
In part I of A Very Curious Montana Cold War Book I connected the WWII path for sending war machinery OUT of America to the process of bringing drugs INTO America. This is how, instead of seeing the resulting drug culture of Rainbow Gatherings and Burning Man as a liberating force seeking to plant beneficial seeds of enlightenment, I now lean toward those drug cultures as being the result of weaponry similar to the propaganda leaflets dropped by Captain Elmer Llewellyn on North Korea for the CIA.
The ultimate weapon of WWII, we are told, was the atom bomb. For Missoula-born Eagle Scout turned film director, David Lynch, the Trinity precursor to Hiroshima and Nagasaki became a dark, ominous plot-point for his career-defining creative work, Twin Peaks. The episode that lays this out most explicitly is episode 8 of season 3, titled “Gotta Light?“.

Long before David Lynch was born in Missoula, a young scientist by the name of Harold Urey arrived on campus in 1914. Here’s what Wikipedia has to say about Urey’s early education in Missoula:
Urey was educated in an Amish grade school, from which he graduated at the age of 14. He then attended high school in Kendallville, Indiana. After graduating in 1911, he obtained a teacher’s certificate from Earlham College, and taught in a small school house in Indiana. He later moved to Montana, where his mother was then living, and continued to teach there. Urey entered the University of Montana in Missoula in the autumn of 1914. Unlike Eastern universities of the time, the University of Montana was co-educational in both students and teachers. Urey earned a Bachelor of Science (BS) degree in zoology there in 1917.
And here is Urey’s contribution to blowing shit up during WWII for Uncle Sam from Montana Cold War:


The quote continues on the following page:
“…lives for years to come, and in fact, will influence all of history in the future. If the former of these is predominant in the future, we may expect increased well-being for men; while if the latter becomes predominant in the future, we may expect that civilization as we know it today may be destroyed, never to rise again. In view of these spectacular events of the last years, it is well for thoughtful people to consider carefully what the future may bring, and to exercise if possible some choice in regard to future events.“
America didn’t need propaganda leaflets dropped from airplanes to get indoctrinated by sanitized WWII narratives because we had text books from the Robert Maxwell psychopath-class dropped on us instead. In order to find the more colorful stories about this time period–like the strange tales of pre-Trinity occult rituals undertaken by key figures in what became America’s space program (overseen by NASA and literally fueled by JPL)–curious seekers had to consult “fictional” material found in comic books and movies instead.
In Hollywood Haunts The World, by Robert Guffey, a strong case is made that David Lynch is giving a direct nod to Jack Parsons, the founder of the Jet Propulsion Laboratory (JPL), with the character MIKE–a demonically possessed, but repentant, figure in the mystery of who killed Laura Palmer. Not only does this nod explain MIKE’s one-arm, since Jack also had his arm blown off in the explosion that killed him, it also helps explain the line of poetry that gives the Twin Peaks movie it’s title, Fire Walk With Me, since Jack Parsons was also known for his appreciation of poetry, like Aleister Crowley’s poem, “Hymn to Pan”, which he often chanted before rocket tests, as this article from American Scientist about JPL’s “Suicide Squad” describes:
By 1938 members of the Suicide Squad, no longer allowed to carry out their experiments on the Caltech campus, were testing their engines outside Pasadena in the Arroyo Seco, which later became the site of JPL. They reveled in their nickname. Parsons would dance and chant poetry—most notably Crowley’s “Hymn to Pan”—before rocket tests. (Von Kármán called Parsons a “delightful screwball.”) Slowly and painstakingly, they developed a practical theory of rocket motors. They also invented propellant combinations that were robust and storable. What is more important, these new liquid and solid propellants fueled working engines—in contrast to the concoctions that preceded them, which had chiefly fueled explosions (hence the group’s nickname). In the early days Parsons, Forman and Malina were the driving force, although others of course contributed as well.
The light of a thousand suns, unleashed by the mad scientists of “progress”, stemmed from a fanatical belief system that Parsons, and his peers, were participating in an ancient and occulted lineage of protectors who labored to ensure the preservation of a TRUE form of freedom; a bright flame that the tyranny of western Christianity was attempting to extinguish.
If you don’t believe me, here is Parsons himself from Freedom Is A Two-Edged Sword:



If you find the leap from the American Scientist article to the rantings of a JPL/Occultist, like Jack Parsons, to be uncomfortably jarring, don’t worry, you are not alone. In fact, I imagine a person might find themselves reading one of these dot-connecting articles, like Bryan von Rocket Scientist could conceivably be doing, then suddenly get EXTRA jarred at seeing their own name appearing in a post like this.
While I’ve written about Bryan von Rocket Scientist’s backstory with JPL before (link above), the American Scientist article reminded me that Missoula’s former City Councilor got some 2021 kudos in Ken Robison’s book for the continued connection that Montana has to NASA’s totally real and never contrived exciting space adventures, like the recent Artemis II moon shot featuring Christina Koch, who is named, along with Bryan, in the Montana Cold War passage below:

Returning to the world of “fiction”, the director of Donnie Darko, Richard Kelly, had a Daddy who did similar work for NASA that Bryan von Rocket Scientist did. Another notable data point includes Kelly’s proximity to, and later use of, the Langley Air Force Base:
Born in Newport News, Kelly spent his early years in Poquoson, a bedroom community near Hampton’s Langley Air Force Base. His mother, a teacher, stayed at home while Kelly and his older brother, also named Lane, were young. His father worked on spacecraft instrumentation at the base for NASA. “We designed cameras on the lunar lander that went to Mars in 1976,” the elder Lane says.
It was that work that inspired Kelly as he wrote The Box . He used Langley as a backdrop for the film, shooting scenes at the Langley Full Scale Tunnel, a circa-1930s wind tunnel used to test aircraft, and the Reid Conference Center, a multiuse auditorium.
While screens and cameras are ubiquitous now, there was a brief time in the publishing world when thick, dense literary tomes, like Gravity’s Rainbow, were allowed to be printed. Written by Thomas Pynchon, I grabbed my copy yesterday and, after flipping around a bit, found an interesting reference to the Golden Dawn, a magical order notoriously undermined by Crowley’s involvement. The context is a post-Tarot reading and an attempt to explain the meaning of The Tower card:


What’s going on here? And what the hell am I trying to do by swinging around this big literary dick? Great questions. Unfortunately, for the predestined unfortunates, hell is a part of the answer and there’s NOTHING they can do about it.
Or is there?
After familiarizing myself with the Calvinist fretting over a concept called “Preterition” it started to click. What’s Preterition? It’s the idea that some people don’t get God’s grace and must suffer hell because of divine indifference as opposed to a more active and interventionist God. To see this concept applied to Pynchon’s tome, this essay is helpful.
For a better idea of this contested theological terrain, and why it’s worth trying to understand, here’s a better breakdown before I try and apply this to our more modern predicament:

If ideas can be weapons used by a deceptive adversary, Preterition sounds like theological kissing-cousins to karma, which is the operating principle behind the concept of “revelation of the method”–or, as I heard it crudely expressed the other day–the idea that “they have to tell us what they’re doing to avoid the consequences“.
I’ve recently become very skeptical of the idea that “revelation of the method” means that those who have acquired God-like power over great numbers of less powerful people feel the need to disclose the nature of how they operate in order to avoid the “karmic” consequence of what they’re doing.
Instead–and after much study, reflection, and personal experience–I’ve come to see the mind-fuckery involved in the culture we consume as more akin to the “duper’s delight” exhibited by psychopaths than actual, genuine efforts to side-step the wheels of karma, and that’s why conservatives are missing the point of Homelander’s assassination. Stay with me here.

Benjamin Franklin; Hellfire Club, electricity, Freemason. Abraham Lincoln; corporate lawyer for Big Rail and suspender of ‘habeus corpus’ to beat the south. For those on the right unaware of why it was Franklin and Lincoln portraits hanging on the wall inside the White House as Homelander lost his power and groveled before William Butcher, here’s a voice from the old left re-framing honest Abe as a less-than patriotic upholder of America’s foundational system of government:
Lincoln ruled over an oppressive police state under which a military draft was implemented; income tax was introduced for the first time to help finance a Civil War that killed 620,000 young men; dissenters were imprisoned without trial; ‘habeus corpus’ was suspended in some regions; and legal documents were authored which paved the way for corporations to becoming recognized as the equivalents of “legal persons.”
Before his career as a politician Abraham Lincoln had served as a corporate attorney for some of the biggest interests in Illinois, including “Big Rail”- the prevailing corporate interests of his day, a governmental pie of railroad subsidies in which all the big Republican Party Cats had their fingers. As president he championed protectionism and corporate welfare schemes where the force of law was used to benefit a select group of politicians and their cronies, signing legislation that virtually gave away miles of public land to the railroads for free. His son, Robert Todd Lincoln, went on to a successful career as the president of the Pullman Car Company.
If the infrastructure investment for “data centers” is similar to the infrastructure investment for the Manhattan Project, or to build out America’s railroad system (which I think it is), then maybe that explains why film director, Ari Aster, flashed John Ford’s movie, Young Mr. Lincoln, at the end of his movie, Eddington, showing data centers quietly rising behind the dramatic distraction of the pandemic.

For a researcher using (and plagued by) synchronicity, Eddington is too deeply layered of a movie for this post, but what I will say is my hunch continues to grow that the state of Montana, the town of Missoula, and the role of the Sheriff taking lethal action against a homeless man is something being paid attention to by more than your average joe.
Developing the ability to “read” the symbols, signals, and tells of the culture creators may ruin the “entertainment” value of this content, sure, but that’s the cost of sharpening the ability to discern the underlying messages. When you see the actor, Jack Reynor, play Jack Parsons in one project, for example, then act as a sacrificial offering to pagan gods in Ari Aster’s creepy movie, Midsommar, you’ll starting getting a feel for why certain roles go to certain people, and what’s being signaled by the “casting” choices.
And KNOWING is half the battle!

Thanks for reading!

















































