The LA riots were nothing more than a Hollywood produced spectacle recorded and directed on a movie set – a psychological operation designed to entice enmity between the races and bring new order out of manufactured chaos.
As one shall soon observe, the event known as the LA riots were no different than Sandy Hook, Boston bombing, Columbine, and the latest government sponsored psychological operation in Florida – all designed to destabilize, reshape and subsequently reprogram human perception – oh and let’s not forget something just as paramount – to the ruling elite Jesuit families at least – television ratings and advertising revenues.
The usual elements were also present – Hollywood set pieces, scripted melodrama, and host actors portraying characters directed to credibly deliver scripted lines designed to emplace a cohesive narrative in the mind of the masses while they remained glued to their television screens to see what happened next. One shall begin this final installment by providing an historical recap. The alleged unrest of the LA riots officially began on April 29 of 1992 after the acquittal of four Los Angeles police officers indicted for the use of excessive force in the beating of Rodney King. The rioting appeared to have continued unabated both in the South Central and Korean Town regions of metropolitan Los Angeles for six days until finally in May the 7th Infantry Division of the California National Guard were summoned to help quell the mayhem which reportedly resulted in not only the destruction of over 1 billion dollars of private businesses and property but also 63 deaths, 2,383 injuries and over 12,000 persons arrested (according to official statistics reported by mainstream periodicals LA Times/New York Times/ and online at Wikipedia).
Before one delves into an analysis of these alleged ‘facts’ derived from mainstream media sources perhaps an overview of the cultural and social climate of the era would prove demonstrative and even instructive. Regarding the LA riots, a major historical event pushed to the forefront of American consciousness by the mainstream news, there seems to have existed other social and political forces largely congruent.
As loyal readers and everyone knows, Los Angeles is not only home to the cinema making dream factory known as Hollywood, it also has been for decades, at least since the 1960’s the music industry capital of not only America but the entire world.
As the twentieth century dawned and technological developments with cinematic video and recording audio continued apace, the ruling elite Jesuit families were keen to observe absolute control of both Hollywood and the music industry would be key in bolstering and eventually maintaining their psychological, social and cultural hold over the masses.
It follows then that it is truly interesting to note a popular form of ‘music’ dubbed ‘gangster rap’ – parallel with the time period of the LA riots – was just beginning to gain prominence on commercial radio and major mainstream music video channels such as MTV. Artists such as Ice T, Snoop Dog, Doctor Dre and NWA were suddenly contracted and heavily promoted by major music industry labels and their ‘music’ was summarily and rabidly consumed by millions of suburban white teenagers seduced into thinking that to purchase and listen to such dreck could be construed as wildly rebellious, as if they were embarking upon some sort of exotically adventurous and even forbidden cultural field trip.
But in reality folks, an entire generation was being programmed with shock and awe style psychological and social programming carefully devised by London’s Tavistock Institute of Human Relations, which has always had a very close relationship with not only Hollywood but the American music industry and the entertainment/military/industrial complex.
This ‘music’ and its inherent provisions of both violent and visceral imagery of the ‘gangster life’ acted as predictive programming that began even prior to the LA riots in the late 1980’s.
The social scientists at Tavistock and Stanford Research Center determined long ago that for social and cultural change to be rendered effective the individual human mind and on a macro scale the collective mind of the masses must be incrementally prepared beforehand. This sort of programming was foisted upon the masses prior to the Russian communist revolution of the early twentieth century, before the German nationalist socialist movement taking place later on in the era of the 1930’s, and even prior to the American suffrage movement occurring approximately during the identical era.
As such, the introduction of ‘gangster rap music’ into the American social fabric served to prepare the minds of the American people for the major event that would follow in the spring of 1992 in the form of the Los Angeles riots, accentuating racial divide and reinforcing the need for greater police security on the streets of most of the major metropolitan and urban centers of America.
This predominantly fabricated public perception became political reality when newly elected president William Clinton signed into law what officially became known as the Violent Crime Control and Law Enforcement Act of 1994, which provided over 100,000 new police officers and 14 billion in government grants for what was termed ‘community oriented policing’ (i.e. profiling/gang stalking/warrantless surveillance) and featured a newly enacted ‘three strikes provision’.
And yet, despite the government’s own statistics demonstrating violent crime and other related felonious offenses in major metropolitan and urban areas had reflected a sharp decline prior to the bill’s passage in 1994, statistics relating to overall levels of incarceration nearly doubled after the Violent Crime Control bill’s passage, as did the significant growth of the American private prison industry.
In other words folks, the US government handed out incentives to law enforcement and state governments to unlawfully but legally warehouse its own citizens in the name of satisfying political appearances subsequent to the LA riots. But once again, one observes real laws enacted based upon public perceptions primarily drawn from the mainstream media promotion of fabricated news events, and done with not only the complicity of federal and state governments, but Hollywood and the music industry.
If that isn’t conspiratorial, folks, one can’t possibly conceive of what truly is.
One of the first widely publicized violent confrontations between alleged rioters and Los Angeles pedestrians involved Reginald Denny, a thirty-three-year old delivery truck driver. Comparable to all the suspect elements one is presented regarding the event known as the LA riots, this highly publicized event stands out as particularly anomalous. An analysis of the video footage provided by mainstream sources proves problematic, raising the question of why a delivery truck was allowed to progress into an area allegedly rife with violence, looting and destruction of property.
One can only speculate Denny was present simply because it was part of the script that called for a racially themed violent spectacle that would ignite the requisite emotional reaction of the public and induce the desired mass psychological impact, if not incite similar incidents of a genuine nature elsewhere. One may wonder – if the Reginald Denny incident was indeed staged as part of a psychological operation – how such an operation could be set up and executed.
One imagines the event was staged similar to the Boston bombing, in that a specific area was cordoned off (intersection of Florence and Normandie) and kept secure by law enforcement and made accessible only by authorized personnel, participating actors, film and mobile sound crews all directed and monitored overhead by aerial helicopter surveillance. With both large scale events such as the Boston bombing and the LA riots this appears to be the case. Taking a closer look at the video footage culled from mainstream news sources, the dramatic beating of Reginald Denny appears to be a scene directed from the set of a Hollywood action movie. For example, where among the entire number of frames throughout the duration of the second video displayed below does one observe empirical evidence of widespread rioting? An examination of the mainstream news footage taken from an aerial vantage point appears to indicate a paucity of rioters other than Denny’s truck and the handful of attackers. The entire scene appears to have been staged.
Notice too, Denny’s truck cab is colored orange (which translates to the numerology equivalent of 33 or the highest degree in Scottish Rite Freemasonry). Also, at between approximately 4:15 and 4:30 minutes into the second video displayed below, notice the poses of the attackers with their arms outstretched parallel to the ground near where the prone body of Denny seems posed with his legs splayed and arms outstretched in a similar manner, almost as if the figures, or actors were purposely posed in geometric proximity.
Has one surely witnessed this before?
The answer would be affirmative. It is a representation of Da Vinci’s Vitruvian Man, symbolic of the perfect alchemical balance between square and circle, the masculine and feminine, or in occult lore, symbolic of the Baphomet and the Kabbalah tree of life, also the Temple of Solomon and the Castle of Camelot.
It must also be pointed out that the occult symbolism continued during the trial, with Denny’s three indicted attackers symbolically representing the three ruffians of masonic lore who attacked Hiram Abiff, beating him to death when the masonic master refused to hand over the masonic secret word. The symbolic ritual of Hiram Abiff is reportedly still uniformly carried out in all masonic lodges, and it is still required for any prospective candidate wishing to enter the blue lodge’s master mason third degree.
And where exactly were the over 12,000 incarcerated rioters warehoused upon being apprehended? And the total number of those rioters reportedly incarcerated appeared to have vastly outnumbered the total roster of the Los Angeles police department. Bolstering this reasoning are the usual Kabbalah numerology markers left by the engineers of this massive psychological operation:
# of days LA riots: 6=3+3 or 33
#of police unit apprehended Reginald Denny assault suspects: 77th (Twin lightning charges of Lucifer/Wizard of Oz intelligence code)
# of deaths: 63 (6+3=9/Satan’s number/golden mean/3, 6, 9/sacred geometry)
total # of arrested: 12,000/777 (angelic/angle transformation/intelligence joker code)
(7)th infantry division of National Guard: 7 (G centering masonic square and compass/Zayin Kabbalah mind weapon)
LA police chief Daryl Gates
Reportedly, LA police chief Daryl Gates had announced his retirement prior to the outbreak of the riots, but was saddled with much of the blame for the conduct of the officers under his charge during the Rodney King beating, and for what was viewed as the largely discriminatory and abusive treatment of those in the African-American community by LA police during his tenure as chief of the department.
Turns out though folks, Gates was merely a character presented to the public and portrayed by a host actor, albeit at the time of the LA riots a very famous one. Perhaps it is entirely fitting and not at all surprising to see this particular actor cast in such a role.
Many of you have assuredly watched him portray starring roles in several Hollywood productions, the most notable of which may have been Oliver Stone’s JFK, which cast Kevin Costner, the host actor in question in the starring role of attorney Jim Garrison.
What is fascinating is that not only did Costner star in the role of LA police chief Gates, but in his role as down and out big league baseball catcher “Crash” Davis in Bull Durham, he is featured in a scene with co-star Susan Sarandon referencing the JFK assassination. The character of “Crash” Davis apparently wished to have it known (apropos of nothing within the context of the scene) that he was dismissive of any conspiracy theories there may have been more than one shooter involved in the killing of Kennedy:
“I believe Oswald acted alone,” went Costner’s line.
This is indicative of the fact Hollywood celebrities because of their overly exalted status within American culture are continually used as behavioral modification models.
Indeed, Costner’s role in JFK may have been designed to lend credence to the conspiracy theories spun by the CIA psychological operations and counter-intelligence masters at Langley with the result that it would spin anyone away from ever conceiving of the idea – whether or not one believes there was a single or multiplicity of shooters – that like the LA riots and indeed perhaps the entirety of recorded and accepted American history, the JFK assassination may have been a complete and utterly fabricated hoax.