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Sen. Ron Johnson breaks down how deep the U.S. FDA cover-up of Covid-19 vaccine injuries really goes: “It’s not just Peter Marks.” “It was other senior FDA officials.” “They’re all complicit.” Top FDA officials had evidence the shots caused: “Sudden cardiac death.” “Pulmonary infarction.” “Bell’s palsy.” “And different types of strokes.” In 2021, Dr. Peter Marks was “briefed that the [VAERS] algorithm… was actually hiding and masking safety signals.” “He probably breathed a huge sigh of relief.” “He’s gone, ‘I got my answer here, so we’ll maintain doing this algorithm even though they’re developing a new one that will unmask these safety signals.’” “‘We’ll keep using this.’” “‘We’ll say we’ve got to be consistent.’” “‘And then I can go to the American public and lie to them bald-faced and say, we’re just not seeing safety signals.’” “The problem is, Dr. Ana Szarfman did more than just brief him that their algorithm was already invalid and they were developing a new one.” “They developed a new algorithm that showed that the current algorithm had 49 severe cases of masking.” “And the new algorithm showed 25 safety signals of very severe adverse events.” “For 3 months, she kept showing them more safety signals, but they didn’t pin a medal on her chest.” “They sent her off to the side.” “They ordered her to cease and desist.” Senator Ron Johnson CHDTV Live

Children’s Health Defense

69,194 views • 2 months ago

Making the Invisible Visible: A Walk for Clean Air This morning, at the invitation of Public Square, I had the honor of using the WalkTalkConnect platform to highlight a cause that touches every breath we take — clean air. I walked with Eng.Tabaro and Ruth, two young professionals passionately advocating for clean air and climate justice. We used a small AirCasting monitor to track real-time PM2.5 pollution levels along our route through Kampala Central Division. The results were sobering: much of the air we breathed was classified as “Unhealthy for Sensitive Groups.” What does that mean in real terms? It means that children, the elderly, and people with respiratory conditions are at risk—just by walking through their own city. This is a serious health risk. “Why does this matter?”, you ask…. Because what we can’t see can hurt us. Fine particle pollution comes from vehicles, open burning, construction dust, and industrial emissions. These tiny particles get deep into our lungs and bloodstream, increasing the risk of asthma, heart disease, strokes, and even cancer. It’s a silent health crisis hiding in plain sight. As a country, we need to enact national air quality legislation, invest in clean public transport, regulate industrial emissions, and increase green spaces in our cities. Clean air is not a luxury. It’s a right. Today reminded me that we all deserve to breathe freely. Clean air is not a luxury. It’s a right. #WalkTalkConnect #KampalaBreathes #WalkForCleanAirUG Joseph Beyanga Joe Walker Anthony Natif Mujuni Raymond

Jacqueline Asiimwe

28,844 views • 1 year ago

Big Pharma's 'Clot Busting' Drug, UROKINASE, Is A Billion Dollar Industry Steeped In Unethical Deception... Historically, Derived From Human Urine Collected From 1000s Of Gallons From Public Portable Toilets. Today, Most Urokinase Is Made From The Kidneys Of Stillborn Babies. Enzymes of America collected urine from the portable toilets of its subsidiary, Porta-John. This allowed the company to obtain the human urine needed to extract valuable enzymes & proteins for sale to pharmaceutical companies. Enzymes of America was originally formed to make use of the vast amount of waste collected by the portable toilet business. Business grew exponentially & it became labor intensive to keep up with demand. Blood Clot Eliminating (Clot Busting) medications like Urokinase are used for pulmonary embolisms & deep vein thrombosis, heart attacks & strokes. These conditions have skyrocketed in recent years, thus the demand for Urokinase is at an all time high. The high volume of Urokinase production & extraction today is from human kidneys, specifically neonatal kidneys from (stillborn) unborn babies, where the Urokinase enzyme is extracted straight from the kidneys after organ harvesting. Microbix Biologics Brand Kinlytic states, "Kidney donations are obtained exclusively in the United States from neonates (birth to 28 days) for whom death has not been attributed to infectious causes & that have exhibited no evidence of an infectious disease based in part, on an examination of the maternal & neonatal donor medical records." Some of today's Urokinase also comes from recombinant DNA using CHO Chinese Hamster Ovary as the growth factor. For recombinant Urokinase, the human gene that codes for Urokinase is inserted into CHO cells. These cells are then grown in large bioreactors to express & produce the Urokinase enzyme protein. 👇Urokinase From Unborn Human Babies👇 👇Unethical Trafficked Kidneys For Urokinase👇 👇Chinese Hamster Ovary For Urokinase Use👇 Speaker: Jason Shurka Jason Shurka Podcast: Elisabeth Carson Elisabeth Carson

Valerie Anne Smith

103,641 views • 11 months ago

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.

Emily

20,940 views • 6 months ago