ENDGAME- ALEX JONES – Blueprint for Global Enslavement

http://video.google.com/googleplayer.swf?docid=1070329053600562261&hl=en&fs=true

See here: http://infowars.net/articles/october2007/241007Endgame.htm Please support Alex Jones by subscribing to prisonplanet.tv and/or purchasing a DVD copy of ENDGAME. A high-definition version of this film is available for download at prisonplanet.tv along many other Alex Jones documentaries. This film has been made available for free distribution.


Alex Jones’ brand new documentary Endgamecharts the history of the elite blueprint for social domination and control, outlining the ultimate plans that those who consider themselves the anointed have for our planet.
The first section of the film documents the rise of the banking cartels, who since 1800 have funded both sides of almost every war. Endgame charts the usurpation of the British economy by the Rothchild family who went on to bankroll all factions during the first world war providing armaments companies through banks in France, Austria, Germany and England.

Endgame then documents the fallout of the great war and the attempts to form a controlling League of Nations, which was ultimately blocked by Congress. Such frustration on the part of the elite led to the rise of two factions, fascists and Fabian socialists. Endgame documents how bankers again funded both sides during WW2 which ultimately led to the creation of the UN and the beginning of the movement to implement three power blocs via incremental globalism.

The second section of the film covers the Bilderberg group and Alex’s documentation of the elite group at the 2006 meeting in Ottawa. It covers Alex’s detention on the Canadian border at the behest of Bilderberg insiders themselves. Alex and his crew describe how they were interrogated for nearly twelve hours before finally being allowed entry into the country.

Featuring extensive interviews with Jim Tucker and Daniel Estulin, veteran reporters who have been covering the meetings for 27 and 15 years respectively, Alex reveals how it is an offence for any member of the federal or state government to meet with foreign power brokers without the express authority of the president or Congress.

Endgame then shifts focus to the impending movement towards a North American Union, presenting reports and documentation relating to the efforts toward regional harmonization between the US Mexico and Canada at the secretive Security and Prosperity Partnership (SPP) summits, which refer to an “evolution by stealth” agenda.

The later parts of the film deal firstly with the hijacking of the environmental movement. Experts and former insiders describe how there has been a long term goal spanning back decades to use an exaggerated threat from mother nature in order to control energy markets, regulate the progression of lesser economies and increase the rich poor divide by pricing out the middle classes.

This then dovetails with the ultimate endgame, the depopulation agenda. The film’s gripping climax delves into the history of eugenics mindset. Endgame lays out the evidence that humans are being portrayed as a virus upon the earth, as we are increasingly being told to believe by cultural and academic kingpins.

From the teachings of “Dr Death” Eric Pianka, to German film fest cartoons, to New York Times best selling books, we are being saturated with the idea that humanity itself must be culled in order to save mother earth.
Endgame reveals how The eugenics movement never went away, it simply re-packaged itself to be more palatable to an increasingly skeptical public.

Looking more slick and professionally produced than ever with an intense soundtrack and filmed in super quality high definition, Endgame is a must watch for anyone seriously concerned with the world we live in today.

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Home the Movie by Yann Arthus-Bertrand

Full movie: http://youtu.be/jqxENMKaeCU
Website: www.homethemovie.org/


We are living in exceptional times. Scientists tell us that we have 10 years to change the way we live, avert the depletion of natural resources and the catastrophic evolution of the Earth’s climate.

The stakes are high for us and our children. Everyone should take part in the effort, and HOME has been conceived to take a message of mobilization out to every human being.

For this purpose, HOME needs to be free. A patron, the PPR Group, made this possible. EuropaCorp, the distributor, also pledged not to make any profit because Home is a non-profit film.

HOME has been made for you : share it! And act for the planet.

Yann Arthus-Bertrand

HOME official website
http://www.home-2009.com

PPR is proud to support HOME
http://www.ppr.com

HOME is a carbon offset movie
http://www.actioncarbone.org

More information about the Planet
http://www.goodplanet.info

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Ben Livingston: The Father Of Weaponized Weather

Veteran weather modification expert Ben Livingston is a former Navy Physicist who briefed President Lyndon B. Johnson on the effectiveness of weather control back in the 1960’s during the Vietnam era, when he was involved in cloud seeding programs that worked to slow down the advance of Vietnamese and Korean troops. Livingston asserts that asserts that hurricane control was a national priority of the government more than 40 years ago and that the technology was fully operational to control the weather at the time.

In this exclusive interview for Prison Planet.tv subscribers, Livingston explains how for decades the US government has had the power to both lessen and increase the severity of adverse weather for their own purposes.

Dr. Livingston was assigned in 1966 from the Naval weapons research Laboratory to a marine fighter squadron in Vietnam. Instead of guns, the aircraft under Livingston’s control were fitted with cloud seeding equipment. “My mission was to find clouds and seed them for maximum precipitation value” he stated.

Dr. Livingston presents evidence from the Stanford research Institute, who were brought into Project Storm Fury (a weather control program) in the late sixties as a third party, which stated conclusively that knowledge of how to stop hurricanes had been uncovered and that they would be directly liable should a hurricane hit and cause extensive damage and loss of life. Four decades later and Livingston exposes how the devastation caused by Hurricane Katrina could have been greatly minimized but was allowed to fully impact Gulf states for political reasons.

Having personally flown on 265 missions into the eyes of hurricanes, Livingston remarks that he was “disgusted” by the failure to lessen the impact of Katrina. Livingston’s revelations that weather control has been a decades long program in which the US government has been deeply involved are particularly alarming given the abundant modern-day evidence of how chemtrails are being used to warp our environment in a secret geoengineering plot that threatens a myriad of unknown human health and ecological consequences.
http://prisonplanet.tv

America: Freedom to Fascism – Director’s Authorized Version

http://video.google.com/googleplayer.swf?docid=-1656880303867390173&hl=en&fs=true

“In a time of deceit telling the truth is a revolutionary act.”

– George Orwell

America: Freedom to Fascism is a 2006 film by Aaron Russo, which alleges among a variety of claims that income tax is illegal.
This documentary covers many subjects, including: the Internal Revenue Service (IRS), the income tax, Federal Reserve System, national ID cards (REAL ID Act), human-implanted RFID tags (Spychips), Diebold electronic voting machines, globalization, Big Brother, taser weapons abuse, and the alleged use of terrorism by government as a means to diminish the citizens’ rights.
The film’s claims about the illegality of the income tax in the United States have been critiqued as factually incorrect by some reviewers. The film has, however, developed a strong following.

Federal Reserve System issues and interviews in the film

The film spends a fair amount of time examining the Federal Reserve System, including its genesis and functions. The film asserts that the Federal Reserve System is a system of privately held, for profit corporations, not a government agency, and was commissioned to print fiat money on behalf of the federal government, at a fee ultimately paid for by the personal income tax (through service on bond interest). The film also refers to the fact that the United States dollar is not backed by gold, and claims that this means the dollar has no real backing other than future income tax payments. Consequently, the film proposes, Federal Reserve Notes represent debt instead of wealth.
According to the film, the Federal Reserve System operates by manipulation of what is sometimes referred to as the business cycle of economic expansion and retraction by putting new notes into circulation to increase the ease of obtaining credit, which devalues the currency, then compounds inflation by increasing interest (prime) rates. This manipulation, according to the film, is responsible for a 96% devaluation of American currency since it was made possible to increasingly sever the link with gold backing by the Federal Reserve Act of 1913. The film says that this process of creating new money and adding it to the money supply is known as debasement and is a cause of inflation. In this way, the film asserts that the Federal Reserve System simultaneously controls the supply of money and its value.
The central thesis of the film may be that this monetary policy is the strongest form of governance that has ever existed, and is central to the unconstitutional, global power ambitions of the interests that supposedly control the Federal Reserve System.
The film also asserts that the private interests it claims are controlling the Federal Reserve System have been present for generations. According to the film, however, most Americans are kept ignorant of how the Federal Reserve operates through actions of corrupt politicians and an increasingly centralized media. By using what the film calls legalistic and economic “mumbo-jumbo” terms such as ‘monetizing the debt’ or ‘adjusting monetary policy for increased fluidity of credit’, these interests, according to the film, conceal the true actions of the Fed behind veils of legitimacy.
The argument made in the film is that there is no reason why the Federal Reserve System should have a monopoly on the U.S. money supply. The film asserts that, “America got along just fine before the Federal Reserve came into existence” (which, in the film maker’s view, leads to the question of why the Federal Reserve System was created).
The film contends that the U.S. Congress has no control or oversight over the Fed, and hence has no control over the value of U.S. money. The film argues that Congressional control over the value of money is required by Article 1, Section 8 of the United States Constitution. The phrase in question (clause 5) states that the United States Congress shall have the power “To coin Money, regulate the Value thereof, and of foreign Coin…”
The film includes a call to action to abolish the Federal Reserve. In 2007, the Boston Globe stated that Congressman Ron Paul, “says he doesn’t agree with all the film’s arguments, but he says the film had ‘a huge impact’ on the support his campaign is drawing”, a reference to Paul’s presidential bid in 2007 and 2008.

Federal income tax issues and interviews in the film

Through interviews with various individuals including former IRS agents, Russo sets forth the tax protester argument that, “there is no law requiring an income tax”, and that the personal income tax is illegally enforced to support the activities of the Federal Reserve System.
One of the listed stars of the film, Irwin Schiff, was sentenced on February 24, 2006 to 13 years and 7 months in prison for tax evasion and ordered to pay over $4.2 million in restitution. In pre-sentencing documents filed with the court, Schiff’s lawyers had argued that he had a mental disorder related to his beliefs about taxation. Initially, the film portrays Mr. Schiff as a tax expert, though his qualifications and those of many other individuals in the film are not mentioned. Later in the film, Russo reveals that Schiff has gone to jail.
Mr. Schiff appears in the film for another reason as well. The filmmaker lampoons Judge Kent Dawson’s reaction to Schiff’s defense. The film alleges that the judge “denied Irwin the ability to prove to a jury that there was no law requiring Americans to file an income tax return. He denied Irwin the right to attempt to prove to a jury there was no law . . . by stating, ‘I will not allow the law in my courtroom.’” At 0:48:28 of the film, Mr. Russo introduces the judge and his statement.
Under the U.S. legal system, the general rule (with exceptions) is that neither side in a civil or criminal case is allowed to try to prove to the jury what the law is. For example, in a murder case the defendant is not generally allowed to persuade the jury that there is no law against murder, or to try to interpret the law for the jury. Likewise, the prosecution is not allowed to try to persuade the jury about what the law is, or how it should be interpreted. Disagreements about what the law is are argued by both sides before the judge, who then makes a ruling. Prior to jury deliberations, the judge, and only the judge, instructs the jury on the law.
Another listed star, Vernice Kuglin, was acquitted in her criminal trial for tax evasion in August 2003. This means she was not found guilty of a willful intent to evade income taxes. (A conviction for tax evasion requires, among other things, proof by the government that the defendant engaged in one or more affirmative acts of misleading the government or of hiding income.) Kuglin’s acquittal did not relieve her of liability for the taxes. Kuglin entered a settlement with the government in 2004 in which she agreed to pay over $500,000 in taxes and penalties. On April 30, 2007, the Memphis Daily News reported that Kuglin’s Federal tax problems continued with the filing of a notice of Federal tax lien in the amount of $188,025. The Memphis newspaper also stated that Kuglin has “given up her fight against paying taxes, according to a Sept. 10, 2004, Commercial Appeal story.”
The preview clip for the film includes assertions contradicted by official government publications regarding the activities and nature of such institutions as the Internal Revenue Service and the Federal Reserve System

Constitutional Arguments

Fifth Amendment

Russo’s argument using the Fifth Amendment goes as follows:
  • Premise 1: The government can criminally prosecute someone and put one in jail for information one puts on one’s 1040 tax form.
  • Premise 2: The fifth amendment says one does not have to do something that incriminates oneself.
  • Conclusion: Since filing a 1040 incriminates oneself, filing a 1040 therefore violates one’s fifth amendment rights.
Though the second premise is not completely correct, the main source of error lies in the first premise. If one truthfully reports one’s income, one does not incriminate oneself in the commission of a crime. However, falsely reporting one’s income is itself the commission of a crime. Put another way, the fifth amendment protects one from incriminating oneself if testifying truthfully will incriminate oneself in the commission of a crime. It does not offer a provision for lying.
The fifth amendment does, however, allow oneself to withhold the source of the income if doing so will incriminate oneself in the commission of a crime. One must still truthfully report the amount of the income.
See also Tax protester constitutional arguments

Sixteenth Amendment

The film refers to both article 1 section 8 of the U.S. Constitution, which grants Congress the right to impose taxes, and disputes the legitimacy of the Sixteenth Amendment (see Tax protester Sixteenth Amendment arguments), which removes any apportionment requirement.

Other issues related to taxes

Some of the premises of the film include:
  • The Federal Reserve System is unconstitutional and has maxed out the national debt and bankrupted the United States government.
  • Federal income taxes were imposed in response to, or as part of, the plan implementing the Federal Reserve System.
  • Federal income taxes are unconstitutional or otherwise legally invalid.
  • The use of the Federal income tax to counter the economic effects of the Federal Reserve System is futile.

The filmmaker’s personal views on taxes

As of late July 2006, Aaron Russo’s biography on his website for the film stated: “The film is an exposé of the Internal Revenue Service, and proves conclusively there is no law requiring an American citizen to pay a direct unapportioned Tax on their labor.”
The New York Times article of July 31, 2006 states that when Mr. Russo asked IRS spokesman Anthony Burke (who according to the article was credited by Russo in the film) for the law requiring payment of income taxes on wages and was provided a link to various documents including title 26 of the United States Code (the Internal Revenue Code), filmmaker Russo denied that title 26 was the law, contending that it consisted only of IRS “regulations” and had not been enacted by Congress. The article reports that in an interview in late July 2006, Russo claimed he was confident on this point. In the United States “statutes” are enacted by Congress, and “regulations” are promulgated by the executive branch of government to implement the statutes. The statutes are found in the United States Code; and the regulations are found in the Code of Federal Regulations. The Treasury regulations to which Mr. Russo may have been referring are found at title 26 (“Internal Revenue”) of the Code of Federal Regulations, not title 26 of the United States Code. The argument that the Internal Revenue Code is not law, the argument that the Internal Revenue Code is not “positive law,” and variations of these arguments, have been officially identified as legally frivolous Federal tax return positions for purposes of the $5,000 frivolous tax return penalty imposed under Internal Revenue Code section 6702(a).
The article also discloses that Russo had over $2 million of tax liens filed against him by the Internal Revenue Service, the state of California, and the state of New York for unpaid taxes. In an interview with the New York Times; however, Russo refused to discuss the liens, saying they were not relevant to his film.

Other topics

The film also raises questions such as:
  • Why are Americans letting the US Government gradually take away rights from its citizens, including the right of privacy?
  • Why is the IRS forcefully bulging into the lives of ordinary people, accusing them of tax fraud and drug trafficking which they are ultimately not proven guilty of? (based on the example of John Colaprete and Scotty Miller)
  • Is America becoming a police state?
  • Is the Patriot Act relevant to fighting terrorism, or is its purpose to legalize spying on Americans?
  • If the US Government is worried about terrorism, why are they leaving their borders open for immigration, while at the same time telling Americans they need an ID card with an RFID chip?
  • Is it already so that the desires of citizens (the voters) no longer influence the Government’s decisions?
  • Does the Government have the incentive or the means to change the existing Federal Reserve System?
  • Why is a large portion of the United States income tax “unaccounted for”?

The film shown at “Cannes”

Russo’s promotional materials state that the film was shown at “Cannes” in France. As of July 31, 2006, the web site (at http://www.freedomtofascism.com) states:
America: Freedom to Fascism Opens to Standing Ovations at Cannes!
The international audience at Cannes as well as the European media has been fascinated by Russo’s fiery diatribe against the direction America is heading [ . . . ]
According to a New York Times article by David Cay Johnston on July 31, 2006, however, the film was not “on the program” at the 2006 Cannes Film Festival itself; Russo actually rented an inflatable screen and showed the film on the beach at the town of Cannes during the time of the film festival.The New York Times article states: “Photographs posted at one of Mr. Russo’s Web sites depict an audience of fewer than 50 people spread out on a platform on the sand.”
Subsequently, it was exhibited in theaters in select U.S. cities.

In popular media

A review by the New York Times stated that “examination of the assertions in Mr. Russo’s documentary, which purports to expose ‘two frauds’ perpetrated by the federal government, taxing wages and creating the Federal Reserve to coin money, shows that they too collapse under the weight of fact.

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