Does anyone else agree with me that most of all the politicians in "real power" are into satanism?
Bohemian Grove
- Thread starter bigirl
- Start date
smokedacane said:
Many are into Satanism and others are into various other mystery religions which often can be attributed to their brotherhoods. I have noticed a very interesting thing in studying the occult. The amount of people in the general population into this sort of belief system and activity is rather low. But when you go into places of political power, you find a decent amount of people doing this.
smokedacane said:
True, but the term "satanism" is misleading , really it's based on the science the Moors taught the Europeans. It's based heavily on Astrology. The "satanic" bit comes in with human sacrifice, blood rituals, and child sexual abuse.
oneofmany said:
So basically people with wealth and prestige are more than likely to engage in this activity. Talk about selling your soul to the devil (the great architect or whoever they worship) for material goods and power
LennyNero1972 said:
Oh definitely, alot of symbology goes into their rituals
smokedacane said:
I mean what purpose does it serve? And furthermore I just dont trust anyone enough to have that kind of frank conversation. The sinking of the Maine, Pearl Harbor, it's not unprecedented but no one ever gives a shit so I dont have much faith in being Cassandra screaming about Trojan Horses.
Maybe I'm just jaded LOL
bigirl said:
Damn luv you really are on the frequency. Have you read Peter Moon's latest in the Montauk series Montauk Book of the Dead and Spandau Mystery?
DaleMabry said:
did you happen to look at that video I posted in response to one of your posts towards the top?
bigirl said:
and these fools don't even know the real meaning behind it
Have you ever heard of Phil Schneider bigirl?
bigirl said:
.........yeah that's him, nevermind.
why you laughsmokedacane said:
have you heard of al bielek, duncan cameron and preston nichols and the montauk project?
http://www.bielek.com/
bigirl said:why you laugh
have you heard of al bielek, duncan cameron and preston nichols and the montauk project?
http://www.bielek.com/
Why do you become so easily offended? I laughed because I knew that you would know who I was talking about and you did.
And no I have never heard of those men but I have heard of the Montauk project
bigirl said:
...........I can't believe any of this
Only other thing that I came across in there that I read in other things is the ship dematerializing and rematerialiizing and the scientist jumping in time to 1983. That other stuff just sounds absurd.
I know for a fact they were involved in alot of mind control/programming experiments. I know they were linked with the notorious Brookhaven laboratories where Steven Spielberg and george Lucas' dads worked. I have been out there and can tell you its WIERD out there. I know alot of people out there and have heard alot of stories of strange stuff that has went on over the years. A few years ago I had done an enourmous amount of research and cross referencing on this. A google search on Montauk Project and going past the first few pages will be very informative.smokedacane said:...........I can't believe any of this
Only other thing that I came across in there that I read in other things is the ship dematerializing and rematerialiizing and the scientist jumping in time to 1983. That other stuff just sounds absurd.
bigirl said:
And I bet it's no coincidence either that Spielberg and Lucas both went on to become world renown directors of extraterristrial movies.
Not sure where I read it, but I agree with it that parts of Movie Cinema are apart of a government program. Just think about all the desinsitizing movies have done over a generation...........mainly movies about alien invasion...........somebody trying to prepare us for something?
exactly. i have read alot on this subject I am not finding it online right this second. you know when i find exactly what i am looking for i will post it. Also video games are the biggest mind control asset they have. Throw those shits away. In the meanwhile, here are some related and very deep links:smokedacane said:And I bet it's no coincidence either that Spielberg and Lucas both went on to become world renown directors of extraterristrial movies.
Not sure where I read it, but I agree with it that parts of Movie Cinema are apart of a government program. Just think about all the desinsitizing movies have done over a generation...........mainly movies about alien invasion...........somebody trying to prepare us for something?
http://www.whale.to/b/sp/springmeier.html#ONE_OF_THE_GREATEST_DECEPTIONS_OF_ALL_TIME:_DISNEY_
http://www.whale.to/b/sp/springmeier.html
http://www.whale.to/b/sp/springmeier.html#TELEVISION
never mind here is the movies page:
http://www.whale.to/b/movies_q.html
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Collateral Brain Damage?
The Hollywood Propaganda Ministry
by Alex Constantine, Scheduled for the July 2002 issue of High Times
"Without censorship, things can get terribly confused
in the public mind."
--General William C. Westmoreland,
Time, April 5, 1982
Tinseltown Down
During the filming of Black Hawk Down, the Pentagon persuaded its producers to change the name of Army Ranger John Stebbins, portrayed by Ewan McGregor, because the true-life "patriot" had been convicted to a 30-year prison term for the sexual assault of a 12-year-old girl. (Megan Turner, "WAR-FILM `HERO' IS A RAPIST," NY Post, 12/18/01) In the movie, "John Grimes" stands in for pedophile Stebbins. Despite this and numerous other revisions to the record of the famed Somali military fiasco, Black Hawk Down met with widespread acclaim. The film's Washington premiere was attended by Vice President Dick Cheney, Donald Rumsfeld, Oliver North and a division of generals. It grossed $75.5-million in its first three weeks.
But jeering protestors -- including Brendan Sexton, an actor in Black Hawk Down -- decried the movie, a riot of Hawkish clichés ("C'mon, let's roll!"), as crude war propaganda, a drug intended to stupefy the country into supporting covert operations and oil company maneuvers in Somalia, still more dead civilians. The Pentagon's heavy hand in the making of the film was condemned as a manipulation of public sentiment recalling the Goebbels propaganda mill.
A glance that way is instructive. "Films," Heinrich Goebbels opined, constitute a "scientific means of influencing the masses," of molding attitudes, and he cautioned, "a government must not neglect them." Movies were central to the Nazi regime's domestic propaganda blitz. Under Nazi rule, some 1,300 movies were approved or commissioned by the Reich. Robert Hertzstein, a former consultant to the Justice Department's Office of Special Investigations, notes in The War that Hitler Won that Goebbel's ministry salted popular films with repetitious words and symbols that stirred the emotions of the German populace: "heroism," "sacrifice," "mass murder," "hatred for Germany." (in Robert Edwin Herzstein, The War that Hitler Won: Goebbels and the Nazi Media Campaign, New York: Paragon, 1987, p. 272.) A half century later, Black Hawk Down -- with its profuse "heroism," "sacrifice," "mass murder," "hatred for America" -- swept the next bellicose right-wing "homeland." The parallels were glaring.
And obnoxious. Brendon Sexton, speaking at an anti-war forum held at Columbia University, recalled that in preparation for his role, he and a fellow actor flew to Georgia for `Ranger Orientation Training' at Fort Benning in Columbus. From Atlanta, they shuttled to the training site and "on our flight there were a bunch of guys with Marine haircuts speaking Spanish. It took us a few moments to realize these guys were `students' of the School of the Americas, the U.S. Army's own terrorist training camp in Latin America." This experience "put things into perspective: warlords, dictators and terrorists are normally okay with the U.S., as long as they do the bidding of U.S. corporate interests." ("What's wrong with Black Hawk Down? -- Black Hawk Down Actor Brendan Sexton on what really happened in Somalia," Z-Magazine Web Site, http://www.zmag.org/ZNET.htm)
Those interests lurked beyond Ridley Scott's klieg lights in geopolitical obscurity. Throughout the 1970s and '80s, Somalia was ruled by the decrepit Mohamed Siad Barre. Bowing to the dictates of American Oil, President Barre crushed all dissent. He leased nearly two-thirds of oil-rich Somalia to four American petroleum companies: Chevron, Conoco, Phillips and Amoco. Somalia, a tiny country in the Horn of Africa, is also of interest to the U.S., a direct route to the Red Sea and the Suez Canal. Barre was overthrown in 1991, Somalia erupted in turmoil and the oil companies' land contracts were rendered useless paper. At the same time, there was no shortage of misery in the world. A military adventure to Somalia would have appeared whimsical. Citing famine in Mogadishu and the South, President George Bush, Sr. let the dogs out. The Los Angeles Times noted that Bush's envoy during the operation made the Conoco compound his base. ("Black Hawk Down: Shoot first, don't ask questions afterwards," Independent, 2-2-02)
On May 7, 1993 Canadian newspapers reported that Airborne Commandos had torture-murdered a Somali teenager. Then came subsequent news of murders by Canada's peacekeepers. As many as 1,000 civilians (or "Skinnies"s) were massacred by American troops sent to "restore order" and grab Barre's successor, Mohammed Aideed. Colin Powell, then head of the Joint Chiefs of Staff, described the military operations in Somalia as "a paid political advertisement" for the Pentagon. (Michael L. Tan, "Only a Movie," INQ7, Philippine news web site, http://www.inq7.net/opi/2002/feb/26/opi_mltan-1.htm.)
The "humanitarian" operation devolved into wholesale bloodshed. "In one incident," the Independent reported in 1998, "Rangers took a family hostage. When one of the women started screaming at the Americans, she was shot dead. In another incident, a Somali prisoner was allegedly shot dead when he refused to stop praying outside. Another was clubbed into silence." Mark Dowden, author of Black Hawk Down, wrote the article -- yet his book, released a year later, makes no mention of these atrocities. (Independent, 2-2-02) Further nips and tucks in the film script were made at Pentagon request.
Letters from the studios to Pentagon officials declassified last year reveal that Hollywood routinely rewrites history at the dictate of DoD officials with the authority to grant access to military hardware and property. If the script changes are not made, assistance is denied, the film suffers. Films that have won Pentagon approval include Armageddon, Air Force One, The Jackal, Top Gun, Pearl Harbour and Bad Company. Some movies that didn't make the grade: The Thin Red Line, Apocalypse Now, Sgt Bilko, Platoon, Independence Day and Spy Game. (Duncan Campbell, "Top Gun versus Sergeant Bilko?," The Guardian, 8-29-01.)
Goodfellas
The national security-entertainment complex is as driven by greed as it is hypocrisy, so on September 15, 2000, the New York Post reported: "BUSH MADE BUNDLE ON MOVIE VIOLENCE." President Bush has scolded panderers of film violence and is given to public pronouncements that there should be "a sense of urgency in our society about the pervasiveness of violence" (excluding the current spate of gory war movies, of course -- these he applauds). "I think it starts with reminding moms and dads that they've got to be mindful of the games and movies and music that their children are listening to." Most moms and dads had no idea that, for ten years, moralist Bush sat on the board of Silver Screen Management Co., a company operated by New York businessman Roland Betts, a fellow Skull & Bones frat brother. Silver Screen has financed a score of R-rated flicks, including The Hitcher, a bloodfest. Bush joined the board of SS in 1983 and was a director until 1993, when he planned his candidacy for the Texas governor's office. Bush received over $100,000 in directors' fees and bonuses from the firm.
In the last election cycle, Bush's starched supporters regaled Al Gore for his friendship with Pulp Fiction producer Harvey Weinstein, and soliciting campaign funds in Hollywood. They selectively forgot that Colin Powell sat on the corporate board of Time-Warner before his appointment to the State Department. Time-Warner Cable offers hardcore pornography. In 1992, the ultra-conservative American Family Association named Time-Warner "the third leading sponsor of sex, violence and profanity on broadcast TV." (Robert Peters, "Time Warner Still a Major Cultural Polluter," Morality in Media Web Site: http://www.moralityinmedia.org/index.htm?mediaIssues/timewarn.htm.)
Martin Kaplan, a former speechwriter and Disney executive, allowed at a recent news conference that between Hollywood and Washington, "there's a combination of distrust and affection. There has been the culture-wars side of it, but there's also been quite a passionate relationship with legislative outcomes. They understand each other in a fundamental way." (Doug Saunders, "Films of War," Globe and Mail, 11-17-01)
This intimacy was conspicuous when screenwriter E. Howard Hunt was tapped for spy duty. It was conspicuous in 1952, when Actors' Guild president Ronald Reagan was recruited by the Crusade for Freedom, a CIA front, to star in a series of televised appeals for viewer donations to resettle East European Nazi collaborators -- "freedom fighters," Reagan said -- in the U.S. (John Loftus, The Belarus Secret, New York: Knopf, 1982, pp. 107-41.)
And it was conspicuous twenty years later at the world premiere of The Godfather, an event attended by then Secretary of State Henry Kissinger. Robert Evans, the film's producer, a Kissinger crony, had known Mafia ties -- his attorney was Sidney Korshak, the legendary West Coast mob fixer -- but this didn't deter the world's most prominent war criminal. Evans writes in his memoirs that when Kissinger arrived at the screening, the paparazzi "became so unruly that extra police were called in to physically push them back."
A reporter shouted, "Dr. Kissinger, why are you here tonight?"
Kissinger croaked with a grin, "I was forced."
"By who?"
"By Bobby."
The theater's lights dimmed, the theme rose, Evans gushed: "my whole life seemed to pass before me. Here, sitting between Henry and Ali [McGraw], watching this epic unfold, I felt that everything my life was about had led up to this moment." (Robert Evans, The Kid Stays in the Picture, London: Aurum Press, 1994, pp. 9-10.)
The mutual admiration was still evident in November, 2001 when senior White House advisor Karl Rove and several dozen studio executives met in Beverly Hills to discuss the war on terrorism. "It's important to hear what Hollywood has on its mind," Bush administration spokesman Ari Fleisher explained at a daily press briefing. The names Bill Maher, Oliver Stone, Warren Beatty or Larry Flynt did not come up.
The thoughtful movie moguls represented CBS, HBO, MGM, Showtime, Dreamworks, Viacom and other multinational cartel dream factories. The New York Times assured, "several executives emphasized ... that they were not interested in making propaganda films." CNN mentioned that MPAA president Jack Valenti, head of the Motion Picture Association, "hoped the White House representatives weren't planning `to tell us what kind of movies to make.'" Rove wanted "concrete information, told with honesty and specificity and integrity." But most reports of the closed meeting note that "patriotic" movies were the topic of discussion. The studio executives offered to turn out flicks in the tradition of Why We Fight, a documentary made during World War II, and The Battle of San Pietro; they also committed to public service projects on biological terrorism and "homeland security." (Rick Lyman, "White House Sets Meeting with Film Executives to Discuss War on Terrorism," New York Times, 11-8-01.) Among the volunteers to the war effort, count directors David Fincher (Fight Club), Spike Jonze (Being John Malkovich) and Randal Kleiser (Grease), and Die Hard screenwriter Steven E. De Souza.
Never mind that Hollywood was already tummy-tuck deep in the propaganda biz. A few days before Rove's summit, actor Tom Cruise met with CIA officials to discuss ways of burnishing the agency's image in the upcoming Mission: Impossible 3. (Editorial, "Unease over Hollywood Washington pact," Guardian Unlimited, November 14, 2001.) Truth is, the nation's political and entertainment capitals had been on intimate terms for decades when the studio moguls issued their denials.
"For many years," Canadian media critic Doug Saunders writes, "Hollywood's most prominent products, its major studio films and TV series, have been almost indistinguishable from government-funded propaganda. With rare exceptions, whenever men in uniform appear on-screen, Hollywood has been singing Washington's song from the beginning." The grave flaws in American foreign policy "may loom large in history, but 50 years of cinema and TV have painted [the CIA and DoD] in bright and unmottled hues." And reaped immense profits with their art: CIA expenditures alone on propaganda during the Cold War ran to hundreds of millions of dollars each year. (Alex Constantine, And Now a Word from Our Sponsor -- the CIA, Virtual Government) "If Bush were to erect a soundstage on the White House lawn, he could not do a better job getting the official line across than movies and TV shows have been doing for years." (Saunders)
Two years ago, the Central Intelligence Agency opened its headquarters to Showtime and Paramount for the making of In the Company of Spies. The program aired on Showtime. To celebrate the completion of this collaborative project, the CIA's George Tenet invited everyone involved to a private screening at CIA headquarters in Langley. "The CIA's objectives were clear," screenwriter Roger Towne told the Associated Press. "They hoped to see a human face put on the agency and we had just the story to do it." ("Hollywood Whores for Washington," http://www.xmag.com/archives/7-08-feb00/antiDrug.html and http://www.xmag.com/archives/7-08-feb00/antidrugCont.html) This is an agency, mind you, with two faces, an international Gestapo that has trained death squads around the globe, assassinated a score of foreign leaders, plotted coups, conducted illicit human experimentation, peddled LSD, sprayed disease on Cuban crops, dragged the country into Vietnam, created bin Laden, etc. Tenet boasted that the movie "portray us in a good light, and I want the American people to know the values we believe in."
"Never," noted the Washington Post, "has the CIA so fully embraced a movie." (Vernon Loeb, "The CIA's Operation Hollywood," Washington Post, October 14, 1999, Page C-1.)
The Langley-Hollywood romance began during World War II, when the Office of Strategic Services (the nascent CIA) and a Disney make-up artist designed disguise kits for agents on jungle assignment. In the postwar period, make-up artists were also recruited for the start-up of Studio Six Productions, a full-fledged CIA front complete with business cards, an office, movie posters and trade ads. Studio Six was run by John Chambers, who won an Academy Award for his make-up wizardry in Planet of the Apes, his partner Tom Burman and the CIA's Tony Mendez. (Robert P. Laurence, "Into the Shadows: The CIA in Hollywood," television review, San Diego Union-Tribune, 12-04-01.)
The CIA, soiled by a half century of PR disasters, hired Chase Brandon, a 26-year veteran paramilitary officer with experience "all over Latin America" -- also a cousin of actor Tommy Lee Jones, Al Gore's college roommate -- in 1996 to fill the newly-created position of Entertainment Liaison Officer. "The popular image of us is of some kind of rogue organization creating mayhem and madness on a whim," Brandon told the press a week prior to the World Trade Center air assaults. "We hate to see ugly imagery of us in television and films."
Brandon's office was conceived on December 20, 1991 by the "Task Force on Greater CIA Openness" in a study undertaken at the request of then CIA director Robert Gates, a Bush, Sr. appointee, and immediately classified, though a few copies were leaked. The report proposed an image upgrade to neutralize public hostility. The task force was in "substantial agreement that we generally need to make the institution and the process more visible and understandable rather than strive for openness on specific substantive issues." Forget openness, the Openness Task Force advised. The report "seems to recommend no real change in attitude," complained The Excluded Middle, an anti-CIA Internet site, "only in the way that the agency presents itself to a hostile or at least an indifferent public." The authors of the report boast arrogantly that the CIA's Public Affairs Office (PAO) censored and had buried projects that it found objectionable in the past. Chase Brandon hails from the PAO. Contact with "every major wire service, newspaper, news weekly, and television network in the nation" was advised by the panel. The result was the Entertainment Liaison Office. (Anonymous, "CIA MEMO ON GREATER OPENNESS REVEALS CONTRADICTIONS," Excluded Middle, http://www.elfis.net/tem/ciaduh.htm)
The CIA's PR campaign was calculated to convince viewers that programs like The Agency on CBS -- praised by Brandon for portraying "the bravery and decency of the men and women who work here" -- were true-to-life. Wolfgang Peterson, an executive producer of the spook show, observes that Americans "are questioning whether we need a CIA, and this is a great opportunity to get the word out." With CIA oversight, of course. Michael Frost Beckner, creator of series, worked closely with Brandon and submitted the product for Agency approval. (Duncan Campbell, "Hollywood helps CIA come in from the cold," The Guardian, September 6, 2001.) The premiere episode of The Agency featured agents thwarting a plot to assassinate Fidel Castro, a smoke-belching storyline fit for Rupert Murdoch's delusional Fox cable channel, or perhaps Nickelodeon.
A plausible script was suggested by Guardian media critic John Patterson: "Think of a movie that chronicles the fortunes of a secretive, murderous, criminal organization, deeply prone to the pathologies of masculinity and paranoia, all seen over the course of four decades with excess followed by hubris followed by dead reckoning. The CIA awaits its version of Goodfellas." (John Patterson, "The Caring, Sharing CIA," The Guardian, October 5, 2001.) A working title for this version might be:
"Indecent Exposure"
The raw material for a true-life CIA classic already exists in the life and untimely death of Hollywood scriptwriter Gary Devore (The Dogs of War, Raw Deal). In the early morning hours of June 28, 1997, Devore drove his SUV off the highway near Palmdale, California, plunged into the California Aqueduct and drowned, Chappaquiddick-style. It wasn't a blowout. He didn't nod off at the wheel. Shortly before the fatal plunge, Devore bragged to his wife by cell phone that he was wide awake, riding on "adrenaline" because he was hard at work on the final draft of Solo, a film script about the military occupation of Panama, and was headed for their beach home in Santa Barbara to complete it. The body would not be found for over a year.
In the meantime, his disappearance summoned up a multitude of conspiracy theories, including CIA assassination. Wendy Devore, his wife, still considers this the most likely explanation and ignores the snickers of the press. Her husband wrote spy thrillers for the screen and had intelligence contacts. Police found a surveillance wire hidden in a bedroom drawer. Devore disappeared in the Antelope Valley, on the outskirts of Palmdale, a CIA enclave. And shortly after the writer went missing, the Agency's Chase Brandon popped up at the house to request private access to the scriptwriter's office and computer -- as though the spook had good reason to believe that Devore, then officially a missing person, was dead. (Ivor Davis and Sally Ogle Davis, "Disappearing Act: A Big Comeback...A Big Mystery," E-Online, http://www.eonline.com/Features/Specials/Screenwriter/Three/index3.html)
In July, 1998 Devore's Explorer was hauled from the aqueduct. The driver's window was down. "He must have been unconscious when he hit the water," she told reporters. "Otherwise, if the window was open, why couldn't he get out?" From the start, police have refused, despite Wendy's pleas, to investigate the case properly.
The Los Angeles Times reported on June 29, 1998 that Devore made frequent calls over a period of several weeks before vanishing to "a longtime friend," Chase Brandon, "at the CIA in Langley, Va., to ask him about the U.S. invasion of Panama, former Panamanian strongman Manuel Noriega and about Noriega's involvement in drugs and money-laundering." Brandon: "I remember talking to him about a lot of elements of Panama and Noriega's regime and the drug money that Noriega was alleged to have had stashed in safes in his offices and that's the money that, in his script [Solo], soldiers stumble across and steal. From that, we sort of drifted off and sort of talked about U.S. counter-narcotics programs in general. I may have mentioned a couple things about the agency's role in providing increased U.S. intelligence efforts to provide support to U.S. law enforcement."
On May 6, 1997, Devore made a note in his day-planner: "Undersecretary for int'l narcotics makers. Chase [name crossed out]. Crime and Narcotics Center. CNC. Largest center in CIA. Espionage agents work with local police, gov't, etc. Do cover work on problems locals won't handle. Airfields, burn labs, fuel storage."
Chase Brandon snickers at conspiracy theories, but offered the Times one of his own: "Gary was one of those people who met a horrible, tragic quirk of fate. He was simply victimized by people who wanted that car." (Robert W. Welkos, "Without a Trace," Los Angeles Times, June 29, 1998.) A conspiracy to steal a moving automobile on an open highway. Case closed. Then again, as filmmaker Barbara Trent (The Panama Deception) pointed out to The Colorado Daily last year, a CIA spokesman is "paid a lot of money to lie. I mean, how many times do we have to learn that lesson?" (Terje Langeland, "Filmmaker to speak on media deception," Colorado Daily, January 27, 2000, http://www.empowermentproject.org/codaily.htm) Gary Devore's death remains a mystery.
The Manchurian Moviegoer
The proliferation of pro-American films and television programs might be described as a cynical mind control operation, a psyop. John Rendon, a "strategic communications" firm hired by the Pentagon (at $100,000 a month) in the war on terrorism, describes himself as "an information warrior and a perception manager." (Jeff Stein, "Propaganda, the Pentagon, and the Rendon Group," TomPaine.Com http://www.tompaine.com/feature.cfm/ID/5188)
Perception management is the mission, under a $45 million Army grant, of the Institute for Creative Technologies, an interactive virtual-reality warfare simulation center and think-tank in Marina Del Rey, operated by the University of Southern California. Richard Lindheim, former vice president of Paramount Television Group, is executive director of the center. The keynote address at the ITC's opening in 1999 was delivered by Jack Valenti, who observed in his opening remarks, "Los Angeles is not the entertainment capital of the world. Washington, DC is the entertainment capital of the world!"
James Der Derian, director of the Information Technology, War and Peace Project (ITWP), was sitting in the audience at the ITC's opening in 1999. "I did not want to rain on the parade," he wrote in an ITWP newsletter, but had to ask "whether the linking up of Hollywood and the Pentagon might not repeat the World War II experience, when training films were mixed with propaganda films, and military simulations became a tool for public dissimulation?"
Valenti came back with a response that "made up in pugnacity what it lacked in nuance." The MPAA president "contrasted my view to the decision to drop the atomic bomb on the Japanese. `Some might have seen that as a heartless and terrible thing to do, but not the 150,000 American boys whose lives would have been lost. This is a lesson in Philosophy 101 that I am giving to you right now.'" But Der Derian came away with another lesson: "Valenti, like many in power today, are all too ready to drop the bomb on dissident viewpoints." Death on the battlefield or simulated on the screen "gives war its special status. This fact can be censored, hidden in a body bag, air-brushed away, but it provides, even in its erasure, the corporal gravitas of war. However, everything I witnessed that day at the ICT was dedicated to the disappearance of the body, the aestheticizing of violence, the sanitization of war. Will this latest alliance of brass, silicon and celluloid be any different? It would seem not." (James Der Derian, "Dreams, Lies and Video Tapes," INFOintervention, Watson Institute Web site, December 18, 2001, http://www.watsoninstitute.org/infopeace/911/jdd_videos.html)
Sanitizing war is the primary aim of the patriotizing media. When the bombs began to fall in Afghanistan, killing and mutilating innocent civilians, a policy of suppressing the body count (or "propaganda") was adopted by Donald "Precision Bombing" Rumsfeld and the government's "information warriors." In Hollywood, self-censorship is the rule. Rarely have the Feds had reason to step in and silence the studios by threat of force. (A rare exception was an episode of Murphy Brown concerning the medical benefits of marijuana -- DEA Director Thomas Constantine threatened a "criminal investigation" of the program. See "Pushing propaganda", from the About website, 7/17/00, http://civilliberty.about.com/library/weekly/aa071700a.htm?iam=dpile&terms=cia+propaganda+movies)
Nevertheless, an atmosphere of aggression and fear has fostered an industry, argues San Francisco Examiner film critic Michael Ryan, "in which ideology predominates and contrary voices are silenced. What happens when someone wants to make a film about Abdul Nabi and his family, Afghans who were forced to become refugees when U.S. bombs killed 28 people in nearby villages?" The managers of perception will interpret such a storyline "as `stupid meddling,' and `should be stifled.'" ("Unease over Hollywood-Washington pact," Guardian Unlimited, November 14, 2001.)
On Black Tuesday, the national security cult's pentagram was breached by a jetliner, the demons of mass persuasion set loose. Until the exorcist arrives, expect generous servings of "heroism," "sacrifice," "mass murder," and "hatred for America" at the matinee.
© 2002 Alex Constantine
Reprinted for Fair Use Only.
The Hollywood Propaganda Ministry
by Alex Constantine, Scheduled for the July 2002 issue of High Times
"Without censorship, things can get terribly confused
in the public mind."
--General William C. Westmoreland,
Time, April 5, 1982
Tinseltown Down
During the filming of Black Hawk Down, the Pentagon persuaded its producers to change the name of Army Ranger John Stebbins, portrayed by Ewan McGregor, because the true-life "patriot" had been convicted to a 30-year prison term for the sexual assault of a 12-year-old girl. (Megan Turner, "WAR-FILM `HERO' IS A RAPIST," NY Post, 12/18/01) In the movie, "John Grimes" stands in for pedophile Stebbins. Despite this and numerous other revisions to the record of the famed Somali military fiasco, Black Hawk Down met with widespread acclaim. The film's Washington premiere was attended by Vice President Dick Cheney, Donald Rumsfeld, Oliver North and a division of generals. It grossed $75.5-million in its first three weeks.
But jeering protestors -- including Brendan Sexton, an actor in Black Hawk Down -- decried the movie, a riot of Hawkish clichés ("C'mon, let's roll!"), as crude war propaganda, a drug intended to stupefy the country into supporting covert operations and oil company maneuvers in Somalia, still more dead civilians. The Pentagon's heavy hand in the making of the film was condemned as a manipulation of public sentiment recalling the Goebbels propaganda mill.
A glance that way is instructive. "Films," Heinrich Goebbels opined, constitute a "scientific means of influencing the masses," of molding attitudes, and he cautioned, "a government must not neglect them." Movies were central to the Nazi regime's domestic propaganda blitz. Under Nazi rule, some 1,300 movies were approved or commissioned by the Reich. Robert Hertzstein, a former consultant to the Justice Department's Office of Special Investigations, notes in The War that Hitler Won that Goebbel's ministry salted popular films with repetitious words and symbols that stirred the emotions of the German populace: "heroism," "sacrifice," "mass murder," "hatred for Germany." (in Robert Edwin Herzstein, The War that Hitler Won: Goebbels and the Nazi Media Campaign, New York: Paragon, 1987, p. 272.) A half century later, Black Hawk Down -- with its profuse "heroism," "sacrifice," "mass murder," "hatred for America" -- swept the next bellicose right-wing "homeland." The parallels were glaring.
And obnoxious. Brendon Sexton, speaking at an anti-war forum held at Columbia University, recalled that in preparation for his role, he and a fellow actor flew to Georgia for `Ranger Orientation Training' at Fort Benning in Columbus. From Atlanta, they shuttled to the training site and "on our flight there were a bunch of guys with Marine haircuts speaking Spanish. It took us a few moments to realize these guys were `students' of the School of the Americas, the U.S. Army's own terrorist training camp in Latin America." This experience "put things into perspective: warlords, dictators and terrorists are normally okay with the U.S., as long as they do the bidding of U.S. corporate interests." ("What's wrong with Black Hawk Down? -- Black Hawk Down Actor Brendan Sexton on what really happened in Somalia," Z-Magazine Web Site, http://www.zmag.org/ZNET.htm)
Those interests lurked beyond Ridley Scott's klieg lights in geopolitical obscurity. Throughout the 1970s and '80s, Somalia was ruled by the decrepit Mohamed Siad Barre. Bowing to the dictates of American Oil, President Barre crushed all dissent. He leased nearly two-thirds of oil-rich Somalia to four American petroleum companies: Chevron, Conoco, Phillips and Amoco. Somalia, a tiny country in the Horn of Africa, is also of interest to the U.S., a direct route to the Red Sea and the Suez Canal. Barre was overthrown in 1991, Somalia erupted in turmoil and the oil companies' land contracts were rendered useless paper. At the same time, there was no shortage of misery in the world. A military adventure to Somalia would have appeared whimsical. Citing famine in Mogadishu and the South, President George Bush, Sr. let the dogs out. The Los Angeles Times noted that Bush's envoy during the operation made the Conoco compound his base. ("Black Hawk Down: Shoot first, don't ask questions afterwards," Independent, 2-2-02)
On May 7, 1993 Canadian newspapers reported that Airborne Commandos had torture-murdered a Somali teenager. Then came subsequent news of murders by Canada's peacekeepers. As many as 1,000 civilians (or "Skinnies"s) were massacred by American troops sent to "restore order" and grab Barre's successor, Mohammed Aideed. Colin Powell, then head of the Joint Chiefs of Staff, described the military operations in Somalia as "a paid political advertisement" for the Pentagon. (Michael L. Tan, "Only a Movie," INQ7, Philippine news web site, http://www.inq7.net/opi/2002/feb/26/opi_mltan-1.htm.)
The "humanitarian" operation devolved into wholesale bloodshed. "In one incident," the Independent reported in 1998, "Rangers took a family hostage. When one of the women started screaming at the Americans, she was shot dead. In another incident, a Somali prisoner was allegedly shot dead when he refused to stop praying outside. Another was clubbed into silence." Mark Dowden, author of Black Hawk Down, wrote the article -- yet his book, released a year later, makes no mention of these atrocities. (Independent, 2-2-02) Further nips and tucks in the film script were made at Pentagon request.
Letters from the studios to Pentagon officials declassified last year reveal that Hollywood routinely rewrites history at the dictate of DoD officials with the authority to grant access to military hardware and property. If the script changes are not made, assistance is denied, the film suffers. Films that have won Pentagon approval include Armageddon, Air Force One, The Jackal, Top Gun, Pearl Harbour and Bad Company. Some movies that didn't make the grade: The Thin Red Line, Apocalypse Now, Sgt Bilko, Platoon, Independence Day and Spy Game. (Duncan Campbell, "Top Gun versus Sergeant Bilko?," The Guardian, 8-29-01.)
Goodfellas
The national security-entertainment complex is as driven by greed as it is hypocrisy, so on September 15, 2000, the New York Post reported: "BUSH MADE BUNDLE ON MOVIE VIOLENCE." President Bush has scolded panderers of film violence and is given to public pronouncements that there should be "a sense of urgency in our society about the pervasiveness of violence" (excluding the current spate of gory war movies, of course -- these he applauds). "I think it starts with reminding moms and dads that they've got to be mindful of the games and movies and music that their children are listening to." Most moms and dads had no idea that, for ten years, moralist Bush sat on the board of Silver Screen Management Co., a company operated by New York businessman Roland Betts, a fellow Skull & Bones frat brother. Silver Screen has financed a score of R-rated flicks, including The Hitcher, a bloodfest. Bush joined the board of SS in 1983 and was a director until 1993, when he planned his candidacy for the Texas governor's office. Bush received over $100,000 in directors' fees and bonuses from the firm.
In the last election cycle, Bush's starched supporters regaled Al Gore for his friendship with Pulp Fiction producer Harvey Weinstein, and soliciting campaign funds in Hollywood. They selectively forgot that Colin Powell sat on the corporate board of Time-Warner before his appointment to the State Department. Time-Warner Cable offers hardcore pornography. In 1992, the ultra-conservative American Family Association named Time-Warner "the third leading sponsor of sex, violence and profanity on broadcast TV." (Robert Peters, "Time Warner Still a Major Cultural Polluter," Morality in Media Web Site: http://www.moralityinmedia.org/index.htm?mediaIssues/timewarn.htm.)
Martin Kaplan, a former speechwriter and Disney executive, allowed at a recent news conference that between Hollywood and Washington, "there's a combination of distrust and affection. There has been the culture-wars side of it, but there's also been quite a passionate relationship with legislative outcomes. They understand each other in a fundamental way." (Doug Saunders, "Films of War," Globe and Mail, 11-17-01)
This intimacy was conspicuous when screenwriter E. Howard Hunt was tapped for spy duty. It was conspicuous in 1952, when Actors' Guild president Ronald Reagan was recruited by the Crusade for Freedom, a CIA front, to star in a series of televised appeals for viewer donations to resettle East European Nazi collaborators -- "freedom fighters," Reagan said -- in the U.S. (John Loftus, The Belarus Secret, New York: Knopf, 1982, pp. 107-41.)
And it was conspicuous twenty years later at the world premiere of The Godfather, an event attended by then Secretary of State Henry Kissinger. Robert Evans, the film's producer, a Kissinger crony, had known Mafia ties -- his attorney was Sidney Korshak, the legendary West Coast mob fixer -- but this didn't deter the world's most prominent war criminal. Evans writes in his memoirs that when Kissinger arrived at the screening, the paparazzi "became so unruly that extra police were called in to physically push them back."
A reporter shouted, "Dr. Kissinger, why are you here tonight?"
Kissinger croaked with a grin, "I was forced."
"By who?"
"By Bobby."
The theater's lights dimmed, the theme rose, Evans gushed: "my whole life seemed to pass before me. Here, sitting between Henry and Ali [McGraw], watching this epic unfold, I felt that everything my life was about had led up to this moment." (Robert Evans, The Kid Stays in the Picture, London: Aurum Press, 1994, pp. 9-10.)
The mutual admiration was still evident in November, 2001 when senior White House advisor Karl Rove and several dozen studio executives met in Beverly Hills to discuss the war on terrorism. "It's important to hear what Hollywood has on its mind," Bush administration spokesman Ari Fleisher explained at a daily press briefing. The names Bill Maher, Oliver Stone, Warren Beatty or Larry Flynt did not come up.
The thoughtful movie moguls represented CBS, HBO, MGM, Showtime, Dreamworks, Viacom and other multinational cartel dream factories. The New York Times assured, "several executives emphasized ... that they were not interested in making propaganda films." CNN mentioned that MPAA president Jack Valenti, head of the Motion Picture Association, "hoped the White House representatives weren't planning `to tell us what kind of movies to make.'" Rove wanted "concrete information, told with honesty and specificity and integrity." But most reports of the closed meeting note that "patriotic" movies were the topic of discussion. The studio executives offered to turn out flicks in the tradition of Why We Fight, a documentary made during World War II, and The Battle of San Pietro; they also committed to public service projects on biological terrorism and "homeland security." (Rick Lyman, "White House Sets Meeting with Film Executives to Discuss War on Terrorism," New York Times, 11-8-01.) Among the volunteers to the war effort, count directors David Fincher (Fight Club), Spike Jonze (Being John Malkovich) and Randal Kleiser (Grease), and Die Hard screenwriter Steven E. De Souza.
Never mind that Hollywood was already tummy-tuck deep in the propaganda biz. A few days before Rove's summit, actor Tom Cruise met with CIA officials to discuss ways of burnishing the agency's image in the upcoming Mission: Impossible 3. (Editorial, "Unease over Hollywood Washington pact," Guardian Unlimited, November 14, 2001.) Truth is, the nation's political and entertainment capitals had been on intimate terms for decades when the studio moguls issued their denials.
"For many years," Canadian media critic Doug Saunders writes, "Hollywood's most prominent products, its major studio films and TV series, have been almost indistinguishable from government-funded propaganda. With rare exceptions, whenever men in uniform appear on-screen, Hollywood has been singing Washington's song from the beginning." The grave flaws in American foreign policy "may loom large in history, but 50 years of cinema and TV have painted [the CIA and DoD] in bright and unmottled hues." And reaped immense profits with their art: CIA expenditures alone on propaganda during the Cold War ran to hundreds of millions of dollars each year. (Alex Constantine, And Now a Word from Our Sponsor -- the CIA, Virtual Government) "If Bush were to erect a soundstage on the White House lawn, he could not do a better job getting the official line across than movies and TV shows have been doing for years." (Saunders)
Two years ago, the Central Intelligence Agency opened its headquarters to Showtime and Paramount for the making of In the Company of Spies. The program aired on Showtime. To celebrate the completion of this collaborative project, the CIA's George Tenet invited everyone involved to a private screening at CIA headquarters in Langley. "The CIA's objectives were clear," screenwriter Roger Towne told the Associated Press. "They hoped to see a human face put on the agency and we had just the story to do it." ("Hollywood Whores for Washington," http://www.xmag.com/archives/7-08-feb00/antiDrug.html and http://www.xmag.com/archives/7-08-feb00/antidrugCont.html) This is an agency, mind you, with two faces, an international Gestapo that has trained death squads around the globe, assassinated a score of foreign leaders, plotted coups, conducted illicit human experimentation, peddled LSD, sprayed disease on Cuban crops, dragged the country into Vietnam, created bin Laden, etc. Tenet boasted that the movie "portray
"Never," noted the Washington Post, "has the CIA so fully embraced a movie." (Vernon Loeb, "The CIA's Operation Hollywood," Washington Post, October 14, 1999, Page C-1.)
The Langley-Hollywood romance began during World War II, when the Office of Strategic Services (the nascent CIA) and a Disney make-up artist designed disguise kits for agents on jungle assignment. In the postwar period, make-up artists were also recruited for the start-up of Studio Six Productions, a full-fledged CIA front complete with business cards, an office, movie posters and trade ads. Studio Six was run by John Chambers, who won an Academy Award for his make-up wizardry in Planet of the Apes, his partner Tom Burman and the CIA's Tony Mendez. (Robert P. Laurence, "Into the Shadows: The CIA in Hollywood," television review, San Diego Union-Tribune, 12-04-01.)
The CIA, soiled by a half century of PR disasters, hired Chase Brandon, a 26-year veteran paramilitary officer with experience "all over Latin America" -- also a cousin of actor Tommy Lee Jones, Al Gore's college roommate -- in 1996 to fill the newly-created position of Entertainment Liaison Officer. "The popular image of us is of some kind of rogue organization creating mayhem and madness on a whim," Brandon told the press a week prior to the World Trade Center air assaults. "We hate to see ugly imagery of us in television and films."
Brandon's office was conceived on December 20, 1991 by the "Task Force on Greater CIA Openness" in a study undertaken at the request of then CIA director Robert Gates, a Bush, Sr. appointee, and immediately classified, though a few copies were leaked. The report proposed an image upgrade to neutralize public hostility. The task force was in "substantial agreement that we generally need to make the institution and the process more visible and understandable rather than strive for openness on specific substantive issues." Forget openness, the Openness Task Force advised. The report "seems to recommend no real change in attitude," complained The Excluded Middle, an anti-CIA Internet site, "only in the way that the agency presents itself to a hostile or at least an indifferent public." The authors of the report boast arrogantly that the CIA's Public Affairs Office (PAO) censored and had buried projects that it found objectionable in the past. Chase Brandon hails from the PAO. Contact with "every major wire service, newspaper, news weekly, and television network in the nation" was advised by the panel. The result was the Entertainment Liaison Office. (Anonymous, "CIA MEMO ON GREATER OPENNESS REVEALS CONTRADICTIONS," Excluded Middle, http://www.elfis.net/tem/ciaduh.htm)
The CIA's PR campaign was calculated to convince viewers that programs like The Agency on CBS -- praised by Brandon for portraying "the bravery and decency of the men and women who work here" -- were true-to-life. Wolfgang Peterson, an executive producer of the spook show, observes that Americans "are questioning whether we need a CIA, and this is a great opportunity to get the word out." With CIA oversight, of course. Michael Frost Beckner, creator of series, worked closely with Brandon and submitted the product for Agency approval. (Duncan Campbell, "Hollywood helps CIA come in from the cold," The Guardian, September 6, 2001.) The premiere episode of The Agency featured agents thwarting a plot to assassinate Fidel Castro, a smoke-belching storyline fit for Rupert Murdoch's delusional Fox cable channel, or perhaps Nickelodeon.
A plausible script was suggested by Guardian media critic John Patterson: "Think of a movie that chronicles the fortunes of a secretive, murderous, criminal organization, deeply prone to the pathologies of masculinity and paranoia, all seen over the course of four decades with excess followed by hubris followed by dead reckoning. The CIA awaits its version of Goodfellas." (John Patterson, "The Caring, Sharing CIA," The Guardian, October 5, 2001.) A working title for this version might be:
"Indecent Exposure"
The raw material for a true-life CIA classic already exists in the life and untimely death of Hollywood scriptwriter Gary Devore (The Dogs of War, Raw Deal). In the early morning hours of June 28, 1997, Devore drove his SUV off the highway near Palmdale, California, plunged into the California Aqueduct and drowned, Chappaquiddick-style. It wasn't a blowout. He didn't nod off at the wheel. Shortly before the fatal plunge, Devore bragged to his wife by cell phone that he was wide awake, riding on "adrenaline" because he was hard at work on the final draft of Solo, a film script about the military occupation of Panama, and was headed for their beach home in Santa Barbara to complete it. The body would not be found for over a year.
In the meantime, his disappearance summoned up a multitude of conspiracy theories, including CIA assassination. Wendy Devore, his wife, still considers this the most likely explanation and ignores the snickers of the press. Her husband wrote spy thrillers for the screen and had intelligence contacts. Police found a surveillance wire hidden in a bedroom drawer. Devore disappeared in the Antelope Valley, on the outskirts of Palmdale, a CIA enclave. And shortly after the writer went missing, the Agency's Chase Brandon popped up at the house to request private access to the scriptwriter's office and computer -- as though the spook had good reason to believe that Devore, then officially a missing person, was dead. (Ivor Davis and Sally Ogle Davis, "Disappearing Act: A Big Comeback...A Big Mystery," E-Online, http://www.eonline.com/Features/Specials/Screenwriter/Three/index3.html)
In July, 1998 Devore's Explorer was hauled from the aqueduct. The driver's window was down. "He must have been unconscious when he hit the water," she told reporters. "Otherwise, if the window was open, why couldn't he get out?" From the start, police have refused, despite Wendy's pleas, to investigate the case properly.
The Los Angeles Times reported on June 29, 1998 that Devore made frequent calls over a period of several weeks before vanishing to "a longtime friend," Chase Brandon, "at the CIA in Langley, Va., to ask him about the U.S. invasion of Panama, former Panamanian strongman Manuel Noriega and about Noriega's involvement in drugs and money-laundering." Brandon: "I remember talking to him about a lot of elements of Panama and Noriega's regime and the drug money that Noriega was alleged to have had stashed in safes in his offices and that's the money that, in his script [Solo], soldiers stumble across and steal. From that, we sort of drifted off and sort of talked about U.S. counter-narcotics programs in general. I may have mentioned a couple things about the agency's role in providing increased U.S. intelligence efforts to provide support to U.S. law enforcement."
On May 6, 1997, Devore made a note in his day-planner: "Undersecretary for int'l narcotics makers. Chase [name crossed out]. Crime and Narcotics Center. CNC. Largest center in CIA. Espionage agents work with local police, gov't, etc. Do cover work on problems locals won't handle. Airfields, burn labs, fuel storage."
Chase Brandon snickers at conspiracy theories, but offered the Times one of his own: "Gary was one of those people who met a horrible, tragic quirk of fate. He was simply victimized by people who wanted that car." (Robert W. Welkos, "Without a Trace," Los Angeles Times, June 29, 1998.) A conspiracy to steal a moving automobile on an open highway. Case closed. Then again, as filmmaker Barbara Trent (The Panama Deception) pointed out to The Colorado Daily last year, a CIA spokesman is "paid a lot of money to lie. I mean, how many times do we have to learn that lesson?" (Terje Langeland, "Filmmaker to speak on media deception," Colorado Daily, January 27, 2000, http://www.empowermentproject.org/codaily.htm) Gary Devore's death remains a mystery.
The Manchurian Moviegoer
The proliferation of pro-American films and television programs might be described as a cynical mind control operation, a psyop. John Rendon, a "strategic communications" firm hired by the Pentagon (at $100,000 a month) in the war on terrorism, describes himself as "an information warrior and a perception manager." (Jeff Stein, "Propaganda, the Pentagon, and the Rendon Group," TomPaine.Com http://www.tompaine.com/feature.cfm/ID/5188)
Perception management is the mission, under a $45 million Army grant, of the Institute for Creative Technologies, an interactive virtual-reality warfare simulation center and think-tank in Marina Del Rey, operated by the University of Southern California. Richard Lindheim, former vice president of Paramount Television Group, is executive director of the center. The keynote address at the ITC's opening in 1999 was delivered by Jack Valenti, who observed in his opening remarks, "Los Angeles is not the entertainment capital of the world. Washington, DC is the entertainment capital of the world!"
James Der Derian, director of the Information Technology, War and Peace Project (ITWP), was sitting in the audience at the ITC's opening in 1999. "I did not want to rain on the parade," he wrote in an ITWP newsletter, but had to ask "whether the linking up of Hollywood and the Pentagon might not repeat the World War II experience, when training films were mixed with propaganda films, and military simulations became a tool for public dissimulation?"
Valenti came back with a response that "made up in pugnacity what it lacked in nuance." The MPAA president "contrasted my view to the decision to drop the atomic bomb on the Japanese. `Some might have seen that as a heartless and terrible thing to do, but not the 150,000 American boys whose lives would have been lost. This is a lesson in Philosophy 101 that I am giving to you right now.'" But Der Derian came away with another lesson: "Valenti, like many in power today, are all too ready to drop the bomb on dissident viewpoints." Death on the battlefield or simulated on the screen "gives war its special status. This fact can be censored, hidden in a body bag, air-brushed away, but it provides, even in its erasure, the corporal gravitas of war. However, everything I witnessed that day at the ICT was dedicated to the disappearance of the body, the aestheticizing of violence, the sanitization of war. Will this latest alliance of brass, silicon and celluloid be any different? It would seem not." (James Der Derian, "Dreams, Lies and Video Tapes," INFOintervention, Watson Institute Web site, December 18, 2001, http://www.watsoninstitute.org/infopeace/911/jdd_videos.html)
Sanitizing war is the primary aim of the patriotizing media. When the bombs began to fall in Afghanistan, killing and mutilating innocent civilians, a policy of suppressing the body count (or "propaganda") was adopted by Donald "Precision Bombing" Rumsfeld and the government's "information warriors." In Hollywood, self-censorship is the rule. Rarely have the Feds had reason to step in and silence the studios by threat of force. (A rare exception was an episode of Murphy Brown concerning the medical benefits of marijuana -- DEA Director Thomas Constantine threatened a "criminal investigation" of the program. See "Pushing propaganda", from the About website, 7/17/00, http://civilliberty.about.com/library/weekly/aa071700a.htm?iam=dpile&terms=cia+propaganda+movies)
Nevertheless, an atmosphere of aggression and fear has fostered an industry, argues San Francisco Examiner film critic Michael Ryan, "in which ideology predominates and contrary voices are silenced. What happens when someone wants to make a film about Abdul Nabi and his family, Afghans who were forced to become refugees when U.S. bombs killed 28 people in nearby villages?" The managers of perception will interpret such a storyline "as `stupid meddling,' and `should be stifled.'" ("Unease over Hollywood-Washington pact," Guardian Unlimited, November 14, 2001.)
On Black Tuesday, the national security cult's pentagram was breached by a jetliner, the demons of mass persuasion set loose. Until the exorcist arrives, expect generous servings of "heroism," "sacrifice," "mass murder," and "hatred for America" at the matinee.
© 2002 Alex Constantine
Reprinted for Fair Use Only.
Movie makers
ABC under the auspices of Disney produced a lengthy 140 min. film Wild Palms which depicts Illuminati mind-control and life. One reader of Vol. 2 stated that the Wild Palms movie would have made no sense except that having read the Vol. 2 book, the movie made lots of sense in the light of Vol. 2’s revelations. The film depicts how children are kidnapped, switched at birth, programmed via TV cartoons, programmed to kill and use stun guns etc. The film depicts Illuminati bloodlines and arranged marriages. Although the name Illuminati" is not used, if viewers substitute in the name "the Fathers" for Illuminati fathers, they will get an insider’s view of life at the top. The main controllers are addressed by their slaves as "Papa" or "Daddy" or "Mother". This is true to life. A person opposed to the Fathers states, "One day we will wake up and discover we don’t own this country and no one will care." The movie states that events are not happening randomly. The movie shows an underground tunnel system which has an entrance hidden by a swimming pool. Quite a few actual programming codes were said during the film, for instance, "down, down, down through the pool of tears..." and "we’re going to go down the yellow brick road now." The movie was created by Bruce Wagner, who obviously is an insider concerning trauma-based total mind-control. The fact the movie was made shows the arrogance of the programmers’ beliefs that their criminal acts in programming thousands of little children will not be exposed, and that people will be too stupid to realize that what is put out as fiction is actually mirroring what is happening.Chapter 5. Deeper Insights into the Illuminati Formula by Fritz Springmeier & Cisco Wheeler
H.G. Wells, one of their Fabian Socialist-Masonic-Illuminati prophets, in his film “Things to Come” made in the late 1930’s, shows delta-winged planes (resembling stealth fighter-bombers) flying over Iraq’s oil fields to bomb. A look at the details involved in the creation of a third world war. By Fritz Springmeier
The Director (Suspect Zero) has been a popular favorite of satanists such as Marilyn Manson who had him direct its 1996 video "Anti-Christ Superstar". The primary consultant on the movie was long-time spookster Ed Dames - the CIA's idiot poster child of modern remote viewing. Even the military industrial/intelligence state of New Mexico kicked in $7.5 million to the cause of demonizing remote viewing by funding the movie. Scientologist Tom Cruise continued his efforts to suppress human evolution by co-producing the film. In the 2002 Spielberg movie "Minority Report", criminals are caught before they commit crimes. The crimes are seen by people with pre-cognitive abilities called PreCogs. Cruise plays an officer in the special Precog unit and is accused of one such crime and sets out to prove his innocence. Cruise saves the day and the Precogs are liberated from having to use their abilities and allowed to live a normal life - the message being that pre-cognition is a bad thing. Suspect Zero - Suspected Social Engineering (Demonizing Remote Viewing)
ABC under the auspices of Disney produced a lengthy 140 min. film Wild Palms which depicts Illuminati mind-control and life. One reader of Vol. 2 stated that the Wild Palms movie would have made no sense except that having read the Vol. 2 book, the movie made lots of sense in the light of Vol. 2’s revelations. The film depicts how children are kidnapped, switched at birth, programmed via TV cartoons, programmed to kill and use stun guns etc. The film depicts Illuminati bloodlines and arranged marriages. Although the name Illuminati" is not used, if viewers substitute in the name "the Fathers" for Illuminati fathers, they will get an insider’s view of life at the top. The main controllers are addressed by their slaves as "Papa" or "Daddy" or "Mother". This is true to life. A person opposed to the Fathers states, "One day we will wake up and discover we don’t own this country and no one will care." The movie states that events are not happening randomly. The movie shows an underground tunnel system which has an entrance hidden by a swimming pool. Quite a few actual programming codes were said during the film, for instance, "down, down, down through the pool of tears..." and "we’re going to go down the yellow brick road now." The movie was created by Bruce Wagner, who obviously is an insider concerning trauma-based total mind-control. The fact the movie was made shows the arrogance of the programmers’ beliefs that their criminal acts in programming thousands of little children will not be exposed, and that people will be too stupid to realize that what is put out as fiction is actually mirroring what is happening.Chapter 5. Deeper Insights into the Illuminati Formula by Fritz Springmeier & Cisco Wheeler
H.G. Wells, one of their Fabian Socialist-Masonic-Illuminati prophets, in his film “Things to Come” made in the late 1930’s, shows delta-winged planes (resembling stealth fighter-bombers) flying over Iraq’s oil fields to bomb. A look at the details involved in the creation of a third world war. By Fritz Springmeier
The Director (Suspect Zero) has been a popular favorite of satanists such as Marilyn Manson who had him direct its 1996 video "Anti-Christ Superstar". The primary consultant on the movie was long-time spookster Ed Dames - the CIA's idiot poster child of modern remote viewing. Even the military industrial/intelligence state of New Mexico kicked in $7.5 million to the cause of demonizing remote viewing by funding the movie. Scientologist Tom Cruise continued his efforts to suppress human evolution by co-producing the film. In the 2002 Spielberg movie "Minority Report", criminals are caught before they commit crimes. The crimes are seen by people with pre-cognitive abilities called PreCogs. Cruise plays an officer in the special Precog unit and is accused of one such crime and sets out to prove his innocence. Cruise saves the day and the Precogs are liberated from having to use their abilities and allowed to live a normal life - the message being that pre-cognition is a bad thing. Suspect Zero - Suspected Social Engineering (Demonizing Remote Viewing)
bigirl said:
Thanks, I am going to read up on those
I am watchin one of these vids right now of one of the Montauk kids (Stewart Swerdlow) and he made me have an epiphany. I had read something awhile back that kind of confirmed what he was saying.
He is talking about mind control and how it's targeted towards everyone but more specifically towards people of a certain genetic type and can you guess what that type is?
Yep, blonde hair and blue eyed people aka white people. Their genetic traits make it easier for them to be controlled..........Thus why white men rule the world and everyone with dominant genes (blacks and those of color) have been dehumanized and ravaged for over the last 500-600 years. They're eliminating those who cannot easily be manipulated by the system. It all makes sense
The Wizard of Oz & Mind Control:
http://www.apfn.org/apfn/oz.htm
William Cooper's Silent Weapons For Quiet wars:
http://www.illuminati-news.com/silent-weapons.htm
Hollywood,Satanism, Scientology & Suicide
http://www.xs4all.nl/~fishman/fable.htm?FACTNet
http://www.apfn.org/apfn/oz.htm
William Cooper's Silent Weapons For Quiet wars:
http://www.illuminati-news.com/silent-weapons.htm
Hollywood,Satanism, Scientology & Suicide
http://www.xs4all.nl/~fishman/fable.htm?FACTNet
US Homeland Security Department hires liaison to work with movie makers: report
www.chinaview.cn 2005-03-09 05:38:13
WASHINGTON, March 8 (Xinhuanet) -- The US Homeland Security Department, following the Pentagon, the Central Intelligence Agency, the Federal Bureau of Investigation and other government agencies, has hired a Hollywood liaison to work with moviemakers and scriptwriters, the USA Today newspaper reported Tuesday.
The employee, Bobbie Faye Ferguson, a onetime actress, was now reviewing 14 movie, TV and documentary projects. If she approved of a script or idea, the department would offer advice and technical help to the directors, producers and actors about portraying the nation's homeland security defenders.
Ferguson, who was hired last October, would help "give the public a better understanding of how the department...protect the country," Homeland Security Department spokesman Brian Roehrkasse was quoted as saying.
The department gave guidance to last year's The Terminal, in which Tom Hanks played an immigrant stranded at John F. Kennedy airport in New York, and to the TV shows CSI: Miami and NCIS, the report said.
At least a half-dozen other government agencies have long had employees charged with promoting their image and providing technical help with documentaries, movies, TV shows and novels.
The Defense Department, which has had an entertainment office since it was created in 1947, often allows moviemakers to film itsplanes, ships and other equipment, according to the report.
In Operation Hollywood: How the Pentagon Shapes and Censors theMovies, author David Robb last year portrayed the Pentagon's office as a propaganda machine that cajoles Hollywood into showingthe military only in a positive light, the report said. Enditem
www.chinaview.cn 2005-03-09 05:38:13
WASHINGTON, March 8 (Xinhuanet) -- The US Homeland Security Department, following the Pentagon, the Central Intelligence Agency, the Federal Bureau of Investigation and other government agencies, has hired a Hollywood liaison to work with moviemakers and scriptwriters, the USA Today newspaper reported Tuesday.
The employee, Bobbie Faye Ferguson, a onetime actress, was now reviewing 14 movie, TV and documentary projects. If she approved of a script or idea, the department would offer advice and technical help to the directors, producers and actors about portraying the nation's homeland security defenders.
Ferguson, who was hired last October, would help "give the public a better understanding of how the department...protect the country," Homeland Security Department spokesman Brian Roehrkasse was quoted as saying.
The department gave guidance to last year's The Terminal, in which Tom Hanks played an immigrant stranded at John F. Kennedy airport in New York, and to the TV shows CSI: Miami and NCIS, the report said.
At least a half-dozen other government agencies have long had employees charged with promoting their image and providing technical help with documentaries, movies, TV shows and novels.
The Defense Department, which has had an entertainment office since it was created in 1947, often allows moviemakers to film itsplanes, ships and other equipment, according to the report.
In Operation Hollywood: How the Pentagon Shapes and Censors theMovies, author David Robb last year portrayed the Pentagon's office as a propaganda machine that cajoles Hollywood into showingthe military only in a positive light, the report said. Enditem
Watch this video "Conspiracy of Silence" about the US Politicians Pedophelia ring:
http://video.google.com/videoplay?docid=359924937663867563&q=banned&hl=en
and
Satanism & the CIA- International Trafficking in Children:
http://www.propagandamatrix.com/multimedia/CIA_satanism.html
http://video.google.com/videoplay?docid=359924937663867563&q=banned&hl=en
and
Satanism & the CIA- International Trafficking in Children:
http://www.propagandamatrix.com/multimedia/CIA_satanism.html
Order of the Skull and Bones, the Order, Chaper 322, legal name, Russell Trust, and to members it has been called the Eulogia or Eulogian Club
Founding Date: Founded in 1832, by Illuminati members from Germany, working in concert with major occult leaders at Yale University
Records Show that the Russell family were German Jews who immigrated to Scotland, and then to Northern Ireland and then to Pennsylvania.
The Order of the Skull & Bones had been organized at Yale by Gen. William Huntington Russell and Alphonso Taft in 1833, and then legally incorporated as The Russell Trust in 1856.
The Russell Trust later created the Wackenhut Security Companies, which are private Illuminatti armies which guard key installations. Wackenhut was involved in both the Oklahoma City bombing coverup and the Waco Branch Davidian massacre. The debris was hauled off and guarded by Wackenhut at local landfills.
Prominent Members: George Herbert Walker Bush, George W. Bush, Prescott Sheldon Bush, William F. Buckley, William Bundy, Henry J. Heinz, Taft family, William Huntington Russell (family started Jehovah’s Witness),
Actual Founders: William Huntington Russell and Alphonso Taft
Control Mechanisms: Members take oaths.
Leaders: Patriarch of the Order meet annually on Deer Island (part of the Thousand Islands) in the St. Lawrence River a few miles NE of Alexandria Bay, NY. Apparently some other meetings have also taken place.
History: This is a secret order of the Illuminati. It looks at juniors within the students of Yale University and initiates each year exactly 15 men into the Order. In the selection process, they show preference to men from Bones families, or from other leading Illuminati families. They neophyte, once initiated in an occult ritual, becomes a Knight. Knights will ruse to become Patriarchs after their senior year. This Order has been extremely powerful and gets the best candidates at Yale. Its badge in the past was made of gold and was the face of a skull. Its pin was in the past called a “crab.” Its building “the Tomb” is on High St. The Order has rituals. Initiation rituals begin at midnight with a coffin and a “new birth.” A fish horn, muffled drum and a toiling bell are part of the ceremony. The Order has grips, but it is not known if they are used much. A new member receives a $15,000 gift for joining, with no strings attached. IN the 1990’s, after being exposed by a number of researchers (incl. the author of this book), the Skull and Bones began to change. In the year 2000, more women than men were tapped for the Order. They are now tapping the heads of various identity groups, such as the head of the Black Student Alliance, or the Lesbians at Yale.
Ties to other organizations: The Order of the Skull and Bones was developed out of the previous cult fraternity at Yale the Society of Brothers in Unity. The film Order of the Bell with Henry Ford as the lead actor portrays a fraternal organization similar to the senior fraternal orders such as Skull & Bones, and Scroll & Key (legally know as Kingsley Trust). Other Yale fraternities associated with the Illuminati are Scroll & Key, Book & Snake (Stone Trust Corp), Wolf’s Head (legally known as Phelps Trust), Berzellus. At Princeton they have the Ivy Club & the Cottage Club. At Andover the Illuminati have the AUV. At Harvard they have the Porcelain (also called the Porc or Pig) Club, and the Fly Club. At Oxford it is the Group. Cornell also has a fraternal order. In 1869, a Spade & Grave Order was created, and its members were known as “Graves Men,” and then later “Diggers.” At Columbia College (now a Univ.) a fraternity was started called Ax and Coffin, and at Wesleyan one was started called Skull & Serpent. But these last two fraternities have lacked the caliber of men that Skull & Bones and Scroll & Keys have.
William Huntington Russell (1809-85)is a significant person. He is descended from Rev. Nodiah Russell who along with Rev. James Pierpont founded Yale. The Collins Illuminati family and the Unitarian Church were also involved in the founding of Yale University. Rev. James Pierpont’s descendants went on to become Masons, Skull & Bonesmen, and marry into bloodlines connected to Princess Di. His daughter married William Russell and the great granddaughter of Rev. James Pierpont married Illuminatus/financier John Pierpont Morgan’s dad.
Meanwhile, Rev. Nodiah Russell, the other founder, went on to have his descendants become slave and opium shippers, as well as pirates. The most notable descendant being William Huntington Russell, the founder of the Order of Skull & Bones. This family’s company, Russell & Company had the Skull & Bones as its company logo. It had as one of its top business partners Warren Delano, Jr. who was grandfather of FDR and chief of Russell & Company operations (opium) in China.
The Russell family and Taft family are closely related. These families have played a role within the leadership of the Jehovah’s Witnesses and the Mormons. This author has also worked with a number of people who were participants in Illuminati satanic rituals performed by the leaders of Jehovah’s Witnesses and also the leaders of the Mormon LDS church.
http://www.meta-religion.com/Secret_societies/Groups/Order_of_Skull/part_1.htm
The family names on the Skull and Bones roster roll off the tongue like an elite party list -- Lord, Whitney, Taft, Jay, Bundy, Harriman, Weyerhaeuser, Pinchot, Rockefeller, Goodyear, Sloane, Stimson, Phelps, Perkins, Pillsbury, Kellogg, Vanderbilt, Bush, Lovett and so on.
William Russell went on to become a general and a state legislator in Connecticut. Alphonso Taft was appointed U.S. Attorney General, Secretary of War (a post many "Bonesmen" have held), Ambassador to Austria, and Ambassador to Russia (another post held by many "Bonesmen"). His son, William Howard Taft ('87), is the only man to be both President of the United States and Chief Justice of the Supreme Court.
The Illuminati’s SECURITY SYSTEM
Russell Trust is the legal corporation that is the Order of the Skull and Bones, financed the creation of host of security co. under the Wackenhuts, incl. a Security Service called Wackenhut Corporation. Another part of this is Wackenhut World Technologies, Inc. or WWT Inc. Wackenhut operates worldwide. Their headquarters are in Florida. They have branch offices even in places like Portland, Oregon. Wackenhut handles all Intelligence-related and Super Secret work-classified ULTRA for the US. worldwide. They are the ones who guard the UFO bases topside, along with the CIA’s Delta Teams, and various MP units, etc. Their branch in Las Vegas provides security for the Groom Lake UFO facility. Las Vega’s Review Journal on Fri. 7/26/91, p. A1 & 3A had an article about 3 Wackenhut agents who lost their lives in a helicopter crash near the Groom Lake. The telephone number to Wackenhut World Technologies, connects first through the Russell Trust - it is 702-646-4406, and it will be answered by the Russell Trust. Wackenhut’s board of directors are CIA, FBI Div. 5, NSA, ISA, and NRO officials. The girls who answer the various local Wackenhut Corporation numbers are not in the know about what Wackenhut Wd. Tech. are all about. Their 1-800 # is 929-2431. Their San Reme Ave, Cerel Gabels, FL 33146 # was 305-666-5656. Their local no. here is 256-3996, and one of their local CA # is 714-9794966. George Russell Wackenhut is their security services executive. He is also the Chrm & Chief Exec. Officer. He worked for the FBI, and is a Christian Scientist. Richard Russell Wackenhut is the President & Chief Oper. Officer. Wackenhut has in the neighborhood of 40,000 employees.
Russell Trust Association
From Wikipedia, the free encyclopedia.
It has been suggested that this article or section be merged with Skull and Bones. (Discuss)
The Russell Trust Association is the business name for the New Haven, Connecticut based Skull and Bones society, incorporated in 1856.
In 1943, by special act of the Connecticut state legislature, its trustees were granted an exemption from filing corporate reports with the Secretary of State, which is normally a requirement.
From 1978 onward, business of the Russell Trust Association was handled by its single trustee, Brown Brothers Harriman partner John B. Madden, Jr.
Madden started with Brown Brothers Harriman in 1946, under senior partner Prescott Bush, George Herbert Walker Bush's father.
Founding Date: Founded in 1832, by Illuminati members from Germany, working in concert with major occult leaders at Yale University
Records Show that the Russell family were German Jews who immigrated to Scotland, and then to Northern Ireland and then to Pennsylvania.
The Order of the Skull & Bones had been organized at Yale by Gen. William Huntington Russell and Alphonso Taft in 1833, and then legally incorporated as The Russell Trust in 1856.
The Russell Trust later created the Wackenhut Security Companies, which are private Illuminatti armies which guard key installations. Wackenhut was involved in both the Oklahoma City bombing coverup and the Waco Branch Davidian massacre. The debris was hauled off and guarded by Wackenhut at local landfills.
Prominent Members: George Herbert Walker Bush, George W. Bush, Prescott Sheldon Bush, William F. Buckley, William Bundy, Henry J. Heinz, Taft family, William Huntington Russell (family started Jehovah’s Witness),
Actual Founders: William Huntington Russell and Alphonso Taft
Control Mechanisms: Members take oaths.
Leaders: Patriarch of the Order meet annually on Deer Island (part of the Thousand Islands) in the St. Lawrence River a few miles NE of Alexandria Bay, NY. Apparently some other meetings have also taken place.
History: This is a secret order of the Illuminati. It looks at juniors within the students of Yale University and initiates each year exactly 15 men into the Order. In the selection process, they show preference to men from Bones families, or from other leading Illuminati families. They neophyte, once initiated in an occult ritual, becomes a Knight. Knights will ruse to become Patriarchs after their senior year. This Order has been extremely powerful and gets the best candidates at Yale. Its badge in the past was made of gold and was the face of a skull. Its pin was in the past called a “crab.” Its building “the Tomb” is on High St. The Order has rituals. Initiation rituals begin at midnight with a coffin and a “new birth.” A fish horn, muffled drum and a toiling bell are part of the ceremony. The Order has grips, but it is not known if they are used much. A new member receives a $15,000 gift for joining, with no strings attached. IN the 1990’s, after being exposed by a number of researchers (incl. the author of this book), the Skull and Bones began to change. In the year 2000, more women than men were tapped for the Order. They are now tapping the heads of various identity groups, such as the head of the Black Student Alliance, or the Lesbians at Yale.
Ties to other organizations: The Order of the Skull and Bones was developed out of the previous cult fraternity at Yale the Society of Brothers in Unity. The film Order of the Bell with Henry Ford as the lead actor portrays a fraternal organization similar to the senior fraternal orders such as Skull & Bones, and Scroll & Key (legally know as Kingsley Trust). Other Yale fraternities associated with the Illuminati are Scroll & Key, Book & Snake (Stone Trust Corp), Wolf’s Head (legally known as Phelps Trust), Berzellus. At Princeton they have the Ivy Club & the Cottage Club. At Andover the Illuminati have the AUV. At Harvard they have the Porcelain (also called the Porc or Pig) Club, and the Fly Club. At Oxford it is the Group. Cornell also has a fraternal order. In 1869, a Spade & Grave Order was created, and its members were known as “Graves Men,” and then later “Diggers.” At Columbia College (now a Univ.) a fraternity was started called Ax and Coffin, and at Wesleyan one was started called Skull & Serpent. But these last two fraternities have lacked the caliber of men that Skull & Bones and Scroll & Keys have.
William Huntington Russell (1809-85)is a significant person. He is descended from Rev. Nodiah Russell who along with Rev. James Pierpont founded Yale. The Collins Illuminati family and the Unitarian Church were also involved in the founding of Yale University. Rev. James Pierpont’s descendants went on to become Masons, Skull & Bonesmen, and marry into bloodlines connected to Princess Di. His daughter married William Russell and the great granddaughter of Rev. James Pierpont married Illuminatus/financier John Pierpont Morgan’s dad.
Meanwhile, Rev. Nodiah Russell, the other founder, went on to have his descendants become slave and opium shippers, as well as pirates. The most notable descendant being William Huntington Russell, the founder of the Order of Skull & Bones. This family’s company, Russell & Company had the Skull & Bones as its company logo. It had as one of its top business partners Warren Delano, Jr. who was grandfather of FDR and chief of Russell & Company operations (opium) in China.
The Russell family and Taft family are closely related. These families have played a role within the leadership of the Jehovah’s Witnesses and the Mormons. This author has also worked with a number of people who were participants in Illuminati satanic rituals performed by the leaders of Jehovah’s Witnesses and also the leaders of the Mormon LDS church.
http://www.meta-religion.com/Secret_societies/Groups/Order_of_Skull/part_1.htm
The family names on the Skull and Bones roster roll off the tongue like an elite party list -- Lord, Whitney, Taft, Jay, Bundy, Harriman, Weyerhaeuser, Pinchot, Rockefeller, Goodyear, Sloane, Stimson, Phelps, Perkins, Pillsbury, Kellogg, Vanderbilt, Bush, Lovett and so on.
William Russell went on to become a general and a state legislator in Connecticut. Alphonso Taft was appointed U.S. Attorney General, Secretary of War (a post many "Bonesmen" have held), Ambassador to Austria, and Ambassador to Russia (another post held by many "Bonesmen"). His son, William Howard Taft ('87), is the only man to be both President of the United States and Chief Justice of the Supreme Court.
The Illuminati’s SECURITY SYSTEM
Russell Trust is the legal corporation that is the Order of the Skull and Bones, financed the creation of host of security co. under the Wackenhuts, incl. a Security Service called Wackenhut Corporation. Another part of this is Wackenhut World Technologies, Inc. or WWT Inc. Wackenhut operates worldwide. Their headquarters are in Florida. They have branch offices even in places like Portland, Oregon. Wackenhut handles all Intelligence-related and Super Secret work-classified ULTRA for the US. worldwide. They are the ones who guard the UFO bases topside, along with the CIA’s Delta Teams, and various MP units, etc. Their branch in Las Vegas provides security for the Groom Lake UFO facility. Las Vega’s Review Journal on Fri. 7/26/91, p. A1 & 3A had an article about 3 Wackenhut agents who lost their lives in a helicopter crash near the Groom Lake. The telephone number to Wackenhut World Technologies, connects first through the Russell Trust - it is 702-646-4406, and it will be answered by the Russell Trust. Wackenhut’s board of directors are CIA, FBI Div. 5, NSA, ISA, and NRO officials. The girls who answer the various local Wackenhut Corporation numbers are not in the know about what Wackenhut Wd. Tech. are all about. Their 1-800 # is 929-2431. Their San Reme Ave, Cerel Gabels, FL 33146 # was 305-666-5656. Their local no. here is 256-3996, and one of their local CA # is 714-9794966. George Russell Wackenhut is their security services executive. He is also the Chrm & Chief Exec. Officer. He worked for the FBI, and is a Christian Scientist. Richard Russell Wackenhut is the President & Chief Oper. Officer. Wackenhut has in the neighborhood of 40,000 employees.
Russell Trust Association
From Wikipedia, the free encyclopedia.
It has been suggested that this article or section be merged with Skull and Bones. (Discuss)
The Russell Trust Association is the business name for the New Haven, Connecticut based Skull and Bones society, incorporated in 1856.
In 1943, by special act of the Connecticut state legislature, its trustees were granted an exemption from filing corporate reports with the Secretary of State, which is normally a requirement.
From 1978 onward, business of the Russell Trust Association was handled by its single trustee, Brown Brothers Harriman partner John B. Madden, Jr.
Madden started with Brown Brothers Harriman in 1946, under senior partner Prescott Bush, George Herbert Walker Bush's father.
damn, you're just going to ignore my post like that????
Behold a Pale Horse - William Cooper (Mp3 Audio)
Part1
Part2
Part3
found at this site: http://nw0.info/index.php?dir=
Part1
Part2
Part3
found at this site: http://nw0.info/index.php?dir=
Oh shit sorry I didn't even see this post I was busy hunting up that other stuff. I get kinda MAD when I looking for something. Anyhow, its completely obvious whites are easier to control. Just look at them they all look like carbon copies. They wear the same shit, say the same shit, eat the same shit, do the same shit. When I home, every week a new crop of white tourists come. One week I meet Bobby and Suzie, the next, Billy and Jenny, the next Chris and Sue. When they come back the next year I can't tell who is who cause they all EXACTLY THE FUCKING SAME!!!!!smokedacane said:Yep, blonde hair and blue eyed people aka white people. Their genetic traits make it easier for them to be controlled..........Thus why white men rule the world and everyone with dominant genes (blacks and those of color) have been dehumanized and ravaged for over the last 500-600 years. They're eliminating those who cannot easily be manipulated by the system. It all makes sense
What scares me though now is that black people have always been very individual but since this rap industry BEAST has taken over, I have been seeing the same carbon copy effect in alot of the younger generations.
bigirl said:Oh shit sorry I didn't even see this post I was busy hunting up that other stuff. I get kinda MAD when I looking for something. Anyhow, its completely obvious whites are easier to control. Just look at them they all look like carbon copies. They wear the same shit, say the same shit, eat the same shit, do the same shit. When I home, every week a new crop of white tourists come. One week I meet Bobby and Suzie, the next, Billy and Jenny, the next Chris and Sue. When they come back the next year I can't tell who is who cause they all EXACTLY THE FUCKING SAME!!!!!
What scares me though now is that black people have always been very individual but since this rap industry BEAST has taken over, I have been seeing the same carbon copy effect in alot of the younger generations.
I woulnd't be suprised if they have figured out how to use Rap music as a form of mind control. Because by god it's working to perfeeeeection
well you saw that pic i dropped of puffy and clinton doing the masonic handshake right?smokedacane said:I woulnd't be suprised if they have figured out how to use Rap music as a form of mind control. Because by god it's working to perfeeeeection
look at jay-z here:
look at the rocawear logo those 3 lines are a major masonic symbol.
bigirl said:well you saw that pic i dropped of puffy and clinton doing the masonic handshake right?
look at jay-z here:
look at the rocawear logo those 3 lines are a major masonic symbol.
very good observation
I was more pointing to the record execs having control over what type of material they want to flood the airwaves but the artist definitely could knowingly or unknowingly be apart of a scheme....
Invisibly Visible: Identifying Masonic Symbols We are Surrounded By Every Day
http://video.google.com/videoplay?docid=-10746448892778329
anyone know how to put google video up on here?
http://video.google.com/videoplay?docid=-10746448892778329
anyone know how to put google video up on here?
Who do you think controls the record execs? I made a post on Tavistock earlier today. THEY control the whole record industry, Hollywood, TV, EVERYTHING. Nobody can "blow up" unless they go with THEIR program.smokedacane said:
very good observation
I was more pointing to the record execs having control over what type of material they want to flood the airwaves but the artist definitely could knowingly or unknowingly be apart of a scheme....
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