The Obama Deception is a hard-hitting film that completely destroys the myth that Barack Obama is working for the best interests of the American people.
The Obama phenomenon is a hoax carefully crafted by the captains of the New World Order. He is being pushed as savior in an attempt to con the American people into accepting global slavery.
We have reached a critical juncture in the New World Order's plans. It's not about Left or Right: it's about a One World Government. The international banks plan to loot the people of the United States and turn them into slaves on a Global Plantation.
Covered in this film: who Obama works for, what lies he has told, and his real agenda. If you want to know the facts and cut through all the hype, this is the film for you.
Watch the Obama Deception and learn how:
- Obama is continuing the process of transforming America into something that resembles Nazi Germany, with forced National Service, domestic civilian spies, warrantless wiretaps, the destruction of the Second Amendment, FEMA camps and Martial Law.
- Obama's handlers are openly announcing the creation of a new Bank of the World that will dominate every nation on earth through carbon taxes and military force.
- International bankers purposefully engineered the worldwide financial meltdown to bankrupt the nations of the planet and bring in World Government.
- Obama plans to loot the middle class, destroy pensions and federalize the states so that the population is completely dependent on the Central Government.
- The Elite are using Obama to pacify the public so they can usher in the North American Union by stealth, launch a new Cold War and continue the occupation of Iraq and Afghanistan.
An examination of the causes of the global economic crisis which began in 2008, studying how decades of social changes have influenced financial systems and practices.
Also see "The Obama Decption" https://youtu.be/3xgdPJSr6SY
The Biggest Psychological Experiment in History Is Running Now
What can the pandemic teach us about how people respond to adversity?
By Lydia Denworth https://www.scientificamerican.com/interactive/the-biggest-psychological-experiment-in-history-is-running-now/
Clip from https://youtu.be/4QR1wKX-LNM
High On The Har founder Dr. Melissa Jane Kronfeld discusses the fight for equal rights and access on the Temple Mount at the 2023 Temple Mount Jerusalem Conference, hosted at the Menachem Begin Heritage Center, alongside special guests Rabbi Yehudah Glick, Pastor Glenn Plummer, musician Yair Levi, filmmaker David Kiern, journalist Adam Eliyahu Berkowitz, Cry for Zion's Doron Keidar and John Enarson, HaYovel and The Israel Guys.
Ukraine Can’t Win War Against Russia: Hungary’s Orban
Qatar Economic Forum
May 23rd, 2023, 12:02 PM GMT+0300
Prime Minister Viktor Orban says Hungary is not part of the “mainstream” European Union approach to Ukraine as he explains the country’s opposition to providing aid to Ukraine. He spoke with John Micklethwait at the Qatar Economic Forum in Doha on Tuesday. The government of the State of Qatar is the underwriter of the Qatar Economic Forum, Powered by Bloomberg. (Source: Bloomberg)
Rabbi Leo Dee: 'I hold no hatred, most Palestinians are good people'
Dr. James Lindsey gave a speech at the European Parliament in March where he outlined how woke culture which includes critical race theory, the LGBTQ movement, and the push for equity are all Westernized tentacles originating from Marxism with a Maoist overlay that concentrates on division between young and old generations. An American-born author, mathematician, and political commentator, Dr. James Lindsay has written six books spanning a range of subjects including religion, the philosophy of science and postmodern theory. Dr. Lindsay is the Founder of New Discourses, an organization dedicated to shining the light of objective truth in subjective darkness.
SEE MURRAY N. ROTHBARD'S "Roots of Marxism: Messianic Communism"
LISTEN TO THESE AUDIO BOOKS AND BE MORE ACCURATELY INFORMED THAN MOST PEOPLE YOU KNOW OR ARE LIKELY TO KNOW. #HUMANITYFIRST
For more truthful information about Israel's judicial reform visit: https://legal-reform.org.il/en
Clip from a 2022 series based on William Gibson's "The Jackpot" trilogy. The book describes the jackpot as an “androgenic, systemic, multiplex” event that has no beginning or end. It is hard to pinpoint when exactly it started because it wasn’t just one cataclysmic event that changed everything. It was a group of events, happening simultaneously or in succession that led to a lot of deaths and a steep downfall in the population. In an interview with Wired, Gibson commented about the slow death of the world in his novel. “It posits an apocalypse that takes centuries to get rid of us. We don’t seem to have any cultural wherewithal to deal with that. We usually think of the apocalypse as though it’s the ultimate bad day,” he said. Considering the current situation of the world, he let go of his optimism of a better world in the future, saying that after reaching a certain age, sci-fi writers tend to acquire the “everything is going to hell in a hand basket” perspective. “All my life I’ve been writing myself reminders not to do that. But now I look around, and for the first time it’s true,” Gibson added.
SEE HEINLEIN'S SHORT STORY "THE YEAR OF THE JACKPOT" https://en.wikipedia.org/wiki/The_Year_of_the_Jackpot
Q.V. ROCKEFELLER 2010 LOCKSTEP https://archive.org/details/the-annotated-rockefeller-foundation-lockstep-2010
"Lockstep," described a fictional pandemic that would infect 20% of the world in 2012, killing eight million people in just seven months.
“CNN This Morning” anchor Kaitlan Collins will moderate the event at St. Anselm College, which will air at 8 p.m. ET on May 10 and will feature President Trump, taking questions from New Hampshire Republicans and undeclared voters who plan to vote in the 2024 GOP presidential primary.
This will be Trump’s first appearance on CNN since the 2016 presidential campaign.
Patriot News Outlet Live | America First News & Politics
Sign Up For Our Free, Never Spammy, Newsletter!
Der Ring des Nibelungen, or the Ring cycle, plays a central role in the development of antisemitism that led to the Shoah. Based on legends of German heritage and mythology, Wagner tells the story with the orchestra, using leitmotifs—fragments of melody that convey emotions and themes as they recur in varying contexts. It is even possible for the orchestra to convey ideas that are hidden from the characters themselves—an idea that later found its way into film scores.
Fort Worth, Texas April 28-30, 1990 http://1stcovenant.com/articles/BNhistory.htm
In August of 1989, Vendyl Jones, the founder of the Institute of Judaic-Christian Research (now known as Vendyl Jones Research Institutes), consulted with the primary leading figures among those who, not too many years earlier, had begun to refer to themselves as B'nai Noach. He sent out a letter of appeal to the Chief Rabbinate of Israel, leading rabbis, and Jewish scholars to recognize, to give aid, and to assist a fledging B'nai Noach Movement.
This appeal was first answered by Rabbi Mordechai Eliyahu, then one of the two Chief Rabbis of Israel. With his blessing, on April 28-30, 1990, the First International Conference of the Descendants of Noah, B'nai Noach, was held at the Tarrant County Convention Center Arena in Fort Worth, Texas.
Catherine Austin Fitts with Ilana Rachel Daniel reporting on transhumanism and the continued push for centralized control on ‘Good Morning CHD.’ She sits down with Catherine Austin Fitts to dive deeper into these topics and their implications on our lives. Watch the episode on CHD.TV!
Read more: https://live.childrenshealthdefense.org/chd-tv/shows/good-morning-chd/israel-leading-the-way-to-transhumanism/
'Frankenstein Future': Israel's Bio-Convergence Program and the Merging of Biology and Engineering
EPPS's argument: I wasn't doing what you see me doing in the video and anyhow you're trying to destroy me.
Like Chico, disguised as Groucho, says https://youtu.be/cHxGUe1cjzM -- Desperate Ray Epps Enlists Notorious Dem-Clinton Operatives to Threaten Tucker and Revolver News for J6 Reporting https://www.revolver.news/2023/03/desperate-ray-epps-enlists-notorious-dem-clinton-operatives-to-threaten-tucker-and-revolver-news-for-j6-reporting/
Mar 07, 2023 Source: https://freedomlibrary.hillsdale.edu/programs/cca-iv-big-pharma/what-s-in-the-pfizer-documents
Naomi Wolf CEO, The Daily Clout -- The modern pharmaceutical industry has in many ways proved itself a great benefit to mankind, making health- and life-saving drugs and vaccines widely available. But its reputation has come under attack in the wake of America’s opioid epidemic and the COVID pandemic. This fourth and final CCA of the 2022-23 academic year will consider the rise of Big Pharma, its role in the declining state of American health, and ideas for reform.
"If you learn how to rule one single man's soul, you can get the rest of mankind. There are many ways. Here's one. Make man feel small. Make him feel guilty. Kill his aspiration and his integrity. Preach selflessness. Tell man that he must live for others. Tell men that altruism is the ideal. Not a single one of them has ever achieved it and not a single one ever will. Man realizes that he's incapable of what he's accepted as the noblest virtue — and it gives him a sense of guilt, of sin, of his own basic unworthiness. You've got him. He'll be glad to obey — because he can't trust himself, he feels uncertain, he feels unclean. That's one way. Here's another. Kill man's sense of values. Kill his capacity to recognize greatness or to achieve it. Don't deny the conception of greatness. Destroy it from within. Laughter is an instrument of human joy. Learn to use it as a weapon of destruction. Turn it into a sneer. Don't let anything remain sacred in a man's soul — and his soul won't be sacred to him. Kill reverence and you've killed the hero in man. Here's another way. This is most important. Don't allow men to be happy. Happiness is self-contained and self-sufficient. Happy men have no time and no use for you. Happy men are free men. So kill their joy in living. Take away from them whatever is dear or important to them. Make them feel that the mere fact of a personal desire is evil. Bring them to a state where saying I want' is no longer a natural right, but a shameful admission. Altruism is of great help in this. Everything enjoyable, from sex to ambition to the profit motive, is considered depraved or sinful. Just prove that a thing makes men happy — and you've damned it. That's how far we've come. We've tied happiness to guilt. And we've got mankind by the throat. You must tell people that they'll achieve a superior kind of happiness by giving up everything that makes them happy. That's the oldest one of all. It stands to reason that where there's sacrifice, there's someone collecting sacrificial offerings. Where there's service, there's someone being served. The man who speaks to you of sacrifice, speaks of slaves and masters. And intends to be the master. I said, 'It stands to reason.' Do you see? Men have a weapon against you. Reason. So you must be very sure to take it away from them. Cut the props from under it. But be careful. Never deny anything outright. Just say that reason is limited. That there's something above it. What? You don't have to be too clear about it. You tell him he must not try to think, he must feel. He must believe. Suspend reason and you play it deuces wild. Anything goes in any manner you wish whenever you need it. You've got him. Can you rule a thinking man? We don't want any thinking men."
Phonology is the linguistic study of sounds, or phonemes. Bernstein's application of this term to music results in what he calls "musical phonology", To describe musical phonology, Bernstein first explores monogenesis, the hypothesis of a single, common origin for all languages. Bernstein's linguistic example for this is the prevalence of the sound "AH" (p. 11). He makes a case for musical monogenesis through the use of the harmonic series. Bernstein uses a low C as an example to show how a note contains overtones, or higher pitches that sound simultaneously. Using this concept, he relates the harmonic series to tonality in several ways. First, he notes the relationship of the fundamental pitch, in this case a C, and its second overtone, in this case a G (the first overtone is an octave). These pitches make up the tonic-dominant relationship fundamental to the system of tonal music. Continuing to identify the overtones, he points out that the fourth overtone, the next pitch whose class differs from that of the fundamental, is two octaves plus a major third above the fundamental. The overtones C, G, and E comprise a major triad. Moving on to later overtones, A (it's actually somewhere between a well-tempered A and B-flat, but A is the usual choice), he constructs a major pentatonic scale. This scientific aspect of pitches, Bernstein says, makes music universal, or a "substantive universal" (p. 27). Although he still supports the idea of musical monogenesis, he identifies Chomsky's innate grammatical competence as a theory especially applicable to music.
Syntax refers to the study of the structural organization of a sentence, or as Bernstein summarizes, "the actual structures that arise from that phonological stuff" (p. 9). In addition to syntax, lecture 2 relies on Chomsky's theory of universal grammar, which states that innate mental processes take place to transform sounds and words into meaningful structures. The theory seeks to explain the transformational processes small units of language take to become larger structures. Grammar is a key aspect in this process, because through the use of underlying grammatical rules, the mind is capable of combining phonemes into syntax. These resulting syntactic structures include linguistic material such as words, clauses, and sentences.
The transformational process can be represented by a transformation from deep structure to surface structure. Deep structure comprises underlying phonemes and word parts, while surface structure is the spoken sentence.
To demonstrate the innovations transformational grammar has provided linguistics, Bernstein diagrams the sentence "Jack loves Jill" (p. 67). The diagram shows the underlying processes transforming the bottom row, or deep structure, into the spoken words, or surface structure.
Although this transformation is innate, it requires many complex subtleties of language. Examples of transformational processes in language include passive transformation, negative transformation, interrogative transformation, and pronominal substitution.
Semantics is the study of meaning in language, and Bernstein's third lecture, "musical semantics", accordingly, is Bernstein's first attempt to explain meaning in music. Although Bernstein defines musical semantics as "meaning, both musical and extramusical" (p. 9) this lecture focuses exclusively on the "musical" version of meaning. The following lectures will examine extramusical associations more extensively.
Bernstein proposes that the meaning of music is metaphorical. A metaphor is a statement equating two unlike things, or "this equals that" (p. 123). Bernstein's recurring example for metaphor is the sentence, "Juliet is the sun." He creates an unabridged sentence to explain this metaphor: "The human being called Juliet is like a star called the Sun in respect to radiance" (p. 124). Through the process of deletion, he arrives at the original statement, "Juliet is the sun." Bernstein identifies metaphors, and thus deletion, as a source of beauty.
Transformations in music involve somehow changing a melodic pattern in a variety of ways. To better understand musical metaphors, he examines two main types of metaphor found in music. The first type is "intrinsic", where the metaphor is constructed by altering musical material into new musical material, as discussed in Lecture 2. This includes "Chomskian transformations", such as augmentation, transposition, diminution, inversion, etc. The second metaphor is "extrinsic" which includes "nonmusical meaning" (p. 133). This metaphor involves the association of a musical passage with extra-musical ideas, such as animals, emotions, or landscapes.
Bernstein provides two distinct meanings of the term ambiguity. The first is "doubtful or uncertain" and the second, "capable of being understood in two or more possible senses" (p. 195). In terms of musical ambiguity, Bernstein discusses ambiguity predominantly in terms of tonality and increasing chromaticism. He traces the use of tonality through Berlioz, Wagner, and Debussy, focusing on the new ways in which composers obscured tonality and how these modifications ultimately affected ambiguity.
In part one of this lecture, Bernstein names three different types of musical ambiguity: (1) phonological ambiguity, or uncertainty of the key, (2) syntactic ambiguity, or uncertainty of meter, and (3) semantic ambiguity, or uncertainty of the meaning. Beethoven's sixth symphony represents a semantic ambiguity, because it could mean either the musical notes performed or the extramusical associations of a pastoral (pp. 199–201).
Finally, Bernstein discusses Berlioz's Roméo et Juliette, paying particular attention to the programmatic element of Berlioz's music (pp. 217–225). He details Berlioz's depiction of the balcony scene, using musical ambiguity to identify extrinsic metaphors, such as the contrast between music depicting the dance and Romeo's "lovesick sighs" (p. 219). The key is another example of ambiguity, because it ambles between two different key areas as Romeo deliberates about a decision (p. 221).
In part 2 of this lecture, Bernstein examines Wagner's Tristan und Isolde in terms of its similarities to and increase of ambiguity from Berlioz's Roméo et Juliette. Wagner's work is a metaphor for Berlioz's for several reasons beyond the choice of similar plots; therefore Bernstein examines three significant transformations within Tristan to show how the work can be viewed as a rewriting of Berlioz's piece. A phonological transformation occurs through increased chromaticism, including ambiguous key areas, ambiguous chords, and chromatic melodies. Next, a syntactic transformation heightens metrical ambiguity through the loss of a pulse and clear rhythmic distinctions (p. 235). Lastly, Tristan's semantic transformation, or "its true semantic quality" is Wagner's strong reliance upon musical metaphor. The piece "is one long series of infinitely slow transformations, metaphor upon metaphor, from the mysterious first phrase through to the climactic heights of passion or of transfiguration, right to the end" (p. 237).
Lecture 5 picks up at the early twentieth century with an oncoming crisis in Western Music. As these lectures have traced the gradual increase and oversaturation of ambiguity, Bernstein now designates a point in history that took ambiguity too far. Twelve-tone music emerges as one potential solution to the crisis, but Bernstein considers this idiom so ambiguous that it destroys the all-important balance between clarity and ambiguity.
He takes issue with the increasing preference among composers for twelve-tone music, because even though at its core it rejects tonality, twelve-tone is nonetheless unquestionably tied to the tonal system. This unintended connection to tonality can be explained by the harmonic series and musical phonology.
First of all, tonality is innate, and twelve-tone music systematically fights with this innate process. Overtones are present whether the music is tonal or twelve-tone, so the importance of a perfect fifth within the overtone series, and by extension, the circle of fifths, is contrary to twelve-tone writing. Also, because of the natural hierarchy of musical pitches, truly equalizing all notes is impossible. As long as the composer is working within the Western Music tradition of twelve notes per octave, tonal relationships still exist. Despite the attempt at establishing a new organization of pitches, composers will inevitably write with tonal implications.
Lecture 6, "The Poetry of Earth"
This lecture takes its name from a line in John Keats' poem, "On the Grasshopper and Cricket". Bernstein does not discuss Keats' poem directly in this chapter, but he provides his own definition of the poetry of earth, which is tonality. Tonality is the poetry of earth because of the phonological universals discussed in lecture 1. This lecture discusses predominantly Stravinsky, whom Bernstein considers the poet of earth.
Stravinsky kept tonality alive through the use of free dissonance, and more specifically, polytonality (p. 338). Stravinsky, therefore, is the poet of earth, because his contributions to music have the potential to save tonality. He used free dissonance and rhythmic complexities to enliven tonality after it had reached the chromatic brink of collapse at the hands of Mahler and Debussy.
Stravinsky's semantic ambiguity arises from his objective treatment of styles outside of his direct life experience and training as a composer. These styles include folk music, "prehistoric" music, French music, jazz, etc. (p. 360-61), and they create ambiguity by conflicting with the identity of the composer.
Bernstein explores the concept of sincerity in music to explain that Adorno's preference for Schoenberg arose out of a belief in his sincerity. Bernstein indicates, however, that Stravinsky's use of neoclassicism is, in fact, a matter of sincerity. By keeping an emotional distance, Stravinsky achieves "objective expressivity".
Syntactically, in this lecture he again coins a new type of structure, this one a combination of surface-structure music and super-surface structure poetry. This level is found in music with text, and he explores (1) the relationships between text and music and (2) the new artistic material that results from their combination. He designates this combination of text and music as the "X-factor" (p. 384).
At the end of the lecture, Bernstein adds his final thoughts on the state of music and its future. Here he combines the "quasi-scientific" format established in lecture 1 with an emotional appeal to make a case for continuing the use of tonality. Although he spends a lot of time arguing for neoclassicism and new ways to write tonal music, Bernstein ultimately makes a case for eclecticism, where various compositional techniques – twelve-tone, tonality, polytonality – are all welcome, so long as tonality predominates (p. 422).
The Epic of Gilgamesh is a great and extensive narrative poem from ancient Mesopotamia. One can find many themes in the epic, underlying the adventure-filled plot. Among those discussed is the tension between civilization and nature featured in the structural analysis of G. S. Kirk.
The Bible Department: http://bible.biu.ac.il/en/
Bar-Ilan University: http://www1.biu.ac.il/en
Created 3 years, 3 months ago.
Category Spirituality & Faith
HUMANITY IS ONE SPIRIT + The needs of Humanity must take precedence over everything.