FORUM Financial WARS

Jan 15 2019

The Economist. Forecast for 2019

Every year, the British magazine The Economist comes out with a rebus cover, which according to the unofficial version is an economic prophecy for the next year. The publication belongs to the Rothschild clan, who is considered the main ‘backstage’ of the world as a puppeteer, so attention to the covers of the magazine is close. This year, the first page is designed in the style of works by Leonardo da Vinci, but in a modern interpretation. The Renaissance style depicts Donald Trump, Vladimir Putin, Mathatma Gandhi and Angelina Jolie. The annual forecast of the authoritative Western publication The Economist exposed the subconscious fears and innermost desires of global financial elites.

In the world of postmodern, post-truth and postironium, there are many ways of indirect communication, which is widely used by many, often even the most influential circles. So, every year one of the most influential Western publications The Economist, traditionally associated with the so-called ‘owners of money’, issues a number in which it gives its forecast or, if you like, a prediction of events for the next year.

This time the cover was made in the style of sketches and drawings of Leonardo da Vinci, who died almost 500 years ago – in May 1519. Perhaps it is because of this that the cover is filled with even more hoaxes than usual.

Big geopolitics
In the center of the composition is the Vitruvian Man. Da Vinci created this work as an illustration for a book dedicated to the works of the ancient Roman architect Vitruvius. The main meaning is the ideal proportions of the human body, this is the so-called “man from the chamber of measures and weights”, a humanistic standard to which the West aspires, abandoning idealism in favor of materialism and theocentrism in favor of anthropocentrism. Man is the center of the universe, attempting to replace God.

It is located above the Atlantic Ocean, dividing or, conversely, bringing together the “Euro-Atlantic community”, the old and the new world. It is possible that this is an allusion to the fact that the main lines of tension will run precisely across the Atlantic. Globalists will drive the United States and European states under a common umbrella, while Trump and the heads of many European states will oppose this. The face of the American president is one of the few on the cover, located opposite the face of Vladimir Putin, both looking toward each other.

At the same time, four horsemen of the Apocalypse are depicted next to the head of the Russian state – obviously, with a hint of who, in the opinion of the authors and owners of The Economist, is an absolute evil. The mirror-inverted inscription “Putin’s pipelines” is an indication of Russia’s main weapon, which the authors apparently dislike.

On the ‘top of the world’ sits a panda: along with the dragon – the main symbol of China. It is already obvious to all that the PRC is breaking out into world leaders in many areas, primarily in the economy, and even journalists of the British edition cannot hide it. A little to the left is the Indian elephant with growing arrows of the stock index – another direct hint at the strengthening of the BRICS countries on the world stage.

Political analyst Fyodor Biryukov notes that such kind of mystification is characteristic of the esoteric thinking of global elites. At the same time, the inability to speak soberly and logically is a sad symptom:
It is very symbolic that such pictures appear on the covers of economic journals. Magazines that should explain what is happening in the world cannot do this. And this reveals in many ways the confusion of financial elites, transnational, which are on the verge of enormous changes, but do not yet possess verbal and graphic tools for explaining these changes. Anxiety, the growth of irrational moods are felt here. It is also connected with economic crises, with those protests, movements that, for example, are now taking place in France. It is associated with wars, including in the Middle East, of course, in Ukraine, that is, in Europe.

On the east coast of the United States sits the English bulldog next to the words ‘Britain after Brexit’ – an obvious signal for the further integration of the Anglo-Saxon world (primarily North America and Great Britain) without continental Europe.

The hands of the Vitruvian man above Old World hold a smartphone with a QR code – a possible indication of increased digital control over citizens, as well as scales with different numbers of people, where one bowl outweighs the other – this is a direct indication of the growth of populist sentiments in European states.

Above the US, the hands are holding a cannabis leaf and a baseball – two main “entertainments” for the lower strata of American society. The national sport for whites from the central states and legalized marijuana for liberals and color.

New world order and the end of man
The worship of technological progress is one of the main motives of the entire image. Several references can be noted at once: the electric car in Europe, and the long-range space expeditions, and the sketch of the aircraft of Leonardo da Vinci.

References to ultraliberal idols, which are usually worshiped in the modern Western world, look very alarming. Here and MeToo tattoo on the chest of Vitruvian man (curtsy to the extreme forms of feminism in Europe and the USA), and the image on the arm with DNA (genetic experiments on people), and the stork carrying a bundle with a bar code (again, birth control ), and face recognition technology, and augmented reality glasses on the main character of the cover. All this can not but alarm and not cause questions to those who would not want to be in the next year’s digital concentration camp of the future, which the liberals on both sides of the Atlantic dream of.

USA News. American News.

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