In late 2001, the renowned German composer, philosopher and spiritualist Karlheinz Stockhausen gave a long ranging interview about the nature of good and evil in the world. Clearly, such an interview could have barely been held in late 2001 without a mention of the 9/11 atrocity. Stockhausen took a characteristically omniscient view of what for many was and remains a terrestrial rather than a metaphysical experience–one that exposes the darkest elements of the human condition.
When the interview turned to the issue of 9/11, Stockhausen said the following,
“Well, what happened there is, of course—now all of you must adjust your brains—the biggest work of art there has ever been. The fact that spirits achieve with one act something which we in music could never dream of, that people practise ten years madly, fanatically for a concert. And then die. [Hesitantly.] And that is the greatest work of art that exists for the whole Cosmos. Just imagine what happened there. There are people who are so concentrated on this single performance, and then five thousand people are driven to Resurrection. In one moment. I couldn’t do that. Compared to that, we are nothing, as composers. […] It is a crime, you know of course, because the people did not agree to it. They did not come to the “concert”. That is obvious. And nobody had told them: ‘You could be killed in the process”.
Perhaps unremarkably, his statement was taken out of context, while many mainstream publications omitted the part of the quote that issued the crucial corollary, stating that the event was a crime because none of the victims consented to the sacrifice they ultimately made.
But what of the rest of the quote? In an age dominated by wars that are literally spectacular in their vulgarity, people have become so desensitised to their performance like qualities, that the makers of war need to create ever more gruesome and sinister ‘performances’ in order to convince people to back further such military endeavours.
9/11 Without ‘Spectacle’–The Dress Rehearsal
In many respects 9/11 began on March the 24th 1999, when a US led NATO coalition illegally bombed Yugoslavia. It was a bombing campaign that killed thousands of civilians, destroyed civilian television and radio broadcast headquarters, destroyed the Chinese Embassy in Belgrade and nearly caused a war between NATO and Russia, after the US General Wesley Clark ordered his troops to fire on Russian peacekeepers at Pristina Airport. It was only the intervention of another officer, the UK’s General Michael Jackson, that averted such a conflict upon an existing war crime.
The Score and Libretto
On top of the experience of getting away with murder in Yugoslavia, the 1990s saw many important policy documents coming out of Washington and circulated in Tel Aviv. First, there was the 1992 Wolfowitz Doctrine which sought to contain, subdue and permanently antagonise Russia and former Soviet Republics. Then in 1996 came a document authored as a personal gift to Benjamin Netanyahu called A Clean Break: A New Strategy for Securing the Realm. The policy document formulated by future George W. Bush advisor Richard Perle, advocated that “Israel” take aggressive preemptive steps to neutralise Iran, Syria, Iraq and Lebanon.
By 2001, everything was in place from the policy statements, to the experience in Yugoslavia to a plyable President in the form of George W. Bush whose entire administration was made up of the neo-cons of the 1990s who spent the decade busily drafting policy documents for how the US and “Israel” could reduce their alleged enemies to rubble. All that was missing was the spectacle to galvanise the public by capturing their horrors in one moment of mass murder.
Behind the Curtain
The real life performance of 9/11 happened just as Stockhausen said. Making Stockhausen’s remarks even more valid, is that like any vivid and grim theatrical performance, 9/11 not only shocked and horrified, but it also allowed the ‘viewers’ to suspend their belief and logic.
The official US narrative on 9/11 is no longer believed by a majority of Americans, but still, few dare question how the atrocity was pulled off and few want to know what happened behind the curtain. The following pieces of evidence pointing to a wider “Israeli”/deep state American conspiracy are hardly ever touched upon.
1. The Motive
On July the July 24th 2001, Larry Silverstein purchased the World Trade Center from the New York Port Authority. The New York Port Authority was desperate to unload the buildings due to their exorbitant maintenance costs and lack of paying tenants. Shortly after purchasing the World Trade Center complex Silverstein took out the biggest anti-terrorism insurance policy in history. Needless to say, through insurance payoffs, government bailouts and winnings from civil litigation, Silverstein made a monumental profit on his “investment”.
2. Suspicious Movements
On the morning of September the 11th, Silverstein skipped his usual morning breakfast on the top floor of the North Tower of the World Trade Center. He later claimed it was “luck” that he had a doctors appointment that morning.
3. The Silverstein Confession
During an interview that was only ever televised once, Larry Silverstein admitted that he agreed to “pull” Building 7, a building that while not hit by a plane, housed many local, state and federal government offices and archives. “Pulled” is of course a technical term used in the property and construction industries meaning “take down” or “demolish”.
It is of note that while far more debris hit Building 3 which was located between the two main towers, Building 3 remained structurally intact.
4. The “Israel” Connection
On the morning of 9/11, five “Israelis” who were later revealed to be Mossad agents, drove their van across the river from the World Trade Center and set up camera equipment prior to the first plane hitting the World Trade Center. After the planes made their their impact, the “Israelis” began fervently dancing and celebrating. This strange occurrence was reported to the police by distressed locals.
Later on September the 11th, a suspicious white van registered to an “Israeli” man under the company name “Urban Moving Systems” was pulled over by police on the George Washington Bridge in New York City. The “Israelis” in the van, had with them explosive material, maps of the city with suspicious markings, $4700 cash stuffed in a sock, and foreign passports.
The owner of “Urban Moving Systems” later fled the country and the Mossad agents who were detained were eventually released without charge.
5. Physical Deception
Not once in the history of the world has a steel-framed building ever collapsed due to fire of any kind. The only time in history we are led to believe that this happened was on 9/11. This is in spite of the fact that footage shows that the fire in the towers was a weak red/orange flame rather than a strong burning blue flame. In any case, the towers were designed to withstand the impact of larger jets with even larger fuel loads.
Adding to this matter was the fact that traces of a substance called nano-thermite was found at ground zero. Nano-thermite is a substance used to weaken molten steel. Nano-thermite was for example used to demolish the derelict Chicago Skyride Tower and other European buildings.
6. “Israeli” Confession
Three of the five “dancing Israelis” appeared on a Tel Aviv televsion show after 9/11 and spoke about their experiences. When speaking about their involvement in 9/11, one of the men said “our purpose was to document the event”, thus confessing to having prior knowledge of the attack and an apparent duty to film it.
7. The “Israeli” Messaging App
On the 26th of September, 2001, the Haaretz Newspaper reported that employees of the Odigo instant messaging app who were in New York on 9/11 were sent a text message style warning about the attack prior to the first plane hitting the World Trade Center. This, along with the 5 “Israelis” with their camera equipment indicates that they had prior knowledge of the event.
The Final Curtain
While all of these events happened behind the scenes, the events on the world’s stage were that of planes crashing into buildings, fires raging in the sky, debris filling the air and streets, men and women jumping from the towers to their deaths, three collapsing buildings and a country that was ready to be manipulated into extracting vengeance upon countries that had nothing to do with 9/11.
This “performance” has still not been fully understood by some, as something that was more slight of hand than a straightforward attack. Of course the victims were real, the destruction was real, the tragedy and sorrow all too real, but the things that led to the tragedy were all too staged. In this sense, 9/11 was as much of a staged spectacle than any opera, but one whose victims, as Stockhausen accurately said, went to the deaths as unwilling actors in a macabre and gruesome performance.
The fact that the composers and directors of the performance have still not faced justice, is a sign that over ten years after his death, Karlheinz Stockhausen described the nature of 9/11 more aptly than anyone before or since.