The official story is Elliot Rodger, set on revenge because girls didn’t want to date is obvious awesome self, kills 6 and injures 14 more near UCSB campus.
The attack began when 22-year-old Rodger stabbed three men to death in his apartment. Afterwards, he drove to a sorority house and shot three female students outside, killing two. He drove to a nearby deli and shot to death a male student who was inside. He began to speed through Isla Vista, shooting and wounding several pedestrians and striking several others with his car. Rodger exchanged gunfire with police twice during the attack, receiving a non-fatal gunshot to the hip. The rampage ended when his car crashed into a parked vehicle and came to a stop. Police found him dead in the car with a self-inflicted gunshot wound to the head.
Before driving to the sorority house, Rodger uploaded to YouTube a video titled “Elliot Rodger’s Retribution”, in which he outlined details of his upcoming attack and his motives. He said he wanted to punish women for rejecting him and to punish sexually-active men for living a more enjoyable life than his.
After uploading the video, Rodger e-mailed a lengthy autobiographical manuscript to approximately a dozen acquaintances and family members. The document, which he titled “My Twisted World”, was made available on the Internet and became widely known as his “manifesto”. In it, he described his childhood, family conflicts, frustration over not being able to find a girlfriend, his hatred of women, his contempt for racial minorities and interracial couples, and his plans for what he described as “retribution”.
In the videos below, YouTuber White Rabbit puts together a couple of excellent videos pointing out the inconsistencies of the official story.
Millions of Americans at both ends of the political spectrum are angry and fed up with being lied to by politicians and the media. The emergence of “outsider” presidential candidates Donald Trump and Bernie Sanders is proof that people are sick and tired of Washington’s culture of deception.
Thumbing his nose at political correctness, negotiation expert and political commentator Ed Brodow exposes the outrageous lies that have been disseminated about the most important issues of our time. He tells the uncensored truth about the threat of Islamic extremism, global warming, the welfare entitlement system, Obamacare, racial tension and other important things that our elected representatives don’t want you to know. If you vote in national elections, the candor of In Lies We Trust will help you make decisions based on facts instead of misinformation.
On the evening of October 30, 1938, radio listeners across the United States heard a startling report of a meteor strike in the New Jersey countryside. With sirens blaring in the background, announcers in the field described mysterious creatures, terrifying war machines, and thick clouds of poison gas moving toward New York City. As the invading force approached Manhattan, some listeners sat transfixed, while others ran to alert neighbors or to call the police. Some even fled their homes. But the hair-raising broadcast was not a real news bulletin-it was Orson Welles’s adaptation of the H. G. Wells classic The War of the Worlds.
In Broadcast Hysteria, A. Brad Schwartz boldly retells the story of Welles’s famed radio play and its impact. Did it really spawn a “wave of mass hysteria,” as The New York Times reported? Schwartz is the first to examine the hundreds of letters sent to Orson Welles himself in the days after the broadcast, and his findings challenge the conventional wisdom. Few listeners believed an actual attack was under way. But even so, Schwartz shows that Welles’s broadcast became a major scandal, prompting a different kind of mass panic as Americans debated the bewitching power of the radio and the country’s vulnerability in a time of crisis. When the debate was over, American broadcasting had changed for good, but not for the better.
As Schwartz tells this story, we observe how an atmosphere of natural disaster and impending war permitted broadcasters to create shared live national experiences for the first time. We follow Orson Welles’s rise to fame and watch his manic energy and artistic genius at work in the play’s hurried yet innovative production. And we trace the present-day popularity of “fake news” back to its source in Welles’s show and its many imitators. Schwartz’s original research, gifted storytelling, and thoughtful analysis make Broadcast Hysteria a groundbreaking new look at a crucial but little-understood episode in American history.