Gail Burstyn’s letter contained the Graham Foundation’s theory of art.  They surrounded me with individuals who conveyed the eidetic personas of the characters in The Outsiders, (Colucci, Cervi, Zssinski, Rudy) while mentioning the books, Interview with a Vampire, Briefing for a Descent into Hell, and Tell Me You Love Me, Junie Moon.  Their message eventually came around as trust nobody. Pittsburgh has spent the best years of their lives, ever since, disclaiming the letters meant what they said they were doing to little Jimmy. Indeed, the efforts of Pittsburgh Warhol Estate ever since has been to say that they didn’t mean what they say at all, but that a child they targeted should have stopped them from doing what they said they were doing in a language that they now deny. The hypocrisy is to orchestrate the script, which was issued as a writ of advance blame in something the child, pre-lingual and pre-pubescent knew nothing about, forced to service their brainwashing ordeal by violent compulsion and neuro-control. Misleading a child who would never have gone along with it in order to advocate for and justify a society that approves, and this, they laugh, is Trump’s maniacal jest, a super-achievement from the Overlord, which the Germans called the Ubermensch, a necessary remedy to population stress and immoral behavior.  The processing involved was planned out in stages, a clockwork of lifelong industry. They call this, ahem, their Honor Code.

      The fact that a holocaust took place under the law is perfectly evident.  Rehearsing a few details, their gassing me in Kings Estate as a practical lesson about what happened to Jewry and luring me to Mt. Desert Island for the follow-up exampling of Special Education was provided exclusive interview with the assassins in the form of a Sicilian violinist arranged by Warhol to work the value code and agenda of the guttersnipes in Pittsburgh who recently killed Saoirse Kennedy following the doctrine of heart surgeon Richard Apple, who said as a motto, “When in doubt, eat a pawn,” curiously enough, a Lennon image.

       A few, pathetic intellectuals in the wilderness might scoff at the idea that Lennon’s will of the spirit is support for those who launched the AIDS attack, but in reality, the facts support the claim.   The use of Dec. 8th, the Japanese Anniversary of Pearl Harbor, traces way back to Lee Harvey Oswald and his relationship with Oswald Mosley in Liverpool, having Gen. Edwin Walker in common. It was on the screen at the Texas Theater where he was taken into custody.   A namesake of Dia Galas called me that day in 1980. Dia Galas, friend of Yoko Ono was one of the criminals at Warhol who worked with Cliff Richardson on the 911 attack. It’s easily proven. Dia Galas claims that working with the people who started AIDS is support for the victims.  So the idea that Lennon staged his own death as a slipknot of Fox/Warhol Network trickery is a unique fit that explains this. Reagan’s attorneys for the FEMA, WQED and Pitt had me in D.C. when he claims he was shot. He waved to me the night before. Their brochure reads, “There’s no such thing as objective reality only what the jury believes.”  In a nutshell, Pentagon Disney, whose actress Ming Na Wen, working with Oliver Stone, provided voice-overs.

         The Sicilian violinist in question worked for Midori Goto of the NEVA corporation conspiracy, in the violent revenge attack that took down Kennedy over Hiroshima as research into Hitler-Reagan semiotics makes clear.  She was a friend of the guttersnipe Runco, which explains how she viciously targeted the impacted neuroplasm put there by Runco’s co-experimenter Wattenmaker so that the NAACP and WQED could justify child pornography tapes as special, exclusive, military psychology in witch doctor therapy.  The Trump ultimatum included Russian contracts to manipulate our elections, twisted arms in the Ukraine and a bomb scare from his friends in North Korea threatening the queers in Seattle who love basketball so much they cheer their team-players in the Burstyn Secret Administration.

        Intriguingly, King Edward and King Crimson chose as their elect representative Edward Eisen, a Jewish karate expert who went to Central America to practice pulling hearts out with his fist.   Eisen waited for me outside the store of Connie Bolanis where Leslie Katz worked to illustrate his metaphor of the slate. Grasshopper, he said, behold a piece of the action. Full slate, ah crack, he smacked with his clenched hand, behold now, broken slate.   To fathom his digest, imagine a prancing impressario de Bergerac, here we have the Pennsylvania model of the Oaken man, coming to you from just beyond Eastminster Church, without leotard, prancing his lily limbs this way, like an Englishman would, sword and exotic nose.   It had the aspect not unlike the German unable to comprehend that a bullet being rationed was worth more than the Jew as his superior put it. Behold, esquire, said the Jew near and dear to Eastminster, a full fledged slate, clenched fist, cracked slate, presto, adante.

          Miriam Lucarelli, whose agent had access to my house and watched me through upbringing, said, “Why should I care if there is a police state when I am a police woman?”  This, the brilliants of Iowa, call having insight. Seattle Queers, apparently equally uninterested in the direction this was heading and the nature of society in America, allowed the super-electronic precedent they started using as though there were no meaning to precedent.  The plotters of military neurology were turning around the enemy within for to allow NEVA command and control to target the sinful eyes of Eye-sin. Edward eyes sin. Is this organized crime? Gordon Haskell would say, it is and it isn’t, meaning, not if the English get money for it.

Tsk, tsk, said Franklin and Epstein. “Out,” Colucci would say after hitting a lightbulb with a paperclip from a rubber band, which Karl called the guttersnipe way of punishing sin, “like a light.” Those karma Karl-Coluccis.