⁣
Metallica doesn't do anything small. Their songs are relentless assaults of sound, sometimes topping the 8 or 9-minute mark. It's not a surprise then that "Metallica: Through the Never," their 3-D IMAX concert film/apocalyptic Mad Max story, directed by Nimród Antal, is a gigantic spectacle, a virtual-reality experience that is both ridiculous and sublime, sometimes in the same moment.
The band members, lead singer/guitarist James Hetfield, lead guitarist Kirk Hammett, drummer Lars Ulrich, and bassist Robert Trujillo, came up with the concept, giving it a personal stamp which longtime Metallica fans will recognize. The Metallica concert in the film features laser beams, a Tesla coil shooting actual lightning bolts through the air, a gigantic statue of Lady Justice which crumbles to bits around the band members, white crosses emerging from beneath the stage floor, dry ice…the only thing missing from that arena stage is an 18-inch tall Stone Henge. Meanwhile, there's a fictional storyline that runs alongside the concert: a young roadie named Trip (Dane DeHaan) is sent on an important mission to retrieve a bag needed by the band. "Metallica: Through the Never" moves back and forth, from concert to Trip and back.



The concert was filmed at Rexall Place, an arena in Edmonton, Alberta. The stage is huge and cross-shaped, with Lars Ulrich's drum set placed in the transept. The three other guys wander around freely, sometimes meeting up, but mostly facing out, communicating with the masses of gyrating fans. Twenty-four cameras were used, and cinematographer Gyula Pados brings us in close enough that we can almost feel the sweat flying off of Trujillo's long hair as he spins his head, and also pulls us back, way back, to give a sense of the sheer scope of the production and the audience. The fans are packed in tight, pushing against the barriers near the stage, pulsing their arms in the air. The effect of all of this is so visceral and immediate that it really is the next best thing to being there.
Cutting away from the concert to follow Trip's attempt to retrieve the missing bag is a risky device and doesn't work initially, because the concert is so engrossing you resent being made to leave it. But it grew on me as the film progressed, and ended up having a startlingly emotional resonance by the closing shots of the film. Here's what happens. Trip takes off in a battered van to go get this missing bag. Civilization appears to have broken down. Cars are on fire. Riot police and mobs face off. People are strung up from lampposts and dangle in the wind. (There's a reason "Metallica: Through the Never" is rated R.) Trip finds himself singled out by the mob. A literal horseman of the Apocalypse, wielding a gigantic mallet and wearing a gas mask, gallops after him. Trip is beaten up, set on fire, dragged behind a horse, chased through dark alleys. What is in the bag that Metallica needs? Well, if you've seen your Hitchcock, then you know that doesn't matter.
All of these scenes are tied thematically to Metallica's concert song list, which span the 30 years of Metallica's career, from early songs like "Creeping Death," to later songs like "Cyanide." All the major hits are covered: "Master of Puppets," "One," "The Memory Remains," "Enter Sandman," "And Justice For All," "Battery," "Nothing Else Matters." Metallica's music is not light. They are not carefree guys. Even their ballads are gloomy. Trip's struggle to survive in a violent dystopian world is reflective not only of Metallica's most common themes, but also echoes what the music actually sounds like. Metallica's music is fast, aggressive, and demanding. As macho as Metallica's collective stage presence is, what they tap into is a very dark place where they are alone, helpless, and isolated. Music critic Steve Huey once observed that "in one way or another, nearly every song on 'Master of Puppets' deals with the fear of powerlessness." That's where the rage comes from.



Trip, as played by Dane DeHaan, is a skinny kid in black jeans and a hoodie. He is overwhelmed by forces larger than him. He is not physically strong. He is an outcast. James Hetfield may be a tattooed rock god, wearing all black and a bullet belt, stalking around on a stage the size of St. John the Divine like he owns the joint, but he still identifies with guys like Trip. He identifies with the outcasts, the scared kids of the world ("Enter Sandman." their most famous song, features a child's voice praying), and Trip is the stand-in for all kids who feel like they don't fit in, who are scared and feel powerless, who find strength in music like Metallica's. That's when the device stopped feeling like a device and felt like an expression of the band's identification with its own fan base, with the guys they used to be.
It was 1983 when Metallica's first album came out, a year where The Police and Michael Jackson dominated the pop charts. Heavy metal fans were part of a vibrant underground scene, where bootleg cassette tapes were passed around. Metallica are Rock and Roll Hall of Famers now. Their actions (and albums) have not always pleased their hard-core fan base. Remember when they sued Napster? Remember "Load," their sixth album, seen by many fans as a betrayal of what the band was all about? Some of the oldest fans think Metallica sold out with what is known as "the black album." These things are still being argued about on heavy metal websites and fan forums. And then of course, they all went into therapy in order to heal the rifts in their relationships, a process documented in the fascinating 2004 documentary "Some Kind of Monster." The album that resulted from that therapy process, "St. Anger," received mixed reviews but still sold millions of copies. You can see that up-and-down journey in the concert itself, as technical snafus threaten to derail the whole thing, forcing the band to go back to basics.
Some of the best moments in the film involve footage of the concert audience. There is one audience member I keep remembering, and he appears for only a second. He was pushed up against the barrier. He had his shirt off, like a lot of the guys did, and his arms were in the air, eyes closed, lost to everything else but that immediate moment. There are millions more of him around the world. And there were thousands more in that arena. The sound of the audience singing along is so powerful it sounds like a political rally about to turn violent. Even James Hetfield at one point seems a bit taken aback at the collective sound of thousands of people singing his lyrics. At the end of the film, during the credits, the words "To the Metallica Family of Fans" scroll by on the screen. "Metallica: Through the Never" is a vehicle that could reach a new generation of fans, who wouldn't even know what the term "bootleg cassette tape" meant, but know great music when they hear it.
With all of the dazzling special effects "Metallica Through the Never" offers, and with all of the violent encounters poor fictional Trip experiences, it's that shirtless fan, arms raised, that encapsulates what the film is all about, encapsulates what Metallica is all about. To paraphrase one of Metallica's most famous lyrics, that's the memory that remains.



REVIEW RESOURCE: ⁣https://www.rogerebert.com/rev....iews/metallica-throu

⁣The New World Order’s main focus is complete world dominance. Population control, better known as Depopulation, is the UN’s tool to annihilate the majority of the masses, so that no more than 500 million people are left on the face of the earth. A neat number, easy to control, dominate and subjugate. How are we, the people, being attacked in the name of population control? By means of 10 different Extinction Tools. Let’s take a look at the first 4: wars, (natural?) disasters, famine & drought, and plagues & diseases…
By Janet Ossebaard & Cyntha Koeter
Music: Alexander Nakarada, Chopin, Keys of Moon, Punch Deck
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We make these documentaries without being paid, so any donation - no matter how small - is most welcome! This way we can continue giving our work to the world for free, in order to wake up as many people as possible...
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⁣Webinar: COVID-19 Early Home-based Treatment with Dr. Peter McCullough.

⁣Clear, blue skies greeted air travelers on the morning of September 11, 2001. But those skies were more heavily trafficked than we were originally led to believe, according to the documentary 9/11 War Games. Produced by the conspiracy-minded Corbett Report, the film assumes a unique perspective for those who question the official account of that tragic date.


Before the attacks began to unfurl, there were an unprecedented number of aviation tests, military drills and emergency simulations taking place. Some were eerily similar to the terrorist attacks that would grip the country later that morning. In spite of the incessant denials that followed in the months and years following 9/11, the film argues that military forces were well aware of the potential of such an attack, and were active in preparing for such a nightmare scenario.


The evidence presented in the film expose how the government was well aware of the specific threats in the lead up to 9/11. Documents and taped recordings show multiple military drills mounted by the North American Defense Command (NORAD), including those involving hijacked airplanes, coordinated attacks from multiple planes, and even a scenario that used an aircraft as a weapon in the heart of the Pentagon.
The theory? The real plot of terror was piggybacked off some of these simulated war games. While much of the blame fell on the FAA, the prevention of these attacks was actually hindered by an inability to decipher between the manufactured exercises and the real world tragedy. The terrorist cell was likely aware of such exercises, and used them to their advantage.


Taken to the extreme, the film theorizes that members of NORAD, the US military and the National Command Authority were themselves complicit in these attacks, and the confusion between simulation and reality was an intentional and strategic stage from which they could operate most effectively.
Viewers who have an intolerance for conspiracy-themed material, especially as it pertains to the events of September 11, might find some of the film’s thesis offensive. But for others, 9/11 War Games may serve as a provocative, well assembled argument for greater transparency.


REVIEW RESOURCE: https://topdocumentaryfilms.com/9-11-war-games/

⁣⁣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

⁣HAARP, in full High-frequency Active Auroral Research Program, scientific facility for studying the ionosphere, located near Gakona, Alaska. The main instrument is the Ionospheric Research Instrument (IRI), an array of 180 radio antennas spread over an area of 0.13 square kilometer (33 acres).

The ionosphere is the outermost layer of Earth’s atmosphere. It begins at about 50 kilometers (30 miles) above Earth’s surface and contains atoms and molecules that are ionized (that is, they lose an electron and become positively charged) by the Sun’s ultraviolet light. The ionosphere is of particular importance for radio because low radio frequencies are reflected off the ionosphere, allowing for long-distance communications. At higher frequencies, radio communications with satellites pass through the ionosphere. The ionosphere is also where the auroras occur when solar wind particles collide with oxygen and nitrogen atoms.

The IRI transmits at frequencies between 2.7 and 10 MHz with a power of 3.6 megawatts. It transmits radio waves upward into the ionosphere, where they cause electrons to move in waves. HAARP is an ionospheric heater, so called because the excitation of electrons increases their temperature, and it is the most powerful ionospheric heater in the world. By altering the density of electrons in a specific region, scientists using HAARP can study how the ionosphere reacts to changing conditions.

Because of the ionosphere’s significance for radio communications, in the early 1990s the U.S. Air Force and U.S. Navy proposed the HAARP project, and the Air Force began construction in 1993. The site near Gakona was chosen because it was an area of flat ground that was in the North Polar region where auroras occur. The HAARP site was near a major highway but isolated enough that there were no nearby sources of electrical or radio interference. Responsibility for HAARP was transferred to the University of Alaska Fairbanks in 2015.

HAARP became a popular subject of conspiracy theories. Venezuelan Pres. Hugo Chávez blamed it for the 2010 Haiti earthquake, but most such theories about HAARP concern its use for weather modification or mind control. In response, HAARP scientists noted that the ionosphere is far above the troposphere and stratosphere where Earth’s weather actually happens, and, as for any other effects, HAARP scientists stated that the amount of energy the IRI deposits in the ionosphere is far below that supplied naturally by the Sun and that any effects from the IRI quickly dissipate.

(https://www.britannica.com/topic/HAARP)

⁣Is there a connection between UFOs, alien abductions, channeling spirits, demonic possessions, the new age movement, secret societies, and satanism?

In Age of Deceit: Fallen Angels and the New World Order, we investigate why the New World Order and the Global Elite are tirelessly working to form a One World Government and who they are getting this instruction from.

A biblical look at the history of fallen angels and it's relationship to the New World Order and the new age movement.
Topics covered are the fall of mankind, the pre-flood world as Atlantis, the new age through theosophy, the fallen angels and their origin of planting the seeds to society, UFOs, ETs and abduction cases, demonic possession, channeling, and more.

⁣Director John Dullaghan's biographical documentary about infamous poet Charles Bukowski, Bukowski: Born Into This, is as much a touching portrait of the author as it is an exposé of his sordid lifestyle.

Interspersed between ample vintage footage of Bukowski's poetry readings are interviews with the poet's fans including such legendary figures such as Lawrence Ferlinghetti, Joyce Fante (wife of John), Bono, and Harry Dean Stanton.

Filmed in grainy black and white by Bukowski's friend, Taylor Hackford, due to lack of funding, the old films edited into this movie paint Bukowski's life of boozing and brawling romantically, securing Bukowski's legendary status. Born Into This relies on interviews with Bukowski for biographical information instead of cheesy voiceovers, bringing the viewer even closer to the author.

For example, in one amazing sequence, Bukowski rides the viewer around in the backseat of his car, telling us through his rear-view mirror of his stint as a post office worker which inspired the novel, Post Office.
Scenes splicing interviews with Bukowski's ex-wife, Linda Lee, and R. Crumb's comic strip panels portraying Bukowski as a sex-crazed maniac, set the tone for bawdier parts of the film.

Occasionally the film displays lines of Bukowski's poetry on the screen, as reminders that he was not only a raging alcoholic with a fierce sense of humor but also a talented and beloved writer. With so much hilariously shocking footage of "Hank," Bukowski: Born Into This presents Bukowski as a troubled but classic genius.

⁣This is a message from Dr. Anne McCloskey from Londonderry. She speaks about the traumatised people that she comes across. Most double jabbed with an experimental genetic therapy.
These people might have been bribed, bullied, coerced, because of the removal of their basic human rights.
The hospitals are full of double jabbed people and increasingly younger people - and next they are coming for the children.
Let me know your thoughts in the comments?
Check out my other channels as well:
RESOURCE: https://plandemic.co/2021/08/2....2/a-message-from-ann

⁣Directed by William Arntz, Betsy Chasse, and Mark Vicente, the film is an initially intriguing—and then gradually more outlandish—examination of quantum physics (“the physics of possibilities”), the theoretical brand of science that supposedly helps us understand life’s most fundamental question: What is reality? Unfortunately, the film’s answer isn’t half as interesting as those posited by The Matrix, Fight Club, or Waking Life.

A collection of talking-head physicists, philosophers, religious scholars, and mystics (all of whom are deliberately unidentified until the end credits to obscure their dubious authority) casually toss about terms like “epistemic” and “gifts of intentionality” in arguing that reality—rather than being an external force—is something we shape internally, thus meaning that what’s happening within us determines what happens around us. The ensuing, rambling discussion of quantum physics’ impact on notions of love, addiction, and Jesus is clumsily interspersed with scenes involving a fictional photographer named Amanda (Marlee Matlin) who, still smarting over her husband’s infidelity, embarks on a journey of self-discovery by learning to transcend humanity’s current perception of reality.

Engaging theories are sporadically contemplated (such as the idea that an object can exist in two places at the same time), yet by the film’s conclusion, it’s clear that the real modus operandi of these “experts” is promoting a new-agey version of spiritual enlightenment intended to replace traditional monotheism. Society’s “superstitious, backwater concept of God” is the filmmakers’ ultimate target, since it interferes with their belief that everyone is God and that all of us are “co-creating our future.” If people are truly able to construct their own destinies, then I can only hope that What the Bleep Do We Know?, with its hokey and derivative CGI, John Tesh-influenced score, and screeching electronic sound effects, will beget a future devoid of these filmmakers’ creepily cultish work.

REVIEW RESOURCE : https://www.slantmagazine.com/....film/what-the-bleep-

⁣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

⁣Stanley Kubrick: A Life in Pictures is a 2001 documentary about the life and work of Stanley Kubrick, famed film director, made by his long-time assistant and brother-in-law Jan Harlan. Its running time is 142 minutes long, it consists of several 15-minute chapters, each detailing the making of one of his films – and two more showing his childhood and life.

Jan Harlan got many of Kubrick's collaborators for interviews, including Tom Cruise, Nicole Kidman, Keir Dullea, Arthur C. Clarke, Malcolm McDowell, Peter Ustinov, Jack Nicholson, György Ligeti and Matthew Modine. It also has interviews from film directors who were inspired by Kubrick such as Woody Allen, Steven Spielberg, Martin Scorsese and Sydney Pollack.

The film contains some rare footage, including from the Kubrick family home videos and on film sets, and clips from Fear and Desire - Kubrick's first feature-length film.
It was released on DVD on October 23, 2007, and was featured on the tenth disc of Stanley Kubrick: The Essential Collection and Stanley Kubrick: Limited Edition Collection DVD and Blu-ray released May 31, 2011, respectively. The documentary was also bundled in a box set of some of Kubrick's other films released January 22, 2008.

The soundtrack of the film is by composer and musician Jocelyn Pook, who had previously worked with Kubrick on Eyes Wide Shut (1999).

Stanley Kubrick is one of the first names you hear when the word "director" is brought up. His career spanned many decades, and the movies he worked on were given his undivided attention. He was obsessive, reclusive, and demanding.

And if you've ever wanted to learn pretty much everything you could ever want to know about the iconic director, well, there's a movie for that. Originally released back in 2001, Stanley Kubrick: A Life in Pictures is a documentary that spans his life, offering behind the scenes looks at what went into his directing and thought process. As luck would have it, Warner Bros. has made it available to watch for free online, complete with an introduction by ReelBlend podcast hosts Sean O'Connell, Kevin McCarthy, and Jake Hamilton.

There are some real gems in this thing, from Jack Nicholson talking about the ways Kubrick made him feel satisfied as an actor to looking at the newsreels that helped him understand how to make Dr. Strangelove...including Martin Scorsese's reactions to watching Kubrick movies.
What about the music in A Clockwork Orange—what could be behind playing the William Tell Overture five times fast?

Kubrick's work has touched us all, and the step to understanding the themes and ideas he explores are all captured in this doc.

Carl Colby’s smart, fact-packed film “The Man Nobody Knew” operates on many levels, all riveting. Primarily an account of the career of his father, William Colby, director of the Central Intelligence Agency from 1973 to 1976, it traces a history ending in 1996, when his body washed ashore eight days after he embarked on a late-afternoon solo canoe outing in Maryland.

While reviewing the turbulent period spanning Vietnam and President Richard M. Nixon’s resignation, we also witness the arc of a marriage, the death of a daughter and the seeming disillusionment of a selfless, if steely-eyed and implacable, civil servant.William Colby was molded by the Office of Strategic Services in World War II, when he aided anti-Nazi insurgents in France and Norway. Working closely with the Vatican he fought the postwar Communist ascendance in Italy and helped coordinate the coup against President Ngo Dinh Diem of South Vietnam. As C.I.A. director he embraced covert activities until “the family jewels“ — memos revealing the agency’s domestic wiretapping and foreign assassination attempts, among other sordid pursuits — were leaked.

After disclosing details on such programs (several preceding his tenure) in Congressional hearings, he was replaced by George H. W. Bush.The Beltway insiders interviewed include the former national security adviser Brent Scowcroft, the journalist Seymour Hersh and, at his most smugly cynical, former Defense Secretary Donald H. Rumsfeld. Carl Colby’s mother, Barbara, meanwhile, is the embodiment of diplomatic poise and eloquence. Conspiracy theorists can have a field day with William Colby’s death, but “The Man Nobody Knew” suggests that the culprit may have been no more than a cold warrior’s crumbling facade.Directed by Carl Colby; edited by Jay Freund; music by Michael Bacon; produced by Mr. Colby, David Johnson and Grace Guggenheim; released by First Run Features. At the Lincoln Plaza, Broadway at 62nd Street. Running time: 1 hour 44 minutes. This film is not rated.

REVIEW RESOURCE: https://www.nytimes.com/2011/0....9/23/movies/man-nobo out the documentary channel: https://rumble.com/DocumentaryArchiveLet me know your thoughts in the comments.

⁣In 2013 David Kennedy produced Fluoridegate: An American Tragedy, a classic documentary that is exquisite in capturing the battle that raged over the downgrading of cancers in the fluoride study overseen by the National Toxicology Program and published in 1990. Below we reprint the comments made by William Marcus, the senior toxicologist at the Environmental Protection Agency’s Office of Drinking Water, on these downgrades. Also, we add the comments from Stephen Kohn of the National Whistleblowers Association who explained how the EPA went after Marcus with “a vengeance… like he was an enemy of the state.”


In 1977 the US Congress mandated the National Toxicology Program to conduct animal studies to determine if fluoride causes cancer. Battelle Columbus Laboratories were contracted to perform the studies that began in 1985 and ran for 2 years. In 1988 Battelle submitted their final report that included the finding of a dose-dependent increase of a rare liver cancer (hepatocholangiocarcinoma) in male & female mice and a small but statistically significant dose-related increase in osteosarcomas in male rats but not in the female rats.


For the rare liver cancer, the first scientist to describe this cancer said that Battelle made a correct diagnosis. However, this rare liver cancer was reclassified by a government review panel as a non-cancer and one of the osteosarcomas was downgraded leading to the classification of “equivocal evidence of cancer”. There were also increases in oral and thyroid cancers, but they were not considered statistically significant.


RESOURCE: https://fluoridealert.org/cont....ent/bulletin_12-26-1

⁣People do not understand how hard a jazz musician works for a living. I’m not putting nobody down, but I’m telling you nobody understands how hard jazz musicians work. Jazz is not big in the US, because the States are too worried about Pac-Man and The Police. — Jaco

When Jaco Pastorius uttered the quote above in a typically entertaining and insightful interview withGuitar World from 1983, he meant no disrespect to the members of The Police. It’s safe to say, in fact, that Pastorius significantly influenced crossover subgenres in punk, New Wave, and No Wave, through compositions like “Punk Jazz” — “a real jazz players stab at a brave new music,” writes Guitar World‘s Peter Mengaziol. In general, Pastorius’ music was “a fusion with energy but without overkill.” He absorbed influences from everywhere, and nothing seemed out of bounds in his playing. “I am not an original musician,” he says in the same interview:
I am a thief…. You see, I rip off everything. I have no originals. Only animals and children can understand my music; I love women, children, music, I love everything that’s going in the right direction, everything that flows… I just love music. I don’t know what I’m doing!

It’s not that Pastorius necessarily thought of jazz as a more elevated form than rock or funk or soul or pop — hardly. He regarded Hendrix with the same worshipful awe as he did Motown bassist Jerry Jemmott, and both equally informed his playing and showmanship. Yet he seemed to feel under-appreciated in his time, and that is probably because he was, even though he was acclaimed as one of the world’s greatest bass players during his brief 35 years, and he radically altered the sound of popular music on albums by Joni Mitchell and other non-jazz-world stars.

⁣First case of polio in the US in years was detected this week in New York — here's what to know about polio vaccinesUS records first polio case in nearly a decade
Fox News' Lauren Green on the investigation into how a 20-year-old unvaccinated man contracted polio.
An unvaccinated Rockland County, N.Y., resident exposed to an individual who received an oral poliovirus vaccine contracted the neurological disease and is now paralyzed, according to Rockland County and New York State Health Officials on Thursday, as Fox News Digital reported earlier.
The case raises the issue of polio vaccinations — and what Americans should know to protect their health.
"Based on what we know about this case and polio in general, the Department of Health strongly recommends that unvaccinated individuals get vaccinated or boosted with the FDA-approved IPV [inactivated] polio vaccine as soon as possible," State Health Commissioner Dr. Mary T. Bassett said in a release from the N.Y. State Department of Health that was provided to Fox News Digital.
NEW YORK COUNTY OFFICIAL URGES RESIDENTS TO GET VACCINATED AFTER FIRST CASE OF POLIO IN YEARS
Health officials said on Thursday that the oral vaccine — which contains live strands of the poliovirus — is no longer used in the U.S.
However, it is still used in many countries, including those in Eastern Europe.

Officials could not confirm where the individual who received the oral polio vaccine was from or where the person who is ill encountered this person.

The patient began experiencing symptoms about a month ago; state and county health officials began investigating and contact tracing.


⁣"The fact is, the urgency of safe and effective vaccines has always been here, and we need New Yorkers to protect themselves against completely preventable viruses like polio."
Pop-up polio vaccination clinics have been established this past week and for next week as well.

RESOURCE: https://www.foxnews.com/health..../polio-oral-vaccine-

⁣We are being given a second chance to say no to the psychopathic criminals in our government
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⁣The second documentary film of the series, Zeitgeist: Addendum, attempts to locate the root causes of this pervasive social corruption, while offering a solution.
Building upon the topics of social distortion and corruption, Addendum moves to also present possible solutions. Featured in the work is former “Economic Hit-man” and New York Times bestselling author, John Perkins, along with The Venus Project, an organisation for social redesign created by Social Engineer and Industrial Designer Jacque Fresco.
The original Zeitgeist was actually not a “film”, but a performance piece, which consisted of a vaudevillian style multi-media event using recorded music, live instruments and video. The event was given over a 6-night period in New York City and then, without any interest to professionally release or produce the work, was “tossed” up on the Internet arbitrarily. The work was never designed as a film or even a documentary in a traditional sense - it was designed as a creative, provoking, emotionally driven expression, full of artistic extremity and heavily stylized gestures. However, once online, an unexpected flood of interest began to generate. Within 6 months over 50 Million views were recorded on Google Video counters. Suddenly “Zeitgeist” the event, became “Zeitgeist: The Movie”.
Zeitgeist: The Movie (2007) is a treatment on Mythology and Belief in society today, presenting uncommon perspectives of common cultural issues. Chapter 1, “The Greatest Story Ever Told”, presents historical data relating to the astronomical/astrological origins of the Judeo-Christian theology (which can be extended to Islam as well), along with the understanding that these respective stories, beliefs & traditions are really an adaptation-extension of prior Pagan beliefs.
Chapter 2, “All the World’s a Stage”, presents a controversial view of the events of Sept. 11th 2001. It describes how the event has been transformed into a sacred, near religious act and to challenge the orthodox view, regardless of the quality of the contrary arguments, is considered blasphemy and rejected.
Chapter 3, “Don’t Mind the Men Behind The Curtain “, presents a shotgun tour through the subjects of Central Banking, War Pretexts, Banking Panics, the Military Industrial Complex, Media Culture and ultimately the mental neurosis and deadly addiction known as “Power.” The central theme is how society is often misled when it comes to certain pivotal historical events, what those events serve in function, along with how the overall social conditioning patterns we see today function to create values and perspectives which support and perpetuate the static, established order/power structure, as opposed to fluid social change and productive evolution for the betterment of the society as a whole.
The director, producer, writer, cinematographer, composer, editor and narrator of the work, Peter Joseph, was inadvertently brought into recognition within the documentary film community with his award winning, controversial, 2007 work “Zeitgeist: The Movie” which obtained over 100,000,000 views online during the first year of its publication.
Since that time, he continues to focus on media related expressions, including music composition, performance & film production, each with the focus on affecting society for the better. He has also lectured around the world on the topics of social sustainability and filmmaking and has been featured in the New York Times, Russia Today, TedX, CineFuturo and many other outlets. His film series have earned dozen of awards and have been screened in virtually every country and in over 40 languages. For more about The Zeitgeist Film Series and its history: www.zeitgeistmovie.com

⁣The Hollywood Vampires take their name from an all-star social club that drank itself to oblivion during the mid 1970s at the Rainbow Bar and Grill on The Sunset Strip. The 2019 documentary The Rainbow chronicles the restaurant’s place in the Los Angeles music scene and is an engaging profile of the family that’s run it for three generations (that is, when it’s not indulging in lazy nostalgia). Directed by Zak Knutson, it is currently streaming on Amazon Prime.
Since opening in 1972, the Rainbow has offered food and drinks to successive generations of rockers. Located in West Hollywood, betwixt a cluster of music venues, it was popular with bands visiting Los Angeles as well as those living and trying to make it in the City of Angels. Besides the Hollywood Vampires – which included Alice Cooper, a couple Beatles and riotous Who drummer Keith Moon, Led Zeppelin picked up groupies there, The Runaways ate there and a teenage Slash snuck in dressed as a woman. Motörhead’s Lemmy loved the place so much he bought an apartment within walking distance and was often found drinking Jack Daniel’s and playing video poker at the bar for hours on end.
Behind it all was the Maglieri family, led by tough talking patriarch Mario, who came to Los Angeles from Chicago in the early 1960s to help run another storied local institution, the Whisky A Go Go. Mario is hard not to like, dropping one-liners like “I had rock n’ roll in my bar in Chicago before you ever heard of rock n’ roll,” calling Jim Morrison “a good kid,” and telling stories about throwing Charles Manson out on his ass, like a real life Cliff Booth. “He says, ‘I’m Jesus.’ I tell him, ‘I’m God motherfucker. Now get up from that chair.’ He got up or I’d have had to beat the shit out of him. Either one.”
Though its capacity was in the hundreds, the Whisky became one of the most important L.A. music clubs of the ‘60s and ‘70s. The Doors and Chicago were the house bands at various times, Van Halen used it to built their audience and scores of trailblazing acts made their area on its stage. As Kiss’ Gene Simmons says, “When you first start out and before you figure out your game, the Whisky’s the place to do it.” In fact, the Maglieri have an interest in both the Whisky and the Rainbow, and the film is as much about the venue as the bar up the street.
As the ’70s turned to the ’80s, hard rock turned to metal, from glam to thrash, and again found a home on the Sunset Strip. W.A.S.P. and L.A. Guns drummer Steve Riley says he went to the Rainbow the first night he moved to L.A. and it became a great place to meet other hungry young rock musicians looking to form bands. Thought it all, Mario Maglieri was there to comp musicians a bowl of soup or offer fatherly advice, telling young rock stars when they were drinking too much or doing too many drugs.
REVIEW RESOURCE: https://decider.com/2020/02/24..../the-rainbow-documen