[When can we call for their arrest? I'm about ready]



Thoughts after Reading woodybox's article on the Twin flights of
flight 11
http://inn.globalfreepress.com/modules/news/article.php?storyid=629
---------------
All we have as physical "proof" of the government's version of 9/11,
of no less than 4 huge jetliners over three locations was ABOUT two
pick-up loads of small debris COMBINED (!) that likely was
deliberately littered as evidence, but NEVER CHECKED AS TO SOURCE..


The plane photos suck. None of them match up. My "non-professional"
opinion of them is that they are sucky videos--of planes that NEVER
EXISTED EXCEPT IN SOMEONE'S COMPUTER!
http://thunderbay.indymedia.org/uploads/strike-two-5.avi No
holograms, no secret weapon---They could have been staight out of
Hollywood's special effects bag of tricks, altho it could be done
simply by computer program called "FLIGHT SIMULATOR" .. Just like car
chases, Jurassic Park, 2001, the Right Stuff---you name it.

Check this one out---this one was obviously cropped later, to hide
when the plane first materializes out of thin air.....
http://www.terrorize.dk/911/wtc2hit7/911.wtc.2.plane.north.01.mpg


How did they do it---we saw everything live, didn't we? NO, we did
NOT!

None of the main events--attacks, collapses--were shown live! All
were tape delayed--the only thing live were the talking heads. The
collapses delayed from 45 seconds on one, and 90 seconds on the
other--PLENTY OF TIME TO EDIT OUT AND mute the explosions from being
heard,

The "planes" videos not aired until 4:30pm (wtc2) and 2:30am (wtc1)
the next day. Shown over and over the rest of the day, then shelved
not show again.

That is all we have!!! A lot of dead people, 2 pickup loads of small
debris that came out of some military warehouse, and sucky videos that
don't match any known planes. [ Oh--I forgot--we have a dandy fake
investigation of "How well did we respond--do we need to spend more $
improving our readiness? Not a word on who did it and how.]

This article explains how they could shape our minds, this plus Army
psy ops officers on board in the CNN newsroom since July 2000..

-------------------------------------------------------------
War of the Worlds, Orson Welles,
And The Invasion from Mars

http://www.transparencynow.com/welles.htm

The ability to confuse audiences en masse may have first become
obvious as a result of one of the most infamous mistakes in history.
It happened the day before Halloween, on Oct. 30, 1938, when millions
of Americans tuned in to a popular radio program that featured plays
directed by, and often starring, Orson Welles. The performance that
evening was an adaptation of the science fiction novel The War of the
Worlds, about a Martian invasion of the earth. But in adapting the
book for a radio play, Welles made an important change: under his
direction the play was written and performed so it would sound like a
news broadcast about an invasion from Mars, a technique that,
presumably, was intended to heighten the dramatic effect.

As the play unfolded, dance music was interrupted a number of times by
fake news bulletins reporting that a "huge flaming object" had dropped
on a farm near Grovers Mill, New Jersey. As members of the audience
sat on the edge of their collective seat, actors playing news
announcers, officials and other roles one would expect to hear in a
news report, described the landing of an invasion force from Mars and
the destruction of the United States. The broadcast also contained a
number of explanations that it was all a radio play, but if members of
the audience missed a brief explanation at the beginning, the next one
didn't arrive until 40 minutes into the program.

At one point in the broadcast, an actor in a studio, playing a
newscaster in the field, described the emergence of one of the aliens
from its spacecraft. "Good heavens, something's wriggling out of the
shadow like a gray snake," he said, in an appropriately dramatic tone
of voice. "Now it's another one, and another. They look like tentacles
to me. There, I can see the thing's body. It's large as a bear and it
glistens like wet leather. But that face. It...it's indescribable. I
can hardly force myself to keep looking at it. The eyes are black and
gleam like a serpent. The mouth is V-shaped with saliva dripping from
its rimless lips that seem to quiver and pulsate....The thing is
raising up. The crowd falls back. They've seen enough. This is the
most extraordinary experience. I can't find words. I'm pulling this
microphone with me as I talk. I'll have to stop the description until
I've taken a new position. Hold on, will you please, I'll be back in a
minute."

As it listened to this simulation of a news broadcast, created with
voice acting and sound effects, a portion of the audience concluded
that it was hearing an actual news account of an invasion from Mars.
People packed the roads, hid in cellars, loaded guns, even wrapped
their heads in wet towels as protection from Martian poison gas, in an
attempt to defend themselves against aliens, oblivious to the fact
that they were acting out the role of the panic-stricken public that
actually belonged in a radio play. Not unlike Stanislaw Lem's deluded
populace, people were stuck in a kind of virtual world in which
fiction was confused for fact.
News of the panic (which was conveyed via genuine news reports)
quickly generated a national scandal. There were calls, which never
went anywhere, for government regulations of broadcasting to ensure
that a similar incident wouldn't happen again. The victims were also
subjected to ridicule, a reaction that can commonly be found, today,
when people are taken in by simulations. A cartoon in the New York
World-Telegram, for example, portrayed a character who confuses the
simulations of the entertainment industry with reality. In one box,
the character is shown trying to stick his hand into the radio to
shake hands with Amos n' Andy. In another, he reports to a police
officer that there is "Black magic!!! There's a little wooden man --
Charlie McCarthy -- and he's actually talking!"

In a prescient column, in the New York Tribune, Dorothy Thompson
foresaw that the broadcast revealed the way politicians could use the
power of mass communications to create theatrical illusions, to
manipulate the public.
"All unwittingly, Mr. Orson Welles and the Mercury Theater of the Air
have made one of the most fascinating and important demonstrations of
all time," she wrote. "They have proved that a few effective voices,
accompanied by sound effects, can convince masses of people of a
totally unreasonable, completely fantastic proposition as to create a
nation-wide panic.
"They have demonstrated more potently than any argument, demonstrated
beyond a question of a doubt, the appalling dangers and enormous
effectiveness of popular and theatrical demagoguery....
"Hitler managed to scare all of Europe to its knees a month ago, but
he at least had an army and an air force to back up his shrieking
words.
"But Mr. Welles scared thousands into demoralization with nothing at
all."
In the 1950s, America had another taste of the power that simulations
have, to draw people into a world of delusional fantasy, when paired
with mass communications. This time it was revealed that a number of
television game shows were simulations, in which contestants who knew
the answers ahead of time were pretending to guess at their responses.
But unlike the invasion from Mars, here the fakery was unambiguously
intentional; it was the work of producers who had concluded they could
create fictional game shows that would be more exciting than the real
thing.
Once again, there was a shocked reaction from the public. Once again,
those involved became objects of public anger. And, as happened with
the Orson Welles broadcast, an effort was made to ensure that such
manipulations wouldn't recur.
But in 1990, it happened again. Audiences around the world discovered
that they were taken in by the ultimate Hollywood illusion in which
two performers faked their own talent, lip-syncing, to create the
impression they were singing. What millions of fans had believed were
two talented singers was actually a composite, another seamless
interweaving of sensory simulations in which two people provided the
visuals, while vocalists provided the audio.

As in the previous two instances, there was a stunned response. But
unlike the experience of 1938 or even the 1950s, the social context
was different because simulations had become commonplace, and attempts
to use them to trick the public were the rule rather than the
exception. Also by this time, a global culture had developed, which
meant that tens of millions of people around the world were drawn into
the same illusion.

One might say that War of the Worlds and the game show scandal
foreshadowed the age of simulation that was still to come. Allowing
for a little poetic overstatement, the Milli Vanilli scandal served as
a rite of passage or symbolic marker, making clear that we now live in
an age of simulation confusion in which our tendency to mistake fakes
for what they imitate has become one of the characteristic problems of
the age.

More to the point, we live in a time in which the ability to create
deceptive simulations, especially for television, has become essential
to the exercise of power. And the inability to see through these
deceptions has become a form of powerlessness. Those who let
themselves be taken in by the multiple deceptions of politics, news,
advertising and public relations, are doomed, like the more gullible
members of the radio audience in 1938, to play a role in other
people's dramas, while mistakenly believing that they are reacting to
something genuine. http://www.transparencynow.com/welles.htm
-----------------------------------------------------------------------------------------------------------------------------------------------

The flurry of activity at Logan, the deliberate distractions, the
deliberate leaving of crumbtrails that "confirm" the existance of
planes--planes that in reality that don't seem to go anywhere, or
they are "recorded" going everywhere....everywhere BUT ON RADAR.NEAR
THE TOWERS!!!! (Woolsworth?)





Have we been "Orson Wellesed"? Instead of looking at Northwoods,
should we have been looking at this?

-------------------------
What can be accomplished in one minute...........
----------------------------


Script segment of second "attack" on the wtc....This tiny, yet key
part of the deception happens in less than a minute
"Oh my goodness--that is huge--ladies and gentlemen we just had
another huge explosion.".....
[next, introduction of the idea of a "plane"--and within seconds the
introduction of the concept of two planes with the phrase "another
plane"

"we just had a man say he saw a plane hit the bldg." {shot of rear of
impact--no plane visible]
[announcer slides right into next phase, incorporating a plane into
the scenario, despite none being visible on camera]
"Ladies and Gentlemen, we just had ANOTHER PLANE hit the World Trade
Center"

[BUT THE VIEWERS HAVE NOT SEEN ANY PLANES AT ALL AT THIS TIME IN THE
SCRIPT!! It went from "explosion" to "plane" to "another plane" in
less than a minute.] and the illusion was accomplished without any
plane at all.

This deceptive assumption is repeated endlessly without qualification
over next several hours, with a delayed debut of the first sucky
video, that doesn't get aired again--maybe they also felt it was too
sucky.

The reason the Air Traffic Controllers were silenced was to conceal
what they saw--- to conceal that they saw NOTHING approach the towers.
Is that why there was no military "response" ? BECAUSE there was
nothing to respond to?.

In the words of one 9/11 researcher, "We were attacked by "cartoons"!

-------------------------

From Scott Loughrey's site, along with Webfairy's clips at
http://www.media-criticism.com/911_Society_Spectacle_02_2005.html

"On September 11, 2001, millions of people around the US, hearing that
a pilot had crashed his plane into the World Trade Center, turned on
their TVs and saw black smoke leaving a gaping hole in the North
Tower. As the cameras lingered over the scene many people wondered
"where is the plane?" Seventeen minutes later (09:03 a.m.) the
monstrous illusion of a commercial jet was shown on TV striking the
South Tower. Fifty-six minutes later (09:59 a.m.) the South Tower
suspiciously collapsed in its footprint. Twenty-nine minutes
afterwards (10:28 a.m.) the North Tower also mysteriously collapsed.

"Throughout the day of 9/11/01 the news media repeatedly showed video
clips of "Flight 175" striking the South Tower to a horrified public.
Then the video imagery disappeared from the nation's airwaves. It has
seldom been aired since.

"That's because this 911 video was fake. There were no commercial jets
which crashed into the World Trade Center. The planners who conceived
of 911 knew that jet fuel (i.e., refined kerosene) could not possibly
melt the steel towers-and certainly couldn't deform the steel to cause
it to collapse in the path of most resistance; i.e., straight down.
Yet, they also needed a large television audience to SEE these planes
striking the towers before the towers demolished. This would
indoctrinate the general public into believing that the planes caused
the destruction of the towers. Because 911 also included a fictional
attack on the Pentagon, a shoot-down of a civilian aircraft (UA 93),
phony cell phone calls from heroic passengers and another tall steel
building (WTC 7) suddenly collapsing in its footprint this was too
much information for most people to handle. Millions of people (still)
want to believe the ludicrous official story of 911 so badly that they
are willing to accept whatever scientific and logical contradictions
are necessary to do so.

[When can we call for their arrest? I'm about ready]



Thoughts after Reading woodybox's article on the Twin flights of
flight 11
http://inn.globalfreepress.com/modules/news/article.php?storyid=629
---------------
All we have as physical "proof" of the government's version of 9/11,
of no less than 4 huge jetliners over three locations was ABOUT two
pick-up loads of small debris COMBINED (!) that likely was
deliberately littered as evidence, but NEVER CHECKED AS TO SOURCE..


The plane photos suck. None of them match up. My "non-professional"
opinion of them is that they are sucky videos--of planes that NEVER
EXISTED EXCEPT IN SOMEONE'S COMPUTER!
http://thunderbay.indymedia.org/uploads/strike-two-5.avi No
holograms, no secret weapon---They could have been staight out of
Hollywood's special effects bag of tricks, altho it could be done
simply by computer program called "FLIGHT SIMULATOR" .. Just like car
chases, Jurassic Park, 2001, the Right Stuff---you name it.

Check this one out---this one was obviously cropped later, to hide
when the plane first materializes out of thin air.....
http://www.terrorize.dk/911/wtc2hit7/911.wtc.2.plane.north.01.mpg


How did they do it---we saw everything live, didn't we? NO, we did
NOT!

None of the main events--attacks, collapses--were shown live! All
were tape delayed--the only thing live were the talking heads. The
collapses delayed from 45 seconds on one, and 90 seconds on the
other--PLENTY OF TIME TO EDIT OUT AND mute the explosions from being
heard,

The "planes" videos not aired until 4:30pm (wtc2) and 2:30am (wtc1)
the next day. Shown over and over the rest of the day, then shelved
not show again.

That is all we have!!! A lot of dead people, 2 pickup loads of small
debris that came out of some military warehouse, and sucky videos that
don't match any known planes. [ Oh--I forgot--we have a dandy fake
investigation of "How well did we respond--do we need to spend more $
improving our readiness? Not a word on who did it and how.]

This article explains how they could shape our minds, this plus Army
psy ops officers on board in the CNN newsroom since July 2000..

-------------------------------------------------------------
War of the Worlds, Orson Welles,
And The Invasion from Mars

http://www.transparencynow.com/welles.htm

The ability to confuse audiences en masse may have first become
obvious as a result of one of the most infamous mistakes in history.
It happened the day before Halloween, on Oct. 30, 1938, when millions
of Americans tuned in to a popular radio program that featured plays
directed by, and often starring, Orson Welles. The performance that
evening was an adaptation of the science fiction novel The War of the
Worlds, about a Martian invasion of the earth. But in adapting the
book for a radio play, Welles made an important change: under his
direction the play was written and performed so it would sound like a
news broadcast about an invasion from Mars, a technique that,
presumably, was intended to heighten the dramatic effect.

As the play unfolded, dance music was interrupted a number of times by
fake news bulletins reporting that a "huge flaming object" had dropped
on a farm near Grovers Mill, New Jersey. As members of the audience
sat on the edge of their collective seat, actors playing news
announcers, officials and other roles one would expect to hear in a
news report, described the landing of an invasion force from Mars and
the destruction of the United States. The broadcast also contained a
number of explanations that it was all a radio play, but if members of
the audience missed a brief explanation at the beginning, the next one
didn't arrive until 40 minutes into the program.

At one point in the broadcast, an actor in a studio, playing a
newscaster in the field, described the emergence of one of the aliens
from its spacecraft. "Good heavens, something's wriggling out of the
shadow like a gray snake," he said, in an appropriately dramatic tone
of voice. "Now it's another one, and another. They look like tentacles
to me. There, I can see the thing's body. It's large as a bear and it
glistens like wet leather. But that face. It...it's indescribable. I
can hardly force myself to keep looking at it. The eyes are black and
gleam like a serpent. The mouth is V-shaped with saliva dripping from
its rimless lips that seem to quiver and pulsate....The thing is
raising up. The crowd falls back. They've seen enough. This is the
most extraordinary experience. I can't find words. I'm pulling this
microphone with me as I talk. I'll have to stop the description until
I've taken a new position. Hold on, will you please, I'll be back in a
minute."

As it listened to this simulation of a news broadcast, created with
voice acting and sound effects, a portion of the audience concluded
that it was hearing an actual news account of an invasion from Mars.
People packed the roads, hid in cellars, loaded guns, even wrapped
their heads in wet towels as protection from Martian poison gas, in an
attempt to defend themselves against aliens, oblivious to the fact
that they were acting out the role of the panic-stricken public that
actually belonged in a radio play. Not unlike Stanislaw Lem's deluded
populace, people were stuck in a kind of virtual world in which
fiction was confused for fact.
News of the panic (which was conveyed via genuine news reports)
quickly generated a national scandal. There were calls, which never
went anywhere, for government regulations of broadcasting to ensure
that a similar incident wouldn't happen again. The victims were also
subjected to ridicule, a reaction that can commonly be found, today,
when people are taken in by simulations. A cartoon in the New York
World-Telegram, for example, portrayed a character who confuses the
simulations of the entertainment industry with reality. In one box,
the character is shown trying to stick his hand into the radio to
shake hands with Amos n' Andy. In another, he reports to a police
officer that there is "Black magic!!! There's a little wooden man --
Charlie McCarthy -- and he's actually talking!"

In a prescient column, in the New York Tribune, Dorothy Thompson
foresaw that the broadcast revealed the way politicians could use the
power of mass communications to create theatrical illusions, to
manipulate the public.
"All unwittingly, Mr. Orson Welles and the Mercury Theater of the Air
have made one of the most fascinating and important demonstrations of
all time," she wrote. "They have proved that a few effective voices,
accompanied by sound effects, can convince masses of people of a
totally unreasonable, completely fantastic proposition as to create a
nation-wide panic.
"They have demonstrated more potently than any argument, demonstrated
beyond a question of a doubt, the appalling dangers and enormous
effectiveness of popular and theatrical demagoguery....
"Hitler managed to scare all of Europe to its knees a month ago, but
he at least had an army and an air force to back up his shrieking
words.
"But Mr. Welles scared thousands into demoralization with nothing at
all."
In the 1950s, America had another taste of the power that simulations
have, to draw people into a world of delusional fantasy, when paired
with mass communications. This time it was revealed that a number of
television game shows were simulations, in which contestants who knew
the answers ahead of time were pretending to guess at their responses.
But unlike the invasion from Mars, here the fakery was unambiguously
intentional; it was the work of producers who had concluded they could
create fictional game shows that would be more exciting than the real
thing.
Once again, there was a shocked reaction from the public. Once again,
those involved became objects of public anger. And, as happened with
the Orson Welles broadcast, an effort was made to ensure that such
manipulations wouldn't recur.
But in 1990, it happened again. Audiences around the world discovered
that they were taken in by the ultimate Hollywood illusion in which
two performers faked their own talent, lip-syncing, to create the
impression they were singing. What millions of fans had believed were
two talented singers was actually a composite, another seamless
interweaving of sensory simulations in which two people provided the
visuals, while vocalists provided the audio.

As in the previous two instances, there was a stunned response. But
unlike the experience of 1938 or even the 1950s, the social context
was different because simulations had become commonplace, and attempts
to use them to trick the public were the rule rather than the
exception. Also by this time, a global culture had developed, which
meant that tens of millions of people around the world were drawn into
the same illusion.

One might say that War of the Worlds and the game show scandal
foreshadowed the age of simulation that was still to come. Allowing
for a little poetic overstatement, the Milli Vanilli scandal served as
a rite of passage or symbolic marker, making clear that we now live in
an age of simulation confusion in which our tendency to mistake fakes
for what they imitate has become one of the characteristic problems of
the age.

More to the point, we live in a time in which the ability to create
deceptive simulations, especially for television, has become essential
to the exercise of power. And the inability to see through these
deceptions has become a form of powerlessness. Those who let
themselves be taken in by the multiple deceptions of politics, news,
advertising and public relations, are doomed, like the more gullible
members of the radio audience in 1938, to play a role in other
people's dramas, while mistakenly believing that they are reacting to
something genuine. http://www.transparencynow.com/welles.htm
-----------------------------------------------------------------------------------------------------------------------------------------------

The flurry of activity at Logan, the deliberate distractions, the
deliberate leaving of crumbtrails that "confirm" the existance of
planes--planes that in reality that don't seem to go anywhere, or
they are "recorded" going everywhere....everywhere BUT ON RADAR.NEAR
THE TOWERS!!!! (Woolsworth?)





Have we been "Orson Wellesed"? Instead of looking at Northwoods,
should we have been looking at this?

-------------------------
What can be accomplished in one minute...........
----------------------------


Script segment of second "attack" on the wtc....This tiny, yet key
part of the deception happens in less than a minute
"Oh my goodness--that is huge--ladies and gentlemen we just had
another huge explosion.".....
[next, introduction of the idea of a "plane"--and within seconds the
introduction of the concept of two planes with the phrase "another
plane"

"we just had a man say he saw a plane hit the bldg." {shot of rear of
impact--no plane visible]
[announcer slides right into next phase, incorporating a plane into
the scenario, despite none being visible on camera]
"Ladies and Gentlemen, we just had ANOTHER PLANE hit the World Trade
Center"

[BUT THE VIEWERS HAVE NOT SEEN ANY PLANES AT ALL AT THIS TIME IN THE
SCRIPT!! It went from "explosion" to "plane" to "another plane" in
less than a minute.] and the illusion was accomplished without any
plane at all.

This deceptive assumption is repeated endlessly without qualification
over next several hours, with a delayed debut of the first sucky
video, that doesn't get aired again--maybe they also felt it was too
sucky.

The reason the Air Traffic Controllers were silenced was to conceal
what they saw--- to conceal that they saw NOTHING approach the towers.
Is that why there was no military "response" ? BECAUSE there was
nothing to respond to?.

In the words of one 9/11 researcher, "We were attacked by "cartoons"!

-------------------------

From Scott Loughrey's site, along with Webfairy's clips at
http://www.media-criticism.com/911_Society_Spectacle_02_2005.html

"On September 11, 2001, millions of people around the US, hearing that
a pilot had crashed his plane into the World Trade Center, turned on
their TVs and saw black smoke leaving a gaping hole in the North
Tower. As the cameras lingered over the scene many people wondered
"where is the plane?" Seventeen minutes later (09:03 a.m.) the
monstrous illusion of a commercial jet was shown on TV striking the
South Tower. Fifty-six minutes later (09:59 a.m.) the South Tower
suspiciously collapsed in its footprint. Twenty-nine minutes
afterwards (10:28 a.m.) the North Tower also mysteriously collapsed.

"Throughout the day of 9/11/01 the news media repeatedly showed video
clips of "Flight 175" striking the South Tower to a horrified public.
Then the video imagery disappeared from the nation's airwaves. It has
seldom been aired since.

"That's because this 911 video was fake. There were no commercial jets
which crashed into the World Trade Center. The planners who conceived
of 911 knew that jet fuel (i.e., refined kerosene) could not possibly
melt the steel towers-and certainly couldn't deform the steel to cause
it to collapse in the path of most resistance; i.e., straight down.
Yet, they also needed a large television audience to SEE these planes
striking the towers before the towers demolished. This would
indoctrinate the general public into believing that the planes caused
the destruction of the towers. Because 911 also included a fictional
attack on the Pentagon, a shoot-down of a civilian aircraft (UA 93),
phony cell phone calls from heroic passengers and another tall steel
building (WTC 7) suddenly collapsing in its footprint this was too
much information for most people to handle. Millions of people (still)
want to believe the ludicrous official story of 911 so badly that they
are willing to accept whatever scientific and logical contradictions
are necessary to do so.