Bet no one gets through these four.
Let’s get back to this Worldwide Civil Disobedience from April 15th to 18th, via Fausty.
We were discussing it today and as we spoke, I felt an attack of hypocrisy coming on. We could think of a number of reasons why it might not work because it is asking people to take an action. Suddenly, we sounded like our own critics, you know – too early, no traction and all that.
Hey, we have to do something, not just sit back complacently like the Five-yearists.
The difficulty is that it’s all factored in. Let’s give Them their due – they’re clever buggers and have a lot of material to draw on, back to the 1770s, to see how to proceed. This current state we’re in began with Colonel House in the modern context. So, comparatively, we are ants, more miniscule than that even.
Lord T shows just how easy it is to get explosives past security. It seems to many concerned citizens, including your humble blogger, that the issue is not actually catching anyone these days but rather a double-edged agenda – 1. make air travel super expensive again and bring it back to the province of the rich and 2. make it highly uncomfortable to travel.
Conclusion? They don’t want us to travel. This goes with the new regionalism and localism that the Brussels globalists want. Further command and control.
Trouble is – our side [Hannan etc.], also want this but for different reasons.
It’s not only the authorship of Shakespeare’s works which has come in for scrutiny but also the authenticity of the portraits.
Xensen says, of the different portraits below:
The three likeliest portraits are the Cobbe portrait, which portrays the forty-something Shakespeare as a gallant young courtier; the Chandos portrait, which presents him as a comfortably well-off bohemian; and the Droeshout portrait — the familiar one from the first folio — which is so inempt and cartoonish that it gives little sense of any real person. (A Scientific American article once put forth the bizarre theory that it actually depicts Queen Elizabeth). Brice Stratford has helpfully assembled the three portraits, along with some supporting text, on this page.