⁣Watch the full, unedited and uncensored edition here: https://www.spiritmysteries.com/spiri...

While we said we weren't going to publish the full movie on Youtube anymore, several audience members suggested we upload a 90-minute version that was definitely not going to be banned.

⁣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.

⁣Exit Through the Gift Shop: A Banksy Film is a 2010 British documentary film, directed by street artist Banksy. It tells the story of Thierry Guetta, a French immigrant in Los Angeles, and his obsession with street art.
The film charts Guetta's constant documenting of his every waking moment on film, from a chance encounter with his cousin, the artist Invader, to his introduction to a host of street artists with a focus on Shepard Fairey and Banksy, whose anonymity is preserved by obscuring his face and altering his voice, to Guetta's eventual fame as a street artist himself. It is narrated by Rhys Ifans. The music is by Geoff Barrow. It includes Richard Hawley's "Tonight The Streets Are Ours".


The film premiered at the 2010 Sundance Film Festival on 24 January 2010, and it was nominated for the Academy Award for Best Documentary Feature.
Since its release, there has been extensive debate over whether the documentary is genuine or a mockumentary, although Banksy answered "Yes" when asked if the film is real.


Thierry Guetta is a French immigrant living in Los Angeles who runs a vintage clothing shop. He also has an obsession with carrying a camera everywhere and constantly filming his surroundings. On a holiday in France, he discovers his cousin is Invader, an internationally known street artist. Thierry finds this fascinating, and accompanies Invader and his friends, including the artists Monsieur André and Zevs on their nocturnal adventures, documenting their activities.


A few months later, Invader visits Thierry in LA, and arranges a meeting with Shepard Fairey. Thierry continues filming Fairey's activities even after Invader has returned home to France. While Fairey is confused by Thierry's enthusiasm, Thierry states that he wishes to make a complete documentary about street art, and the two cross the nation, filming other artists at work, including Poster Boy, Seizer, Neck Face, Sweet Toof, Cyclops, Ron English, Dotmasters, Swoon, Azil, Borf and Buff Monster. What Guetta fails to tell Fairey is that he has no plan to compile his footage into an actual film, and never looks at his footage.


Archival footage The film's opening montage includes archival footage from the following street art films: Dirty Hands: The Art and Crimes of David Choe, Infamy, Megpoid, Next, Open Air, The Lyfe, Popaganda: The Art and Crimes of Ron English, Rash, Restless Debt of the Third World, Spending Time, Turf War, Elis G The Life of a Shadow, Memoria Canalla, C215 in London, Beautiful Losers.

⁣Covered the big topics very, well. Amazing how much you covered in such a short time. Great collaboration. It is definitely a unique film/documentary that covers issues rarely covered. Compared to a national geographic film on the same topic, this one is a much better piece. Great cinematics, use of drone footage, excellent camera work and great sound too.

⁣⁣There is an urgent need for global stakeholders to cooperate in simultaneously managing the direct consequences of the COVID-19 crisis. To improve the state of the world, the World Economic Forum is starting The Great Reset.

The World Economic Forum is the International Organization for Public-Private Cooperation. The Forum engages the foremost political, business, cultural and other leaders of society to shape global, regional and industry agendas. We believe that progress happens by bringing together people from all walks of life who have the drive and the influence to make positive change.

Watch Part TWO (2) here => ⁣⁣https://vajratube.com/watch/ge....orge-harrison-living

George Harrison first became known to the world as 'The Quiet Beatle', but there was far more to his life than simply being a part of The Beatles. This film explores the life and career of this seminal musician, philanthropist, film producer and amateur race car driver who grew to make his own mark on the world.
Through his music, archival footage and the memories of friends and family, Harrison's deep spirituality and humanity are explored in his singular life as he took on artistic challenges and important causes as only he could.
Using unseen photos and footage, Academy Award®-winning director Martin Scorsese traces the life of George Harrison in a personal film, weaving together performance footage, home movies, rare archival materials and interviews with his family and friends including Eric Clapton, Terry Gilliam, Eric Idle, George Martin, Paul McCartney, Yoko Ono, Tom Petty, Phil Spector, Ringo Starr and Jackie Stewart.

⁣Watch Part Two( 2) here => ⁣⁣https://vajratube.com/v/zHSaEe

⁣If you understand the consequences of Virtual Reality, your life can improve positively!
Thomas W Campbell, physicist and author of My Big TOE, a theory of everything, delivers this positive message for you for 2018.

2018 is the 20th anniversary of his conclusion that we are living in a Virtual Reality.
Virtual Reality makes profound statements of our purpose and mission here in this reality.
Virtual Reality supports Consciousness as fundamental. In a Virtual Reality, you as Consciousness are immortal. This Virtual Reality exists for your evolution and growth.
Virtual Reality supports spirituality and the existence of a higher aware intelligence.
Virtual reality solves the mysteries of physics. This short video clip is for sharing and raising awareness for Tom's physics experiments.

These experiments will, if the results are as Tom predicts, furnish further evidence that we are living in a Virtual Reality.

⁣This documentary looks inside the life of a high-powered music publicist who became a techno-age philosopher.
For the past 20 years, in his second career as a best-selling author, Howard Bloom has been grappling with the big questions, all of which can be boiled down to, as he puts it here, “What does the universe want from you and me?” Bloom has, in the pre-Covid-19 world chronicled in this documentary about him, a strict routine that helps him in this discipline.
It includes morning exercise and consulting a list of reminders of what to take with him when he ventures out of his Brooklyn brownstone. It also involves a staggering number of medications, which he needs to combat his chronic fatigue syndrome, which struck him in 1988 and left him unable to step out of his bed, let alone his apartment, for many years.


Directed by Charlie Hoxie, “The Grand Unified Theory” is a moderately engaging documentary that credibly portrays Bloom’s indefatigability. He speaks of his aspiration to be a “24 hour-a-day information processing device” and defends his auto-didacticism by saying “Grad school looked like Auschwitz for the mind.” That eyebrow-raising simile is emblematic of Bloom’s bluff offhandedness, which likely served him well in his first career as a high-profile music publicist. (Recalling his tenure representing Run-DMC, he says, “We made rap.” Kurtis Blow and others might like a word.)

The movie spends more time on Bloom’s personality than it does on the ideas promulgated in such volumes as “The Lucifer Principle,” for which the actor Jeff Bridges contributes an onscreen blurb. And when Bloom confides his plan to let a Dubai-based fitness instructor and gym entrepreneur handle his archives, we get into what looks like some P.T. Barnum territory.

REVIEW RESOURCE: https://www.nytimes.com/2020/0....7/21/movies/the-gran

⁣Werner Herzog, Documentary, Timothy Treadwell, Alaska, Tragedy, Tragicomedy, Home Video, Nature

Tragicomedy is an overworked word. Yet nothing else will do. Werner Herzog, that connoisseur of extreme figures in far-off places, has made an inspired documentary about the gonzo naturalist Timothy Treadwell, who in 2003 ended up as lunch for the bears he lived with in the remote Alaskan wilderness.
It is poignant, it is beautiful, and it is absolutely hilarious. Herzog didn't even have much work to do, what's more, because Treadwell - gifted, untrained film-maker that he was - had done almost everything himself, leaving behind hundreds of hours of videotape that he had shot at extreme and indeed fatal risk to himself. They contain sublime, dramatic shots of the bears and footage of his own mad and posturing rants to camera, wearing combats and a bandana - part surfer-dude, part drama-queen. Poor Mr Treadwell. He loved those bears. And they loved him. Yum, yum!

Timothy Treadwell was a mixed-up kid from Long Island in the US who wanted to be an actor. He auditioned for Cheers, but the shock and disappointment of coming second to Woody Harrelson sent him over the edge into drink and drug crises. He came out the other side clean and sober, but with a new passion: the grizzly bears of Alaska. Every summer, he went camping out there with his video camera and his attitude problem, regularly breaking the US park rangers' rule not to come within 100 yards of a bear. Timothy got up close and personal, giving them cute names like "Mr Chocolate" and "Sgt Brown", patting them on the nose, and becoming obsessed with gaining the bears' respect for his courage in doing so. His opening rant to camera is a comic classic, influenced, I very much suspect, by Dennis Hopper in Apocalypse Now: "I am a kind warrior! I will not die at their claws and paws! I will be a master!"

Bizarrely, his macho extreme-sports persona often alternates with something screamingly camp. Treadwell yoo-hoos wildly like Robin Williams at the bears who lope up to him: "Oh hi! Hiya! Oh he's a big bear! He's a surly bear!" And Treadwell is often very funny - a reality TV natural who never got his own show. There are too many choice moments to describe here, but among the classics is his sudden zooming-in on an immobile bumble bee on a flower, which he tearfully describes: "Isn't this so sad? A bumble-bee expired while it was doing the pollen thing. It's beautiful . . . it's sad . . . it's tragic . . . it's . . . WAIT! The bee just MOVED! Is it . . . is it just SLEEPING?" Later, Treadwell films a full-on macho-bear fight between Micky and Sgt Brown over a female called Saturn, whom Treadwell describes as the "Michelle Pfeiffer of bears".

His mission was to teach the world about these animals, and this he certainly did, according to his lights, touring schools and giving illustrated talks to kids without accepting a fee. But he also angrily claimed, in some of his looniest soliloquies, that he was "protecting" the bears from poachers or even the federal authorities. The awful truth was that he did not add anything to our knowledge of bears, and that any supposed danger these animals were in, living as they did in a protected national park, existed only in Treadwell's over-heated, self-dramatising imagination.

Treadwell's over-the-top persona is in contrast to the cool, deadpan drone of Herzog himself, who pays tribute to his intuitive skills as a film-maker, but repudiates Treadwell's Disneyfied view of nature, seeing in it only colossal coldness and indifference. Herzog appears on camera just once, listening through headphones to Treadwell's final screams - and those of his luckless girlfriend - as they are both eaten. It is only audio, as Treadwell was attacked before he could remove the lens-cap; in a masterstroke of restraint, Herzog does not let us hear this sound, and sorrowfully advises Treadwell's former girlfriend, Jewel, to burn the tape. I wonder if she has.
Was Timothy Treadwell an inspired radical operating outside the academic naturalist establishment - or a pain in the neck with personal issues? A little of both, of course. He was certainly a brilliant performer and director who, by crossing the taboo line (by as it were impaling himself on the taboo line's barbed wire) vividly demonstrated the alien-ness of nature, and therefore its strange and terrible beauty, more than anything I've ever seen by David Attenborough. It is a superb documentary, because Treadwell has not been coerced or set up; he was enough of an amateur to be relaxed and unselfconscious, yet enough of a professional to generate all this outstanding footage, and quite rightly Herzog declines to patronise or make fun of him. If we didn't already know Timothy Treadwell's awful fate, it would be enough to say: a star is born.

REVIEW RESOURCE: https://www.theguardian.com/culture/2006/feb/03/1

⁣Rodney Ascher's wry and provocative Room 237 fuses fact and fiction through interviews with cultists and scholars, creating a kaleidoscopic deconstruction of Kubrick's still-controversial classic The Shining.


What is "Room 237" really about? On the surface, Rodney Ascher's documentary exhibits the theories a few obsessive fans have put forward to reveal what they think Stanley Kubrick's "The Shining" is really about. According to them, Kubrick stashed "hidden meanings" in the vacancies, hallways, ballrooms, bathrooms, walk-in storage areas and hedge-mazes of the Overlook Hotel in his 1980 horror film.


Trouble is, the "Room 237" conspirators — er, contributors — don't seem to realize that those meanings are either not hidden, not meanings or not remotely supported by the secret evidence they think they've uncovered. "Room 237" isn't film criticism, it isn't coherent analysis, but listening to fanatics go on and on about their fixations can be kind of fun. For a while, at least.
Five off-screen narrators pitch various interpretations of "The Shining," accompanied by stock footage, illustrative recreations and clips from Kubrick's filmography. For Bill Blakemore, the subject of Kubrick's "Masterpiece of Modern Horror" is the genocidal slaughter of Native Americans by white European settlers; for Geoffrey Cocks, it's about the Holocaust in Nazi-dominated Europe; for Juli Kearns, it's an exploration of an impossible, Escher-like maze called the Overlook Hotel.


John Fell Ryan has discovered some interesting juxtapositions that occur if you project two prints of "The Shining" on top of each other at the same time, with one running forward and the other running backward. Jay Weidner, who characterizes himself as a "conspiracy hunter," insists "The Shining" is Kubrick's belated, life-risking confession/apology for faking the television footage of the Apollo 11 moon landing on the sets for "2001: A Space Odyssey" at the behest of the U.S. government.
"Room 237" could easily be (mis)taken for a comedic satire of fervent movie-geekery if the theories it presents — some more cockeyed than others — hadn't appeared on the Internet years ago. That's where Ascher found the inspirations for his documentary.


It starts off with a visual trick: In a digitally modified clip from Kubrick's final film, "Eyes Wide Shut" (1999), Dr. Bill Harford (Tom Cruise) stands outside the Sonata Cafe in Greenwich Village, which is actually a set at Pinewood Studios near London (which is the source of a little in-joke: The location is identified as "EUROPE"). But instead of inspecting a display featuring his old friend, pianist Nick Nightingale, he's looking at promotional materials for "The Shining." You could say that "Room 237" is based on a similar illusion, getting us to see things in a movie that either aren't there or aren't what they appear to be.


Let's rewind: Back in 2010, Ascher made a notably similar short film called "The S From Hell," a parodic inquiry into the off-the-wall proposition that the Screen Gems logo, which appeared after episodes of popular TV series such as "Bewitched" and "The Partridge Family" from 1965 to 1974, was so frightening, it traumatized a generation of unsuspecting children. Maybe you don't recall being terrified by this or any other logo? Me, neither. But we could've repressed it.


The goofy premise of "The S from Hell" is no less unlikely than some of the blarney put forward in "Room 237." The movie doesn't judge the relative merits of its subjects' opinions, probably because that might be construed as favoritism. That's understandable. But as a result, the movie lacks examples of sound critical thinking. All we have here are do-it-yourself interactive fan games.
In "The Shining," the genial hotel manager (played by Barry Nelson) mentions that the Overlook was built on an ancient Indian burial ground — a familiar horror-movie trope. Sure enough, the hotel decor is inspired by Native American motifs, as we can plainly see. But what, then, is the movie supposedly saying about the genocide of Native Americans? That their vengeful spirits might come back and kill people at a hotel? As the saying goes, that's not subtext, it's text.


The proponents of the Holocaust and staged-moon-landing scenarios undermine their own hypotheses by backing into them. They start with extraneous information (Kubrick wanted to make a Holocaust movie but could never figure out how; nobody was in a better position than Kubrick to fake moon footage in 1969). Then they scour the nooks and crannies of "The Shining" for anything that could be construed to support, or at least reference, their chosen preconceptions.


So is the recurrence of the number 42 (on Danny's jersey; in the movie "Summer of '42" on TV) an allusion to 1942, the year of the Wannsee Conference when Nazi officials met to plan the Final Solution? What about that German typewriter? And is Danny's hand-knit Apollo 11 sweater linked to the ultra-scary Room 237 because the average distance between the Earth and the moon is 237,000 miles? Even though it isn't 237,000 miles, but let's not allow facts and a few extra zeroes to spoil a juicy conspiracy plot. What if the first word in the famous typewritten "All work and no play makes Jack a dull boy" manuscript could be read as "A11" — as in "Apollo 11"?! What if, indeed.
The double-projection trick isn't a theory at all, just a nifty experiment in randomness somewhat less remarkable than the discovery that Pink Floyd's "Dark Side of the Moon" produces some striking juxtapositions when played along with "The Wizard of Oz." Likewise, it's sorta neat that the Outlook does not have an intelligible floor plan, as it fits with the movie's "lost in the maze" motif. But there's nothing unusual about it. That's the way movie sets are usually built — in disconnected bits and pieces, not as integral units.


Kubrick's longtime assistant and collaborator Leon Vitali (who played Lord Bullingdon in "Barry Lyndon") recently said that "Room 237" had him "falling about laughing most of the time" because he knows these ideas are "absolute balderdash." The Adler typewriter, for example, belonged to Kubrick himself, and that particular model was once as commonplace as late-model iPhones.
Any movie is the product of forethought, accident and improvisation. In the end, once the film is released, the filmmakers' intentions don't really matter anymore because it belongs to the audience. At that point, if something's there, it's there. "Room 237," regrettably, isn't all there.

⁣Homeschooling is the wise choice. The "training" a child receives in the Satanic public school system is not of the God of the King James Bible. Training and teaching children is a parental responsibility. We should not expose our children to the Satanic government education systems, demonic video games, demonic movies, whisperers, demonic music, yoga, tarot cards, horoscopes, (divination) etc as exposure to these things creates demonic strongholds in their minds that are contrary to The Word of God (King James Bible).
What does the school do with the children? Gatto states the following assertions in "Dumbing Us Down":
It makes the children confused. It presents an incoherent ensemble of information that the child needs to memorizsto stay in school. Apart from the tests and trials that programming is similar to the television, it fills almost all the "free" time of children. One sees and hears something, only to forget it again.

It teaches them to accept their class affiliation.
It makes them indifferent.
It makes them emotionally dependent.
It makes them intellectually dependent.
It teaches them a kind of self-confidence that requires constant confirmation by experts (provisional self-esteem).

It makes it clear to them that they cannot hide, because they are always supervised
Nowhere in the Bible does it say to enrol your children in the Satanic, public, government owned and operated education system's "indoctrination camps" known as "schools."
Education of children is a parental responsibility.

The Education systems have been used and are being used as a tool by Satanic governments (around the world) to indoctrinate and conduct experiments on children.
A corrupt tree (government owned and operated public education system) cannot bring forth good fruit (a child raised according to Biblical values and principles).

Matthew 7:18: 18 A good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit.
As it is written: Proverbs 22:6: Train up a child in the way he should go: and when he is old, he will not depart from it.
Proverbs 22:6 is one of the most famous verses in the Bible, but also one of the least followed.
The "training" a child receives in the Satanic public school system is not of the God of the King James Bible. Training and teaching children is a parental responsibility. We should not expose our children to the Satanic government education systems, demonic video games, demonic movies, etc as exposure to these things creates demonic strongholds in their minds. Homeschooling is the wise choice.

We live in a world increasingly opposed to the laws of its Creator. Christians are looking more and more ‘peculiar’ (1 Peter 2:9). We must teach our children the Word of God (King James Bible), teach them how to put Jesus Christ first in all aspects of their lives, teach them how to pray, pray for them to be filled with the Holy Spirit, teach them to recognize the answer to prayer, teach them how to depend on God, teach them how to serve and live for Him as we lead them by example and pray for them without ceasing.
Training a child includes teaching them to see the Hand of God at Work while being aware of the wiles of the evil one.

We must help our children examine everything in the light of God’s standards (the King James Bible), and encourage them to be salt and light, to stand apart when necessary, to stand for righteousness, to be wise as serpents and harmless as doves. (Matthew 10:16)

We must help our children to see the evil and demonic in music, books, games (including video games), movies, videos and certain friendships. We owe it to them to teach them the spiritual realities (rigged realities) of the world in which we live and protect them from corruption.

⁣Filmworker charts the multiple decades that Leon Vitali spent as the jack-of-all-trades assistant to famously demanding film director Stanley Kubrick. It’s a glimpse into the ways Kubrick worked that is both fascinating and heartbreaking, especially in the ways the director, and then his estate after his death, treated someone who was unwaveringly loyal. The lone bonus feature is a Q&A with Vitali and director Tony Ziera.

Behind every Hollywood legend there’s usually at least one assistant who helps keep that person’s world turning in countless unsung ways. In the case of famous film director Stanley Kubrick, there was Leon Vitali, who was different from other assistants in film lore because he cut short a promising acting career to take on a thankless role.
He was also different because he did so much more than keep the trains running on time, so to speak. When needed, Vitali served as casting director, editor, film archivist and restorationist, and more. He even stepped in to play a masked role in Kubrick’s final film, Eyes Wide Shut, which, of course, didn’t allow him to shirk his other duties even as he was filming his lines over and over again, as the director famously liked to do.

Director Tony Zierra’s documentary about Vitali, Filmworker, takes its name from the occupation Vitali put on various forms. It was something he came up with, he says, because he saw himself simply as someone who works in film. He acted in many British TV shows and movies before being cast as Lord Bullingdon in the 1975 Kubrick film Barry Lyndon. While on the Lyndon set, he was fascinated by how the director was involved in every aspect of the production and how every crew member around him had a key role to play.

That fascination led him to essentially creating a job for himself with Kubrick, who, as Vitali tells it, was masterful at coming across as benign and gentle at first before later revealing his controlling and demanding side. In that context, Vitali notes that Kubrick loved to play chess, but I don’t know if that’s a masterful relationship move as much as someone who wants to hide their distorted personality until the other person is in too deep. Kubrick was brilliant, but he was also abusive – I’ve long felt that his infamous obsession with shooting even the most mundane moments over and over wasn’t so much about perfectionism as it was about a sadistic tendency to see how far he could push people.

In Vitali’s case, I don’t think there was ever a notion that he was in too deep. He seemed to revel in his relationship with Kubrick, enjoying the fact that he worked long hours seven days a week to serve all of the director’s whims and needs. The only times cracks seem to appear in that happy façade are when he relates moments where he’s perhaps considering that Kubrick went too far – such as when he horribly mistreated Vitali on Christmas Eve, gave him a present and sent him home, and then started calling him on Christmas Day to hound him about many tasks that needed to be done.

When Kubrick died, Vitali seemed to be cast aside by people closest to the director who took over his estate. It’s telling, for example, that this documentary doesn’t feature interviews with Kubrick’s widow Christiane and her brother Jan Harlan, who executive produced several of the director’s movies and was known as his right-hand man. Vitali was constantly at Kubrick’s home when he wasn’t on movie sets or doing prep work for movies such as location scouting and casting, so obviously the two of them would have been around him quite a bit.

REVIEW RESOURCE: https://www.flickeringmyth.com..../2021/03/blu-ray-rev

⁣Is there a secret program behind the technology of the Space Force? Are Navy Pilots engaging E.T. Craft, or is it one of Ours? Dr. Steven M. Greer reveals the secrets behind the cover-up of the False Narrative Alien Threat. Dr. Michael E. Sallapresents Explosive information in regards to the incredible out of this world technology that has been reversed engineered at a Secret Location in Palmdale CA.

Is the New York Times retraction of statements made to "Off World Vehicles recovered Not Of This Earth" An attempt to Cover-Up the biggest Story Known To Mankind? Bob Lazar among others share there Insight to the Most Asked question "Are We Alone" Countdown To Disclosure Opens the Floodgates on information never heard before by the public until now! Buckle Up for a cutting Edge Documentary that will leave you believing we are not been told the truth. Premiered Dec 25, 2020

⁣Zdefraudowali wsparcie dla Ukrainy za ponad $80MLD USD. Pominięte przez mainstream afery finansowe, w które zamieszana jest Partia Demokratyczna, Joe Biden, tajemniczy inwestorzy i prezydent Ukrainy.

⁣Ukraine. Across its eastern border is Russia and to its west-Europe. For centuries, it has been at the center of a tug-of-war between powers seeking to control its rich lands and access to the Black Sea. 2014's Maidan Massacre triggered a bloody uprising that ousted president Viktor Yanukovych and painted Russia as the perpetrator by Western media.

But was it? "Ukraine on Fire" by Igor Lopatonok provides a historical perspective for the deep divisions in the region which lead to the 2004 Orange Revolution, 2014 uprisings, and the violent overthrow of democratically elected Yanukovych.

Covered by Western media as a people's revolution, it was in fact a coup d'état scripted and staged by nationalist groups and the U.S. State Department. Investigative journalist Robert Parry reveals how U.S.-funded political NGOs and media companies have emerged since the 80s replacing the CIA in promoting America's geopolitical agenda abroad.

⁣Environmental advocates have long protested the role that oil companies play in exacerbating the climate change crisis. Their voices have rattled some of the world's most influential leaders, inspired meaningful reforms, and galvanized a desire for more clean energy solutions. This has led many to believe that the age of Big Oil is on its way out. But according to the feature-length documentary Why Big Oil Conquered the World, its reign has only just begun. The film theorizes that the industry is actually based entirely on the principle of exerting power over the people. Up until this point in history, oil has served as a means to that end.

This thesis begins with eugenics, a Darwin-inspired movement that supported genetic manipulation, and the breeding of new generations that would possess only the most desirable human characteristics. Many members of the elite threw their support behind the study and implementation of eugenics, including John D. Rockefeller, Jr., and their goals soon took on an even more sinister tone. They proposed the isolation, containment and complete control of "subnormal" populations, such as the disfigured, uneducated and impoverished. They lobbied for the power to decide who lived or died.

Their approach might have changed over the intervening years - and their harsh rhetoric softened - but their ultimate goals have remained unchanged. They've simply adopted a more polished public relations image. Meanwhile, the masses are oblivious to their nefarious ulterior motives. The oil oligarchies even worked to hijack the environmental movement, and perverted the message of conservation by suggesting population control as a means of reducing our carbon footprint. In recent years, their vocal support of the Paris Climate Accord has proven equally suspect. Can the culprits behind our current environmental catastrophes really be trusted to free us from them?

At times, the film plays like a science fiction based horror movie, but it provides substantial footage and extensive research in support of even its most outlandish claims. Direct quotes and on-camera sound bytes prove especially damning to the powerful figures at the center of these schemes.
Whether you embrace the film's premise wholeheartedly, or remain skeptical of many of its accusations, Why Big Oil Conquered the World provides a wealth of eye-opening revelations that are worthy of consideration.

⁣If you’re not familiar with the name Alain Johannes, there’s a good chance he’s had something to do with an album in your collection. Whether he played on it, recorded it, or mixed it, Johannes has been a major contributor to such bands as Queens of the Stone Age, Them Crooked Vultures, Mark Lanegan, Puscifer, Eagles of Death Metal, Arctic Monkeys, and PJ Harvey – to mention only a few. His staggering list of credits as either a producer, session musician, or touring band member is only one aspect of his notable career in modern music.


Perhaps the most important credit in his career is the six albums he produced with wife Natasha Shneider and their alternative rock band Eleven. Criminally underrated, Eleven earned some decent exposure in the 90’s supporting Soundgarden and Pearl Jam on tour, but their sound just never fit into the trends of the decade. Johannes and Shneider would continue with Eleven, while also finding themselves as highly sought after session musicians and producers. Most notably, the pair were recruited to play on and co-produce Chris Cornell’s debut solo album Euphoria Morning and later they would make significant contributions to the Queens album Songs for the Deaf.
Johannes’s relationship with Shneider was one of music and love that’s difficult to describe. Indeed, as I began drafting this review, I found myself struggling to avoid cliches.


Soulmates is such a trite term, but finding an equivalent synonym to describe the couple is futile. Aside from being in love with each other, they shared – as Soundgarden/Pearl Jam drummer Matt Cameron describes – a “telepathic musical relationship.” Indeed, many who appear in Unifinished Plan marvel at how the two worked together. The bond of their romantic relationship and the music they created was intertwined. Needless to say, it was nothing less than heartbreaking – for Johannes and everyone who knew the couple – when Shneider succumbed to Cancer in 2008.


A devastated Johannes would go on to produce a solo album, 2010’s Spark, as a love letter and thank you to Shneider. Nevertheless, this cathartic effort marks only the beginning of Johannes’s journey without her. The Chilean born musician would go on to visit his home country to meet his estranged Father for the first time and reconnect with his roots. This journey would include forming a band with Chilean musicians to perform Eleven songs.


Directed by Rodolfo Gárate, Unfinished Plan: The Path of Alain Johannes presents the story of Johannes much better than my meager summary. Beautifully shot and full of footage of Johannes and Shneider (with and without their band Eleven), Garate skillfully charts Johannes’s life with the reverence. Throughout the film, appearances by the members of Soundgarden (Chris Cornell, Kim Thayil, Matt Cameron, Ben Shepherd), Josh Homme (Queens of the Stone Age), Alex Turner (Arctic Monkeys), and Mark Lanegan are important as they discuss the musical genius of Johannes, but also because each of them were deeply affected by Johannes and Shneider, not just as musical peers, but close friends. Thus these interviews, alongside those with Johannes’s sister and other family members, present Johannes as a human, not just a ridiculously talented musician. For this, Gárate should be praised. While it’s difficult to separate Johannes from his music – for how intensely they were connected – Gárate delicately balances the films narrative. Unfinished Plan is a touching and emotionally engaging film, one that will appeal to anyone, not just music lovers or fans of Johannes.
– J. Kevin Lynch

REVIEW RESOURCE: https://thevoidreport.com/2018..../12/12/film-review-u

⁣Dr Rashid Buttar, brytyjsko-amerykański lekarz, który był odpowiedzialny za uświadomienie milionom ludzi prawdy o Big Pharmie i globalistycznej agendzie, został znaleziony martwy 18.05.2023.


Miał 57 lat i cieszył się wyjątkowo dobrym zdrowiem. Szykujcie się na turbulencje roku 2025!


Sławik Kraszennikow 1983-1993
Później wrócą wszystkie choroby, o których ludzie już zapomnieli. Jedna choroba pojawi się bez nazwy, od której będzie mnóstwo trupów na ulicach i nikt nie będzie ich chował. Będą po nich pełzać robaki i wokół będzie panował smród. Sławoczka powiedział: „Mamusiu, ludzie będą iść i umierać w ruchu, ponieważ zupełnie nie będą mieć energii. W naszym mieście będzie tak samo”.

⁣https://www.askdrbuttar.com/

⁣It is now beyond doubt that strange, anomalous objects filling our skies and caught on camera are the real deal. Even the Pentagon admits it’s true. These seemingly intelligently controlled craft are operating above the clouds, in our oceans and in our orbit – travelling at hypersonic speeds far beyond any known human technology and completing manoeuvres unknown to science.


The subject of conspiracy and derision for years, UFOs are now the hottest topic in Washington and the world.
Five-time Walkley Award-winning investigative journalist Ross Coulthart – who has been investigating the phenomena for the past two years – led the 7NEWS Spotlight team across the US, amassing never-before-seen compelling evidence and speaking to the key players behind an event that will change the course of history.
Featuring interviews with the highest echelons of military defence and intelligence officials, leading researchers, scientists and witnesses in America and Australia, this mind-blowing documentary years in the making seeks to answer the most fundamental question there is: are we alone?


The US director of national intelligence is expected to hand down an unclassified report next month that will change our understanding of life itself. On Spotlight, we reveal what is in that report.
7NEWS Spotlight: The UFO Phenomenon unearths startling new evidence of Australian Government cover-ups and extraordinary vision of unidentified aerial phenomena in Western Australia, Victoria and Queensland – all credible and important additions to the worldwide data being accumulated by the US.


For Coulthart, the project has become the most fascinating and challenging of his career, becoming the focus of his new book 'In Plain Sight', available now in Australia and soon in other territories:


Australia: https://7news.link/3AuawFz

⁣In this lecture, 04 and 05 combined, I discuss the relationship between the initiatory structure characteristic of shamanism and the process of radical personality transformation, self- or therapy-induced. The basic structure is order/paradise, chaos/the fall, re-establishment of order/paradise. Since all paradises fall, however, the true paradise is identification with the process of transformation itself.

A very interesting insight from the professor when it talks about the mystical experiences of DMT (when you skip the lecture to 2h: 30m), professor Peterson talks about the mystical experience people tend to have after taking substances like Ayahuasca. These experiences can result in permanent personality transformations.


Jordan Bernt Peterson is a Canadian professor of psychology, clinical psychologist, YouTube personality, and author. He began to receive widespread attention in the late 2010s for his views on cultural and political issues, often described as conservative.

Born and raised in Alberta, Peterson obtained bachelor's degrees in political science and psychology from the University of Alberta and a PhD in clinical psychology from McGill University. After teaching and research at Harvard University, he returned to Canada in 1998 to permanently join the faculty of psychology at the University of Toronto.

In 1999, he published his first book, Maps of Meaning: The Architecture of Belief, which became the basis for many of his subsequent lectures. The book combined information from psychology, mythology, religion, literature, philosophy, and neuroscience to analyze systems of belief and meaning.