There is interesting text that illuminates the murder of President Kennedy ironically being claimed by allies of the cartel that killed him, and because informed interest in the subject is few and easily subverted by appeal to other loyalties, this simple and available information, as well as digest about its meaning, is both easily accessed and normally overlooked.   One reason for this is that the act of following victims with cameras on a spree of gloating that characterized Yoko Ono’s arthouse film, “Rape,” is being used to promote the killers in the glee of cottage industry bedlam surrounding discovery of the Texas Schoolbook, a child trafficking document promoting Yoko Ono and her arthouse alliance with Neva Corporation the pornography giant.

      Three attending areas of specific intelligence allow contradiction of the claim that John Lennon was a victim, rather than a perpetrator.  He appeared to be a victim, because he staged his own death after misleading a generation, his faction having killed JFK and King, into lemmings-like self-destruction, ramming them head on into the AIDS attack.  It appeared that Chapman and Lennon were at odds, but in reality Chapman worked with Sean Strub, interviewed at the Dakota, with the Graham Foundation, in league with Queen Elizabeth who knighted Lennon for his honorific exit performance.   Lennon’s loyalty was to the restoration of America under The Crown, a plan of Allen Dulles and Cecil Rhodes.

       The model of the righteous and good the black man was uploaded as a function of the AIDS attack as they sacrificed the pale deaf white suck who obeyed the injunction not to possess a wife or they would slay him, going through the seizures caused by the neurobedient enzyme impacted during hostage and torture when Warhol and Ono made their arthouse cinema of little Jimmy as a captive, lucrative to the secret black marketeers of Mellon Bank.

      If you look at Anne Mitchell and Claire Booth Luce as tabloid writers of the New York kill syndicate you find that Mitchell promoted derision about me while Luce was plotting to upload multiple images of Lyndon Johnson lookalikes, comparing Twain to Woodsworth in appearances, laughing about ghost writers, and promoting an image of an Asian princess under the heading, “Imagine this little porker wriggling and squealing in your arms,” supposed about an adjacent pig festival, in promotion of the Vietnam War from Jack Ruby’s Carousel Club.  Meanwhile, Penis Gabriel was doing his share of the poetry mongering, as a stepson of Queen Elizabeth’s Lord Secretary, seeing up Jimmy with Mi Yung Joo, having his father murdered, covering for the cinema of the AIDS attack group, and launching in camera home invasion to the tune of the 911 attack on D.C. and NYC in SUPPORT of those proven to have released the AIDS attack.

       The cinema team created a tryst representation film between Midori Goto and Barack Obama as signifying race elements of The War Over Adultery that the Reagan’s created in killing JFK about Marilyn Monroe, but it should be noted that neither the Reagans, nor Yoko Ono exhibited any sincerity in the matter.  The film team included Reagan’s ally, the Greek film star,  Anthony Quinn, who also played Aristotle Onasis after GK’s forces nabbed their prey:  Jackie Kennedy, and Charles Bronson, who had a namesake filming for The Mechanics in Dealey Plaza, made a name for himself announcing intent to take another man’s wife.

      These murderers locked me out of a church when a gang came who kidnapped and tortured me and then violated the school confidentiality codes by mauling my plans to be married as a race sacrificial joke arranged by Evangelia Karmas in the name of Nikos Kazantakis who they said could handle his inner pain, raping deaf Jeannie for teaching me sign, and doing so in the name of Roberto Clemente, while slashering an innocent woman, Shannon Harps, also sacrificially, in the name of the munificent black man who renders all claims for the crime house of Sound Mental Health and Seattle Art Museum.