⁣Soaked in Bleach. 2015. Directed by Benjamin Statler. Written by Donnie Eichar, Richard Middleton, and Benjamin Statler.
Starring Tyler Bryan as Kurt Cobain, Sarah Scott as Courtney Love; featuring, as themselves, Tom Grant, Brett Ball, Max Wallace, and Norm Stamper.

Admittedly, even though I’ve always thought Courtney Love is bat shit crazy, I never believed she (or anyone else) might’ve been covering anything up or hiding information concerning Kurt Cobain’s suicide. As much as I loved Cobain, worshiped Nirvana as a young musician with a bad attitude and even worse fashion sense, I just took what the media fed me about his depression and how he’d always seemed suicidal, that he took his I.D out and put it on his wallet so that when he shot himself they’d be able to identify his body easily… and so much more.
After watching this, the other reviews and articles touting this documentary as a ‘conspiracy theory’ are way off base. There’s too much in this film to deny, from actual police documents, the tapes Private Investigator Tom Grant has with Courtney Love on it saying some downright incriminating things and even some with Rosemary Carroll (the Cobain/Love lawyer) saying things against Love. See for yourself. Judge on your own. But here’s my take:

The first thing we hear is a conversation between Tom Grant and Courtney. She hired him to investigate after Kurt went missing, this was only briefly before his alleged suicide. On this first tape, Grant questions Courtney about where she’d found some other letter, supposedly from Kurt, and she is telling him it was under the pillows on her bed. Grant, being there the night before Kurt was found dead, knew different; he’d tossed the bed and found Rohypnol, which Kurt had a prescription for. He knew the difference, and yet Courtney tried sticking to her guns even when Tom told her otherwise. So right off the bat, we get this very real, raw version of Courtney – outside of the media, outside of other celebrities and what they think of her or the general public and their view – right from a tape. It’s damning.

From there, we learn a little about Grant whose life story reads much like a lot of police/military officers. The thing I kept wondering is, for those who don’t believe the man or doubt he is credible – what does he have to gain from this? He’s pretty much haunted with what he sees as the facts. He’s not exactly a celebrity himself because of Kurt or Courtney; most people pass him off as just another conspiracy theorist. Yet, as he mentions later, Tom still gets letters, e-mails, all sorts of communication asking about Kurt, wondering why nothing has been done when there’s actually a lot of evidence suggesting he did not die by suicide. It isn’t only Tom who believes, but unfortunately the police seem to be the real roadblock.

It becomes very clear that police negligence really had a hand in what came to pass. On top of that, Courtney Love set the stage for this “suicide” – when she hired Tom Grant, filed a police report (and did so in fake fashion using Cobain’s own mother’s name – the media promptly reported his mom was worried he was suicidal and filed a Missing Persons), and then perpetuated the myth of Cobain being frequently suicidal. What really troubles me is this idea of the myth – that Kurt really wasn’t a suicidal person. Yes, he was depressed. Yes, he had killer stomach pains that put him in agony. But he was happy with his friends and people around him. After the stomach pains were cleared up and doctors put him on the correct medication after many stressful years, Cobain himself told an interviewer he felt the best he’d ever felt and he was plenty happy. Sure, no one knows what’s going on in the mind of someone behind closed doors – ultimately, we never know. I had a friend who killed himself and none of us in our circle of friends ever expected it. Yet so many close friends claim Kurt never ever talked about suicide once.

Furthermore, he’s not in the movie but Buzz Osborne knew Kurt, and the rest of Nirvana, from the beginning – he and Kurt went to high school together, he knew him before and after Nirvana hit the bigtime. Buzz claims Kurt was never suicidal, it was all a lie. He has harsh words for the other Cobain documentary that recently came out, Montage of Heck, because aside from the suicide myth it portrays other stories that are not actually true (the story that Kurt supposedly had sex with an overweight, mentally handicapped girl when he was young is a total fabrication, according to King Buzzo). So during Soaked in Bleach, we get a lot of other opinions from people very close with Cobain that jive with that of Osborne – that Kurt could be quiet, shy, but the idea that he was a suicide case is untrue.
What really drove this home is Courtney Love. When Cobain accidentally overdosed on his Rohypnol prescription after having a glass of champagne, the incident was not called a suicide at the time. At first people speculated it was an attempt, but it was confirmed as being accidental afterwards. Love did not, at the time, claim Kurt tried to kill himself. Nobody did. Then, after Kurt was found dead, immediately Courtney began telling the media how he tried it in Rome, he tried before, so it wasn’t exactly a surprise. This is categorically untrue. Max Wallace brings up the fact they even talked with the doctor who attended to Kurt that night in Rome, and the doctor also denies to the bone it was a suicide attempt confirming it was most certainly an accidental overdose. It isn’t hard to see Love helped the media run with the image of Kurt as a suicidal persona.

Once things get to the real down and dirty faces, looks at the crime scene and all that, it’s even more of an affirmation that Tom Grant is not just some ‘conspiracy nut’. The tapes are one thing, hearing Courtney go on about how maybe Kurt disappearing and all that before his death would be good for publicity on Hole’s next album and hearing her just lie to Grant over and over, but the crime scene is a whole other beast. I don’t want to say too much more because the evidence is some of the real knock-out stuff in this film.
I did like the little drama recreations they did with actors playing Love, Grant, Cobain, and others involved. Some of it was pretty decent. Not that she doesn’t deserve it after seeing this movie, but they really went hard at Love with their portrayal. However, I don’t see it as being that far off base. If you didn’t think Love was crazy before, you absolutely will after watching this. It’s hard not to.

A lot of the evidence presented makes you wonder how this case isn’t being re-opened and investigated again. Truly. This was an eye-opener of a documentary. Even worse, it’s coming out that apparently Courtney Love has bought Twitter followers, et cetera, to help tank ratings on websites for the film; IMDB is usually bad for ratings, but the skewed low rating for this was ridiculous as about 1,000 ratings of 1 before the release drove it down. Suspicious? Make up your own mind.

This is absolutely a 5 star documentary. I love Cobain, his music, all of it, but to see this was truly fascinating. I can’t get over it, honestly. I want to watch it again several times just to take in all the information. The whole thing is spooky. I’ll say no more other than – the directing is great, this whole film is put together well, and Tom Grant is a saint for offering himself up all these years as “that conspiracy guy” who has actually been fighting the fight for real justice.

One thing resonated with me deeply. Tom brought up how there have been tons of suicides that have been copycats of Kurt – either they did what he did exactly, or their suicide notes quoted Nirvana and related to the late rockstar – and he just wants the truth out there. Because it’s a shame for any kid to kill themselves, but if it’s partly due to the fact Kurt supposedly did, when he might not have, then there is a real need to have the truth known. Not only for all those kids, future kids possibly, but also for Kurt, for Frances Bean, and for all the people of a generation who related to him through his music.

REVIEW RESOURCE: https://fathersonholygore.com/....2015/06/15/soaked-in

⁣With unfettered access to the Zappa family trust and all archival footage, ZAPPA explores the private life behind the mammoth musical career that never shied away from the political turbulence of its time.


Alex Winter’s assembly features appearances by Frank’s widow Gail Zappa and several of Frank’s musical collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others.
Directed by Alex Winter
http://www.thezappamovie.com/

For more great titles, check out Magnolia Selects:
https://www.magnoliaselects.com

'Frank didn't adhere to any movements': behind the Zappa documentary (The Guardian)

⁣The Light Bulb Conspiracy uncovers how planned obsolescence has shaped our lives and economy since the 1920’s, when manufacturers deliberately started shortening the life of consumer products to increase demand. The film also profiles a new generation of consumers, designers and business people who have started challenging planned obsolescence as an unsustainable economic driver.

The documentary begins by visiting the longest running light bulb in the world, which has burned continuously for over 110 years in Livermore, California. Initially, light bulbs were built to last. But the film finds historical evidence revealing how a cartel in the 1920’s decided to produce bulbs limited to a maximum life of 1000 hours, making the humble light bulb one of the first examples of planned obsolescence and a model for increasing profits on other products.

Shot over three years in Europe, the U.S. and Ghana, The Light Bulb Conspiracy investigates the evolution and impact of planned obsolescence through interviews with historians, economists, designers and manufacturers, along with archival footage and internal company documents. The film profiles several well-known historical advocates -- Bernard London, who famously proposed ending the Great Depression by mandating planned obsolescence, and Brook Stevens, whose post-war ideas became the gospel of the 1950’s and helped shape the throwaway consumer society of today.

The Light Bulb Conspiracy also looks at modern examples of planned obsolescence, including computer printers and the controversy over the inability to replace iPod batteries. Environmental consequences are seen most dramatically in the massive amounts of electronic waste that end up in uncontrolled dump sites in Third World countries such as Ghana. The film concludes with examples of consumers and businesses moving towards more sustainable practices and products, including Warner Philips, great grandson of the founder of Philips Electronics, who is producing an LED bulb designed to last 25 years.

REVIEW RESOURCE: https://www.videoproject.org/L....ight-Bulb-Conspiracy

⁣New restrictions, New Lockdowns, New Travelling regulations.
WHO’s Global Digital Health Certification Network
EU-WHO digital partnership

⁣Nikola Tesla did countless mysterious experiments, but he was a whole other mystery on his own. Almost all genius minds have a certain obsession. Nikola Tesla had a pretty big one!
He was walking around a block repeatedly for three times before entering a building, he would clean his plates with 18 napkins, he lived in hotel rooms only with a number devisable by 3. He would make calculations about things in his immediate environment to make sure the result is devisable by 3 and base his choices upon the results. He would do everything in sets of 3.
Some say he had OCD, some say he was very superstitious.
However, the truth is a lot deeper.

“If you knew the magnificence of the three, six and nine, you would have a key to the universe.” – Nikola Tesla



⁣RESOURCE: https://garylite.com/2018/09/0....9/the-secret-behind-

⁣The fact that the footage of 1969’s Harlem Cultural Festival that makes up the bulk of Summer of Soul languished for so long outside of the public eye is an injustice. The fact that first-time filmmaker Ahmir “Questlove” Thompson has now brought it all brilliantly into the light makes him not only a documentarian but a revolutionary. The stunning 1969 performances themselves are worth the price of admission, but they grow even more transcendent when spliced together with delightful talking head interviews and haunting historical context. The result is both archival and activating, showcasing a past cultural moment while pushing audiences to pour new energy into the present and the future.

Dubbed “the Black Woodstock” by Hal Tulchin, the man who rolled cameras as the event unfurled, the moving parts of the Harlem Cultural Festival represent a movement that is far more than what that nickname might suggest. The brainchild of event organizer Tony Lawrence, attended by thousands, and boasting a lineup of essential artists, it was and remains an overwhelming example of co-creative, faith-fueled community organizing. There are abundant shots of the crowd accompanying the footage of the performers, but these attendees never seem as if they are simply onlookers. They instead look like they are simultaneously at church, at a rally, and at a club, showing how intersectional true spiritual experience can be, pulling in elements from all three sacred spaces and crafting something that can’t exist without all of the ingredients.

And, in turn, the performers deliver a combination of a service, a protest, and a show. Though good showings are to be expected from names like Nina Simone, Stevie Wonder, The Fifth Dimension, Sly and the Family Stone, and Gladys Knight and the Pips, the performances in Summer of Soul reach greater heights than could be expected. Whether or not these are the best technical performances that these stars have achieved is hardly the matter; these aren’t just performances, they’re incantactions, invocations, and explosions of unshakeable inspiration.
Though there are countless high points, the centerpiece of the performance footage is an impromptu “Precious Lord, Take My Hand” duet between a weary Mahalia Jackson and a fresh-faced Mavis Staples. This collaboration would have been a wow moment even if just performed well but these two vital voices combine to craft something almost otherworldly, something that truly must be experienced to be understood.

The interviews and accompanying contextual footage add both levity and gravity to the proceedings. Hindsight reflections from performers and audience members show the human hearts and souls at the center of the excitement while accompanying snapshots of what was occurring in the world outside Harlem’s Mount Morris Park keep the happening firmly planted in the bending moral arc of the universe.


Together, these aspects make Summer of Soul a truly prophetic offering, not simply a chronicle, not merely a concert film, but something wholly different and beautifully holy. It’s a passion project that not only unearths and restores a long-hidden piece of history; it might also contain enough restorative breath to unearth a collective liberative spirit that is in need of regular resurrection.


REVIEW RESOURCE: https://www.spiritualityandpra....ctice.com/films/revi

⁣"2000 Mules," a documentary film created by Dinesh D'Souza, exposes widespread, coordinated voter fraud in the 2020 election, sufficient to change the overall outcome. Drawing on research provided by the election integrity group True the Vote, "2000 Mules" offers two types of evidence: geotracking and video.


“2000 Mules” is not as much the hard-hitting expose of the 2020 election that viewers might expect from its marketing. The movie is actually a great overview of election fraud that has been taking place for the past decade. And the research it features leaves a big question wide open.
Still, “2000 Mules” is a major, real bombshell.
The documentary comes from political pundit Dinesh D’Souza and familiar collaborators, including director Bruce Schooley, and D’Souza’s wife, Debbie, who has also produced his other movies, most recently “Trump Card” in 2018. It features research conducted by election integrity watchdog True the Vote.
Much criticism has been leveled at the use of cellphone data in “2000 Mules” to track “mules,” or ballot traffickers, and estimate the number of fraudulent votes in the 2020 election that gave Joe Biden the win over Donald Trump. This writer finds the cellphone data to be credible. The data is what makes “2000 Mules” a bombshell, the kind that comes along once in a century. It is the research methodology that is flawed. (More on this later.)
First, the findings that D’Souza presents to viewers are shocking. He asks incisive questions of True the Vote’s founder Catherine Engelbrecht and top researcher Glenn Phillips, leading the viewer through the complex data. Here is what they tell us:
Atlanta: 242 mules that went to an average of 24 ballot dropboxes and eight organizations in a two-week period.
Phoenix, 200+ mules
Milwaukee, 100 mules
Michigan, 500 mules
Philadelphia, 1,100 mules going to 50 dropboxes each. People driving to New Jersey possibly to pick up ballots.
The movie estimates that calculating for the ballot trafficking, Trump would have won with 305 electoral votes.
The movement of the mules shows that the fraud was deliberate.
“To get to some of these dropboxes, it had to be intentional. You had to get off the highway, go on some street, you had to turn in somewhere in order to get to those dropboxes,” Phillips said.
And Engelbrecht remarks on the gaslighting by the media in the aftermath.
“Now the narrative needs to be that this is the most secure election, this is the most fabulous election we have ever had. Pay no mind to the millions of Americans that are saying something is not right,” Engelbrecht said.
The movie also takes the audience through other kinds of ballot harvesting and ballot trafficking, including the exploitation of the disabled and the elderly, and the bullying of vulnerable populations, immigrants and the homeless.
It also mentions the well-known case in North Carolina of the Mark Harris campaign in 2018 as a prime example of ballot trafficking.
All of this information makes “2000 Mules” a great overview on election fraud. But the methodology of the research into the 2020 presidential election has one glaring flaw.
True the Vote seems to make assumptions on the nonprofits, or the “stash houses” where the fraudulent ballots are kept, as one of the starting point of its research along with the ballot dropboxes, for pinpointing the movements of the mules. Additionally, D’Souza never explains or even gives a hint of who these nonprofits are. So the viewer is left in the dark. This begs the question: Did True the Vote have a preset list of nonprofits they knew were stash houses from previous research, instead of determining who the stash houses are from the mules? Is the research completely nonpartisan?
D’Souza has answered a similar question from a viewer here, but has not addressed this concern. In journalism, you can provide hints for who the nonprofits are. For example, are they big nonprofits with obvious political leanings or small nonprofits doing unrelated work, like animal rescue? D’Souza and his producers not giving any hints at all leaves a big piece of the puzzle off the table.

⁣We are being given a second chance to say no to the psychopathic criminals in our government
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⁣Three Identical Strangers: the bizarre tale of triplets separated at birth
“Ideas are my bread and butter,” says film-maker Tim Wardle. “But it’s hard to find ideas that make you want to get out of bed at 3am and go film somewhere.”


That, however, was not the case when a producer at Raw, the London-based production company where Wardle works, brought to his attention the story of Bobby Shafran, Eddy Galland and David Kellman, a set of identical triplets who knew nothing of one another until they were reunited by happenstance at age 19. That alone would make for a compelling documentary, but their story doesn’t end there.


Bobby, Eddy and David are the subjects of Wardle’s new film Three Identical Strangers, an extraordinary documentary that starts as a feelgood human interest story and, by the end, has you questioning the nature of existence. As far as documentary subjects go, this one is nonpareil, a fact that was heavy on Wardle’s mind as he set out to tell the brothers’ story on film. “There’s huge pressure not to fuck up the story,” he admits. “I wasn’t worried about money or anything like that. I was just like, ‘I can’t blow this.’”


Three Identical Strangers begins in 1980, as a 19-year-old Bobby Shafran attends his first day of university only to find unfamiliar classmates greeting him as Eddy. While it’s only the first in a series of fortuitous revelations, most of which are better seen than read about here, Wardle is smart to tell the first half of the documentary through narration and recreated scenes, a tactic that allows the viewer to get a sense of how uncanny it must be to move into your dorm room and find you’re already an on-campus celebrity. Eventually, Bobby and Eddy meet and are contacted by David, whose adoptive mother noticed a pair of twins in the newspaper who looked exactly like her son, down to their shared pudgy hands.


Those alive in the early 80s might remember what followed, a period of pre-internet virality that took the triplets from the Phil Donahue Show to a cameo alongside Madonna in Desperately Seeking Susan. As they made the rounds, audiences lapped up the brothers’ likeness: they finished each other’s sentences, smoked the same brand of cigarettes, even had the same taste in women. When one brother crossed his legs, the others followed. So, in the ensuing decade, they made good on the frenzy by opening a steakhouse in Soho, New York, called Triplets, which thrived until things between them went sour.


To Wardle, the honeymoon period served as wish-fulfillment for the brothers and the media. “There’s been an obsession with identicals going back to Romulus and Remus,” he says. “And the siblings wanted to believe that they were similar, too. It’s that thing where you fall in love with someone for the first time, you try and find everything you have in common. ‘Oh my God, we like the same music!’ But you sort of tone down the differences.”


The brothers, as they discovered on account of their own detective skills, were separated by a ritzy New York City adoption agency called Louise Wise Services, which declined to tell their adoptive parents they were a set of three. It’s at this juncture that the documentary turns – tonally, structurally, thematically – and embraces a very au courant style of leather-shoe reporting in Wardle’s efforts to uncover the bizarre and nefarious reasons for the brothers’ 19-year estrangement. But convincing producers he’d get there wasn’t easy.


“They kept saying, ‘What’s the third act? What’s the third act?’ And I’m like, it’s a documentary, you don’t always know!” recalls Wardle, who was accustomed to inconclusive, even plotless projects after making a documentary about prisoners serving life-sentences. Too many documentaries, he believes, explore “weighty”, ethically fraught issues without a human element to provide connective tissue. But since he had that in the first act, Wardle was confident he’d end up with a finished product whether or not his own sleuthing yielded results.


The question at the center of Three Identical Strangers essentially concerns nature versus nurture, which led Wardle to California, where he interviewed Natasha Josefowitz, the 90-year-old research assistant who contributed to psychoanalyst Peter Neubauer’s study of siblings separated at birth.
For Wardle and Lawrence Wright, the Pulitzer-prize winning journalist who is featured in the film, the idea that nature is more determinative than nurture is an unsettling one, especially as articulated in Josefowitz’s frank, unsparing style.


“She would talk to me about how much of what I’ve done in my life was a function of biology and genes, how little agency I had, which was kind of mind-blowing,” says Wardle, who gives equal weight in the film to both theses while endorsing neither. “A lot of liberal ideology is based on the idea that nurture is really, really important. So when you start down the nature perspective you end up in quite a politically and scientifically dark place, a kind of eugenicist paradise where, ‘Why bother trying to help people?’ It’s all determined by biology anyway.”


Or is it? As Three Identical Strangers proceeds, you find yourself seduced by both prospects, the relative liberty afforded by nurture and the ice cold-comfort of nature. Mostly, though, it’s the brothers who keep the film grounded in reality, which turned out far different than it looked when they got their first taste of fame on the talkshow circuit.


When Wardle recently showed them the film, they were surprised to find he delivered as he’d promised. “I realized at that point how much they’d been disappointed and let down in their lives,” he says. “Documentaries are only as good as the contributors and what they give you. And they gave me pretty much everything.”

REVIEW RESOURCE: https://www.theguardian.com/fi....lm/2018/jun/27/miste

⁣I Know What I Saw is a documentary guaranteed to change the way we see the universe. Director James Fox assembled the most credible UFO witnesses from around the world to testify at The National Press Club in Washington D.C. including Air Force generals, astronauts, military and commercial pilots, government and FAA officials from seven countries who tell stories that, as Governor Fife Symington from Arizona stated, "will challenge your reality".
Their accounts reveal a behind-the-scenes U.S. operation whose policy is to confiscate and hoard substantiating evidence from close encounters to the extent that even Presidents have failed to get straight answers. 'I KNOW WHAT I SAW' exposes reasons behind government secrecy from those involved at the highest level. James Fox has won the support of several key media, government and military personnel, and has made numerous television and radio appearances.
Additionally, because of the strength of his ratings and the high level of interest from his audience, Larry King has indicated to James Fox an interest in promoting I Know What I Saw. With the worldwide unrelenting UFO fascination and the phenomenal success of fictional UFO films, it is high time for an up-to-date documentary about UFOs for worldwide release.
REVIEW RESOURCE: https://topdocumentaryfilms.com/i-know-what-i-saw

⁣The Big Picture of Child Trafficking - PizzaGate & Beyond: Part 1, Mind Control Culture: Part 2

This documentary by Renegade Films explores the dark agenda behind the sexualization of children for mass mind control. International Jewry is using mind control to facilitate their White Genocide agenda.
EVERY American MUST KNOW we were attacked by Israel on June 8, 1967 in the USS Liberty Attack where Israel KNOWINGLY killed 34 Americans and wounded 171 others, BIGGEST COVER-UP IN WORLD HISTORY, NOT TAUGHT IN YOUR FAKE HISTORY BOOKS!

Israel also did 9/11, JEWS did 9/11, NOT MUSLIMS/ARABS! Research "The 5 Dancing Israelis' on 9/11", make signs that say ISRAEL DID 9/11 and EXPEL THE JEWS and hit the streets with the message, NAME THE JEW!

EXPEL THE JEWS! Vote Patrick Little 2020, he will expel the Jews by 2022, his campaign slogan is: "Liberate the US from the Jewish Oligarchy!" He will serve America NOT Israel, NO MORE WARS FOR ISRAEL under Patrick Little! SPREAD THE WORD, TELL EVERYONE YOU KNOW AND TELL THEM TO DO THE SAME!

MAKE THE TRUTH GO VIRAL, the sleeping masses MUST AWAKEN!

⁣Here's a fair analysis that clearly explains the complete uselessness of Pfizer's Covid-19 vaccines - even more - it is clear from this analysis that Pfizer's suspect substances harm far more than the real viral threat.

Pfizer's own 6 month report data on its COVID-19 inoculation shows that greater illness and death in the inoculation arm than the placebo arm. Plus, poor trial design, missing data, underpowered studies, passive surveillance and more.

For the PDF of this presentation visit:
https://www.canadiancovidcarea....lliance.org/media-re

The official document below contain a list nearly 2,200 medical conditions and clinical ailments caused by Pfizer substances.
Attachment - PDF icon Pfizer Adverse Events Report <=

RESOURCE: https://www.datascienceassn.or....g/content/pfizer-adv

⁣From the authors: THRIVE is an unconventional documentary that lifts the veil on what's "really" going on in our world by following the money upstream - uncovering the global consolidation of power in nearly every aspect of our lives.
Weaving together breakthroughs in science, consciousness and activism, THRIVE offers real solutions, empowering us with unprecedented and bold strategies for reclaiming our lives and our future.
From the Odyssey Magazine: THRIVE is more than a documentary relevant to the times. It is more than a well-researched and alarming insight into who really controls how the world works.
It is a recipe and blueprint for how we can, each and every one of us, thrive in the way that the rest of nature does – easily, naturally and with expansive grace. For this last point alone, it is more than worth the time to see.


RESOURCE: https://closed.thrivemovement.com

⁣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.

⁣Anti Gravity technology found in nature I Viktor Grebennikov LEVITATING technology
In summer 1988, an
entomologist from Novosibirsk city, Viktor Stepanovich Grebennikov, examined a microstructure of the lower surface of beetles’ wing case by a microscope and became interested in “an unusually rhythmic, extremely
ordered, incomparable honeycomb, solid multidimensional composition, which looked as if it was pressed by some complicated automatic machine”.


Studying this amazing micropattern allowed Grebennikov to design a platform of a new kind called “Gravity plane”. Let’s talk about it. Hey guys and welcome back to the channel. For this video, we will talk about the Anti Gravity Technology discovered from Nature II Viktor Grebennikov LEVITATING technology”.

⁣Tim's Vermeer is a 2013 documentary film, directed by Teller, produced by his stage partner Penn Jillette and Farley Ziegler, about inventor Tim Jenison's efforts to duplicate the painting techniques of Johannes Vermeer, in order to test his theory that Vermeer painted with the help of optical devices.


The film premiered at the 2013 Toronto International Film Festival and was released in limited theatrical release in the United States by Sony Pictures Classics on January 31, 2014 Tim Jenison is an inventor and successful founder of NewTek, a company working in various fields of computer graphics, most notably the 3D modeling software "LightWave 3D." Jenison, himself both an engineer and art enthusiast, becomes fascinated with the paintings of Johannes Vermeer, a 17th-century Dutch painter whose paintings have often been said to exhibit a photographic quality. Jenison, spurred by the 2001 book Secret Knowledge by British artist David Hockney and Vermeer's Camera by British architecture professor Philip Steadman, theorizes that Vermeer potentially used a camera obscura to guide his painting technique. His initial idea, that Vermeer used a simple light projection to paint, is quickly discarded after concluding that painting over a projection makes it nearly impossible to match the colors correctly. Jenison then has an epiphany of using a mirror to monitor parts of the picture: by placing a small, fixed mirror above the canvas at a 45-degree angle, he is able to view parts of the original image and the canvas simultaneously, and obtain a precise color match by continuously comparing the reflection of the original image with what he has put on the canvas, moving from area to area by simply moving his own point-of-view slightly. When the edge of the mirror "disappears", he has it right.

⁣Dr. Zelenko is one of the most inspiring human beings I’ve had the opportunity to meet.

He’s a true American hero fighting two life and death battles: One is for the life and liberty of all people. The other battle he’s fighting is for his own life. Three years ago Dr. Zelenko was diagnosed with one of the rarest and most fatal cancers.

Through his quest to heal himself, he’s discovered a formula of over the counter vitamins and medicines and shared his protocol for free with the world. For the countless lives he's saved, Dr. Zelenko was nominated for the Noble Peace Prize.

Now, to make it more accessible and affordable to reach more people, Dr. Zelenko has packaged his potent protocol into a capsule he calls Z Stack.
–Mikki Willis

RESOURCE: https://plandemicseries.com/zstack/

⁣One of the most iconic musicians of the century speaks about his experience during the past 18 months. (COVID Operation)

⁣FILM ASKS HARD QUESTIONS ABOUT FAILURE OF ENVIRONMENTAL MOVEMENT TO HALT CLIMATE CHANGE AND SAVE PLANET

Directed by Jeff Gibbs and Executive Produced by Moore, film examines if we’ve been on “wrong road” with so-called “green energy” that is anything but green.

Charges environmental leaders have “lost their way” and “sold out to corporate interests.”

“As we suffer through one health and environmental crisis after another, it is clear we can no longer simply solar-panel-and-windmill our way out of this emergency,” say Moore and Gibbs.


Released on the eve of the 50th anniversary of Earth Day and in the midst of the global Covid-19 pandemic, Planet of the Humans takes a harsh look at how the environmental movement has lost the battle through well-meaning but disastrous choices, including the belief that solar panels and windmills would save us, and by giving in to the corporate interests of Wall Street.



The film is the debut movie from Jeff Gibbs, whom Moore calls “a brave and brilliant filmmaker whose new voice must be heard.” Gibbs is a lifelong environmentalist and longtime collaborator of Moore’s with whom he co-produced Bowling for Columbine and Fahrenheit 9/11. Planet of the Humans first screened as a work in progress at the most recent Traverse City Film Festival where it was a huge audience favorite.

Moore and Gibbs decided that with the American public – and much of the world – confined to their homes and suddenly having to consider the role humans and their behavior have played in our fragile ecosystems, the moment was too urgent to wait until later this year for the film’s planned release.



“We have ignored the warnings, and instead all sorts of so-called leaders have steered us away from the real solutions that might save us,” says Moore, who holds the all-time box office record for documentaries. “This movie takes no prisoners and exposes the truth about how we have been led astray in the fight to save the planet, to the point where if we don’t reverse course right now, events like the current pandemic will become numerous, devastating and insurmountable. The feel-good experience of this movie is that we actually have the smarts and the will to not let this happen – but only if we immediately launch a new environmental uprising.”



Jeff Gibbs, the writer/editor/director of Planet of the Humans, has dared to say what no one will – that “we are losing the battle to stop climate change because we are following environmental leaders, many of whom are well-intentioned, but who’ve sold out the green movement to wealthy interests and corporate America.
”This film is the wake-up call to the reality which we are afraid to face: that in the midst of a human-caused extinction event, the so-called “environmental movement’s” answer is to push for techno-fixes and band-aids. “It’s too little, too late,” says Gibbs. “Removed from the debate is the only thing that might save us: getting a grip on our out-of-control human presence and consumption. Why is this not the issue? Because that would be bad for profits, bad for business.”


“Have we environmentalists fallen for illusions, ‘green’ illusions, that are anything but green, because we’re scared that this is the end — and we’ve pinned all our hopes on things like solar panels and wind turbines? No amount of batteries are going to save us, and that is the urgent warning of this film.”

This compelling, must-see movie – a full-frontal assault on our sacred cows – is guaranteed to generate anger, debate, and, hopefully, a willingness to see our survival in a new way—before it’s too late.



RESOURCE: https://planetofthehumans.com
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⁣A true twentieth-century trailblazer, Harvey Milk was an outspoken human rights activist and one of the first openly gay U.S. politicians elected to public office; even after his assassination in 1978, he continues to inspire disenfranchised people around the world. The Oscar-winning The Times of Harvey Milk, directed by Robert Epstein and produced by Richard Schmiechen, was as groundbreaking as its subject.
One of the first feature documentaries to address gay life in America, it’s a work of advocacy itself, bringing Milk’s message of hope and equality to a wider audience. This exhilarating trove of original documentary material and archival footage is as much a vivid portrait of a time and place (San Francisco’s historic Castro District in the seventies) as a testament to the legacy of a political visionary.
This documentary examines the political life of the self-proclaimed "Mayor Of Castro Street," N.Y. stockbroker turned San Francisco activist Harvey Milk, the first openly gay politician elected to public office in California. Milk was elected to a City Supervisor position in the '70s, when a successful gay politician was an anomaly, but Milk made the most of his brief time in power. When Dan White killed Milk and Mayor George Moscone, the loss experienced by Milk's supporters was profound.
White robbed the gay-rights movement of a charismatic leader and eloquent voice, but he accidentally gave it something a smart political operative like Milk would surely have appreciated the power and value of: a bona fide martyr.