The 1916 Project

Copyright James MacRyland Crary, 2023

The Semiotic Superstory:  A. Houdini Magic Involving Hitler and Lennon code named:  Kasper organized through Axis Hollywood by D.W. Griffith.  B.  The Murder of JFK and its representation in HitlerReagan Semiotics.  C. Two Virgins Pussyball.

The 1916 Project:  Origins in the Cubist Movement.

Kremlin Disney:  Who was Gail Burstyn and what did her hit team do?

      This paper unearths the trickery of UWDialectical in the State of Washington during the AIDS attack and Covid-19.  Their loyalty machine and mayhem, calling itself The Green Party, originates with Soviet Jewry in Pittsburgh and Yoko Ono.  The Beatles, although hegemons of the war crimes, are not pioneers.  The plotting has its origins in the first World War, but the wiles of Duke Edward are present in the art of David Bowie and King Crimson, so the tendrils of Pentagon-Disney are much clearer and more present than the roots of the mass delusion.  This paper is an evidentiary guidepost to the signifiers in cinema, Axis Hollywood, from which Europe cunningly brag of their imperial espionage and heist.  Facelies and backstabs are the stuff of movieland, but for these otherworlders it is the practice of politics as well.

The 1916 Project

       An idea has been found.  It’s a combination of an idea entirely disappearing for which copious evidence for group insider realization exists then being hidden in broad daylight (by them) without being noticed.  This may not seem to make sense but the evidence shows this is what happened and was intentional.  It is an idea that anticipated technological progress so its methods were used for sideshows while they hid what they were/are up to, but in those sideshows are the semiotics (signs and symbols) they have used as an inscription, a background (otherwise unstated) super-story, to explain what they have done and are doing, adroitly selling crime by entertainment’s recruitment.  They have not wanted disclosure, in fact the corporations run by the inheritors of this doublecross operate like a Zodiac killer towards dissenting review: a Leapfrog Oligarchy crossing many boundaries in the material world, lulling many raptures as well.  Meanwhile, there is no safety.  You can think of their semiotics and gangster signs as a burning cross while a Sheriff, by no means necessarily white in this matter, says there ain’t no cross burning on your lawn, boy, while it flames in plain view.  Most of the material here is not in the least contested history.  It all landed on their desks at the same time, how could they miss it?  The point is that they didn’t and that idea is so hotly contested it threatens the world like a pirate-tanical despot with a foaming beard and terrible machines.

     To understand what they did takes no great effort, once you see who they are and what their idea was.  This isn’t all just drudge work.  Learning a little about J.P. Morgan, Key Pittman and Paul Robeson may not suit everybody’s taste for historic context, but even on its own terms there is something spicy about knowing that Picasso did set designs for the composer Prokofiev while they were influenced by a 4th dimensional psychologist* out of Moscow and Kharkiv, whose reach spans to the Liverpool crowd later in the century.  Just knowing these insiders had Errol Flynn, who is believed to have met with Hitler during WW2, starred with Reagan in a film made by the men who developed the first use of the burning cross for the KKK, and who, Flynn, lived in Laurel Canyon where Houdini, a contemporary of *Ouspensky’s house was found, begins to glare at you from the desks of D.W. Griffith, Sergei Eisenstein, the Russian grand cinema director and Disney, who Eisenstein greatly admired, divulging much in his review of praise, but behind the wheels of Luigi Freddi, who brought Griffith into the Babylon of Benito Mussolini, the forgiveness by Allen Dulles, a Warren Commissioner, of Hitler’s campaign debts, and his arrangement of Cecil B. DeMille’s leadership of Radio Free Europe, is the low profile presence of a theorist, Blaise Cendrars, who reached from Stravinsky to Robert Anton Wilson in present day State of Washington, where a gang I will call LickyChops hold fake Federal dominion from Green Party sway.

       Whether you choose to call their idea by any of the several names they choose;  Lazarus, Caspar or the Deluge, what they did and how they did it is well worth knowing, spanking to a constructed fabrication incessantly for several generations; although you will never again be able to shake the semiotic and lyrics present in their hoary host of mockery, cardboard fan for sale, once you know.  The historic narrative unfolds parallel to the hidden idea and continues the idea’s presence, so the chronology has to be threaded and then retold again with the help of a new filter containing missing information; until then, it is a mystery whose answer is waiting in limbo.  While duty beckons, they want peep, as their albatross snarls.

        The topic here, in ruthless, simple language, is cinema.  The hidden idea transcends the super-story, which is described in background celluloid, to amend our understanding of the real world by tipping their hand.  The hidden idea, in other words, comes through from the history of these people, the company they kept, the magic they revealed and most importantly of all what they hid so effectively the super-story just barely discloses it.  It takes a little more to gather up the indications and sadly announce, ah so, elementary and how could it be?  Their golden parachute is embroidered with memories of Gen. Edwin Walker, a ruthless crank who sued his victims for divulging his outrages, and whose name comes into Zodiac cusp to John Wayne in homemade images with Lee Harvey Oswald.

         The attackers continue to be treated as saints by the poorer half of the world, the Svengalis who control the world’s wealth and those who toady disgracefully for their approval.  They rigged the dungeon of their mania with moxy; tabloids spill from the time capsules of their shrinks whose protective clause: it’s only a movie, summons us to a new chapter.  While mongering these sideshows, leaving breadcrumbs for scavenger journalists to unearth that Manson and Jack Ruby had the same psychiatrist and that King Crimson of England was working with one from Attica State Prison while he was living in Pittsburgh, morsels of powerful traipsing, a simpler but most ruthless hidden hand, invisible arm, was working hard. 

          Simply put, the super-story was the rescue of Hitler to Argentina and Two Virgins Pussyball, a Church of England war game, martial marital law civil overlook, clocked to the AIDS attack, proving it was one, built in a Pennsylvania boondock for tutor was a Texas skool shack, but the secret isn’t just that John Lennon was given the starring role, with Trump media covering for his fake murder and escape, giving driving force to his will among the culture most at risk.  The real secret is that they planned it, beginning in World War One:  Europe’s finest and their tin drum guerillas, all specialized for the coming dominion, ensorcelling their violence and rage through glam rock and other convenient mediums for celebrity temper tantrums.

          I will show this with a word of thanks to a cubist of the ice even as the machines of their crusade summon the pit of climate change, also planned as their scrolls yield firmly.