https://www.voltairenet.org/article179295.html September 11: Inside Job or Mossad Job?
by Laurent Guyénot
Israel’s role in the events of September 11, 2001—that shape the 21st century—is the subject of bitter controversy, or rather a real taboo even within the 9/11 Truth Movement, causing the ostracism of the man who dared to broach the subject, Thierry Meyssan. Most advocacy groups, mobilized behind the slogan "9/11 was an Inside Job," remain discreet regarding the evidence involving the secret services of the Jewish state. Laurent Guyénot focuses on certain compelling—though grossly under reported—facts and analyzes the mechanisms of denial.
VOLTAIRE NETWORK | 10 JULY 2013
hile Israel’s role in the destabilization of the world post-September 11 is becoming increasingly clear, the idea that a faction of Likudniks, aided by their allies embedded in the U.S. State apparatus, are responsible for the false flag operation of September 11 is becoming more difficult to suppress, and some individuals have the courage to state so publicly. Francesco Cossiga, President of Italy between 1985 and 1992, declared on 30 November 2007 to the daily Corriere della Sera: “From areas around the Palazzo Chigi, nerve centre of direction of Italian intelligence, it is noted that the non-authenticity of the video is supported by the fact that Osama bin Laden in it ’confessed’ that Al Qaeda was responsible for the 9/11 attack on the Twin Towers in New York. However, all of the democratic areas of America and of Europe, with the Italian center-left in the forefront, now know full well that the disastrous attack was planned and executed by the American CIA and Mossad with the help of the Zionist world to falsely incriminate Arabic countries and to persuade the Western Powers to intervene in Iraq and Afghanistan [1]." Alan Sabrosky, former professor at the U.S. Army War College and the U.S. Military Academy, did not hesitate to proclaim his belief that September 11 is a "classical operation orchestrated by Mossad" carried out with accomplices within the United States government, and his voice has been forcefully echoed by some U.S. Army veterans sites who are disgusted by the vile war that they were forced to wage on behalf of the September 11 lie or that of the weapons of mass destruction of Saddam Hussein [2].
The arguments in favor of the Mossad hypothesis are not only related to the reputation of the world’s most powerful secret service, which a report by the U.S. Army School for Advanced Military Studies (quoted by the Washington Times on the eve of September 11th), described as "wildcat, ruthless and cunning. Able to carry out an attack on U.S. forces and disguise it as an act committed by Palestinians/Arabs [3]." The Mossad involvement, together with other Israeli elite units, is made evident by a number of little known facts.
The dancing Israelis
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The eBook by Hicham Hamza, "Israel and September 11: The Great Taboo" (2013) brings together the case against Israel, with impeccable precision and all easily accessible sources.
How many of us know, for example, that the only people arrested on the same day in connection with the terrorist attacks of September 11 are Israelis [4]? This information was reported the very next day by journalist Paulo Lima in The Record, the newspaper of Bergen County in New Jersey, according to police sources. Immediately after the first impact on the North Tower, three individuals were seen by several witnesses on the roof of a van parked at Liberty State Park in Jersey City, "celebrating” and “jumping up and down,” and photographing themselves with the twin towers in the background. They then moved their van to another parking spot in Jersey City, where other witnesses saw them display the same ostentatious celebrations. The police immediately issued a BOLO alert (be-on-the-look-out): "Vehicle possibly related to the terrorist attack in New York. 2000 white Chevrolet van with New Jersey plates and an ’Urban Moving Systems’ sign at the back, was seen at Liberty State Park, Jersey City, NJ, at the time of first impact of jetliner into the World Trade Center. Three individuals with the van were seen celebrating after the initial impact and the explosion that followed [5]." The van was stopped by police a few hours later, with five young Israelis aboard: Sivan and Paul Kurzberg, Yaron Shmuel, Oded Ellner and Omer Marmari. Physically forced out of the vehicle and pinned to the ground, the driver, Sivan Kurzberg, launched this strange sentence: "We are Israelis. We are not your problem. Your problems are our problems. The Palestinians are the problem [6].” Police sources who informed Paulo Lima were convinced of the involvement of the Israelis in the morning’s attacks: "There were maps of the city in the van with some of the points highlighted. It looked like they knew [...] they knew what would happen when they were at Liberty State Park [7]. Passports of various nationalities, nearly 6000 dollars in cash and open airline tickets to travel abroad were also found on them. The Kurzberg brothers were formally identified as Mossad agents. The five Israelis worked officially for a moving company named Urban Moving Systems, whose employees were mostly Israelis. "I was in tears. These guys were joking and that bothered me [8]," stated one of the few non-Israeli workers to The Record. On September14, after receiving a visit from the police, the business owner, Dominik Otto Suter, left the country for Tel Aviv.
The information disclosed by The Record, confirmed by the police report, was taken on by investigative sites such as the Wayne Madsen Report (September 14, 2005) and Counterpunch (February 7, 2007). It was also reported in some main media as well but in a way that minimized its scope: the New York Times (November 21, 2001) failed to mention the nationality of the individuals, just like Fox News and the Associated Press. The Washington Post (November 23, 2001) said they were Israelis, but passed over in silence their apparent foreknowledge of the event. However, The Forward (March 15, 2002), a magazine of the New York Jewish community, revealed that, according to an anonymous U.S. intelligence source, Urban Moving Systems was a Mossad undercover unit (which did not prevent it from receiving a federal loan of 498,750 dollars, as shown by the tax records)] [9].
The FBI conducted an investigation contained in a 579 page report, partially declassified in 2005 (it will be completely declassified in 2035). Freelance journalist Hisham Hamza analyzed this in detail in his book Israel and September 11: The Great Taboo. It shows a number of damning elements. First, the photos taken by these young Israelis actually show them in attitudes of celebration before the North Tower on fire: "They smiled, they hugged and they gave each other high fives." To explain this, stakeholders said they were simply delighted "that the United States should now take steps to stop terrorism in the world" (although, at this point, a majority of people thought the crashes were an accident rather than an actd of terrorism). Moreover, at least one witness saw them positioned at 8:00, before an aircraft struck the first tower, while others certify that they were already taking pictures five minutes later, which is confirmed by their photos. A former employee confirmed to the FBI, the fanatically pro-Israeli and anti-American atmosphere that reigned in the company, even attributing to its director, Dominik Otto Suter, these words: "Give us twenty years and we will seize and destroy your media and your country." The five arrested Israelis were in contact with another moving company called Classic International Movers, four employees of which were interviewed separately for their links with the nineteen suspected hijackers. One of them had called "an individual in South America with genuine links to Islamic militants in the Middle East." Finally, "a sniffer dog gave a positive result for the presence of traces of explosives in the vehicle [10]."
As Hamza notes, the report’s conclusion is thought provoking: the FBI informs the local police detaining the suspects that, "the FBI has no further interest in investigating the prisoners and ’appropriate immigration procedures should be initiated [11]." A letter from the federal Immigration and Naturalization Service in fact shows that the FBI management recommended the termination of the investigation on September 24, 2001. However, the five Israelis spent 71 days in prison in Brooklyn, during which they refused, then failed several lie detector tests. They were subsequently repatriated under the simple charges of visa violations.
Omer Marmari, Oded Ellner and Yaron Shmuel, three of the five "dancing Israelis" are invited to report in an Israeli TV programe upon their return in November 2001. Denying being members of Mossad, one of them said candidly: "Our goal was to record the event."
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RampancyLambentRaven ago
robscholtemuseum.nl/mark-dotzler-thoughts-on-the-wtc-artists/ A large group of artists were given space and construction access to the World Trade Center in the four years leading up to 9/11
I want to call your attention to the artist groups (E-TEAM and GELATIN) who were selected to be part of the Lower Manhattan Cultural Council (LMCC) World Views / Studioscape (http://lmcc.net/residencies/workspace/past_sessions/world_views) programs that allowed them and other artists to work and live in the WTC in the four years leading up to 9/11 on different floors, including 91 and 92 of the North Tower. Additionally, they were given seven day a week construction access to the WTC that allowed them to freely move all sorts of materials in and out of the complex. (Note: When you give young artists access to a building and work-live space, they’re going figure out everything they can and can’t get away with in there. I’ve lived in several wild artist buildings and from my experience, once they’re in, they can get anywhere they want…especially with climbing gear & harnesses…see photos below. LMCC and WTC management would know that before approving such a program. For artists to be able to take out windows on the 91st floor and install a makeshift “balcony” (see the NYTimes, August 2001: http://www.markdotzler.com/Mark_Dotzler/Gelitin_NYT.html) protruding out of the building should give you some real insight into just how lax WTC security was at that time and how dangerous the LMCC program was. Sounds to me like the WTC was conveniently out of control in the years leading up to 9/11 and that security there was a complete joke as far as these artists and all their friends were concerned…see photos below.) As you may know, audacity, arrogance and a love of esotericism (“it’s a great piece of artwork…you just don’t get it”) are common features of the art world, especially among privileged and highly connected, younger artists. Therefore, I think it is plausible that the E-Team might also stand for Explosives Team (amongst themselves, their handlers and sponsors) and that Gelatin’s The B-Thing may also be, not so secretly, referring to explosives (see blasting gelatin, https://en.wikipedia.org/wiki/Gelignite & note that Gelatin became Gelitin in ’05, https://en.wikipedia.org/wiki/Gelitin,…wonder why?). Keep in mind that we gave these foreign groups WTC construction access and allowed them to live directly in the strike zone through the LMCC World Views and Studioscape programs. They would probably look upon most of Americans as complete idiots and that their work was highly sanctioned by the people in charge. And as incredible as it might sound, I think it is very possible that the “team” (that included many others) may have advertised itself in a major way to their special audience under the cover of “art”, right on the WTC strike zone just before 9/11 (see 127 Illuminated Windows http://meineigenheim.org/projects/events/127illuminated_windows/index.html). Further, in an incredible display of audacity and arrogance Gelatin members openly exposed themselves (reportedly naked) to be photographed by helicopter at the location of all their (possible) crimes, prior to 9/11 (The B-Thing). And finally, in what may be the ultimate esoteric performance art pc. of all time, they might have intentionally photographed individuals (some who may have known what was coming) directly in the initial WTC strike zone, prior to 9/11 (see Quick Click: http://meineigenheim.org/videos/media/qclick.html). Yes, this is awful to imagine, but considering the controlled demolition evidence now available to us, it might be important to look at these artists and their artwork in a new light, since the explosives had to be put there by some group of people who had access. I find it interesting that some of the above artwork has no real significance without the events of 9/11, especially when you consider that these are artists deemed so talented by the LMCC’s standards, that they should be given free studio space and homes in the World Trade Center. LMCC endorsing a simpleminded artist name promotion (E-TEAM), a stand in the window photo shoot w/copter and an “unofficial” dangerous (did they-didn’t they) balcony prank w/copter, just doesn’t add up to me. (Note: In the years that followed the careers of these two artist groups flourished with shows all over the world. Further, consider the possible message and target audience for this recent photograph: http://img24.imageshack.us/img24/3944/eteam.png. Is that a veiled threat, demanding even faster art career advancement, from those in charge?) Artists are traditionally known to be good with their hands and to often engage in long and tedious types of work. All you need to do is add a little training and hate to the mix. Note the climbing gear and the detailed outer structure & inner core renderings in the The B-Thing floor plan & photos below. Also consider the very precise timing notes on that plan drawing and how important that kind of thing might be for certain types of activities, when buildings are occupied. I think these artists can be deadly serious when they want to be and operate behind a sort of clownish artistic facade. Their Trojan Horse analogy is interesting and telling too…however, maybe its inside of the artist as an individual, that the attacker is hiding. Artists as Trojan Horses. Lastly, I think the Framed Dummies artworks (see below) in the buildings’ concourse and on an outside walkway (one set of them inside & one set of them outside) were yet another part of these possible sick jokes…artwork pieces esoterically referring to framing the Muslims (Gutless Men Carried It Out: https://www.youtube.com/watch?v=U-RCeGl2OvU), who were often portrayed like this in the years right after 9/11…bad guys in the dark outfits…who were always ready to cut someone’s head off, when they weren’t training on their (playground) monkey bars. It’s weird how we don’t see any of that anymore…I guess those images were determined to be firmly implanted. Knowing artists as I do, I think above scenario is very possible. I’m not accusing anyone here, it all may be very innocent, I’m just stating that it is possible and that it is a very strange set of coincidences under the circumstances. However, I do think it’s of national importance to investigate thoroughly the LMCC programs, its administrators, directors, all WTC/LMCC artists, all related artwork and photography. It sickens me to think that “leaders” could teach young artists to hate and to encourage them to use their creative skills in hateful ways.