Sunday, June 10, 2012

The Year of the Sex Olympics with S&M British Occupied Ireland










Sadomasochism refers to pleasure often sexual involving inflicting or receiving pain or humiliation. While the terms sadist and masochist refer to either enjoying or giving pain (sadist) or one who enjoys receiving pain (masochist), many sadomasochists switch to someone who can both receive pleasure from either inflicting or receiving pain.

The autocratic British pervert, ruling British Occupied Ireland Owen Paterson besides overruling the British Fox hunting laws, also overrules the local sectarian mentored Stormont Parliament on the matter, thus preventing a ban an attempted ban on foxhunting. This unelected Tory despot is guilty of perverting the course of justice  in not just overruling two judges, ordering the release of Marian Price but also has overruling his Queen Elisabeth who ordered the release of Marian Price with a full royal pardon. Claiming to have either lost it or shredded without any investigation.

Besides torturing and then  killing defenceless animals he has kidnapped this highly respected Irish woman keeping her in solitary confinement for more than a year having been previously force fed for over six months while on hunger strike as a political prisoner, protesting British inhumanity and abuse of human rights.
Below is an articles from Wikipedia on the, The Year of the Sex Olympics:


" The Year of the Sex Olympics is a 1968 television play made by the BBC and first broadcast on BBC2 as part of Theatre 625. It stars Leonard Rossiter, Tony Vogel, Suzanne Neve and Brian Cox. It was directed by Michael Elliott. The writer was Nigel Kneale, best known as the creator of Quatermass.

Influenced by concerns about overpopulation, the counterculture of the 1960s and the societal effects of television, the play depicts a world of the future where a small elite control the media, keeping the lower classes docile by serving them an endless diet of lowest common denominator programmes and pornography. The play concentrates on an idea the programme controllers have for a new programme which will follow the trials and tribulations of a group of people left to fend for themselves on a remote island. In this respect, the play is often cited as having anticipated the craze for reality television.

Kneale had fourteen years earlier adapted George Orwell's Nineteen Eighty-Four as a classic and controversial BBC broadcast and the play reflects much of Kneale's assimilation of Orwell's concern about the power of the media and Kneale's experience of the evolving media industry.



In the future, society is divided between 'low-drives' that equate with the labouring classes and 'hi-drives' who control the government and media. The low-drives are controlled by a constant broadcast of pornography that the hi-drives are convinced will pacify them, though one hi-drive, Nat Mender (Tony Vogel), believes that the media should be used to educate the low-drives. After the accidental death of a protester during the Sex Olympics gets a massive audience response, the Co-ordinator Ugo Priest (Leonard Rossiter) decides to commission a new programme. In The Live Life Show Nat Mender, his partner Deanie (Suzanne Neve) and their daughter Keten (Lesley Roach) are stranded on a remote Scottish island while the low-drive audience watches. Mender's former colleague, Lasar Opie (Brian Cox), realising that “something got to happen”, decides to spice up the show by introducing a psychopath, Grels (George Murcell) to the island. When Grels goes on a murderous rampage, Ugo Priest is horrified when the audience reacts with laughter to the slaughter and The Live Life Show is deemed a triumph.

[edit]Background

[edit]Origins
Nigel Kneale was a Manx television playwright who had come to prominence in the nineteen-fifties thanks to his adaptation of Orwell's Nineteen Eighty-Four and his three Quatermass serials, all of which had been made by the BBC. Kneale had since become disenchanted with the BBC, mainly because he had received no extra money when the BBC sold the film rights to The Quatermass Experiment and had turned to freelance writing, producing scripts for Associated Television and for Hammer Films.[1] When approached by the BBC for a script for the BBC2 anthology series Theatre 625, Kneale, still upset over the sale of the film rights to The Quatermass Experiment turned them down. The Director General of the BBC, Hugh Carleton Greene intervened and arranged a £3,000 ex gratia payment to Kneale in recognition of Quatermass' success.[2] Kneale accepted a commission from Theatre 625 producer Michael Bakewell on Friday, 7 April 1967 for what would become The Year of the Sex Olympics.[3]

Kneale's concept concerned "the world of the future, and a way of keeping the population happy without being active".[3] According to Kneale, the notion for the play came from the "worldwide dread of populations exploding out of all control"[4] leading him to devise a world where pornography hooks the population "on a substitute for sex rather than the real thing and so keeping the population down".[5] Kneale was also influenced by the dropout counterculture of the late nineteen-sixties, recalling "I didn't like the Sixties at all because of the whole thing of 'let it all hang out' and let's stop thinking [...] which was the all too frequent theme of the Sixties which I hated".[6] Dissatisfaction with the youth culture of the time was a preoccupation of Kneale's: in the mid-sixties he had worked on an unmade script, The Big, Big, Giggle, about a teenage suicide cult and following The Year of the Sex Olympics, returned to the theme of youth out of control in his 1969 play Bam! Pow! Zapp! and in the fourth and final Quatermass serial in 1979.[1] Many cultural icons of the youth movement including members of The Beatles, Pink Floyd and Monty Python, were fans of Kneale's work.[7] For The Year of the Sex Olympics Kneale extrapolated the possible consequences of the youth movement's desire for freedom from "traditional" cultural inhibitions, asking as the academic John R. Cook puts it, "In a world of no limits, will the result quickly be apathy if there is nothing any more to get excited about, nothing precious or illicit to fight for in the teeth of the censor?".

Kneale also sought to make "a comment on television and the idea of the passive audience",[9] depicting a world where the media is controlled by an elite who feed the population with a diet of low quality programmes and echoing the Orwellian concept of language reduction, where vocabulary has been eroded through exposure to advertising slogans, mediaspeak and predominantly visual media.[5][10][11] He later recalled, "I thought people in those conditions would have very, very, reduced language - they wouldn't be really a verbal society any more, and I think we're heading towards that. Television is mainly responsible for it, the fact that people are now conditioned to image. The pictures they see on television screens more and more dominate their thinking, as far as people do a lot of thinking, and if you had a verbally reduced society, you would get the kind of language - possibly - that you did get in the play".[12]

Production
Kneale's script was accepted on 25 October 1967 by Ronald Travers, who had taken over as producer from Michael Bakewell on Theatre 625. Production began in early 1968 with Michael Elliot as director. Elliot initially asked Leo McKern to take on the key role of Co-ordinator Ugo Priest but with McKern unavailable he turned to Leonard Rossiter. Writing to Rossiter, offering him the part, Elliot described The Year of the Sex Olympics as "the most important play Nigel Kneale has written since Quatermass".[13] Cast as Lasar Opie was Brian Cox who would go on to have a distinguished career in film and television.[14]

The Year of the Sex Olympics proved to be a difficult production when television decency campaigner Mary Whitehouse of the National Viewers and Listeners Association obtained a copy of the script and attempted to block the production. Her objections were overruled by Hugh Greene.[15] Location filming – for the outdoor scenes set on the island that appears in The Live Life Show – took place on the Isle of Man between 8 and 10 May 1968. A mishap occurred during the shoot when Tony Vogel slipped and broke his wrist. Filming continued at Ealing Film Studios between 13 and 15 May covering the elements that would be played into the screens on the set during studio recording such as the Sportsex, Artsex and Foodshow programmes as well as the audience reaction shots. The scene where Kin Hodder falls to his death was also shot at Ealing. Following rehearsals, the production moved to BBC Television Centre between 12 and 14 June. Industrial action by BBC electricians interrupted the production and by the end of the recording session, the final ten minutes of the play remained untaped, leading to a remount on 23 June to complete the outstanding scenes.[16]

BBC2 was the only UK television station broadcasting in colour at the time. The Year of the Sex Olympics presented a production with gaudy sets, costumes and makeup. In a contemporary review of the play for The Sun newspaper, Nancy Banks-Smith commented that, "If you didn't see it in colour, you didn't really see it".

The Year of the Sex Olympics was broadcast at 9:08pm on BBC2 on Monday, 29 July 1968. Appearing on arts programme Late Night Line Up later that night to discuss the play, Kneale said, "You can't write about the future. One can play with the processes that might occur in the future, but one is really always writing about the present because that is what we know. It's largely an image of television as I know it".[18] Sean Day-Lewis, writing in The Daily Telegraph hailed the programme as a "highly original play written with great force and making as many valid points about the dangers of the future as any science fiction I can remember – including 1984!".[19] The Year of the Sex Olympics was watched by 1.5 million viewers. Audience Research Report indicated that many viewers found the play impenetrable. It was repeated on BBC1 in 1970 with 15 minutes cut from the running time, as part of The Wednesday Play strand.[18]

As often happened in this era, the colour master tapes of The Year of the Sex Olympics were wiped some time after broadcast and the play was believed lost until the nineteen-eighties when a black and white telerecording was discovered.[18] This copy was released on DVD, with an introduction by film and television historian Kim Newman, a commentary by actor Brian Cox and a copy of the original script, by the British Film Institute in 2003.[20]

Cultural significance

One of the first to draw comparisons with The Year of the Sex Olympics and the rise of reality television programmes (soap operas without professional actors), such as Big Brother, Castaway 2000 and Survivor, was the journalist Nancy Banks-Smith in a review of the first series of the UK version of Big Brother for The Guardian in 2000,[21] a theme she later expounded upon in 2003, writing that the play "foretold the reality show and, in the scramble for greater sensation, its logical outcome".[22] Banks-Smith had long been an admirer of The Year of the Sex Olympics, having written in The Sun following its original broadcast in 1968: "Quite apart from the excellent script and the 'big big' treatment, the play radiated ripples. Is television a substitute for living? Does the spectacle of pain at a distance atrophy sympathy? Can this coffin with knobs on furnish all we need to ask?".[23] Another admirer, the writer and actor Mark Gatiss, has said that upon seeing Big Brother he yelled at the television, "Don't they know what they're doing? [...] It's The Year of the Sex Olympics! Nigel Kneale was right!".[24] When The Year of the Sex Olympics was repeated on BBC Four on 22 May 2003, Paul Hoggart in The Times noted that "in many respects Kneale was right on the money [...] when you consider that nothing gets contemporary reality show audiences more excited than an emotional train-wreck on live TV".[25]

Although the reality television of The Live Life Show is the aspect most commentators pick up on, The Year of the Sex Olympics is also a wider satire on sensationalist television and the media in general. Mark Gatiss has noted that the Artsex and Foodshow programmes that also appear in the play "ingeniously depicted the future of lowest common denominator TV".[24] This view is echoed by the writer and critic Kim Newman who has said that "as an extreme exercise in revolutionary self-criticism on the part of television professionals, who also lampoon their own world of chattering commentators and ratings-chasing sensationalism, the play [...] is a trenchant contribution to a series of debates that is still raging"[26] and has concluded that "Nigel Kneale might be quite justified in shouting, "I was right! I was right!"".[11]

[edit]Notes

^ a b Murray, Into the Unknown, passim.
^ Murray, Into the Unknown, p. 97-98.
^ a b Pixley, Flashback: The Year of the Sex Olympics, p. 46.
^ Das Time Shift: The Kneale Tapes
^ a b Nigel Kneale in The Year of the Sex Olympics BFI DVD sleeve notes
^ Pixley Flashback: The Year of the Sex Olympics, p. 47.
^ Murray, Into the Unknown, p. 98-99.
^ Cook The Age of Aquarius, p. 111.
^ Cook The Age of Aquarius, p. 109.
^ Pixley Flashback: The Year of the Sex Olympics, p. 48.
^ a b Introduction by Kim Newman. (2003). The Year of the Sex Olympics (BFI DVD)
^ Pixley and Kneale, Nigel Kneale – Beyond the Dark Door
^ Pixley Flashback: The Year of the Sex Olympics, p. 49.
^ Brian Cox at the Internet Movie Database
^ Murray Into the Unknown, p. 101.
^ Pixley Flashback: The Year of the Sex Olympics, passim.
^ Murray Into the Unknown, p. 102.
^ a b c Pixley Flashback: The Year of the Sex Olympics, p. 51.
^ Fulton, The Encyclopedia of TV Science Fiction, p. 678
^ The Year of the Sex Olympics (DVD), British Film Institute, 2003
^ Banks-Smith, Nancy (2000-08-18). "Last Night's TV: Tales of the Unexpected". The Guardian. Retrieved 2007-01-07.
^ Banks-Smith, Nancy (2003-04-24). "Big Brother with knives". The Guardian. Retrieved 2007-01-07.
^ Rigby, Ancient Fears, p. 53.
^ a b Gatiss, Mark (2006-11-02). "The man who saw tomorrow". The Guardian. Retrieved 2007-01-07.
^ Hoggart, Paul (2003-05-23). "TV Review". The Times (News Corp.).
^ Sleeve notes by Kim Newman. (2003). The Year of the Sex Olympics (DVD). British Film Institute.
[edit]References

Cook, John R. (2006). "The Age of Aquarius: utopia and anti-utopia in late 1960s and early 1970s British science fiction television". In in Cook, John R. & Wright, Peter (eds.). British Science Fiction Television: A Hitchhiker's Guide. London: IB Tauris. pp. 93–115. ISBN 1-84511-048-X.
Das, John (producer & director). (2003). Time Shift: The Kneale Tapes. BBC Bristol. In The Quatermass Collection (DVD). BBC Worldwide. (2005).
Elliot, Michael (director) & Kneale, Nigel (writer). (2003). The Year of the Sex Olympics (DVD). British Film Institute.
Fulton, Roger (1997). The Encyclopedia of TV Science Fiction (3rd ed.). London: Boxtree. ISBN 0-7522-1150-1.
Murray, Andy (2006). Into The Unknown: The Fantastic Life of Nigel Kneale. London: Headpress. ISBN 1-900486-50-4.
Pixley, Andrew; Kneale, Nigel (1986). "Nigel Kneale – Beyond the Dark Door". Time Screen: the Magazine of British Telefantasy (9): –. Retrieved 2007-03-18.
Pixley, Andrew (May 2003). "Flashback: The Year of the Sex Olympics". TV Zone (162): p46–51. ISSN 0957-3844.
Rigby, Jonathan (September 2000). "Ancient Fears. The film and television nightmares of Nigel Kneale". Starburst (265): p. 48–57. ISSN 0955-114X.
[edit]External links

The Year of the Sex Olympics at the Internet Movie Database
Theatre 625 - The Year of the Sex Olympics at the Internet Movie Database
Theatre 625 - The Year of the Sex Olympics at TV.com
British Film Institute Screen Online
Action TV
DVD Times review


In Nazi Germany, foxhunting with hounds was banned by Hermann Göring on July 3, 1934 extended to Austria after Hitler annexed the country. The director of Germany's hunting museum in Munich, said at the time, "The aristocrats were furious." It was not until the 21st century that a British Government inquiry into hunting with dogs by a senior civil servant Lord Burns, resulted in action to ban foxhunting, with the exception of British Occupied Ireland.



The Burns Inquiry committee reported that:



"There are those who have a moral objection to hunting and who are fundamentally opposed to the idea of people gaining pleasure from what they regard as the causing of unnecessary suffering. There are also those who perceive hunting as representing a divisive social class system. Others, as we note below, resent the hunt trespassing on their land, especially when they have been told they are not welcome. They worry about the welfare of the pets and animals and the difficulty of moving around the roads where they live on hunt days. Finally there are those who are concerned about damage to the countryside and other animals, particularly badgers and otters."



The main type of hunting hound are the English Foxhound, while the horses are often a cross of quarter Irish Draught, with the remainder English. Sadistic, satanic like rituals are an important part of the foxhunt tradition. For example, one important satanic like ritual, which is kept secret, away from the modern media, is the act of blooding children to foxhunt. This is an old ceremony in which the master or huntsman, smears the blood of the fox onto the cheeks of an often very young child, newly initiated into foxhunting. Hunts still cut off tail ('brush'), feet ('pads') and head ('mask') as trophies, while the carcass is still warm and alive, then they are thrown to the hounds to rent asunder. These practices are now also hidden in secret, away from the modern media and public eyes.



Hunts take young hounds out cub hunting in the autumn of every year, to rip and kill young foxes, before they are 10 months old, while still living in their family group.The purpose is to teach and cultivate young foxhounds, to get a taste for hunting foxes, who sometimes mistakenly rip cats and kittens apart instead. This activity now takes place only in the Occupied Ireland part of the UK, as the locally elected native Irish are not allowed by the unelected English Tory autocrat Paterson to ban foxhunting, as the unelected English Tory overules them, to reserve the pleasure of the cruel sport for his visiting English gentry friends. Almost everything of consequence is run by the unelected English Tory despot, while the restless Irish natives are allowed power-sharing over scraps.



Paterson's friends in the English gentry who fly over regularly to feed their blood lust addiction on this cruel blood sport, two or threes times a week initially practice "holding up"consististing of driving loyalist hunt supporters to surrounding a covert, with the English horsey set and orange foot followers, driving back any of the still suckling baby foxes trying to escape. They then "draw" the covert with their own young puppies, with a few more experienced blood hounds, in the process, teaching and cultivating the young to acquire their own blood lust to attack and rip the helpless baby foxes apart while inside the surrounded wood away from prying eyes. The young hound can be then "entered" into the pack, once it is blooded like the young hunting children, creating a blood lust and an addiction for blood thirst in both, in this manner. About 1 in 50 more more evolved foxhounds, who are not blood thirsty enough, must be removed from the pack immediately, so as not to set a bad example, similar to the internment of restless natives in Occupied Ireland presently.



During the debate in the House of Commoners to ban fox hunting, the English Iron fisted Tory ruler of Occupied Ireland, Owen Paterson, compared supporters of the legislation to ban foxhunting to Nazis. Mr Paterson said, hunts drew young people into a 'social network that will last all their lives'.He warned Labour MPs: 'Before they troop through the politically correct lobby, brimming with self-righteous bile and spiteful prejudice, they should remember the unhappy precedent of 1936 when the revolting Reichsjaeger Hermann Goering persuaded Hitler to ban hunting.


'We should not create criminals lightly. No-one gained in Germany then. No-one will now. A ban will be an ominous portent of further freedoms to be lost at the hands of an intolerant majority.'



His defence of foxhunting has been dubbed utter hypocrisy, bearing in mind his destruction of the Peace Process in Ireland, breaking the agreement with the reintroduction of political internment without trial of Irish woman Marian Price and any other Irish people who dare to oppose the cruelty of British occupation in Ireland. The autocratic Paterson besides overruling the British Fox hunting law with respect to Occupied Ireland also overrules the local sectarian mentored Stormont Parliament, thus preventing a ban on foxhunting attempted by the restless Irish natives. This unelected Tory despot has also overruled two judges, ordering the release of Marian Price who had ruled her no threat to society. He also has overruled Her Majesty Queen Elisabeth who ordered the release of Marian Price with a royal pardon. Medical professionals have dubbed this behaviour as simply insane, coupled with his recent homage to his idol, the arch-sadist Ghengis Khan by abusing horses for 10 days whipping them relentlessly onover 1,000 kilometers, in what is dubbed the Mongolian Derby.





Bill Etherington a Labour MP of the House of Commoners in Britain said: “I consider that fox hunting is as barbaric a method of destroying a fox as it would be possible to imagine.”



The vote, by 387 to 174, a majority of 213, sets up "The ‘Compromise’ option, allowing hunting to continue as a licensed activity, Paterson and his crew scuttled it, promising to make foxhunting happen in Britain again despite the wishes of the clear majority. Legal professionals have dubbed his political activity, as a most serious crime of perverting the course of justice, which carries a life sentence in prison for British commoners as they a referred to by the horsey set and gentry friends and family of Paterson.



Even Nicholas O'Hare, hunting columnist said:



"This is the key issue. Is hunting cruel? The answer, of course, is that it is. How can such cruelty be justified? The answer is that it cannot."



Like illegal activities of dogfighting, badger baiting and cockfighting, the only purpose of foxhunting is to satisfy a small minority of bored idle-rich gentry, with nothing else to do and cultivate a bloodlust killing instinct in their young, to maintain the dominance of their blood lines over ordinary, decent people, who are disgusted by such depravity both at home and overseas. This orgy of blood letting, blood thirst, blood lust, call it what you may is the rock on which their IMperial military society is built, that produces commoners as cannon fodder, to fight imperial, neo-colonial wars, at least every five years, for the easy blood money, profit of their lucrative, industrial war complex.



The English and Orange hunters in Occupied Ireland meet two or three times per week during the foxhunting "season," which is between November and April. Local collaborating landowners and some occasional sympathetic "shame fein" castle farmers will keep the English hunters informed of all fox activity, while suitable kill areas in the locality will be set up.The bloodhounds are sent to scent out a fox and force it out in the open.



The chase of blood lust and a kill, often continues for more than hour, with a crowd of frenzied gentry baying for blood. This is the part of the hunt, "field" in which they sate their idle rich boredom and cultivate their craving for blood, as they jump fences, walls and ditches chasing as a lynch mob the fox, who will go anywhere to escape the blood hounds and bloodlusting gentry. He will try to go down a fox-hole or badger sett but they are probably blocked the night before by orange or "me fein" hunt collaborators.



The fox is often chased to exhaustion when he or she will be caught and savaged to death by baying blood hounds and bloody minded gentry. Foxhounds are specially bred for stamina, not speed, to make foxhunts last, otherwise it would spoil Paterson and his friends fun by being caught too soon. Many suspect Paterson and his bigoted, sectarian friends are having the same sadistic fun currently at Marian Price's expense. She has been interned in solitary confinement for almost a year now, for no other reason than this, sick, perverted, sadistic-sexual craving to dominate.



Many agree that fox hunting is the most sadistically cruel of all the blood "sports". The purpose of fox hunting is pure sadistic pleasure, sometimes cultivating a sexual addiction, sometimes sadistically, sexually, sating an otherwise impotent older man, as horsewhipped hunters chase the fox to exhaustion for an hour or more before the animal is literally torn to pieces by the baying hounds and crowd. This long and protracted suffering is an essential element and a desired part of this blood sport in the eyes of the hunters.
If the the control of fox numbers were its aim, faster dogs would be used or the foxes could be shot. All animal welfare organisations and sane people worldwide, with the exception of Paterson and his blood junky ilk in denial, condemn the barbarity, sickness and savagery of fox hunting. It is ineffectual as a form of fox control, a false argument used as an environmental benefit, to try and give this horrific blood sport a veneer of respectability, which close scrutiny of it and its proponents like Paterson, show just how much it is flawed.



There is an alternative for those who claim to enjoy working with hounds and riding over open country, its called drag hunting, with a scent laid for hounds and riders. Drag hunting provides a test for hounds and riders avoiding, unlike fox hunting, serious damage to house pets, crops and scared sheep. However sadistic gentry and die-hard foxhunter defenders, like the unelected English Tory dictator in Occupied Ireland Paterson, ridicule drag hunting with whinging like, "it's not really hunting." Yes indeed, there is one vital difference for craving cultivated, bloody minded sadists, who are in addiction denial, there is no kill in drag hunting to give them their sick fix.





Indeed there are several hunts exclusively practicing the more civilized drag hunting in Ireland. By eliminating the unacceptable cruelty of foxhunting junkies, they ensure the long term survival of the genuine sporting aspects of "hunting" as a tradition with hounds.Many Protestants in Occupied Ireland are disgusted with Paterson too. One respected gentleman commented;



"To even consider allowing ruthless, barbaric,cruel and sickening out dated sports?suggests a man, or two..who are unfit to represent decent ,compassionate human beings. It is not just about fox hunting, although, this concerns me greatly of course, it is also about how he/they are showing the darker and sickening side of violence, aggression, and im sorry, where is the fairness?..If he/they are happy to allow this as acceptable, what is next?



I PRAY that blood sports are NOT something, that can be passed off, as necessary, when it clearly is not..it is a pompous, disgusting, old upper class tradition…farmers DO NOT NEED THIS..it is just another lie, fed to excuse a sickening habit..Did YOU KNOW, THAT THERE ARE PRO HUNTERS BREEDING FOXES, JUST TO HUNT THEM?

THE TITLE “CON DEM” IS INDEED EXACTLY WHAT WE WILL BE AS A SOCIETY, IF WE ALLOW,THIS AWFUL REPEAL IN ENGLAND AND MAINTAIN IT HERE IN IRELAND…TRUST ME, IT IS THE THIN EDGE OF THE WEDGE "



No ! Paterson will have none of it, like his sadistic, torture of poor Marian Price, he will continue with his Ghengis Khan, Draconian, Tartarean, animal, anthropophagous, atrocious, barbaric, barbarous, beastly, bestial, bloodthirsty, bloody, bloody-minded, brutal, brutalized, brute, brutish, cannibalistic, cruel, cruel-hearted, demoniac, demoniacal, devilish, diabolic, fell, feral, ferocious, fiendish, fiendlike, fierce, hellish, infernal, inhuman, inhumane, monstrous, murderous, perverse, ruthless, sanguinary, sanguineous, satanic, savage, sharkish, slavering, subhuman, truculent, unchristian, uncivilized, unhuman, vicious, wolfish politics as his political ambition attempts to surpass the Tory Margaret Thatcher who murdered Irish political prisoner Bobby Sands and his comrades numbering10 hunger strikers. Marian Price has been on 200 days of hunger strike already at the mercy of bigoted sadistic jail torturers in England. Now yet again she spent almost a year in solitary confinement without trial at the hands of sectarian jailers egged on by the sadist Paterson. Marian was pardoned by a Queen and ordered released by judges on two occasions. this madman will trigger another forty years of killing thousands of victims along with more than a hundred thousand foxes annually satisfy his cultivated lust for blood, power and dominance. People better confront this sickness, it has no place in a any remotely humane society. The sickness is best explained in the following quoted excerpts:



2012 Olympics, British Occupied Ireland, HOTEL STORMONT, Internment, london 2012, London Olympic Games, London Olympics, Olympic, Olympic Games, Olympics, Olympics 2012. SEX PARTY, Sex Olympics

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