By Greg Felton | Aletho News | May 9, 2013
For decades, pretentious wonks have declared that we live in “The Information Age,” as if information were a commodity unique to our time. Inanity aside, the claim is patently false, notwithstanding the advent of computers and virtually instant communication.
We do not live in an “Information Age” because “information” connotes data that is beneficial and objectively valid. Information can help solve problems, educate, and generally improve life. This was true of written language, movable type, the radio and the telephone, but look around today—do you see problems being solved, people becoming smarter, or life getting better? I thought not.
A more accurate expression for our time is “The Disinformation Age.” Though it is also not unique to our time, it at least captures the pervasive abuse of information that has made our society the opposite of an “informed” rational society: dissent is a subversive act; citizens are enemies of the state; the media conceal evidence; and the police enforce police-state edicts.
If these dystopian qualities were the basis for a movie or TV show, we could take comfort in the knowledge that justice would eventually prevail.
We’d be able to cheer for a rebellious anti-hero like John Connor (Terminator series), Det. Del Spooner (I, Robot), or Insp. Harry Callaghan (Dirty Harry series) to bring down the system. We would see detectives or scientists analyzing evidence (Columbo, CSI: Crime Scene Investigation, Bones) instead of destroying or ignoring it. We might be treated to the sight of the police treating a suspect humanely and reading him his rights (Kojak, Hill Street Blues, Dragnet). We might even see a dogged investigator exposing a cover up or government corruption (All The President’s Men, Erin Brockovich), instead of scheming to keep it hidden from the public.
This world of scripted entertainment, unreal though it may be, is able to depict healthy relationships between authorities and the truth, and between authorities and citizens. Such shows do not depict an idealized future; they give us fading afterimages of our society before the Military-Israel Complex and neo-conservative sociopaths gave us the “War on Terrorism” and declared justice obsolete. Here’s how the Boston Marathon bombing was scripted to serve the expanding surveillance state and stoke the “War on Terrorism.”
• Stage a lethal attack against a civilian U.S. target;
• Blame Arabs or some other Middle Eastern-looking types for the crime;
• Have FBI agents in place to ensure containment and control of the investigation;
• Justify their existence by having a “bomb drill” going on at the same time;
• Keep the public ignorant of the drill;
• Make sure the scapegoats are killed or otherwise kept away from the media;
• Stage conspicuous displays of gratitude for police agencies to reinforce the illusion that they are needed to fight “terrorism”; and
• Ensure that evidence is ignored or destroyed, and dissenting voices are harassed into submission so that the pre-established cover story can be marketed to a gullible public.
Like the 2001World Trade Centre Attack, which followed the same basic script although on a much larger scale, the Boston Marathon bombing story has come completely unraveled. Every couple of days it seems that some other detail comes out that demands to be investigated:
• No credible motive was ever given for the Tamerlan and Dzhokhar Tsarnaerv to have made the bombs.
• The FBI failed to disclose knowing the brothers; the agency had had a relationship with them going back at least two years.
• The FBI had to know them because the boys’ uncle Ruslan Tsarni (formerly Tsarnaev) is an ex-contractor for Halliburton, and was married to the daughter of Graham Fuller, a former vice chairman of the National Intelligence Council at the CIA and senior political scientist at RAND.
• Boston Police claim Dzhokhar Tsarnaev was shot in a gunfight, but video footage shows that he was unarmed.
• Dzhokhar was accused of leaving his bomb-laden backpack at the race, but a surveillance pic clearly shows him leaving with it.
• No explanation was given for the sudden appearance of Israeli police who just happened to be there to lend assistance.
• The public was not told that several members of a private security kill squad were on site.
This last omission, combined with the FBI’s immediate refusal to consider other suspects, clearly suggests a false-flag scenario. The following table identifies this kill squad.
Are these the Marathon bombers?
Click here for downloadable pdf enlargement.
To date, no news agency will touch this angle, even though these and other pics have been available on the Internet for weeks. Nevertheless, New Hampshire State Senator Sheila Tremblay correctly said that a black ops team was behind the bombing and even cast doubt on the claims of injury since one amputee did not look as if he were in pain. This was undoubtedly true because many of the amputees were paid actors who had already lost their limbs. Tremblay was pressured into issuing a political apology.
If this were part of a movie script, I guarantee there would be a crusading detective or journalist examining the evidence, interviewing people like Tremblay honestly, and asking intelligent questions like:
What was Craft International doing at the Marathon?
Why were they even needed?
How many Craft mercenaries were on site?
Who hired them—FBI, DHS, Boston police?
Why were amputee actors in the crowd, and who hired them?
What are the names of the two agents in pic #1?
Have these agents been interviewed regarding the missing backpack?
Has anyone proved that the exploded backpack even belonged to the Tsarnaev brothers?
For an excellent example of how justice triumphs over police corruption in the world of entertainment, the 1997 movie L.A. Confidential has thematic elements in common with the Boston bombing. [CAUTION SPOILER ALERT]
The film, centres around the culture of violence and corruption that pervades the L.A. Police Department in the 1950s. The catalyzing event is a multiple murder that takes place late one night in a seedy diner. A car belonging to “three negroes” was seen in the area at the time, and so the precinct captain makes them the sole focus of police inquiries.
Under interrogation, a career-minded but idealistic lieutenant realizes the story doesn’t wash, and starts looking for answers. He finds unlikely support from a thuggish officer and a sergeant who works on a TV show.
If you’re wondering what an honest investigation into the Boston Marathon bombing might have looked like, here are a few scenes for your entertainment. Shows like this accurately reflect our police-state but they can inure us to disinformation. This kind of entertainment has to be seen not as a comforting, nostalgic escape, but the basis for a new reality script since the one we have is transparently indefensible.
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