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The WEF plan for '15 minute cities' is already rolling out to keep you from driving and leaving a certain radius. Now cities in England and launching these new lockdowns. The fallout from the #twitterfiles continues with new reports of government collusion with executives at Twitter. Dutch farms are set to have their farms taken from them. We talk with academic research Ralph Schoelhammer about this tyranny. These videos are for entertainment purposes ONLY. IF stocks or companies are mentioned, we MAY have an ownership interest in them -- DO NOT make buying or selling decisions based on these videos. If you need advice, please contact a qualified CPA, attorney, insurance agent, contractor/electrician/engineer/etc., financial advisor, or the appropriate professional for the subject you would like help with. Linked items may create a financial benefit for our company. RESOURCE: https://rumble.com/c/Redacted

Johan Soderberg and Erik Pauser examine world culture, using multimedia art and flash-cuts of varied speakers and artists, all set to music. World culture gets the channel-flipping treatment in this oddly named docu, which has more in common with “Baraka” and “Powaqqatsi” than with regular travelogues or music-and-dance pics. Irreverent eclecticism is geared to computer-literate age groups, and it already has some buzz on the club circuit. Using the name Lucky People Center, co-helmers Erik Pauser and Johan Soderberg work as multimedia artists in Stockholm. In “International,” they apply their mixmaster mentality to cinema, slicing and dicing innumerable clips, shot over several years of intense world touring, into a bouillabaisse of art pieces, rapping rants, straight-on conversations and impressionistic images of urban flux. The flash-cut result is enough to send some viewers into mild catatonia (remember “Max Headroom”?), but when things slow down enough to let you hear from a good-natured Tibetan lama on the American fear of death or a bunch of tattooed Maori warriors chanting in unison about the evils of ATM cards, it drives home their point that the world has already left many people behind. Other highlights include Russian troublemaker Alexander Brener, seen reading poetry and throwing a brick through a window; gray-suited Tokyo banker Toshiji Mikawa, who moonlights as a screechy electronic performance artist; gorgeous Indian dancer Pragati Sood, in sacramental form; and New Mexico shaman Franklin Bearchild Eriacho, whose common-sense recipe for religion includes “no blind faith, but intelligent devotion.” These segs, united by thumping electro music provided by the helmers, seem to have little in common (except exhilaratingly varied, color-rich lensing), but themes of spiritual renewal and embrace of the strange keep coming up. Pic may look formless to over-40s, but it’s well-geared to MTV-saturated youth, especially those hungry for something positive but not Polyanna. Initial release: March 27, 1998 (Sweden) Directors: Johan Söderberg, Erik Pauser Running time: 85 minutes Producer: Lars Jönsson Music composed by: Bub Wehi, Dr. Nobody, Johan Söderberg, Erik Pauser, RESOURCE: http://www.imdb.com/title/tt0148428/ REVIEW RESOURCE: https://variety.com/1998/film/reviews/lucky-people-center-international-1200456135/

⁣⁣You’ve read the lies, now hear THE TRUTH Pink Floyd's Roger Waters EXPLOSIVE Interview Sets Record Straight Roger Waters sat down with Double Down News to set the record straight on him being ‘cancelled’ and addresses that he is not Anti-Semitic. He explainsthe themes used during The Wall theatrical bits in his currentThis Is Not A Drillshow andThe Wallshows from 1980/81,1990 and the 2010-2013 tour.

“Ayahuasca & the Path of the Shaman” is a 94 minute documentary that investigates the healing properties of the Peruvian Plant Medicine, Ayahuasca. Driven by a need to heal from his own depression, Dave, travels from his home outside Vancouver, Canada, to Peru in search of this spiritual plant, where he eventually is taught by a Shipibo Master how to work with it. The film's narrative unfolds through a series of storylines: We follow Shannan, as she begins her journey with Dave and this medicine, uncovering child-hood trauma buried deep inside her sub-conscious. We hear from Lisa, a recovering heroin and crack addict that worked as a prostitute in the streets of Toronto. We also hear from Gabor Mate, whom through talk therapy, helps participants uncover how their experiences with Ayahuasca relate to their daily lives. And finally we hear from Libby. Who starts her journey with this plant by leaving a suicide message on her phone that thankfully never gets delivered.

This documentary follows Aubrey Marcus and company through a powerful Ayahuasca ceremony at Spiritquest Sanctuary in Peru. Under the guidance of Don Howard and his team of ayahuasca shamans, Aubrey and his tribe experience deeply vulnerable transformational experiences. This beautifully cinematic journey is directed by Mitch Schultz, the director of DMT the Spirit Molecule, with an original soundtrack by Poranguí. Aubrey first began speaking about Ayahuasca on the Joe Rogan Experience podcast in 2011. Since then he has appeared in dozens of other documentaries and media outlets commenting on Ayahuasca. The documentary seeks to help the viewer answer the following questions for themselves: What is Ayahuasca? What is it like to take Ayahuasca? What visions do you have while on Ayahuasca? What emotional breakthroughs occur during an Ayahuasca ceremony? Should I take ayahuasca? Let me know your thoughts in the comments?

Moment of Contact is an exploration of extraterrestrial encounters, this one centered on a series of events in 1996 when citizens of Varginha, Brazil, reported seeing one or more strange creatures and a UFO crash. A number of locals, including a group of girls ranging in age from 14-21, had a close encounter with a being described as about 4 feet tall, with brown oily skin, a large head and huge red eyes. The town of Varginha was cordoned off by military and emergency response teams and two creatures were captured. Local military policeman Marco Cherese died under mysterious circumstances after allegedly handling one of the creatures. Fox’s documentary features interviews with key eyewitnesses, experts and officials including nuclear physicist and professional ufologist Stanton Friedman, Brazilian Air Force General Jose Carlos Pereira, and Brazilian ufologist Ademar Jose Gevaerd.

What’s it like to be cajoled, threatened and blackmailed by a sexual predator who has power, history and society on his side? Untouchable: The Rise and Fall of Harvey Weinstein (BBC Two), directed by Ursula MacFarlane, is a film of halting testimonies, long pauses, lips pressed tightly together and eyes filling with tears. Of women struggling to articulate what they have left unsaid sometimes for decades, and what has gone unsaid by our sex – en masse – throughout history, until now. You probably know the basic story – by osmosis if nothing else - so heavily was themedia mogul’s eventual fallcovered when the weight of evidence finally became too much for a man of even his resources to withstand. It shows the uniformity of the women’s responses to suddenly finding themselves in terrifying situations MacFarlane tells the story well. She gives due recognition to the journalists, especially Megan Twohey and Jodi Kantor, who broke the story in the New York Times, and Ronan Farrow’s gathering of 13 witness accountsin the New Yorkerafter painstaking investigations. But, like Dream Hampton’sSurviving R Kelly, Untouchable prioritises the victims’ stories (regardless of their personal celebrity or lack thereof – here “names” such as Rosanna Arquette simply slip in next to those without public profiles) and fills in the perpetrator’s to explain his relative power or position at the time. As with the R Kelly film – thought to have been instrumental in the R’n’B star’s latest arrest on federal sex trafficking charges – a pattern of predatory behaviour emerges, painted stroke by painful stroke by those who found themselves first charmed and cajoled by one version of Weinstein, then confronted with a very different one behind closed doors. Whether we should be profoundly glad, deeply sad or simply exhausted to be living in a time where “examination of the lives of serial sexual predators unmasked after years of hiding in plain sight” is on the verge of becoming a recognised TV genre, let alone one taking up the slack left by uninterested police and legislative forces, I leave to you to decide. But we are where we are. Which is, waiting to see who gets their Jeffrey Epstein production off the blocks first. Beyond a specific modus operandi – Weinstein’s involved hotel suites, towelling robes, forcible massages, volcanic rage and threats such as: “Do you really want to make an enemy of me for five minutes of your time?” – as an insight into one man’s apparent prelude to rape or assault (Weinstein denies all claims), such documentaries render a more valuable service in demonstrating, relentlessly and unavoidably, two things. The first is how perfectly our world is built for predators to function. Of Weinstein’s staff who admit they knew something – something – was happening, a common refrain is that they assumed “some sort of agreement” had been reached between the would-be actors and the mogul. If you live in a society that already believes in the casting couch, because the concept of young women as more-or-less sexual resources to be exploited is so embedded in the psyche, half your work – to normalise your predilections, to secure complicity – is done. With the likes of the gossip columnist AJ Benza out there – “You put a light on the porch,” he says of Weinstein’s power, “you’re gonna get a lot of moths” – the world is yours to do with as you will. The second, perhaps even more valuable, service it renders is to show the uniformity of the women’s responses to suddenly finding themselves in terrifying situations, and how far they deviate from “common sense” or “natural” expectations (words defined almost entirely by men, who have least need of them). They don’t fight. They compute their chances against a much taller, heavier opponent (“He’s huge, you know,” says Hope d’Amore, who worked for him in the early days and says she was assaulted in 1978) and they go still. “The freeze thing kicks in,” says the actor Caitlin Delaney. “You just want it to be over.” They maximise their chances of survival (“I felt leaving would be worse,” says actor Erika Rosenbaum, when she saw a smashed and bloody toilet seat in his bathroom) and try and leave in other ways instead. Actor Paz de la Huerta remembers “hovering over my body” as, she says, Weinstein raped her. “I definitely went somewhere else,” says Delaney. Rosenbaum remembers hoping that if she kept still enough she would somehow disappear. Almost every woman watching will understand. Some men will, too. If these films add to their number, maybe we can begin to change the world. REVIEW RESOURCE: https://www.theguardian.com/tv-and-radio/2019/sep/01/untouchable-rise-fall-harvey-weinstein-review-films-like-this-change-the-world

Based upon the book by Mary Gray. Mary Gray was born in Paris in 1886. She knew many of the outstanding leaders of thought in Europe and America. She was a member of the Theosophical Society. What the book is about?
This book was written in 1925 and shows why spiritual growth is sometimes gained through the darkest times in our lives. Sometimes we must just accept the pain of living along with the joys in our lives and know they both come from God and make us stronger. Life is a journey, a struggle at times but worth every minute and I am thankful for the people that help us through it.

Journalist Whitney Webb has worked to uncover some of the most dangerous stories of our lifetime, and she joins Glenn to reveal just how eye-opening it’s been. Her new two-volume book, “One Nation Under Blackmail: The Sordid Union Between Intelligence and Crime that Gave Rise to Jeffrey Epstein,” examines Epstein’s elaborate network of corruption and power, from Bill Clinton to Ghislaine Maxwell and many more. Her research into transhumanism has given her a terrifying perspective on the World Economic Forum and tech elites, including Elon Musk. And she tells Glenn the dark truth about Biden’s push for electric vehicles that she noticed while living in Chile. Take look Whitney Webb’s website here: https://unlimitedhangout.com

Filmmaker Morgan Spurlock features as the guinea pig in this film about the fast food industry. Inspired by America’s obesity epidemic, he goes on a diet of McDonald’s three times a day for thirty days straight in order to examine the effects of fast food consumption on the body and mind. The effects of the trial are harrowing: His body mass increases by 13%, his cholesterol levels skyrocket, fat accumulates in his liver, and he experiences mood swings and loss of libido. Super Size Me will completely change the way you think about eating and living. Super Size Me accomplishes the feat of being both entertaining and horrifying. It investigates how the fast food culture in American schools, corporations and politics is driving nationwide obesity. In between meals, Spurlock drives across the country and interviews a host of health and nutrition experts, lawyers, school workers, and a surprisingly trim man who has eaten over 19,000 Big Macs yet maintains a healthy cholesterol level. We also meet an industry lobbyist who states that consumers need to be educated about nutrition and perplexingly proclaims that “we’re part of the problem and part of the solution”. The film investigates the industry’s political lobbying and advertising campaigns. We learn about some of the disturbing strategies McDonald’s uses to acquire customers. It is particularly effective at getting children hooked at an early age through mediums they love, such as birthday parties, toys, clowns and playgrounds. In certain areas, the McDonald’s playground is the only one the community has. In one of the most shocking scenes of Super Size Me, Spurlock shows pictures of Jesus, George Washington and Ronald McDonald to a group of first graders, and Ronald is the only one that all of them can identify. Spurlock is a likeable host, both witty and engaging. Despite his criticism of the fast food industry, he does not place the blame solely on corporations, and at one point asks the rhetorical question of where personal responsibility stops and corporate responsibility begins. Towards the end of the experiment, he is a changed man. The exuberant and healthy host we meet at the beginning of the film has transformed into a puffy, weary and depleted man. He has experienced first-hand the damaging effect of junk food on the nation. All in all, Super Size Me is a fascinating and informative insight into the fast food industry and its link to the American obesity epidemic.