⁣The film documents Becker's rise to near-stardom, following him from the first time he touched a guitar as a five-year-old to when he was drafted into The David Lee Roth Band as lead guitarist at the age of 19. In 1990, this was considered perhaps the most coveted rock guitar gig on the planet, as Becker would be following in the footsteps of acclaimed guitarists Eddie van Halen and Steve Vai, both of whom played with David Lee Roth as lead guitar player. It was shortly after that Becker was diagnosed with Amyotrophic Lateral Sclerosis, more popularly known as Lou Gehrig's disease, and given just 3 to 5 years to live. Becker was able to finish the recording of Roth's third full-length studio album A Little Ain't Enough but was unable to make the tour due to his physical decline.

Despite his diagnosis, Becker continued to write music even after losing all the ability to move and speak. Becker would go on to write and record two full-length studio albums Perspective (1996) and Collection (2008). Becker communicates exclusively via an eye pattern chart invented by his father, artist and poet, Gary Becker.

Although the film examines Becker's physical decline and his missed shot at rock superstardom, the film is a positive account of Becker's strength and survival for the past 22 years of his life.

The film makes extensive use of Becker's family archives through photographs, Super 8mm film and VHS footage. The film features interviews with Becker's family and friends as well as notable guitarists Joe Satriani and Steve Vai.


<img src="https://m.media-amazon.com/images/I/91nMvT2XrLL._AC_SY741_.jpg" alt="Poster" />

Buy Original DVD <a href="https://www.amazon.com.au/Jason-Becker-Not-Dead-Yet/dp/B009CSVQ7C" target="_blank" >here</a>

⁣This documentary follows Aubrey Marcus and company through a powerful Ayahuasca ceremony at Spiritquest Sanctuary in Peru. Under the guidance of Don Howard and his team of ayahuasca shamans, Aubrey and his tribe experience deeply vulnerable transformational experiences. This beautifully cinematic journey is directed by Mitch Schultz, the director of DMT the Spirit Molecule, with an original soundtrack by Poranguí.

Aubrey first began speaking about Ayahuasca on the Joe Rogan Experience podcast in 2011. Since then he has appeared in dozens of other documentaries and media outlets commenting on Ayahuasca. The documentary seeks to help the viewer answer the following questions for themselves:

What is Ayahuasca?
What is it like to take Ayahuasca?
What visions do you have while on Ayahuasca?
What emotional breakthroughs occur during an Ayahuasca ceremony?
Should I take ayahuasca?

Let me know your thoughts in the comments?

⁣Graham Hancock is an English author and journalist, well known for books such as “Fingerprints Of The Gods” & “Magicians of the Gods”. His new book "America Before" comes on out April 23. http://grahamhancock.com/

⁣The Dark Web | Black Market Trade | Illegal Activities | Documentary


⁣The Dark Web - There’s a dark side to the internet, and you probably don’t even know it exists. Look behind the positive veneer of social media, communication apps and platforms that have made our lives easier and more connected, and you’ll find criminals using the same apps and platforms to run illicit and dangerous activities.


The Dark Web (2019)
Genre: Documentary
Language: English
Release Date: 10 Jul. 2019 (Singapore)


Synopsis:
0:00 Black Market Boom
Drugs, guns, counterfeit documents and much more are sold on dark web marketplaces that run on anonymous browsers and using cryptocurrency. AlphaBay was the biggest marketplace, transacting over US$800,000 in a day enabling its founder to live a luxury lifestyle in anonymity, until international law enforcement caught up with him.


45:16 The Candyman
It was one of 640 million closed groups on Facebook. Hiding behind the anonymity, the creator of child p*rnography group Loli Candy and its 7,000 members hid their activities on Facebook and Whatsapp – the dissemination of horrifying images of abuse. While they were eventually bought to justice many more thrive.

⁣⁣In 2017, the filmmaker Theo Anthony released “Rat Film,” an improbably poetic, intellectually dazzling, politically astute documentary on the seemingly prosaic topic of rats and their place in the modern urban landscape. “All Light, Everywhere,” Anthony’s new movie, ponders a more abstract, less earthbound array of subjects — the physiology of human vision, the history of photography, the ethics of surveillance — in a similar spirit of open-minded, morally urgent inquiry.

If the connections Anthony draws are sometimes vague and not always persuasive, that may be a risk built into his essayistic, undogmatic approach to reality.
And the attempt to capture reality in moving images happens to be what “All Light, Everywhere” is about. It starts with a quote from William Blake: “As the Eye — such the Object.” In other words, vision determines the shape of what is seen. Rather than a simple picture of reality, the camera selects, frames and interprets, often in the service of power and ideology.

This is especially worrisome when the camera is doing the work of law enforcement. Anthony’s main concern is the use of video and other forms of image-gathering in policing, a practice whose claims of objectivity come under steady, skeptical pressure.
Some of the pressure comes from voice-over narration, written by Anthony and read by Keaver Brenai, that bristles with rhetorical questions (“what future does history dream of?”) and theoretical formulations. The musical score, by Dan Deacon, adds an air of menace and suspense which sometimes overwhelms the images.

RESOURCE: https://memory.is/all-light-everywhere

⁣An Interview withJohn Shipton -Julian Assange’s father


⁣The pacifist John Shipton is Julian Assange’s father. Robert Cibis interviews him exclusively about the judicial decision to extradite his son to the US. This discussion reveals political interference in the legal system. How far will Western governments go to set themselves apart from their pre-set values?
RESOURCE: https://www.oval.media/en/75fc....7f35-8fb4-4db2-a399-
Let me know your thoughts in the comments below 👇

⁣This is a non profit project, the aim is to have all anti-propaganda information in one place connected to one map, helping people understand the big picture.

The map is based on that created by The World Economic Forum, our platform will be populated by the general public as well as experts in the field, with a self regulating model.
It's time we stick to facts, and have a scientific and methodical approach in creating real change in the world.

Disclaimer: We DO NOT receive any revenue from YouTube, and we give away all copyrights, so you are free to use the content and share it.

REOURCE: The Mirror Project

⁣25 years after the mysterious death of princess Diana of Wales.
⁣Twenty five years ago Princess Diana’s car crashed inside the Pont de L’Alma tunnel in Paris France. Her lover, Dodi Fayad, died upon impact along with the driver. And even though Diana survived, it took about 40 minutes to get her from the car to the ambulance. The Official story was that they were trying to free her from the car, but several witnesses say that Diana was conscious and unobstructed. Photographs show that the backseat of the car was undamaged. And witnesses were pleading with the police to open the door and help her. Once in the ambulance, it took about 40 minutes for them to choose a Hospital. And when they finally set off, the ambulance drove at a snails pace and made several stops. Taking about 40 minutes to drive less than 4 miles.


Doctors were turned away. Witnesses were strip searched. Cameras were confiscated. No evidence was gathered. No blood samples were taken. And by 3am the entire scene was sprayed down with high pressure water hoses. Mercedes wanted to study the wreckage to see why it failed so badly. But they were denied. Diana‘s body was taken by the Royal family. Who had her reproductive organs removed before burying her remains. All 17 cameras along the route of the crash were mysteriously turned off. And all radio police frequencies went down. Witnesses were assaulted and threatened. And there was no investigation. Until the inquest ten years later. Which is when most people learned that Diana had penned a note in 1996 saying that someone was going to kill her in a car accident. This note was concealed for 6 years.

⁣Dark To Light - The Great Awakening by EyeDropMedia.com
Dark to Light is a visual journey through darkness into the light. As we continue watching the greatest show in history and welcome in a new earth together...always remember - 'Where we go one, we go all'.

⁣As long as you accept there’ll be no genuine analysis in “My Generation,” Michael Caine’s joy ride through his youth offers significant pleasures. There’s a tremendous amount of pleasure to be had in David Batty’s “My Generation,” a sloppy wet kiss to Michael Caine and British youth culture of the 1960s. Loaded with great footage from the era and accompanied by superbly cleaned-up music tracks from the Kinks, the Beatles, the Rolling Stones and many others, this love letter-as-documentary offers 85 minutes of good old fun. What it doesn’t do is posit any genuine analysis or even make a head-nod to diversity.

But this is Caine’s narrative about the unapologetic working class taking over popular culture, and the writers as well as music mogul Simon Fuller, acting as top producer, have no interest in countering their star’s gleefully empowering chronicle of his youth. Voiceover interviews with such key players of the era as Paul McCartney, Marianne Faithfull, Twiggy and Mary Quant add to the overall feast, making the film an attractive offering for all platforms. Britain in the 1950s was dull, announces Caine, though doesn’t every generation say that about the era before their own gloriously self-satisfied arrival?

What’s undeniable is the momentous shift toward youth culture beginning in the 1960s, as well as the opening up of opportunities for white working-class creative types who no longer submitted to makeovers designed to smooth out their roughness. In one of the more telling anecdotes, Caine talks about auditioning for “Zulu,” his breakthrough role, and accurately suggests that had the director, Cy Endfield, been British instead of American, Caine’s working class London accent would have eliminated any hope of being cast in the role of an upper-class officer. That’s an undeniable fact.

Far more shaky is the suggestion that the working class in the 1960s was the first generation in Britain to thumb its collective nose at convention. On-the-street interviews from the era with stuffed shirts bemoaning the appearance of long-haired men in flowery blouses expose middle-class attitudes, but the filmmakers choose to ignore the fact that the upper class has always played with transgression in ways designed to shock the bourgeoisie. What made the 1960s different was that the working class was playing the same game, and emulating “our betters” was no longer an acceptable form of behavior.

Nor was emulating our elders: Freedom from convention was the hallmark of a social revolution that impacted everything from art, music and clothing to changing concepts of morality. Of course, every Englishman knows the class system remains the key determinant of opportunity, but in the art and entertainment world, coming from the wrong side of the tracks is actually now more desirable than a boarding school certificate, and that’s definitely due to the upheavals of the 1960s. Batty divides the film into three parts, roughly corresponding to the awakening, the flourishing and the decline of 1960s pop culture.

Alongside nods to expected historic markers like the Beatles performing at Liverpool’s Cavern Club are more unanticipated moments, such as Roger Daltry talking about the profound impact of seeing Elvis perform: “For the first time in my life, I saw someone who was free.” That’s about the only time in the film there’s a mention of transatlantic influences on the British scene. From there, the documentary plunges headlong into the intoxicating psychedelic playpen of Pop Art, Vidal Sassoon haircuts, and Mary Quant micro-miniskirts, reminding audiences (or teaching them for the first time) that in the 1960s, color and pattern were transgressive and hip, unlike today’s tediously conformist black monochromaticity.

Suddenly, thanks to the British Invasion, being young and British meant you were cool, stylish and glam, tuned into the best music, clothes and art movements. Models such as Jean Shrimpton and Twiggy set new standards for beauty, and groups like the Animals, the Kinks, the Stones and of course the Beatles set the tone, guiding a generation from the innocent charm of “Love Me Do” to the raucous hunger of “(I Can’t Get No) Satisfaction.” By the end of the decade, hedonism took a darker turn.

The Vietnam War acted as a political coming of age, and the destructive nature of so much heavy drug use began to take its toll, symbolized by the death of Brian Jones and Faithfull’s near-fatal drug overdose, both in 1969. For Caine, “My Generation” is a chance to look back in nostalgic delight at his salad days, allowing him to gamely reminisce about his time as one of the “it” boys of London. He even gets to swan around in the original Aston Martin DB4 he drove in “The Italian Job.”
None of the others interviewed are seen on screen — whether that’s because the producers wanted to maintain the aura of 1960s youth, or it was the only way to get these people to talk, remains open for speculation. It’s also likely that writers Dick Clement and Ian La Frenais allowed themselves to be guided by Caine’s insistence on working-class culture, ignoring the fact that some of those included, most especially Faithfull, are from posh backgrounds. If you set aside analytical skills however, it’s easy to sit back and enjoy the wealth of archival clips accompanied by fantastic music tracks that seem to have been remastered for the occasion (lord knows how much all the music rights must have cost).

Ben Hilton’s editing successfully crams in a great deal without a sense of whiplash. Reviewed at Venice Film Festival (Out of Competition), Sept. 4, 2017. (Also in London Film Festival – Journey.) Production: (Documentary — U.K.) An XIX Entertainment presentation, in association with IM Global, of a Raymi Films production, in association with Ingenious Media. (International sales: IM Global, Los Angeles.)

Producers: Simon Fuller, Michael Caine, Dick Clement, Ian La Frenais, Fodhla Cronin O’Reilly. Executive producer: James Clayton. Co-producer: Ben Hilton. CREW: Director: David Batty. Writers: Dick Clement, Ian La Frenais. Camera (color): Ben Hodgson. Editor: Ben Hilton. Music supervisor: Tarquin Gotch. Crew: With: Michael Caine Voices of David Bailey, Twiggy, Terry O’Neill, Roger Daltrey, Marianne Faithfull, Paul McCartney, Lulu, Joan Collins, Sandie Shaw, Penelope Tree, Dudley Edwards, Mary Quant, Mim Scala, David Putnam, Barbara Hulanicki.

⁣Marek Piotrowski (ur. 14 sierpnia 1964 r. w Dębe Wielkim koło Mińska Mazowieckiego) -- polski kick-bokser i bokser, zawodowy mistrz świata.
Kariera amatorska -- swoją karierę sportową rozpoczynał jako bardzo młody adept jujutsu, z czasem zainteresował się Karate Kyokushin. W 1984 r. zdobył w tej dyscyplinie mistrzostwo Polski juniorów. W 1985 r. powtórzył ten sukces w kategorii seniorów. W karate stoczył 13 oficjalnych pojedynków, wszystkie wygrał. W Lipcu 1993 r. stał się posiadaczem czarnego pasa (1 dan). Z początkiem 1987 r. rozpoczął uprawiać kick-boxing w formule full contact, mimo że dyscyplina ta była wówczas w Polsce zakazana.
11 października 1987 r. zdobył w Monachium amatorskie mistrzostwo świata w kategorii wagowej do 81 kg. Tego samego roku wygrał również mistrzostwo Polski, a na Węgrzech Puchar Świata, zostając uznanym za najlepszego zawodnika turnieju.
Kariera zawodowa -- w 1988 r. zdecydował się na wyjazd do USA, aby rozpocząć karierę zawodową. W październiku stoczył swoją pierwszą walkę. W Rockford znokautował Boba Handegana w 4. rundzie.

19 sierpnia 1989 r. w swej piątej walce za Oceanem zwyciężył jednogłośnie na punkty dotychczas niepokonanego Ricka „The Jet" Roufusa i zdobył zawodowe mistrzostwo Stanów Zjednoczonych organizacji PKC. Do jego nazwiska przyległ również ringowy przydomek Punisher.
4 listopada 1989 r. w Chicago pokonał Dona „The Dragon" Wilsona i został zawodowym mistrzem świata organizacji ISKA, PKC i FFKA.
Do 1991 r. stoczył sześć pojedynków, pokonując między innymi Boba „The Thunder" Thurmana oraz renomowanego Marka Longo. Był do tego momentu niepokonanym zawodnikiem na zawodowym ringu, legitymującym się bilansem 29-0-0 (19 KO). 22 czerwca 1991 r., pomimo problemów osobistych, stoczył rewanżowy pojedynek z Rickiem Roufusem, który przegrał w drugiej rundzie przez nokaut. Po tej porażce rozpoczął w lutym karierę w boksie zawodowym, wygrywając pierwszą walkę przed czasem w 4. rundzie. Następnie do 1992 r., chcąc odzyskać utracony tytuł MŚ, stoczył kilka walk w kickboxingu, wszystkie wygrywając.

W lipcu 1992 r. zdobył tytuł mistrza Ameryki Północnej wygrywając z Kanadyjczykiem Conradem Pla.
22 listpada 1992 r. stanął w Paryżu do pojedynku z wielokrotnym mistrzem Holendrem Robem Kamanem (zwanym także „Mr. Low-Kick"; 98 wygranych walk, 78 KO.) w formule low-kick. Przegrał przez TKO w siódmej rundzie po niezwykle dramatycznym boju. Po tej porażce raz jeszcze stanął do walki o utracone tytuły. Przez następne lata szukał szansy na rewanż z Kamanem i Roufusem, ale nigdy jej nie dostał.

22 czerwca 1993 r. pokonał w Montrealu przez TKO Michaela McDonalda. W tym samym roku zwyciężył Mike'a Winklejohna, zdobywając tytuł mistrz świata ISKA w formule oriental rules (odmiana dopuszczająca low-kick i uderzenia kolanem). W grudniu 1995 r. stoczył swoje ostatnie starcie w kickboxingu. W Krakowie pokonał Włocha Stefano Tomiazzo, zdobywając pas mistrza świata organizacji WKA i unifikując wszystkie światowe tytuły w full-contact. Tym samym stał się posiadaczem wszystkich najważniejszych pasów mistrzowskich: ISKA, KICK, PKC, WAKO-PRO, FFKA, WKA i TBC.

Równolegle ze startami w kickboxingu Piotrowski kontynuował karierę zawodowego boksera, staczając od 1992 do 1996 r. w sumie 21 pojedynków w wadze półciężkiej. Wygrał wszystkie.
Zawodową karierę zakończył 13 grudnia 1996 r. w Hanowerze wygraną walką bokserską. W 1997 r. dostał propozycję walki o zawodowe mistrzostwo świata w boksie organizacji IBF z Reggie Johnsonem, lecz ze względu na kłopoty zdrowotne musiał zrezygnować. W 2002 r. powrócił do Polski.

Wyróżnienia
W 1987 r. dostał nagrodę „Syrenki" od miesięcznika Sportowiec za największą niespodziankę sportową roku. Trzykrotnie wybierany do pierwszej dziesiątki najlepszych sportowców w Polsce w plebiscycie Przeglądu Sportowego (1987, 1989, 1990), dwukrotnie zajmując 2 pozycję. Prestiżowy magazyn Fighter klasyfikując największych kickboxerów lat 80., umieścił Piotrowskiego w wadze do 172 funtów (tj. 78 kg) na drugim miejscu. Dwukrotnie, w latach 1989 i 1994 został uznany przez amerykańskich fachowców kickbokserem roku. Został także wybrany przez amerykańską prasę na jednego z dwóch najlepszych fighterów lat 90. W 1991 r. Aleksander Bilik wydał książkę Kickbokser, opisującą karierę Piotrowskiego do roku 1990. W 2005 r. telewizja TVN24 nakręciła reportaż o Marku Piotrowskim zatytułowany „Wojownik" W 2005 r. powstał o nim nawet komiks pt. Kickbokser (zamieszczony w dodatku do Gazety Wyborczej). 2006 r. -- Marek Piotrowski otrzymał statuetkę Stanley Honorowy -- KICK BOXING

⁣Critically Thinking with Dr. Sherri Tenpenny and Dr. Lawrence B. Palevsky, Dr. Carrie Madej, Dr. Lee Merritt, Dr. Christiane Northrup.
⁣Ever since reports have surfaced in recent days that people who have chosen NOT to receive the experimental COVID-19 shots but have been exposed to those who have received them, and have suffered what appear to be infections coming from these fully "vaccinated" people, affecting mainly women who have reported menstruation difficulties, heavy bleeding, miscarriages, and reduction of breast milk, I have been watching my newsfeed to see if any of the dissenting doctors and scientists we feature regularly here at Health Impact News would address these issues.

Fortunately, a team of 5 doctors in the U.S., all of whom we have featured in the past here at Health Impact News and are highly qualified to address this topic, just held a round-table discussion a couple of days ago to address these issues.

The issues they discuss affect ALL of us in the U.S. (and around the world) right now, and it is imperative that you take 79 minutes of your time to watch this video.

Not only do these highly qualified doctors discuss why they think this is happening, they also give practical advice at the end about what we can be doing right now to protect ourselves and stop this attack on the human race by the Globalists seeking to reduce the world's population.

Every single one of these doctors believe that these shots are NOT vaccines, but bioweapons designed to kill human beings.


Whatever else you are doing when you come across this video, it is highly unlikely that anything else you do the rest of your day will be more important than watching this video so you can be informed of the evil effects of these injections that are being censored in the corporate media and Big Tech social media.

Then share this video with as many people as you can.

⁣Karen Kingston joins Maria Zeee to explain the way humans have now been connected to the demonic realm through the nanotech in COVID-19 injections and the quantum field - but there's more.
The patents show that nanotechnology is embedded into everyday products and every single human has been exposed.

For more info on Karen's Substack visit:
https://karenkingston.substack.....com/p/part-1-disman

Visit https://link.goldco.com/Maria or call 855-913-0814 TODAY to protect your retirement! (US only)

Visit Gold Stackers today to secure your wealth with Australia's leading supplier of gold and silver bullion (Australia only):
https://www.goldstackers.com.au/?utm_source=zeeemedia&utm_medium=banner&utm_campaign=zeeemedia

To prepare you and your family for incoming food shortages, head to Heaven's Harvest on the link below (available only in the United States) and use promo code 'ZEEE' (with 3 e's!) for 5% off your order:
https://heavensharvest.com/

If you're in Australia, head to Survival Supplies Australia to prepare with long-life food, survival supplies and more:
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Detox your system NOW with Dr. Zelenko's Z-DTox and use promo code 'MARIAZEEE' for 5% off your order:
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⁣Officially declare yourself as TransVax - Not Vaccinated but identify as the vaccinated person.


⁣I am an unvaccinated person but my body identifies very strongly as a person triple dose vaccined and each subsequent dose.
We have all matured to officially introduce the newest from the wide range of genders. This time the new sex will be called TransVax and at the same time I demand from everyone the same tolerance as Transgender ect
https://www.urbandictionary.co....m/define.php?term=Tr

⁣No comedian was ever funnier, no fighter ever faster than Muhammad Ali, who is caught at the top of his game in Leon Gast's valentine, "When We Were Kings."

The movie is built around the 1974 "Rumble in the Jungle" between Ali and George Foreman in Zaire. Though the Oscar-nominated documentary captures the fight and the fighters, it also explores Ali's role in reintroducing black Americans to their African culture.

Best of all, it resurrects Ali as bee, butterfly and maker of bons mots. Mind, mouth, muscles, all in accord, move a mile a minute as the 32-year-old prepares to wrest the heavyweight crown from the formidable, 26-year-old titleholder. Fit and fleet as Ali is, conventional wisdom has it that Ali's a dead man.

Ali, as Gast's film repeatedly and delightfully demonstrates, was hardly a conventional soul. He comes through as a maverick's maverick. And he's up against formidable competition in this film, including Don King. It was the ex-con with "the great uprush of hair" who managed to talk Mobutu Sese Seko, the Zairian dictator, into staging the fight. Persuaded that it would be good publicity for his country, Mobutu forked over $10 million, flew the fighters and their entourages to Kinshasa and began cleaning the blood of anti-government protesters from the floor of the outdoor arena where the fight was scheduled to take place that September.

Idolized by the people of Zaire for refusing to fight in Vietnam, the older boxer is greeted with chants of "Ali, bomaye!" which means "Ali, kill him!" Foreman, to Ali's great pleasure, was irritated with this turn of events, but Foreman was easily angered in those days. Ali later takes advantage of this weakness to defeat him in the ring. Using a combination of right-hand leads and verbal taunts, Ali tricks Foreman into punching himself out in the early rounds and subsequently flattens his opponent.

As Ali predicted:

"You think the world was surprised when Nixon resigned? Just wait'll I kick George Foreman's behind."

The boxing footage is terrific, but Gast has added archival film of other Ali-Foreman fights. Spike Lee, assorted sports columnists and other camp followers add compelling commentary, but Foreman, who was first devastated, then redeemed by the licking, isn't interviewed. And that's too bad, because it's almost as if Ali hammered something of himself into Foreman, who would go on to become every bit as affable as Ali. And then, Foreman, too, would challenge time.

Watching the picture, it's impossible not to think of Ali today, trembling and unsteady as he is. And you wonder as you stare at the dazzling young athlete: Would he do it all again if he knew the price? His biographer, Thomas Hauser, assures us that he would, that he loves every day of being Muhammad Ali.

Certainly, nobody ever looked as if he was having more fun than Ali does in "When We Were Kings." And the same goes for everybody around him -- except Foreman. Even cynical old sportswriters look like kids on Christmas morning when they recall memories of "Rumble in the Jungle" fever and those special moments they spent with Ali.

Though there were other kings on hand at the time -- Don, B.B., James "the King of Soul" Brown, not to mention Mobutu -- Ali was, in the words of producer David Sonenberg, "on a whole other level, he was King of the World."

REVIEW RESOURCE: https://www.washingtonpost.com..../wp-srv/style/longte

⁣Once a sleepy farming region, Silicon Valley is now the hub of a global industry that is transforming the economy, shaping our political discourse, and changing the very nature of our society.


So what happened? How did this remarkable change take place? Why is this area the epicenter of this transformation? Discover the dark secrets behind the real history of Silicon Valley and the Big Tech giants in this important edition of The Corbett Report.


TRANSCRIPT AND SOURCES: https://www.corbettreport.com/siliconvalley/

⁣In this ground-breaking original series, experts explore the history and use of psychedelic plants including political ambitions, the perceived shadow side and the proper environment to experience these substances.
From the origins of Shamanism to the spiritual expression of modern awakenings, discover the role of sacred medicine as a gateway to expanded consciousness, and its continued influence on humanity.
“Psychedelics are illegal not because a loving government is concerned that you may jump out of a third story window. Psychedelics are illegal because they dissolve opinion structures and culturally laid down models of behaviour and information processing. They open you up to the possibility that everything you know is wrong.” ― Terence McKenna

RESOURCE: https://www.gaia.com/seeking-t....ruth/original-progra

⁣Who cares about the TRUTH?
You can rob Poland and Poles of everything. You can spit on and ridicule Poles. You can make anti-Polish bandits into authorities, but you shouldn't be anti-Semitic, you can't!
This is the most hateful nation, they harbor so much venom towards people.
And despite the violence, suffering, and chaos that these evil parasites have caused, we allow them to remain at the top and in control! How long are we going to let these parasites decide our future? It's unbelievable that this is possible.

We must FINALLY UNITE and open people's eyes, because they are acting according to their perfidious principle: "DIVIDE AND CONQUER!"... and as long as people don't finally understand this and realize this ONCE AND FOR ALL, they will have the advantage over us because they are truly afraid of us and our unification... and there's no point in waiting.