting:

What ought to be unambiguous to any student of mass psychology, is the almost immediate decline of the American people in the wake of this shocking, televised slaughter. There are many indicators of the transformation. Within a year Americans had largely switched from softer-toned, naturally colored cotton clothing to garish-colored artificial polyesters. Popular music became louder, faster and more cacophonous. Drugs appeared for the first time outside the Bohemian subculture ghettos, in the mainstream. Extremes of every kind came into fashion. Revolutions in cognition and behavior were on the horizon, from the Beatles to Charles Manson, from Free Love to LSD.

The killers were not caught, the Warren Commission was a whitewash. There was a sense that the men who ordered the assassination were grinning somewhere over cocktails and out of this, a nearly-psychedelic wonder seized the American population, an awesome shiver before the realization that whoever could kill a president of the United States in broad daylight and get away with it, could get away with anything.

A hidden government behind the visible government of these United States became painfully obvious in a kind of subliminal way and lent an undercurrent of the hallucinogenic to our reality. Welcome to Oz thanks to the men behind Os-wald and Ruby.

There was a transfer of power in the collective group mind the American masses: from the public power of the elected front-man Chief Executive, to an unelected invisible college capable of terminating him with impunity. [. . .]

Dave Marsh writing in Rolling Stone magazine (Feb. 24, 1977): “The Beatles have always had an intimate connection to the JFK assassination. He was shot the week before Thanksgiving 1963. By February 1964, the Beatles were number one in the national charts and the climactic appearance on Ed Sullivan’s TV show occurred. Even Brian Epstein (the manager of the Beatles) believed the Kennedy assassination helped their rise — the Beatles appeared to bind our wounds with their messages of joy and handholding… And the way was paved, replacing Camelot with Oz.”

Now the American people were forced to confront a scary alternative reality, the reality of a shadow government, over which they had neither control or knowledge. The shepherding process was thus accelerated with a vengeance. Avant-garde advertising, music, politics and news would hereafter depict (especially in the electronic media) — sometimes fleetingly, sometimes openly — a “shadow side” of reality, an underground amoral “funhouse” current associated with extreme sex, extreme violence and extreme speed.

The static images of the suit-and-tie talking heads of establishment religion, government, politics and business were subtly shown to be subordinate to the Shadow State, which the American people were gradually getting a bigger glimpse of out of the corner of their collective eye. The interesting function of this phenomenon is that it simultaneously produces both terror and adulation and undercuts any offensive against it among its percipients, which does not possess the same jump-cut speed and funhouse ambiance.