The Green USB Drive that Stores Blood So You Can Be Cloned One Day | Motherboard

Jason Koebler

Staff Writer

January 5, 2015 // 12:31 PM EST
Amongst all the super ultra high definition televisions, wearable body sensors, and drones here at the Consumer Electronics Show, one of the most futuristic devices on display—at least in terms of its implications—is a humble green USB thumb drive.
The drive itself, called the DNA Vault and sold by a company called Genisyss, contains little more than some basic family history and database software, but inside of its case are four tiny pools that hold droplets of blood—a vault for your and your family's DNA.
The thinking here is that, as we age, our DNA degrades thanks to stress, sunlight, smoking, radiation, and all the sorts of things that eventually could lead to cancer and other diseases. If we save a copy of our DNA from when we're healthy, perhaps in the future doctors will be able to use it to heal us. Or maybe even clone us.

Image: Author
"I'm telling you, not because I founded the company but because I'm being honest—if I had a copy of the DNA of my relatives who have passed away, well, that'd be invaluable to me," Richard Brownell, a retired military aerospace engineer who founded the company, told me. "One tiny drop of blood, and the DNA is stored for decades off into the future."
As I mentioned, the DNA vault is little more than a thumb drive with four pads to actually store the blood (a larger version contains eight separate pads). In that sense, the device itself isn't futuristic at all.
But the stuff Brownell is talking about—personalized treatments for cancer, diabetes, and Alzheimer's; cloning; tracking the general changes of DNA over time—certainly is. The pads themselves are made of a proprietary material, but Brownell says they can store DNA that can be completely reconstituted and sequenced with "no detectable degradation" for at least two decades, which is how long he's been testing the storage pads.

This is the homepage of the software, which for the moment is Windows-only. Image: Author
While the DNA Vault is a USB drive, there's no proprietary technology that actually puts the DNA itself on your computer. Instead, the software allows you to create medical history profiles for your family and lets you upload photos so you're able to remember whose DNA is located on which part of the device. Consumers are expected to prick themselves to take a sample—Brownell suggested that when kids accidentally scrape a knee or something, a cotton swab could be used to transfer DNA over to the device.
He says that it's safer than storing your DNA with a laboratory, because you have physical control over it—you don't need to fear, say, hackers if you've got one of these hidden in your nightstand drawer.
When I asked him why I wouldn't just, say, store a vial of my blood in a shoebox somewhere, Brownell said that the DNA would denature quite quickly—at least if we wanted to use it for medical or cloning purposes in the future.
The "child" version of the DNA Vault (with four pads) costs $40 and is already on sale—larger versions cost up to $119 and have space for more samples.
"Who knows, I can see people storing their pets' DNA, I can see vineyards storing the DNA of a wine grape they want to reconstitute in the future, so they can have a vintage grape without waiting for years and years," he said. "I don't see why anyone wouldn't want this."​

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Gambling Online with Satan | Motherboard

Written by Emanuel Maiberg

December 1, 2014 // 12:35 PM EST
You can play a round of Jason Rohrer's ​Cordial Minuet​ for any amount between a penny and $999,999,999.99. Whatever the bet, win or lose, Rohrer is taking a 10 percent cut of the pot.
It's a surprisingly unapologetic "free-to-play" monetization model for an indie game developer, especially Rohrer, who's probably still best known for Passage, a small, touching, pixelated game about aging. My favorite game of his is 2011's Inside a Star-Filled Sky, which beautifully expresses the maddening concept of infinity in the form of a recursive twin-stick shooter.
When we have inane discussions about games as art, Rohrer's games are an argument for the medium's potential. When we talk about game developer auteurs, we're talking about Rohrer.
And now he has his mind set on running what has the appearance of a seedy online poker room. On its face, it seems like the antithesis of games as art, perhaps the only type of game greedier than the microtransaction-riddled free-to-play, pay-to-continue-playing Clash of Clans and Candy Crushes that infest the mobile app stores.
"You brought your credit card, right?" Rohrer asks as soon as we jump on a Skype call for a few guided rounds of Cordial Minuet. I grab it, enter my information through an interface that looks just like the type I use to order Indian food on Seamless, and tell the game I want to deposit $5.
It's easy to forget that there's a processing fee on every credit card transaction because most retailers just eat the cost. Rohrer doesn't have that luxury. I'm not buying an order of lamb Tikka Masala. I'm depositing money into a system I can withdraw from at any time. If I deposit $100 and withdraw that money right away, Rohrer's left with nothing but a fee and a net loss. Of the $5 I deposit, only $4.55 ends up in my in-game balance.

My balance after loosing one one-hundredth of a penny in a round of Cordial Minuet
That's how it should have worked, at least. But the animation indicating my information is being processed just idles indefinitely.
"Uh oh," Rohrer said, and we ended the call so he could troubleshoot what he thought was a server issue. By the time he called back, some 15 minutes later, the system had charged my credit card for $5 seven times, a banner day for Cordial Minuet revenue. Rohrer refunded me for the extra charges.
"This is why I need a large amount of people to test this game before I release it to the public," he said. "It's not just a matter of crashes. Something weird like this can happen and all of a sudden someone spent way more money than they wanted to."
Eventually we start a game for a cent, which is split up into 100 white coins, each representing one one-hundredth of a penny, kind of like poker chips. If we played for $100, each would represent $1; if we played for $100 million, each would represent $1 million, etc.
Rohrer calls Cordial Minuet a two-player online strategy game, but it looks more like Beelzebub's sudoku puzzle. The players, who remain anonymous, are matched according to the amount of money they want to play for. Each has a view of the same six-by-six magic square, a mathematical construct where the sum of each row and column of numbers between 1 and 36 is 111. Multiply that by the six rows or columns and you'll get 666. Cordial Minuet is also an anagram for "demonic ritual." If Satan were to get into online gambling, this is where he'd would start.

A full round of Cordial Minuet played for 50 cents. I use the green marker to choose a column for myself and the red marker to choose a column for the opponent. The opponent is doing the same for rows on his end. The highlighted numbers where our choices intersect make up our respective scores. I lose 44 coins, or 22 cents. Gif by the author
Rohrer said he always thought the occult was a fascinating corner of human endeavor, and when he started reading about the h​istory of games played for money, he found that it's impossible to k​now which came first: recreational chance or divination rituals. Many of the earliest forms of gambling—knucklebones or Jacks, for example—were used competitively and to try to decipher the will of the gods.
Magic squares, too, originate in the occult. They were used in ceremonial magic to construct sigils representing angels or demons.
To start, I pick two columns, one for myself, and one for Rohrer. He does the same, but his interface is rotated 90 degrees, so from his perspective his columns are my rows and vice versa.
We place bets, then reveal the columns we picked for each other. The number where the column I picked for myself intersects with the row Rohrer picked for me goes towards my score.
A graph on the right side of the magic square keeps track of every possible score Rohrer and I could get based on the available information, allowing me to focus on strategy instead of doing the math in my head.
I can't see the row Rohrer picked for himself yet, but I know it's not the one he gave me. I look at the spread of numbers, and try to predict Rohrer's choices to give myself the highest numbers.
We do this three times, placing bets along the way. At that point, we each have three intersections highlighting three numbers that make up our final score. Now we take turns revealing those three numbers, one at a time, again placing bets before each reveal, much like players can raise the stakes between the flop, the turn, and the river in Texas Hold'em.
The US federal government def​ines "gambli​ng" as any activity which consists of chance, prize, and consideration (meaning the participant has something at stake). Cordial Minuet's magic square, unlike a properly shuffled deck of cards, isn't a random element. It has trillions of variations, but the distribution of numbers is always balanced. "The magic square is always fair," Rohrer said.
"The primary skill is how well can I judge the situation based on the bets that you've been making to determine whether I should fold or not, whether I should bet higher or not, whether I can trick you or not. I can definitely very easily beat a beginning player in this game now," Rohrer said, laughing. I know he's right because I lose consistently.
Rohrer says this means Cordial Minuet isn't breaking any gambling laws. "I'm as confident as an amateur lawyer can be, I guess," said Rohrer, who has successfully defend​ed himself in cou​rt before. "I'm not saying that there's loads of precedent. There's never been a game like this, which is part of the reason why I'm making it."

I'm as confident as an amateur lawyer can be, I guess

Rohrer started playing poker during a homeschooling conference for his kids at a hotel that had just opened a new poker room. Other parents were upset because kids were walking around the sound of chips clicking in the lobby, but he decided to play. He started with $40 and walked away with $160. When he went home, he started playing online. He hasn't played for real money since he lost about $50, but said he could sense he was getting better, just like he could sense he was getting better at League of Legends the more he played it.
After playing Cordial Minuet and seeing how easily I could lose my (four-figure) life savings to Rohrer in minutes, the distinction between chance and skill seemed marginal to the real danger: it could ruin me if I let it.
According to the executive director of the National Council on Problem Gambling, Keith Whyte, the legal definition of gambling isn't helping problem gamblers.
Over 40 million Americans and Canadians will spend millions of dollars on fantasy sports sites and apps this year, for example, but those games are legal because they're considered games of skill. "Honestly, a lot of it is them just using technology to circumvent gambling laws," Whyte said. "Whether those laws are impractical or outdated is a separate question. In a lot of cases it's just a fig leaf workaround."
Games of skill can even have the reverse effects on problem gamblers. "Belief in skill often leads us to do things that may be risky," Whyte said. "That's a good part of human nature. It's what makes us great inventors and artists and businessmen. In gambling, belief in skill leads a lot of people to think, 'I know I'm going to win, and even if I lost, I now have more experience. I'm not going to make that mistake again, so why wouldn't I put more money behind it?'"
As Jeffrey L. Derevensky, director of the International Center for Youth Gambling Problems and High-Risk Behaviors, explained it to me, a problem gambler can abuse any game, regardless of chance or skill. 
"An alcoholic has a preferred drink," he said. "Could be beer, wine, whatever. Take that away from the individual and he would drink something else. The same is true with pathological gamblers. If you remove their favorite game from them, they'll bet on something else."
Derevensky also said that while a higher proportion of problem gamblers are involved with fantasy sports, the structural characteristics of those games aren't as problematic for them because they can't place bets as frequently as they could at a roulette table or a slot machine. Traditionally, they'd have to wait until the end of the season for the feedback, though fantasy sports sites like Draft Ki​ngs now offer daily leagues.
In Cordial Minuet, no turn lasts more than a minute, so if enough people will play it, you could theoretically place hundreds of bets a day.
Whyte said a lot of the responsibility falls on users, but that the NCPG believes some responsibility is on those who offer games where people are encouraged to place a wager based on their own skill.
The NCPG isn't interested in legislature. It wants gambling institutions to self-regulate in order to protect their customers and themselves. "They face increased risk if they don't," Derevensky told me. "This is America. Someone somewhere is probably going to try and sue them if it gets excessive, if they're being exploitative."
Rohrer's aware that there are a lot of potential nightmares lurking here. Some of them, he thinks, he's already circumvented. For example, the most user-friendly way to let players withdraw their money from the game would be with something like PayPal, but distributing prizes from any kind of game, even if it's legal, is against PayPal's terms of service. If 10,000 players show up on the first day of Cordial Minuet's release, put a few dollars into the game, and PayPal freezes the account, Rohrer has screwed them all over, and probably himself.
Instead, Rohrer has teamed up with a company that normally handles payroll checks. Using a digital API, it mails physical checks on his behalf anywhere in the world. This, as you can imagine, is more expensive than PayPal, another cost that Rohrer passes on to players—$3 per check inside the US, $7 per check internationally.
Rohrer is preparing for other nightmares as best he can. Imagine a scenario in which a player uses a stolen credit card to deposit $1,000, and then requests a check. The true owner of the card sees the charge and issues a chargeback. If it's just a credit card thief using Cordial Minuet to launder money (another reason players remain anonymous), Rohrer could at least request to stop payment on the check. If the thief loses the $1,000 dollars to 1,000 different players one dollar at time, Rohrer would have to cancel 1,000 checks and inform 1,000 players that the money they thought they won fairly is never coming because it was stolen before it entered the system.
For this reason, Rohrer will require proof of identity from any player who deposits more than $500 a year. Conversely, in order to keep the IRS from knocking on his door, every player who withdraws more than $600 a year will have to send Rohrer a W-9 so Rohrer can send him a 1099. It's standard contractor paperwork, the kind I had to fill out to get paid for this article.
For now, Rohrer and his wife are handling all of the paperwork and logistics alone. As he explained, if thousands of players start depositing thousands of dollars, the workload problem will solve itself since he'll have the money to scale up.
Rohrer has to do these things to protect and provide for his family. "I don't know if I'm nervous," he said. "At this point in my life, this is game number 18, and so I'm not doing these things just for fun, these are not just experiments, this is how I make my living now."

Cordial Minuet is an anagram for a lot of things, but "demonic ritual" is the most appropriate title
I can't help but feel that all of it, the checks, W-9s, the flirtation with the law—all of it is an elaborate performance and provocation.
By pushing the laws, form, and best practices of real money gaming, Rohrer is exposing hidden contradictions and puts into question the very notion of chance versus skill.
How is a roll of the dice more a matter of chance than any number of random events that determine our fortunes? Is a roll of the dice really that much more random than the anonymous player at the other end of the magic square? Is Rohrer's game safer than a roulette table, fantasy football, or any number of "free-to-play" games that revolve around random number generators that players spend millions of dollars on a year?
Cordial Minuet engages with these questions in fascinating ways. However, the most important lesson Rohrer's game implies is what fantasy football contest operators, credit card companies, and Vegas magnates already know. It's an ancient hustle, as old as the fortune tellers who inspired the game's satanic aesthetic. Chance or skill, legal or illegal, moral or immoral, the debate only matters as far as it affects Rohrer's ability to take that 10 percent cut.
As summed up by a saying Derevensky shared with me and attributes to Steve Wynn, owner of the Bellagio, Golden Nugget, Encore, and others: "If you want to win at gambling, own the casino."

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The Perfect Sleeping Positions to Fix Common Body Problems | The Mind Unleashed

The Mind Unleashed

on 8 September, 2014 at 23:03

Many people don't realize how important getting a good nights sleep is. And it's not just about the amount of sleep, but the quality of sleep as well. From aches to pains, indigestion, or even a tendency to snore, there are positions in which you can sleep that can help cure what ails you.

Below is an awesome info-graphic from The Wall Street Journal that points out some of the most common troublesome positions and highlights how you can adjust these so you can go back to having undisturbed, restful sleep.

Are you suffering from back pain? You could try sleeping with a pillow between your knees. Do you have indigestion or acid reflux? Try elevating your head a little with some of your fluffy pillows or with your bed by placing some bricks under the legs. Wasting your precious sleeping hours by forcing yourself to sleep uncomfortably is exactly that, a waste of your health and time. If you want more information other than this info-graphic on how sleeping positions can affect you, we've included a link to the full WSJ article as well as a research link at the bottom of this post.

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You Are Guaranteed to Die During This Church Organ Performance / As Slow As Possible at St. Burchardi church in Halberstadt

By Ella Morton

The interior of St. Burchardi church. Photo: Hoger/Creative Commons

Atlas Obscura on Slate is a blog about the world's hidden wonders. Like us on Facebook and Tumblr, or follow us on Twitter.

Walk into centuries-old St. Burchardi church in Halberstadt, Germany, and you'll hear an organ playing. The performance comes with a guarantee: You'll be dead before it's over.

Since 2001, a specially constructed church organ has been making its way through an eight-page John Cage composition entitled "As SLow aS Possible," which has been stretched out from its original 20 minutes or so to 639 years. The John Cage Organ Project, a group of composers, theologians, and philosophers, decided on the 639-year duration because the church's main organ was 639 years old in 2000. Hans-Ola Ericsson, a professor of music at Sweden's University of Lulea, told the BBC in 2003 that the prolonged performance is "a sound that we give to the future to take care of."

The performance began with 17 months of silence, during which the bellows inflated. The last note change occurred in October 2013, and the next is scheduled for September 2020. Each note change draws a sizable crowd to the church.

While current visitors won't be around to see the conclusion of the performance in 2640, a piece of them can be with the organ when it plays its final note. For 1,000 euros (about $1,200), you can purchase a "sound year": a plaque in the church that stakes your claim on one of the remaining 625 years of the performance. Some people's plaques are engraved with their name, birthdate, and a blank space to be filled in with their date of death.

Visit Atlas Obscura for more on the "As SLow aS Possible" performance at St. Burchardi.

Inside St. Burchardi. The horizontal black line on the wall is for "sound year" plaques.

Photo: Hoger/Creative Commons

The As SLow aS Possible organ, left, and its placement in the church, right.

Photos: Public domain& Hoger/Creative Commons

The bellows of the specially built organ. Photo: Public domain

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Reptilians And The Council Of 13 : In5D Esoteric, Metaphysical, and Spiritual Database

by Stewart A. Swerdlow

excerpts from Blue Blood, True Blood: Conflict & Creation
The leader of the Earths Illuminati is called the "Pindar". The Pindar is a member of one of the 13 ruling Illuminati families, and is always male. The title, Pindar, is an abbreviated term for "Pinnacle of the Draco", also known as the "Penis of the Dragon". Symbolically, this represents the top of power, control, creation, penetration, expansion, invasion, and fear. The holder of this rank reports to the purebred Reptilian leader in the inner Earth.

Recently, there are reports that the Marquis de Libeaux is the Pindar, but this is disinformation. The true current Pindar is the head of the Rothschild family, as has been for several hundred years. He is based in Germany near Frankfurt. In the late 1970s, he oversaw the sister project to Montauk, called M.A.L.D.A. is an anagram for Montauk-Alsace-Lorraine Dimensional Activation. This project was located near the city of Strasbourg, France, historically once part of Germany.


Interestingly, there is a winery on the east end of Long Island, not far from Montauk Point, called Pindar Vineyards. This wine is growing in popularity, gaining international accolades. This fits nicely into the plan, as this area will be a part of the capital district of the Earth/United Nations in the Empire State! Red wine is symbolic of the blood ingested by the Reptilians. The wine can become sanctified as it did in the Roman Catholic Church, a patsy for the Reptilians. In the Catholic Church, wine replaced the blood in ceremony.

The Illuminati here on Earth have established a pyramid structure of control identical to the system that exists in the Draco Empire. The pyramid with the Reptilian eye, located on the American one-dollar bill, is symbolic of this control structure. The eye is the cap on the pyramid, thus explaining why the original surface of the Great Pyramid in Egypt was capped in solid gold.
The Pindar is represented by the gold cap on the pyramid. The next layer, or "eye", on the pyramid represents the 13 ruling families. They are as follows:

• Rothschild (Bauer or Bower) – Pindar
• Bruce
• Cavendish (Kennedy)
• De Medici
• Hanover
• Hapsburg
• Krupp
• Plantagenet
• Rockefeller
• Romanov
• Sinclair (St. Clair)
• Warburg (del Banco)
• Windsor (Saxe-Coburg-Gothe)

Each of the 13 ruling families is given an area of the Earth and/or a particular function to fulfill on the Earth. These particular functions include global finances, military technology/development, mind-control, religion, and media.
Each of the 13 ruling families has a Council of 13 as well. The number, 13, has great significance to them. They know that there are 12 types of energies that pass through the 10 aspects of God-Mind. The totality of the 12 energies equals a 13^th energy. This is considered the most powerful knowledge.

They also know that there are really 13 Zodiac signs, not the commonly acknowledged 12. They have kept the 13^th hidden for centuries because it is the sign of the Dragon. They keep the qualities and traits of this sign secret to avoid giving away clues to the Reptilian mind-pattern.

The next layer is the second-in-command families who do the support work for the Pindar and 13 ruling families. While all of the 13 ruling family members are shape-shifters, all members of the 300 supporting families are not. They do, however, all have a high percentage of Reptilian DNA.
They are known as the "Committee of 300″.These families include such notable names as Agnelli, Balliol, Beale, Bell, Bouvier, Bush, Cameron, Campbell, Carnegie, Carrington, Coolidge, Delano, Douglas, Ford, Gardner, Graham, Hamilton, Harriman, Heinz, Kuhn, Lindsay, Loeb, Mellon, Montgomery, Morgan, Norman, Oppenheimer, Rhodes, Roosevelt, Russell, Savoy, Schiff, Seton, Spencer, Stewart/Stuart, Taft, and Wilson. There are many others.

The Committee of 300 use many well-known institutions to accomplish their goals, including the

Council on Foreign Relations, Bilderburgers, Trilateral Commission, Club of Rome, Royal Institute for International Affairs, Mafia, CIA, NSA, Mossad, Secret Service, International Monetary Fund, Federal Reserve, Internal Revenue Service, and Interpol, to name a few. All of these are private organizations or corporations set up as public service devices, but this is far from the truth.

The Illuminati structure also creates artificial countries to further their goals. Examples of these are the United States, Switzerland, Kuwait, the Soviet Union, Panama, Israel, Italy, Yugoslavia, the United Kingdom, most of Black Africa, all of the Arab countries, and all of Central and South America. These nations were created to amass wealth for the ruling families and their supporters, to hide or keep their wealth, and to create unstable conditions necessary to start wars or increase military budgets.

Switzerland was created as a neutral banking centre so that Illuminati families would have a safe place to keep their funds without fear of destruction from wars and prying eyes.

The United States was established with 13 colonies, one for each of the Illuminati families. The original flag had 13 stars, and still has 13 stripes. The eagle, the symbol of the United States, holds 13 arrows in its talons. The United States is actually a corporate asset of the Virginia Company that was established in 1604 in England with direct involvement of the Rothschilds. The finances of the Rothschilds were necessary to fund the exploration and exploitation of the North American continent.
The assets of the Virginia Company, including the United States, are owned by the Holy Roman Empire via the Vatican. This occurred in 1213 when King James gave all English assets to the Reptilian Pope. Executorship remains with the British royal family, but actual ownership lies with the Roman Catholic Church.

The United States of America is not named after Amerigo Vespucci, as you learned in school. The Illuminati would never name a continent, actually two continents, after an Italian mapmaker. The name is actually a combination of words.

• "Am" is the Hebrew word for "people"
• "Ame" is also the command form of the Spanish/Latin verb "to love"
• "Eri" or "ari" is a Hebrew term for "lion"
• "Rica" is the feminine form of the Spanish word for "rich"
• "Ka" is the ancient Egyptian word for soul, or spirit force within a body

There are two layers of meanings. The Ancient Hebrew/Egyptian translates to say, "the people of the lion with spirit force"
Hence, the pyramid and all-seeing eye on the one-dollar bill. The Latinized version translates to say, "love riches", in a feminized/physical reality way. This gives an idea of what they had in mind.

Take this a step further, and one sees the mixture of the feminine Latin/eagle ideas with the masculine Hebrew/lion ideas. The symbolic statement of America is that it is a combination of Lemuria and Atlantis; a blend of the human/Lyrae with Reptilian/Draco. Perhaps the anagram LSD, an Illuminati created drug, has a hidden meaning as well: Lyrae-Sirius-Draco! The combination of these three civilizations would produce the most powerful, technological Empire ever known!

In 1776, the creation of the United States as an independent nation coincided with the declaration into public existence of the official Illuminati organization by member Adam Weishaupt, in Bavaria. Publicly, Mr. Weishaupt appeared to be determined to create an organization comprised of the European elite that would uplift mankind. Of course, this was part of an Illuminati global ceremony. The creation for the United States and the Illuminati global ceremony. The creation of the United States and the Illuminati organization were artificial beginnings for public consumption. The United States was the device to be used to bring the Illuminati into public acceptance. Current Illuminati members believe that Adam Weishaupt was a look-alike for George Washington, and it is actually Weishaupts image that appears on the one-dollar bill.
George Washington was a wealthy slave and plantation owner. He is known to have raped some of his female slaves and used some of the male slaves in ritualistic ceremony. There are many people of the Black race who can literally trace their genetics to the founding fathers. George Washington also ordered the building of the Montauk Lighthouse in 1796. This lighthouse included an underground area for supply storage in case of a British coastline invasion. If he had only known what that area would become – or did he? The 13 ruling Illuminati families constantly vie for control amongst themselves. During this time period, the Spanish, British, and French Illuminati all fought to win control over North and South America. The Rothschilds kept these Illuminati factions in line by sending Hessian troops to monitor the situation. The leaders enjoyed these war games, pitting one against the other to see who would win. The hundreds of thousands of lives lost were meaningless to them.

The Manifest Destiny of the United States was created to expand the territory of the Aryans at the expense of the native populations. As always, the Illuminati seek to destroy native peoples and their cultures. This is an attempt to destroy their knowledge of God-Mind, as well as the possibility that the natives will impart this information on to others. Especially important is their need to eliminate native cultures with ancient knowledge of Atlantis and Lyrae. The natives that gave them the most problem were the Cherokee Indians because this tribe retained most of their Atlantean knowledge, even accessing the Bear/Bigfoot frequency for information. For this reason, these people were uprooted from their homeland in the southern Appalachian Mountains, and forcibly marched to Oklahoma on what is now known as The Trail of Tears. Many died along the way. Only a remnant remained in North Carolina, Tennessee, and Georgia. In the north, the vast Iroquois/Mohawk nation was disbanded. The Montauk, direct descendents of the Atlanteans who call their leader Pharaoh, were systematically eliminated.

The Rothschilds were aggressively involved with the slave trade from Africa, importing slaves to North and South America as well as the Caribbean. They were very careful not to import Blacks from the eastern areas of Ethiopia or Sudan where the descendents of Solomon were located, instead concentrating on western and central Africa for the slave populations. These areas had the pure mixture of Anunnaki and simian genetics, and the programming desirable for the Illuminati agenda.

The Rothschilds decided that splitting the United States colonies would double their profits. So they politically created, and financially supported, the Civil War. The Civil War was actually a global ceremonial ritual to bring slavery to its next level. This war allowed the North to win, and publicly abolish slavery. The best slaves are the ones who do not realize that they are slaves. This alleviates rebellion and resistance. This was the status immediately following the Civil War. Blacks in the South are still slaves. There is still segregation, even in the North. The Illuminati still consider Blacks to be second or third class citizens. Only now the slavery is subtle and masked.

In5D Note: Those in power consider us ALL useless eaters and have used divide and conquer techniques against us to keep us from uniting. What we "ALL" need to keep in mind is that once the bottom of the pyramid unites, the rest will collapse.

Since the Civil War, there have been other staged wars that entrenched the trend toward globalization. The Spanish-American War of 1898-1899 acquired more land for the American Illuminati, placing a greater portion of the Earth's surface under American jurisdiction. World War I was designed to change the map of Europe as well as test germ and chemical warfare technology for future use. This coincided with the worldwide influenza outbreak designed to reduce the global population, making control easier. World War I also laid the foundation for the German role in the next war.

World War II was a test of the final globalization and extermination projects. It was also designed to test mind-control machinations; to test the use of fluoride which deadens brain activity and slows resistance to authority; to experiment with slave labor camps and study the development of resistance; and to teach the masses to spy and report on one another.
Related: The HIDDEN History Of Fluoride
World War II brought three primary goals of the Illuminati to fruition.

• The first was that hidden Illuminati symbolisms were brought to public attention from the underground strongholds in Tibet and Egypt, such as the Swastika and the ankh.
• The second was the creation of the State of Israel as a foundation for the New World Religion.
• The last was the creation of nuclear weapons as part of the Illuminati global ceremony.

During World War II, the Germans helped to perfect "sex-slaves" as a means of transmitting information amongst the elite. Sex-slaves can be either male or female, who are sexually programmed using Wilhelm Reich procedures, which are illegal in the United States, but used by the Illuminati and government.

These sex-slaves deliver messages and keep programmed sleepers in line. The sex-slave is downloaded with a message or function through various sexual acts and drugs, which can only be released by repeating the same sexual act with the target, or person, to be activated. They are trained to know their target's trigger words and trigger events to activate, delete, or change programming.

In recent years, several women have come forward claiming to be the sex-slaves of globally recognized political figures. Many were used as information couriers between high-level male Illuminati. Usually, look-alikes of the political figures are used in the incipient programming as a focal point for the sex-slave. The slave is put through a desensitizing process, so there is no pleasure in the sexual act; it is merely a duty to be performed. Many times the slave becomes sexually promiscuous, repeatedly having sex with people who look like the intended target. It is a sad life. By the end of World War II, one of the three major Illuminati global rituals was accomplished. This was the nuclear explosion that took place in 1945 at the 33^rd parallel as a test for the nuclear attack on Japan. This explosion was symbolic, representing the simultaneous creation and destruction of matter and energy. The year was symbolic as well. In numerology, 1 + 9 = 10, representing the 10 aspects of God-Mind. The number 10 further breaks down to 1 + 0 = 1, representing a new beginning. Continuing, 4 + 5 = 9, representing the end of a cycle. Symbolically, the entire event represented the end of a cycle to prepare for a new beginning using the new creation of God-Mind out of destruction.

Additionally, a cylinder containing material still not explained by the government was trucked into the nuclear explosion testing. This cylinder was made from pure steel and allegedly was the same physical dimensions as the Kabala describes for the creation of Golems. Kabala is ancient Hebrew metaphysics that has been a staple for the Illuminati for millennia. Golems are artificial beings that are used as a slave force. It is highly probable that this was a symbolic ritual for the creation of the society of Golems.
World War II also allowed the European/American Illuminati to destroy the Japanese Illuminati desires of global domination. The Japanese royal family, represented by Emperor Hirohito, have always been ostracized as non-legitimate by the ruling 13 families. The Japanese claim to be direct descendents of Lemurian purebred Reptilians.

The European/American Illuminati claim that the Japanese Illuminati are descendents from a lower species in the Draco hierarchy. This lower species is considered a worker class without any political clout or influence. The European/American Illuminati also claim that East Indians are a lower species in the Draco hierarchy. The 13 ruling families consider light skin and hair to be an elite characteristic.

On January 17, 1994, Japan sent a seismic event to California. Exactly one year later on January 17, 1995, the city of Kobe, Japan was seismically destroyed. Kobe was the home of the Japanese electromagnetic weaponry centers. The European/American Illuminati will not tolerate thorns in their sides. The destruction of Japan and its royal family will continue in the coming months.

Every year, the Illuminati hold meetings to plan the events of the coming year to accomplish their main objective formulated millennia ago of global control and domination. In the 1850s, they pinpointed their target date for complete domination with an agenda called Plan 2000. This has since been revised to 2003. The fiasco election of George W. Bush Jr. to office is a key sign that they are on target. The public lesson of the United States presidential "election" of 2000 is that the citizens do not vote for anyone! Even the Illuminati are now finding it increasingly difficult to conceal their plans.

About the author:
A gifted medical intuitive, Stewart Swerdlow is a clairvoyant who has the ability to see auric fields and personal archetypes as well as read DNA sequences and mind-patterns. His great-uncle, Yakov Sverdlov, was the first president of the Soviet Union, and his grandfather helped form the Communist Party in the United States in the 1930s. To ensure that his loyalties stayed with the US government, he was "recruited" for specific government mind-control experiments which enhanced his natural abilities.

This article was excerpted from Stewart's book, Blue Blood, True Blood: Conflict & Creation

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The French Connection Car Chase Was "Dangerous" And "Life-Threatening": Gothamist

Ask anyone the best car chase scene in cinematic history and they'll likely tell you, without pause, that it's The French Connection. So let's revisit the intense, five-minutes from the 1971 Academy Award-winning classic, which was added to Netflix's streaming platform on January 1st.

The film, directed by William Friedkin and starring Gene Hackman and Roy Scheider, was based on the true story of NYPD detectives Eddie Egan and Sonny Grosso.
The famous scene features Jimmy Doyle (Hackman) giving chase in a 1971 Pontiac LeMans, burning rubber through NYC as a bad guy attempts a getaway on the elevated train above him. A scene like this would never be filmed in the way it was then... it wasn't choreographed down to every detail, and there were no permits from the city to film. On top of that, real pedestrians and drivers unaware that a movie was filmed were coming into contact with the scene being shot. From IMDB, an almost unbelievable set of circumstances under which it was filmed:

"The car chase was filmed without obtaining the proper permits from the city. Members of the NYPD's tactical force helped control traffic. But most of the control was achieved by the assistant directors with the help of off-duty NYPD officers, many of whom had been involved in the actual case. The assistant directors, under the supervision of Terence A. Donnelly, cleared traffic for approximately five blocks in each direction. Permission was given to literally control the traffic signals on those streets where they ran the chase car.
Even so, in many instances, they illegally continued the chase into sections with no traffic control, where they actually had to evade real traffic and pedestrians. Many of the (near) collisions in the movie were therefore real and not planned (with the exception of the near-miss of the lady with the baby carriage, which was carefully rehearsed).
A flashing police light was placed on top of the car to warn bystanders. A camera was mounted on the car's bumper for the shots from the car's point-of-view. Hackman did some of the driving but the extremely dangerous stunts were performed by Bill Hickman, with Friedkin filming from the backseat. Friedkin operated the camera himself because the other camera operators were married with children and he was not."

You can hear Friedkin discussing that right here, and here's a great look back on the scene, including one crew member declaring: "It was a terrible thing to do, it was dangerous and it was life threatening."

There was at least one crash that was unplanned—"at the intersection of Stillwell Ave. and 86th St., the man whose car was hit had just left his house a few blocks from the intersection to go to work and was unaware that a car chase was being filmed." The crash was kept in the movie for realism, and the producers paid the car repair bills.
According to one thorough comment on Scouting NY, at least part of the car chase scene was filmed in Ridgewood, Queens. And these guys have charted out the scene locations to determine how fast the car was going—while Friedkin has claimed 90 MPH, they believe it was more like 70 or 80 MPH.

via Hypertextbook

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Goodbye To All That: 5 Reasons Why I'm Leaving New York

When I think about it objectively, there are hundreds of reasons why I could never leave New York.
Many of them flood my mind as sensory images: the sight of spring's first cherry blossom trees lining the streets in pink, the Halal Guys in Midtown slinging plates of hot food to men in suits, shards of sunlight glittering over the East River and the smell of salt water rolling in.
Other reasons are personal memories. I grew up in Westchester County, in a suburban town just outside New York, so the city was ingrained in me from a young age.
My father came home from his Manhattan job each evening smelling of newspapers and Metro North's imitation leather seats. My mom brought our family into the city on Saturdays to see a new exhibit at the Met or to see a Broadway play.
I love New York City right down to its concrete streets, its tonnage, its unstoppable pulse and mesmerizing allure. But, in three weeks, I am leaving.
As extraordinary and irreplaceable as New York is, it can be equally as frustrating and difficult. New York is like the boyfriend you love and hate at the same time. It's the relationship you stay in far longer than you should, based on the idea of how good it could be.
Joan Didion's famous essay, "Goodbye to All That," should be mandatory reading for anyone who has ever love-hated New York. In it, Didion discusses her magnetic draw to the city and her ultimate decision to leave it for LA.
Forty-six years later, Sari Botton compiled and published a collection of essays called, "Goodbye to All That: Writers on Loving and Leaving New York" (another must-read), in which various writers take up on Didion's literary legacy and describe their experiences arriving and living in New York, holding it on a pedestal and then deciding to leave (and sometimes, come back again).
Love-hating New York is a longstanding trend.
As Didion says in the opening line of her essay, "It is easy to see the beginnings of things, and harder to see the ends." It's one of those lines that hits home because it's so true. It's made me think specifically about why I'm leaving a place I love.
I've moved away from New York before only to come back, so I understand what I am giving up. After thoughtful consideration, here are the five main reasons why I'm leaving New York:

The People

I don't like to make sweeping generalizations, but New Yorkers have a bad reputation for a reason. Many of them just aren't very nice. New Yorkers have that edge that makes them blunt, pushy, disingenuous and uncompromising.
I often take pride in my New York edge when it surfaces internally, remembering with conceit, "That's right, I'm from New York."
But, then, I take a step back and wonder why I'm sneering at my barista for using the wrong kind of milk and snapping at the airport security guard for making me throw out my Chanel No. 5 because I'm the idiot trying to carry on a liquid over 3.4 ounces.
It's unnecessary to be rude, and I hate being rude; yet, New York seems to draw out my rudeness and cynicism.
Mary Schmich has a well-known quote:

Live in New York City once, but leave before it makes you hard. Live in Northern California once, but leave before it makes you soft.

She nailed it. You have to have the balance (too much time in Northern California will make you soft). I need a break from the hardness because I can feel myself getting that way and putting up with people who are that way.
We are reckless with each other's emotions. Sometimes, I feel like New York teaches us not to care about each other and to only invest in ourselves. I'm tired of the sharks, the bitchy coworkers on power trips and the pretentious name-droppers.
After a while, it all starts to get the best of you.

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The Cost

It's a common complaint, but NYC is too expensive. There comes a point when you simply cannot justify paying $18 for an elderflower cocktail and $1700 a month to live in a shoebox.
I have no doubt it would be a dream to live in New York if you had money to spend. But, for 20-somethings, rents are high and salaries are low, and for most of us, that means eating a lot of pasta and sneaking flasks into concerts to avoid the $12 beers.
The best of New York – the world-renowned restaurants, Soul Cycle classes and amazing outfits from Intermix – are out of the question. Unless you work in finance or have a trust fund, being in New York in your 20s can feel more like surviving than living.
The guilt that results from taking a cab instead of the subway or ordering that second glass of wine at dinner is exhausting.

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Too Many Workaholics

Work is a critical part of life. In addition to the fact that we need to make money in order to survive, we would all go crazy if we didn't put energy into a career.
A strong work ethic is important and having a job you love can be one of the most enriching aspects of life. But, many New Yorkers are so focused on work that there is room for little else.
Everyone is hustling and busy and under pressure; rarely do people have time to stop and have genuine conversations — ones that don't start with "What are your Q4 numbers," or "My boss has that sweater in red."
Working too much makes us self-involved. It's a big world with a lot going on and a ton of other things that could benefit from our attention besides work.
Your job is certainly a part of you, but it shouldn't define you.

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Fresh Air (Or Lack Thereof)

New York is a beautiful city in its own way (some areas more than others), but it's called the concrete jungle for a reason.
I'm tired of the gritty streets, the packs of tourists that ensure claustrophobia on every block, the chalky gray air and the endless noise. I miss the sight of the sky all around me and the feeling of breathing in clean, untouched oxygen.
I want to see mountains and lakes and meadows and snow that sticks. I want to go hiking and camping and skiing on the weekends. We need nature more than we realize. It's good for the soul.

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If Not Now, When?

New York will always be New York. Yellow taxis will always whoosh down Fifth Avenue; the big Christmas tree will rise up in Rockefeller Center each December; runners will jog the Central Park loop on crisp fall mornings, and kind-faced men will continue playing saxophones in the subway.
New York City is not going anywhere. It might change in small ways, like all of us will, but the heart of it will remain the same. So, if you've ever had the urge to explore another part of the world, now is the time. You can always come back.
John Updike said,

The true New Yorker secretly believes that people living anywhere else have to be, in some sense, kidding.

I agree with that statement, which is exactly why I need to get up and go.

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The Long Goodbye - NYTimes.com

Matthew Woodson

By ALEX WILLIAMS
Published: November 22, 2013 112 Comments

"New York was no mere city," Joan Didion wrote in her landmark 1967 essay, "Goodbye to All That," explaining why she abandoned her adopted home of New York, seemingly for good, at the age of 29. "It was instead an infinitely romantic notion, the mysterious nexus of all love and money and power, the shining and perishable dream itself."

Ms. Didion, who was originally from California, did more than just capture, and explode, the enduring image of the young writer chucking it all to make it in New York. She spawned a new literary cliché: the not-quite-so-young writer beating a hasty retreat from the city, but transforming the surrender into a literary triumph via a "Goodbye to All That, Redux" essay.
The literature may be thin when it comes to "See ya, Chicago" or "Later, Los Angeles" odes, but ever since Ms. Didion set the standard 46 years ago, the "Goodbye New York" essay has become a de rigueur career move for aspiring belle-lettrists. It is a theme that has been explored continuously over the years by the likes of Meghan Daum in The New Yorker and Luc Sante in The New York Review of Books.
Lately, the "Goodbye" essay has found renewed life, as a new generation of writers works out its love-hate relationship with the city in public fashion. Recently, opinion-makers like Andrew Sullivan and David Byrne have scribbled much-discussed New York-is-over essays; literary-minded Generation Y writers have bid not-so-fond farewells to the city on blogs like Gawker and The Cut; and a dozen-plus writers, including Dani Shapiro and Maggie Estep, published elegies to their ambivalence toward New York in "Goodbye to All That: Writers on Loving and Leaving New York," an anthology published last month.
"If you can make it here, you can make it anywhere, the song goes," Mr. Sullivan wrote in a Sunday Times of London column last week, explaining his decision to flee New York after only a year and return to Washington. "But why would anyone want to make it here? The human beings are stacked on top of one another in vast towers that create dark, narrow caverns in between. Gridlocked traffic competes with every conceivable noise and every imaginable variation on the theme of human rage and impatience."
New York, I can't quit you. Or maybe I can.
On first glance, contemporary entries to the genre tend to follow the same arc as Ms. Didion's essay. Basically, it is a classic femme (or homme) fatale story, with New York as siren, New York as lover-substitute, an eight-million-headed stand-in for those sexy bad-news types we all fall for, to our peril, when we are young.
"No man could compete, in my mind, with the lure of a summer night in Greenwich Village," writes Hope Edelman in "You Are Here," her contribution to the anthology.
To Ann Friedman, whose essay "Why I'm Glad I Quit New York at Age 24" recently ran in the New York magazine blog The Cut, New York is not just a guy, it's that guy. "I've always been partial to the friendly guy who doesn't know how hot he really is (Chicago) or the surprisingly intelligent, sexy stoner (Los Angeles)," Ms. Friedman wrote, "as opposed to the dude who thinks he's top of the list, king of the hill, A-number-one."
The New York-you-broke-my-heart essay has become such a trope for young female writers that Jezebel recently asked, "Is Dumping New York City a 'Girl Thing?' "
(Apparently not. Mr. Sullivan also invoked the romantic-love theme in a recent blog post, describing New York as his "mistress," though he felt "married to Washington," his once and future home. And in a 2010 exit essay on The New York Times blog City Room, Christopher Solomon, who came from the Pacific Northwest, wrote: "Oh, I pursued you. We went to the opera, to plays, to gritty little restaurants in Queens. You — the city — were always my date. But you never belonged to me. Eventually you, too, moved on, taking your buzzing neon promise of fame to the next newcomer.")
By framing the relationship as a love affair, it makes the inevitable breakup with the literary capital seem less like a career failure than a coming to the senses after a youthful infatuation.
"In my early twenties, I felt that my life could be one big experiment, and in my mid-twenties I am coming to terms with the fact that no, my life is actually my life," wrote Chloe Caldwell in her anthology entry, "Leaving My Groovy Lifestyle."
In putting it so, Ms. Caldwell echoed Ms. Didion's description of how she rationalized the move that she and her husband made to Los Angeles (they returned to New York in the 1980s): "I talk about how difficult it would be for us to 'afford' to live in New York right now, about how much 'space' we need. All I mean is that I was very young in New York, and that at some point the golden rhythm was broken, and I am not that young anymore."
For Ms. Didion, in other words, money was simply an excuse. The reality was, in the relatively cheap New York of the 1960s, even a Vogue junior staff member like her — making $70 a week — could secure a centrally located Manhattan apartment with a view of, she thought, the Brooklyn Bridge ("It turned out the bridge was the Triborough," she dryly amended) and pay for taxis to parties where she might see "new faces." Sure, the early days were tough — "some weeks I had to charge food at Bloomingdale's gourmet shop in order to eat," she wrote. But in general, she could afford to hang around long enough to determine when she had stayed "too long at the Fair." In sum, she could afford to fall out of love with the city slowly.
Not so for the would-be Didions of today. In their New York, the nice apartments with the bridge views tend to go to the underwriters of bond issues, not to the writers of essays for literary anthologies. The unaffordability of New York on a writer's budget is a theme running through several contemporary variations on the theme.

"New York makes it easy to forget that many Americans would probably find paying $950 for a 10-by-10 room overlooking garbage cans either unaffordable or unappealing, or both," wrote Mr. Jefferson, who added that sometimes he was "so broke that a $3 falafel" from Oasis in Williamsburg "was all I'd eat for a day."
(His description called to mind another widely linked article from The Onion in 2010: "8.4 Million New Yorkers Suddenly Realize New York City A Horrible Place To Live." "At 4:32 p.m. Tuesday," the article read, "every single resident of New York City decided to evacuate the famed metropolis, having realized it was nothing more than a massive, trash-ridden hellhole that slowly sucks the life out of every one of its inhabitants.")
Money is not just crowding out writers; it is crowding out ideas, according to Mr. Sullivan. "If you think you'll find intellectual stimulation, you're thinking of another era," he wrote. "The conversations are invariably about money or property or schools. I've never been more bored by casual chat."
No less a New Yorker than David Byrne — Mr. Talking Heads, Mr. Downtown — threatened to bolt the city he epitomizes in a much-discussed Guardian essay if it continues to morph into a clubhouse for money shufflers, like Hong Kong or Abu Dhabi. "Those places might have museums, but they don't have culture," he wrote. "Ugh. If New York goes there — more than it already has — I'm leaving."
No wonder that Sari Botton, who edited the anthology, titled her own essay in the book "Real Estate." The essay recounts how she was forced to bolt upstate in 2005 after the rent on her below-market loft on Avenue B tripled, to $6,600, and was rented out to a movie star.
"A really big factor in why I did this book now is that more and more people are finding they can't afford to live in New York if they're in a creative field," Ms. Botton said.
In an era when rents are spiking, book advances shrinking and magazines shuttering, New York may no longer be a necessary destination for the young writer, she acknowledged. It may not even be a feasible one.
"If you are a young writer," she added, "you're going to have to share an apartment with a number of people, you're not going to have any privacy, you're barely going to be able to make a living in whatever job you're going to get. It's just not conducive to a creative life."
In a more innocent era, it seems, writers chose the moment in life that they were ready to serve the city its "Dear John" letter. These days, New York is likely to dump them first.
Perhaps the next anthology will be titled simply "Good Riddance."

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