Yet again, a major mainstream crisis event has been successfully manufactured.


This time, however, for the purposes of satisfying multiple agendas. Blinded by emotionalism over the mainstream news narrative, critical analysis largely escapes the general public. The premise of the free masonic order is deception, and with the Grenfell tower inferno hoax, the shepherd is herding the sheep once again. While the masses quibble and remain divided over mundane ideological, gender, social and economic differences, the ruling elites, through their favorite tactic of pantomime theater, are trying their best to incite reactionary violence. For, they know that psychological weapons are far deadlier than bullets.  


High level criminals often use front persons. In the last installment, one detailed how this Grenfell operation may be part of a larger criminal scheme involving the Monaco gaming industry, European merchant banking mergers, insurance fraud, and money laundering. In order to steer any inquiring minds away from deeply investigating the larger criminal apparatus, the high level criminals are using the media to distract, divide, and ultimately, agitate class warfare in order to justify calling for a state of Martial Law. This is the identical method of operation the elites have utilized since the beginning of the twentieth century in fomenting and stage managing ‘revolution’. Ultimately, however, the revolution does not take place on the streets or on television, for that is merely masonic derived theater. Rather, the real revolution takes place in the minds of the reactionary masses, who in witnessing the televised drama, are emotionally manipulated into altering perceptions of what is ultimately defined as ‘reality’.

These tyrannical methods of enacting social change and public perception are based on the scientifically derived tenets of psychological warfare composed by the mad social scientists at Tavistock Institute. Once one is able to identify the prevailing method of operation, recognition of its telltale signs becomes a relatively simple matter. The high masonic orders, in their presentation of theatrical pantomime, sold to the public through corporate mainstream media as reality, have placed their well-trained actors in the limelight, focusing public attention on the agenda written in the prefabricated script. Peaky Saku, is one such actor, receiving a great deal of ‘face time’ on BBC and affiliate outlets in the wake of the Grenfell inferno crisis event.

The character of Peaky Saku has been posed as a representative of the lower classes inhabiting London, when in fact, he is merely an actor donning a costume.

When one witnesses Peaky acting out his assigned role in a clip from Sky News, one is immediately struck with how the actor struggles to submerge his upper class public school derived mode of speech, in lieu of some badly imitative facsimile of what his tin eared intelligence masters may have conceived as the proletarian dialect of the British lower classes.

Turns out Peaky is an aspiring rapper/pop star:

Given that Peaky, or Pippo, was educated at prestigious British ‘public’ school Charterhouse, he is the sort of character that American pop star Eminem viciously lampooned while portraying the starring role as B. Rabbit in the popular ‘8 Mile’.

See Pop music much more than entertainment (part 1) 

The British public school system, traditionally exclusive only to those of noble breeding, have also historically been recruiting grounds for prospective intelligence agents.

See: In Spies We Trust: The story of western intelligence @>books.

This quotation from British journalist Malcolm Muggeridge, who once represented MI6 in Mozambique, concerning those prospective American agents trained by the British in the craft of the dark counter-intelligence arts during the early days of the OSS, the American intelligence forerunner to CIA, seems quite appropriate to the subject matter:

“They came running to us, these aspiring American spymasters, like innocent girls from a finishing school, anxious to learn the seasoned demi-monde ways of old practitioners-in this case, the legendary British Secret Service. Most of the early arrivals were Yale or Harvard dons, who imagined themselves writing Ashenden-type stories when the {world war} was over.”

Peaky Saku is a stage moniker for Pippo Kalwa. Clearly, his theatrical participation in this globally televised crisis event was no doubt part of the legal terms and conditions set down in his recording contract. His role is clearly one of counter intelligence co-agitator, designed to foment public ire resulting in a violent outburst, enough to justify the ensuing clampdown of Martial Law in the city of London. The actors presence proves beyond shadow of doubt that this was yet another prefabricated and prepackaged crisis event designed in cooperation with British intelligence, Downing Street, the British PM and Parliament. Musicians trained at both British pubic and art schools have historically been utilized in such ‘black’ intelligence operations. At the very least, Peaky’s nearly ubiquitous presence on Sky News and BBC as a representative of the lower income British public should rouse suspicion:


Predictive programming is a tactic used by think tanks and governments to satisfy their own ends and agendas. A thorough and lucid understanding of this key tactic is a surefire method for one to understand the latest plethora of media derived psychological manipulations. Predictive programming is routinely utilized by Hollywood, mainstream music and media industries, and military intelligence psychological operations.

A fine example of this sinister concept is exhibited here from a 1993 episode of ‘House of Cards’:

This concept was primarily developed by behavioral scientist John B. Watson, who during his research in the 1920’s, using children as young as three years of age as test subjects, sought to investigate and determine if humans were born with an inherent fear of darkness and other things. His conclusions were that the driving force of society and the central guiding psychological principle was not, as previously believed, love, but in fact, fear. Watson concluded that inciting fear promotes the primeval instincts of mankind’s psychology to take precedence over more logical or rational responses. Watson readily observed that the incitement of fear causes humans to gravitate towards a savior that may alleviate feelings of overriding or overwhelming apprehension.

The fear constructs of the mainstream media are designed to promote that savior figure which can often be the same source that inspired fear. Fear promotes a number of negative physiological effects and has a plethora of psychological mechanics related to it that the ruling elites have historically utilized against mankind in a grand effort at global population control. This is truly what is meant when one hears the phrase ‘winning hearts and minds’ uttered by various government political puppets charged with carrying out and promoting the grand social and political agendas of the so-called ruling elites.

In essence folks, the government, law enforcement, and other local public officials, whether wittingly or unwittingly participating in carrying out these psychologically based crisis events, are not your friends.

They are not serving the best interests of the public.

Rather, their only purpose is to serve their true master, the ruling elites of the corporate global government sitting behind the thin veil of national security.


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