Al Qaeda - 'The Base' (Offenbach)

Waaaaaa?!!!

Look, I don't even know how to deal with what I am going to discuss here.

LOL

Anyway, 'for reasons we don't need to go into at the moment (more lol),' I am still 'operational' to an extent and this gives me direct access to the 'big data' much of which comes from the CIA-backed Diebold-Nixdorf POS infrastructures (for one example although there are about four/five others) - particularly in any regional location that I happen to be in. 

So right now I know how much money (what the quanta in various sectors/segments) is being spent in the domestic economy in Australia and where by the Australia domestic community at large, and that includes foreign visitors.

I mean it's nice - but does it fly?

The point I would draw from what I have been looking at - which includes extensive video recordings, not sure how legal this really is - is that most people in today's version of the human race are quite insane.

Women widely lay claim to being very smart...

My guess - 80% of them wear artificial fingernails and they have a lot of difficulty tapping into a financial transactions keypad or screen.

And I mean a lot of difficulty. 

And behind the masks of the men, you do not want to know what substances they are all dependent on - they're mostly injectables - and that's on top of alcohol. Males and females both are using injectable substances to supposedly control their weight, but there's no one down here in any meaningful percentage of the population that I would class as obese, and the substances being used were produced for diabetes, not weight loss.

Are long distance trucking people using substances...?

Don't confuse you, right?
LOL

Hah.

No comment.

These people cannot see, either.

What I mean is that they have no time in their lives to look around and take stock of what is there, or consider carefully what they are looking at.

When I started 'the Base' over twenty-five years ago, it was not ever associated with 'Al Qaeda' (which means 'the base/the site;' a place to go and get equipped for your role, your assigned or designated task). I often used the phrase equipage tactique.

Some others decided this was an idea they could apply to the Islamic terrorist group which would come to be known as the Arabic phrase (or just word, really) for the Base - 'Al Qaeda.'

When I was developing the concept it was never at all intended to be for some actual physical place, consequently, Al Qaeda came to be understood as an actual geographical site, whereas it was supposed to be just the fact that someone (in the case of eventual 'Al Qaeda,' a Saudi zillionaire) was backing the equipment distribution, and the training and so on. The equipped and trained people were then distributed, sent out, into the field. They never stayed in a particular 'site,' or training camp.

The reason I am quite sure it is safe to say all these things is that no one can see what is here, or understand what is being said, other that a small handful of you - who have been following for some time already.

The Base...

So I guess what I'm saying to you outright is that Al Qaeda is a Western spying operation, and not any kind of internally, self-generated Arabic Islamic thing at its inception.

'The Base' (our Base) was a back-stop, sort of attempt at a fail-safe (didn't work) project to interdict a crystal clear movement from the Karl Popper, George Soros-fronted (he is not the ultimate backer) academic elites who were seeking to take over the United States, and they had already taken full control of the United Kingdom and Europe, although that latter case has become a shake-able proposition.

...And now we can pivot to Offenbach's 'The Tales of Hoffmann.'

This is an Australian opera.

Huh?

LOLOLOL

Well yeah it is though.

Jacques Offenbach never finished it, in the sense that he passed away before he was able to finalize it for performance, and what it consisted of was all the songs, all the themes, all the narratives - but none of them in order and the orchestration was by no means complete.

The Australian composer Richard Bonynge - Dame Joan Sutherland's partner - reworked the opera, orchestrated it, and performed it with Sir Robert Helpmann for stage productions, and then as a film with Helpmann and Moira Shearer.

The Australia Maestro - Richard Bonynge.

The opera itself is about a real person - E. T. A. (Amadeus) Hoffmann - who was one of the earliest writers of science fiction; a person so amazing that people everywhere have set to one side what he actually did, possibly because their minds cannot handle it.

He was a skilled musician and operatic composer himself - the actual musical director of a famous major European opera company - a writer of strange and fantastical stories, and a poet, a diplomat, a political activist...

E.T.A. Hoffmann created and wrote the original story of 'The Nutcracker.' (Christmas is coming BTW).

Anyway, in the opera we are specifically talking about here, we, the audience, see the Muse, because she announces herself to us and introduces herself directly to the audience at the start of the opera -, and she tells us what she is going to do.

In the action of the story itself, she does not of course, disclose herself to Hoffmann at the beginning so he is not seeing her there...

Kate Lindsey is 'Nicklausse'
who is the Muse disguising
herself in the opera
'The Tales of Hoffmann.'

The opera has three main sections, self-contained sets of events concerning Hoffmann and various women to whom he is attracted, but in every case he finds that they betray him - one of the 'women' is in fact an automaton and not a 'real female human' at all.

All along, the Muse is physically there in the action, having disguised herself as one or other of the characters, and helps Hoffmann through all the situations and the complex, sometimes dangerous and dramatic or difficult events.

And at the end, when Hoffmann realizes he cannot really be in love with any of the potential candidates around him - because they are mortally human and terminally flawed - the Muse reveals herself to Hoffmann and he then dedicates himself to poetry...

Now to be honest, this is a peculiar proposition for a story, any story, and for an operatic story, because it has just about gone and said that humans are not 'save-able!' But then that somehow, and in no way that we are told as the audience, that poetry elevates Hoffmann - and literally above the state, the status, of an ordinary human being; and that also, somehow, poetry is important for the human race.

Frankly, this is enough for you to take in right now for the moment.