For 12 years, Seattle and their torrential, destructive phony baloney had me banned from community college. So I sat in the Emerald House of “Seattle Mental Health” doing my chores, concentrating on the film project, facilitated by Ichiro coming to the United States because a number of merchants in Chinatown made it possible to get hold of Japanese films that didn't have subtitles, obscure ones. So I watched a lot of international cinema while reading books on the same. Since I'm deaf, I don't limit myself to understanding the plot. And I made some clips with the help of a system that one of the clerks at the Emerald House rigged up, which I saved.

     I called it the film project because something about them bothered me. When I look at them now, I understand what they are. But at the time, I didn't really understand. The Deans asked me for a paper in Pittsburgh because Seattle had banned me for such a long time as a no-good and a troublemaker and various diagnostic things that they came up with.  I wrote a paper about Paul Robeson's life in which I discussed the impact of racism on Hollywood and showed a few images that had long been bothering me. And they allowed me to go back to college; which I graduated from while in Honors.

      Years earlier I worked at the Community College in Pittsburgh with librarians. But because I'm deaf, I couldn't go to school. A girl taught me sign language late in life.  But I learned the thrill of victory and the agony of defeat that attends each research question working with librarians. I don't give up very easily. So when I had my suspicions aroused by some ideas that seemed to be recurring throughout international cinema as though a closet understanding had been arrived at by a secret council of agreement among the influential controllers of media, I began looking for an explanation for the imagery that was bothering me. For example, there's an image from a World War II film of Reagan sitting next to a swastika under the U.S., which you don't see when you watch the movie, but it's on the reel of the film, detectable frame by frame. I was suspicious about it and looked at it carefully, stopping in various places so that I could see what was going on in the scene changes. And there was this hidden image that was made by the assistant director of The Birth of the Nation by D.W. Griffith, who originated the burning cross for the KKK. So there was this pro-Hitler symbolism in a Reagan film made by the man who developed the burning cross for the KKK formatted by them carefully.

      A long time later, I arrived, with the help of several research adventures, which is my intention to recount, at the fact that Italians in Fiume introduced Mussolini to D.W. Griffith, and it wasn't so outlandish at the time because Britain was an ally of Italy during World War I, so the founding fathers of the era of the Great Dictators were people who were actually allies despite appearances. Churchill tried to keep Mussolini on his side in World War II. Mussolini eloped with the Fuhrer. Hollywood ties to suspicious gentlemen in America's spy system is clear from the fact that Allen Dulles put Cecil B. DeMille in charge of Radio Free Europe. But I didn't quite understand where all this was leading, but I had some questions. 

     I knew that there were semiotic implications that Kennedy had been killed as an execution for the crime of Hiroshima, which explained how I got dragged into it because I was a little boy from that fleet. They called the bomb Little Boy.  Born from Bush's ship in the Navy. My father had been a naval radio room lieutenant off the coast of Northern Japan, so they could identify that voice again and follow it to take revenge on the San Jacinto CVL-30. So what Seattle was doing was putting up a wall of sound to protect Yoko Ono's abuse of my person whose dacoitery was writing to me. Infuriated, Seattle tortured me again. They had not only deafened me, which was a metaphor for the silent scream in the womb and the deafening blast of Hiroshima, when I reported it to the Chancellor of Pitt, he brought in James W. Child, author of Nuclear War, The Moral Dimension, from Bowling Green, Ohio, to hire me as an office kid.

    So they know these index systems are at work, a fact that should be brought up in defense of Mackenzie Shirela, based on the neurology of the poison that Wattenmaker discovered, how's that for a name, which was all in the script from Israel that was sent to me as love letters when I was put through a Manson ordeal in 1974.  I knew about the Ouspensky crowd. I was shy of them because when I met King Crimson's associate, Pierre Elliott, who'd been one of the idiots in Paris with Gurdjieff, I realized that they were in Vichy, France, who must have been collaborators. But when Kamila Valiva fell for fourth place, in the Beijing olympics i said oh no it's that crowd from Kharkiv, fourth way people.

      So i went back into ouspensky and looked through index after index of the cubism scene and saw the name Blaise Cendrars about whom a book had just recently been published with the very revealing name of the invention of life he uses literature to illustrate what cinema can do, using his name in autobiographies that branch out to things he never did and different people doing things that wasn't actually him, but they're all called Blaise Cendrars, to depict the use of cinema in historic fiction by representation in literature. Blaise Cendrars is an assumed name, which means phoenix, blaze from the cinders.

     This was back in the days When Grand Central Station was built and the Grand Central Station of high society, Daigalev's Ballet Russ was bringing together people like Gabriel D'Annunzio and Sarah Bernhardt and Stravinsky and Picasso and Cendrars. Luigi Freddi  was an acolyte of Gabriel D'Annunzio. who inspired D.W. Griffith and Mussolini. They were both mentored by Gabriel D'Annuncio. Fiume was a counterfeiting den where the studio system, the racist studio intelligence system, got off the ground with the era of the great dictators. But I didn't learn that from studying Cubism.

     There was yet another byway I had to go on. I knew that Tammo de Jong had influenced King Crimson and had a theory of archetypes. It was slowly but surely developing into awareness that Gail Burstyn's archetype, the author of the Israeli script, was in places like playing violin in Seattle Center and on the cover of a Fripp record from 79. And I was starting to understand what the media was doing. I talked to my sister, who's an art historian, and she said, Cubism isn't really where you want to look for fascism. It's a spinov group called the Italian Futurists. And that was very productive. I had, of course, gotten started on this detective work because when I was down at Claymont, where J.G. Bennett founded a school where Crimson's guitarist invited me, I met Walter Hoderewski, who was in Northeon Forest on Hexenkopf in PA with Zell. from Jackson Immunogenic Laboratories, Society for Human Ecology and Earth First, hu put together the Venus Flytrap war game on Mount Desert Island that turned out to be Two Virgins Pussyball, clocked to the AIDS attack, named by John Lennon. So when you look at the counterfeiting den, the Italian Futurist Movement and the clips, you find that there are three mirrors that are represented.

    I've now identified what bothered me about those clips. The murder of JFK over Hiroshima. The transfer of the text to a cooler genocide in their view. An ark of colors in which I'm singled out for execution because of my association with the atom bomb. Sort of thing Putin would find intellectually clever. And as the symbol of the white, sheltered white, and the archetype of the  colorless society. And then the third mirror, which is also indexed in language anthropology, Cendrars, Lazarus, Unrue. The walrus in British intelligence traces back to 1919 and Casper was used a lot.The men who attacked me were named Ronnie and Casper, like Reagan and Weinberger. So you have Casper, the friendly ghost, Ono’s spirit foundation and Franklin Graham has a passage about a man named Hitler who becomes a chaplain and changes his name to Lazarus because he's back from the dead. So the spirit foundation of Lennon is reconciliation under Ono, Seattle’s stupids at work.

       The point is, Lennon was in on it.  Lennon’s Houdini’d.  Star Trek was inside this, You can see that from the film project... frames of international cinema where this, what I was calling a super story was detected. Of course, Errol Flynn starred with Reagan in the film made by Raoul Walsh in World War II that initially caught my attention. And he lived in Laurel Canyon with Houdini. So this goes back to the days when Disney was 19, 20 years old and discovering Adolf Hitler, and friends with Eisenstein. And it's too long of a passage of time and too much of an investment in the plan for Lennon not to have been in on it.

     He didn't just happen to go out that night. They pulled a fast one, like the sort of slippery games in the movie Sleuth starring Michael Caine, which came out two years before the script I received. And I was taken to see this movie Sleuth. Michael Caine is a friend of McCartney.

    They had a dry run of Paul is dead and so on. So the walrus is British intelligence tracing back to Fiume. And they wouldn't have done this without his cooperation. The script letter about the Martin Luther King murder begins, “I say is, not was”. The third mirror is copiously now represented in the film project. I had help. from a librarian at UW Tacoma who found a chapter on Ouspensky's Fourth Dimensional Superman in Tacoma UW Library that would have taken me 10 years to find. She identified it from a chapter search, not from a title, not from a subject. It's just about an avant-garde artist from Russia named Larinovsky.

      And I went into the New Age magazine of Ouspenski from 1919, and sure enough, they talk about a “super production”. This disappeared into the room behind the revolving bookshelf when it was adopted by the ringleaders, who continue to believe that by controlling the media, they will control the world.