Dr. James Donovan, Katherine Cintron, and an Inspiring Jennifer Simon,

This one needs a subtitle. How about Nest of Vipers in Chappaqua Exposed!

My attention had been drawn to this image from the old.911digitalarchive.org

I felt there was a certain disconnect between the parts on display here. Why, for instance, was this picture of men dressed in civilian clothes captioned in a style of the utmost dramatic union solidarity?

"The firefighters working on top of the twisted steel would yell for cutting tools, we would pass them up the same line we were taking debris down from. Watching the firefighters work without fear of injury, trying to save their fallen brothers is something that I will never forget. I could feel their desperation. Yelling hot, heavy, as we passed the debris down from the top, mangled pieces of steel, buckets of dust then we would hear a yell QUITE! No one moved, then the call, it’s a stand down, everyone off the rubble." Cite as: James Donovan, Image #1750, The September 11 Digital Archive, 12 November 2002, .

These guys are displaying too much personality in my book, and I'm not talking about the over-the-top rhetoric. I thought there were whiffs of coded reference here, with their oblivious disregard for a proper bucket-brigade meme protocol, it seemed like a counterpoise. I wondered if this wasn't a discrete formal portrait of some kind, like Michelangelo painting himself into "The Last Judgment" on the wall of the Sistine Chapel, as Saint Bartholomew holding the knife of his martyrdom, representing himself as the face on the flayed skin? Were these big guys on the down-low and did I know what I didn't know??

So I Googled the only name I had, "James Donovan" plus 9 11 +World Trade Center, and what came up was a Fall 2001 newsletter for the Chappaqua School District, where, taking over that fall, was the new Superintendent, an un-illustrated Dr. James Donovan.

Not surprisingly, the majority of the news in the quarterly was related to the 9/11 attacks. But there were some very particular tidbits, like this, for instance:

"Moved by the magnitude of the disaster, Greeley students too, pitched in to do what they could to raise funds to help victims and relatives of those who died. Inspired by Jennifer Simon, a new biology teacher at Greeley, who lost both her father and brother at the World Trade Center, Greeley students made ribbons and sold them in the cafeteria. “I want to thank everyone at Greeley for their kindness and support which is helping me get through each day,” said Simon, who has returned to work and to her students."

A stranger to the community starts working in a school district only days before she experiences a devastating double tragedy on September 11th, but then she is back in the classroom in time for the Fall 2001 News & Views report? Hmmm.

But it gets even stranger:

"On Nov. 5, the school held a special assembly where students handed over the check to Katherine Cintron, director of philanthropy for the American Red Cross in Westchester County who thanked the students. “You students are terrific,” said Cintron. “Do you know what you have done?”

No. I mean, really. What are the chances that Katherine Cintron would turn out to be related to Edna---her mother perhaps? Somebody call Rosalee Grable!

A brief piece from the Westchester County Business Journal, dated March 21, 2005, provides an updated CV:

"Katherine Cintron of Danbury, Conn., was appointed executive director at Westchester County Chapter of the Juvenile Diabetes Research Foundation, White Plains. Since 2001, Cintron was director of philanthropy at the American Red Cross in Westchester County, White Plains. Prior to that, Cintron was director of development at Search for Change, White Plains. Prior to that, she was an account executive for 13 years at GFI, Manhattan. Cintron holds an associate's degree in marketing from Westchester Community College and an associate's degree in fashion merchandising and marketing from Tobe Coburn. E Photo Monday"

Search For Change. Girls With Wings. Stories That Matter. More hmmm.

Katherine's Google is highly suspect, with only a handful of references establishing her in her recent career in not-for-profit development in Westchester County. Her 2001 career change represents a significant elevation I should think. The fact that she, James Donovan and Jennifer Simon were all recently placed in brand new jobs in the fall of 2001, is highly significant.

I can find no mention of a connection between Katherine and Edna Cintron, but that doesn't mean that one wasn't the intent in creating a "Cintron" persona.

I find the Westchester County area to be an extremely spooky place for these sorts of things, with lots of working-class retirees north of there, like police, and fire-department members, ready, willing and able to do the bidding of an elite ruling over-class. This would stand as their last bastion if push ever came to shove in the religious and economic "culture wars." The education and charitable networks at play here also provide the infrastructure that can easily move chess pieces around on a board, let alone indoctrinate.

There was a chilling passage in the school newsletter

"At Greeley High School, a school-wide Forum discussion was held on Oct. 25th to help students learn more about the history and politics of Afghanistan and the region where our new war is taking place. Principal Kathy Mason said she was pleased with how interested the students are in learning more about what led to the terrorist attacks. At the Forum, the entire school population of 1,100 students assembled in the gym to hear a panel discussion led by four of Greeley’s social studies teachers: Steven Houser spoke on the history of terrorism; Mark Jagels, on Islam; Mary Devane talked about Kashmir (disputed region between India and Pakistan) and Stephen Walker discussed the present challenges facing our country since Sept. 11th.

"After the teachers spoke, students broke into smaller discussion groups led by student Forum leaders who raised questions that explored how our country can keep its freedoms in a society threaten by terrorism. “How long should we be able to detain suspects we think may have terrorist ties, but who have yet to commit a crime?” “Many students are waking up and appreciating our freedoms,” said junior Forum Leader Matt Goldshore. “Students want to learn as much as they can about America’s new war in Afghanistan,” said Greeley history teacher Stephen Walker, a former U.S. diplomat who uses what is going on in today’s headlines to teach students in his American History class and foreign policy elective classes.

“History is more relevant to them than ever before.”

They were already articulating the concept of preventative detention in the days and weeks after 9/11. And I thought it had started with Jane Harman. This is, to me, just more evidence of foreknowledge.

I will do further searches on James Donovan and Jennifer Simon, but frankly, I think this piece already stands on its own. The scales have fallen from our eyes, and we can see the full panorama before us. Amongst us are culprits, about which, the good must soon take action.

And let us duly note, that nowhere else in the news of the Chappaqua School District, beyond Jennifer Simon, are any victims of 9/11 mentioned. Affluent networks of families with school-aged children are the most likely locus to feel the tragedy acutely, and are likely to extend throughout Westchester County, but here, only one person is doing double duty.

Oh, by the way, Michelangelo's "The Last Judgment" also contains a little known depiction called the "punishment of sodomy." It's so little known, that only a black and white drawing of it can be found online:
But that speaks volumes, on so many levels---about Catholics and control, and pleasure and pain, and about the conflicts at stake, and our hopes for the future. So you see, it's not just about the Jews.

Organizing the Work Product on 14th Street: Mourn-sims or Grief-sims?

My God. Not only did they invent the victims, they invented the mourners too! Can we as the ultimate observers be real then?

The following three images are said to be of victim memorials, assembled with missing persons posters, at different locations on 14th Street in New York City, following the attacks of September 11th 2001. They are attributed to three different photographers: B G Karney [on 14th Street], James Sullivan [on 14th Street and Avenue C], and Olga Maryschuk [at SW corner of 14th St. and Avenue A] and are all found online in the 911digitalarchive.org galleries.

For quite a while now, I've taken Mr. James Sullivan at his word when he says he photographed the mural "on Avenue C and 14th Street." Since the two other images are very similar, but in some respects, are mutually exclusive, I arrived at the erroneous conclusion they all represented internal fabrications, where the various image elements were being manipulated using computer morphing technology. Such a default analysis is all the rage in certain nihilistic, 9/11 research circles.

For instance, in one image, the peaked gold roof of a skyscraper sits before the two trade center towers, but in another image, the same gold-roofed building sits beside only one trade tower, with the other details obscured or shaded out. This putative scene is next to a doorway on the right, rather than a further mural scene as the alternate image has it, which makes the semi-permanent street architecture they share inexplicably at odds.

In another point of comparison, a red heart with white lettering is seen painted high up in two of the images---but in one, it's to the right of a doorway; in the other, it's located to the right of a black-painted air ventilator. Such irreconcilability was like a bottomless pit of trickery, to the point, I even began to imagine girls dressed in Catholic-school uniforms were standing in ways impossible for mammalians, given the field of depth.

My conclusion was these various digital elements contained visual vocabulary pieces that were being morphed in an illusory ruse. The only counterargument I had---perhaps---was whoever had created the depicted work, might have made also made a copy, using similar iconographic elements of gold-roofed towers and red hearts, but assembled it in different ways, in at least two locations along 14th Street---but then that begged the next question, why?

"Memorial on 14th street in Lower Manhattan. This memorial was in honor of family and friends lost in the attacks on 9/11." Cite as: B G Karney, Image #2047, The September 11 Digital Archive, 9 August 2003, above.

"I took this picture on 9/18 after having revisited Ground Zero. It is a mural on Avenue C and 14th Street in Manhattan. I was particularly struck by the eerie irony of the traffic sign." Cite as: James Sullivan, Image #214, The September 11 Digital Archive, 12 April 2002, above.

"Sept. 17, 2001. Schoolgirls on the SW corner of 14th St. and Avenue A, NYC.
"Did you know anyone there?" "No, but my mom knew a lady cop." Cite as: Olga Maryschuk, Image #199, The September 11 Digital Archive, 3 April 2002, above.

Finally, however, I spotted a telling detail in one image, which reorganized my awareness and put to rest this line of questioning. First, Mr. James Sullivan has made a simple mistake in saying he took the image at a location on Avenue C. Whether he deliberately was mistaken, in order to confuse questioners like myself, only leads to the dangerous shoals of an irrational debate. Mr. Sullivan will be unable to mislead me again.

Given the paranoia that new technologies are engendering as they are misused to affect our perception functions, I got caught up in this new game of guessing real motives and tactics, while living in a world made up of fakery elements. I understand how high the stakes are, when one side is continually operating in what amount to the "crime of the millennium," which isn't an exaggeration to say, given September 11th, and the illegal and immoral wars which stem from it.

My insights into the image record only came about after I'd searched and found some higher resolution versions of the images to work with. We 9/11 truth and justice questlings are all accustomed to the substandard fare fed us, the attributes which we accept without fear. But don't forget to ask for better service and we just might get it. I remain humbled and dependent on the source who can provide me with more of such high-resolution goodies. I definitely know it is a power greater than myself at work!

Click on the Karney image above---you should be able to see, as I did, in the oblique view of the red heart, the clear white lettering, which spells out the inverted words "Crying Hearts." For a bonus point, note the inverted numbers on the edge of the adjacent window awning, which are "0905." This is not the phone numbers for the dry cleaning business there. But rather, they are the last four digits of the phone number for the pizza joint that neighbors the mural site on the other side. This means the Sullivan image is just a flipped, mirror image of the other two scenes, with the numbers and letters reading backwards, in the style of L. DiVinci. Some plot thickening perhaps?

I found the location these images represent, over at Google Maps. The address is 224 Avenue A, and both the businesses to either side of the one-story brick structure are the same in Google Maps, as they were when the photographs were taken in 2001.

A scholarly article written by Barbara Kirshenblatt- Gimblett, Kodak Moments, Flashbulb Memories: Reflections on 9/11, gives us specific information about how this mural site came about.

"Memorial wall by graffiti artist Chico, on Avenue A at 14th Street, lower Manhattan. Chico, a celebrated graffiti artist who lives on the Lower East Side, immediately painted this memorial wall to honor the victims of the attack. Neighbors spontaneously brought candles, flowers, pictures, toys, and religious icons to the wall and gathered there to pay their respects to the dead."

Looking at the Google Map street view, I see only a tiny bit of the mural is surviving. That is Chico's signature tag up in the top corner, apparently too high up at the roof line to destroy properly.

I found Kirshenblatt- Gimblett's analysis of the mural's genesis stilted and odd. I no longer believe, as she does, that these sorts of displays, which followed in the aftermath of 9/11, are the result of some "spontaneous memorialization," which is what we are told. By definition, this means they weren't planned by a committee, or orchestrated by anyone, or commissioned by any government force.

But I think the evidence points to the exact opposite as being the truth. Rather than the dissimilar organic acts of unorganized individuals, the missing persons narrative follows a senseless script, where the so-called family members are really only actors playing the roles of distraught survivors for the required public relations benefit. In this analysis, anybody who figures in the narrative at all, is really a partner to the crime.

Getting back to the question of authenticity, I recall, that years ago, a street art memorial like this one, would cost somewhere between five and ten thousand dollars to commission. Why should a successful artist voluntarily go to such trouble for the sake of sentimentality? We don't expect tax attorneys to volunteer their professional services to the public as a way to assuage their grief, why would a talented "ethnic" artist act any differently? Did he have a demonstrable stake in the events of 9/11, that nobody mentioned, or was his "family and friends," gesture, just a generic artistic license?

If Chico did volunteer his "celebrated" services, would it then have been kosher to have other people---non-artists, by the way---overwrite his work by posting fliers, poems, and other assorted ephemera and detritus onto his freshly painted mural surface---treating it as an equivalent to the blank walls and fences, which elsewhere became memorials? That attitude appears on display, where the fruit of someone's talent and generosity was viewed as merely the jumping-off place for more of the same sub-standard craft project applications, which were incorporated in memorials all over the city. Meant as a humanizing element, I think it actually is evidence of the poor judgment, and lack of talent, which underlies the entire government-orchestrated 9/11 narrative.

I recall these Puerto-Rican cultural artifacts from my old neighborhood---the graffiti-wall memorials, with their bodega candles burning mystically before them, which sprang up after the tragic, or premature death of someone seen as deserving memorialization. They were beautiful and moving sights, stylistically complete in their own rights---with the representational art holding iconographic significance for the departed. They also tended to remain basically unmarred for a long time afterwords---evidence of the respect, which was the intent of such memorializing.

Certainly, no one would think to disfigure such a shrine by adding on their own tacky five-and-dime crafting projects, of the sort we saw at every pop-up venue around town. To a degree in New York, but more painfully so in Arlington and Shanksville, these banal memorizations were empty examples of maudlin sensibilities. Seen in the second-hand images that record them, they are always in the poorest of taste, without any genuine sentiment. It's hard to fake a monument---you only have to look at the Pentagon memorial in Arlington to see the unavoidable result of falsity.

So, to me, it doesn't appear like any real Puerto Ricans were art directing this "offering," which has the distinction of looking both too expensive, and too cheap, at the same time.



Moreover, I find lots of internal evidence that points to some real funny business underway here, but not until I saw the rare image below, which was the first to provide a legitimate overview and context to understand the specifics of the site. This view is probably what was originally conceived by the artist "Chico."

That the art work began by being segmented into two unequal halves, which never were complimentary to each other, was a bad choice to start, and there must be some screwy covert rational behind it. A desire seems apparent to give the illusion this low structure consists of more than just one single separately owned and maintained property.

However, if you move around the corner onto 14th Street, (via Google Maps street view,) you see that the building occupied by Dion French Cleaners & Tailors is an exceedingly narrow one. Since a sign up front says, "all work is done on the premises," any legitimately run business would need to occupy the whole building---all the way back to the pizzeria---back where we find the standard large ventilation fan that these sorts of establishments require.

I have no doubt that this "concept" carries meaning, the particulars of which can safely escape me for now. This is even more clear after seeing how the building has been updated, and the mural destroyed (via Google street views.) The primary part of the mural was covered over by an advertising billboard surface, which is commercially rentable. The mural probably exists in good condition under this covering, since Chico's name, and some of his mural colors, can still be seen peeking out from above the addition.
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So why was the rest of the building treated so differently? This is the section which Chico had painted with memorial signage, in the style of a good James Rosenquist. Like the dominant heading---a large God Bless America, which hinted at the potential for a church within, along with the Crying Hearts below it, this half has been inexplicably destroyed with an application of crude white-wash, over which, the area was then allowed to attract the attention of some real graffiti artists, but ones able to limit their tagging to marking just this one section.

There is an exterior door to this section. Although it is equipped with a modern security gate, matching the ones on the building's front windows, this is observed in only one image out of the series. The rest of the time we see a busted up folding gate substituting for the secure one, in what would appear to be aiming for a deliberately substandardized ghetto look.

But an amazing visual aspect is now presenting itself. Found in the recently surfaced image of a wide-angle street view of the entire mural site, it was hitherto a completely unknown element in the original mural decor. It consists of three absolutely massive painterly numerals, of the now-common identifier, 911. But for some unknown reason, perhaps as a perverse act of artistic pentimento, the numbers were deliberately obscured from public view. The 911, done in a flat white paint and oriented on a bias, occupies what is otherwise an unadorned corner of the work. But in what can only be viewed as a deliberate and hostile act of covering up, various fliers and sundry materials have been carefully applied to hide any indication that a numerological component was ever here.

This stunning, over-scale graphic wasn't apparent to my eye in any of the images before, until I deliberately went looking for it and spotted its vestigial remains above. You can see the strong diagonal of the middle digit one, underlying the image. Why such an effort was made to obscure any notice of this date number is very curious indeed. So successfully has it been covered up under a mish-mash collection of missing person's fliers and other assorted jibbies that the very fact of its faux pas existence could once be denied

Left unexplained in all of this is the question of what prompted this kind of behavior.

In the sudden absence of this 911 component number, what exists on the mural as marking the date is a puny dangling, Sept. 11, 2001, which seems cast in a ridiculously under-scaled font, the faint voice like a verbal stepchild within the memorial message. How else do you pay honor to the memory of family and friends whose lives were supposedly savagely ended in an evil tragedy, if you shortchange the historic acknowledgment of the date they departed on?

I can see this was by some design intent, but I can't fathom a motive for why yet. Were the numerals proposed to be spoken in code: Nine, One, One---instead of the Rudi-licious lingual Nine-Eleven? But such a strange behavior as this only adds to my underwhelming sensation that all of the efforts made on behalf of the supposedly missing and the dead, are just faked props, inescapably fraudulent exercises in the absurd.

That an existing form of expressing urban grief could be so mocked and sullied by an overarching program of lesser value, is proof that committees, and not individuals, were at work here.

Rudulph Giuliani & Bernard Kerik

What could be said about these two that hasn't already been said before?

Well, there is this odd mention in Kerik's weekly report to the mayor from September 27, 2001, about the "partial collapse" of the 64-story office building at # 1 Liberty Plaza, a day after three towers were destroyed on 9/11

"Because of known suspected or potential structural damage to other buildings, most mass transit service was suspended south of 14th Street at 9:03 a.m. on September 11. This precaution proved prudent when on Tuesday, September 12, 1 Liberty Plaza experienced a partial collapse In addition to the total destruction of 1 and 2 World Trade Center, and the partial collapse'of [sic] 1 Liberty Plaza, buildings 3, 5 and 7 World Trade Center were also destroyed."

The official sounding prose is from a document I found posted at www.scribd.com called, The Police Commissioner of Mew York [sic] September 27, 2001 Memorandum to: From: Subject: Mayor Rudolph W. Giuliani Police Commissioner Bernard B. Kerik WEEKLY REPORT and it makes for gripping reading. A link there, NY B33 NYPD Weekly Reports to Giuliani Fdr- 9-27-01 Report, doesn't seem to be working at the moment, but the
Cached version does, and I've also backed up the piece here.

For anyone who has studied the record of the September 11th attacks, this reference to an otherwise unknown partial collapse of a 64-story high steel frame structure is exceeding strange, especially coming from such a high-level official.

Earlier in the document, Kerik had given details for the three unprecedented and historic building collapses from September 11th, giving both the structure's height, in stories, and the time of the building failures,

"Structural damage from the initial plane strikes, coupled with subsequent fires fed by jet fuel from the ruptured fuel tanks, resulted in the complete structural failure of both 110-story, 1,350 foot high buildings. The South Tower, 2 World.Trade Center, collapsed without warning at approximately 10:00 a.m., while the North Tower, 1 World Trade Center, collapsed at 10:28 a.m."[...]With, its support weakened by the blast and flying debris, 7 World Trade Center collapsed at approximately 5:20 p.m."

so his absence in providing the standard information concerning a fourth building failure within two days can be seen as his attempt to minimize the event's significance.

But this report isn't coming to light in a vacuum. I recently became aware of different mention of a contradictory second-day collapse event found in the official record, located in a pdf document maintained at the "old" 911digitalarchive.org site,

Here the collapse is described as being of "another building within the World Trade Center Complex," which can only mean to reference one of the buildings, numbered WTC 1 through WTC 7, which were all destroyed on 9/11. The 1 Liberty Plaza address is distinct from the WTC "complex" address---with "plaza" being the exclusive denotation. So for factual telling rendered in highly bureaucratic legalese, this doesn't seem to be within a margin of error.

The document is titled "Office of Emergency Preparedness, Situation Report #7," dated "September 15, 2001 1200 Eastern," and it also makes for gripping narrative reading

"Shortly after 1000 hours the south tower of the World Center collapsed. Within the next half-hour, the northern tower of the World Trade Center also collapsed.

"At approximately 1730 hours a third tower in the World Trade Center complex, Building #7, also collapsed.

"Wednesday evening, September 12, another building within the World Trade Center Complex collapsed. No additional casualties are expected due to this. However, it may make recovery more difficult."

Here the collapse is more specifically defined as having occurred on Wednesday evening---but in a context where even the broad act of shutting down mass transit below 14th Street is specified to the very minute---9:03 a.m. on the eleventh---it is strange to find a euphemism employed to describe such a traumatic event. Even if only "partial," a collapse of any part of a 64-story steel-frame building would have been unprecedented in the annuals of building safety only 36 hours earlier.

Also note Kerik's differentiation between the "total destruction" of the two tallest towers, and the rest of the complex

"In addition to the total destruction of 1 and 2 World Trade Center...buildings 3, 5 and 7 World Trade Center were also destroyed."

If I were to make any distinction here, I would have lumped Buildings 1, 2, 3 and 7 together, as they were all reduced to piles of rubble, while buildings 4, 5 and 6 remained recognizable standing in situ.

But there is a fuller context here, which must be addressed.

In December of 2008, Peter Duveen posted online, the hard copies of several newspaper articles published in the immediate aftermath of the attacks, which were completely unknown by either reference or citation in the ancillary record of the attacks---the burgeoning industry that grew up to explain holes in the narrative, what is known collectively as "the 9/11 truth movement."

Several of the articles disclose information impossible to reconcile with details of the official narrative. It is my belief that an organized and long-established system of suppressing such inconvenient facts, which find their way into mainstream media outlets, was employed by governmental powers-that-be assisted by willing helpers, to prevent the maintenance, transfer and recovery of such information for review.

Foremost amongst these, is an article by Jennifer Steinhauer published in the New York Times on September 13, 2001, As Remnants Collapse, Workers Run For Cover, which describes "the steel and concrete wreckage of the south tower" as falling about 5 p.m. on Wednesday the 12th. This caused a "rolling pillar of smoke," similar I would imagine, to the traumatic scenes of pyroclastic dust clouds we recollect from September 11th.

Making Kerik's assertion manifestly bizarre is the fact that Steinhauer specifically addresses concerns about the safety of 1 Liberty Plaza in her article

"Fire Commissioner Thomas Von Essen said last night at a news conference that engineers were busy inspecting neighboring buildings in response to reports of a crack in 1 Liberty Plaza, the 64-story high rise. That plaza has sustained structural damage, but officials said last night that although they had not determined the extent of the damage to that building or others on Liberty Street, they did not believe that it was in imminent danger of collapse."

Whatever happened downtown around five o'clock on Wednesday afternoon should have been clarified over two weeks later when Kerik was writing up his report. This mixing up of the rumored, the feared, and the suspected with news reports of actual events is a classic dis-information technique to muddy the waters.

Other anecdotal evidence exists, especially in the fire department oral histories, which supports the factual legitimacy of this second-day collapse event at the South Tower, as reported in the New York Times, and I go into that in a blog elsewhere. But at heart, is the added power and weight given the information found in the Steinhauer article through its having lain fallow for over seven years, as an alternative narrative developed. We can judge the sudden reappearance of these facts as having a revelatory impact.

The Department of Health and Human Services, U.S. Public Health Service Office of Emergency Preparedness, Emergency Operations Center, Rockville, Maryland, Terrorist Attacks: New York City, NY: World Trade Center Towers; Washington D.C.: The Pentagon: U.S. Department of Defense; Summerset County, PA: Air Plane Crash, Situational Report # 7, was an anonymously drafted, in-house agency document, which was never meant to see the light of public day. If it turns out to be not fraudulent---and we must always leave open that possibility---then the information in it can be judged as likely free from a taint by political or conspiratorial agendas. To me it reads like the technical rendering of some basic facts put out by a narrow segment of federal agency responding to an anticipated terrorist-attack scenario.

Other facts in the document appear notable too. Concerning the recovery of the physical remains of passengers at the Flight 93 crash site in Pennsylvania, the OEP says

"This is the first time that a DMORT [Defense Department Mortuary Affairs Team] will be assisting in this capacity with an FBI investigation."

Why was not the broadest federal agency response undertaken in this case? President Clinton had signed a law into effect in 1995 making the FBI not just the lead, but the "sole," agency to investigate acts of domestic "terrorism." That didn't change the law mandating a county medical examiner to maintain the records and a chain of custody for the corpses of victims however.

The same scenario played out at the Pentagon too, giving custody and control for both the military and Flight 77 passenger victims to the Defense Department, with the Arlington County medical examiner going on record stating that she was ready, willing and able to provide her lawful services---thereby implying something was irregular in the action. Commonsense tells me that by narrowing down the cast of participants in any situation, the chance for collusion and corruption grows.

Even within established protocols, such as those supposedly followed by the New York City medical examiner's office responding to victims in lower Manhattan, room can exist for a fundamental flouting of the rules. The recovery of the bodies of high-ranking officials such as Chief Ganci and Commissioner Feehan are shrouded in secrecy, with anomalous and irreconcilable details in the record. Both bodies were said to have been recovered late in the day on the 11th, and were transported together in the same fire department ambulance to their homes out on Long Island. Neither of the men had an open casket funeral, but this is a story for a future blog.

Also saved for the future, is a discussion of what this all implies. We have extensive photographic and video evidence from the 11th and 12th, for instance, that clearly shows no such building remains for tower 2.

Photographer Jim MacMillan, Philadelphia Daily News

Before the sun came up on Sept. 12, 2001, MacMillan climbed to the second floor of Two World Financial Center to take a picture of what remained of the World Trade Center. The moving sunrise photograph, now extolled as a testament to the devastation of 9/11, has found a place in the permanent collection of the Norton Museum of Art. [See article, First Light]
This award-winning photograph is one of 700 photos MacMillan is said to have shot that day, (many of which now comprise a series called "Attack on New York," although this image is the only one from 9/11 I found online,) ran on Sept. 13, on the front and back covers of the Daily News, and was also picked up by newspapers nationwide, including The Houston Chronicle and The Fort Worth Star-Telegram.

Peter Turnley was just opposite of here, secreted away in a second-floor storeroom above Brooks Brothers at One Liberty Plaza, waiting for just these same light conditions. I've never seen his result on Google.

But there is one problem with both the Turnley and MacMullin images. Directly in the center of this shot should be standing the 30-story remains of the South Tower, which didn't collapse until 5pm on September 12th. For seven years, the single source reference in the record attesting to this fact---an article by Jennifer Steinhauer published in the New York Times on September 13, 2001, As Remnants Collapse, Workers Run For Cover---was effectively supressed. It resurfaced in December 2008, along with an important column by Robert Novack published on September 13, 2001, which also hadn't seen the light of day for seven years afterward.

Recently, I found the first official mention of this second-day collapse event in a governmental record: from the Office of Emergency Preparedness, Situation Report #7, dated September 15, 2001 1200 Eastern, maintained in a pdf I found in the "old" 911digitalarchive.org site

"Shortly after 1000 hours the south tower of the World Center collapsed. Within the next half-hour, the northern tower of the World Trade Center also collapsed.

"At approximately 1730 hours a third tower in the World Trade Center complex, Building #7, also collapsed.

"Wednesday evening, September 12, another building within the World Trade Center Complex collapsed. No additional casualties are expected due to this. However, it may make recovery more difficult."

This building remnant probably sat directly in front of the source of morning sunlight illuminating MacMullin's photo. His shot is impossible to reconcile with recovered truth and it represents a grave professional dereliction, damning MacMullan as fully implicated in the conspiracy of 9/11---but that did lead him to take some very good images of the Iraq war. I hope he's happy.

John Perrugia, the Chief of Planning for the Fire Department,

Apparently, within the New York City fire department, a professional opinion isn't worth the paper it's reported on.

How else to reconcile an important narrative element from September 11th, 2001, in which high-ranking officials hold diametrically opposite views about a matter of critical importance---whether the collapses of the World Trade Center towers were unanticipated, or a foregone conclusion given sober consideration.

The dominant meme disseminated in the mainstream media has it that structural engineers and firematics experts rightly predicted the collapses---just not in enough time to save the hundreds of first-responders who climbed the towers and were crushed when they fell.

That point of view---of a gut knowing of imminent collapse---is nicely summed up in the oral history of Division 1, Chief Peter Hayden, who played a central and early role in the lobby of the north tower. He said

"Shortly thereafter a number of the uniformed and civilian staff of the department arrived in the lobby, Commissioner Von Essen, Commissioner Fitzpatrick, Commissioner Feehan. The tour commander, who was Joseph Callan arrived on the scene."

"He [Callan] asked me at some point in time if we were thinking of collapse. I said yeah, we have to, a plane just struck the building...So the potential and reality of -- or possibility of a collapse was discussed early on."

"There were numerous discussions in the lobby. The chief of safety came in. He discussed his concern about the collapse. His advice to us was to let the building just burn, you know, get the people down and get out. We said that's exactly what we're planning to do."

But that judgment is completely contradicted in an oral history of a high-level officer, John Perrugia, who was headquarters chief, or an EMS Division Chief, in charge of planning for the Chief of Department's office. (He puts it better when asked about his role:)

"My mission at that time was not that of an EMS Chief responding to the operation. My mission was, as the Chief of Planning for the Fire Department, to respond in to handle the agency liaison stuff."

Perrugia was the liaison with the city's Office of Emergency Management, which positioned him in the vicinity of Building 7 for much of the morning. He is explicit about what he believed was the potential for the buildings to fail in the manner they did

"I was in a discussion with Mr. Rotanz and I believe it was a representative from the Department of Buildings, but I'm not sure. Some engineer type person, and several of us were huddled talking in the lobby and it was brought to my attention, it was believed that the structural damage that was suffered to the towers was quite significant and they were very confident that the building's stability was compromised and they felt that the north tower was in danger of a near imminent collapse.

"I grabbed EMT Zarrillo, I advised him of that information. I told him he was to proceed immediately to the command post where Chief Ganci was located. Told him where it was across the street from number 1 World Trade Center. I told him "You see Chief Ganci and Chief Ganci only. Provide him with the information that the building integrity is severely compromised and they believe the building is in danger of imminent collapse." So, he left off in that direction.

Q: They felt that just the one building or both of them?

A: The information we got at that time was that they felt both buildings were significantly damaged, but they felt that the north tower, which was the first one to be struck, was going to be in imminent danger of collapse. Looking up at it, you could see that, you could see through the smoke or whatever, that there was significant structural damage to the exterior of the building. Very noticeable. Now you know, again, this is not a scene where the thought of both buildings collapsing ever entered into my mind.

"I was there in 1993, 14 minutes after the bomb went off. I operated some 16 hours at the building and with all the post-incident critiques and debriefings with various agencies. We were always told by everyone, the experts, that these buildings could withstand direct hits from airplanes. That's the way they were designed. They went through all of this architectural stuff, way beyond the scope of my knowledge.

"It was hit by an airplane. That's okay. It's made to be hit by an airplane. I mean I think everyone may have believed that. We were all told years ago it was made to be hit by an airplane."

I repeat for emphasis: "We were always told by everyone, the experts, that these buildings could withstand direct hits from airplanes. That's the way they were designed."

And: "It was hit by an airplane. That's okay. It's made to be hit by an airplane. I mean I think everyone may have believed that. We were all told years ago it was made to be hit by an airplane."

Who are we to believe? Is it possible that an honest difference of opinion could have been held that day by various senior managers? Who then is to blame for the excessive loss of life that befell the fire department? Why does Pete Hayden's opinion sound so off-the-cuff, like a vernacular shrug of the shoulders,

He asked me at some point in time if we were "thinking" of collapse.[...]The chief of safety came in. He discussed his concern about "the collapse."

while Perrugia's forceful, unambiguous view is clearly based in extensive prior experience---even in the face of a contrary opinion (and is he shielding the name of "some engineer type person" from the public record?) Could that opinion be commonly held by others in the department, members who are forced somehow to keep it a secret? As the conspiracy unravels, will they be able to come forward?

In the meantime, my hat's off to John Perrugia, and others like him---men and women who were able to place their honest analysis and truthful reporting into the permanent record, with their oral histories.

Really Tapped In

2001-09-11 08:58:33 Skytel [002399634] A ALPHA
Initial reports indictate that AAL11, B767, after initial hijacking on flight from BOS-LAX, has crashed into the side of the World Trade Center in NY. ATCSCC/bl

2001.09.11 08.55 to 2001.09.11 08.59 (text)

Peter Turnley and David Turnley: Photographer Twins at Ground Zero

It is becoming more evident that all the photographers who took the image record of the attacks on September 11th, 2001, in New York City and in Arlington, Virginia, were key co-conspirators to a plot---an inside job undertaken and covered up by secretive members of intelligence agencies working for a worldwide elite.

Whether professional, free-lance or amateur, every image released to the public bears hallmarks of in-authenticity, which we can begin to recognize in the dawning light of reason and truth.

For instance, understanding that an approximately 200-to-300-foot-tall central section of the South Tower's core columns stood for 31 hours after the buildings disintegrated Tuesday morning, damns any image taken of the vicinity during that time frame which lacks this 15, to 20-story element. (See yesterday's blog.)

All the images were filtered through a central office for vetting. Some passed muster after errant details were obscured by photoshopping smoke effects---or fire hoses endlessly spraying WhiteOut into the Pentagon. Any authorial distinction was discouraged, or edited out, although some people were hand-picked for special fame and fortune. This obscuring of meaningful detail further homogenized the work product into a witless gruel, which didn't do its intended job of telling us a believable story---but instead, the story has became about what was not told.

It would be a startling coincidence for such a broad cross-section of news journalists to have produced an image record nearly completely lacking in personal identification, using the standard news journalism photo captions. Instead, those captions were utilized for a repetitive drumbeat about suicidal Arab hi-jackers, with their preferred method of crashing big Boeing's.

Apparently, 9/11 was viewed conceptually as so traumatic an event that editorial boards, on down to gumshoe reporters, uniformly decided to forgo this normal operating procedure as unnecessary journalisticly to sell the story.

So far I have only found two shots from the 11th and 12th, which carry any identification. Both were published in the New York Times. In one, taken in Brooklyn by Suzanne DeChillo, a distraught young woman, Sharnise Wingate, "who witnessed the second plane flying into the tower," is depicted after the first collapse. A motive here is clear, if not her sightline.

In another image, taken by Andrea Mohin, a dazed and bloody Joseph Sylvester walks homeward across the Brooklyn Bridge. This illustrates that any photograph primarily focusing on one or two such individuals should likewise have carried their identification.



Interestingly, naming names wasn't a problem in the dozens of images showing Palestinian women and children celebrating the attacks in the West Bank and Gaza by firing guns and throwing candy in the air. This story-line went circling the globe by Tuesday, September 11th, at 10:15 a.m.

The failure to gather names and report on them is especially glaring in the images of grieving family members attending memorial services. The international news photographer Peter Turnley's images are marred by this inherent disrespect---calling someone "the wife of a slain fireman" is a generality when a specific is called for---especially when she is seen delivering a solitary John-John salute to her husband that only she can spot. No, make that especially when getting an arm assist by an unseen woman handler!

In the context of the "vicsim" research currently underway at the Reality Shack forum, categorizing a cast of characters simply as "mourners," does not legitimize and authenticate the reality of an established and individuated life. Nor does using the lump category, "funeral for a fireman killed on September 11th," suffice to do honor to anyone "real"---but that may be the point.






The very successful photojournalist Peter Turnley, (his twin brother is an equally successful one,) made an interesting professional contribution during 9/11. His 9/11 story is told mainly in an article Seeing the Horror Part II, at The Digital Journalist (Part I is good too.)

In a nut shell,

"I discreetly made my way through a makeshift morgue and triage center for injured victims that was established in a Brooks Brother's store at 1 Liberty Plaza, and found a dark stairway leading upstairs. I went up and found an empty floor of racks of clothes all covered by two inches of dust, and in front of me was a wall of blown out windows, looking over the destruction of ground zero. I found a small office that seemed discreet enough that I wouldn't be in anyone's way or be found there. I sat down to spend the whole night until 7:00am, mostly by myself, looking out and photographing the incredible scene in front of me. I will always remember the unique and surreal feelings of solitude and intimacy I felt with this scene that long night. Around 3:00am, I began to feel very cold and walked into the Brooks Brothers display room and borrowed a cashmere overcoat covered with two inches of dust. I carefully put it back in the morning before leaving."

If you examine the 30 images attributed to him in Peter Turnley's Photo Gallery, only eleven were taken at Ground Zero on the first evening and the morning of the 12th. Six of those are rather obvious efforts at fire department hagiography---depicting glum firemen posed sitting around, or just standing there looking blank. But Turnley does his part in constructing this bogus emotional narrative when he captions some images, "Firemen exhausted after an all-night search for victims. September 12."

Three images appear to have been taken from his elevated hide-away in Brooks Brothers. If so, in the first image we are then looking west, with 116 Liberty Street in the upper left-hand corner. The pile from stricken Building 4 should be in the cleaned-up foreground. The following image, labeled "Ground Zero -- Night of September 11, 2001" should have the towering stalactite remains of Building Two rising up in the background, but it doesn't.
These two images are clearly of the same buff-colored building at 116 Liberty Street. Directly beside the building should be the New York fire department headquarters of Ladder 10 & Engine 10, with it's bright red equipment door. The two images would appear to me to be mutually exclusive.
Taken in the morning of September 12th, well before five p.m. that Wednesday, of what we may presume to be the South Tower remains.
Having this number of "rescue workers" clambering over "the pile" at this point in time is at odds with the narrative of having the precarious remains of the Tower Two remaining standing.

But it is in the following three images that Peter Turnley reveals himself unwittingly. They are of some of the myriad displays put up throughout New York City of "missing persons" posters seeking information about relatives lost at the Trade Center.



It was over at the Reality Shack forum recently that someone had the presence of mind to question this street-art phenomena as being an illegitimate and synthetic ploy for sympathy and validation by the plotters themselves.

If you stop to think about it, the whole idea of a spontaneous, organic missing-persons poster-posting movement arising after 9/11, and covering available city wall surfaces with photocopied pleas for help and information is absolutely absurd. I certainly bought it at the time. I was only familiar with the display put up at the Armory on Lexington Avenue and 26th Street, because I stayed in an apartment nearby. That made sense since the armory was serving as a drop-in center serving the families.

But trying to put yourself in the mindset of a distraught family member living out in Queens---if your victim worked at the Trade Center and didn't come home that evening, would you really think it logical to paper Manhattan with a poorly reproduced image and your telephone number? I could understand it as a therapy for grief perhaps.

But then, in a brilliant synergy of divine intervention, I saw an image taken by Peter's brother, David Turnley. It is of a shuttered-up restaurant somewhere in the Village entirely papered over in fliers. Can you image that each of these fliers was put up by a separate individual working over time? Of course not! This appears exactly similar to the low-brow mini-memorials stocked with cut-out angels, teddy bears, American flags, and child-scribbled messages of hope and revenge. It is entirely a made-up construct. Why would one victim's family follow other victim's families to this location? What's the value in the mass display? If this was legit, why wouldn't a poster stick to telephone kiosks?

This image pleases me immensely. To see the fabricators of a narrative element so badly overplaying their hand, provides for some confirmation that this visual manipulation was not real. It also results in what I would call near-art.

Following are some images that reveal a bit of Peter Turnley's apoplectic political and racial biases.

Hamas Militants Gaza 1993

Peter Turnley at the West Bank 1993

Jew Praying on the West Bank 1993

"The war in Iraq was conceived by 25 neoconservatives, most of them Jewish, who are pushing President Bush to change the course of history."
-Ari Shavit Ha'aretz News Service (Israel) April 5, 2003

Below is some bibliography. Most interesting, is Peter Turnley's authorship of a stunning series of photos taken of the Iraqi "Highway to Hell," or "Mile of Death," a murderous "turkey shoot" on Iraqis retreating from Kuwait on a single ribbon of road that was utterly vulnerable to American bombers and fighters in 1993. While Turnley would appear to have been a good guy for getting the images out into the public record somehow, I think his delay of over a decade marks him as an establishment insider---how else to account for his access in the first place? This would make him a peace-loving liberal poseur hiding his longtime agency death-cult connections, and that would account for his splendid career advancements. Always in the right place at the right time---right Peter?

PeterTurnley.com His professional page.

http://en.wikipedia.org/wiki/Peter_Turnley

Peter Turnley photographs the Highway to Hell

Peter Turnley - The Unseen Gulf War

Highway of Death American War Crime Gulf War
by EuroYank On Tuesday, February 24, 2009 At 1:20 AM

Photojournalism and Foreign Affairs By David D. Perlmutter January 27, 2005
Foreign Policy Research Institute

In the Perlmutter link above:

"...in My American Journey, Secretary of State Colin Powell explained his reasons for advising an end to hostilities in the 1991 Gulf War. Saddam had ordered his forces to withdraw from Kuwait, and their escape route out of Kuwait City had turned into a shooting gallery for U.S. fliers. Reporters began referring to this road as the Highway of Death. “The television coverage,” Powell wrote, “was starting to make it look as if we were engaged in slaughter for slaughter’s sake.”

Jennifer Steinhauer, Peter Duveen, Chief Tom Vallebuona & Captain Chris Boyle: Pancake Theory or Domino Effect?

Several pieces of evidence in the written record of the 9/11 attacks in New York and Arlington support a version of reality at odds with what it would appear to be in the limited and stylized photographic record of the event.

For instance, a little-known article by Jennifer Steinhauer published in the New York Times on September 13, 2001, As Remnants Collapse, Workers Run For Cover, describes "the steel and concrete wreckage of the south tower" falling about 5 p.m. on Wednesday the 12th---32 hours after the buildings were struck, This caused a "rolling pillar of smoke" similar to the three pyroclastic dust clouds on September 11th. Although Steinhauer quotes an unnamed firefighter as yelling, ''[t]hat part will go! We are waiting for it to collapse,'' only moments before it did so, she attributes the timing to "seeming aftershocks"---while limiting her description of the ruin, calling it only the "remaining floors of the south tower."

This single-source reference to a dramatic "stampede" by rescue workers "fleeing" danger 24 hours after the already delayed destruction of Building 7, was effectively unknown until December 2008, when Peter Duveen posted hard copies of five articles from the Times, and three from the New York Post into digital existence online. Since all eight contain information which calls into question details of the official narrative of the attacks, it seems plausible that an effort was made to suppress the journalism, an effort which was entirely successful for eight years.

It would not be surprising perhaps, given the tumult in the days following the attacks that even a significant occurrence could fail to be reported on. What is surprising however, is reconciling this newly perceived physical reality with seemingly deliberate lacuna in the homogenized image record---what has been perversely touted as being the most heavily photographed event in world history.

A larger implication here is the ability of thousands of responders to Ground Zero to keep this encore dust cloud a secret---although several oral histories allude to the matter.

In one of them, that of Battalion Chief Tom Vallebuona, we can also see the subsequent efforts of government operatives posing as 9/11 truth seekers who attempt to cover-up the truth with disinformation. Vallebuona is quoted in full by both Killtown and The Web Fairy,

"We thought 7 World Trade Center was going to fall and push the side of the World Trade Center that was still standing, and then it was going to go into 90 and I thought the scaffold was going to fall and cover the block and kill another 30 people." Cached

although they don't draw any significance from the statement. While a poster on an abovetopsecret thread, 186000, Swampfox46_1999, truncated the quote, and nips potential nagging doubts in the bud with a bald-faced lie.

"We thought 7 World Trade Center was going to fall and push the side of the World Trade Center that was still standing." (Before you jump on this one, this refers to the five story piece of exterior metalwork from WTC1) Cached

Quoting Battalion Chief Tom Vallebuona in a fuller context, and referencing his remarks to a site plan, makes it plain he feared Building 7 could have a domino effect on the South Tower, which could then impact 90 West Street.

"90 West St. also had next to it a scaffold covering the whole building and with everything we've been through with scaffolds, I mean that scaffold would have covered the whole block. We were very concerned about the scaffolding, so we tried to knock down the fire.
snip...
"I couldn't get rid of that feeling like everything is going to collapse. 7 World Trade Center---I couldn't even watch that. I said that's enough. I refused to watch that. I took R-and-R. I said you guys can watch that one.
snip...
"We thought 7 World Trade Center was going to fall and push the side of the World Trade Center that was still standing, and then it was going to go into 90 and I thought the scaffold was going to fall and cover the block and kill another 30 people."

The South Tower was 208-feet square in plan and it sat about 300 feet from 90 West Street. That is about the height of a thirty-story building. Another fire department oral history is explicit about the height of the South Tower remains:
Captain Chris Boyle:

"First, we went to Liberty and Church and that was the big pile from the south tower that came down. There was a pile there, had to be 15, 20 stories high with guys roaming around on the pile."

This would be a good point to remember that before Ground Zero became known in the public imagination as "the pile," it was referenced in the media as "the pit." Sending out the right signals about the amount, nature and composition of the debris is one thing. Inventing a "pancake" demolition theory that could incorporate standing sentinels of massive steel core columns is something else. Like the total absence of any images showing fire in the south face of Building 7, the motive for the cover-up is very clear.

Another reference from Perrugia, John, the EMS Division Chief in charge of planning for
the Chief of Department's office.

"I looked up and saw this big gaping hole where the south tower used to be. That's the first point that I realized that the south tower had collapsed. Maybe ten or 15 stories high left of it. Probably most of it being a pile of rubble."

A partial list of photo-journalists active in the southeast quadrant of Ground Zero on 9/11, would include Todd Maisel, Ricky Flores, Lori Grinkler, James Nachwey, Thomas E. Franklin, Glen Petit, while publisher Kevin Sutavee, was also located there late in the day with his video camera. (Here's a bunch more. I have a very special blog coming up on the Turnley twins. David Swanson Carolina Salguero, Klaus Reisinger, Rick Falco, Aristede Economopoulos, Mary Altaffer, Peter Turnley, David Turnley) None of them captured a landscape overview that included the South Tower. Most of these professionals only have only a few images in the public record each. We should ask their editors to share the full sequence of any images they took that day as a context---even if utterly banal, the public would benefit.

In his oral history, Battalion Chief Tom Vallebuona, offered up a bit of wry sarcasm, which was spared the blackout marker:

"I walked by where they had the landing gear or whatever in the street, I mean I'm looking, I'm saying what are you kidding me?

On Edit, December 13: I just found the first official mention of the event in the record. From the Office of Emergency Preparedness, Situation Report #7, dated September 15, 2001 1200 Eastern, maintained in a pdf found in the "old" 911digitalarchive.org site

"Shortly after 1000 hours the south tower of the World Center collapsed. Within the next half-hour, the northern tower of the World Trade Center also collapsed.

"At approximately 1730 hours a third tower in the World Trade Center complex, Building #7, also collapsed.

"Wednesday evening, September 12, another building within the World Trade Center Complex collapsed. No additional casualties are expected due to this. However, it may make recovery more difficult."

On Edit, Dec. 14: I just found the first mention of official disinformation concerning this subsequent collapse on September 12---in the Police Commissioner, City of New York, Bernard B. Kerik's September 27, 2001 memorandum to Mayor Rudolph W. Giuliani, titled, "Weekly Report."

NY B33 NYPD Weekly Reports to Giuliani Fdr- 9-27-01 Report

[Somebody posted the document to Scribe, but the Cached version is the only one working at the moment, it seems.]

"Because of known suspected or potential structural damage to other buildings, most mass transit service was suspended south of 14th Street at 9:03 a.m. on September 11. This precaution proved prudent when on Tuesday, September 12, 1 Liberty Plaza experienced a partial collapse In addition to the total destruction of 1 and 2 World Trade Center, and the partial collapse'of 1 Liberty Plaza, buildings 3, 5 and 7 World Trade Center were also destroyed."

This is an odd and weak attempt to disguise the truth. In her article written on September 13th, Steinhauer directly references the building at 1 Liberty Plaza as being not in danger of collapse

"Fire Commissioner Thomas Von Essen said last night at a news conference that engineers were busy inspecting neighboring buildings in response to reports of a crack in 1 Liberty Plaza, the 64-story high rise. That plaza has sustained structural damage, but officials said last night that although they had not determined the extent of the damage to that building or others on Liberty Street, they did not believe that it was in imminent danger of collapse."

Writing Five Days After the Event, Why Did the Washington Post Get Two AA Pilot's Names Wrong?

Correction to This Article
David Charlebois, an Embry-Riddle Aeronautical University graduate and American Airlines first officer who died in the American Airlines Flight 77 crash, was incorrectly identified in a Sept. 16 article.
A Sept. 16 article recounting the events of Sept. 11 incorrectly reported the first name of John Ogonowski, the pilot of the American Airlines plane that crashed into the World Trade Center.

http://www.washingtonpost.com/ac2/wp-dyn/A38407-2001Sep15

For All My Really, Really Terrific New Friends Over at Reality Shack 9/11

First is the Getty image from February 2002---and it comes fully identified (anybody who makes a joke about a "high-speed ferry" will get a quick, spasmodic cream pie in the eye.)

401354 04: (L to R) Christine Lategano-Nicholas, Rev. Patrick Fitzgerald, New York City Fire Commissioner Nicholas Scoppetta, Dympna Jessich, twin sister of Father Mychal Judge, and New York Waterway President Arthur E. Imperatore Jr. christen "The Father Mychal Judge" high-speed ferry February 20, 2002 in New York City. Judge was the New York City Fire Department chaplain who died along with 342 firefighters in the September 11th World Trade Center attacks. (Photo by Mario Tama/Getty Images) Dateline: New York, NY, United States

[Christine Lategano was the assistant with whom Mayor Rudi Giuliani was having an affair. She should be hung upside down beside Il Duce after the tribunals, so I hope she's wearing some nice underwear.] For the dense crew of 9/11 researchers over at Reality Shack (or should that be Reality Hytten? Har, har: Heightened Reality!!!!) who must research their way out of a wet paper bag, I offer the following images.

Consider this an artistic response to a thread, 9/11 And September Clues, Q & A with Simon Shack, which along with a thread dedicated to Father Judge, means to discuss the "reality" of Father Mychal Judge---victim, or vicsim, depending on who you talk to, number one in the 9/11 psy-op.

The images are off my hard drive, downloaded at some distant point in time. They would appear to be from a book published in 2006 called, 'The Saint of 9/11: Father Mychal Judge'. (Available for purchase, I should think, guys.)

Most come with apparent documented publishing history and authorship.

2006_saint_of_911_004 Al Paglione, 1974, The Record, Bergen County, N.J.

2006_saint_of_911_002 Al Paglione, 1974, The Record, Bergen County, N.J.

2006_saint_of_911_005 Rich Gigli , 1982, The Record, Bergen

2006_saint_of_911_010by Ozier Muhammad, courtesy of Newsday

2006_saint_of_911_003 Photo by Michael Goldman

2006_saint_of_911_007 Photo by Michael Goldman

2006_saint_of_911_006 Father Mychal Judge

2006_saint_of_911_001 Fr. Mychal with FDNY Commissioner Thomas Von Essen

This doesn't necessarily mean they are "real," in the sense that they have been verified as having indeed been published in The New Jersey Bergen County Record in 1974 and 1982; with the Ozier Muhammad photo published in Newsday at an unknown date. But they would indicate a "back story" of some rather extreme effort at the very least.

Father Judge was famously involved in ministering in the aftermath of the TWA Flight 800 disaster, and that should have some documentation too. He appears to have been quite the publicity hound---and certainly not shy. The rather tacky detail about his stopping to comb his hair in the mirror and apply hair spray after he had gotten the call to go down to the WTC site says more than a 1000 pictures could.

I suppose these images might not have been available for some reason on Google image search. I can think of no other reason why the great assortment of clairvoyant depth researchers at Reality Shack could have missed them. What else are they missing I wonder?

If you have an hour-and-a-half to spare, why don't you watch the movie? There is not one sincere, authentic moment in the entire work.