War on Cash

I was looking at the US Debt Clock online this morning. The official figure is over 18 Trillion USD (,561,652,758,029.00 as of 11:10 AM, CST). That’s over One Hundred Fifty-Five Thousand USD (5,578.00) per taxpayer. Paying that off EVER is clearly impossible.

But it gets worse.

A news article came out earlier in the week stating the official figure leaves out a lot of items, so that the real US National Debt is more like 65 TRILLION USD! How can a country even function loaded down with such a mountain of debt?

Historic global debtHere is the really frightening answer – the picture in some other countries is even WORSE – which is a huge factor in keeping the US financially afloat this long.

When you add all of this sovereign debt up globally it amounts to far more money than even exists in the world – which is why central banks keep creating so much new money out of thin air.

This excessive money creation is all a banker’s trick to make it possible to service the debt (for now anyway) – but never to pay it off. It is a balancing act to try and keep the over-burdened economy from tanking.

It is like a family with a small income putting huge purchases on a credit card until that card is full. Then they get two more cards – one to pay off the debt on the earlier card and another to keep up their spending spree. They may be able to stall off the day of reckoning for awhile, but eventually this scheme will collapse and the creditors will grab all of their stuff. Really, if you or I were to behave with the sort of reckless financial abandon of government we would very soon find ourselves bankrupt and on the street.

Numbers work the same whether on a household or a national, or even a global, level. Make no mistake, this trajectory of using ever-more debt to pay off existing debt can’t go on forever. Eventually this sovereign debt crisis has to take the world into the biggest and meanest global economic collapse in the history of the universe.

The bankers, of course, know that.

The bankers though, have another trick up their sleeve. It is their trump card and they intend to use it. They are attempting to transition the world to a cashless economy before the house of cards caves in. Thus we find a war on cash going on. If the bankers can eliminate all cash then they will have control over all financial transactions. They can then manipulate the economy in new ways that have never been tried before. They think that if they can obtain this absolute control over the global economy – and over the finances of every person on earth – they can keep the wolf away from the door, and more importantly for them, maintain their position as masters of the world.

This does not bode well for personal privacy or freedom. In fact, it points to control of the individual that is so complete that no one will be able to buy or sell anything if they are not in good standing with this cashless system. They will not be able to opt out of the banking system by withdrawing their cash – because all money will be digital, controlled by the world banking system and the governments under which they operate.

While this scenario may not be the “mark of the beast” of Revelation 13, it will most certainly lay the infrastructure for “the mark” when the “beast” comes to power.

Practically everything that happens in the world system, from peace to war and from poverty to affluence, arises directly out of economic factors. Here are the mechanics behind fulfillment of Bible prophecy. We are getting closer to the end game now, and the world situation as it actually exists is starting to flesh out what the Great Oppression is actually going to look like.

Last week I presented a lot about this and the “mark of the beast” in our Sabbath meeting. This week I’m following up with more details documenting who is actually promoting this war on cash (names here) and why they think they need to take the world cashless as soon as they are able to do it.

Grasp this, and it will help you to understand just how close we are to Revelation 13. More than that, join with us in taking action steps to be ready in advance of the monumental events soon to come.

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Here is Hay Day Hack and hay day hack zonder telefoonnummer.

Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a “dragnet”, meaning a system of coordinated measures for apprehending criminals or suspects.

Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program’s format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday’s deadpan, fast-talking persona emerged, described by John Dunning as “a cop’s cop, tough but not hard, conservative but caring.” (Dunning, 210) Friday’s first partner was Sergeant Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. After Yarborough’s death in 1951 (and therefore Romero’s, who also died of a heart attack, as acknowledged on the December 27, 1951 episode “The Big Sorrow”), Friday was partnered with Sergeant Ed Jacobs (December 27, 1951 – April 10, 1952, subsequently transferred to the Police Academy as an instructor), played by Barney Phillips; Officer Bill Lockwood (Ben Romero’s nephew, April 17, 1952 – May 8, 1952), played by Martin Milner (with Ken Peters taking the role for the June 12, 1952 episode “The Big Donation”); and finally Frank Smith, played first by Herb Ellis (1952), then Ben Alexander (September 21, 1952-1959). Raymond Burr was on board to play the Chief of Detectives. When Dragnet hit its stride, it became one of radio’s top-rated shows.
Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hardboiled school of crime fiction. Scripts were fast moving but didn’t seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives’ personal lives were mentioned but rarely took center stage. (Friday was a bachelor who lived with his mother; Romero, a Mexican-American from Texas, was an ever fretful husband and father.) “Underplaying is still acting”, Webb told Time. “We try to make it as real as a guy pouring a cup of coffee.” (Dunning, 209) Los Angeles police chiefs C.B. Horrall, William A. Worton, and (later) William H. Parker were credited as consultants, and many police officers were fans.

Most of the later episodes were entitled “The Big _____”, where the key word denoted a person or thing in the plot. In numerous episodes, this would the principal suspect, victim, or physical target of the crime, but in others was often a seemingly inconsequential detail eventually revealed to be key evidence in solving the crime. For example, in “The Big Streetcar” the background noise of a passing streetcar helps to establish the location of a phone booth used by the suspect.

Throughout the series’ radio years, one can find interesting glimpses of pre-renewal Downtown L.A., still full of working class residents and the cheap bars, cafes, hotels and boarding houses which served them. At the climax of the early episode “James Vickers”, the chase leads to the Subway Terminal Building, where the robber flees into one of the tunnels only to be killed by an oncoming train. Meanwhile, by contrast, in other episodes set in outlying areas, it is clear that the locations in question are far less built up than they are today. Today, the Imperial Highway, extending 40 miles east from El Segundo to Anaheim, is a heavily used boulevard lined almost entirely with low-rise commercial development. In an early Dragnet episode scenes along the Highway, at “the road to San Pedro”, clearly indicate that it still retained much the character of a country highway at that time.

http://en.wikipedia.org/wiki/Dragnet_(series)

Our Miss Brooks is an American situation comedy starring Eve Arden as a sardonic high school English teacher. It began as a radio show broadcast from 1948 to 1957. When the show was adapted to television (1952–56), it became one of the medium’s earliest hits. In 1956, the sitcom was adapted for big screen in the film of the same name.

Connie (Constance) Brooks (Eve Arden), an English teacher at fictional Madison High School.
Osgood Conklin (Gale Gordon), blustery, gruff, crooked and unsympathetic Madison High principal, a near-constant pain to his faculty and students. (Conklin was played by Joseph Forte in the show’s first episode; Gordon succeeded him for the rest of the series’ run.) Occasionally Conklin would rig competitions at the school–such as that for prom queen–so that his daughter Harriet would win.
Walter Denton (Richard Crenna, billed at the time as Dick Crenna), a Madison High student, well-intentioned and clumsy, with a nasally high, cracking voice, often driving Miss Brooks (his self-professed favorite teacher) to school in a broken-down jalopy. Miss Brooks’ references to her own usually-in-the-shop car became one of the show’s running gags.
Philip Boynton (Jeff Chandler on radio, billed sometimes under his birth name Ira Grossel); Robert Rockwell on both radio and television), Madison High biology teacher, the shy and often clueless object of Miss Brooks’ affections.
Margaret Davis (Jane Morgan), Miss Brooks’ absentminded landlady, whose two trademarks are a cat named Minerva, and a penchant for whipping up exotic and often inedible breakfasts.
Harriet Conklin (Gloria McMillan), Madison High student and daughter of principal Conklin. A sometime love interest for Walter Denton, Harriet was honest and guileless with none of her father’s malevolence and dishonesty.
Stretch (Fabian) Snodgrass (Leonard Smith), dull-witted Madison High athletic star and Walter’s best friend.
Daisy Enright (Mary Jane Croft), Madison High English teacher, and a scheming professional and romantic rival to Miss Brooks.
Jacques Monet (Gerald Mohr), a French teacher.

Our Miss Brooks was a hit on radio from the outset; within eight months of its launch as a regular series, the show landed several honors, including four for Eve Arden, who won polls in four individual publications of the time. Arden had actually been the third choice to play the title role. Harry Ackerman, West Coast director of programming, wanted Shirley Booth for the part, but as he told historian Gerald Nachman many years later, he realized Booth was too focused on the underpaid downside of public school teaching at the time to have fun with the role.

Lucille Ball was believed to have been the next choice, but she was already committed to My Favorite Husband and didn’t audition. Chairman Bill Paley, who was friendly with Arden, persuaded her to audition for the part. With a slightly rewritten audition script–Osgood Conklin, for example, was originally written as a school board president but was now written as the incoming new Madison principal–Arden agreed to give the newly-revamped show a try.

Produced by Larry Berns and written by director Al Lewis, Our Miss Brooks premiered on July 19, 1948. According to radio critic John Crosby, her lines were very “feline” in dialogue scenes with principal Conklin and would-be boyfriend Boynton, with sharp, witty comebacks. The interplay between the cast–blustery Conklin, nebbishy Denton, accommodating Harriet, absentminded Mrs. Davis, clueless Boynton, scheming Miss Enright–also received positive reviews.

Arden won a radio listeners’ poll by Radio Mirror magazine as the top ranking comedienne of 1948-49, receiving her award at the end of an Our Miss Brooks broadcast that March. “I’m certainly going to try in the coming months to merit the honor you’ve bestowed upon me, because I understand that if I win this two years in a row, I get to keep Mr. Boynton,” she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year’s best radio comedienne.

For its entire radio life, the show was sponsored by Colgate-Palmolive-Peet, promoting Palmolive soap, Lustre Creme shampoo and Toni hair care products. The radio series continued until 1957, a year after its television life ended.

http://en.wikipedia.org/wiki/Our_Miss_Brooks
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Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees’ Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law’s estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.

In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings’ children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (“If you want a better corset, of course, it’s a Gildersleeve”) and then for the bulk of the show’s run, serving as Summerfield’s water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve’s now slightly understated pomposity.

Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible’s Sing-Along Blog).

The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.

http://en.wikipedia.org/wiki/The_Great_Gildersleeve
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