Engineering Global War and Inequality: Globalists Are for the Profit and Power of the 1%

Elitist GLobalist Connections

global banking crime does pay

The CFR Media Empire
The Council of Foreign Relations, The Bilderberg Group and the Trilateral Commission Control the Entire Mainstream Media

Globalists Are Telling Us Exactly What Disasters They’re Planning for The Economy

Brandon Smith July 3, 2018

…”who are the “globalists”? There’s really no secret to it: ANY person or institution that promotes the philosophy of global centralization of economic or political power into the hands of a select few is probably globalist.

There is no specific nationality, ethnic group or religious group that makes up the globalist hierarchy. They come from every part of the world and from every conceivable background. They have their private clubs like the Bilderberg Group and the Bohemian Club. They also have their own institutional frameworks, like the Council on Foreign Relations, the Trilateral Commission, the Tavistock Institute, the International Monetary Fund, the Bank for International Settlements, etc. But, these are all distractions and misdirections.

The core of their organization is the desire for total power, built upon full blown narcissism and sociopathy leading to naive notions that godhood, for them, is attainable.”….

Read More: https://www.birchgold.com/news/globalists-are-telling-us-what-disasters-theyre-planning-for-the-economy/

Hippy and Drug Cultures Were Manufactured by the CIA to Derail the Anti-War Movement

Weird Scenes Inside the Canyon

Manufacturing the Deadhead: A Product of Social Engineering… by Joe Atwill and Jan Irvin

By Joe Atwill and Jan Irvin
May 13, 2013

In 2012 Jan Irvin made an important discovery.  In the course of re-publishing The Sacred Mushroom and the Cross by the Dead Sea Scrolls scholar John Allegro,[1] Irvin had been researching the letters of one of Allegro’s most prominent critics, Gordon Wasson, at various university archives (including Princeton, Yale, Columbia, Dartmouth, and the Hoover Institute at Stanford) when he came across primary documents–letters actually written by Wasson–showing that he had worked with the CIA.[2]

Though Gordon Wasson was both chairman for the Council on Foreign Relations and the Vice President of Public Relations for J.P. Morgan Bank, he is most famous as the individual who “discovered,” or more accurately popularized, magic mushrooms. An article in Life magazine described fantastic visions and experiences Wasson claimed to have had while under their influence (see Life, May 13, 1957 – Seeking the Magic Mushroom). Wasson’s claims were the first description of the effects of psilocybin (“magic”) mushrooms presented to the general public.

Irvin saw troubling implications in his discovery. He was aware, of course, of the CIA’s infamous Project MK-ULTRA, in which the organization had given LSD to unsuspecting U.S. citizens. He also knew of the many conspiracy theories claiming that the government has been somehow involved with the creation of the “drug culture.”  He was also aware of Dave McGowan’s research on the drug and music movement that had come out of Laurel Canyon in the 1960‘s, which showed that many of the “rock idols” who created it were the children of members of military intelligence.[3]

So the fact that a member of the CIA had also been involved with the discovery of Psilocybe mushrooms fit into a large collection of troubling linkages between the American government and the drug culture that emerged during the 1960’s. Irvin decided to do further research into the government’s involvement with the “psychedelic movement”.  An obvious question he hoped to answer was: Had Wasson been somehow involved with MK-ULTRA?

During this research, Irvin came in contact with another scholar, Joe Atwill. When comparing the results of their research, Irvin and Atwill developed a theory about the origin of the psychedelic movement of the 1960’s: The “counterculture” had been developed by elements within the U.S. government and banking establishment as part of a larger plan to bring about a new Dark Age; or, as it was marketed to potential victims, an ‘archaic revival.’[4]

Read More: https://logosmedia.com/manufacturing-the-deadhead-a-product-of-social-engineering-by-joe-atwill-and-jan-irvin/

Proof Popular Culture is Engineered by the Military Industrial Intelligence Complex

You’ve heard of Operation Mockingbird, that was the program by the CIA to gain control of the mainstream news media…

This book details the CIA’s psychological warfare in the world of art and music.  

They claimed they were fighting communism, but what they already knew that the Soviet Union was a paper tiger, that had been founded and propped-up by Wall Street and the Western Banking system? 

If not to fight Communism, then why invent things like “Abstract Expressionism?”

Could it be they were using MK Ultra-like strategies to  confuse and shatter a civil society that would resist living in a police state? 

Theories aside, this is proof that our popular culture was engineered by the Military Industrial Intelligence Complex.

Piss Christ National Endowment

The Cultural Cold War: The CIA and the World of Arts and Letters

The Cultural Cold War

Drawing on recently declassified documents and extensive interviews, Saunders has assembled a captivating, authoritative history of the CIA’s secret campaign to turn American art into anti-Soviet cultural propaganda.

Mindful of the western European intelligentsia’s fascination with Marxism, the CIA gave millions of dollars to American arts organizations, largely through a front group called the Congress for Cultural Freedom, which lasted until 1967; at its peak, “it had offices in 35 countries…, published over 20 prestige magazines, held art exhibitions…, organized high-profile international conferences, and rewarded musicians and artists with prizes and public performances.”

“Sometimes wittingly and sometimes not, artists and intellectuals–from Aaron Copland to Leontyne Price, W.H. Auden to Gertrude Stein–were recruited as soldiers in this “psychological warfare” against communism.

Saunders, an independent film producer who lives in London, points out that this now-unthinkable cooperation from major artists and producers was possible because the CIA hadn’t yet acquired the sinister reputation it gained in the ’60s, when its covert, and often bungled, international actions became publicly known.

The only flaw in this thoroughly documented book, which has been shortlisted for the London Guardian’s First Book Award, is that the story is so richly convoluted that occasionally the larger drama gets lost in its overwhelming details.

Indeed, an entire book could have been made of the chapter explicating the CIA’s marketing of abstract expressionism (a surefire way to wow impressionable European aesthetes tired of socialist realism).

Nonetheless, this well-researched work remains a must for art historians interested in how the American avant-garde thrived during the McCarthy era. B&w photos. (Apr.) Copyright 2000 Cahners Business Information.]

Read the Whole Book: http://www.thedivineconspiracy.org/Z5286U.pdf