Oliver Stone’s Wall Street 2

Oliver Stone Money Never Sleeps

Wall Street 2, surprisingly, is not just another Hymiewood poop bomb. The star is a young Jew, Shia Lebeouf, that uses chutzpah to save the day. But, this is a cast of Jews trying their best to tell the truth. I know telling the truth is something alien to a lot of Satan’s kids, but Stone is one exceptionally righteous heeb.

Stone gives a newbie explanation how Wall Street works and there is a bubble theme going on, along with a few Wall Street sayings like Josh Brolin’s hogs and sheep line. Brolin’s father was one of the first Jews to tell the truth about 9/11 on the View.

Michael Douglas gives possibly his last performance and tells us a good lesson about fiat money, tulip bulbs and inflation. The best part of Money Never Sleeps was when old Jew banker Eli Wallach makes bird noises while wearing a Masonic pin. Stone can’t come out and explain what really happened in 2008 without causing another panic and kick starting the apocalypse so I’ll try to explain it to you.

The Wall Street panic started because of bank runs and short selling. If you are a newbie you won’t understand what this is so I’ll do my best to give pop culture examples. There is a bank run in Disney’s Mary Poppins that is synonymous with birds and I suggest watching It’s a Wonderful Life this Christmas to understand how to bailout a bank run.

Brolin’s Goldman Sachs character buys out the Bear Stearns stock at a pittance. This is short selling. Selling a stock high and buying it back at a low price like in that movieTrading Places starring Freemason Schwarzer Eddie Murphy and Canuckistani actor Dan Akroyd. That was a movie produced by Aaron Russo, another righteous Jew that tried to warn the animal goyim about the elite’s plan for a microchipped, cashless society under constant surveillance.

This is a constant theme throughout history — from Roman times to Nazi Germany to present day America. Patriotic Jews try to warn their gentile hosts about the machinations of the moneylenders. Jesus Christ parodied Julius Caesar who was also a victim of the the moneylenders. That is if you believe there was a conspiracy against Caesar, or a conspiracy against Christ.

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Angelina Jolie: Lucifer’s Whore?

Angelina Jolie Horse CFR

Lucifer is the morning star and father of Ceyx. He is described as riding a white horse and his face is characterized by a bright gladness.

The symbol of the CFR is a naked man riding a white horse with his hand outstretched making the masonic “Sign of Admiration”. The words in latin “UBIQUE” tranlsate as ubiquitous, meaning he is everywhere or omnipresent.

Stars like Angelina Jolie or Michael Jackson aren’t born, they are made: through rape, abuse and corporal punishment. Angelina has a tattoo that says “Wild at heart but kept in cages”. This is probably due to her being a victim of Illuminati cage programming. A child is kept in a cage with a small animal, later the animal is taken out and killed and given back to the child. All this trauma fracks up the child’s head and splits the psyche into alters. Truly great actors like Angelina or Roseanne Barr have access to these alter egos that make their performances seem genuine and stand out from the mediocre.

Tomb Raider has a scene where Angelina asks her father why he didn’t tell her about the Illuminati. This is the only scene Angelina has ever done with her father.

Jon Voight was in a movie called Midnight Cowboy where he played a male prostitute opposite Hebrew thespian Dustin Hoffman. I assume that Voight is just another actor who is a whore selling his body to Hollywood like the millions of kids on the street who come there looking for fame and fortune. He probably wanted his daughter to be a great actor and let her be filmed having sex as a child. Bestiality, incest, pedophilia, snuff, any kind of perverse porn is used by the Illuminati to blackmail politicians and people in power.

Looking at the picture you can deduce Ms. Jolie has had experience with bestiality. To me it’s not a great revelation that Angelina Jolie is a whore. Hollywood is built on whores. The average tabloid reader that sees the United Nations psy ops thinks she is a saint. This is what is intended to further the one world agenda. The rainbow family she has created is all carefully contrived.

I find it interesting that Angelina Jolie is in alot of CIA movies. The CIA perfected the multigenerational incest trauma based programming Cathy O’Brien describes in her book.

It’s funny that there is a feud between Madonna and Jolie over adopting black babies. I see it as a competition to see who will be Satan’s #1 whore. Madonna was old when she started getting whored out by the synagogue of satan. When you are old all you can achieve is a sex kitten alter and not get the myriad of personalities that make Jolie the great actor she is today.

I’m on conspiracy overload these days and I feel overwhelmed whenever I watch the televitz. I’m gonna try and make at least one blog entry a day and not cut and paste since I’m finally making a few sheckels from this site.

Until tomorrow. Shalom!

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Angelina Jolie’s Crimes of War

Angelina Jolie: Crimes of War

Former heroin junkie and star of Hackers, Angelina Jolie claims she is too dumb to use a computer. It’s evident she is under some sort of Jewish, Illuminati mind control. Iraq will be a radioactive wasteland for the next 5 billion years but Ms. Jolie wants us to cheer as African warlords are brought to justice at the United Nations kangaroo court.

El Presidente George Bush dumped the equivalent of 400,000 Hiroshimas of depleted uranium on Iraqistan. The controlled media is silent as mutant babies with three heads and six fingers are born in Fallujah.

The Empire is victorious in Iraq under the Obamanation and the insurgency under Bush has stopped. The beast turns it’s head towards Iran now and the Zargos oil belt.

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Vigilant Citizen on Doctor Parnassus

By Vigilant | Category: Vigilant Reports

Heath Ledger’s last movie is a mind-boggling one. From its enigmatic storyline to the mysteries surrounding its production, “The Imaginarium of Doctor Parnassus” deserves to be duly explored. An interpretation of its rich symbolism reveals to the viewers timeless esoteric truths as well as coded references to today’s occult cryptocracy. This article looks at the mystical meaning of the “The Imaginarium of Doctor Parnassus” and the sacrificial nature of Heath Ledger’s death.


It seems the last movies of actors who die prematurely are often heavily symbolic. A single viewing of the trailer for The Imaginarium of Doctor Parnassus was sufficient to convince me of the movie’s deep esoteric undertones. Terry Gilliam’s productions have often dealt with occult themes, but this one seemed unusually flagrant. I was therefore looking forward to the movie’s reviews and the potential discussions it would engender. However, I found nothing but superficial blurbs and critiques talking about a “fantastic adventure” or something of the sort. So I watched the movie to see if I misjudged the trailer and, after the first minute and a half, all of my doubts evaporated. The movie begins with a man (Anton) dressed as Mercury (“Hermes” of the Greeks and “Thoth” of the Egyptians) announcing Dr. Parnassus, who is dressed as a monk, holding a lotus flower, a symbol of Eastern mysticism. Pretty esoteric. We’ll first look at the underlying meaning of the movie and follow with the strange symbols relating to Heath Ledger’s death.

The Esoteric Meaning of the Story

The premise of The Imaginarium of Doctor Parnassus conceals a meaning for those who, in the words of Anton playing Mercury, have “eyes to see and ears to hear”. Here’s a quick summary of the movie.

“The Imaginarium of Doctor Parnassus is a fantastical morality tale, set in the present day. It tells the story of Dr. Parnassus and his extraordinary ‘Imaginarium’, a traveling show where members of the audience get an irresistible opportunity to choose between light and joy or darkness and gloom. Blessed with the extraordinary gift of guiding the imaginations of others, Dr. Parnassus is cursed with a dark secret. Long ago he made a bet with the devil, Mr. Nick, in which he won immortality. Many centuries later, on meeting his one true love, D.r Parnassus made another deal with the devil, trading his immortality for youth, on condition that when his first-born reached its 16th birthday he or she would become the property of Mr. Nick.

Valentina is now rapidly approaching this ‘coming of age’ milestone and Dr. Parnassus is desperate to protect her from her impending fate. Mr. Nick arrives to collect but, always keen to make a bet, renegotiates the wager. Now the winner of Valentina will be determined by whoever seduces the first five souls. Enlisting a series of wild, comical and compelling characters in his journey, Dr. Parnassus promises his daughter’s hand in marriage to the man that helps him win. In this captivating, explosive and wonderfully imaginative race against time, Dr. Parnassus must fight to save his daughter in a never-ending landscape of surreal obstacles – and undo the mistakes of his past once and for all.”
-IMDB

The storyline revolves around a classic Faustian theme, in which Dr. Parnassus makes various bets with the Devil (played by Tom Waits) throughout his life. Looking deeper into the symbolism of the story, Dr. Parnassus and his traveling show are a metaphor for the esoteric teachings transmitted through the ages via Mystery schools. He is a human manifestation of the “path to enlightenment” of the Buddhists or the “inner-Christ” of the Gnostics. By inviting people into the magic mirror, he transports them onto the spiritual plane where they can choose between spiritual fulfillment and enlightenment (represented by a pyramid or a ladder, depending on the person) or ignorance and materialism (represented by a pub or a sleazy motel). Dr. Parnassus says “he transmits the story that sustains the universe,” which is a poetic way of saying that he is the vehicle for the secret teachings leading to illumination. He provides the path that allows the communion between humanity and divinity. The entire symbolism surrounding Paranassus’ theater is inspired by the esoteric teachings of the ancient Egyptians, Greeks, Buddhists and other esoteric schools. The stage contains many interesting occult symbols.

From Janus, the two-headed Greek god to the Masonic twin pillars and the All-Seeing Eye, Dr. Paranassus’ stage reveals the spiritual nature of the theater

Parnassus’ name is also a reference to occult initiation. His name is derived from Mount Parnassus, the sacred mountain of the Dionysus, the Greek god of mystery religious rites (also known as the roman Bacchus). Mount Parnassus also contained the famed oracle of Delphi, the mystical site where people could obtain spiritual revelations.

Dealing with the Devil


As stated above, the story of the immortal Dr. Parnassus is analogous with the evolution of the Mysteries throughout History. This story was not always perfect and numerous influences have altered its course. There is a constant exchange in the movie between Dr. Parnassus and the Devil and it ultimately becomes evident that they actually need each other in order to exist and to stay relevant. Through their back and forth, they reenact the ancient principle of duality, the constant struggle opposing good versus evil and light versus darkness. This concept is visually represented by the Masonic black and white checkerboard pattern. While explaining his dealings with the Devil to his daughter, Dr. Parnassus explains in coded terms the nature of his essence. It can be found within Buddhist monks, in Jesus Christ and even in Freemasonry. He describes his first bet with the Devil as a competition to see who could first attract twelve disciples. Dr. Parnassus shows his daughter a book containing symbolic images.

The Devil is here shown surrounded by clergymen. Parnassus says he uses the “necessities of danger, fear and the fabled bliss of ignorance” to attract disciples.
Parnassus teaches “the power of the imagination to transform and illuminate our lives”. He is here depicted as Jesus Christ with his third eye open, floating under the Eye of the Great Architect. Notice on the left a symbol that is very similar to a Masonic square and compass.

Parnassus won that first bet, but he was tricked: the Devil let him win. The Devil knew that, in due time, “nobody would want to hear Parnassus’ stories”. In other words, the Devil knew the world would spiral back into ignorance, ultimately finding itself in the spiritual state we are in today. Parnassus’ show (a metaphor for the path to Illumination) is now a strange novelty, a road-side curiosity that is ignored by most everyday people who are too busy to ponder on its teachings. Then comes Tony.

Tony Liar

Found by Parnassus’ traveling troupe hanging under a bridge, Tony Liar (whose name is based on British Prime Minister Tony Blair) may or may not have been sent by the Devil. Despite his mysterious past, Tony is integrated into to the show and he quickly uses his charming yet dishonest ways to attract more people to the show. He is, however, focused on generating more money and is not interested in people’s spiritual salvation. He finally convinces Parnassus to change the style of the show to make it more modern and to change the audience to make it more … rich.

To illustrate his point about being modern, Tony shows Parnassus a photo in a magazine of a girl making the “a-ok” sign in front of her eyes … interesting.

Tony tells Parnassus not to hide his “mind control thing”, to be bold and to reach the right kind of public. This is the result:

A tri-dimensional Masonic checkerboard pattern leads the way to the “magic mirror”, the gateway to the spiritual plane. Did Freemasonry “repackage” the ancient Mysteries in a way that would be attractive to the upper-class?

The new stage is set in an elegant shopping mall. There is also a change of philosophy: instead of asking for donations, there is box filled with money stating “Please Take Generously”. The bold marketing ploy pays off and those who experience the “other side of the mirror” come back totally fulfilled, leaving behind their money, fur coats and jewelry.

Tony himself finally experiences the joys of the spiritual plane and finds himself climbing the ladder to Illumination.

Tony is here played by Jude Law, one of the three actors who replaced Heath Ledger after his premature death.

His climb is stopped however by his troublesome past (the Russian mafia) catching up to him, and the ladder breaks. Spiritual enlightenment cannot be obtained by just anyone. He has however tasted the feeling of “being like a god”.

Heath Ledger’s Sacrifice

While The Imaginarium of Doctor Parnassus communicates an inspiring spiritual message, there is a rather grim side to the movie that relates to Heath Ledger’s death. The concept of duality is present within the movie itself where the tales of illumination are mixed with references to black magic and sacrificial death. Good and evil struggle again. The numerous references to death during the movie could be interpreted as a tribute to Heath Ledger, but, as Terry Gilliam states, none of the script was rewritten after the tragedy. Here is an excerpt of the director’s interview with Last Broadcast:

The film is terribly poignant film to watch now because of the loss of Heath.

Yes, it is.

And there are the references to death in the film that seem terribly poignant in the light of what happened. Did you re-emphasise any of that after his death?

The references to death were all in the original script, which people don’t understand. They all thought we had written this stuff after Heath had died and no, we didn’t change any of the words. And that to me is what’s so kind of scary and spooky – why was it so prescient? It seemed to be all about death, it’s so much of it.
Source

Not only there are many references to death, there are many references to sacrificial death. Knowing the odd circumstances in which Ledger lost his life, could his death be the result of a ritual sacrifice? Are there codes within the movie relating to it? This might sound improbable to the average person but, to the initiate of the occult practices of the entertainment industry, it is a definite possibility. The observations presented here might be coincidences or they might be signs placed on purpose. One thing is for sure: they are there. The first person that seemed freaked out by this was the director himself, who was apparently a friend of Ledger. In his interview with Sun Media, Gilliam stated:

“There are forces at work on this film, don’t get me into my mystical mode … but the film made itself and it was co-directed by Heath Ledger!”

Why is he implying that other forces were at work during the creation of this movie?

The Hanged Man

Right before the traveling troupe finds Tony hanging under a bridge, Dr Parnassus pulls out the Tarot card of the Hanged Man. It predicted what was about to happen but the occult significance of the card is even more relevant:

“Esoterically, the Hanged Man is the human spirit which is suspended from heaven by a single thread. Wisdom, not death, is the reward for this voluntary sacrifice during which the human soul, suspended above the world of illusion, and meditating upon its unreality, is rewarded by the achievement of self-realization.”
– Manly P. Hall, The Secret Teachings of All Ages

The Hanged Man indeed refers to the myth of the dying god who is committing the ultimate sacrifice in order to attain immortality.

“There is present in the rituals similarities of concepts or beliefs. In the ancient tradition it was believed that through the connection of the body and blood of the Slain God that the people became one with the deity. In the “Last Supper” Jesus declare that the bread and wine were his body and blood, which he gave up for the salvation of the people. Blood was believed to contain the life force. The death of the king freed the inner spirit. Through the distribution of his body and blood, heaven and earth were united and his vital energy renewed the kingdom.

The appearances of the Slain God have taken on various aspects throughout the ages. His images can be seen in the Jack-in-the-Green, the Hooded Man, the Hanged Man of the Tarot, the Lord of Vegetation, the Harvest, and the free untamed aspect of the forest.”
– Source

Anton and Valentina then find Tony hanging beneath Blackfriars Bridge.

Ledger’s previous movie was The Dark Knight in which he played The Joker – The Fool of the Tarot. Did The Fool evolve into the Hanging Man?

This scene is inspired by the actual 1982 hanging of Roberto Calvi (dubbed “God’s banker” due to his relations with the Vatican). The hanging took place under the exact same bridge. Although never publicly confirmed, there are strong theories that Roberto Calvi’s death was a symbolic and ritualistic murder carried out by the black masonic lodge called Propaganda Due, also referred to as P2. The name of the bridge is very significant:

“Mr. Calvi’s investigation indicates that his father was strangled, before his body was weighted and suspended underneath Blackfriars Bridge, probably by people who were in a small boat. The choice of bridge may have been significant: the P2 members referred to themselves as “frati neri” – black friars.”
-Source

Read More Here…

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John Travolta’s heterosexually challenged Spa Scandal

John Travolta heterosexually challenged

A man named Robert Randolf is putting out a book called You’ll Never Spa in This Town Again about Hollywood’s “secret heterosexually challenged spa culture,” and took a lie detector test when he spoke to the National Enquirer about one of the famous stars in his tell-all: John Travolta.

Randolf claims that he met Travolta in 1998, right after his marriage to Kelly Preston, and that all though he’s never responded to John’s alleged advances, he’s witnessed John shamelessly frequenting the heterosexually challenged spas and trolling for male sex partners. Here’s the snippet from his story:

“I met John in 1998, after he had married Kelly. I believe the marriage is a total fraud because John is totally into guys and has been having sex with them behind Kelly’s back for years. He came on to me a number of times. I always turned him down. But there was always some guy who was willing to have sex with him. And John didn’t stop cheating on Kelly after either of their children was born. John’s a cheating dog. It’s just been wrong, because his wife seems like such a sweet woman. John’s secret heterosexually challenged life is one of Hollywood’s worst kept secrets. He blatantly cruises guys, and doesn’t seem to care who sees him. I saw him with his lover and he couldn’t get enough.”

This isn’t exactly a new rumor for Travolta, people have talked about his secret heterosexually challenged life for many many years. In 2006 when the above paparazzi pic was snapped, there were items about how his marriage to Kelly Preston was a sham set up by Scientology, and that she knew about his male relationships.

The guy in the pic above, Jeff Kathrein, was the male nanny of John and Kelly’s deceased son Jett (who died at age 16 in January 2009 while vacationing in The Bahamas with the family). At that time Kathrein was revealed to be Jett’s main caretaker. John’s publicists told the media that John was simply affectionate with the people he loved in his life.

That may be an explanation, but there’s also a solid history of people claiming that John Travolta is heterosexually challenged and that the Church of Scientology is trying to cover it up. Homosexuality is among the things that The Church will not tolerate, and has methods to “cure” homosexuals. (Autism is another reality the Church of Scientology fails to acknowledge.) If John really is heterosexually challenged, or has dated men in the past, he should be able to be out and proud about it.

Here’s a breakdown of some of John’s past heterosexually challenged rumors:

2001 – A man claims John tried to pick up a businessman in a health club.

1998 – In court papers a former Scientologist, Michael Pattinson, claimed that JT was used as an example of Scientologoy being able to “cure” homosexuals.

1991 – TIME magazine published an article about Scientology, citing Richard Aznaran, the head of security, hearing David Miscavige, the Scientology head, joking about John Travolta’s “promiscuous homosexual behavior.”

1990 – Porn star Paul Barresi got paid $100,000 by the National Enquirer to recount his two-year relationship with John Travolta. He later retracted the story after being strong-armed by Travolta’s legal team, but then told The Guide’s Jim D’Etremont that it made the retraction because he was “having a nervous breakdown,” and “just wanted it to be over,” but “regretted the retraction a lot more than I regretted that initial call to the Enquirer.”

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Tom Cruise’s Sham Marriage

Tom Cruise Sham Marriage


“The Simpsons” A Fish Called Selma (TV episode 1996)

Meanwhile, Marge and Patty try to tell Selma that Troy is just using
her, but she doesn’t want to admit it. She runs away to find Troy and
find answer to her questions.

Selma: [menacing] Is this a sham marriage?
Troy: Sure baby, is that a problemo?
— Fair enough, “A Fish Called Selma”

Selma: You _married_ me just to help you carreer?
Troy: You make it sound so sordid, look: don’t we have a good time
together?
Selma: Yes, but…
Troy: Don’t you have everything you ever wanted here? Money, security,
a big hot flat rock for Jub Jub?
— Just what everyone would want, “A Fish Called Selma”

Selma: But… don’t you love me?
Troy: Sure I do! Like I love Fresca. Isn’t that enough? The only
difference between our marriage and any one else’s is: we know
ours is a sham.
— When you look at it this way…, “A Fish Called Selma”

Selma: Are you heterosexually challenged?
Troy: heterosexually challenged? I wish! If I were heterosexually challenged they’d be no problem! No, what I have
is a romantic abnormality, one so unbelievable that it must be
hidden from the public at all cost. You see…
Selma: Stop!
— Aw, we were just about to hear it all, “A Fish Called Selma”

Taken from the Simpsons.

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Rosario Dawson 1999




Rosario Dawson 1999

In 1999, Dawson teamed up with Prince for the re-release of his 1980s hit “1999.” The new remixed version featured the actress in an introductory voice over, offering commentary on the state of the world in the year before the new millennium. The same year, she appeared in The Chemical Brothers’ video for the song “Out of Control” from the album Surrender. The video features the all-seeing eye.

1999 (Rosario)

Dear Diary,

Wednesday, 1999, night before Thanksgiving:
Wondering what the Holy Day…
I got a lot 2 be thankful 4
While my people’s catchin’ hell in the worst way
There’s as many black males and Latinos in jail
As there are in the streets, OK?
Is it my imagination or is there some deviation
From the part that God wanted us 2 play?
First of all, there’s the name “Christmas”
Which means, get this: “Send Christ away”
Now I just realize what I missed as spoken by the priests of old
We’re saying if the face of the true king was shown 2day
2 its foundations would shake the earth
And so the reason 4 the ganda and propa:
2 distort the king’s color and the date of his birth
Open your mind, there’s not much time

This is Rosario, 1999

© 1999 Emancipated Music – ASCAP

In 1999, an 18-year-old college dropout named Shawn Fanning changed the music industry forever with his file-sharing program called Napster.

Download Prince and the Revolution track “Rosario (1999).”

Download Chemical Brothers track “Out Of Control”

Remember kids, when you pirate MP3s, you’re downloading communism.

written by Prince.

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Marilyn and the Jews

JTR

Dr. Ralph Greenson (1911-1979)Marilyn Monroe is one of many Gentile actors who fell under the dominance of a string of Jewish psychoanalysts, including, most famously, Ralph Greenson (born: Romeo Greenschpoon) who was her therapist when she allegedly committed suicide. "Like many of his colleagues at the time," notes a review of Donald Spoto’s biography of Marilyn, "Greenson relied heavily on drug therapy for his patients, routinely prescribing barbiturates and tranquilizers or having patients’ other doctors do so. He referred Marilyn to [Jewish] internist Hyman Engelberg, who prescribed many of the medications Greenson ordered for her … Her friends noticed that the more Marilyn saw Greenson, the more miserable she became … Greenson encouraged Marilyn’s deep dependency on him (he was seeing her twice daily)" (Good Housekeeping, 1993, pp. 212, 214). [Image: Ralph Greenson.]

The incestuous nature of Hollywood life may be observed in Greenson’s case: his sister Elizabeth was married to Milton ‘Mickey’ Rudin, a Jewish entertainment attorney who was one of the town’s major powerbrokers. Rudin was Monroe’s lawyer.

Marilyn’s publicist, Arthur Jacobs, was also Jewish. So were her agents at MCA, Jay Kanter and Mort Viner. Many of the directors of her films were Jews (for example, Billy Wilder of Some Like It Hot and George Cukor of Let’s Make Love). Natasha Lytess, her personal manager and the subject of speculation about Monroe’s rumored lesbianism, was Jewish, from Austria. Their relationship, says Barbara Leaming, was "mutually exploitive" (Leaming, 31). Milton Greene, a Jewish fashion photographer "with whom she’d reportedly had a fling during the late forties," was another early personal manager.
 

Lytess and Monroe
Natasha Lytess and Marilyn on the set of Gentlemen Prefer Blondes.

Monroe had resolved to sleep with anyone who could help her attain fame and fortune in Jewish-dominated Hollywood. Close friend Ted Jordan notes that she had "sex with anybody she thought might be able to advance her career" (Jordan, 121). "It is clear," says Anthony Summers in his biography, "that Marilyn made judicious use of her favors. A key beneficiary was the [Jewish] man who got Marilyn that vital first contract at Fox — Ben Lyon. According to writer Sheila Graham, Lyon had been sleeping with Marilyn and promising to further her career … Lyon called the casting director for Sol Wurtzel, a [Jewish] B-movie producer of the time [and Monroe was awarded a small part in the 1947 film Dangerous Years]" (Summers, 35).

In olden times," Upton Sinclair once remarked, "Jewish traders sold Christian girls into concubinage and into prostitution, and even today they display the same activity in the same field in southern California where I live." Or as F. Scott Fitzgerald summed up the Hollywood scene of his era — "a Jewish holiday, a Gentile tragedy" (Gabler, 2).

Garment millionaire Henry Rosenfeld was another Jewish sex partner on Marilyn’s road to fame. "She would join Rosenfeld at his home in Atlantic City for trips in his speedboat and for quiet evenings of talk and laughter" (Summers, 45). Jewish mobster Bugsy Siegel, himself a Hollywood powerbroker, also slept with her (Jordan, 84, 87). Ted Jordan (born Edward Friedman) even wrote a book about his early sexual experiences with Monroe — they began on his fourth date with her when she was 17. Then known by her real name, Norma Jean, Monroe was soon sleeping with Friedman’s uncle, Ted Lewis (original name also Friedman), who, "with his clarinet and distinctive style of old favorites, was among the hottest acts in show business" (Jordan, 73). It was Lewis who introduced the then-unknown model to narcotics.

"I learned," says Jordan, "that at one point in their little backstage meeting, Ted had slipped Norma Jean a piece of paper with his telephone number on it. Soon they were meeting in hotel rooms whenever Ted was in town … Soon he was pulling strings for Norma Jean, trying to hook her up with an agent who would do her the most good … As Norma Jean had vowed to me, whoever she had to frack, she was prepared to do it. And, for good measure, she did the same with [prominent Jewish gossip columnist] Walter Winchell" (Jordan, 75).

Early in Monroe’s career as a struggling actress, the Jewish head of Columbia, Harry Cohn, invited her to an overnight cruise on his yacht. Monroe was required to strip naked for Cohn in his office. As she bent over, at his direction, he approached her, penis in hand. When she declined his advances, said Monroe, "I had never seen a man so angry" (Jordan, 91; Wolfe, 211-212). Cohn then "banned her from the [Columbia] lot after she refused to accompany him on a yacht to Catalina Island" (Leaming, 8). "You know," Monroe once said, "that when a producer calls an actress into his office to discuss a script that isn’t all he has in mind … I’ve slept with producers. I’d be a liar if I said I didn’t" (Summers, 34-35). In 1955, 20th Century Fox awarded Monroe the richest per-film contract of any actress. "It means," remarked Monroe, "I’ll never have to suck another cock again!" (McDougal, 217).

Marilyn in 1951The network of Jewish men that controls Hollywood has always been characterized by an intense sexual fixation on the shiksashiksa being a derogatory slur for a Gentile woman, literally signifying "unclean animal" according to its Yiddish etymology. Hence the ubiquitous "casting couch," a Hollywood institution that provided Jewish powerbrokers access to otherwise unavailable non-Jewish women, whom they despised as non-Jews yet idealized as avatars of alien sexual desirability. The shiksa thus became the ultimate sexual trophy. The Jews who ruled Hollywood, noted Hollywood rabbi Edgar Magnin, "were men who made all that money and realized they were still a bunch of Goddamned Jews. Sleeping with a pretty gentile girl made them feel, if only for a few minutes, ‘I’m half gentile.’ No wonder they made idols out of shiksa goddesses." [Image: Marilyn in 1951.]

A key agent in accelerating Monroe’s early career was Johnny Hyde (like many Hollywood Jews, born in Russia, and a veteran of vaudeville.) She was also his mistress; he was 53, she was 23. Hyde "not so coincidentally … was Ted Lewis’ personal manager" (Jordan, 85). "In making Marilyn known," says Fred Guiles, "[Hyde] flexed a lot of muscle. The simple fact is that Johnny Hyde was the chief architect of her fame and her eventual legend" (Guiles, 147).

"By 1953," Jordan reports, "… [Monroe] could be virulently anti-Semitic (a prejudice that grew as she got older). To my discomfort she would sometimes refer to Joe Schenck, the mogul [and another sexual stepping stone], as ‘that Jew poop’ and to other Hollywood personalities as ‘Jew’ this or that. Occasionally I would have to remind her that I was half Jewish" (Jordan, 188). Monroe’s anti-Semitism did not prevent her from later converting to Judaism, at the behest of her Jewish husband, playwright Arthur Miller, who (despite his vocal anti-racialism) would not wed an uncoverted Gentile.

The Hollywood world and its pressures of being a sex goddess of course destroyed her. Monroe’s physician Hyman Engelberg and her therapist Ralph Greenson were the first to her death scene, reported to be the result of a drug overdose, but they did not call police for four hours. One investigative author, Donald Spoto, in a 1993 work, even burdens Greenson with the responsibility for killing her, directing that a female employee "administer [to Monroe] … a fatal barbiturate-laced enema." (In this scenario, Greenson’s motivation was that Monroe was trying to free herself from his influence and control, and had fired him [Wolfe, 99]).

A friend of Monroe’s recalls that she was beginning to feel that Greenson was "trying to substitute himself for everything she’d built up those past years. She decided he was anti-everything she wanted. She was radically turning on Greenson and Mrs. Murray, the woman he’d put with her, she felt, to spy on her" (Strasberg, 250-251).

The famous movie star’s alleged suicide has always been controversial, and there are various conspiracy notions about who would want her dead. Greenson’s secret life is much clouded. As well as being a therapist, he was an activist Communist Party member and part of its international Comintern. Greenson, as his sister Elizabeth has reported, was also a Zionist with "strong ties to Israel" (Kelley, 305).

Whatever Greenson’s role as a listener of movie star’s confessions, his communist ties have profound implications because Monroe had romantic affairs with President John F. Kennedy and knew a great deal about behind-the-scenes politicking, perhaps including plans against communist Cuba and Fidel Castro. Everything Monroe knew she undoubtedly told her psychotherapist. As Donald Wolfe writes:

Once Marilyn Monroe became Greenson’s patient, he became one of the most important Comintern operatives in America; he had access to the mind of a woman who often shared the bed with the president of the United States and was an intimate of the attorney general [Kennedy’s brother, Robert] … As Greenson has correctly stated, Marilyn Monroe had a tendency to ‘get involved with very destructive people, who will engage in some sort of sado-masochistic relationship with her.’ Ironically, among these people was her psychiatrist [Greenson], her physician [Engelberg], and her housekeeper, Eunice Murray [who was appointed by Greenson to live with Ms. Monroe and report back to him], who joined in a conspiracy to survey Marilyn Monroe within a sphere of influence designed to gather intelligence from her relationship with the president of the United States and the attorney general (Wolfe, 386).

Marilyn Monroe’s road to psychoanalysis was directed by the influential Jewish acting teacher, Lee Strasberg, who is usually credited with spawning "method acting," made famous by the likes of Marlon Brando and James Dean. Brando’s first Jewish analyst, early in his career, was Bela Mittelman, "the coldest man I’ve ever known." … "Acting afforded me the luxury of being able to spend thousands of dollars on psychoanalysts, most of whom did nothing but convince me that most New York and Beverly Hills psychoanalysts are a little crazy themselves, as well as highly motivated to separate patients from their money while making their emotional problems worse" (Brando, 124, 243). Brando was not much endeared to Lee Strasberg either, calling him "an ambitious, selfish man who exploited the people who attended the Actors Studio, and he tried to project himself as an acting oracle and guru. Some people worshiped him, but I never knew why" (Brando, 85).

Strasberg’s daughter, Susan, notes that her father "sent numerous actors to psychiatrists, and many doctors sent their patients to class because they felt his work helped theirs in analysis" (Strasberg, 31). Susan Strasberg herself used to argue with Marilyn Monroe about whether she or the famous sex goddess "needed therapy more" (Strasberg, 138). As Barbara Leaming observes:

It was said that the master teacher Lee Strasberg could open inner doors that one scarcely knew existed. Some admirers called him the Rabbi. Some compared him to a psychiatrist or a highly judgmental Jewish father … Strasberg focused on psychology. He ran his workshop as though they were group therapy sessions… Strasberg often advised actors to enter psychoanalysis in order to put them in touch with emotionally-charged material they could use in their work" (Leaming, 156-157).

Under Lee Strasberg’s influence Marilyn became an earnest devotee not just of method acting, but of Freudian analysis as well. Monroe’s one-time husband, Jewish playwright Arthur Miller, also had his own Jewish psychoanalyst: Rudolph Loewenstein. Monroe even had sessions with Sigmund’s Freud daughter, Anna, also a therapist, in London. "The significance of [Monroe’s reliance on psychoanalysts] for psychoanalysis," notes Jeffrey Moussaieff Masson, "was that Monroe left a substantial part of her estate to further the work of Anna Freud, whom she had seen briefly for analytic help in 1956 (Anna Freud wrote about her that she was paranoid with schizophrenic traits), and this bequest was undoubtedly achieved through her analysts, who were intimately connected to Anna Freud" (Masson, 129).

As Masson, a former offical at the Sigmund Freud Archives, further notes about the ethical undercurrent of such funding:

It is not, in fact, uncommon for analysts to solicit, usually through roundabout methods, former patients for money to support analytic projects. Chairs of psychoanalysis in medical schools at various universities have been partially endowed through former patients. There was also the case of the Centenary Fund, named for the centenary, in 1956, of Freud’s birth. [Marilyn Monroe’s therapist Ralph] Greenson had organized this fund for psychoanalytic research in Los Angeles … I felt then, and still do now, that it is an exploitation of the emotional relationship with a patient to solicit money, in whatever form, directly or indirectly. It seems to me that the patient, or ex-patient, is in no position, emotionally speaking, to refuse … I find it wrong and morally distasteful" (Masson, 130).

A Monroe friend once stated that "I felt [Ralph Greenson] had a big ego, like a lot of doctors he wanted to be God, and of all the analysts in L.A. she found him. Inger Stevens was his patient too. She killed herself later" (Strasberg, 250).

As Greenson once claimed, "I can count [on] Marilyn to do anything I want her to do" (Wolfe, 422).
 
 

Works Cited

Brando, Marlon. Brando: Songs My Mother Taught Me. Random House, Toronto, 1994.

Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood. Crown Publishers. New York, 1988.

Good Housekeeping. "Marilyn Monroe." May 1993, pp. 162-163, 212-216.

Guiles, Fred Lawrence. Legend: The Life and Death of Marilyn Monroe. Stein and Day, New York, 1989.

Jordan, Ted. Norma Jean: My Secret Life with Marilyn Monroe. William Morris & Co., New York, 1989.

Kelley, Kitty. His Way: The Unauthorized Biography of Frank Sinatra. Bantam Books. New York, 1986.

Leaming, Barbara. Marilyn Monroe. Crown Publishers, New York, 1998.

Masson, Jeffrey Moussaieff. Final Analysis: The Making and Unmaking of a Psychoanalyst. Addison-Wesley, New York, 1990.

McDougal, Dennis. The Last Mogul: Lew Wasserman, MCA, and the Hidden History of Hollywood. Crown Publishers, New York, 1998.

Strasberg, Susan. Marilyn and Me: Sisters, Rivals, Friends. Warner Books, New York, 1992.

Summers, Anthony. Goddess: The Secret Lives of Marilyn Monroe. MacMillan, New York, 1985.

Wolfe, Donald H. The Last Days of Marilyn Monroe. William Morrow, New York, 1998.

 


The preceding text is excerpted and edited from When Victims Rule, online at Jewish Tribal Review. The title is editorial.

 

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The Parts Left Out of the Good Shepherd

Jolie, Damon, Good Shepherd

from:
High Times
November 2007

The Parts Left Out of the Good Shepherd

Hollywood recently released the first behind-the-curtain account of the creation of the Central Intelligence Agency and its relationship with a secret society at Yale University known as Skull and Bones. HIGH TIMES asked the world’s leading authority on the group to help us separate truth from fiction.

By Kris Millegan

I hope you are lucky enough to meet someone you trust. I regret to say. I haven’t.
Dr, Fredricks [Michael Gambon] in The Good Shepherd

The Good Shepherd is Robert De Niro’s effort to mine the dramatic materials at the very real-life nexus of secret societies, intelligence agencies and recorded history, apparently in an attempt to forge a Godfather-style franchise.

But one is left wincing at the thought of The Good Shepherd. Part II, given that the film begins and ends with the failed Bay of Pigs invasion and its aftermath, with the assassination of JFK and its attendant wilderness of conspiracy lurking just over the horizon, Will the "right people" end up washing the blood off their hands in a sequel, laying the action off on some mob operation gone rogue, which then had to be covered up for "the good of the country"? All just an honest mistake….

But I seem to be getting ahead of myself. I have often been asked. ‘What do you think of the movie The Good Shepherd? And the best response I could usually offer was: "Well. I haven’t seen it yet." I’d been aware of the film for several years, and followed its progress to the silver screen, but I don’t get out much. Then, finally, the DVD version of the film wound its way to our local store, and I picked up a copy to see what I could find. My first viewing brought up a host of indignant furies, all riled at the historical hubris of the tale and the simple fact that most of the characters in it and even the film’s central story of betrayal are amalgamations at best, and total confabulations at worst. Don’t get me wrong: I’m not saying that you shouldn’t watch this movie, As a matter of fact. I recommend it highly — but with caveats, as will soon become clear.

Similar emotions were probably experienced by the relatives of Mafia members when The Godfather came out: contempt for its errors, but still a satisfaction at seeing a film with some semblance of reality, accurately portraying the Mafia’s attitudes, atmosphere and activities while, at the same time, exposing a very tragic and very real group that plays by its own rules and affects us all … immensely. Being an intelligence brat. I can only speak about The Good Shepherd, but if you’re interested in the views of Mafia whelps. I suggest reading Mafia Princess by Antoinette Giancana, or maybe watching some Growing Up Gotti on A&E.

But then, my own dad wasn’t a big boss; he was just a lesser boss, someone who had been in some very interesting places at some very interesting times, which had given him an overview of the agency beyond the standard compartmentalization. The last overt job that my father, Lloyd S. Millegan, had with the CIA was serving as a branch chief, the head of the East Asia Research Analysis Office. Before that, he’d been in the Office of Strategic Services (0SS) and a few of the other alpha-named agencies that eventually morphed into the CIA. After his initial contact with the intelligence community in 1936. as an 18-year-old exchange student at the University of Shanghai. He joined the OSS before World War II. In 1943, he entered the world of deep politics, "monitoring" Gen, Douglas MacArthur and his staff for the OSS and its boss, President Franklin Delano Roosevelt.

Dad had many interesting adventures in those days, including running guerrillas and (ironically) getting sued by the Japanese government for his actions in sequestering the Japanese-puppet Filipino government’s library during the Battle of Manila, before the US troops arrived there in 1945.

My father quit the CIA in 1959. He’d already started toward the exit after a trip to South Vietnam in 1956, where he’d met an interesting real-life character named Edwin Lansdale, who could conceivably play a big part in The Good Shepard. Part II [assuming there is one], and who had recently taken control of the opium trade in the Golden Triangle, Dad started talking to me about all this in 1969, which led me to begin exploring a phenomenon that officially doesn’t exist: CIA involvement in narco-trafficking.

Which leads to my biggest beef with the film: Instead of touching on the CIA’s illicit drug-trade connections, now well documented as going back to the early postwar era, the story offers up the standard Hollywood-cliche mole maze, set against the disingenuous dialectic of the Cold War. Thus, the first major sin of The Good Shepherd is one of omission: no mention of the long-standing role that drug trafficking has played in the agency’s arsenal of "dirty tricks.”

Nonetheless, it is through the routine spy story that the movie interjects one of its greatest truths, albeit through the lips of a tortured Russian defector stoned on LSD:

Soviet power is a myth, a great joke. There are no spare parts; nothing is working — nothing. It’s nothing but painted rust. But you, you need to keep the Russian myth alive to maintain your military-industrial complex. Your system depends on Russia being perceived as a mortal threat. It’s not a threat. It was never a threat. It will never be a threat. It is a rotted, bloated cow.

How might this sobering fact be received by the audience, coming as it does from the mouth of an enemy agent tripped out on acid, appearing in a fictional film based upon an unreliable chronicle? Might it just covertly confirm the reality that many know to be true — but without causing the uproar that such a significant revelation should engender?

Around this real-life charade revolve some other themes of the movie, leaving us with an insight into Napoleon’s famous dictum: History is a set of lies agreed upon. For when even "honorable" men lie, who is trustworthy? What is real? Are our secrets safe? Do secrets give us safety? And at what cost?

My good friend Antony Sutton was ostracized from academia for uncovering the truth that forces in the West had been propping up the USSR since its inception, there even having been surreptitious Western help in producing the war materiel that was used to kill American soldiers in the Vietnam War. Tony demanded that the evidence he’d gathered be published. He was instead warned, "not to break his rice bowl." .

Finally, to force the issue, Tony released his own book. He was unceremoniously tossed out of the Hoover Institute at Stanford for this act of courage. His career was ruined, his family became estranged and his integrity was betrayed — but because of Sutton’s act of righteous defiance in 1973, there is cold, hard proof of what the psychedelicized Soviet agent sagaciously spouts in this 21st-century morality play.

Will the film’s revelation of this manipulation of public opinion — this strategy of tension, this "playing" of a false Soviet threat — be trumpeted, trumped or simply filed away among the many other "facts" of the day? For this speaks deeply to our common perceived reality and shared experiences — especially of boomers, who as young children were being shoved under desks for "protection," in a world about to be blown to smithereens … over ideology.

Antony Sutton paid the disgraceful price of being ridiculed by many, then ignored for the rest of his life. Deftly pigeonholed, his effort at speaking truth to power was sullied, entering the common discourse as per the Big Lie axiom: The truth must be available, but only in a way that makes it easily discarded.

Soon, the only place that a person could find Tony’s books was in a John Birch Society bookstore, which for most people immediately tainted what he had to say. Tony was never a member and abhorred the group. Interestingly, when researching the JBS, a person finds a very, convoluted history — one with spook fingerprints all over it. (Was part of the JBS’s operational capability to associate conspiracy research with the domain of wacky old white men concerned about precious bodily fluids, Commie boogiemen and such?)

Which leads us to another grim reality disclosed within this Hollywood fantasy: the very real manipulation of the Fourth Estate, and thus our collective civic understandings and abilities, by intelligence agencies, political hacks, corporate flacks and bureaucrats using propaganda techniques to spin "truth out of lies.”

In The Good Shepherd, the following is spoken by Phillip Allen (William Hurt] as he hands off the film’s protagonist, Edward Wilson (Matt Damon], to Wilson’s English handler in wartime 1941 London:

You are going to have to learn, and as quickly and thoroughly as possible, the English system of intelligence, the black arts, particularly counterintelligence — the uses of information, disinformation, and how their use is ultimately … power. They have agreed to open up their operations to us — they can’t win the war without us — but they don’t really want us here…. Intelligence is their mother’s milk, and they don’t like sharing the royal tit with people that don’t have titles.

Phillip Allen is clearly patterned, at least in part, after longtime CIA chief Allen Dulles, especially since, in the movie, Allen resigns — as Dulles did in real life — after the failed Bay of Pigs operation in 1961.

Philip Allen is also supposed to be a member of Skull and Bones’ class of 1912, and the top three guys at the agency in the movie are Bonesmen, which is historically inaccurate. This is not to say that Yale and its secret-society system — especially Bones — haven’t played a huge part in the structure and execution of our country’s intelligence operations, for they have, and of course Allen Dulles was part of this power establishment. So, even by Hollywood’s historical standards, this is in the right ballpark.

But for me, many features of Phillip Allen also evoke Bonesman Prescott Bush, the grandfather of the current Bonesman in the White House, and the father of another member of Skull and Bones: the former head of the CIA and ex-president, George HW. Bush.

For Prescott Bush was more than an investment banker for the Nazis (read: the creation of an enemy) who later became a US senator, partly through the suppression of the news that the companies he’d run had been seized in 1942 under the Trading with the Enemy Act. Prescott had begun working with the intelligence community during World War I, and he maintained those contacts until his death. Also, Prescott Bush raised money for — and was on the board of directors of — the CBS television network, which was founded by William Paley, the former deputy chief for psychological-warfare operations on the staff of Gen. Dwight D. Eisenhower.

And, probably most telling, Prescott — along with his son, Prescott Jr.; future CIA director William Casey; and corporate economist and intelligence gadfly Leo Cherne — founded the National Strategy Information Center (NSIC) in 1962. Some of NSIC’s early funding went to the London-based World Forum Features, which in turn circulated CIA-authored disinformation and manipulative news articles worldwide. They hoped that the "news" from these articles would subsequently be picked up and reported as fact by the US media, a process that spooks call "blowback."

Other material discrepancies in the film abound, such as putting the wrong dates on several scenes of historical fact; books appearing in the movie before their print date; and city buses full of people going to work on Sundays. And, as students of deep politics know, the real story of the Bay of Pigs is this: JFK went to bed the night before having given the okay for the necessary air support for the invasion. That directive was then "bungled" by presidential advisor and Skull and Bones member McGeorge Bundy, because the Bay of Pigs "invasion" was a planned debacle, leaving in place a convenient "enemy" to rattle fear in American souls and dollars out of the US treasury. It also gave operational cover for other adventures and tied an albatross around the new president’s neck.

The reality is much stranger than the fiction. In fact, the essence of this might be suggested by some words spoken by De Niro’s character, Gen. William ‘Wild Bill" Sullivan, the first director of the OSS: "I am concerned that too much power will end up in the hands of too few…. It’s always in somebody’s best interest to promote enemies — real or imagined." The reality has surpassed the cine-fiction. How far? Well….

"[M]en linked to the structures of United States intelligence" was how an Italian Senate investigation described the perpetrators of the 1980 Bologna train bombing, an act of terrorism that killed 85 people and injured over 200. The bombing was part of a series of actions carried out over many years in Italy, targeting the political left by essentially blaming and demonizing it for acts done covertly by agents of the right. The plan, part of Operation Gladio, sought to terrorize the populace into voting for strong right-wing governments in order to suppress the left.

"You had to attack civilians, the people, women, children, innocent people, unknown people far removed from the political game. The reason was quite simple: to force … the public to turn to the state to ask for greater security" was how Operation Gladio participant Vincenzo Vinciguerra put it later during his testimony to Italian authorities.

Operation Gladio, which was initially sold as a "stay-behind force" in case of the Communist takeover of Western Europe, was instead used for psychological warfare and political manipulation. Terrorism, assassination and subverting the electoral process were just a few of the deeds carried out using fascist elements, cult members, secret government agents, gangsters and covert military units.

Similarly, in Belgium, after large public protests over the nuclear-tipped missiles being based in their country, a "state security destabilization operation" was undertaken — as one participant called the series of mass killings in the mid-1980s dubbed the "Supermarket Massacres." Investigations by the Belgian parliament determined that the goal was to instill fear and discord, trigger repressive measures, and create the pretext for stricter state control. The killers were later linked to state security, neo-Nazi groups and even to Wackenhut, a firm with US intelligence ties.

Operation Northwood was another "false flag" terrorist operation, this time emanating from the Joint Chiefs of Staff and the US Department of Defense via a study-group report entitled "Justification for US Military Intervention in Cuba," The scheme was backed by the chairman of the Joint Chiefs, Gen. Lyman Lemnitzer, with the Joint Chiefs specifically supporting a proposal to down an aircraft supposedly carrying" college students off on a holiday,"

James Bamford, in his 2001 book Body of Secrets, wrote: "Operation Northwoods had the written approval of the Chairman and every member of the Joint Chiefs of Staff, called for innocent people to be shot on American streets; for boats carrying refugees fleeing Cuba to be sunk on the high seas; for a wave of violent terrorism to be launched in Washington, D.C., Miami, and elsewhere. People would be framed for bombings they did not commit; planes would be hijacked. Using phony evidence, all of it would be blamed on Castro, thus giving Lemnitzer and his cabal the excuse, as well as the public and international backing, they needed to launch their war,"

How much of our history is simply psychological warfare, including the traumatizing of the masses through fear, the creation of false enemies, media manipulation, electoral theft and other terrorist acts, all done as a means to an end?

"[A] mind-set that thrives on secrecy and deception … encourages professional amorality — the belief that righteous goals can be achieved through the use of unprincipled and normally unacceptable means," wrote ex-CIA officer Victor Marchetti in his book The CIA and the Cult of Intelligence. And my ex-CIA father, in a 1979 newspaper interview, stated: “When you work for the CIA, the ends justify the means."

Is that the brutal reality behind the horrific acts of Sept. 11, 2001? Was this watershed event a managed tragedy, an occult means to invoke repression and war? Are Osama bin Laden and Al Qaeda the strategic invention of yet another enemy in a long series of created malefactors? Is it possible for us to learn and then change the way of world from the enlightened dialogue of the silver screen?

Everything that seems clear is bent and everything that seems bent is clear. Trapped in reflections, you must learn to recognize when a lie masquerades as a truth….

—Dr. Fredricks, in The Good Shepherd

So, as the Romans used to say, caveat lector! Let the reader beware —or, in other words, pay attention, and don’t believe everything you read (or see, or hear). Please hearken to those words of wisdom, but do not attempt to pass a history exam having watched The Good Shepherd … at least in my class.

High Times

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Rosario Dawson Kills Evil Eye in Eagle Eye

Rosario Dawson - Eagle Eye

The best part of this crap film was when Agent Perez (Rosario Dawson) pokes out the all seeing eye of the supercomputer named ARIA. I think this movie was based on the Defense Advanced Research Projects Agency (DARPA) Total Information Awareness research program. Other than that, it’s a typical Hymiewood poop bomb where a young Jew (Shia Lebouf), uses chutzpah to save the day.

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