Of Course I Think Missiles Basically Are Just Hollywood Crafted Artifacts of The Religion We Think of As History
Hollywood = Government = Military at the highest levels.
What do you think?
Are Missiles a Hoax? How Do They Get Lift? source: John le Bon
1984: Part 2 Chapter 5
"O say can you see, by the dawn's early light,
What so proudly we hailed at the twilight's last gleaming,
Whose broad stripes and bright stars through the perilous fight,
O'er the ramparts we watched, were so gallantly streaming?
And the rockets' red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there;
O say does that star-spangled banner yet wave
O'er the land of the free and the home of the brave?"
"The preparations for Hate Week were in full swing, and the staffs of all the Ministries were working overtime. Processions, meetings, military parades, lectures, waxworks, displays, film shows, telescreen programmes all had to be organized; stands had to be erected, effigies built, slogans coined, songs written, rumours circulated, photographs faked. Julia's unit in the Fiction Department had been taken off the production of novels and was rushing out a series of atrocity pamphlets. Winston, in addition to his regular work, spent long periods every day in going through back files of The Times and altering and embellishing news items which were to be quoted in speeches. Late at night, when crowds of rowdy proles roamed the streets, the town had a curiously febrile air. The rocket bombs crashed oftener than ever, and sometimes in the far distance there were enormous explosions which no one could explain and about which there were wild rumors."
War: Mostly Crafted fiction?
George Orwell - Star War Reporter or Writer of Fiction?
"By the time The Road to Wigan Pier was in print, Orwell was in Spain; he went to report on the Civil War there and stayed to join the Republican militia, serving on the Aragonand Teruel fronts and rising to the rank of second lieutenant. He was seriously wounded at Teruel, with damage to his throat permanently affecting his voice and endowing his speech with a strange, compelling quietness. Later, in May 1937, after having fought in Barcelona against communists who were trying to suppress their political opponents, he was forced to flee Spain in fear of his life. The experience left him with a lifelong dread of communism, first expressed in the vivid account of his Spanish experiences, Homage to Catalonia (1938), which many consider one of his best books."
Water Powered Rockets: The Wave of The Future
water powered rocket source: In Jesus Name I Play
1984 By George Orwell: Pied Pipers, Never Ending USO Tours, & Sgt. Pepper Marching Bands
"The new tune which was to be the theme-song of Hate Week (the Hate Song, it was called) had already been composed and was being endlessly plugged on the telescreens. It had a savage, barking rhythm which could not exactly be called music, but resembled the beating of a drum. Roared out by hundreds of voices to the tramp of marching feet, it was terrifying. The proles had taken a fancy to it, and in the midnight streets it competed with the still-popular 'It was only a hopeless fancy'. The Parsons children played it at all hours of the night and day, unbearably, on a comb and a piece of toilet paper. Winston's evenings were fuller than ever. Squads of volunteers, organized by Parsons, were preparing the street for Hate Week, stitching banners, painting posters, erecting flagstaffs on the roofs, and perilously slinging wires across the street for the reception of streamers. Parsons boasted that Victory Mansions alone would display four hundred metres of bunting. He was in his native element and as happy as a lark. The heat and the manual work had even given him a pretext for reverting to shorts and an open shirt in the evenings. He was everywhere at once, pushing, pulling, sawing, hammering, improvising, jollying everyone along with comradely exhortations and giving out from every fold of his body what seemed an inexhaustible supply of acrid-smelling sweat."
"A new poster had suddenly appeared all over London. It had no caption, and represented simply the monstrous figure of a Eurasian soldier, three or four metres high, striding forward with expressionless Mongolian face and enormous boots, a submachine gun pointed from his hip. From whatever angle you looked at the poster, the muzzle of the gun, magnified by the foreshortening, seemed to be pointed straight at you. The thing had been plastered on every blank space on every wall, even outnumbering the portraits of Big Brother. The proles, normally apathetic about the war, were being lashed into one of their periodical frenzies of patriotism. As though to harmonize with the general mood, the rocket bombs had been killing larger numbers of people than usual. One fell on a crowded film theatre in Stepney, burying several hundred victims among the ruins. The whole population of the neighbourhood turned out for a long, trailing funeral which went on for hours and was in effect an indignation meeting. Another bomb fell on a piece of waste ground which was used as a playground and several dozen children were blown to pieces. There were further angry demonstrations, Goldstein was burned in effigy, hundreds of copies of the poster of the Eurasian soldier were torn down and added to the flames, and a number of shops were looted in the turmoil; then a rumour flew round that spies were directing the rocket bombs by means of wireless waves, and an old couple who were suspected of being of foreign extraction had their house set on fire and perished of suffocation."