Mushrooms, tuna, canned beef, canned beans and skip instant noodles.
Click to view the video: https://www.youtube.com/watch?v=D50OOxmmTTk
From Conspiracy Theory To Establishment Fact
The World Health Organization now states on its website:
“The COVID-19 vaccination can cause multiple sclerosis due to cross-reactive CD4+-T cells that recognize the spike protein of SARS-CoV-2 and myelin peptides.”
In other words: your own immune system destroys the nerve pathways and then attacks your brain and spinal cord.
This data was available during the lockdowns, but was labeled as “conspiracy theory” and censored by social media.
Click to view the video: https://x.com/JoeTippensl/status/2088933628684255507?s=20
(Tom: Every week I see another piece of data that confirms my opinion that every single person should be doing something constructive to remove the spike protein from their body. Dr Peter McCullough has a protocol available at the Wellness Company. I have two products to address covid jam harm at https://www.healthelicious.com.au/NutriBlast-Anti-Spike.html and https://www.healthelicious.com.au/NutriBlast_DNA_Heart_Mitochondria.html)
Slash 20 Years From Your Heart Age
Two years of aerobic exercise made the hearts of out-of-shape 50-year-olds behave like hearts up to 20 years younger.
Researchers randomized 61 sedentary adults, average age 53, to two years of real training or gentle yoga, then measured heart stiffness the hard way: a catheter threaded straight into the heart. The trained group’s fitness rose 18% and the main chamber went from stiff to elastic, taking in more blood at lower pressure.
“20 years younger” describes the size of the stiffness improvement, not a literal age, but the effect was real. The heart stiffening long blamed on age is partly the cost of sitting, and in middle age it’s still reversible.
https://x.com/WilliamWallace/status/2079534876114506163?s=20
Is there a perfect diet for everyone?
Arguably the worst audio presentation I have ever had the misfortune to suffer through. But the data could change your life for the better.
Click to view the video: https://www.youtube.com/watch?v=ovyJuyVpuJA
What Happens To Your Body When You Fast Until Noon Every Day
A compilation of data from a variety of sources into an an eating/exercise schedule to improve your health span. The one datum I have recently read that this does not address it to not eat after 6 pm.
Click to view the video: https://www.youtube.com/watch?v=bSBqXf_4dXg
Jeffrey Tucker and Dr. Jessica Rose
The Brownstone Institute post highlights a clip from Jeffrey Tucker and Dr. Jessica Rose discussing sharp rises in aggressive cancers observed since 2021, with Tucker linking industry concerns to a peer-reviewed paper identifying early signals of vaccine-related risks.
(Tom: After losing my wife Julie to Glioblastoma last December I am of the opinion that ‘running on automatic’ in the present environment is just waiting to be hit by a freight train barreling towards one at full speed.
It is time to ‘come off automatic’ and take a serious, dedicated look at the sort of life you wish to live and for how long you want to live it.
Again, just my opinion and dismiss it as such if you want, but I consider that the optimum course of action for anyone wanting to live a full and healthy life is to deliberately and vigorously pursue an optimal wellness strategy as a if not the major priority in life.
In my book http://www.howtolivethehealthiestlife.com I detail 28 factors that improve your chances of living a healthy life to the end.
The three things that come instantly to mind when reading this meme are:
1. Minimise exposure to WiFi and other EMF sources (WEiFi exposure strongly linked to Glioblastomas),
2. Detox the Spike Protein from the body (researchers have identified at least three different mechanisms by which the Spike Protein lowers the ability of the body to defeat cancer),
3. Adopt an anti-cancer diet/lifestyle combination to support the body’s natural healing processes (18/6 Intermittent Fasting and HIIT (High Intensity Interval Training) are two top tips here.)
Alan Rickman
Alan Rickman once refused to say one of the most famous lines in Die Hard — because he thought it was stupid. Then he rewrote it himself, and it became one of the greatest villain moments in film history.
The line was simple: “Shoot the glass.”
The scene: Hans Gruber, cold and calculating, commanding his henchmen to fire at Bruce Willis’s bare feet. Rickman read it, frowned, and told the director, “No one that intelligent would bark orders like a fool.” He rewrote it in his slow, venomous cadence, turning it into a whisper, each syllable dipped in ice. “Schoot… ze glass.” The crew froze. Even Bruce Willis broke character. The moment was pure menace — improvised elegance that transformed the entire tone of the film.
That was Rickman. He didn’t just play villains — he reengineered them.
But the story gets better. Die Hard was his first film — ever. He was 41, a theater actor who’d never stood in front of a camera. On his very first day of shooting, they told him he’d be dropped 40 feet onto an airbag for the finale. He thought it was a joke. It wasn’t. The director promised they’d count to three before releasing him. They dropped him on one. The look of shock on his face in that scene — eyes wide, arms flailing — was real. “That’s not acting,” he later laughed. “That’s betrayal.”
And yet, it made cinematic history.
Behind that poise and voice like honey over steel was a man who distrusted fame and loved rebellion in small, devastating doses. He turned down blockbusters to do indie films and poetry readings. He co-directed theater productions for no pay. When Warner Bros. asked him to make Snape more “sympathetic” in Harry Potter, he refused. “You’ll understand him when the time comes,” he said. No one — not even the directors — knew that J.K. Rowling had secretly told him Snape’s true ending. He guarded that secret for a decade, playing every glare and pause like a man living two lives.
The most intimate, scandalous truth came out after his death. Rickman had kept journals for 25 years — over 25 volumes of his thoughts, frustrations, and tenderness. In them, he wrote about his doubts, his quiet fury at the industry, and his total devotion to his partner, Rima Horton. “She has been my compass,” one entry read. “All love songs, in the end, are about her.”
He also confessed that he almost quit Harry Potter after the second film, furious at studio meddling. “It’s as if they don’t understand what I’m doing,” he wrote. Rowling called him personally, begged him to stay, and reminded him of Snape’s purpose. He stayed — for the children, for the story, for the art.
Rickman had the face of a villain and the heart of a poet. When he died, Emma Thompson — his closest friend — said, “Alan was incapable of small talk. He’d go straight to the soul of things.”
The man who taught us to fear silence was also the one who made it holy.
Alan Rickman didn’t just perform — he conspired with the audience. Every smirk, every pause, every drawling insult was his secret way of saying: You think you know evil, but I’m about to show you something far more interesting — humanity, in disguise.
Victor Borge
Victor Borge made jokes about Hitler when Hitler could have had him arrested for them. Then the Nazis invaded Denmark, and the Jewish comedian escaped Europe on the last neutral American ship out of northern Scandinavia—with about $20 and almost no English.
Five years later, millions of Americans were laughing at him.
That sounds like the setup to one of Borge’s routines.
It wasn’t.
Before America knew the impeccably dressed man sitting at a grand piano, deliberately destroying classical music with terrible timing, fake mistakes and perfectly controlled interruptions, Borge had already learned that a joke could carry consequences far beyond laughter.
His real name was Børge Rosenbaum.
He was born in Copenhagen in 1909 into a musical Jewish family. His father, Bernhard, was a violinist; his mother, Frederikke, was a pianist.
Børge’s talent appeared almost immediately.
He began learning piano as a small child, received serious classical training and eventually studied at the Royal Danish Academy of Music.
He could have remained a conventional concert pianist.
There was one problem.
He was funny.
Borge discovered that audiences responded when he interrupted the solemnity surrounding classical music.
A mistake could become a joke.
A pause could become a joke.
Even preparing to play could become funnier than actually playing.
By the 1930s, he had begun combining serious musicianship with comedy and became one of Scandinavia’s popular entertainers.
Then Europe became dangerous.
Adolf Hitler was in power.
Nazi Germany was expanding.
And Borge was Jewish.
He could have kept politics out of the act.
Instead, he mocked the Nazis.
One of his most pointed jokes came after Denmark and Germany signed a non-aggression pact in 1939. Borge sarcastically suggested the Germans could now sleep safely without worrying about being attacked by the Danish army.
It was funny because the idea was absurd.
Denmark posed no serious military threat to Hitler’s Germany.
But dictatorships are rarely famous for appreciating satire.
Danish Nazis noticed Borge.
Threats followed.
And then the joke became terrifyingly real.
On April 9, 1940, German forces invaded Denmark.
Borge happened to be outside the country, performing in Sweden.
That accident of geography may have saved him.
He did not return home.
He moved toward Finland instead, trying to get out of Europe with his American-born wife, Elsie.
The escape route was narrowing.
Much of Europe was already at war.
Ports were closing.
Refugees were desperately searching for passage.
Then Borge and Elsie secured places aboard the USS *American Legion* at Petsamo in northern Finland.
The ship sailed on August 16, 1940.
There were hundreds of passengers aboard.
And the *American Legion* carried something besides refugees.
Hidden among its important cargo was a Bofors 40-millimeter antiaircraft gun that American authorities wanted brought to the United States for evaluation.
The ship carrying the Jewish comedian fleeing Hitler was also carrying a weapon whose design would eventually become enormously important to American naval defenses during the war.
Then the route closed.
The *American Legion* became the last neutral ship permitted to leave Petsamo.
Twelve days later, it reached New York.
Borge arrived on August 28, 1940.
He had roughly $20.
And the comedian had another serious problem.
His jokes were almost useless.
He couldn’t speak English.
Comedy is difficult enough in your own language.
Borge had built an entire career around timing, wordplay and communication with an audience.
Now he was in a country where he could barely communicate at all.
The famous Danish entertainer had become an unknown immigrant.
So he began again.
Borge later described learning English partly by watching movies.
He studied how Americans spoke.
He adapted his material.
He changed Børge Rosenbaum into the easier American stage name Victor Borge.
And remarkably quickly, the man who had arrived unable to perform his established act in English was doing exactly that.
Radio opened the door.
Borge appeared with Rudy Vallée and then joined Bing Crosby’s *Kraft Music Hall*.
American listeners began discovering something difficult to categorize.
Was he a concert pianist?
Yes.
Was he a comedian?
Absolutely.
Was the piano part of the joke?
Usually.
Was the joke sometimes an excuse to demonstrate that he could actually play extraordinarily well?
Also yes.
By 1942, Borge was being recognized as an outstanding new radio performer.
The refugee had been in America for roughly two years.
Now America knew his voice.
Then television arrived.
Borge was almost designed for it.
One of his famous routines was “Phonetic Punctuation.”
Instead of merely reading punctuation marks, he gave them ridiculous sounds.
Periods.
Commas.
Question marks.
Exclamation points.
A normal piece of speech could become completely deranged once Borge began “pronouncing” the punctuation.
Another routine involved his repeated inability to simply sit down and perform a piece of classical music normally.
He would announce something.
Become distracted.
Talk to the audience.
Misunderstand the music.
Restart.
Interrupt himself.
The audience waited for the piano.
Borge made the waiting funny.
And beneath all of it was a crucial fact.
He was not pretending to be a pianist.
He was one.
That was why the comedy worked.
Borge knew exactly what the music was supposed to sound like before he dismantled it.
Then he took the idea to Broadway.
In 1953, Borge opened his one-man production *Comedy in Music*.
A comedian alone on Broadway is exposed.
A bad evening cannot be blamed on an ensemble.
Borge carried it.
Again.
And again.
And again.
The production eventually ran 849 performances, establishing a record for a one-man show.
The man who had arrived in America unable to speak English had now built one of Broadway’s extraordinary solo successes around his ability to communicate with an English-speaking audience.
And there was another irony.
Hitler had forced Borge out of Europe.
The exile helped make Victor Borge an international star.
Borge himself later acknowledged that without Hitler, his career might have followed an entirely different path.
But he did not forget why he had escaped.
During the Nazi occupation, Denmark became the scene of one of World War II’s remarkable rescue efforts.
In 1943, when German authorities moved to deport Danish Jews, Danish citizens helped thousands escape across the water to neutral Sweden.
Borge later helped establish Thanks to Scandinavia, an effort honoring Scandinavians who helped save Jews during the Holocaust.
The comedian who had escaped now helped remember those who made escape possible for others.
America became home.
Borge became a U.S. citizen in 1948.
But Denmark never disappeared.
Neither did the piano.
Neither did the jokes.
Borge performed with major orchestras.
He appeared on television.
He toured internationally.
He could sit beside an accomplished classical musician and turn the conventions of a concert hall inside out without cheapening the music.
That was the secret.
He was mocking classical music because he loved it enough to understand every rule he was breaking.
And he kept doing it for an astonishing length of time.
The child prodigy became the young concert pianist.
The pianist became a comedian.
The comedian became a refugee.
The refugee became an American radio star.
The radio star became an international institution.
Decades passed.
Borge entered his eighties.
Then his nineties.
He still performed.
In September 2000, his wife Sarabel, to whom he had been married since 1953, died.
Borge continued.
In December, at 91, he traveled back to Denmark for a concert.
Then he returned to his home in Greenwich, Connecticut.
On December 23, 2000, one day after returning from that trip, Victor Borge died peacefully in his sleep. He had spent roughly 75 years entertaining audiences.
There is an almost impossible symmetry to his life.
In 1940, Borge left Scandinavia because Nazi Germany had made remaining there dangerous for a Jewish comedian who had publicly mocked Hitler.
He crossed the Atlantic on the last neutral ship out of Petsamo.
He reached America nearly broke.
He couldn’t speak the language.
Everything that had made him famous suddenly had to be rebuilt.
So he learned the words.
Kept the accent.
Sat down at the piano.
And made the country laugh.
Sixty years later, Victor Borge made one final trip back to Denmark to perform.
Then he crossed the Atlantic again.
This time he wasn’t an unknown refugee carrying $20.
He was Victor Borge.
One of the world’s most famous musical comedians.
Hitler had forced Børge Rosenbaum out of his homeland.
He could take the country.
He could threaten the comedian.
He could force him onto a ship.
But he couldn’t kill the joke.
Victor Borge carried it all the way to America—and spent the next six decades getting the last laugh.
Landing A U2
There is an American aircraft so difficult to land that the Air Force can’t do it with the pilot alone. To bring it home safely, a muscle car races down the runway right behind it at over 100 miles an hour, with another pilot at the wheel shouting instructions. It sounds like something out of a movie. It’s completely real, and it’s been happening for decades.
The aircraft is the U-2 “Dragon Lady,” one of the most legendary spy planes ever built. And the reason it needs a chase car is a fascinating story of trade-offs.
BUILT TO FLY IMPOSSIBLY HIGH
The U-2 was designed in the 1950s for one job: fly higher than anything else on earth, so high that Soviet fighters and missiles couldn’t reach it. To do that, Lockheed’s legendary Skunk Works built it with enormous, glider-like wings spanning over 100 feet, wings so efficient they let the aircraft soar above 70,000 feet, at the very edge of space.
But everything that makes the U-2 a superb high-altitude aircraft makes it a nightmare to land.
THE PROBLEMS PILE UP
Start with the wings. Those huge, high-lift wings are so eager to keep flying that even a few feet off the ground, the aircraft desperately wants to stay airborne. It simply won’t settle onto the runway the way a normal plane does.
Then there’s the landing gear. To save every possible pound for altitude, the U-2 doesn’t have normal landing gear. Instead of wheels spread out under the wings, it has just two sets of wheels down the center of the fuselage, one in front, one in back. The aircraft literally balances on them like a bicycle. If a wing dips even slightly at touchdown, the wingtip can scrape the runway.
Add to that a pilot crammed into a bulky, pressurized space suit, essentially an astronaut’s outfit, with severely limited visibility, sitting in a cockpit where he can barely see the runway beneath him.
The result is an aircraft that has to be flown to a stall just two feet above the runway, with the wings held perfectly level, by a pilot who can’t see the ground well and is balancing on a bicycle’s worth of wheels. It’s considered the single hardest landing in all of American military aviation.
ENTER THE CHASE CAR
So how do you land it? You get help from the ground, moving just as fast as the plane.
As the U-2 makes its final approach, a high-performance car floors it down the runway and races into position directly behind the descending aircraft. Behind the wheel is not a random driver, but another fully qualified U-2 pilot, known as the “mobile.” As the plane sinks toward the runway, the driver calls out the aircraft’s exact height over the radio, “ten feet… five feet… two feet…”, and warns the pilot of any wing tilt, all in the final seconds before touchdown.
The car has to accelerate from a dead stop to over 100 miles an hour in seconds to catch the plane, then match its speed exactly, all while the driver holds the wheel with one hand and the radio with the other, staying a few car lengths back and slightly off to the side to avoid the blast of the jet’s exhaust.
One U-2 pilot described the landing philosophy simply: there isn’t really a landing procedure. You get the airplane down to about two feet, pull the power to idle, and just wait for it to run out of energy and settle down.
MUSCLE CARS AND SPY PLANES
The best part might be the cars themselves. Over the decades, the Air Force has always chosen fast, powerful American vehicles for the job. It started in the 1950s with supercharged Ford station wagons. Over the years it moved through Chevy El Caminos, Ford Mustangs, Camaros, Pontiac GTOs, and Corvettes. Today, the chase cars are often Dodge Chargers. When U-2s deploy to Europe, the squadrons sometimes use high-performance Mercedes-AMG or Audi vehicles instead.
Picture it: one of the most sophisticated spy planes ever built, worn from a mission at the edge of space, being talked down to earth by a fellow pilot flooring a muscle car down the runway behind it. It’s one of the most unusual and charming traditions in all of aviation.
STILL FLYING AFTER 70 YEARS
The most remarkable part? This is not history. The U-2 first flew in 1955, and roughly 70 years later, it’s still flying real missions for the United States, still doing things newer aircraft and satellites can’t. And every time one comes home, a chase car is there, engine roaring, racing down the runway to bring the Dragon Lady safely back to earth.
Fewer than 1,000 pilots have ever been qualified to fly it in its entire history. Each one of them also learned to drive the chase car. Because in the strange, demanding world of the U-2, landing the plane is a two-person job, and one of them is behind the wheel of a very fast car.
The Fastest Way To Burn Visceral Fat
Biomedical scientist Dr Rhonda Patrick reveals the hidden fat that most people don’t know they have, even if they look lean and healthy. She explains that visceral fat wraps around your liver, kidneys, and intestines deep inside your body where you can’t see or pinch it, and that it doubles your risk of early death regardless of what you weigh on a scale.
She shares the data showing that the average 30-year-old man carries 1.2 pounds of visceral fat, rising to 2.7 pounds by age 60, and that 70% of women and 50% of men over 50 have dangerously high amounts. She explains that this fat is metabolically active, constantly secreting inflammatory molecules that raise your cancer risk by 44%, cause brain fog and lethargy by diverting energy away from your brain, and make you insulin resistant by blocking the signal that tells your organs to absorb glucose.
She cites a study in which healthy young men sleeping just four hours per night gained 11% more visceral fat in only two weeks without gaining a single pound on the scale. She describes a second study in which healthy young men given 1,200 extra calories per day from ultra-processed food developed signs of fatty liver and became insulin-resistant after just five days.
Discover:
• The hidden fat wrapping around your organs that you can’t see or feel
• Why it doubles your risk of early death regardless of your weight
• How healthy young men gained 11% visceral fat in two weeks from poor sleep
• Why five days of overeating made healthy brains insulin resistant
• The reason skinny people can be metabolically unhealthy without knowing
• Why visceral fat causes the energy crashes and cravings that make you eat more
• The waist measurement that tells you if you have too much visceral fat
Click to view the video: https://www.youtube.com/watch?v=mHER6vAr1bg