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Wednesday, August 14, 2019

Disinformation & The Murder Of Michael Hastings


Because of the types of stories and very important people Mr. Hastings researched, wrote about and were threatened by, the inevitable conspiracy “theories” sprang forth in the world of cyberspace after his death. Then the Mainstream Media (MSM) could easily pat themselves on the back and chortle at the poor folks whose headgear consisted of tin foil. Meanwhile, the conspiracy forums would explode with in-fighting about which agency did what to who for how much money and why. The facts that emerged, however, had enough red flags to show a concerted disinformation campaign was in effect to help cover-up the murder of Mr. Hastings.
The day after the crash, a video from a Loudlabs stringer’s dash cam was released and voraciously eaten up by both the MSM and alternative press. Why? Because the video purported to show Mr. Hastings’ silver colored Mercedes blowing a red light at the intersection of Santa Monica Blvd. and Highland Avenue. Furthermore, that car supposedly crashed into a palm tree and “blew up” just south of Melrose Avenue on Highland Avenue, and inside that car, was the body of journalist Michael Hastings.
According to an MSM article by Dylan Stableford, a witness to the car running the red light, Michael Carter, posted what he saw to his page. He described a “pearl white Mercedes” that went by his car so fast that, “it shook my car like a freight truck going by.” He then goes on to describe that, “No telling how fast the driver was going. A taxi driver was in the far right lane and we looked at each other, both saying, “What the hell was that?”… By the time the light changed, I could only see the tail lights of the white Mercedes — it was probably past Willoughby by then which was the next red light that I got stopped at. The Mercedes was flying down Highland. The same cab driver pulled up to the light at Willoughby and I looked over at him again in disbelief. Right as I did, the cab driver said something to the effect of, “He didn’t make it.” The [car] was all the way south of Melrose at this point. I looked down Highland and saw a giant fireball at the base of one of the palms that line the medians on Highland. It was surreal.” It was also a perfect story for the official narrative.
The video from Loudlabs does indeed show a white or light colored car blowing the red light at a high rate of speed. About 90 seconds later the Loudlabs stringer’s car pulls away from the parking lot but does not go directly down Highland Avenue and instead travels down Santa Monica Blvd. because there hasn’t yet been a police scanner report of the crash/explosion. A car going in excess of 100 mph, which is the preferred MSM estimate, would take approximately 19 seconds¹ to travel from Santa Monica Blvd. to the crash site just south of Melrose Avenue, a distance of nearly 2,900 feet. An anonymous witness said her husband was running down the stairs while calling 911 about 30 seconds after the explosion/crash. He can be seen in the video attempting to douse the car fire with a garden hose. Two and-a-half minutes after the car ran the red light, the first call comes over the scanner about the explosion/crash at Highland and Melrose. There’s a lot of extra time laying around there. The car that ran the red light, if it was Mr. Hastings’ Mercedes, slowed down considerably by the time it approached Melrose Avenue.
Disinformation helps killers by allowing such inconvenient facts, for example, that Mr. Hastings was afraid to drive his Mercedes and wanted to borrow his neighbor’s car, emerge as mere coincidences. Disinformation wants folks to ignore that this article, about how terrorists [and, of course the military/industrial complex] can easily hack into a car’s computer control, came out the the explosion/crash. Yep. Take over the steering, control the speed, set off a couple of explosions. Just another pesky coincidence. Even a study by the University of Washington warned of the dangers of the ever-computerized automobile. Meanwhile, several witnesses to the explosion/crash described the car going off “like a bomb”. A witness told Loudlabs the car was on fire it hit the palm tree. People in their homes heard the loud explosion which shook their houses and rattled their windows.
Then a restaurant camera video was released which showed a silver Mercedes driving down Highland Avenue and it is clearly not going in excess of 100 mph. The distance between the restaurant camera and the point of the car exploding is approximately 180 feet. The time between the car next to the camera and the point of the car exploding is 3 seconds. This results in a speed of about 41 mph², less than half the speed of the car running the red light up on Santa Monica. The posted speed on Highland is 35 mph.
The video shows two small explosions before the car comes to a stop in a huge fiery blast. 9–11 callers used words like “explosion” and an anonymous witness claimed that she was awoke by a loud explosion that rattled her windows and her entire bedroom was bathed in light even though her drapes were closed. As we can see in the video, the third explosion is huge and very bright.
Photos from the explosion site and published evidence show that something blew off the front of the entire left side of the car. The passenger compartment is hardly damaged due to the collision (something we’d expect to see in a collision of over 100 mph) and the engine and transmission were found intact about 250 feet down the street from the point at where the car stopped. What forces could propel the engine and transmission that far? The most obvious answer comes from what is seen on the video and what is described by various witnesses — an explosion.
Two months after the car explosion, the autopsy report was released. The coroner made his conclusions based on the false premise, aka the official narrative, that the decedent was involved in a high speed crash with a “fixed object” (the palm tree). In the report, the toxicology screen revealed that Mr. Hastings had trace amounts of marijuana and an amphetamine in his system which were both ingested several hours before the crash and were not contributing factors to the so-called accident. Predictably, the Mainstream Media (MSM) pounced on these trace amounts in their headlines essentially making Mr. Hastings a meth head in the eyes of the public and accommodatingly tamped down the many inconsistencies in the official narrative. Indeed, the release of the autopsy report, coupled with previously released witnesses accounts and videos, makes these many inconsistencies even more glaring and the obvious “blame the victim” meme even more disturbing. Unusually, the autopsy report even mentions the discovery of two empty alcoholic bottles “near” the crash site not once, but twice, even though the report states there was no alcohol in his blood.

Reading the autopsy findings in this new light would give the antemortem injuries a different interpretation. Mr. Hastings suffered several injuries that in and of themselves would be fatal. He received a “massive displaced modified basal skull fracture”, a common injury among race car drivers that hit a stationary object at 200+ mph. It’s the type of injury that killed race car driver Dale Earnhardt, among others, but not something one would expect to see in a 41 mph collision even with a fixed object. So, how did that injury occur? Mr. Hastings suffered an “avulsion of the base of the heart with complete transverse avulsion of the atria and superior and inferior vena cava.” Again, another injury compatible with sudden deceleration due to a high speed collision with a fixed object, but completely at odds with a low speed collision. Mr. Hastings also suffered “(H)emorrhagic traumatic transection of the descending thoracic aorta at T-6.” How did those injuries occur? Mr. Hastings also suffered numerous non-fatal injuries, the most curious being his multiple fractures of the right arm and leg that were described as antemortem as opposed to the fractures on his left arm and leg which were the result of postmortem thermal fractures.
Mr. Hastings also suffered a fatal wound that some might believe to be caused by an explosion, as opposed to a high speed crash, that of, “a displaced fracture of the skull extending from the right brow down to the left inferior occipital area.” However, the coroner makes no mention of any foreign (i.e., shrapnel) material or explosive residue in any of the open wounds. Yet, there is also described, “obvious open fractures were also observed to the right arm and both lower extremities.”
Mr. Hastings obviously suffered wounds compatible with a high speed crash, but the video shows the car to be going about 41 mph. The fire that engulfed the car after the final large explosion is entirely compatible with his postmortem injuries. Given the lower than official narrative speed of his car, his fatal antemortem injuries must have occurred before he was put into the car. This narrow conclusion, that Mr. Hastings was fatally injured before he was place into the car, is the only one that can reconcile all of the contradictory accounts of this so-called fatal car crash. Mr. Hastings’ car was hacked to deliberately “crash” into a palm tree while explosions went off. He was already dead when the “accident” happened. The hacking in this case would be a remote control operation of getting his car, with his body inside, to a point where the explosives could go off and then the disinformation official narrative could then be ascribed to another drug addled youngster driving too fast too late at night.
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[1] time = distance/speed, of course the faster the car is speeding the less time elapses
[2] speed = distance/time, some have argued that the restaurant video frames per second (fps) may be slower than the standard 30 fps, which would mean the car is traveling much

James Dean: TV & Film Work

I went looking for a comprehensive list of all of James Dean’s television and film work and couldn’t find such a list. If you can’t find it, create it, right? No list of James Dean’s television work can be truly complete because several of the live television shows he appeared in are lost. I know. Tragic. Back in the early 1950’s, television had a voracious appetite for talent to create mostly live weekly and daily shows. Before the advent of analogue video tape, live shows were filmed via the kinescope process so the program could be shipped to the West Coast for later viewing. Sadly, the general attitude at the time toward kinescopes was one of a disposable commodity and a lot of those live programs have become orthicon ghosts.

ABOUT THIS LIST:
There’s plenty of material about James Dean’s three Hollywood films in which he starred, so this list focuses on work before those productions. This list includes 32 television credits (and 1 TV commercial) although there is evidence that Dean appeared in at least 40 TV shows. Not all of Dean’s TV shows were broadcast live and those that were filmed are so noted. Interestingly, some live TV shows incorporated filmed scenes which were used mostly for transition purposes. There are 6 film credits on this list, neatly halved by his work pre-New York City and work post-New York City. There is a bit of controversy surrounding whether or not Dean did indeed appear, uncredited as a Copyboy, in the Humphrey Bogart film, “Deadline, USA” (1952). Where applicable, or at least allowed, links are provided to view the works online.

Television Work

PEPSI COMMERCIAL — 12/13/1950
James Dean’s first paid acting gig. He was 19 and a student at UCLA.
  1. FAMILY THEATER: “Hill Number One” as John — 3/25/51 (film)
Written by James D. Roche [uncredited]; Directed by Arthur Pierson Dean’s first job in TV. He’s not very good as he anticipates his lines.
2) THE BIGELOW THEATRE: “T.K.O.” as Hank — 10/29/51 (film)
Written by Ted Thomas; Directed by Frank Woodruff
3) TROUBLE WITH FATHER: “Jackie Knows All” as Randy — ABC — 12/7/51 (film)
Written by Lee Leob; Directed by Howard Bretherton — An early situation comedy. Working with a rather young Martin Milner (“Adam-12”).
So ends Dean’s first stint in Los Angeles (see also, Film Work). On the advice of Charles Brackett and actor James Whitmore, Dean moved to New York City in October, 1951.
4) CBS TELEVISION WORKSHOP: “Into The Valley” as GI — CBS — 1/27/52
Written by John Hersey; Directed by unknown — Likely Dean’s earliest live television appearance after moving to New York City.
5) STUDIO ONE IN HOLLYWOOD: “Ten Thousand Horses Singing” as Hotel Bellboy [uncredited] — CBS — 3/3/52
Written by Worthington Miner [adaptation], Robert Carson [story]; Directed by Paul Nickell — Originally a silent part, Dean shows he’s learning how to attract attention and since it was a live gig, nothing could be done about it. This clip says it all.
6) LUX VIDEO THEATRE: “The Foggy, Foggy Dew” as Kyle McCallum — CBS — 3/17/52 (film)
Written by Albert Hirsch; Directed by Richard Goode — All that remains is this short and silent clip.
7) KRAFT TELEVISON THEATRE: “Prologue To Glory” — NBC — 5/21/52
Written by E.P. Conkle; Directed by unknown
8) STUDIO ONE IN HOLLYWOOD: “Abraham Lincoln” as William Scott — CBS — 5/26/52
Written by John Drinkwater and David Shaw; Directed by Paul Nickell — Dean is effective in a small role.
9) HALLMARK HALL OF FAME: “Forgotten Children” as Bradford — NBC — 6/22/52
Written by Agnes Echkardt; Directed by William Corrigan — Yet another small part, in yet another historical drama. Dean also began to appear in off-Broadway and Broadway plays such as “See The Jaguar”.
10) THE KATE SMITH HOUR: “The Hound Of Heaven” as The Messenger — NBC — 1/15/53
Written by Earl Hamner, Jr.; Directed by unknown — 1953 was Dean’s busiest year in television, often appearing as a juvenile delinquent in melodramas, or “mellers” as the trade papers called them. However, in this production, written by future “The Waltons” creator, Earl Hamner, Jr., Dean is playing a hayseed…with wings.
11) TREASURY MEN IN ACTION: “The Case Of The Watchful Dog” as Randy Meeker — NBC — 1/29/53
Written by Albert Aley; Directed by Daniel Petrie
12) YOU ARE THERE: “The Capture Of Jesse James” as Bob Ford — CBS — 2/8/53
Directed by Sidney Lumet — In this early and famed recreation show, Dean plays Jesse James’ assassin.
13) DANGER: “No Room” — CBS — 4/14/53
Written by Maury Stern; Directed by Sidney Lumet
14) TREASURY MEN IN ACTION: “The Case Of The Sawed-off Shotgun” as Arbie Ferris — NBC — 4/16/53
Written by Albert Aley; Directed by David Pressman
15) TALES OF TOMORROW: “The Evil Within” as Ralph — ABC — 5/1/53
Written by David E. Durston and Manya Starr; Directed by Don Medford — An early science-fiction anthology series, this episode stars Rod Steiger, with Dean cast as one of the scientists. It’s a compelling performance and he’s wearing his own glasses!
16) CAMPBELL SUMMER SOUNDSTAGE: “Something for an Empty Briefcase” as Joe — NBC — 7/17/53
Written by S. Lee Pogostin; Directed by Don Medford — Dean once again plays a juvenile delinquent, a “hoodlum”, looking for new path.
17) STUDIO ONE: “Sentence of Death” as Joe Palica — CBS — 8/17/53
Written by Adrian Spies [teleplay] and Thomas Walsh [story]; Directed by Matt Harlib — An early major television role for Dean and he doesn’t disappoint.
18) DANGER: “Death Is My Neighbor” as J.B. — CBS — 8/25/53
Written by Frank Gregory; Directed by John Peyser
19) THE BIG STORY: “Rex Newman” as Rex Newman — NBC — 9/11/53
Written by Alvin Boretz; Directed by Leonard Valenta — Dean co-stars in this early crime “recreation” show. In the jail break scene he transcends the script.
20) OMNIBUS: “Glory in the Flower” as Bronco Evans — CBS — 10/4/53
Written by Tad Mosel [adaptation] and William Inge [play]; Directed by Bob Banner and Andrew McCullough
21) KRAFT TELEVISION THEATRE: “Keep Our Honor Bright” — NBC — 10/14/53
Written by George Roy Hill; Directed by Maury Holland — Another bad boy, this time in a suit and tie.
22) CAMPBELL SUMMER SOUNDSTAGE: “Life Sentence” as Hank Bradon — NBC — 10/16/53
Written by S. Lee Pogoston [adaptation] and Margaret Kleckner [story]; Directed by Garry Simpson
23) KRAFT TELEVISION THEATRE: “A Long Time Till Dawn” as Joe Harris — NBC — 11/11/53
Written by Rod Serling; Directed by Richard Dunlap — Part of a busy November for Dean, in one of his most popular television performances, as an out of control juvie (watch for the bursts of violence preceded by him sucking on his shirt collar).
24) ARMSTRONG CIRCLE THEATRE: “The Bells of Cockaigne” as Joey — 11/17/53
Written by George Lowther; Directed by James Sheldon — One of the pitfalls of live television drama is having a bad night and/or no handle on the character.
25) ROBERT MONTGOMERY PRESENTS: “Harvest” as Paul Zalinka — NBC — 11/23/53
Written by Sandra Mitchell; Directed by James Sheldon
26) DANGER: “The Little Woman” as Augie — CBS — 3/30/54
After a break of several months, in which Dean appeared on Broadway in “The Immoralist” and was cast in Elia Kazan’s upcoming film, “East Of Eden”, he reappears briefly on television for this series.
27) THE PHILCO-GOODYEAR PLAYHOUSE: “Run Like A Thief” as Robbie Warren — NBC — 9/5/54
Written by Sam Hall and Mann Rubin [story]; Directed by Jeffrey Hayden — With filming completed on “East Of Eden”, Dean was back on television to co-star in this drama.
28) DANGER: “Padlocks” as Felon — CBS — 11/9/54 (film)
Written by Louis S. Peterson; Directed by unknown — Dean returned to New York City and was hired to film this episode.
29) GENERAL ELECTRIC THEATRE: “I’m a Fool” as The Boy — CBS — 11/14/54
Written by Arnold Schulman [adaptation] and Sherwood Anderson [short story]; Directed by Don Medford — Back again in Los Angeles, Dean has his first appearance with Natalie Wood. This episode was repeated many times by CBS after Dean’s death.
30) GENERAL ELECTRIC THEATRE: “The Dark, Dark Hours” as Bud — CBS — 12/12/54
Written by Arthur Steuer [adaptation] and Henry Kane [story]; Directed by Don Medford — Dean appears once again as a “disaffected youth”, aka a “hood”, co-starring with series’ host, Ronald Reagan.
31) THE U.S. STEEL HOUR: “The Thief” as Fernand Lagarde — ABC — 1/4/55
Written by Arthur Arent [adaptation] and Henri Bernstein [play]; Directed by Vincent J. Donehue — Back again in New York City, Dean co-stars with Mary Astor in a live production. While the buzz in the entertainment industry about Dean was strong, based on early reports of “East Of Eden”, the film had yet to be released and the public only knew Dean as a TV actor, here billed fifth. This was his last live television performance.
32) SCHLITZ PLAYHOUSE OF THE STARS: “The Unlighted Road” as Jeffrey Latham — CBS — 5/6/55 (film)
Written by Walter C. Brown; Directed by Justus Addiss — The recent release of “East Of Eden” made James Dean a hot commodity and he was given the full star treatment for what would be his last television performance. Shot during the filming of “Rebel Without A Cause”, this was also his last performance released during his short lifetime.

Film Work

1)FIXED BAYONETS as Doggie [uncredited] — 20th Century Fox — 12/1951
Screenplay by Samuel Fuller, based on a novel by John Brophy; Directed by Samuel Fuller — During his early stint in Los Angeles, James Dean appeared in three films in uncredited parts. In his film debut, Dean appears toward the end of this Korean war story directed by Samuel Fuller.
2) SAILOR BEWARE as Boxing Second [uncredited] — Paramount — 2/1952
Screenplay by James Allardice and Martin Rackin, Elwood Ullman[adaptation], John Grant [additional dialogue], Kenyon Nicholson and Charles Robinson [play]; Directed by Hal Walker — Dean Martin, Jerry Lewis and…James Dean!
3) HAS ANYBODY SEEN MY GAL as Soda Fountain Patron [uncredited] — Universal — 5/1953
Screenplay by Joseph Hoffman, Eleanor H. Porter [story based on]; Directed by Douglas Sirk — Dean’s last Hollywood film before going to New York City is his most memorable.
4) EAST OF EDEN as Cal Trask — Warner Bros. — 4/1955
Screenplay by Paul Osborn, John Steinbeck [novel based on]; Directed by Elia Kazan
5) REBEL WITHOUT A CAUSE as Jim Stark — Warner Bros. — 10/1955
Screenplay by Stewart Stern, Nicholas Ray [story]; Directed by Nicholas Ray
6) GIANT as Jett Rink — Warner Bros. — 11/1956
Screenplay by Fred Guiol and Ivan Moffat, Edna Ferber [novel based on]; Directed by George Stevens