Wednesday, October 11, 2017

New Video Mini-Series Instead of Book

I have decided to present my NYMZA material in a different medium than a book, which means you get for free what would have been in the book. The first segment of my NYMZA research/speculations video mini-series has posted:

NYMZA: The Hand Behind Globalism

Thanks for your support!

Thursday, June 22, 2017

New Book Available NOW!

Available ONLY in print on demand! This one will not be available in digital format.


Tuesday, March 21, 2017

Thursday, February 2, 2017

The NYMZA 'Metropolis'

In 2010 I was introduced to a cinematic hidden treasure: I went to a theatrical screening of Fritz Lang's legendary 1927 silent masterpiece Metropolis. Though, like many, I was long familiar with the existence of this iconic film, I had never actually seen it. Only through clips and still images did I know this amazing film, none of which truly captured what this film is. Seeing this film, complete for the first time since it premiered in Germany in 1927, before US distribution which saw its full length hacked for convenience, I was propelled to the next level of my personal lifelong love of cinema. Seeing Metropolis, and subsequently The Artist, inspired me to make my own silent film two years later. But this post isn't about my love of cinema nor the merits of Metropolis as film alone. I am writing this after waking up this morning with an unexpected and startling re-interpretation reflective of what is going on in the United States and the world, by extension.

Metropolis turns out to be a prescient vision of our times and with a NYMZA context that may not be an accident. Fritz Lang conceived, with then wife Thea Harbou, produced and directed Metropolis in Germany during the rise of the Nazi Party. I realized this morning that Lang's film is oddly a cinematic 'revelation of method' of what NYMZA and its minions are making happen in our times. I will go through each point but I recommend the reader watch the film first to absorb the full impact. Even if you've seen it already, watch it again. And especially if you are watching it for the first time, I recommend a theatrical screening. If you can't find one, watch it on the biggest screen you have at home -- and don't watch like the typical American. Put your seat directly center before the TV and turn off all the lights and watch it like you're in a theater -- and keep your damned mouth shut. Let it flow over you. Let it be all that's on your mind as you view it. Metropolis is one of those films that deserves your attention. As Anthony Bourdain once said: 'If you're not willing to peel garlic, you don't deserve to eat garlic'. After you watch the film, sit down with this blog and watch it again.

Essentially, Metropolis is the story of haves and have-nots who have fallen into misunderstanding of one another. The basic plot is a pro-union wet dream, of course, with the industrialist captain running the great city on the backs of the labor class who toil in the underground machinery that makes it all happen. Up in the city heights, the elite engage in sporting events and gaily frolic about their paradise garden, canoodling with willing (and groomed) maidens, all the while the labor class marches to work in a dark cold and ugly subterranean world where their wives toil in the plain hovels they call home and their children are tended to by their well-meaning and almost holy teacher figure, an icon of virtue. Things happen when the son of the city's great builder and manager sees the virtuous underworld teacher and the poor ragamuffin children she has sneaked to the upper world of the elite. The son falls immediately into love and must see her again, so off he goes into the underworld to find her but instead finds the truth about the horrible realm below, witnessing firsthand an industrial accident that kills many workers. He returns to the surface world and tries to tell his father, hoping to gain some sympathy for the people below, but instead finds his father suspicious of an suspected uprising among the workers. When the son sees the father coldly fire a subordinate, the younger man decides to take matters further into his own hands. He takes the identity of a worker and experiences firsthand what it's like to toil in his father's machine. This also gives the son the opportunity to learn about the suspected uprising being stirred by angry workers -- and it turns out that their spiritual leader is the iconic young woman of virtue, the girl he has fallen in love with. The son is convinced that he can be the 'mediator' messiah the workers have been told would come. Meanwhile, the father must stop the uprising before it happens and enlists the aid of his old nemesis, the brilliant mad genius Rotwang. We learn that Rotwang lost the love of his life to an affair she had with the master industrialist and his agreement to help the man who stole his woman is tainted by his desire for revenge. He will destroy Metropolis in the process. Rotwang kidnaps the young spiritual leader and transfers her likeness to a mechanical woman, his greatest creation. This artificial woman is unleashed upon the upper world of the elites and uses their vices against them to cause division, and then she is also sent to the underworld to lead the workers astray on a rampage, believing she is their once virtuous leader. Ultimately, the son comes out of the dark cloud that has him bedridden and he saves the day, intervening between the insanely rioting masses who have emerged from below to trash the city above and his father and the elites he represents. The masses see the error of their ways when they realize Rotwang has betrayed them with a false image of their beloved leader and goaded them into sabotaging the machinery resulting in a flood in the underworld that threatens the lives of their own children. The son and the young teacher save the children, of course, and in the end he brings his father and the workers together. All is well.

Naturally there is texture and nuance that only a proper viewing can convey and provide, which is why you should watch the film to truly appreciate what I'm saying here. But you should also know that Lang made this film in the context of the era, the mid-late 1920s when the Nazis were rising to power. Take into account what I have written and previously discussed elsewhere and on this blog that the Nazis were the product of NYMZA and a new perspective emerges with Metropolis. The Nazis were fascists supreme, of the socialist flavor, and when they fell in Germany many landed in the United States where it appears they became fascists of a capitalist flavor via the Military-Industrial complex. Either way works for them because they are globalists, making them first cousins of the Marxist Left, also globalists. When the workers of the Marxist Left are confronted with the masters of the Military-Industrial far right, we have the plot of Metropolis. Both sides are globalist and, via Rotwang (the pure NYMZA character of the film), they are forced to unite into one community aka one world, the globalist vision. There is no middle class in Metropolis, you will see -- just as there cannot be a true middle class in a globalist collective. A middle class is the bane of both the corporate fascist vision of the Neocon Military-Industrial complex and the Marxist Left -- and thus an enemy to NYMZA. Through this filter, we see that Metropolis is a film about how NYMZA brings its globalist vision into fruition through manipulation of its creations, the Neocon Fascist Right and the Marxist Left.

 This is why I recommend two viewings of the film, the second one taking into consideration the following points that I suggest demonstrate what I'm saying:

1.  The famous imagery of the workers marching to work like zombies, as the shift they are relieving is marching out in identical manner, is an excellent analogy to how Washington DC has worked for decades: One party takes over as the other party departs, one faction replacing the other faction, virtually identical in practical result.

2.  The Eternal Gardens, the Stadium and the entire upper city represent the Globalist ideal of both the Left and the Neocons. These are public institutions built upon the slavery of the masses, not private interests created or maintained by interested parties invested in their success. Naturally, these places in Metropolis City can only be enjoyed by the elites because the lower class is too busy working the machinery to partake -- if they were allowed to, which they are not. A middle class would be able to enjoy such things even though they aren't elites. But true elites, globalists at heart, don't want that.

3.  The Machine that the workers slavishly keep running in the underworld represents the dark demands of the NYMZA mastery of our world. The elites demand to be served and they don't care how that aim is accomplished or what it costs others. It is a beast that is never satisfied and eats those who serve it, if need be. It represents the system of the State as God.  The State must be served. The Machine is also depicted as Moloch in one scene and this directly points to the dark ancient aspects of the NYMZA. When the Machine malfunctions early in the film and many workers are killed, the effect it has on The Son is akin to 9/11 and the effect it had on the American psyche (also discussed on this blog). Witnessing this Moloch event horrifies The Son and sends him headlong into his crusade to bring the classes together into one globalist union -- just as I and others argue 9/11 was designed to do.

4.  Maria the virtuous young spiritual leader and teacher of the underworld children represents the liberal ideal of the socialist citizen, ever serving the needs of others, using the plight of children to shame others of whom she disapproves -- albeit in a camouflage of well-meaning altruism.

5. The Son of the city's master is the Fool who becomes the 'Mediator' aka Messiah. He represents the ideal beta male of our times, always seeking Daddy's love while defying him at the same time. He leads with emotion (his romantic love for Maria coupled with his bleeding heart) thus making him easy to manipulate. He is allowed to demonstrate alpha traits only once and I'll get back to that. This character is important also because he represents the union of the Nazi International and the Marxist Left -- he is the Neocon of the story.

6.  The Father, master of the city he conceived and built, is the very image of the Nazi International proposed by Joseph Farrell: Industrialist dedicated to the vision of the State as God.

7.  And then we have Rotwang, the mad scientist genius sorcerer of the tale. Plain and simply, Rotwang is George Soros. In the film, Rotwang has that murky past with the Father Master of the City who stole the woman Rotwang loved, the woman he idolized. The Son is, we are told, the child of the beloved woman and the Master of the City. But the viewer will notice how much the Son resembles Rotwang more than the Father/Master. Is the Son actually Rotwang's child? Did the Mother leave him while carrying their child to end up in the arms of the Master of the City who took on the role of the Father to the boy? This suggests to me that the 'Mother/Beloved Woman' is actually an ideal -- the ideal desire of Rotwang that was stolen by the Master of the City, i.e. Soros lost his ideal reward for dedication to NYMZA to the Military-Industrialist Nazi International and thus also lost his personally envisioned role. A man who once served the Nazi Party was dumped by the surviving Nazis after the war and thus pursued his own success via currency gaming and political manipulations via his foundation, i.e. 'Rotwang's lab'. Like Rotwang seeking to destroy Metropolis City in revenge against the Master of the City, Soros sought to destroy nations in some mad lust for revenge against the Nazi International's capitalist interests, fascist though they be. Rotwang's machinations to stir up the masses can be seen in George Soros' 'color revolutions' and currency manipulations.

8.  The Mechanical Man/Woman, Rotwang's creation, represents transhumanist ideals of singularity, another wet dream of collectivists and guys like Soros. Into this technology can be poured the mind and likeness of any desired personality. In the film, Rotwang abducts the spiritual leader Maria and steals her image to transform the Mechanical Woman into a counterfeit Maria which he uses to betray both the masses and the elite, through her allure and her lies. We find in this figure the representation of Globalist Left creations Hillary Clinton, Elizabeth Warren, Madonna, Ashley Judd, Meryl, Rosie, and any other leftist female icon you choose all combined into the lying False Goddess using the vulnerable aspects of human nature and that age-old and provocative bleating nag tactic against the masses and the elite alike. Just as Hillary Clinton had George Soros behind her, the False Goddess Maria has Rotwang behind her, both are robots manipulated by expendable minions.

9.  The Son, as Fool, descends into the underworld and this results not in his enlightenment as much as it does his seduction. It is contrasted with the ascent into the elite's world of the worker whose place he takes. Just as the Son/Fool goes into the dark underground and is seduced, so is the worker who experiences the upper city seduced by the lies of the Night Club and its vices. The Night Club represents the Media Circus of showbiz, influence propaganda (called the 'news'), and the globalist visionary model of what they want the world to be. There is posturing, there is multiculturalism, there is sex, all designed to put the patrons into a headspin. Later in the story when the counterfeit Maria, False Goddess, is injected into the Night Club, she uses her sex appeal to drive the crowd mad and turn the best of friends against each other in their mad lust to please her and gain her attention. Subsequent to that, she also ventures into the underworld to masquerade as their beloved spiritual leader and then fans the flames of their discontent into a burning rage to destroy, destroy, destroy. We see this in our world today:  The fools are dragged into the underground of leftist lies and distortions, while others are seduced by celebrity harpies, many driven into mindless rages. This is exactly what NYMZA wants.

10.  The Flood that happens when the Machine is sabotaged can be found in the lie of Climate Crisis. Just as the flood in the film is the product of sabotaging the machine, the climate crisis is the product of tainted science, or sabotaging data, as it were. As the flood in the film motivates the Son and the true Maria to rescue the children and this calms the masses, so is the climate crisis myth used to motivate the masses through fear to come into compliance with globalist ideals.

11.  The Son as Fool becomes the False Messiah of NYMZA. He is allowed to briefly break from the beta mode only to pursue and overthrow Rotwang in order to rescue the true Maria (Leftist Goddess). This suggests, to me, that Soros is as disposable to NYMZA as Rotwang was in the story of Metropolis. What clue did Lang give us that the Son's character may be a False Messiah even within his own film's context is the scene wherein the spy whom the Father hires to collect on the Son and the underground movement recites a possible motive for inserting a False Messiah: "The only thing keeping the workers in check is their expectation of getting the 'mediator' promised to them." Now many would say that the Mechanical Woman/Counterfeit Maria/Transhumanist Puppet is the 'false mediator' in the story -- but there is only ONE moment in the film in which any character performs the function of a mediator -- The final scene in which the Son brings together his Father/Master of the City/Elitist in a handshake with Grot, the foreman of the angry worker class masses of the underworld. The Mechanical Woman/Counterfeit Maria/Transhumanist Puppet always acts as agitator, never as mediator. The True Maria/Leftist Goddess never acts as a mediator in any scene, she comforts the worker class and provokes the elites by injecting the underworld children into their environment. That the Spy (who may be the only actual directly NYMZA character*) speaks the line about the expected mediator for the masses suggests an unspoken/unrevealed plot to give the masses a false messiah/false mediator -- which may not be unrevealed -- for there is the sequence in which the Son is back at home and bedridden and under the care, and control, of the Father and his doctors. The Son's 'nightmare' features the Spy character at a pulpit, preaching at him. Could this actually have been the Spy applying mind control on the Son? Could this be the opportunity the Master of the City, this elite Military-Industrialist Nazi Internationalist Father had to gain control over the Son/Fool and make him the false mediator/false messiah? Is the Neocon of our times, whom the Son/Fool represents, the mediator 'false messiah' between the Left and the Right created to bring the masses into the globalist dictates of the NYMZA?

The film Metropolis ends with all coming together (conditionally) in understanding and brotherly love. Unity is (conditionally) achieved. This represents the ideal of NYMZA globalism. We start the film with no middle class, and we end the film with no middle class. There is only the Marxist-style worker class masses coming to the table with the Nazi Internationalist (military-)industrial Master and this (here comes the condition...) only after the threat that their children would die in the flood caused at the hand of the elitist puppet (Rotwang was commissioned by the Master, remember), just as many young people today are being spun into a hellish chaotic world by the manipulations of George Soros and his operatives who are stirring up the worst of the protests.

Some may dismiss these thoughts. However, look again -- there is no one represented in this film but Marxist worker types and fascist industrialist types. Unionization is represented, the messiah is even called a 'mediator', a common unionist term, Christ as negotiator. Metropolis is about socialists, fascists, and globalists. There are no sovereign libertarian free market capitalists anywhere to be seen. That Lang was a German filmmaker making this movie in Germany in the late 1920s clearly establishes why. That neither the Marxist worker characters nor the fascist industrialist elite characters come out on top (remember, even using the Son as false mediator required the 'flood' to control the mob, suggesting a limited control) begs the question: Who then does win in the end?

The winner in this story would be the master behind it all. The character that controls both the Master of the City/Nazi Industrialist and the Marxist Worker Masses/Leftists is the Globalist whose very definition requires the factions within its own philosophical base be unified, by subterfuge and force, if need be. There is no middle class, not a single sovereign free market capitalist anywhere in Metropolis -- and nowhere in the Globalist vision of the NYMZA.

Just some stuff to think about.

-- WB  Feb 2017

Metropolis (1927) 2010 Restoration Trailer

* Where does the Spy really come from in the story? He could very well represent an organization outside the City-State, available to the Master/Father as a contractor as needed, but not actually an employee. The Spy may be an operative of an unseen hand whom Lang never reveals but synchronicity identifies as the NYMZA.

Monday, January 23, 2017

Thoughts About The Trump-and-Russia Thing

This is just an informal thought or two I thought I'd share.

Consider this: Yes, the Lefty/Dems are hoping to come up with one accusation after the other to cause trouble for President Trump, but the Russian thing has another layer.

The Russians are not the Soviets anymore. There is much hyperbole and spin applied to events involving Russia, all of it aimed at starting a new cold war, possibly leading to regional shooting wars which the mil-ind complex can profit from in their mad quest for Pax Americana. To do that, they'll need a cutout bad guy, so the Russians are being constantly pushed as a 'national security threat'. It's a ruse.

Now suppose there was some big move being prepared in the last two years or so and the Russians knew it. Suppose it involved the Chinese and their old friends the Clintons, and also whichever mafia backs Obama, I say the Soros branch of the Nazi International. This indicates to me the hand of NYMZA, that globalist power behind both. And with NYMZA in the mix, you have the fascist Nazi International creation: the military-industrial complex and its top ally, the Neocons. This might mean that whoever ran for president was assumed to be still under some control or serious influence of either the Lefty mafia or the Neocon mafia, and all under the NYMZA banner. Whatever move was planned was considered a sure thing, whoever won the election.

Along comes Trump, rather along comes the only mafia that can stand on equal ground with NYMZA and give them real resistance and they back Trump. I say it's The 1903 but it could be someone else with their same values -- values in opposition to the NYMZA, the Nazi International, the Left, the Neocons, the Globalists. This opposition group backs Trump and who on the global scene hates Nazis as much as anyone?

Russians. Distinctly Russians. The spirit of USSR resistance to the Nazis during WW2 was not really a Soviet product, it was the Russian people. It's not their fault that Stalin and the Soviet regime turned out to be as bad on a bigger scale as Hitler. Presently, the Russians have a nationalist president in Putin, former KGB officer that he is. With Putin and Russia, we have a national power outside of the NYMZA mafia control and the globalists are not happy. They want Russia smacked down as soon as possible because they know the key to their globalist plan is to discourage nationalism of any kind -- because nationalism is the wrench in the globalist machine. And, lo and behold, the Globalist NYMZA's worst nightmare: Putin and the Russians stand on the Trump side of the line in the sand.

What can they do? For starters, they can see to it that political media constantly demonizes the Russians. They can also push for accusations of wrongdoing and lawbreaking on the part of the Trump administration in their associations with the Russians. They use the useful Lefty idiots in the American public (Democrats, Obama devotees, etc) much the same way the Neocons use their useful idiots (far right conservatives, half of Fox News, McCain, Rubio, Graham etc) to hammer away and hopefully plant seeds in the mind of the masses: Nationalism is always bad, Nationalism must be stopped, Nationalism must be subject to global power, America should be just a product in the brand line of the Neocon Mil-Industrial Corporation, etc etc. I suggest that the Russian stake in American nationalism is the strengthening of their own resistance to the globalists. That's why we see call for a new cold war against the Russians: their resistance to globalism.

Nationalism is the greatest force against globalism. It forces nations to cooperate in resistance to global tyranny. One cause, but each under their own flag. Nationalism keeps globalist tyrants in check -- and the globalists know it. Putin has decided to keep Russia strong. I do not see where he's trying to re-create a Soviet Union. Trump wants a strong America that is not a puppet for the Neocon mil-industrial complex. The idea that we may team up in opposition to the globalists, if for no other reason, scares the hell out of the NYMZA so naturally their puppets are working very hard to convince you that Trump and Putin are up to no good.

So that big move I mentioned? It may be that Putin and Trump have been aware of what it was. Trump's job was to win the election, Putin's was to help the NYMZA candidate lose the election. Obama could have pulled bigger, more powerful antics in his last days but again something stopped him from going that far. I say the group behind Trump. Read my post about Trump and the Sonora Aero Club. Trump's mafia (The 1903?) likely communicated to Obama's masters that there would be consequences should the outgoing president try anything drastic. NYMZA and the Left were foiled and they are very angry thus the lashing out against the Russians. They must foment a resistance to cooperation between America and Russia, specifically Trump and Putin.

The Globalists do not want a new era.

Just my thoughts this afternoon.


Friday, November 11, 2016

Just When You Thought It Couldn't Get Weirder...

I said in the Mitt Romney post that I would address Donald Trump within the NYMZA context. Well, I have looked more closely and recent information (recent for me, anyway) has spun my perception of this like a top. I'm going to just get straight to the point on this one.

If you have read my works, specifically Empire of the Wheel 2: Friends From Sonora and Origin: The Nineteenth Century Emergence of the 20th Century Breakaway Civilizations, you will know of my research and opinion on the mysterious Sonora Aero Club and NYMZA(NJMZa) and the breakaway subject in general. I have gone on the record as being firmly anti-NYMZA(NJMZa). I conclude that NYMZA(NJMZa) is aligned with collectivist globalism, something to which I am vehemently opposed. Readers of the above books will also know that I propose there exists a breakaway civilization founded by what I call the '1903' and that I think they can and do oppose NYMZA/NJMZa and its allies. The 1903, for those unfamiliar with my books, was a result of the dissolution of the Sonora Aero Club, a secretive group of German immigrants who opposed the growing imposition of NYMZA/NJMZa their oversight organization bent on military applications of the mysterious anitgravity technology the group was alleged to have developed -- in the 1850s. The leaders of the Sonora Aero Club quietly dissolved the group after the reported death of their chief, Peter Mennis, the man with the secret of the technology. But a mere few years later, an airship was proposed and demonstrated to Abraham Lincoln's representatives and was promptly forgotten. My readers already know that I do not think this was the case. Rather, I argue that the technology was developed after the Civil War in America's first 'black program'. That program led to the mystery airships of the 1890s, in my opinion, and ultimately the breakaway I call the '1903'.

And it is with the 1903 we find a connection to US politics today.

Where did I get '1903' for a moniker of this supposed breakaway civilization? From the legend that a mysterious group of financiers and investors backed the construction of a an airship that flew to Mars -- in the year 1903. You can read Origin for the details and refer to my sources as well, for the purpose at hand, I will continue with what is most pertinent to this article. Who designed and engineered this airship supposedly capable of flying to Mars in 1903?

Nikola Tesla. The world famous genius who came to the United States in the late 19th Century was known to have invented and designed many astounding things but also invented our present system of electrical power, alternating current. Much has been said of Tesla, some true, some not. Tesla died in January 1943 in Manhattan and within hours it is said someone entered his room and confiscated certain technical papers from a safe. During this period right after Tesla's death, it is a fact that federal agents also entered the room. These were agents of the Office of Alien Property ('alien' referring to non US person immigrants, not ETs), the Office of Naval Research and the FBI. Bureau documentation released on this issue indeed identifies the OAP as the organization that took custody of Tesla's papers and other property and also clearly states that FBI agents removed nothing from Tesla's room. These papers have long been a source of speculation easily as wild as those of mine that irritate my critics so joyously. There remain many questions about what exactly was taken and why, if true, these papers remain unseen by the public. What was in those papers? Who knows?

Might there have been something in the Tesla papers of special interest to the US intelligence establishment of the time? It was 1943 and the world was at war -- with Germany. Nazi Germany.
If you aren't familiar with the wonder weapons and other astounding things credited to Nazi Germany prior to and during the war, just Google it. The point is, the US intelligence establishment and the military were deeply concerned with what might be in those papers that Nazi agents operating in New York might find interesting. So specialists were brought in to review the Tesla papers.

What was their conclusion? That there was nothing of much value for defense and that Tesla was an old man whose last decade or so of life wasn't very productive in a practical sense. One analyst who reviewed the papers at the request of the FBI said that Tesla’s “thoughts and efforts during at least the past 15 years were primarily of a speculative, philosophical, and somewhat promotional character,” but “did not include new, sound, workable principles or methods for realizing such results.” And thus it was put to rest, as far as the FBI et al were concerned.

But was it really? Is it possible that there actually was something of vital import to the war effort and the FBI's special analyst went on record otherwise in cooperation with wartime national security directives? That is entirely possible. It might also be worthy of considering that said specialist could have been affiliated with an organization that preferred Tesla's papers be ignored or forgotten. Why? Maybe in those papers were proprietary technological secrets which the owners did not want known to the public or even exploited by the war effort. Maybe in those papers were Tesla's design schematics for the legendary Mars airship of 1903 -- and if that's the case, the party most interested in keeping Tesla's missing papers et al from public view would be the '1903' breakaway group, in my wildly speculative opinion.

Whose idea was it to suppress the contents of Tesla's papers? If the FBI, we can reasonably assume this served the war effort and national security. But what if the FBI reasonably accepted the conclusion of their specialist and let it go? In a scenario of suppression that was not on behalf of US national security we are left with an implication that the specialist might have been working on behalf of the 1903 group. The specialist might have discouraged US interest with an aim of averting development of the technology found in the papers. The specialist analyzing Tesla's papers may have kept the secrets of the breakaway civilization I call '1903' securely within the control of the group -- or perhaps said analyst merely withheld one secret: the Mars airship, the very project that I speculate might have motivated the very breaking away of the '1903' group in the first place. This would mean that the Allies could have benefited from Tesla technology yet not obtain the airship design. The '1903' group could have still let the Allies have secrets to turn the tide of the war without compromising their existence. It all rests on what the specialist who analyzed the papers actually shared with the FBI.

So who was that analyst?

John G Trump, the uncle of the current President Elect of the United States. A physicist and brilliant engineer affiliated for years with M.I.T., John Trump in 1943 had already been working on radar systems development for the war effort. John was the brother of Fred, the father of Donald Trump. But who could he possibly have been to the breakaway civilization I call the '1903'? What possibly could John Trump's connection to a breakaway civilization ever be?  (Photo left is John G Trump, courtesy Getty Images)

Recall whom I said the 1903 group emerged from. The Sonora Aero Club, the secretive group flying anti-gravity 'aeros' in California in the 1850s, according to the legend. That group of German immigrants who rejected the militaristic aims of their parent organization headquartered in Berlin, the NYMZA/NJMZa. The Sonora group included a member who designed these curious 'aeros', painted by Dellschau in 1920, of which I draw your attention to the names of the lower object in Graphic 1 and the objects in Graphic 2:



Multiple machines labeled TRUMP. Machines built by German immigrants who were very secretive and disappeared in America around 1860, never to be found again, we are told.

The man credited with these Aero Trumps was named Homer Trump.

Donald Trump was the son of Fred, himself the son of a German immigrant named Friedrich Trump who immigrated from Germany to the US in 1885. Is it possible that there was a Donald Trump relative in the Sonora Aero Club? There is nothing to say that Homer Trump was not a cousin of the Trump clan related to Donald Trump. Homer could have come to the US in the mid 19th Century and been a member of the Sonora Aero Club. Since the club members were reportedly so secretive, this would explain no traceable connection to Donald Trump's immediate family (so far!) if said Homer Trump had disappeared at the dissolution of the club. Naturally, I will engage in further wild ass speculation on this.

What if Homer Trump of the Sonora Aero Club was involved in the subsequent black project that I argue for in the post Civil War years (see my books for the details). By the time of the late 1890s airship mysteries, Friedrich Trump, Donald's grandfather, had been in the US for a decade. That makes it possible for Donald's grandfather to have met the aero club Trump or that man's offspring. All of this makes Donald's engineer Uncle John more interesting. More specifically, it makes Uncle John being selected by the FBI to review Tesla's secret papers all the more enticing. It all rests on BIG -- 'HUGE' -- IFs.

IF there was a Trump family connection to the Sonora Aero Club via Homer Trump, and IF the club's technology and even perhaps Homer and other former members were involved with my hypothetical black project that resulted in the 1890s mystery airship sightings, then that might suggest, as I have speculated elsewhere, that the legend of the 1903 Tesla airship to Mars might be true. Thus IF true, and IF, as stated above, the Trump relatives of Donald were acquainted with the aero club Trump, then it can be suggested that the breakaway 1903 group might have a stake in keeping Tesla's designs or references to them suppressed -- and therefore, John G Trump would be a likely agent of suppression. As the technical analyst of Tesla's secret papers on behalf of the FBI -- John Trump could also have been an agent of suppression for the 1903 breakaway group.

What might this mean to us today?

Anyone who runs for President of the United States is going to have powers that back them up, especially on the unseen level. I have argued in a previous post that NYMZA/NJMZa had a stake in stopping Donald Trump and possibly exercised it through Mitt Romney's 'Never Trump' campaign. IF the NYMZA/NJMZa is so opposed to Donald Trump, who could possibly have opposed them and stand a chance of winning?

The 1903 Group.

Therefore, I propose yet another wild ass speculation of insane proportions that the NYMZA/NJMZa Never Trump cabal, the Republican Establishment (greatly represented by the Bush clan), and the Clinton political machine were all foiled by the silent backing of the breakaway civilization '1903' for Donald Trump, President-Elect of the United States.

One last thing. Look closely at the graphics above with the Trump aeros. They are numbered in a series. The series is '4500'. Donald Trump is going to be the 45th President.

What the hell, you might ask?


More to follow, to be sure...

-- Walter Bosley, 11 Nov 2016

New Yorker Magazine, 8 Apr 2016, Amy Davidson
FBI File #100-2237, SUBJECT: Nikola Tesla,
Origin by Walter Bosley
Empire of the Wheel 2:Friends from Sonora by Walter Bosley
Secrets of Dellschau by Dennis Crenshaw and PG Navarro
Charles A A Dellschau, Stephen Romano etc, Romano Gallery
Wikipedia  and various genealogical sources.