⁣Covid-19 Shots Will Kill Billions - Dr. David Martin And Seth Holehouse.


⁣In this interview (video starts after 1 min) MAN IN AMERICA, Mr. Seth Holehouse, talks to Dr. David Martin about the recent movie DIED SUDDENLY, and the precautions that needs to be taken towards the evil Covid-19 worldwide genocide agenda shots.
If 3 billion people took Covid-19 shots, and 7% to 15% of the batches had severe adverse events, that's around 300 million people with permanent death and disabilities.

If those 300 million people now require the 24/7 health care services of other individuals, that's another 300 million people dedicated to their care. "So, we're talking about 600 million people incapacitated" says Dr. David Martin.

DIED SUDDENLY Documentary =>⁣https://vajratube.com/v/FFG3pv

American (R)Evolution => ⁣https://vajratube.com/v/mjd74M



It is really WAKE UP time folks!
You can follow Dr. David Martin at - https://www.davidmartin.world/

This video was mirrored from the MAN IN AMERICA website - https://maninamerica.com/

⁣⁣The official version of human history is a construct of lies. We are in a state of collective amnesia. Let's free ourselves from the artificial matrix that has been imposed on us. This part covers the World's Fairs and the time in which they took place.
Written by: dreamtime & Mosaic, https://stolenhistory.net
Narrated by: Sovereine & David Glenney
Post-production: Bart van der Zwaan https://youtube.com/bartingman

WATCH FULL SIERIES:
⁣Part 1: Nothing is as it seems => ⁣https://vajratube.com/v/MBtVx6
Part 2: The Destruction of the Old World => ⁣https://vajratube.com/v/4Kya4M
Part 3: The Mystery of the World's Fairs => ⁣https://vajratube.com/v/lmqIAN

⁣Master Mantak Chia is Taoist Master, author, and healer who teaches people how to empower themselves through the cultivation of their “chi” energy.
This is his third appearance on London Real and last time he performed my Chinese Astrology reading, and we discussed the 5 elements of Fire, Earth, Metal, Water and Wood, and how they directly related to my personal energy.
On this episode I went to dive deeper into the philosophy of Taoism, learn about dark room therapy, taoist nutrition and fasting, and of course we will revisit our favourite subject - sex and sexual energy.

⁣Dr. Robert Malone is the controversial inventor of the mRNA gene therapy technology that is now being utilized in the Covid-19 vaccinations. He is an outspoken critic of regulatory capture and industry influence over regulators. He comes from the heart of the vaccine industry and was kind enough to sit down with us to discuss and answer a variety of questions we had about his thoughts and perspectives on what we are currently experiencing.


Watch more full interviews and educate yourself!
https://planetlockdownfilm.com/full-interviews/

⁣Kevin Macdonald's three fictional movies have taken him to Idi Amin's Uganda, Washington DC and the northern reaches of Roman Britain. They're all thrillers of various kinds, as are Touching the Void and One Day in September, the tightly focused, feature-length documentaries that preceded them. Touching the Void centres on a dangerous expedition by two British climbers in the Peruvian Andes in 1985 and uses interviews with the real participants and simulated scenes played by actors. One Day in September is about the massacre of Israeli athletes by Arab terrorists at the 1972 Olympics and, in addition to interviews and archive footage, employs computer graphics to explain the course of events.
His new film, a cinebiography of Bob Marley is a bigger, baggier and simpler thing. It's the story of a man who lived an extraordinarily full yet oddly mysterious life and died a world figure 30 years ago, shortly after reaching the age of 36. It is, however, told without any reconstructions or impersonations and neither Sidney Poitier nor Morgan Freeman was called in to deliver a rousing commentary explaining the man's contradictions, achievements and significance.
The picture begins in West Africa at an old fortress on the Gold Coast (now Ghana). Through its "Door of No Return" leading to the sea passed many of the millions of shackled slaves who were shipped across the Atlantic. This was the journey made by his ancestors that shaped Marley's life, identity and music and the belief system that drew them together.
He was born in the remote Jamaican village of Nine Mile in 1945 and Macdonald takes us there in a lyrical aerial shot across the steep, wooded hill country. His mother, Cedella, was black and 16. His father, Norval Marley, a white man aged 65, was employed by the forestry commission to prevent the theft of timber. He rode around the countryside like a seigneurial Cossack and styled himself Captain, though there's no evidence he'd held any commissioned rank or served in any war. In the only known photo of Norval, he's on horseback attempting to look authoritative and his family refused to recognise Bob when he once called on them for help.
Macdonald sees Bob as a man who felt rejected by both the black and the white communities, an outsider who was to find a symbolic home in Africa through embracing Rastafarianism, a style of personal independence and social defiance, and a mission to bring people together in a grand international, inter-racial brotherhood.
Marley grew up in extreme poverty, first in the countryside, then in the slums of Kingston's Trenchtown, where the first photograph of him was taken at the age of 12. The documentation of the early life is thin, but Macdonald is able throughout to draw on the colourful testimony of his formidable mother, his friends, fellow musicians, a variety of female companions (Marley had nine or 10 children by six or seven different women) and later some businessmen, politicians and gangsters.
There are splendid anecdotes about survival, about Bob and his band, the Wailers, developing a new kind of music that fused local and international forms into a distinctive form of reggae, and the zig-zagging of a career that took Marley to the United States, where his mother had relocated, to Europe and to Africa. Much of what we hear from Jamaican witnesses is spoken in a beguiling, if sometimes obscure, patois and there are the kind of contradictions in the individual assessments of his character and the accounts of the fraught progress of the Wailers that one would expect. This is Rashomon territory.
But there are compromises and concessions of a different kind that have come about through the need to secure interviews, musical rights and other necessary forms of co-operation. These are reflected in the names of several family members and various close business associates listed in the credits as producers. Some of these people provide the finest testimony.
Among them are Bob's Cuban-born wife Rita, who worked in his backing group and recalls seeing stigmata on Haile Selassie's hand during his triumphant visit to Jamaica; Bob's three children by her (Cedella, Ziggy and Stephen); the beautiful, spirited Cindy Breakspeare, his trophy companion and former Miss World who bore him a child but refused to embrace Rastafarianism; and the laidback British impresario Chris Blackwell of Island Records.
If Marley ultimately remains something of a mystery (he gave few interviews and in none was particularly forthcoming), we nevertheless get a vivid impression of a career that included a brief stint on a Chrysler production line in Delaware, a long period of apprenticeship as a composer (initially working with homemade instruments) and a rise to local and international stardom. Gradually, the dreadlocks, the music and the cloud of ganja smoke come together to form as recognisable an image as that of the equally short-lived Che Guevara.
He was, however, altogether less militant than Che, virtually apolitical, which did not prevent competing forces seeking his allegiance or seeing him as a valuable symbol for their causes. In 1976, an assassination attempt in Jamaica drove him into exile. It wasn't, however, a bullet that did for him but the stud of a boot during a game of his beloved football in a London park, triggering the melanoma in his foot that eventually consumed his body.
We hear of a beautiful moment in a wintry Bavarian clinic where Bob's mother read the Book of Job to the emaciated singer, his dreadlocks lost to chemotherapy, shortly before he flew across the Atlantic to die in Miami in May 1981.
Perhaps this impressive, thoughtful portrait should have ended there. Instead, it concludes with a succession of Marley's hits being sung in a various languages by cheerful young people on every continent. That's all a little too "I'd Like to Teach the World to Sing" Coca-Cola-ish for my tastes.

REVIEW RESOURCE: https://www.theguardian.com/fi....lm/2012/apr/22/bob-m

⁣When the 13th amendment was ratified in 1865, its drafters left themselves a large, very exploitable loophole in the guise of an easily missed clause in its definition. That clause, which converts slavery from a legal business model to an equally legal method of punishment for criminals, is the subject of the Netflix documentary “13th.” Premiering tonight at the New York Film Festival, “13th” is the first documentary to open the festival in its 54 year history. Director Ava DuVernay’s takes an unflinching, well-informed and thoroughly researched look at the American system of incarceration, specifically how the prison industrial complex affects people of color. Her analysis could not be more timely nor more infuriating. The film builds its case piece by shattering piece, inspiring levels of shock and outrage that stun the viewer, leaving one shaken and disturbed before closing out on a visual note of hope designed to keep us on the hook as advocates for change.

“13th” begins with an alarming statistic: One out of four African-American males will serve prison time at one point or another in their lives. Our journey begins from there, with a slew of familiar and occasionally surprising talking heads filling the frame and providing information. DuVernay not only interviews liberal scholars and activists for the cause like Angela Davis, Henry Louis Gates and Van Jones, she also devotes screen time to conservatives such as Newt Gingrich and Grover Norquist. Each interviewee is shot in a location that evokes an industrial setting, which visually supports the theme of prison as a factory churning out the free labor that the 13th Amendment supposedly dismantled when it abolished slavery.

We’re told that, after the Civil War, the economy of the former Confederate States of America was decimated. Their primary source of income, slaves, were no longer obligated to line Southerners’ pockets with their blood, sweat and tears. Unless, of course, they were criminals. “Except as punishment for a crime whereof the party shall have been duly convicted” reads the loophole in the law. In the first iteration of a “Southern strategy,” hundreds of newly emancipated slaves were re-enlisted into free, legal servitude courtesy of minor or trumped-up charges. The duly convicted part may have been questionable, but by no means did it need to be justifiably proven.
So begins a cycle that DuVernay examines in each of its evolving iterations; when one method of subservience-based terror falls out of favor, another takes its place. The list feels endless and includes lynching, Jim Crow, Nixon’s presidential campaign, Reagan’s War on Drugs, Bill Clinton’s Three Strikes and mandatory sentencing laws and the current cash-for-prisoners model that generates millions for private bail and incarceration firms.
That last item is a major point of discussion in “13th”, with an onscreen graphic keeping tally of the number of prisoners in the system as the years pass. Starting in the 1940’s, the curve of the prisoner count graph begins rising slowly though steeply. A meteoric rise began during the Civil Rights movement and continued into the current day. As this statistic rises, so does the level of decimation of families of color. The stronger the protest for rights, the harder the system fights back against it with means of incarceration. Profit becomes the major by-product of this cycle, with an organization called ALEC providing a scary, sinister influence on building laws that make its corporate members richer.

Several times throughout “13th” there is a shock cut to the word CRIMINAL, which stands alone against a black background and is centered on the huge movie screen. It serves as a reminder that far too often, people of color are seen as simply that, regardless of who they are. Starting with D.W. Griffith’s “The Birth of a Nation”, DuVernay traces the myth of the scary Black felon with supernatural levels of strength and deviant sexual potency, a myth designed to terrify the majority into believing that only White people were truly human and deserving of proper treatment. This dehumanization allowed for the acceptance of laws and ideas that had more than a hint of bias. We see higher sentences given for crack vs. cocaine possession and plea bargains accepted by innocent people too terrified to go to trial. We also learn that a troubling percentage of people remain in jail because they’re too poor to post their own bail. And regardless of your color, if you’re a felon, you can no longer vote to change the laws that may have unfairly prosecuted you. You lose a primary right all Americans have.

“13th” covers a lot of ground as it works its way to the current days of Black Lives Matter and the terrifying videos of the endless list of African-Americans being shot by police or folks who supposedly “stood their ground.” On her journey to this point, DuVernay doesn’t let either political party off the hook, nor does she ignore the fact that many people of color bought into the “law and order” philosophies that led to the current situation. We see Hillary Clinton talking about “super-predators” and Donald Trump’s full-page ad advocating the death penalty for the Central Park Five (who, as a reminder, were all innocent). We also see people like African-American congressman Charlie Rangel, who originally was on board with the tough on crime laws President Clinton signed into law.

By the time we get to the montage of the deaths of Philando Castile, Tamir Rice, Eric Garner and others (not to mention the huge, screen-covering graphic of names of African-Americans shot by law enforcement), “13th” has already proven its thesis on how such events can not only occur, but can also seem sadly like “business as usual.” It’s a devastating finale to the film, one that follows an onscreen discussion about whether or not the destruction of Black bodies should be run ad nauseum on cable news programs. DuVernay opts to show the footage, with an onscreen disclaimer that it’s being shown with permission by the families of the victims, something she did not need to seek but did so out of respect.

Between the lines, “13th” boldly asks the question if African-Americans were actually ever truly “free” in this country. We are freer, as this generation has it a lot easier than our ancestors who were enslaved, but the question of being as completely “free” as our White compatriots hangs in the air. If not, will the day come when all things will be equal? The final takeaway of “13th” is that change must come not from politicians, but from the hearts and minds of the American people.

Despite the heavy subject matter, DuVernay ends the film with joyful scenes of children and adults of color enjoying themselves in a variety of activities. It reminds us, as she said in her Q&A with NYFF director Kent Jones, that “Black trauma is not our entire lives. There is also Black joy.” That inspiring message, and all the important, educational information provided by this excellent documentary, make “13th” a must-see.

REVIEW RESOURCE: https://www.rogerebert.com/reviews/13th-2016

⁣Oil. From farm to pharmaceutical, diesel truck to dinner plate, pipeline to plastic product, it is impossible to think of an area of our modern-day lives that is not affected by the petrochemical industry. The story of oil is the story of the modern world.

Parts of that story are well-known: Rockefeller and Standard Oil; the internal combustion engine and the transformation of global transport; the House of Saud and the oil wars in the Middle East.
Other parts are more obscure: the quest for oil and the outbreak of World War I; the petrochemical interests behind modern medicine; the Big Oil money behind the “Green Revolution” and the “Gene Revolution.”
But that story, properly told, begins somewhere unexpected. Not in Pennsylvania with the first commercial drilling operation and the first oil boom, but in the rural backwoods of early 19th century New York State. And it doesn't start with crude oil or its derivatives, but a different product altogether: snake oil.

“Dr. Bill Livingston, Celebrated Cancer Specialist” was the very image of the traveling snake oil salesman. He was neither a doctor nor a cancer specialist; his real name was not even Livingston. More to the point, the “Rock Oil” tonic he pawned was a useless mixture of laxative and petroleum and had no effect whatsoever on the cancer of the poor townsfolk he conned into buying it.

He lived the life of a vagabond, always on the run from the last group of people he had fooled, engaged in ever-more-outrageous deceptions to make sure that the past wouldn't catch up with him. He abandoned his first wife and their six children to start a bigamous marriage in Canada at the same time as he fathered two more children by a third woman. He adopted the name “Livingston” after he was indicted for raping a girl in Cayuga in 1849.
When he wasn't running away from them or disappearing for years at a time, he would teach his children the tricks of his treacherous trade. He once bragged of his parenting technique: “I cheat my boys every chance I get. I want to make ’em sharp.”

A towering man of over six feet and with natural good looks that he used to his advantage, he went by “Big Bill.” Others, less generously, called him “Devil Bill.” But his real name was William Avery Rockefeller, and it was his son, John D. Rockefeller, who would go on to found the Standard Oil monopoly and become the world's first billionaire.
The world we live in today is the world created in "Devil" Bill's image. It's a world founded on treachery, deceit, and the naïveté of a public that has never wised up to the parlor tricks that the Rockefellers and their ilk have been using to shape the world for the past century and a half.

⁣The New York Times Archives:
This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.
Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.

Original text below:
On Aug. 1, 1971, Ravi Shankar, along with George Harrison, Leon Russell, Billy Preston, Bob Dylan and several other notable performers of rock music gave a concert at Madison Square Garden to raise money for the suffering people of Bangladesh. The concert was very popular, and in general a critical success, and, in the language of public relations, a historic occasion. In time it was followed by a record album, which was followed by a charge of financial finagling, which was followed by a libel suit, which has been followed by much journalism, which is followed at last — almost eight months after the event—by a movie, "The Concert for Bangladesh."
It opened yesterday at the DeMille.It is a very good movie as such movies go (and they often go quite badly), and friends who were at the concert tell me that it is a faithful reproduction of the original. This may not sound like much for a documentary filmed on the spot. But anyone who has seen many rock-concert movies will appreciate that in this one there are no unnecessary zooms, no lab-created light shows, almost no exploitation of the on-screen audience, no insistence that a concert of music is somehow a social revolution.Indeed, "The Concert for Bangladesh" exhibits less technical nervousness in the face of musical performance than any other remotely similar film I can think of.
And because it is so little bothered with what it must do next, say, to turn song into cinema, it probably succeeds in moving with its people more closely, and surely differently, than the audience at Madison Square Garden could have done.There are vocal solos mostly by George Harrison, Leon Russell and Bob Dylan, but also by Ringo Starr and the remarkable Billy Preston, and there are sitar and sarod duets by Ravi Shankar and Ali Akbar Kahn. Saul Swimmer directed, and Dylan and Harrison apparently helped in editing the work of eight cameramen—and I think they all deserve credit for the simplicity with which the film cuts between long shot and medium shot and often very tight close-ups, and leaves dramatic intensity to the music and the musicians, where it belongs.
The worst thing in "The Concert for Bangladesh" is the sound, which is of course very loud, but neither rich nor full. Somebody had the notion of recording the audience (or an audience) response to each number and producing it from the rear of the theater as a kind of canned aid to enthusiasm. This has nothing to do with the spirit or the look of the film, and, given the reticence and intelligence of everything else, it functions essentially as promotional nonsense, a six-track stereophonic insult.
THE CONCERT FOR BANGLADESH, a documentary directed by Saul Swimmer; produced by George Harrison and Allen Klein; music recording produced by Mr. Harrison and Phil Spector; released by Apple/Twentieth Century-Fox. At the DeMille Theater, Broadway and 47th Street. Running time: 140 minutes. (The Motion Picture Association of America's Production Code and Rating Administration classifies this film: "G—all ages admitted, general audiences.")With: Eric Clapton, Bob Dylan, George Harrison, Billy Preston, Leon Russell, Ravi Shankar, Ringo Starr, Klaus Voormann, Badfinger, Jesse Davis, Jim Horn, Jim Kellner, Claudia Linnear, Carl Radle.

REVIEW RESOURCE: https://www.nytimes.com/1972/0....3/24/archives/the-sc

⁣The Creepy Line reveals the stunning degree to which society is manipulated by Google and Facebook and blows the lid off the remarkably subtle – hence powerful – manner in which they do it.
Offering first-hand accounts, scientific experiments and detailed analysis, the film examines what is at risk when these tech titans have free reign to utilise the public’s most private and personal data.

⁣⁣UNVAXED is a documentary presents the world seen by the unvaccinated individuals.
This film combines several clips from across the Internet in efforts to form the narrative.
Based on actual events.

⁣Utah County Sheriff Mike Smith announced an investigation into what he described as “a child sex abuse ring that operated in Utah, Juab, and Sanpete counties between 1990 and 2010,” under which Utah County Attorney David Leavitt and his wife Chelom Leavitt had been previously accused. Leavitt denied the allegations, saying they were politically motivated, and said the accusations had been debunked over 10 years ago.
Meanwhile, an official study on the NIH National Library of Medicine website says that a condition is causing more deaths in people with COVID-19 vaccines than without. Its autopsy study found there was a “significantly increased rate of generalized viral dissemination within organ systems in vaccinated cases versus nonvaccinated cases.”
RESOURCE: https://www.theepochtimes.com/....utah-sheriff-investi

⁣Certainly one of the best interviews of the series, this interview with epidemiologist and biostatician Knut Wittkowski is hard hitting and touching. We interviewed him on a hot July day in 2020 in a corner of the park and later in front of an empty great lawn, which normally has 1000 people on it in a midsummer day. He is a caring and thoughtful man that is highly alarmed by the turn of events of this last year. He has a tremendous amount of courage to speak out and a big heart. This all comes through.

Watch more full interviews and educate yourself!
https://planetlockdownfilm.com/full-interviews/
Please share and enjoy!

⁣Be comfortable not knowing, be present. In this teaching, Eckhart explains the true concept of not knowing and why. When you let go of your concepts and knowledge, you can truly see the beauty of things.


Eckhart Tolle is widely recognized as one of the most inspiring and visionary spiritual teachers in the world today. With his international bestsellers, The Power of Now and A New Earth—translated into 52 languages—he has introduced millions to the joy and freedom of living life in the present moment. The New York Times has described him as “the most popular spiritual author in the United States”, and in 2011, Watkins Review named him “the most spiritually influential person in the world”.


Eckhart’s profound, yet simple teachings have helped countless people around the globe experience a state of vibrantly alive inner peace in their daily lives. His teachings focus on the significance and power of Presence, the awakened state of consciousness, which transcends ego and discursive thinking. Eckhart sees this awakening as the essential next step in human evolution.

⁣It’s a commonplace to hear people say movies changed their life, but with Owen Suskind that statement is meaningful in an unexpectedly profound way. His remarkable story is so unusual you would dismiss it out of hand if it were fiction, but the documentary “Life, Animated” demonstrates that it’s completely true.


Not just any films changed Suskind’s life, but rather the classic animated features from the Walt Disney Company. Films like “Dumbo,” “Bambi,” “Peter Pan,” “The Lion King” and “Aladdin.” You’ve probably watched them yourself. But Owen Suskind has not just watched them, he’s absorbed them so completely he’s practically lived them.
As directed by Roger Ross Williams (who won Sundance’s documentary director prize) and based on the bestselling book by Owen’s father, Ron Suskind, “Life, Animated” joins Owen’s life at a pivotal moment and shows us where he’s been and what his future looks like.
At 23, Owen Suskind is a cheerful and energetic young man who wears his autism lightly. He has a girlfriend, is just finishing school and is nervous and excited about living by himself for the first time in an assisted living facility on Massachusetts’ Cape Cod.


Owen talks to himself when he’s anxious, but almost exclusively in the dialogue of Disney films. He has seen them so many times he’s memorized every word, and no wonder. They have proved to be a lifeline that has brought him back to the world and helped him make sense of it.
When we first meet Owen, it’s in a family home movie, an antic 2-year-old being read to by his father. Then, without warning, at age 3, this lively boy stopped talking entirely.


“His language processes broke down,” says his mother, Cornelia, who still tears up at the memory, while father Ron says it was as if his son “vanished,” adding “it was like looking for clues to a kidnapping.”
Doctors were initially baffled as well, eventually diagnosing “pervasive developmental disorder,” where the world and its noise become too intense.


One of the only things the Suskinds, including older brother Walt, could still do as a family was watch the Disney family movies Owen had always loved, and they did.


The specific circumstances and episodes of how Owen returned to speech are so remarkable they’re best left to be discovered in the film, but though he did return, it did not mean that things would always go smoothly for him, either as the child he was or the young adult he now is.


No matter what Owen is dealing with, starting with childhood bullying when he “walked the halls of fear” or more adult problems that make him wonder “why is life so full of unfair pain and tragedy,” he uses his Disney animation fascination to work through it.


As a child, for instance, he created an entire cartoon universe he called “The Land of the Lost Sidekicks” and cast himself as the protector of sidekicks against the evil Fuzzbutch. One of “Life, Animated’s” loveliest touches is a beautiful animated sequence, created by France’s Mac Guff Animation, that brings that world completely to life.
Better even than the animation, however, is the sense of the people involved that the film provides, especially of Owen, a remarkable young man who, as director Williams says, “has raw emotions - he doesn’t have filters.”
Williams, whose last feature-length documentary was the very different “God Loves Uganda,” an exposé of how evangelical fundamentalists demonized homosexuality, spent two years on this project, and the trust everyone involved placed in him allowed for an emotional honesty that is “Life, Animated’s” greatest strength.
By the time Owen says, “the future? I’m still searching for it,” we feel his life is in very good hands. His own


REVIEW RESOURCE: https://www.latimes.com/paid-posts/?prx_t=qU4HAx95SAfYAQA&ntv_acpl=1081469&ntv_acsc=2&ntv_ot=2&ntv_gsscm=853*5;839*16;2008*8;842*6;&ntv_ui=e1f13dc5-f00b-45a6-ab12-cb9178ba0059&ntv_ht=FvEkZAA

⁣Kampania nakłaniająca do wzięcia udziału w eksperymencie medycznym.
⁣Reportaż dotyczy kampanii reklamowej przeprowadzonej w szeroko dostępnych publicznych mediach związanej z presją społeczną, polityczną oraz koncernów farmaceutycznych przekonującą polskie społeczeństwo do wzięcia udziału w globalnym eksperymencie medycznym polegającym na przyjęciu zastrzyku zawierającego substancję o nieznanym składzie oraz nieznanych negatywnych skutkach zdrowotnych.

Publikuję ten film gdyż jestem zwolennikiem szczepień i ich pozytywnego wpływu na ochronę populacji przed zagrożeniami związanymi z wszelkimi wirusami.

Film tylko w języku polskim.

Proszę o rozpowszechnianie tego filmu gdzie tylko jest to możliwe.

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The report concerns an advertising campaign conducted in widely available public media related to social and political pressure and pharmaceutical companies convincing Polish society to take part in a global medical experiment consisting in receiving an injection containing a substance of unknown composition and unknown negative health effects.

I am publishing this video because I am a supporter of vaccination and its positive impact on the protection of the population against the risks associated with all viruses.

Only Polish version - sorry.

Feel free to distribute and share this video wherever possible.
Let me know your thoughts in the comments?

⁣Is There Evidence Of Alien Life Already?
Is there anyone out there? What is the alien agenda? And why has the government gone to such great lengths to stifle the overwhelming evidence that otherworldly creatures exist? Some of our greatest minds ask these questions and more in a quest to unveil the truth behind this massive cover-up--and whether Earth can afford to ignore the extraterrestrial messages much longer.

⁣This video was made in collaboration with Academy of Ideas. They create videos explaining the ideas of history's great thinkers in order to help supply the world with more knowledge, to empower the individual, and to promote freedom. Please check out their youtube channel for more brilliant content.

https://www.youtube.com/c/academyofideas or visit their website to learn more https://academyofideas.com/
In this video we are going to explore the most dangerous of all psychic epidemics, the mass psychosis. A mass psychosis is an epidemic of madness and it occurs when a large portion of a society loses touch with reality and descends into delusions. Such a phenomenon is not a thing of fiction. Two examples of mass psychoses are the American and European witch hunts 16th and 17th centuries and the rise of totalitarianism in the 20th century.


This video will aim to answer questions surrounding mass psychosis: What is it? How does is start? Has it happened before? Are we experiencing one right now? And if so, how can the stages of a mass psychosis be reversed?

⁣Dr. Vladimir Zelenko before a Rabbinical Court (6th August 2021)


⁣An extensive excerpts from the hearing of Dr. Władimir Zelenko on August 6, 2021 before the Israeli rabbinical court (Ma'aleh Adumim Bet Din) regarding COVID vaccines.


Dr. Zelenko developed the famous "Zelenka Protocol" for early outpatient COVID treatment, with which he successfully cured 6,000 patients. hydroxychloroquine and zinc.


Dr. Zelenko ruthlessly explains why vaccination against COVID is perhaps the most dangerous scientific heresy in human history, and warns of potential genocide on the planet.

⁣THRIVE II explores breakthrough innovations from around the world, unpacks the principles they have in common and offers insights, tools and strategies for reclaiming our lives and our future.
Note: While we do vouch for the efficacy of the technology that we vetted as seen in THRIVE II, Foster Gamble and Clear Compass Media make no claims about the on-going technical efficacy or the business reliability of Saith Group or any other inventors. We are not involved in their business dealings and are not responsible for any contractual outcomes.
As of mid-June 2021, Saith Group is seriously delinquent on delivery of devices internationally. Therefore, we recommend that potential customers and licensees wait on commitment of resources until there is evidence that these prior orders are fulfilled.
We will update this page if and when we hear that he has successfully fulfilled on his current obligations.
For more information from Foster Gamble, visit: www.freetothrive.com
RESOURCE: https://closed.thrivemovement.com

⁣A Journey with Ayahuasca
Reconnect is London Real’s fifth feature-length documentary film and documents Brian Rose’s journey to Costa Rica where he participates in multiple ceremonies with the plant medicine Ayahausca. The movie stars Graham Hancock, Dr. Jordan Peterson, Dennis McKenna, Sadhguru, Dorian Yates, Dr. Gabor Mate, Dr. Joe Dispenza, Michael Pollan, and Dan Pena.


As the founder and host of London Real, Brian Rose has spoken to over 1,000 of the greatest minds on the planet for the past eight years including Dan Peña, Dan Bilzerian, Robert Kiyosaki, Jocko Willink and more.
With an aim to spread transformational ideas to the world, London Real reaches millions of people each month with its message and yet, when Brian looked outside his studio, he saw a very different reality: a world full of division, tribalism, hatred, anger, and disconnection from our environment.


Against that background, Brian also felt extremely disconnected from his purpose, his mission, and his family.
Under the advice of legendary psychedelic researcher Dennis McKenna (brother of the late Terence McKenna), Brian decided to travel to Costa Rica to participate in three ceremonies with the ancient plant medicine Ayahuasca, known for inducing powerful visions, painful experiences, and transformational lessons.


There he reconnects with his vision and purpose but also uncovers childhood trauma that created an existential crisis in his life. After returning to London with clear visions about the future, he soon realised that things are not what he expected, and that real transformation and healing must include painful challenges and uncomfortable situations.


Along the way, Brian is advised and mentored by a number of London Real guests including Jordan Peterson, the best selling author Michael Pollan, Graham Hancock, childhood trauma specialist Dr. Gabor Mate, the Indian mystic Sadhguru, Dr. Robin Carhart-Harris of Imperial College London, former bodybuilder Dorian Yates, Dr. Joe Dispenza, and high-performance coach Dan Peña, the $50 Billion Man.


Despite this incredible guidance, Brian struggles to address his personal demons, and ultimately decides to confront the people who caused his trauma. So he embarks on a trip home to speak separately to his mother and father, in order to heal himself and ultimately create a new future for his children, his company, and his movement.
Watch Reconnect now and share in Brian’s story through his Ayahuasca ceremony and beyond to his integration exclusively here on London Real.

RESOURCE: https://londonreal.tv/reconnect-the-movie/