The AIDS attack was written out of history by using my name. The blame that the British heaped on me to help the Reagan Administration was not just a precedent action that I have a right to answer in kind but rather a plan that reveals the truth. The Beatles, Yoko Ono, WQED and the Warhol Museum mafia, working with the Veterans Administration, set me up as an Imaginary Victim to put on a military-religious play with sermons by the like of Martin Luther King conscripted for pacification, and long premeditated reasoning demanding forgiveness at the point of a gun. Shannon Harps is dead and buried, and I am at the scientific tipping point they consider collateral damage, but they never show their faces or give their names. Who they are and how they thought it all out is often perfectly clear, but their challenges remain a grapevine guessing game. Stuart David Sheppard, who recently showed up in name at the Clubhouse, once wrote to me, "You may have fallen play to the play within the play. Ask Rosencrantz."
Obviously, the existence of a person horrifically subject to torture and mutilation by killers smug in their Federal assurance that they can buy off opprobrium, observed as the object of terrorist victimization by everyone in attendance being given no help or comfort shows that the law in the States of Washington and Pennsylvania are just a stage play by assassins. That's all. After this much time and sadism it would be impossible to say anything else, ever. So there are some political questions that arise asking interpretation about what the answers mean, like who in the world would want to see a symbol of the United States of America like James MacRyland Crary ruthlessly used and reduced to such criminally insane and horrendous humiliation? By what argument did they convince so many people that they are more friendly to the interests of the City of Pittsburgh and City of Seattle than I would have been unmolested? This writing cannot stop there. The sickening ingenuity is too brutal to pass overthe attending objects of obstruction.
It is terribly entertaining to the revolution at work in this case how sophisticated their prior arguments are, how it was all put together to look like it just happened, despite all the malicious and convicting evidence of planning and foul play. This allowed people too smart to be that gullible to choose the side of the assassins and play like it was just their right on the basis of plausible denial, and from there to proceed against innocent people to enrich themselves, claiming a status they invented for themselves of victimization, while promising some of the proceeds to those who worked the alliance based on the foundational mission of total war fraud. It makes it easier to mock a real victim of this terrorism, and it makes it easier to answer ambiguous questions put to them through the lens of evasion and preference theory. As a result their play takes a windy path through many sinewy vignettes. These cities are not ruled by law. They are a canvas now from Battlefield Hollywood.
Foremost, this piece will attend to two mighty gyrations offered by Mellon Bank and their co-conspirators: One, the idea that Reagan didn't know and that his claim of being framed allows him to frame back by right of cause, in tyranny against all decency, holding a person he knew innocent in an R-grip of bogus rape suspicions, which in turn became a cause celebre for maniacal acts of mutilation. They asked me if I were a rapist, I said no, they sneered then why did you answer the question? Second, the idea that I cudda saved John Lennon, issued in spite by his real killers in partnership, they say, with perverts on high. To address these manias I propose a narrative that clashes with the allegations in the often futile form of personal defence, based on facts, exhibiting their nauseating insistence of having had a case for mutilation science as exhibition of something different: prior planning. It is the element of prior planning they hope to use for a slipknot allowing them license to commit murder of innocent people. They say since we did not plan this we have a right to see it through. From there I will address some more sundry vignettes and personalities being demonstrative of their product.
How long ago they knew this, was 1946, 1974, 1984 depending on how you read the ciphers and admissions. Failure to warn obviously led to deaths. They didn't care and admitted it in their discovery claim papers. Logically if knowledge is power, being kept in the dark is disempowerment. They begin their soothsay for mutilation by claiming a scientific comparison test tube whereby the science of suffering in an AIDS victim is compared with the science of suffering in the mutilation of a person selected for a symbol of the United States. In this role, I am offered up half as a pinko by the Fourth Estate and half as a Henry Frick by the Green Party anarchists. The goal is to use me to make money in a charity scam. It's not a 50-50 deal, although they like to convey that thought. It's intended to kill and rob by public machinery. Look at it this way, the Green Party thinks they had the right to kill Shannon Harps as symbolizing a penny. They say I am Henry Frick because they didn't give me AIDS. Logically therefore, to them, they should make the money planned by those who unleashed the attack (their partners, by the way) and wrote the legal stage production, all of whom, unlike the imaginary victim, remain unaccused.
They put the name of Leni Reifenstahl into graphic devices using M. Stahl and Les Stahl, just stall until it blows over; they used Handy Andy for Andrea the swimmer in a chilly sea of jealousy; they used Mutual Fish for the fraud that Reagan framed Jimmy because Jimmy framed the Gipper; the used Gaspar, to lionize the hun who attacked me blindside and gassed me; and so on, a rotary club for the final accounting in the last temptation of Detroit Auto-Workers and pulled it off with a Black Mr. President installation. It gets even more vile by topsy turvy method. I've explored in my blog http://storychecksout.org the Two Virgins Pussyball operation clocked to the AIDS attack. A military religious war crime implicating everyone, which their technique does, allows the guilty to go free by implicating the innocent, who in turned publicly signed on board by making an issue of me instead of warning people so they could protect themselves, protect the dignity of the afflicted and rally behind the at risk. The at risk are considered absolute evil by this ferocious stand of British Art mania. They want anyone who resists being forced to enlist with them diseased, crippled, dead or living in silent terror (unless already millionaires). They have been so criminally deranged that it became impossible morally to help the victims. Took work to get to that point, which seems to have been, quite honestly, their only real objective. Even trying to warn can get you killed, but the bottom line is desperation. The victims have been armed and trained not to be shut out for their loyalty to their own assassins. They demand and expect, literally, to be allowed to steal my life's work after viciously using me this way.
How can they get away with it legally? It's patently criminally insane.
They prior planned as Post Gazette records show, to inflict brutal emotional damage, citing the naïve claim of a person totally unaware of their mania for crime, that in a lawful society differences of opinion should be allowed despite hurting feelings. By this caustic evocation they invaded my home, made a mockery of my love and beauty, spit on my privacy, framed me a thousand different ways, because I asked a few obvious questions. The evidence shows perfectly clearly that I resisted framing Reagan. This is not about framing anyone for me. It's about learning what happened as best as possible and warning my peers before they are driven insane by media vampires.
Which brings me to the psychotic ripper mania of Peter Gabriel again. They have escalation dominance. They claim that they worked out an exchange program of organ barter, taking my ears as though a legitimate confiscation by collection agency. Gabriel's conspicuously suspicious song title about me: That Voice Again is about the Ultrahigh barrier that they have broken. Before the Wright Brothers nobody believed man could fly. They won't admit they have synthesizer schizophrenia equipment because it opens the door of perception about their other potentialities, but the believability factor in nightmarish films of violence like Rambo make obvious that Pentagon Disney could, and probably did, stage the attack on Reagan (when John shot James in the head) and faked Lennon's death. The potentialities cannot be admitted because they are the smoking gun.
It's absurd to say that people who put their name in the script, and agreed to functions in mass murder have protection or rights to anonymity. You can't just tamper with a victim of torture and expect not to be named. The cadaverous image on The Enemy Within by Robert Kennedy shows that the Burstyn confederacy is principled on the idea that the soul of the accused has to be contaminated and explored through special mania. The innocent is rifled against the neuroplastic accusation, producing screams punctuated by detached observer bombings to terribly entertain, leading to hatred, while Martin Luther King says no. Then the enemy within, poisoned to forgiveness by the horror of slasher ripper murder quietly begs but that he is innocent. Not that he is innocent snickers Ringo Starr, but that he is a tool whereby innocence produces the poetry in extreme situation needed to sooth and quiet the faithful. Scream now, behold a bomb, poetry now, behold a sooth.
Such wise men these foreign English and their gibbering black elder siblings.