Bases for operations by the extreme right wing operating out of Hollywood exist on school grounds in Pittsburgh and the Seattle used as quarters for rape, torture and murder with chilling complicity from legal administration. This letter of concern and request for intervention is not a representation of any sort of theory, it is about a cold-blooded, blindside attack. There is a difference. The attackers do all they can, with huge resources, to invert the allegations against a child simply walking to grade school. The organized framework of the crime is blood-curdling as well as the horrifying and lopsided in the disproportion of power and wealth available to the vanquishers. You will notice how murderously watchful they are of the object of their terrible, depraved, inhuman series of horrible crimes. This note will show exactly what they did, then show the misleading direction it takes people by the way it is presented. This presentation will have to also entail updating some findings in their film industry preparations.
It is very specifically and entirely truth that in Spike Lee’s work we find the agenda and mystification used by those who attacked us in the AIDS monstrosity cleverly representing their agenda. To understand the lattice at work you need to index matching signifiers between Spike Lee and Pittsburgh which demonstrate the partnership of this Black attache of Olli Burstone with the script found there and targeting of the white object for theoretical mania. King Edward’s sections lay in wait from preparations being made generations in advance. Not only is the existence of a large Black division old news, but it continues to be the linchpin that forces through the crime politically.
In talking about the AIDS attack I think it is reasonable to ask: why wouldn’t you use trickery? And in succeeding keep on pushing? Even without the blood-curdling facts about what they really pulled, the way that my attempts to get to St. Louis for human contact by hitchhiking from Pittsburgh were used would make the whole issue of London a history of the Great Backstab. My efforts were betrayed. They strengthened the deceitful claim of discovery by the true authors, a hallmark of inhuman tragedy. We already know the basic idea of the terrible betrayal King Edward and Reagan brokered as Hitler’s revenge as well as its early gestation, so the identity of Dolph’s gang in “All the King’s Men” (1949) is no surprise and although the shot in the back is significant for text, appearing in how I was attacked, and told tale in Von Ryan’s Express, it is perhaps a little surprising to see the coat evidence concerning JFK so early in the crowd outside Dolph’s, body fluid stain and hole. For vignette, my mother later denied that she came right home when Von Ryan was shot with the words, “Jimmy will be crying now.” I was.
It is terrifying the way they followed the exhausting logical diagram leading to escape efforts and attempts to get relief.
To understand the mission statement of Spike Lee’s film you have to turn to sibling works by one of his contemporaries, the Japanese film-maker Beat Kitano who appears in a film called Battle Royal. Kitano also made the first Japanese film ever to be made in the United States, a Los Angeles set film called Brother about a pair that included a black gangster which came out in the early Obama years. The unstated text of Spike Lee’s film is a fight over a woman. It is a problem largely kept out of the movie. Like the films Deer Hunter and Taxi Driver featuring DeNiro, whose picture appears on the wall of Sal’s pizzeria, Kitano has a film about a deaf boy anchored in Pittsburgh by a shirt the boy wears proclaiming that town. It is called A Scene by the Sea. Given that the sign language of Sal uses a well known Trump gesture shown also by a media mogul in the film Network the mention of Trump vocally and literally in Do the Right Thing goes far to showing that Spike Lee is an understudy, and disciple of the most vitriolic insider cult, beyond the rat pack, in latter day Hollywood.
What we are faced with in this film is not whether society can endure where everyone gets to do their own right thing heedless of consequences to the community, but whether insouciance, and the gaslighting wall should be allowed to forbid us as historians and critical reviewers from comprehending and indexing the nomenclatures at work in parallel, refrain, semiotics and political actions that include the very sort of violence being bandied on the screen. I realize this can be dismissed as conspiracy theory, but really it is about blindside attack, and there happens to be a big difference.
The evidence in fact shows that Do the Right Thing was a dry run rehearsal for the Rodney King beating and riot instigated as part of the poetic justice concept by the AIDS attackers settlement package, heaped with the mysterian mystery manufacture and wow of allusion to Rodney Toady and King Crimson band, using the sort of Getty image technique that D.T.'s forces deployed in Death Valley Plaza.
Sociology is a useful vocation but in my case Hollywood got there first. There was always evidence that Blacks were in a division of King Edward’s section, several were arrested in Dealey Plaza, Nathan awaited my birth watchfully and laid low in the background, Eastminster “James,” the claim that trafficking was kinship by the Proctors, “Ku Guy” Joey Young whose mother collected 1964 halves, Mr. Biggs, so the way that Cartieri elements appear in Aeillo’s with D.T. of Spike Lee, his use of Brando to signify sniffing, and his partnership with both Kasperowski and O’Connor of Kelly School (Wen/Zell) fame, show that the element of caustic racism for entertainment in his films was clocked to the impacted neuroplasm for defamation of character in evil hour. He worked with Neva, giving those blowjob Asian eyes at Sal when being called like a son, in portrayal of the Midori Goto signifier at confiscated, a prior agreement. What could it have been but plot the way that Society for Military Engineers lay in wait at East West Circuit with Micheal Ewart and their own explanation for he got game, meaning they overlooked semiotics, myuh.
The assassins made the claim that any attempt to have a life under American law would be punished by death because the Zappas were a Trojan Horse masquerading as support for our freedoms and dignities while at war on the US. There is an expression in Japanese academics, the splendor of longing. What gives any man the ruthless right to attack another man’s ability to gain that splendor of longing from the inside of their health and masculine pride of life? The truth of Jimmy Crary is that he cried with sorrow when a Black man’s notebooks were kicked by an assailant, but that didn’t stop the NAACP from teaming up with Apartheid invading Jimmy’s recovery and sanctity with cruel acts of torture in the name of a Christian moralism that set up the AIDS attack ruthlessly for a claim by King Estate royalists.
Necessitating the sadistic art alibi of radio man and a death vow by Jeter against the cheater dominoes.