Rense.com
Overthrow
Of The
American Republic
Part 41
World
Trade Center Wired For Internal Explosives?
by Sherman H. Skolnick
skolnick@ameritech.net
www.skolnicksreport.com
10-21-3
|
Sometimes certain events of a mystery are right under the
noses of the monopoly press. Either because they are lazy, or their bosses
will not let them write what they find, or whatever---parts of the strange
happenings remain unexplained, sometimes for years and years. A network reporter whispered into our ear, pressed to the
ground. Not an unusual happening for us. If they find out something that is
censored, and they cannot go with it, because of the higher-ups---well, they
know where the independent loudmouths reside. And sometimes for various
esoteric reasons, they owe us some favor. (Such as by digging up
"dirt", we got their boss off their back.) Before you consider some of the details, you have to consider
the following: [A] Some of what is contained hereafter as to certain persons
in the World Trade Center may remain unexplained and not completely
correct. So as to give those referred to the benefits of all doubts, that
they may, in fact, be innocent of complicity in 9-11. [B] BUT, possibly true and for the first time revealed, are
the details that happened right under the view of the oil-soaked, spy-riddled
American monopoly press. BACKGROUND: 1. Various details analyzed and compiled by others, strongly
support the view that the World Trade Center Twin Towers in New York City, on
September 11, 2001, did not suddenly collapse shortly after something---an
actual airplane, or a missile disguised with a hologram projection to
simulate an airplane somehow hitting the Towers and each entire plane
getting somehow swallowed up inside the buildings. Yet, aviation and engineering experts seriously doubt that a
huge airplane, wings and tail, could penetrate the buildings hitting
heavy reinforced pillars and such. Some question: how come the huge wings and
tail, from vibration and impact, did not fall off to the ground below? How
come Fire Department experts, on their walkie-talkies, stated that they got
high up in one of the buildings; that the fire they saw was not that bad; and
that other firemen should bring up hoses because the fire could easily be
brought under control. Yet, shortly after making such a report, the buildings
got pulverized and collapsed all the way down. 2. The youngest son of George Herbert Walker Bush, namely
Marvin Bush, is seldom mentioned in the monopoly press. Yet, there are
detailed articles available in search engines [such as
<http://www.google.com/>www.google.com MARVIN BUSH ] that Marvin was
the director of a casualty insurance company with coverage of the World Trade
Center, and that the coverage was stopped sometime before 9-11. Also Marvin
Bush was a director of a firm that was involved with the security of the
World Trade Center. [For more details, review the known stories about FBI Deputy
Director, John P. O'Neill, an expert on counter-terrorism, who about August,
2001, quit the Bureau because the Bush White House blocked him from further
investigating Osama bin Laden. Why? Clearly, because O'Neill's probe would
lead to the Bush Crime Family, the Carlyle Group, and related banks and
entities tied to Osama. O'Neill became the head of Security at the World
Trade Center, and about his first day of work was 9-11. He was outside one of
the buildings but was somehow lured inside where he perished, CONVENIENTLY.] 3. Notice this strange series of events. A group of purported
German and Austrian artists apparently smuggled their way into the World
Trade Center. THEY LIVED FOR SOME TIME ON THE 91st FLOOR of one of the twin
towers.
[What may or may not be relevant: the U.S. authorities tried
their best to torpedo a criminal action in Germany, following 9-11, as to
purported Moslem "terrorists" being implicated or in some way
blameable for the destruction of the World Trade Center buildings. Yet, the
head of the U.S. FBI and other top U.S. officials refused to show up to
testify as requested. The apparent reason? German counter-intelligence was
apparently pursuing an angle troubling to the U.S. Namely, that certain
Saudis, living for a while prior to 9-11 in Germany, were part of a
high-level U.S. government diversion to what really happened on September 11,
2001. That is, that Osama and his cohorts were NOT actually involved. And
because of the data uncovered by German authorities, the supposed Moslem
"terrorists" were merely on what is known in espionage, as a
"parallel track", a trick to disguise the real events and make them
like Lee Harvey Oswald, a patsy, falsely blamed.] The German and Austrian purported artists were working on a
book while living on the 91st floor of one of the Twin Towers, in an area
that had been a warehouse, where they built a balcony. "In short, the book belies the extravagance of the feat
it seems to document: the covert installation, and brief use of a balcony on
the 91st floor of the World Trade Center, 1,100 feet above the earth. Eight
photographs---some grainy, all taken from a great distance--depict one
tower's vast eastern facade, marred by a tiny molelike growth; a lone figure
dressed in a white jacket, standing on a lectern-size box." "Balcony Scene (Or Unseen) Atop the World; Episode at
Trade Center Assumes Mythic Qualities", by Shaila K. Dewan, Metropolitan
Desk, New York Times, Saturday, August 18, 2001 (1645 words to story). More from the same article: "Still, how did a balcony escape the notice of one of the
most security-conscious office towers in the world? An examination of the
security system revealed that it was focused on the ground floor and
basement. Mr. Janka [one of the "artists"] said, adding,
"There's no surveillance on the facade itself". And more from the lengthy article: "Yet, since the Sunday morning in March 2000, when the
balcony was allegedly installed, and, 19 minutes later, dismantled, the
affair has taken on the outlines of an urban myth, mutated by rumors and
denials among the downtown cognoscenti." Yet, more: The four purported artists, "...the four, wearing
harnesses, unscrewed the aluminum moldings that hold the window in place and
used two large suction cups to remove the glass (air pressure adds about 300
pounds to the effort). As warm air streamed past, they outfitted the window with
a cantilevered box, big enough for only one person at a time." The World Trade Center security apparently at first denied to
the New York Times and others that there was anyone living inside one of the
Twin Towers on the 91st Floor. 4. So, questions remain: ===were the purported "artists", escaping notice of
the WTC security and living on the 91st floor, a diversion for certain
persons who wired up the towers for internal explosions, to concide with
something striking the towers on 9-11? Did they know, or see anything, while
living inside one of the towers, by which they could be witnesses to foul
play? The "artists" may deny the whole thing as merely a
"prank". And vigorously deny any complicity in any dirty business
to bring down the towers. Until more facts are elicited, we must consider the
possibility that they may be entirely innocent. To prove they lived in the
building, the artists produced a bill proving a helicopter, paid for by them,
was used to photograph their occupancy of the 91st floor, photos made from
the outside through a window. ===the firm that got the contract to clear up the debris after
the collapse of the towers was Controlled Demolition, Inc. Is it a mere
coincidence that they are the same one specializing in taking down old hotels
and such, by internal explosives causing such buildings to fall down on
themselves. The firm was involved with what some contend was a cover up in
the rapid way in which the FBI wanted to remove all evidence of what brought
down the Federal Office Building, April 19, 1995, by multiple explosions in
Oklahoma City. The building was quickly smashed down and the site covered up
with cement, courtesy of the FBI and apparently with the demolition firm. We are making every effort to attach a copy of the New York
Times article to this story. More coming. Stay tuned. ======================================== [NOTE: Mr. Skolnick's articles are also posted and archived,
through the MAIN PAGE, COLUMNISTS Sherman Skolnick www.rense.com Mr. Skolnick is a regular participant on a three-hour program
"TALK RADIO FOR SPIES!", broadcast on a blow-torch station from
Toronto and can be heard ON-LINE LIVE AND ARCHIVED, www.cloakanddagger.ca On
every Thursday (unless pre-empted by sports), starting at 11 p.m., Eastern
Time; 10 p.m., Central; 9 p.m., Mountain; and 8 p.m. Pacific Time. Just published book "Ahead of the Parade" by Sherman
H. Skolnick, A Who's Who of Treason & High Crimes---Exclusive Details of
Fraud & Corruption of the Monopoly Press, the Banks, the Bench and the
Bar, & the Secret Political Poilice. Can be ordered U.S./Canada
1-800-861-7899. BUT NOTE: the book supposedly is also available from
Amazon.com HOWEVER, THEY ARE BLOCKING MARKETING AND SALE OF THE BOOK BY THEM
BY DEMANDING TWICE THE LIST PRICE.] Today's NewsPast WeekPast 30 DaysPast 90 DaysPast YearSince
1996 This page is print-ready, and this article will remain
available for 90 days. Instructions for Saving | About this Service | Purchase
History
August 18, 2001, Saturday METROPOLITAN DESK Balcony Scene (Or Unseen) Atop the World; Episode at Trade
Center Assumes Mythic Qualities By SHAILA K. DEWAN (NYT) 1645 words The affair of the balcony ended, if indeed it ever began, with
the appearance in July of a slender book of curious title, obtainable in very
few places, one of them being an art gallery in a frosted storefront on
Broadway near Franklin Street. Called ''The B-Thing'' and produced by four Vienna-based
artists known collectively as Gelatin, the book is demure to the point of
being oblique. What little explanation it contains appears to have been
scribbled in ballpoint. Among the photos and schematic drawings, there are
doodles of tarantulas with human heads. In short, the book belies the extravagance of the feat it
seems to document: the covert installation, and brief use, of a balcony on
the 91st floor of the World Trade Center, 1,100 feet above the earth. Eight
photographs -- some grainy, all taken from a great distance -- depict one
tower's vast eastern facade, marred by a tiny molelike growth: a lone figure
dressed in a white jacket, standing in a lectern-size box. The contemporary art world, of course, is rife with acts of
subversion followed by boasting, which is known as ''documentation.'' In that
context, the beauty of the balcony was that it so literally pushed the
envelope. Yet since that Sunday morning in March 2000, when the balcony was
allegedly installed and, 19 minutes later, dismantled, the affair has taken on
the outlines of an urban myth, mutated by rumors and denials among the
downtown cognoscenti. Although the book appears to seek notoriety, the artists have
gone coy. Their dealer, who witnesses say watched the event from a hotel
suite, now claims it never happened. Either the balcony was an elaborate hoax
meant to look real, or the inverse is true: it really happened, and the
closer it comes to being found out, the more those involved would prefer for
everyone to think it was a hoax. In the spring of 2000, Gelatin and 14 other artists shared
free studio space on the 91st floor, where the group's artmaking appeared to
consist of building a clubhouse out of cardboard boxes. But Ali Janka, a member of Gelatin reached by phone in Vienna,
said that the blindered view afforded by the narrow windows had inspired them
to find a way to step outside. ''After you have a certain idea, you can't go
back,'' he said, ''because everything else seems very weak compared to it.'' Mr. Janka was happy to talk about the project, at least at
first. After weeks of planning, he said, one night Gelatin -- he, Florian
Reither, Tobias Urban and Wolfgang Gantner -- waited in the studio until
dawn. At the appointed moment, the four, wearing harnesses, unscrewed the
aluminum moldings that hold the window in place and used two large suction
cups to remove the glass (air pressure adds about 300 pounds to the effort).
As warm air streamed past, they outfitted the window with a cantilevered box,
big enough for only one person at a time. ''The amazing thing that happens when you take out a window,''
Mr. Janka said, ''is that the whole city comes into the building.'' Other artists in the studio have heard rumors of the balcony,
but most are dubious. ''I can tell you that it never happened,'' said
Geoffrey Detrani, whose space was next to Gelatin's. ''To remove a window
would be a pretty serious structural breach.'' But Gelatin, fearing expulsion from the country, had gone to
great lengths to conceal their plot. The clubhouse afforded privacy and
storage. By prior agreement, the group confiscated all film and video of the
project taken by invited witnesses. Still, how did a balcony escape the notice of one of the most
security-conscious office towers in the world? An examination of the security
system revealed that it was focused on the ground floor and basement, Mr.
Janka said, adding, ''There's no surveillance on the facade itself.'' That is true, said Cherrie Nanninga, the director of real
estate for the Port Authority of New York and New Jersey, which until
recently ran the World Trade Center. Port Authority officials, shown a copy
of ''The B-Thing'' by a reporter, reacted with disbelief, then outrage.
Although their own investigation turned up no evidence, Ms. Nanninga said,
''we have no reason to believe it didn't happen.'' Window removal is considered so dangerous that when it is done
the streets below are cordoned off, she said. ''It was really a stupid and
irrational act that in my view borders on the criminal,'' she said, adding
that the stunt had jeopardized the studio program, whose space is donated by
the Trade Center. Removing the window may have been dangerous, but according to
Walter Friedman, the owner of Dependable Glass, which performs that service
for the World Trade Center, it is not that difficult. All it takes is four
guys, some readily available equipment -- and nerve, Mr. Friedman said. Nerve is not something Gelatin lacks. They specialize in
projects that require participants to sign a waiver. In a piece called ''The Human Elevator,'' strong men on
scaffolding hoisted people to the roof of a three-story building in Los
Angeles. And patrons in Munich were greased with baby oil and invited to
slide naked down an esophaguslike chute formed by the bellies of a crew of overweight
Germans.
Although Gelatin, which is representing Vienna in the Venice
Biennale, has not shrunk from physical risk, they seem to think that merely
discussing the balcony with a reporter was dangerous, perhaps because they
are currently seeking permission to live on a vacant lot on Canal Street, as
part of a forthcoming exhibition. ''If you write about the balcony, maybe you can just not write
about it too much,'' Mr. Janka called back to say after the initial
interview, the first of several calls protesting the appearance of an
article, despite the fact that the artists had published the book. To others involved in the project, it seemed reasonable that
the appearance of ''The B-Thing'' meant secrecy was no longer necessary. Josh
Harris, the Internet entrepreneur once known for holding extravagant art
parties, explained that Leo Koenig, the 24-year-old art dealer who represents
Gelatin, got him involved. The night before the B-Thing, Mr. Harris said, he rented a
top-floor suite at the Millennium Hilton, across the street from the Gelatin
studio, and invited people to what guests described as a night of decadence.
Near dawn, he and several others took cameras and boarded a helicopter,
communicating with Gelatin via cell phone. ''We had to fly twice around the building before we could see
them,'' said Mr. Harris, who is thanked in the book. Afterward, Gelatin appeared at the hotel, where their success
was toasted at a euphoric breakfast, according to five other witnesses,
including Tanya Corrin, a video producer and writer, and David Leslie, a
performance artist. ''We just applauded the gutsy originality of it,'' Ms.
Corrin said. ''I think we all left feeling, wow, we just did something
amazing, and nobody knows.'' Mr. Koenig now says the balcony never happened and, at any
rate, he didn't see it. The book, which costs $35 and was printed in a run of
1,200 copies, is meant to provoke questions about its veracity, he said. At the suggestion that the project might have been faked, Mr.
Harris seemed almost offended. He produced March 2000 credit card bills
bearing charges of $2,167.44 from the Millennium Hilton and $1,625 from
Helicopter Flight Service. At about the same time that Mr. Harris was digging up proof,
Gelatin was removing almost every trace of it from their Web site. Moukhtar Kocache, the director of the studio program, insisted
that the photos of the balcony were obviously faked. But digital manipulation
experts disagreed. George Dash, the co-owner of Nucleus Imaging on East 30th
Street, and a colleague, John Grasso, used magnifying loupes to examine a
copy of ''The B-Thing.'' Neither could detect inconsistencies. ''The angles
are all too perfect,'' Mr. Grasso said. ''It looks real to me. Absolutely.
I've been doing this for 22 years.'' The balcony may be an art prank in the lineage of Yves Klein,
who in 1960 disseminated a picture of himself leaping blithely out a window,
an image revealed years later to be the product of deftly spliced negatives.
But in its audacity, it seems more akin to tricksters who tested the limits
of the World Trade Center in the 1970's, including Philippe Petit, who walked
a high wire strung between the towers. ''This building needs things like that to happen, because
otherwise it would die inside,'' said Mr. Janka, who was under the impression
that Mr. Petit had been deported for his action. Although the Port Authority has not yet decided what, if any,
action it will take against Gelatin, Mr. Janka might be relieved to learn
that Mr. Petit, who still lives in New York, was simply required to give the
city a free performance. He obliged by walking a tightrope to the top of the
Belvedere Castle. |