HOW IS THIS LEGAL? A Clandestine Operation Hidden in Plain Sight (The NEA, Art and Crime - Part 1)

Disclaimer: Everyone mentioned in this article should be considered innocent unless proven guilty in a court of law.

The year was 1964, and our Freemason president, Lyndon B. Johnson, had this plan called the “Great Society.” I have warned before about the word “great” because the word, when used by the overlords of society, typically means something horrible for us but excellent for them. For example, the Great Depression allowed RFK’s grandpa to steal housing from the public and become very wealthy. While that was going on, small banks were put out of business. Only the large banks, like JP Morgan's, survived. The Great War was World War I, in which Freemasons conquered Germany and Austria, followed by a chain of events overturning societies across the world and installing their people into positions of power.

The Great Fires leveled entire cities (including stone buildings) and forced cities and states to become permanently indebted to the banks to rebuild. Additionally, the majority of the incredible, unexplainable buildings - castles located right here in the US - were destroyed and written out of history textbooks. The Great Reset is to be when we own nothing and are happy. Anyway, our Freemason president rolled out the Great Society. In this scheme, the so-called “War on Poverty” began. The concept was to greatly expand the social welfare system, which Johnson’s brother in Freemasonry, Roosevelt, put into action 30 years prior. Although all of that is interesting, this publication actually isn’t about the Great Society, but it is about something stuck in the Great Society package.

As you already know, these schemes they pass in government - all of them - include shit buried into the package, stuff that isn’t necessary and just pisses away more money while enriching the politicians themselves (which is the entire purpose.) One of these things attached to the Great Society scheme was the National Endowment for the Arts (NEA). Government using tax money to stimulate art was a new concept, and the public found it to be unnecessary. But, as usual, what the public thinks doesn’t matter because it was for the greater good (there’s that word again!).

The purpose of the NEA, they claimed, was “to foster the excellence, diversity and vitality of the arts in the United States and to broaden public access to the arts.” What does that even mean? If an organization’s purpose is to gift backpacks to low-income schools, that is an accomplishable mission. If an organization’s purpose is to build houses for the poor, that is an accomplishable mission. What exactly is “to foster the excellence, diversity and vitality of the arts in the United States”? You see, when you keep the mission so vague, you can do damn near anything and find a way to make it count as the mission. And that is exactly what ended up happening.

Here’s how the scheme worked: The government would collect tax money from us (which was and is illegal - read my book on the topic), and then they would gift huge sums of money to the National Endowment for the Arts (NEA), which would then do with it as they see fit. Common sense tells us if the government wanted to fund something, they can do it without a middleman taking a cut. Just how much money is this completely unnecessary organization taking in? As of 2024, the NEA receives about $207 million in annual funding. That’s a hell of a lot of money. The next question is, what exactly do they do with it? Let’s find out…

Among other things, the NEA chose to turn our tax money into grants, which they then gift to artists of their choosing - and here’s where the story gets really interesting…

MEET THE NEA'S AWARD-WINNING ARTISTS

These are the best of the best, the small-time artists with work so marvelous that they were hand-selected by the NEA board to win the grant money—money that was our money—money that the chosen few could then use to further their art careers or, technically, do anything with because there are no strings attached to the payout. Let’s meet some of these incredible art producers.

JOEL PETER WITKIN

Mr. Witkin is a Jew who is so important to the NEA that he has received four grants from the organization.

Let me show you some of Witkin’s work.

Here is Christ in Glory. I have censored the image because, even though this is award-winning art that is made publicly available, I fear I could lose my Substack account or be brought up on charges for sharing it.

Here are a few more.

To quote from Witkin’s Wikipedia page, Joel-Peter’s “work often deals with themes such as death, corpses (and sometimes dismembered portions thereof), often featuring ornately decorated photographic models, including people with dwarfism, transgender and intersex persons, as well as people living with a range of physical features.”

Notice the baby on the “Feast of Fools” table.

The LA Times raved, “For a photograph called “The Kiss” (one of his most acclaimed works), Witkin sliced a severed human head down the center and positioned the two halves so they appear to be [two men] kissing.”

This “art” was sent to Christie's auction house in New York, which put it up for auction. It sold for a record price for Witkin's work, $50,000. Yeah, someone allegedly paid $50,000 for a grossly abused human corpse photo.

"Still Life Marseilles," is an “art piece” in which Joel-Peter hollowed out a real human head to create a flower vase, sold for over $21,000.

So this dude who happens to be Jewish gets paid our tax dollars to create total filth, which often involves playing with dead, nude bodies. Next up.

ANDRES SERRANO

According to Wiki, “Many of Serrano’s pictures involve bodily fluids in some way—blood (sometimes menstrual blood), semen, or human breast milk (remember this because it will become important later).

Serrano’s series, which featured both blood and semen mixed together…

…was so special that the rock band Metallica made one of the photos from the collection their album cover for Load.

Do you know who else plays with bodily fluids? Dark art magicians. Satanists. Alchemists. They’re used in witchcraft, spirit cooking. (Fun fact: This is where what we now call “Big Pharma” came from.)

Mr. Serrano’s most famous piece of so-called “art” is called Piss Christ. It is Jesus, on a crucifix, suspended in urine.

Keep in mind, this “art” was created using $15,000 worth of American tax dollars and put into American art galleries. America is around 70% Christian, so this would be the equivalent of going to Israel and suspending the Torah in urine and calling it art. The difference between doing this in America and Israel is “tolerance.” Tolerance was something the Illuminati knew had to be a key component of the new post-1776 America, for without tolerance, the evildoers would not be able to conquer the nation.

Then there’s Andres’ Blood Cross, which is a cross filled with cow’s blood and then cracked so the blood drips down it.

Serrano's art was so wonderful that he not only got funneled money through the NEA, but he also got a grant from the (Jewish) Rockefeller Foundation. And if you’re wondering which of the pieces he got the Rockefeller award for, it was Piss Christ.

How much does Serrano’s disgusting art generate? At auction (Christie’s), Piss Christ sold for $314,500 in 2011. Aside from that, over the past year, every one of Andre’s photographs sold for around $13,000 apiece.

Want a fun fact? Mr. Andres Serrano was a close friend of Jeffrey Epstein. In fact, when Epstein’s emails were released, Serrano was one of the people in them. So, Mr. Serrano, the man playing with bodily fluids like a black magic sorcerer, was close to the dude who was running the blackmail pedophile island. Speaking of pedophilia, let’s meet the next award recipient…

SALLY MANN

Sally has received numerous awards, including NEA, NEH, and (Jewish) Guggenheim Foundation grants. She is such an important artist that in 2022 she was inducted into the American Academy of Arts and Sciences. Although she is super-duper important to the art world, her work has been removed from numerous places due to extreme public backlash. Why might that be? You ask. Have a look for yourself.

Even though the public doesn’t support Mann’s art, the Smithsonian does.

Check out her series of photos called Immediate Family.

She claims these are her children that she photographs nude and then not only shares with the world but sells.

If you or I were to share or sell the image above, we could be legally charged with child pornography.

There is an ongoing theme of her children looking absolutely miserable.

Mann has become wealthy off her pedophilic art. A single photo sells for tens of thousands to over $200,000. I counted 149 sales, just through Christie’s auction house, which I estimate to total over three million dollars.

Those are only three of a great many NEA-tax-funded artists. When the National Endowment for the Arts isn't gifting our hard-earned money to smut, they are sponsoring art shows, like this one.

And that’s not all; the NEA also produces assorted pornography, such as “Thundercrack,” which was described as “the world’s only underground kinky art porno horror film, complete with four men, three women and a gorilla.” Let me remind you that the NEA is a federal government entity. Our own government is making porn.

Then there was the $25,000 funneled to a San Francisco arts outfit called CounterPULSE. This entity programs a “long-running pansexual performance series” that is advertised as “join your fellow pervs for some explicit, twisted fun.”

Another grant of $25,000 was given to the Jess Curtis/Gravity, which promoted what it called the “Symmetry Project.” This was a performance art piece in which “two naked bodies interact…limbs entangle and intertwine, creating an inter-corporeal kaleidoscope of flesh...”

THE NEH

Above the NEA is the National Endowment for the Humanities (NEH). Like the NEA, tax dollars are gifted to the entity, who then redistributes them as they see fit. NEH funnels money through grants to “cultural institutions” such as museums, archives, libraries, colleges, universities, public television and radio stations, and individual scholars. The humanities arm of the program gets around $207 million a year to do with as they please. To give you an example of what they channel our tax money to, in 2025, they spent the most on two large grants.

The first grant went to Tikvah, a Jewish “educational group,” and a $10.4 million gift was given to support the “Jewish Civilization Project,” which aims to fight antisemitism. Another recipient was the University of Virginia, because if money can do some good somewhere, it is at a college that charges up to $253,000 per student for a four-year degree.

Then there was a grant to support critical race theory. Aside from that, the remaining recipients are secret. Perhaps they will disclose the names in the future, but as of the time of publishing this piece, they have not.

THE “CONTEXT”

In a Reddit “Ask Me Anything,” Jewish occultist (Satanist) Marina Abramovic unintentionally explained how exactly the elites can peddle filth and pedophilia in public without being thrown in prison. Marina stated that it all depends on the context. Basically, as long as the pedophilia is on the walls of a gallery, it is art, but that same image would indeed be child pornography in any other context.

Context or not, I can’t help but wonder, does any of this have anything to do with art? Or is it all organized crime? I would come to discover some things that are very interesting…

ARTIFICIAL VALUE

The U.S. art market is a major global force, accounting for 43% of global art sales in 2024, which totaled approximately $58 billion. Let me ask you this: how many art gallery purchases have you made in the last year? Me: zero. I don’t believe I have ever bought anything from a gallery.

What the media doesn’t tell you is that art is a completely artificial market. A photo of Jesus in a jar of urine or a head hollowed out to make a planter have no actual value or usefulness, and who would ever display that in their home? And if you can't display it, what could you possibly do with it? Is it coincidence that the word “art” is in the word “artificial”? Maybe.

Art gains value only one of three ways. The first is an artist who creates work that people love in limited supply. Think of Banksy, the graffiti artist.

The second is the artist is famous; therefore, no matter what they produce, there is some value to it, such as in the case of Hunter Biden’s cringey pieces.

And the third way is the industry itself just makes it up. Aside from profit, why would the industry want to make up a fake value? And more importantly, why on earth would any customer play along and spend their hard-earned money on hideous art that they would never hang in their home?

To give you an example of how ridiculous the art market is, in 2005 a single print of Piss Christ garnered $42,000. In 2009, a copy netted $146,500. In 2011, another went for $50,000, then $100,000, and those numbers are just from Sotheby's auction house. Christie’s sold one for $105,000 in 2000, and in 2011 another went for $314,500. That totals nearly a million dollars… for copies of a photo of garbage.

This is where things get interesting…

MONEY LAUNDERING

Money obtained through illegal activity is converted into art. The art can then be moved from state to state, country to country, and when the time is right, the art is sold, and at that time, it is converted back to cash. The interesting part isn’t that criminals have found a way to move funds; it’s that there appear to be intentional loopholes in worldwide laws that allow for it. “Unlike banks, life insurance companies, casinos, currency exchangers, and even precious-metals dealers, [the] auction houses, and art sellers have no obligation to report large cash transactions to a governing authority. In fact, dealers can keep the names of buyers and sellers anonymous. And unlike US businesses that deal in large sums of money, they do not have to file so-called suspicious activity reports with the US Treasury Department if they have doubts about the origins of the money they are being paid.” The strict AML procedures applicable to financial institutions outlined in the Bank Secrecy Act do not apply to art transactions facilitated by art dealers or auction houses. Ask yourself why that would be. Further, approximately 70 to 90 percent of auction catalog listings provide very little information about the seller, so we don’t know who the seller is, the buyer can remain anonymous, and the transaction, even if in all cash, isn’t reported anywhere. Sure sounds like a criminal enterprise to me.

As described by a 2020 US Senate Report, the US art market is largely governed by ‘unwritten rules,’ but every time efforts are made to close the loopholes, they are blocked. This most recent time they were blocked by the US Senate itself - the same branch of government complaining about the lack of rules. Before that, the Illicit Art and Antiquities Trafficking Prevention Act (H.R. 5886 of 2018) was “stalled in Congress” and died. This means an artist can produce shit work for no other purpose than to participate in some kind of criminal activity, and the art gallery or auction house will act as the intermediary, ensuring the money gets from the payer to the payee while taking a cut for their “services.” Additionally, there’s the…

ART TAX DEDUCTION

For those who are donating what they consider to be “fine art,” they are all entitled to charitable donation tax deductions. So all they have to do is assign it an artificial value, donate it, and write it off on their taxes. The artist themselves can write off their supplies. And remember, proceeds from criminal activity are used to purchase art. That art can travel internationally, or it can be donated to the entity of your choosing. So, if you need to pay for something criminal, you can do it by donating art to the entity owned by the criminal. Not only have you paid your debt, but you can write it off. Pretty damn brilliant, ain’t it?

Someone on Reddit said, I work with clients who make multi-million dollar art donations to museums and universities. The one thing I’ve noticed is that there is no one in the middle or lower income level of buyers doing this. Only my clients who are 50 million dollars or more net worth...” The Reddit user couldn’t figure out why, so I’ll tell him: it’s because it’s all a game. We normal people purchase a nice painting that costs fifty to five hundred dollars, then we hang it on our wall. When the wife says it is time to redo the living room and we are changing the color scheme, no university is going to want it because they can’t play money games with it. The entire system is set up to aid criminals. I hope that helps you understand why you’re seeing what you’re seeing.

Are you ready for your jaw to hit the floor? Try these facts on for size…

THE GALLERIES

As of January 23, 2025, there are 32,447 art galleries in the United States. The population of the entire United States (counting every child) is listed as 345,290,757. This means there is one gallery for every 10,600 people! Of the 32,400 galleries, 8,242 do not even have websites. California, by far, has the most galleries, 4,811, followed by New York with 2,884 and Florida with 2,597.

TO MAKE MATTERS WORSE

As if what you have heard isn’t wild enough, there’s this thing called “freeports.” Freeports are storage facilities, which are highly secure warehouses located in special economic zones worldwide. “They generally exist outside of the tax jurisdiction of the country in which they are located and are often used to store high-value items such as art. Freeports are not considered financial institutions and therefore are not generally required to perform customer due diligence checks on parties seeking to utilize their facilities to store high-value goods. Therefore, those seeking to launder proceeds of crime or evade sanctions can easily buy, sell, and store high-value artworks at these facilities tax-free, often with minimal checks on their identity and with no need to move these assets across international borders.”

There are currently 298 active freeports, which are called “Foreign Trade Zones” (FTZ), located across all 50 states, with significant activity in states like Texas.

Here is FTZ 29 in Louisville, Kentucky.

Is it of interest that the states with the most galleries are also major shipping port states and FTZ states? Is it also of interest that just in Orange County, New York, there are seven general purpose FTZ’s?

So if I were involved in criminal activity, I could take my proceeds, invest in a bunch of disgusting art, send the art to a highly discreet freeport, and pay no taxes to import it or to store it there. My identity will be kept confidential both when buying the art and at the freeport. The freeport will then act as a bank of sorts. When the time is right, I will sell my art to a gallery or at an auction house, neither of which has any obligation to record or report my identity. When the gallery or auction house pays me, they have laundered my money for me: upon payment, my dirty money becomes completely clean, and, should the public see any aspect of these transactions, I will just call myself an “art collector.” I could even fund some museums, galleries, or other art-related entities to bolster the claim. In fact, I could even open my own gallery, which would allow me to partake in laundering 24/7.

There is one more piece to the puzzle that we have not discussed. Let’s say I need to move my art from one place to the next in complete discretion. This isn’t stuff that I want to ship through FedEx because if I insure a FedEx package for ten million dollars, that is going to raise red flags. I could put it on a private flight and have that plane only use small airports in which I could pay customs to look the other way. This might be ideal for short trips, but what if it’s international? The more times it has to go through customs, the bigger the risk. So how do I get my investment to a freeport without unwanted eyeballs? Answer: A carrier who can move items anywhere in the world, in secrecy.

CARGO SHIPS

In the list of the ten biggest cargo companies in the world, we find Evergreen (who I wrote about in my eBook Evergreen and the Black Budget Operation) as well as a company called ZIM. While Evergreen is from Taiwan and sure appears to be tied into the CIA, ZIM is from Israel and has an interesting story too.

Back in 1953, after WWII, Germany was ordered to pay reparations to Israel. Some of those monies were then used by the Israeli government to open ZIM. Specifically, ZIM was launched by the (Zionist) Jewish Agency, which is the largest Jewish non-profit organization in the world. The first ships they released were the SS Zion and the SS Israel.

Ownership of ZIM was split between the Israeli government and the (Jewish) Rothschilds (through a secondary company), but currently, there are many major investors in the company. These investors include (Jewish) BlackRock, Inc., and The Goldman Sachs Group (Jewish).

ZIM is now one of the most powerful shipping companies in the world. Unlike other carriers, they do business with just about anyone and will cargo just about anything. If you need to move art from New York to Israel, they can accommodate you. Zim is also very interested in art.

They have routes that span the entire world and run essentially nonstop.

You would think ZIM, being an Israeli company, would be located in Israel, but this is no longer the case. They moved their global headquarters to Virginia Beach in 2024 because Virginia taxpayers generously gave them a hefty chunk of change to do so.

But ZIM was already in Virginia, even before taxpayers funded them in 2024. You see, before Virginia, ZIM was located in the World Trade Center. They just so happened to move out one week before 9/11. When they moved out, they came to Virginia. Although Snopes and Wiki call this fake news, I was able to track down the publication of the story on a site called HistoryCommons. (http://historycommons.org/entity.jsp?entity=zim-american_israeli_shipping_co). It is also said that ZIM is who moved much of the Trade Center steel from New York to China. Allegedly, one year later, ZIM was busted with US/Israeli weapons heading to Iran. I have not confirmed this.

A 1979 CIA assessment of Israeli intelligence showed that Zim works with Israeli intelligence, both for support and cover. So while ZIM is owned by the government of Israel and investors like BlackRock, they are using their role as a global carrier in assorted covert operations. And, as a carrier, they have access to special zones in the US and throughout the world where there are no taxes and little oversight. Now do I have a single stitch of evidence that ZIM is involved in anything illegal? No, but there is a reason I am divulging all of this information to you. That reason will begin to take shape very soon.

ZIM isn’t the only carrier that has caught the attention of researchers on the topic.

MASTERPIECE INTERNATIONAL

Masterpiece is another shipping company, but unlike ZIM, they specialize in art. This company was founded by (Jewish) David Epstein.

On their website is a section called “Private Client Experts” in which they say, “Our experienced team works closely with private client personnel and freight company representatives to assess and determine the best services that fit the needs of each shipment. Masterpiece is comprised of specialists who have built trusted relationships with U.S. Customs, U.S. Fish and Wildlife, the Office of Foreign Assets Control, the U.S. Food and Drug Department, and the U.S. Agricultural Department.”

In fact, they don’t even need to use government customs because they employ their own customs agents. They say these brokers are, quote, “strategically placed in key US hubs to ensure our clients have access to our consultative approach.”

I wonder why a trusting relationship with customs and strategic placement would matter when all that is being shipped are some paintings?

They also brag that they have a special Electronic Data Interchange messaging system that features cutting-edge technology in which all communications between the customer and their company are end-to-end encrypted.

Call me a crazy conspiracy theorist, but I have never asked a carrier if my communications with them are encrypted before shipping something. This company sounds level-10 sketchy to me.

Masterpiece also owns a freight company called Trump Card. This means your cargo will be handled with special care from pickup to delivery by Masterpiece staff.

They can also offer air couriers. This is because they have offices everywhere, but especially around coastlines.

Their Mission-Critical Office is located in Carlsbad, California. What exactly is a mission-critical office? Your guess is as good as mine.

Do I have proof Masterpiece is involved in anything illegal? No. None whatsoever. But I should mention Masterpiece has a business relationship with ZIM. There was information about this relationship in their September 2012 newsletter (https://masterpieceintl.com/Newsletter2012/GRI_SEPT_1.pdf), however, Masterpiece has since chosen to scrub the newsletter from their site. Such an odd thing to delete.

Additionally, there was a Masterpiece invoice with ZIM’s name on it (https://panjiva.com/Masterpiece-International-El-Segundo-Ca/2575950); however, that too has been scrubbed.

This next part is going to blow your mind…

ART IN EMBASSIES

To quote Wikipedia, “Art in Embassies, an office within the U.S. Department of State, promotes cultural diplomacy through exhibitions, permanent collections, site-specific commissions, and two-way artist exchanges in more than 200 U.S. Embassies and Consulates around the world.” As you can see, the Art in Embassies (AIE) program is global, and, as such, they are shipping art all over the place. Back in 2012, then Secretary of State Hillary Clinton made major moves within the program, specifically expanding it beyond government.

FAPE

Working alongside Art in Embassies is a private company called the Foundation for Art and Preservation in Embassies (FAPE). Their mission, as strange as it may sound, is to send donated art to embassies all over the world. According to their site, to date, they have sent art to more than 140 embassies.

FAPE operates tax-free because it is a non-profit organization. It was founded in 1986 by Jewish Leonore Annenberg, who was the wife of US Ambassador Walter Annenberg. Her uncle founded Columbia Pictures. Another founder was Wendy W. Luers, the presidential appointee of President Reagan and member of the Council on Foreign Relations; she is also co-founder and co-chair of Beyond Conflict, which works in Kosovo, Colombia, the Philippines, and North Africa, among other places. Members of FAPE include Rockefeller, Estee Lauder, Meryl Streep, the Clintons, Tony Podesta, and so many more people you know. Marina Abramović was or is on FAPE’s payroll.

Now here’s the important part: Art in Embassies and FAPE have the ability to ship anywhere in the world without passing through traditional security channels. After all, it’s just art! Why waste customs precious time with some paintings? So just to be clear, getting cargo ships of art into embassies around the world is so important that there is a private entity (which is associated with a federal entity) that handles it all. They have been given the authority to bypass traditional customs. Not only will it bypass customs, but the government itself will help conceal what the shipment is. The below screenshot, taken from the handbook for the US Department of State when transporting goods for the Art in Embassies Program, outlines how they will redact information on the shipment’s paperwork to ensure it remains confidential.

Additionally, these shipments cannot be inspected by anyone, not even airport security.

That’s not all…

DIPLOMATIC IMMUNITY

Because we are dealing with ambassadors and embassies, it all falls under diplomatic immunity! Diplomatic immunity is a principle of international law by which certain foreign government officials are recognized as having legal immunity from the jurisdiction of another country. It allows diplomats almost total protection from local lawsuits and criminal prosecution.

Back to Art in Embassies: When a shipment arrives at the overseas airport or cargo port, the paperwork (international waybill) states the contents have diplomatic status and therefore are immediately cleared through customs. This is because part of diplomatic immunity allows anonymity when transporting cross-border shipments or when traveling.

TRAFFICKING

Drug trafficking is a massive problem, but there is something far worse afoot. Although the internet will tell you that human smuggling in cargo containers is exceptionally rare…

… websites like Freight Waves, which exist for no other purpose than to share content related to the shipping industry, say otherwise. According to a very well-researched article on FreightWaves, human smuggling not only occurs; it is actually a massive problem, and the industry is witnessing the highest levels of smuggling it has ever seen.

Even ABC News Australia admitted this is a multi-billion-dollar industry.

And one more thing before I end this piece. There is this thing called “live art,” and it is exactly as it sounds; it features something living. That something could be flowers, trees, animals, etc.. According to fellow researchers, children shipped to or from North America through the Art programs can be labeled “live art”…

Do I have proof of any specific company involved in this? No, the media is sure to not release names of carriers who have been busted trafficking. But as I began tracing connections, a lot of incredibly disturbing things came to light - so many things that this series has taken me months to write.

NEXT READ: ERIKA KIRK - SKELETONS IN THE CLOSET OR A WHOLE DAMN GRAVEYARD? A shocking deep dive into the beloved family of the conservative movement

If you gained knowledge from this article, please consider hooking me up with a coffee, making a ko-fi donation, or grabbing some awesome eBooks from Shadowbanned Library. When you download our eBooks you are helping preserve true history. Preservation is the only way truth can survive until the next generation. I just discovered yesterday that Substack is now requiring age verification for users in Korea. Without verifying their age, they are not allowed to read Medicine Girl’s content. This is coming on the heels of Substack’s biometric scans for Australian citizens. If you haven’t read my piece on that, please do. I investigated the biometric companies themselves and discovered some super sketchy shit. That said, we must continue to build out an alternate platform, and, because of your ongoing support, we have been able to launch the library. If you want to make sure that, in the event that I am banned from here, you and I don’t lose touch, you can join my WhatsApp group. It’s not a chat group, it’s just for new content alerts. If you want to chat, join my Signal group instead. Thank you again for sticking by me through it all.

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A note to readers: Sometimes people feel offended when I point out that a large number of players at the very top of these rackets claim to be Jewish. Let me explain the reason why this is important to the story: As a researcher, I investigate topics. Part of that process is looking for anomalies. The Jewish population makes up a very, very small percentage of the population of America - roughly 2.3%. This means out of 100 people, two or three statistically could be Jewish. So, as a researcher, when I am investigating and a key player after key player happens to be part of the crime and also Jewish, this is an anomaly. Out of 100 key players, if 90 are Jewish, this defies statistics to the point where it must be examined. It would be an anomaly if they were most-or-all gay, most or all graduates of Columbia University, most or all related to Rockefeller, most or all Freemasons, most or all from Mississippi, etc. It would not be an anomaly if the investigation were in Israel, but it is one in America.

If you choose to be offended by an investigator being thorough and pointing out an anomaly, that is your choice. Anomalies are facts. Facts are not racist or bigoted. Saying someone is Jewish when their Wikipedia page says the same or they have said the same in interviews is not bigoted. Jew is not a bad word. Jew is not a racial slur. If they were most or all Scientologists and I pointed this out, wouldn’t you find it to be a very important part of the story? Isn’t that something any decent investigator should uncover? Should the fact that they are Scientologists be stricken from the record so as to avoid discussing religion? Is it bigoted to label Scientologists as Scientologists?

The next question: why didn’t I label everyone’s religion? Why didn’t I label which ones claim to be Christian? For starters, it would not be an anomaly if they all claimed to be Christian because that is the most common religion in America. It should be expected that out of 100 people, at least 60 to 70 identify as Christian. On the other hand, if I were researching a scandal in India and a large quantity of perpetrators claimed to be Christian, that would be an anomaly because only 2% of the entire country identifies as Christian, and I would indeed point this out. Additionally, being that most or all of the individuals identify as Jewish or their religions are unknown, there is nothing to label. And again, I am not looking to label people for the sake of labeling people. I am looking for anomalies. If one individual out of seven was Jewish, there would be no anomaly, and therefore nothing to label.

In my opinion, when we attack people for pointing out facts, we are missing the bigger picture, which, in this case, it appears that some really evil people are hiding behind a religion, and they are able to get away with their crimes because they have skillfully crafted a fleet of digital foot soldiers who attack and shut down anyone who points it out. If they were not able to silence speech under the guise of bigotry, their crimes could be exposed.

SOURCES, NOTES & OTHER STUFF

Laundering https://baselgovernance.org/sites/default/files/2023-04/230412-quickguide_29.pdf

https://www.imf.org/en/publications/fandd/issues/2019/09/the-art-of-money-laundering-and-washing-illicit-cash-mashberg

https://www.moneylaunderingnews.com/2025/08/u-s-senate-introduces-act-to-apply-aml-bsa-laws-to-art-dealers-and-auction-houses/

https://web.archive.org/web/20191118073500/https://lightforshadows.com/911/Zim%20Move.html

ZIM ROTHSCHILD https://www.nytimes.com/1974/10/19/archives/israeli-investing-scandal-unveiled-by-rothschild-no-decision-to.html

JINSA https://en.wikipedia.org/wiki/Jewish_Institute_for_National_Security_of_America

https://www.corporationwiki.com/New-York/Great-Neck/david-b-epstein-P4269592.aspx

https://www.masterpieceintl.com/

https://fapeculturaldiplomacy.org/about

current leaders:

Darren Walker, FAPE Vice President; Eden Rafshoon, FAPE President; Secretary of State Antony Blinken; Evan Ryan, White House Cabinet Secretary; Jo Carole Lauder, FAPE Chairman; and Jennifer Duncan, FAPE Director

Art in Embassies Leader: Beth Dozoretz -

(Jew) In 1994, Dozoretz became head of the DNC’s Major Donor Program and was named vice-chair for both the 1996 Clinton-Gore Campaign and the Presidential Inaugural Committee.

During Bill Clinton’s final days in the White House, he pardoned fugitive financier and Jew, Marc Rich, who had fled to Switzerland in the early 1980s after being convicted of tax evasion and charged with conducting illegal oil deals with Iran during the hostage crisis. Beth Dozoretz was a close friend of Rich’s wife, Denise Rich, who had donated heavily to the Democrats during the Clinton years, including a $450,000 contribution to the presidential library foundation that Dozoretz had solicited. Dozoretz reportedly talked to President Clinton about pardoning Rich and thanked him after doing so. She later was called before Congress to testify about the matter, but refused and invoked her Fifth Amendment rights.

Dozoretz is currently an Advanced Leadership Initiative fellow at Harvard University. She has served on several boards including: Teach for America, V-Day, the Jordan River Foundation (founded by Jordan’s Queen Rania), the Brookings Institute’s Saban Center for Middle East Policy, U.S. Holocaust Memorial Museum, George Washington University’s National Council for Political Management, Rabin Medical Center, the Washington D.C. Jewish Community Center and the Center for Public Leadership (vice president of the advisory board) at Harvard University’s Kennedy School. She also served on the executive committee of the American Israel Public Affairs Committee (AIPAC),

Chosen to be director of the Art in Embassies Program in December 2010, she is a longtime Democratic fundraiser with close ties to Bill and Hillary Clinton, who also was the first woman to serve as finance chair of the Democratic National Committee, in 1999.