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The text, by Miles Mathis, argues that the Rodney King Beating event was staged, similar to other events like the George Floyd event, the O. J. Simpson event, and the Emmett Till event. Mathis claims the purpose of such staged events is to incite race wars and distract from actual criminals. He points to inconsistencies in photographs of Rodney King, specifically a discrepancy in his eyes. Mathis also notes a familial connection between Rodney King and James Byrd Jr., a victim of a hate crime in Jasper, Texas, suggesting this link is too coincidental to be accidental. He questions the credibility of the recorded beating duration of Rodney King, citing the supposed use of rubber batons and unimpressive choreography.

Mathis further scrutinizes the identity and background of the cameraman, George Holliday, alleging that records are inconsistent or non-existent. He also highlights supposed numerological significance in the speed of Rodney King’s car during a police chase, and the speed itself being impossible for the vehicle. The text criticizes the sentencing and prison release of Stacey Cornell Koon, one of the officers involved in the beating, questioning the timeline and the nature of his legal proceedings, particularly the double jeopardy aspect of his trial. The text also examines the background of Daryl Gates, the former LAPD chief, and his controversial policing tactics, including Operation Hammer and the Community Resources Against Street Hoodlums (CRASH) unit, suggesting these were part of a larger “psyop” to create race wars.

The author also connects rapper Mack 10 (cousin by marriage to Rodney King) to the CIA’s alleged involvement in hip-hop, citing Ice Cube’s admission and the claims of a retired CIA agent, John Homeston, regarding the genre’s origins as a tool for social division. The text questions the fabricated backgrounds of artists like Ice Cube and Mack 10, suggesting their origins are hidden to conceal potential Jewish ancestry. Finally, Mathis points to Cynthia Kelley, a juror in Rodney King’s civil suit and his fiancée at the time of his death, as another “coincidence” and notes her records are also “scrubbed.” The author concludes by reiterating his belief in the falsification of Rodney King’s injuries in the initial photographs, citing discrepancies and the alleged use of make-up and lab retouching.

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