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As the collective decided, en masse, to shut down nearly all brain operations three and a half years ago and listen to cement heads, morons, and other idiots who told the masses they were the ‘experts’ or authorities and thus must surrender their lives, their health to any and all horseshit mandates these shysters dreamed up each day, the collective is now left with shite like this to suffer through:
Toxicologist’s Explosive Testimony: ‘Dangerous’ mRNA Shots Contain ‘Lethal Products’ – via slaynews.com
One of America’s leading toxicologists has warned during an explosive testimony that “dangerous” mRNA Covid shots are “contaminated” with “lethal products.”
Dr. Janci Lindsay, a renowned biochemist and molecular biologist, testified before the South Carolina Senate Medical Affairs Ad-Hoc Committee on pandemic preparedness.
Lindsay was called as an expert witness to testify on the risks associated with rolling out the vaccines for public use.
However, Lindsay told lawmakers that her research has found that the shots are “contaminated” with DNA and plasmids that contain cancer-causing SV40 sequences.
The SV40 sequences in the Covid injections are similar to those in the polio shots that are historically linked to cancer, she explained.
Lindsay was among several expert witnesses to testify before the state Senate.
As Slay News previously reported, prominent cancer genomics expert Dr. Phillip Buckhaults also testified that his research team has uncovered similar findings to Lindsay.
Buckhaults said that he has uncovered evidence showing that every dose of Pfizer’s mRNA Covid vaccine is spiked with billions of pieces of DNA.
“The Pfizer vaccine is contaminated with plasmid DNA,” Prof. Buckhaults told the hearing.
“It’s not just mRNA, it’s got bits of DNA in it.”
Watch:
SC4Freedom: SC Senate Hearing – USC Professor Dr. Phillip Buckhaults, 13 September 2023 (34 mins)
Of course, in this friggin’ nightmare that won’t end, these same shysters are rolling out more poison for the masses to inject to ward off whatever scary variant of bullshit they concoct.
Will the masses fall for it again, as they did last go around? Depends on if enough of the collective have come to understand that they were played last time around, and all their “doing their part” back then, including promoting these demons’ insanity of wearing face diapers, or injecting experimental chemical goo to remain healthy did anything but that.
Related:
Dr. Vernon Coleman: These lies and deceits are leading us remorselessly into The Great Reset
As Dr. Vernon Coleman has been saying for three and a half years, nothing is happening by accident. Everything is connected. There are no coincidences.
“We need to be constantly aware that we are under siege and that the stakes in this war are higher than they have ever been in any previous war ever fought. This isn’t a war for territory or a specific commodity such as oil, gold or wheat. This is a war for our freedom, our independence, our individuality and our humanity,” he said.
Dr. Coleman has put together the top 10 biggest lies the conspirators have told in the last three and a half years. – expose-news.com
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Tonight’s musical offering:
Ravel: La valse
Although there are many composers who love the music of Johann Strauss but are ashamed to admit it, Brahms was pleased to acknowledge his envy of Vienna’s “Waltz King,” and so, apparently, was Maurice Ravel. Fourteen years before he composed La valse, he had told a French critic that he wanted to write “a grand waltz, a sort of homage to the memory of the great Strauss, not Richard, the other—Johann. You know how much I love those wonderful rhythms.” There are waltz rhythms in Ravel’s Mother Goose, and he wrote a string of what he called Noble and Sentimental Waltzes, which honored an earlier Viennese composer, Franz Schubert.
But La valse was intended to be the waltz to end all waltzes. Before the First World War, Ravel had planned a work entitled Wien (Vienna), but it had to wait until 1919 to begin taking shape as a “choreographic poem” in fulfillment of a commission from Serge Diaghilev. When the impresario heard the music, however, he declared, “Ravel, it’s a masterpiece, but it isn’t a ballet. It’s a portrait of a ballet, a painting of a ballet…”
The war had changed Ravel’s outlook profoundly, and “The Waltz” now had a demonic and explosive conclusion, in which the savagery of the scene is captured in some of Ravel’s most extraordinary orchestration. —Dennis Bade – via laphil.com
Dispatches from the Asylum 