I already know that the majority of the people I have told about my research into the murder of JFK as a function of the AIDS onslaught plotted by an aristocracy (in arms, politics and Hollywood) kept in roundtable by King Edward to rectify World War Two for his friend Adolf Hitler have made clear they do not care even when it left their own children gruesomely dead from genocide. For them it is a medical, religious, or popular culture affair of the heart based in some sort of peculiar nuance of loyalty and voodoo trust. Nevertheless in the event that someone has not yet closed ranks with the criminally insane, is still trying to decide, or who stands a chance of reaching someone else with these materials, I will continue doing my level best to update public warning and make the matters I am describing open to review and knowable. They are worth knowing. I have stopped trying to match the bombast of the assassins and their deniers.
The assassination of JFK and Dr. King turned their ideas into box office poison. We began to be instructed in the nature of reality. Orwell announced that we had won the war but lost the peace and although this was true the Nixon years showed the price of that loss not the remedy.
Within Hollywood, America was subjected to a brain transplant as Hitler’s cronies took over the media agenda. The planning was on even before war broke out. War drama enthusiasts repeatedly used 11th hour rescue in the lead up to Hitler’s escape. Film Noir, by careful editing, left the narrative of their plan to take revenge as a time capsule of sabotage espionage. Hollywood were the brains of the outfit.
Martha Gellhorn admitted she could not understand or accept what had happened. Not understanding, by her own admission, was taken for a license to lie to herself, just as Hitler had always said about the peace-loving West. On the road to detonation of the neuroplasm they impacted in a hostage child for profit from tears, freedom of the press became the enemy within and this was camouflaged under Black supremacism when Obama uploaded political correctness and permission to scream was punishable as therapy.
Oliver Stone, who contributed the lucid prize to Pentagon-Disney of making a dream real by helping them fake the shooting of Lennon and Reagan, a real wild palm at the doors of perception, believes that Hollywood itself, its bylaws, flaw clauses and fine print, and when necessary the luger in the drawer, proves the American legal system is just a satire of the casino system. He believes very deeply in the religious authority of the celebrity superstate. Right to Know Laws mean nothing to him, but the right to incite hate by slander is sacrosanct. His contempt for Kennedy assassination researchers is telltale. He is the new broker of the killer machine first reaping some benefits and then doling out privileges and entitlements to the elect. This killer machine represents Jewish revenge on a society who turned their backs on them and is a stage-managed ploy about abandonment aimed at a liberal dream on which they have foreclosed. They were left so deranged by the experience of World War Two that they were willing to side with Hitler in King Edward’s Holy War plot, just to be spoilers of a society they found too carefree. Stone has promoted, we know, with Black crazies, death by HIV as the price of squawking. He calls it promotion of a hero.
Seattle of course is well known for laughing and covering it up as though it is just a scream of laughs, making a vicious machine of torture, masquerading as a secret treaty, their call for inclusion in American exceptionalism, while moralizing that murder is proper and forbidding me to tell the truth a gesture of wisdom. This is seen particularly recently in their willingness to embrace Colin Kaepernick. The viciousness of Amnesty International drawing a line of defense around Colin Colin after all they pulled amounts to transparent endorsement of the AIDS attack in all its hoary syphilis of U.N. enthusiasm. Small wonder they predicted some literary malediction from the American liberal they used and betrayed. Colin Colin’s gesture is the fulfillment of the Right Wing ideology he claims to be protesting, the overthrow slaughterhouse of harkening to the Reich of the Ark.
Seattle media spread false witness through its crooked and extremely powerful grapevine which has substituted news for powder room slurs in film studios they protect as confidential sources, having dismantled Upton Sinclair’s reforms from long ago in the 80’s when they suspended the U.S. Constitution for a syphilitic taliban monger named Richard Starkey. Spreading false witness they knew perfectly well was lying they orchestrated perceptions about their violence from the shadows. The free press of the United States became a retinue of cheerleaders falling over each other to appease and secure the wow of Hillary Clinton. The free press became a thrill kill cult. While purporting to be blowback about abandonment, claiming a right to know meant the total digest of broken dreams and interior brainwaves in a pre-pubescent lab rat, they authored crime after crime, rivaling the ingenuity of domestic terror by every imaginable while perfecting every lie they consecrated by screams of protest against them. No punishment possible to mete out could upbraid them for their infamies. The AIDS attack was promoted by the British as an act of conscience.
Abortion is at best small weapon activity, so the escalation to genocide in pseudo-retaliation, while mandating a priceless example to sell it, shows it is just an excuse to feed like a fish to the barking seal of our so-called human society, clapping their fins against nuclear blackmail, and there’s Colin Colin kneeling like it is the coming of the King.
Veronica Lake’s performance of: Now You See It is one of the most significant overlooked moments in human history. It is where King Edward's enthusiasts demonstrate by what technique they were plotting to rectify things for his friend Adolf Hitler.