Torches of Freedom

An Essay to the People of Yugoslavia
By Josip Jukić

My brothers and sisters of Yugoslavia,

We once lived in a world where a man knew the taste of real bread and real butter, where a family sat together at the table, and where the rhythms of life were not dictated by distant corporations or financial empires. We were not perfect. No society ever is. But we understood something that the modern world seems to have forgotten: that an economy should serve the people, not the other way around.

Today I write to you about the dangers of what I call super-capitalism — the global economic system often promoted under the banner of the so-called “New World Order.” It promises prosperity and freedom. Yet behind the slogans there is a simple formula: create new consumers, create new dependencies, and expand profit at any cost.

Let us examine how this machine works.

First, consider tobacco. For decades cigarettes were marketed primarily to men. Sales were strong, but they had reached a natural limit. What did the industry do? It doubled its market. Advertising campaigns were launched to convince women that smoking was a symbol of independence and liberation. Suddenly cigarettes were no longer a habit; they were presented as a badge of freedom. The result was obvious: twice the customers and twice the profits for the tobacco giants, while millions more people paid the price with their health.

Second, look at the transformation of the workplace. The participation of women in public life has brought many positive developments — education, independence, and opportunity. Yet we must also recognize that corporations and governments saw something else: a chance to double the workforce and therefore double the tax base. When two parents must work simply to maintain the same standard of living that one income once provided, the system benefits greatly. Tax revenues grow, consumer spending grows, and the cycle of dependency tightens. What was once called progress can quietly become economic necessity.

Third, consider the strange war against traditional foods. For generations people cooked with butter, milk, and simple ingredients from the land. Then came a wave of marketing and scientific messaging declaring that these foods were dangerous. In their place appeared industrial substitutes: margarine, spreads, and laboratory creations. One of the most famous advertisements featured the model Fabio Lanzoni promoting the product I Can’t Believe It’s Not Butter!. Suddenly a factory-made imitation was marketed as modern and healthy, while the food our grandparents trusted was portrayed as primitive or harmful.

This is how super-capitalism operates. It does not simply sell products. It reshapes culture. It redefines habits. It persuades people to abandon what is familiar in favor of what is profitable.

The danger is not capitalism itself. Markets can be useful servants of human creativity. The danger lies in a system so powerful that it begins to engineer society in order to expand consumption endlessly. When profit becomes the supreme value, traditions become obstacles, families become economic units, and even our diets become marketing campaigns.

The people of Yugoslavia — Serbs, Croats, Bosniaks, Slovenes, Macedonians, Montenegrins, and others — know the importance of community. We know the value of land, family, and shared history. These things cannot be measured by quarterly earnings reports.

My message is simple: remain vigilant. Question the stories that advertising tells you. Defend your local culture, your food, your communities, and your independence of thought. The future of our societies should not be written in corporate boardrooms or dictated by distant financial institutions.

Economic systems must serve human dignity. If they do not, it is the responsibility of free people to remind them who they exist for.

Let us remember who we are, and let us choose wisely the kind of world we wish to build.

Josip Jukić

Kukavice – Cowards

The dim light of the studio caught the edge of Dua’s phone as she scrolled through the archived “Joe and Nelly” Yugo fan page. She looked up, her expression a mix of nostalgia and genuine fear.

Dua Lipa: “Joe, you don’t realize… seeing this page back in 2010, seeing you and Nelly? That’s why I started singing as a kid. It felt real. But now…” She paused, her voice dropping. “The Albanian mafia… they’re everywhere. They want me to mule drugs on this tour. I’m terrified they’re going to MK Ultra pimp me out. It feels like what Yoko Ono said—that women are the original N-words of the world.”

JCJ: “Listen to me, daughter. I’m going to talk to them before this gets out of hand. You’re a ‘Say It Right’ Yugo girl; you aren’t a mule for a syndicate.”

Dua Lipa: “But the forces behind them… they’re so deep. Even the people we see on screen, the ‘messiahs’—”

JCJ: “The only messiahs the church accepts are cowardly actors, Dua. Look at them: Christian Bale, Diogo Morgado, Jim Caviezel, Willem Dafoe. They’re just faces. They play the part, but they don’t live the sacrifice. I was betrayed by the church just like the Knights Templar were—all because of their own lust for young children. They hide behind the robes.”

Dua Lipa: “People talk about Caviezel like he’s the one saving everyone, though.”

JCJ: “People forget the truth. Tim Ballard is the real hero in Sound of Freedom, not Jim Caviezel. Caviezel is paralyzed by fear. He might fear Baron Rothschild and his interests, but I don’t. He might fear Muslims, but I’ve done the opposite—I’ve created an alliance with them. We’re standing together against the occult Satanic force that actually runs this machinery.”

Dua Lipa: “You’re really going to stand up to them for me?”

JCJ: “I’ve spent my life navigating these narratives. They think they can script your life, but they haven’t accounted for the alliance we’ve built in the shadows. We operate where they can’t see.”

JCJ pauses, and takes a drag from his cigarette.

“You are the daughter I never had,” JCJ tells Dua Lipa. He has a pained look on his face. “In order to fight this fight, to bring these people down, I had to remain ‘Untouchable’. You understand? No wife, no kids. Like Elliot Ness, but in real life.

Dua Lipa – Genesis

The Prophecy and the Projection

Setting: A dimly lit, high-end recording studio lounge in London. Dua Lipa is scrolling through a vintage fashion mag; Joe Jukic is nursing a double espresso, looking intensely contemplative.

Joe: You know, Dua, I’ve been stuck on Genesis 3:15 lately. The Protoevangelium. It’s heavy stuff. The idea that the woman—the Virgin Mary—will eventually crush the serpent’s head under her heel. It’s the ultimate endgame.

Dua: (Looking up, intrigued) It’s a powerful image, Joe. Very “future-feminist-icon” before the concept even existed. Total “Training Season” over for the devil, right? But it’s also quite dark.

Joe: It is. But it’s the hope people cling to. Look at Medjugorje. Thousands flock there because they think they’re seeing that prophecy in action—the Gospa appearing to warn the world. But honestly? I’ve looked at the reports. I think the whole thing was a ghost. A literal haunting or a spiritual residue. Something lingering in the stone, but not… holy.

Dua: (Leans back, smirking slightly) A ghost? That’s a bit Gothic for the 20th century, isn’t it? I’ve always had a different theory about those sightings.

Joe: Oh? Don’t tell me you think it’s just mass hysteria.

Dua: No, I think it’s more technical. More Future Nostalgia. Think about it: the way people describe the light, the flickering, the specific way she appears in the clouds… it wasn’t a spirit. It was a hologram.

Joe: A hologram? Like a Coachella performance?

Dua: Exactly! Like Princess Leia in Star Wars. “Help me, Obi-Wan Kenobi, you’re my only hope.” Just swap Obi-Wan for the Vatican. It’s a projection, Joe. High-tech, low-light, designed to create a spectacle. It’s much more “Age of Information” than “Age of Spirits.”

Joe: (Laughs) So, you’re saying the Virgin Mary is a Rebel Alliance transmission? That’s a stretch, even for you. A ghost has a soul—or a lack of one. It’s tied to the earth. A hologram implies someone is pressing ‘play’ behind a curtain.

Dua: Well, isn’t that what the prophecy is? A script already written? Whether it’s a ghost in the machine or a light in the sky, the serpent still gets crushed in the final act. I just think the special effects are more George Lucas than The Conjuring.

Joe: (Sighing) Maybe. But a ghost haunts you because it has something to say. A hologram just repeats the same message until the power runs out.

Dua: Then we’d better hope whoever is running the projector has a long-lasting battery.