⁣This film exposes the climate alarm as an invented scare without any basis in science. It shows that mainstream studies and official data do not support the claim that we are witnessing an increase in extreme weather events – hurricanes, droughts, heatwaves, wildfires, and all the rest. It emphatically counters the claim that current temperatures and levels of atmospheric CO2 are unusually and worryingly high. On the contrary, compared to the last half billion years of earth’s history, both current temperatures and CO2 levels are extremely and unusually low. We are currently in an ice age. It also shows that there is no evidence that changing levels of CO2 (it has changed many times) have ever ‘driven’ climate change in the past.

Why then, are we told, again and again, that ‘catastrophic man-made climate change’ is an irrefutable fact? Why are we told that there is no evidence that contradicts it? Why are we told that anyone who questions ‘climate chaos’ is a ‘flat-earther’ and a ‘science-denier’?

The film explores the nature of the consensus behind climate change. It describes the origins of the climate funding bandwagon and the rise of the trillion-dollar climate industry. It describes the hundreds of thousands of jobs that depend on the climate crisis. It explains the enormous pressure on scientists and others not to question the climate alarm: the withdrawal of funds, rejection by science journals, and social ostracism.

But the climate alarm is much more than a funding and jobs bandwagon. The film explores the politics of climate. From the beginning, the climate scare was political. The culprit was free-market industrial capitalism. The solution was higher taxes and more regulation. From the start, the climate alarm appealed to and has been adopted and promoted by, those groups who favour bigger government.

This is the unspoken political divide behind the climate alarm. The climate scare appeals especially to all those in the sprawling publicly-funded establishment. This includes the largely publicly-funded Western intelligentsia, for whom climate has become a moral cause. In these circles, to criticize or question the climate alarm has become a breach of social etiquette.

The film includes interviews with many very prominent scientists, including Professor Steven Koonin (author of ‘Unsettled’, a former provost and vice-president of Caltech), Professor Dick Lindzen (formerly professor of meteorology at Harvard and MIT), Professor Will Happer (professor of physics at Princeton), Dr. John Clauser (winner of the Nobel prize in Physics in 2022), Professor Nir Shaviv (Racah Institute of Physics), professor Ross McKitrick (University of Guelph), Willie Soon and several others.

The film was written and directed by the British filmmaker Martin Durkin and is the sequel to his excellent 2007 documentary The Great Global Warming Swindle. Tom Nelson, a podcaster who has been deeply examining climate debate issues for the better part of two decades, was the producer of the film.

⁣The documentary “Second Opinion: Laetrile at Sloan-Kettering” examines a brief period in the 1970s when a respected doctor’s research into the unconventional, often-banned and quack-labeled therapy laetrile — a modified chemical substance found in apricot pits — appeared to promise a remedy for cancer patients. (Results showed slower tumor growth in mice.)
The movie’s central figure is Ralph W. Moss, who recounts his stint as Memorial Sloan Kettering’s head public relations guy and his bristling at the New York institute’s effort to squelch the findings of Dr. Kanematsu Sugiura, a 60-year veteran of the center and a pioneer in the use of chemotherapy to treat cancer.
Moss took the whistle-blower route, first secretively (starting an underground publication called Second Opinion) and then openly, which cost him his job, and it’s all director Eric Merola can do to give this story the feeling of “The Insider.”
It’s an intriguing tale, for sure, but “Second Opinion” isn’t journalism, because only Moss, his family and a supportive cohort or two are interviewed. We don’t hear from anyone on the other side of the story. The film isn’t history either, since little else about the long campaign to legitimize laetrile is explored. This one’s for the conspiracy-minded only.
Ralph W. Moss PhD, a young and eager science writer, was hired by Sloan-Kettering's public relations department in 1974 to help brief the American public on the center's contribution to the War On Cancer. One of his first assignments was to write a biography about Dr. Kanematsu Sugiura, one of the Center's oldest and leading research scientists as well as the original co-inventor of chemotherapy.

REVIEW RESOURCE: https://www.latimes.com/entert....ainment/movies/la-et

⁣See how the US media has little to do with news, and a lot to do with dividing the people and controlling our minds.

RESOURCE: ⁣https://plandemicseries.com/the-media/

⁣Over the past year the sporting world has witnessed an alarming increase in the number of professional athletes (and fans alike) suffering from cardiac arrest and other serious health complications. In this exclusive interview, Matt Le Tissier provides his view on what has been happening over the last year in sport.

Le Tissier is a former professional footballer and television pundit. Renowned as a creative attacking midfielder with exceptional technical skills, Le Tissier is the second-highest ever goal scorer for Southampton; where he spent his entire professional club career. He was voted PFA Young Player of the Year in 1990 and was the first midfielder to score 100 goals in the Premier League.

Following his retirement as a player, Le Tissier became a football pundit, and worked as a panellist on the Sky Sports show Soccer Saturday until August 2020.

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RESOURCE: https://www.oraclefilms.com/ma....ttletissier?fbclid=I

⁣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.

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

⁣A superconductor or a high-temperature superconducting ceramics is an alloy of oxides of yttrium, barium and copper in proportions (which you see on the screen) YBa2Cu3O7-x and abbreviated as YBCO. In order to demonstrate the properties of this object let’s conduct an experiment.

First, let’s take a small piece of ceramic and then put a piece of styrofoam and a powerful neodymium magnet on top of it. Next, the superconductor is cooled with liquid nitrogen down to -196 degrees Celsius. After the ceramic is cooled, take a piece of styrofoam out from underneath of the magnet. The effect of levitation is caused by the ceramics cooling down to the critical temperature, it then becomes a superconductor, as well as a perfect diamagnetic.

This means that it can repel any magnetic field, as well as create its own when being near a strong magnetic field. The phenomenon is called the Meissner effect.
If the magnet is lifted the conductor next to it begins to lift with it as well. The magnet and the superconductor are almost like "frozen" together in space.

RESOURCE: https://commons.wikimedia.org/....w/index.php?title=Fi

⁣Recorded at Weltklang Studio Plauen, Germany in November 2018 by the Martin Miller Session Band in one continuous take.
Matthias Proctor - Vocals
Martin Miller - Guitar & Vocals
Nico Schliemann - Guitar & Vocals
Marius Leicht - Keyboards & Vocals
Benni Jud - Bass & Vocals
Felix Lehrmann - Drums
Martin Miller - Audio Mix & Video Edit
https://www.bennijud.com/
http://www.martinmillerguitar.com/
http://www.nicoschliemann.de/
https://www.youtube.com/nicoschliemann
https://felixlehrmann.de/
http://bit.ly/youtube_BIIDmusic_Matth...

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


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


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


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


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


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


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


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


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

⁣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

⁣It has been said that the Rockefeller family has affected modern society to a degree but what most do not realize is just how much they have made an impact. The family name has now been linked to the suppression of naturalmedicine to found big pharmaceutical companies and make big money.
The West Has the Best and Most Profitable Healthcare in the World
The west is home to some of the best healthcare in the world. Anyone in an emergency which needs prompt medical treatment is better off than those living elsewhere. In the west, people receive healthcare that is much better than what is offered in an establishing nation. However, it is often overlooked that healthcare is now a multi-trillion dollar industry in the west.

The mainstream medicine of today is based on treating people who are ill with drugs, radiation, and operations that are very pricey. What many people do not realize is that the Rockefeller family was the first to recognize the opportunity to take full advantage of what has become an ecosystem with huge profits.

Anyone Questioning Big Pharma Is Branded a Quack and Conspiracy Theorist
Today we live in a world of social media censorship, and anyone who even dares to question the intentions of any of the big pharmaceutical companies is branded insane and given the label of a crazed conspiracytheorist. Any information brought forward about recovery residential or commercial properties of holistic practices and plants that cannot be patented are branded phony news as they are considered to threats to the drugs of the big pharmaceutical companies.
John D. Rockefeller realized the opportunity first. He was an oil mogul who was the first person in the USA to become a billionaire. By the start of the 20th century, he had 90% control over oil refineries in the US with his company Standard Oil. In 1900, researchers came across petrochemicals, and they found out that it was possible to make many chemicals out of oil. The first plastic, which was Bakelite, was made in 1907 from oil.

Turning Point Came On Realization Pharmaceutical Drugs Could Come From Oil
The turning point came when researchers found out that vitamins could be produced from oil and presumed pharmaceutical drugs. This was a financially rewarding opportunity for Rockefeller as he concluded that he could monopolize not only the oil business but also chemical and medical industries. Petrochemicals were a new discovery that could be patented and which would bring about maximum revenues. The only thing stopping Rockefeller was the fact that herbal and natural remedies were popular in the USA at that time. About half of the medical professionals in the US were practicing holistic medicine, based on understandings from Europeans and Native Americans.

This meant that Rockefeller had to get rid of what was significant competition. He made use of a strategy that was time-proven, problem-reaction-solution. The concept works when developing an issue that would bring terror to people and then offer them a solution that was pre-planned. He got the help of Andrew Carnegie; he had made lots of money monopolizing the steel industry. The Carnegie Foundation sent Abraham Flexner on a trip around the nation, and he was given the task of reporting the status of medical facilities along with the medical colleges in the United States. This led to the Flexner Report, and this eventually led to modern medication of today.

Flexner Report Led To Practitioners of Holistic Medicine Jailed
The report stated that a revamp was needed along with the centralization of medical institutions. Following the report, half of the medical colleges were closed down. Natural medications and homeopathy were rubbished, and some of the medical professionals who practiced holistic medicine were sent to prison. Rockefeller gave over $100 million to medical facilities and colleges to help with the transition and to try to change the minds of doctors and researchers. The General Education Board was also founded.

Not long after medical colleges became homogenized and structured and students realized that medicine utilized drugs that were patented. Scientists were also given huge grants to study recovery residential or commercial properties of different plants, and how they were able to cure diseases. What they were really doing was finding the chemicals in the plants and then recreating the compound so that it could be patented.

Cures for Illnesses Such As Cancer Would Be Bad For Business
100 years later and medical colleges produce doctors who do not know anything about holistic practices or the many benefits that herbs have to offer. The government in the United States invests 15% of the Gross domestic item in mainstream health care. This is a system focusing on symptoms, and it produces a flurry of repeat paying clients that is never-ending.

Despite much advancement in medicine, there is still no cure for cancer, diabetes, autism, asthma or even the common cold. Cures for any of these illnesses would only be bad for business. John D. Rockefeller was even behind the establishment of the American Cancer Society in 1913.

RESOURCES:
https://plandemicseries.com/
https://drcharlesinkala.wordpr....ess.com/2019/03/02/h

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

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

⁣The G7 central bankers met on August 22nd 2019 at the Jackson Hole, Wyoming meeting, where they gather once a year, and they voted on a plan called the Going Direct reset. I would describe it as the ‘real reset’ behind what the World Economic Forum describes as the Great Reset. I think of the Great Reset of the World Economic Forum as sort of a marketing plan for the Going Direct reset.
What is the financial coup d’etat? – between fiscal 1998 and 2015, 21 trillion dollars that we know of went missing from the US government. The beginning of this was described to me by the president of the largest pension fund in the United States. In 1997 he said “they’ve given up on the country – they’re moving all the money out, starting in the fall”. This is privatization on the just do it method, where you pull the assets out, you lever up the governments with debt and bankrupt them, which gives you the ability essentially to take control and end sovereignty. For the last hundred years or so, in the G7 countries, we’ve had a balance of power between the bankers who control monetary policy and then the electorate votes for a parliament or a congress and they oversee the fiscal policy.
What Going Direct is doing, among other things, is basically the central bankers are moving in and taking control of the what the electorate used to run, which is the the fiscal policy and the tax money. The rubber is going to meet the road when it comes down to the taxation system, because if we continue to pay taxes to finance a criminal enterprise that can’t have a good result.
Around the world you start to see more and more people taking over the governments who have a central banking background. This is essentially the consolidation of the coup. Now where is this going?… it’s going to complete central control with the vaccine ID passports, Central Bank Digital Currencies, which is a control system and Universal Basic Income, which destroys people’s ability to produce their own income. To do all of this you need a smart grid.
The general manager of the Bank of International Settlements in Basel, Switzerland, speaking at a conference on cross-border payments in October 2020, described the beauty of the Central Bank Digital Currency system as follows:
“we don’t know, for example, who is using a 100 dollar bill today, we don’t know who is using a 1000 peso bill today. A key difference with the CBDC is that central banks will have absolute control on the rules and regulations that will determine the use of that expression of central bank liability and also we will have the technology to enforce that. Those two issues are extremely important and that makes a huge difference with respect to what cash is.”
So what that means is if you have money in your bank account and the new rule is you’re not allowed to transact further than five kilometers from your home, your card won’t work more than five kilometers from your home. If they don’t want you buying pizza, you can’t buy pizza with money in your in your bank account or with your card. It is complete control. It solves the taxation without representation problem, because if they want more taxes they just come take it out of your account. So when the World Economic Forum said “it’s 2030 you have no assets and you’re happy” what i hear is it’s 2030, we took all of your assets and you’re mind controlled.
Five steps that I want you to consider are:
– Pick a side
We are at a fork in the road. One road leads to slavery the other road leads to freedom. You have to decide which which side you’re on.
– Ask unanswered questions to build a good map of the official simulated reality being presented in the ‘old media’ and actual reality.
We live in a world where there’s an official reality or a simulated reality and it’s very much created by what we’re now calling, thanks to Brian Gerrish of the UK Column news, the old media. The new media is doing a great job of trying to help people navigate between the two. We all are dealing with family and friends who want to stay in the official reality and we need to know what it is and how it works so we can meet them.
You don’t want to use the official reality for risk management because that’s how people lose money to financial fraud and health fraud. If you use your reality map to have a dinner party with friends who don’t want to know about reality, you’re going to lose a lot of friends. We live in a multiple personality disorder world, so you need these two maps to navigate successfully and be effective. You don’t need to drop truth bombs on people in the middle of dinner parties. When there’s a great deal of uncertainty and we don’t have good intelligence, we can ask questions and and the richness of that process of asking questions helps us fill in a map like making a jigsaw puzzle....
RESOURCE: https://www.ukcolumn.org/commu....nity/forums/topic/ca

⁣A documentary exposing the evil Satanists plans to create a New World Order.
Soon after World War I and in connection with the formation of the League of Nations the American president Woodrow Wilson used the term ‘new world order’, hoping that it would finally become possible to create a system for maintaining international peace and security; meanwhile, the political order had already existed in the Western world for several centuries. In historical terms it would be more precise to speak about the international order when the European order transformed into the global one. Moreover, prior to the European order the inchoate international order could be found in other regions of the World System (the most famous here being the Pax Romania).
Thus, with respect to globalization, the search for the origins of the world order leads back to the ancient times. Yet, in historical terms the notion of the world order seems rather amorphous. The humanity has passed a long and perilous way to the establishment of certain international rules and foundations of co-existence. It is worth analyzing them just in terms of the formation (and development) of the world order and the way in which the obtained experience can be employed for making predictions on the forthcoming transformations.

The notions of globalization and world order have become rather closely connected today. The countries' mutual influence as well as the impact of global processes on nations and states are evident today (Ilyin and Leonova 2015). Within the political realm globalization considerably affects the transformation of the states' sovereign prerogatives since it contributes to the change and reduction of the scope of the states' sovereign powers.

It is obvious that the unfolding globalization cannot but complete with some institutionalizing of the relations in the foreign policy sphere although this path is difficult and ambiguous.

⁣Under Justin Trudeau, Canada has sought to position itself as the global bastion of progressive politics. In my latest Telegraph documentary, seen above, I went to the former British colony to find out how Canadians are dealing with Trudeau’s radical reforms; from the promotion of gender ideology in schools and the mass legalisation of drugs, to his extreme new suicide laws and clamp downs on freedom of speech.

I began my investigation in one of the country’s most liberal cities, Vancouver. Possession of up to 2.5 grams of hard drugs, including heroin, cocaine and fentanyl, has been legalised in the city as part of a three year experiment which began in January of this year. If the aim was to combat the opioid crisis that already beset the city then it appears there is still much to be done as vast tent sites line the streets, patrolled by roaming zombie-like drug addicts.

As we filmed on Hastings Street, infamous as the epicentre of Vancouver’s homelessness crisis, I witnessed a topless man shoot a needle into his arm five feet from me. Though it wasn’t quite as bad as San Francisco, where my cameraman and I came under attack from angry vagrants, the scenes were still shocking.

It’s not just the homeless who patrol the streets of Vancouver. Chris Elston, better known online as Billboard Chris, campaigns against the imposition of gender ideology on children, whether through Canada’s education system or via dangerous operations to “transition” young adults. As his nickname suggests, Chris walks around Vancouver wearing signs protesting gender ideology, encouraging lively debates with passers-by which he puts on YouTube.

Chris kindly allowed our crew to join him on a walkabout, where we found many Canadians horrified by the use of puberty blockers in children and the promotion of biological men in women’s sports.

We did encounter some opposition of course, mostly through the odd shout or flicking of the finger. So much for Canadian politeness.

One aggressive gentleman, tall, ageing and angry, began a tirade against Chris with the rather bizarre singular message that he is “queer”.

Part of Canada’s social revolution can also be witnessed in its extreme new euthanasia laws. In 2016, the ruling Liberal Party passed legislation enabling assisted suicide for terminally ill Canadians. Next year the legislation will be expanded to include those with mental health problems. As Christianity declines across Canada, and the liberal obsession with “bodily autonomy” and “personal freedom” reaches its logical conclusion, a new dystopia is forming. As Dr Konia Trouton, a euthanasia advocate, told me, “we are an organised society but within that organisation we have to allow some freedoms and opportunities, this is not a communist system where we can try and reign that in”. The campaign group Euthanasia Prevention Coalition estimates that 13,500 people chose state-assisted suicide last year.

To prevent wokeism from spreading it is important to have a strong opposition party. Canada’s Conservatives have been historically weak in pushing back against Trudeau, however, their recently elected leader, Pierre Poilievre, has injected fresh energy into the party. Whilst there are some who still question Poillievre’s conservative credentials, his strategy seems to be working; one recent poll gave his party a twelve point lead over Trudeau’s Liberals.

However, the most successful opponents to Canada’s social revolution have so far not been politicians but members of the public. Our film highlights some of these brave individuals, including Dr Jordan Peterson, perhaps the most high-profile Canadian in the world other than the country’s leader.

During my travels I found ordinary people appalled at Canada’s surrender to drug dealers, its contempt for freedom of speech, its enforcement of gender ideology on children and a breezy willingness to terminate the lives of its own citizens. However, for all the depressing stories of people losing their jobs, or being hounded by the government, these cases were equally inspirational. Whilst Canada is a warning to the West, there are also individual messages of hope from those brave individuals fighting for their freedom.

Under any circumstances should you watch this movie if you want to stay in your pleasant state of hypnosis, which you allowed yourself to be implanted by the tyranny and totalitarianism of the psychopathic elites of the modern world.

The Great Awakening is the third installment of the Plandemic series. This documentary experience assembles forbidden puzzle pieces to reveal the big picture of what's really happening in America and beyond. The Great Awakening is intended to be a lighthouse to guide us out of the storm and into a brighter future.

⁣https://plandemicseries.com/wa....tch-the-great-awaken

⁣This is a short story about the early life stage of Ram Bahadur Bomjon - called Incarnation of Lord Buddha.
In Nepal, five hours from Katmandou, thousands of people, irrespective of wich caste they belong to goes each day on a pilgrimage, on foot or on cart. There, in the middle of the forest, they come to meditate and pray in front of a 16 year old boy. 24 hours a day, this young man sits in the hollow of a tree, in full meditation.


He does not move, he does not eat, he does not drink. He remains sitted quiet, breathes very little, very gently and does not need anything. For the believers, he is the reincarnation of Buddha! Miracle or not? We followed the traces of this man that all Nepali already call Little Bouddha.


WIKI Note
Ram Bahadur Bomjon (Sanskrit: राम बहादुर बम्जन) born c. 1990, sometimes spelled Bomjan, Banjan, or Bamjan), previously known as Palden Dorje (his monastic name) is a controversial ascetic from Ratanapuri, Bara district, Nepal who gained widespread attention and media popularity because of perceived semblances to Gautama Buddha, leading to claims that he is a reincarnation of Gautama Buddha.
In May, 2005, the 15 year old Bomjon left his home near the Indian border after a dream in which a god appeared to him and told him to do so, and sat amongst the roots of a pipal tree to meditate. Claims suggest that for 10 months he rarely spoke, drank, ate, or even moved. Thousands, if not hundreds of thousands of people visited the site to see the boy motionless for hours, days or as rumoured even months, or came in devotion to the possibility of an important spiritual event occurring. As a result of some of these claims, Bomjon's followers believe he is an incarnation of the historical Buddha, Gautama. Bomjon has rejected any such comparisons, saying "Tell the people not to call me a Buddha. I don't have the Buddha's energy currently. I am at the level of a rinpoche." Mahiswor Raj Bajracharya, the president of the Nepal Buddhist Council, has stated likewise: "We do not believe he is Buddha. He does not have Buddha's qualities".


Then, on 11 March 2006 he went missing. On 19 March 2006 Bed Bahadur Lama of the Om Namo Buddha Tapaswi Sewa Samiti (ONBTSS) told reporters that they had seen him in Bara District and that they had spoken to him for half-an-hour, during which Bomjon reportedly assured that he would return in six years.


He was again seen in August 2007, preaching to crowds in Nepal’s Hallori jungle, around 100 miles south of Kathmandu.
Controversies
Bomjon's followers have claimed that Bomjon meditates for months without eating or sleeping.


In 2010, Bomjon was investigated for attacking a group of 17 villagers. Bomjon claimed that they were intentionally disturbing his meditation. However, the villagers said they were just looking for vegetables. Bomjon claimed to have taken "minor action" against them with just his hands after they had "tried to manhandle" him, and stopped as soon as they apologized. However, the victims claim that for three hours he struck them on their head and back with an axe handle, resulting in serious injury of one of the victims. Bomjon refused to attend any potential trial, stating, "Do you think a meditating sage will go to the court to hear a case? I took action against them as per the divine law".


In 2012 Nepal Police announced that they had rescued a Slovak woman from Bomjon's followers, but other reports claimed that she had been voluntarily released after media coverage of the kidnapping. Newsweek reported she had been taken from a hotel by two of Bomjon's men riding on a motorcycle and kept tied to a tree for three months and accused of practicing witchcraft in order to disturb the Boy’s meditation. However another report claimed she had been kidnapped from a monastery. When she was released she had a broken arm. A week after her release, Bomjon's siblings accused him of holding his brothers captive overnight, and beating his brothers and his sister. Followers of Bomjon also assaulted five journalists and destroyed their cameras after they had recorded one of Bomjon's sermons.
In September 2018, Bomjon was accused of raping an 18 year old nun repeatedly for nearly 2 years. During a press conference organized by women's rights groups, the nun also accused his wife of trying to keep the abuse hidden so as not to "attract attacks" on their religion. Supporters of Bomjon claim that the nun was in fact involved in theft, and had been ejected from the monastery.


An investigation was opened in January of 2019 after complaints from family members that four devotees had gone missing from several of Bomjon's ashrams. In the same month, police raided one of Bomjon's ashrams in Nepal, but he was not found. On February 6th, 2020, the Sarlahi District Court issued an arrest warrant against Bomjon. The following day, police raided another one of his ashrams, but Bomjon again was not found. However, police did arrest one of his disciples, Gyan Bahadur Bomjan.


More info on official website: https://rambahadurbomjon.wordpress.com

⁣The Israeli military’s reported use of an untested and undisclosed artificial intelligence-powered database to identify targets for its bombing campaign in Gaza has alarmed human rights and technology experts who said it could amount to “war crimes”.

The Israeli-Palestinian publication +972 Magazine and Hebrew-language media outlet Local Call reported recently that the Israeli army was isolating and identifying thousands of Palestinians as potential bombing targets using an AI-assisted targeting system called Lavender.

⁣A personal look at the extraordinary life, career and artistry of Alexander McQueen. Through exclusive interviews with his closest friends and family, recovered archives, exquisite visuals and music, McQueen is an authentic celebration and thrilling portrait of an inspired yet tortured fashion visionary. Directed by Ian Bonhôte and co-directed/written by Peter Ettedgui.

This moving documentary looks at the legacy of Lee A McQueen, the mercurial, anti-establishment fashion designer better known as Alexander McQueen. Co-directed by Ian Bonhôte and Peter Ettedgui, it divides his life into chapters or “tapes” titled after his most iconic collections. It’s a thrill to relive McQueen’s shows, from Jack the Ripper Stalks His Victims to Highland Rape and Plato’s Atlantis. Their theatrics have a tense, cinematic quality, only helped by Michael Nyman’s twisting, needling score.

McQueen grew up daydreaming of dresses in Stratford, east London, before an apprenticeship at Anderson & Sheppard of Savile Row that would eventually lead to a creative director role at Givenchy. Described as “funny and disrespectful”, McQueen had an equal interest in sabotage and tradition (and an obsession with Sinéad O’Connor), and was inspired by fetish culture, Francis Bacon and the grim history of London’s East End. The film does well to capture its subject’s cheekiness.

Bonhôte and Ettedgui stress that he came of age at Central Saint Martins, catching the attention of soon-to-be mentor Isabella Blow, who was struck by the emotional quality of his work. By combining cheaply shot home videos of the designer goofing off in the studio with archive of his shows and talking head interviews with some of his closest colleagues (though not all – fashion heads will surely spot the omissions), the film-makers capture the impact he had on the people around him.

However, this is also a film about McQueen the Londoner, surviving on unemployment benefit while he established himself and coming up in the 90s among controversial celebrity artists like Tracey Emin and Damien Hirst. Much of the film’s context is cocaine and overwork, liposuction and New Labour – a cocktail of unhappiness that drove McQueen to suicide in 2010.

RESOURCE: https://bleeckerstreetmedia.com/mcqueen

‘THE END OF MEDICINE’ INVESTIGATES LINK BETWEEN DISEASE AND ANIMAL CONSUMPTION

While Joaquin Phoenix and Rooney Mara have starred in many movies together, they’ve now teamed up to make a movie. The duo–who are as equally respected by Hollywood as they are by the animal rights community–lend their influence to a new feature-length investigative documentary called The End of Medicine. As executive producers, Phoenix and Mara team up with BAFTA-winning director Alex Lockwood (73 Cows) and producer Keegan Kuhn (Cowspiracy, What The Health) to expose a disturbing, dirty little secret that the food industry has been trying to conceal for decades.
In a swift 73 minutes, The End of Medicine draws attention to the underreported link between global disease–pandemics and antibiotic resistance included–and our (mis)use of animals. The film gets its momentum from whistleblower Dr. Alice Brough, a young vet who first grew intolerant toward the industry’s “acceptable” practices of animal agriculture. As we see, Dr. Brough risks her professional career and livelihood to denounce the corruption within the industry by sharing insider information about the reality of factory farming and animal disease. Through her tears, we can clearly see how distressed she is as she talks directly to the camera, remorseful for her contributions to the industry in the past.

Where to watch: ‘The End of Medicine’ is available on VOD May 10th.
While Joaquin Phoenix and Rooney Mara have starred in many movies together, they’ve now teamed up to make a movie. The duo–who are as equally respected by Hollywood as they are by the animal rights community–lend their influence to a new feature-length investigative documentary called The End of Medicine. As executive producers, Phoenix and Mara team up with BAFTA-winning director Alex Lockwood (73 Cows) and producer Keegan Kuhn (Cowspiracy, What The Health) to expose a disturbing, dirty little secret that the food industry has been trying to conceal for decades.
In a swift 73 minutes, The End of Medicine draws attention to the underreported link between global disease–pandemics and antibiotic resistance included–and our (mis)use of animals. The film gets its momentum from whistleblower Dr. Alice Brough, a young vet who first grew intolerant toward the industry’s “acceptable” practices of animal agriculture. As we see, Dr. Brough risks her professional career and livelihood to denounce the corruption within the industry by sharing insider information about the reality of factory farming and animal disease. Through her tears, we can clearly see how distressed she is as she talks directly to the camera, remorseful for her contributions to the industry in the past.

In typical call-to-action-type documentaries, The End of Medicine provides an overwhelming number of facts that are meant to shock the viewer into making immediate lifestyle changes. Industry insiders, government advisors, politicians, scientists, and leading doctors share unnerving statistics that at times, feel more hopeless than optimistic.
One claim that caused me to sit up a little straighter was hearing that 3 out of 4 emerging infectious diseases come from an animal source. This tends to happen because an animal’s immune system is lowered when they’re stressed, and they’re stressed because they’re so densely packed in cages in unsanitary conditions. It’s easy for the animal, then, to catch an infection and spread it to the rest of their cage-mates and eventually, the humans who consume them. Not surprisingly, COVID was used as an example: We socially distance ourselves from other sick humans but are doing the exact opposite to animals. This film asks, “Why?”
The End of Medicine has one goal in mind, and that is to get its audience to think twice about consuming animal products. Ideally, Phoenix and Mara would be able to convince all of us to go completely vegan (but it may take a few more documentaries for that to happen). While the note the film ends on isn’t the most optimistic in tone, aside from the standard “transform yourself to transform the world”, its intentions are pure and worthwhile. Films like these are important, and if The End of Medicine causes you to pause before ordering the burger–even for a moment–then it’s done its job.


REVIEW RESOURCE: https://cinemacy.com/the-end-of-medicine-review/