Martin Luther King was not concerned about percentages when he took to the podium because the people he cared about were the ones in danger of losing their souls.   This essay is for those who have done enough work on my topic to realize that I’m right and that I have tried to provide a strong basis for follow up. One of the serious problems with our 60’s leadership, as much as King and Kennedy loved each other, which is obvious despite all the tripe, is that they didn’t chose effective successors.   We were left standing naked before the spitballs of alien derision.

     Looking honestly at the required material, such as LIFE publications arranged by Kennedy assassin Claire Boothe Luce and such attaches as Nancy Moore, you note by now that the human trafficking dimension was encrypted by John Wayne, London Johnson and Reagan.   You also know that there were blacks in the planning division of the AIDS attack. In reviewing this material, I will pave the way to my current doorstep about the political situation in the Seattle area where there is plenty of corroboration and a ton of sickening bully politics.

     In familiarizing yourself with the AIDS attack a returning question is who has barred the way so efficiently and for so long?   Two of the principles were Prime Minister Nakasone of Japan, in power at that time, and Oliver Stone. Nakasone, while droning about the godsend of the plague considering life support for poorer, overpopulated countries, Stone confiscated JFK’s mystery as a suitable conjob for serpent trust, and out of the magician’s hat popped Obama.  Who has barred the way? Jesse Jackson and the NAACP, a point this essay will explore in context.

       Back when the crime was being organized, Hitler in power in Germany, Reagan in Hollywood with Disney and Company, the muses were arguing whether America could be used in the manner they intended and refer to in the fluxus allusions of text from Casablanca.  In noting how they hid these matters, it would help to understand pure cinema and research concerning the early cinema of Japan. All that is left to show the dawn of Japanese cinema are a few scripts and notes about black and white silent films from an age that did not use scripts, hence the scripts are very rare.   Writing in sound precludes understanding in some ways, because the study of textual meaning requires seeing the words. A person doesn’t understand until they see them.

       The argument put forward that Hitler’s dictatorship could not happen in America extends to the concept that we are better than them, that we have democratic heritage.  Reagan scoffed at this idea. He obviously believed that we were easily stampeded and that the only reason we had any sort of values was because our leaders were telling us to behave according to their Harvard notions of value and morality, and if the leaders told us the opposite we would do the opposite.  

       What went wrong with black America is easy enough to explain.   The set-up for their franchise of involvement is also shown in Casablanca.   Before I detail that evidence and scheme, which was fulfilled, and the fact that it was fulfilled serves to profoundly aggravate the suppression, and another role of Nakasone, I want to show a foreground screenplay ongoing that illustrates loudly a needed luminosity.  The fact that King Crimson were trusted about James MacRyland Crary, and how they were backed up by the Confederacy of organized crime on the level of our casino shark University system proves, and I will show how, that mass accomplice was involved in the AIDS attack understand the steering committee of the perpetrators led by the Beatles and Crown of England.   

      King Crimson made the carrot tape at CMU, but before they did that they were running errands about found art to make it look tricky that they found the script that they wrote and knew where to look, appealing by this nasty public masquerade in getting people behind them, including the groups appointed to protest for the victims, in such a way as to manufacture not only consent but collusion so as to parade the culpability of the people who clearly accepted the lie knowingly by giving them the naked clothes of plausible denial.   King Crimson ran around that semester with a stupid song about Frame Analysis in which their pedestrian super-ant Adrian Belew coughs that he was stupendously brave walking ordinary streets in terror of his own shadow with a tape recorder. The sequence of events he supposed recorded makes obvious the vicious satire of their Hitlerian sale. He claims that the tape machine was taken away from him, rewinded, played back by thieves, and that he immediately caught what they said on the tape. That’s clearly impossible if they had the machine and were playing it back after rewind.  So King Crimson are liars, announcing their fraud and commanding the bloodthirsty mob to hail them in their art statement. The enormity of what they pulled against me should dawn on you.

        Oliver Stone’s simple con game had the support of Nakasone who was in on the plan created by the Elders and African National Congress of announcing that Zappa had taken charge of free speech and that it would no longer be allowed.  Anyone who told the truth about AIDS was using the N-word and be shown to the Exit door of eternity. Many innocent people died as human sacrifices as England debased the coin of the realm known as the right to exist. Because the Beatles were the ringmasters, playing a game of spinning the mirror, it was ruled that the war crime has special criminal insanity about it.

        The murderers have opened up in online fluxus to admit they created a rape frame war game in promotion of the AIDS attack to make money for Yoko Ono through Warhol.  They don’t trouble to deny that they had no case, knew it, and don’t believe it themselves. They took a hostage, murdered innocent people, and are commanding the airwaves.   They’ve even snickered that if they make enough money on their war crime they may let me go. Don’t count on it. The assassins created a perpetual slander machine in partnership between John Lennon and the Japanese pornography corporations.  They used our college Honors Code as a machine for entrapment and enforcement of libel. They were given permission. Just like JFK it was a cheap win, bullet cheap, and Nov. 22, 1963 was shrugged off as it always is as the day when dog ate dog.

        Hate is fiendishly clever and sometimes gallingly simple.   Political correctness was structured for conformity in an evil plan.   For black Americans the idea of reparations has come to mean that crime isn’t crime.   It exonerates them from all acts of human conscience. Not surprisingly not only does Yoko Ono encourage this anthem, but it appears in Casablanca when the Arabian human trafficker asks Sam to leave Rick.   Sam, degraded and cartoon, says no, not for twice the gold. You could construe that as a black morality affair, even in their condition of being prejudiced against they still won’t sink to human trafficking, but the message cuts the other way, their only way out is human trafficking, and some day they will tilt the other way, why not, Sam?   Myuh. Here HitlerReagan uses a device again we have seen in Guns of Navarone where Peck says, “Those are our boys,” and Nazis are seen jogging down the steps. In Casablanca a woman looks to the skies as a plane comes down, and says, “Maybe tomorrow we’ll be on that plane,” and lo, it is a Nazi plane.

       Further in Casablanca the supposedly trusty guy sees a doublecross ring, his eyes light up and his forehead is given a Karloff scratch.   In King Edward’s idea of the aristocracy of talent there were originals and imitators or doubles, scrambling over each other in imitation, and grossly unneeded to the Elizabethean elect.