Magic circle - snuff films - Weimar part II - crash course on WWII

Source: Yahoo Group; Hawks Cafe

May 10, 2010

Dear Lord Pearson:

UKIP: Mrs Clegg Magic Circle Trigger Bullingdon WWII

Hawks CAFE asks you to investigate Mrs. Clegg’s association with Magic Circle law firms (link) which allegedly have custody of snuff films – partly recorded with RCA-NBC patent-pool devices – for use in the extortion of Bullingdon Club alumni to secure their participation in trigger events leading up to WWII.
http://www.legalsectoralliance.com/about/members

Our KSM agents have evidence to suggest that Mrs. Clegg's associates at the Magic Circle law firm Allen & Overy, have shared custody of an archive of snuff films recorded through the Spanish Civil War (July 1936 – April 1939) and the Nazi-Soviet invasion of Poland on 1 September 1939 which triggered WWII.

KSM also has evidence that parts of this archive was recorded with devices borrowed from RCA-NBC patent pools and contains footage of sexual murder (‘Lustmord’) at Bullingdon oath-taking ceremonies attended by the likes of W. H. Auden and Stephen Spender and the Duke of Windsor through his abdication as King Edward VIII on 11 December 1936.

“[BBC World Service] Tuesday, 18 December 2007 .. According to The Times, raven-haired Ms Gonzalez Durantez, 39, left the [Foreign Office] civil service a year ago to become head of the international [carbon-offset?] trade practice for multinational law firm DLA Piper .. She had been an expert on the Middle East peace process at the Foreign Office. She has also worked in Brussels for Chris Patten, then a European Commissioner and his successor Ferrero Waldner”

“Apr 25, 2010 - 10:50 AM Spanish national right wing newspaper, La Razón, has carried out an interview with Míriam González, the Spanish lawyer wife of the British Liberal Democrat leader Nick Clegg. She tells the paper that the two party system should be done away with [???] in Britain .. She met Nick Clegg in Bruges at the start of the 90’s where both were on post-graduate courses .. She worked with Chris Patten when he was European Foreign Affairs Commissioner, and then Nick Clegg was an MEP. She worked briefly in the Foreign Office in London, and is now a partner of the international law firm DLA Piper”

“Whilst still Prince of Wales, Edward VIII had a certain amount of difficulty in getting his parents' permission to join the Bullingdon on account of the Club's reputation. He eventually obtained it only on the understanding that he never join in what was then known as a "Bullingdon blind", a euphemistic phrase for an evening of [oath taking rituals] drink and song. On hearing of his eventual attendance at one such evening, Queen Mary sent him a telegram requesting that he remove his name from the Club .. In the last few years the Bullingdon has been mentioned in the debates of the House of Commons in order to draw attention to excessive behaviour across the British class spectrum, and to embarrass those increasingly prominent MPs who are former members of the Bullingdon (most notably David Cameron, leader of the Conservative Party, George Osborne, Shadow Chancellor and Boris Johnson, Mayor of London). Hansard records eight references to the Bullingdon since 2001.”

“Close-up of individual [RCA/NBC] camera. The most striking aspect of this camera compared to its modern counterparts is its lack of an electronic viewfinder. At that point in time television receivers and their CRT displays were about the size of a bookcase - impractical to mount on the camera itself. Consequently, the cameraman had to use the peep-hole and wire-frame arrangement shown, somewhat like the press cameras of the day. The lenses are obviously interchangeable, but not quickly. The familiar lens turret would be a later development, as would the Zoomar lens. Also prominent is the large cable and connector necessary to bring the myriad of signals and supply voltages to and from the camera electronics and pickup tube. This camera used a pickup tube called an Iconoscope, invented for RCA by Vladimir Zworkin. It consisted of a rectangular plate containing an array of photocathodes, called a mosaic, on which the image was focused and which was scanned from the front by a beam of electrons emanating from a heated cathode and its associated focusing grids that was offset from the optical path - all enclosed in a very strangely shaped glass envelope. The video signal was expressed as variations in the electron current as it traversed, and discharged, the individual photo-induced charges on the mosaic cathodes. The mosaic was relatively large, resulting in good image definition but poor sensitivity. After WWII, the Image Orthicon pickup tube was developed by RCA and became the mainstay of the industry. It offered a vast improvement in sensitivity through the use of much more complex arrangement of photomultiplication, return-beam target scanning and built-in electron multipliers.”

“In Weimar’s early years, Germany was a society adrift, come completely unmoored. When a loaf of bread could cost as much as four billion Marks, the attempt to pay reparations having debased the currency, people starved. Murder and violence were rampant, including sexual murder, or Lustmord, which became Weimar’s tabloid sensation. Women from once-respectable families could be seen selling themselves, their daughters, and even their sons on the streets of Berlin. It is partly for this reason, but also with the help of such travel writers as Christopher Isherwood and W. H. Auden, that our cultural imaginary in the English-speaking world has made Weimar Berlin the epitome of modern decadence. With the word, “Weimar,” images of cabaret, cross-dressers, and public prostitution come readily to mind. Indeed, there has been for decades an unfortunate and homophobic tendency to blame Weimar debauchery for the Nazi terror that followed it. Of all Weimar artists, perhaps none more than Anita Berber and Sebastian Droste exploited the bizarre cultural situation, including its fascination with Lustmord. Berber herself, the infamous naked dancer, has come to symbolize the utmost in Weimar depravity, a symbolism she carefully cultivated. Nonetheless, in presenting this first-ever full-length English translation of Dances of Vice, Horror, and Ecstasy, I hope to demonstrate that Berber and her one-time partner, Droste, should also be considered as artists, creative trailblazers who, anticipating by several decades the performance art and pop art of the post-World War Two period, used scandal, debauchery, and nudity to engage their contemporary culture. Berber and Droste respond to, as much as they ironically reflect, the crisis and the singular opportunity of German modernity. Rent boy and girl prostitute / Bodyless / Soulless / Coverless” (“Suicide”). Lurid, gorgeous, silly, daring—Dances of Vice, Horror and Ecstasy eludes easy characterization .. In making bluntly obvious that they have to sell precisely what the audience wants to buy, they disallow the assumption of innocent spectatorship. While this spectacle shortly proved too much for Weimar to tolerate, we can, perhaps, from our cultural vantage-point, attempt to come to terms with it. If postwar Berlin, with its commodities stripped bare and its pervasive desentimentalization, presents the grittiest of modern panoramas, without Paris’ multi-colored romanticism or London’s literary flair, it also opens onto, as Dances of Vice, Horror, and Ecstasy shows, that flip-side of degradation, utopia”

“Walter Leonard, son of the famous German singer Lotte Lenya, was himself a fugitive from the Nazis before becoming involved with the Basque children. Trained as a restaurateur in Switzerland, he helped to open the first foreign-run hotel in Tossa and early in 1937 met W. H. Auden and Stephen Spender ("a bickering lot, they were") during their brief civil war forays. When the hotel closed he came to England and was chosen to supervise a Basque colony housed in a cottage on Lord Faringdon's estate at Eaton Hastings, Oxfordshire. "The Oxford committee, mostly university people, were very good about fund-raising, and the government made a pound-for-pond grant. Lord Faringdon supplied milk, eggs and vegetables, but our anarchist cook accused him of exploiting the older boys as slave labour and had to be sent away. Rosa, the only girl in the colony, asked for a transfer.”

“Further pressure from the right came in 1923 with the Beer Hall Putsch, also called the Munich Putsch, staged by Adolf Hitler in Munich. In 1920, the German Workers' Party had become the National Socialist German Workers' Party (NSDAP), nicknamed the Nazi Party, and would become a driving force in the collapse of Weimar. Hitler was named chairman of the party in July 1921. On 8 November 1923, the Kampfbund, in a pact with Erich Ludendorff, took over a meeting by Bavarian prime minister Gustav von Kahr at a beer hall in Munich. Ludendorff and Hitler declared a new government, planning to take control of Munich the following day. The 3,000 rebels were thwarted by 100 policemen. Hitler was arrested and sentenced to five years in prison for high treason, a minimum sentence for the charge. In the event, he served less than eight months in a comfortable cell before his release on the 20th of December 1924. While in jail, Hitler wrote "Mein Kampf" which laid out his ideas and future policies. Hitler now decided to focus on legal methods of gaining power”

For further information re Mrs. Clegg’s links to Magic Circle law firms which allegedly helped to trigger 'Bullingdon WWII' please refer to our lawsuit ‘Hawks CAFE v. Global Guardians’ at links below.
http://www.hawkscafe.com/107.html
http://abeldanger.blogspot.com/