Benedict XVI covered-up John Paul II Pedophile Priests Army for 26 years +
Someday our vision at the last WYD World Youth Day 2002 of John Paul II being dragged by St. Michael the Archangel will also be in art.
John Paul II was too busy adoring himself and publishing books written for him by Opus Dei that he totally refused to face the problem of his John Paul II Pedophile Priests Army. There is no excuse, the fact is he had no writings to address this most heinous sin of the Catholic church in modern days. The fact is Opus Dei is only for the elite and has no time and attention to the poor like the Jesuits do.
The John Paul II Pedophile Priests Army is the legacy of the Opus Dei who controlled the Vatican, still does control, and will control until the Vatican's imminenet demise as predicted by Our Lady of Fatima. The Third Secret of Fatima is not being revealed because it points to the Vatican as a black hole in the depths of the earth. Leo X saw this in a vision and John XXIII was sick after reading the Third Secret of Fatima.
How long can Benedict XVI and the Opus Dei think they can fool the 1.2 Billion Catholics. The priesthood and the Eucharist is the greatest lie of Satan and as St. Josemaria Escriva's body is at the altar of Our Lady of Peace church of the Opus Dei in Rome, the Eucharist is a mockery of Our Lady and an insult to her 9-months pregnancy.
There is only ONE Jesus Christ. John Paul II was not Jesus. Benedict XVI is not Jesus Christ, not even an iota close to Christ. Benedict XVI cannot walk on water. Benedict XVI cannot change water into wine…therefore ALL popes and ALL priests cannot change flour-into-flesh-of-Christ. The demise of Vatican and ALL its wealth is imminent as Our Lady predicted in the Third Secret of Fatima
91 x 61
This painting captures the essence of the Clergy Abuse Scandal. The three cardinals represent hear, see and speak no evil. You will notice that each head is missing the related part. The heads are grey to reflect the cardinals being dead from the neck up regarding sexual abuse. The garments are purple representing the aristocratic behavior of the hierarchy and the pain of the passion. The garments are held up by the doves symbolizing the Holy Spirit cleansing his church and the two children are symbolic of the horrors that boys and girls have been put through and the shame that they had to live with.
91 x 61
The painting depicts the addictions used by those who are trying to get away from the pain caused by the center piece, a crooked church. The last escape is being contemplated by the person on the ledge as he looks at his reflection while the world around him is cracking. The pool seems serene and the volcanoes are a reminder that those that take their own lives are supposed to burn in hell. The inspiration for this was a survivor who was contemplating his end.
46 x 61
Silent Screams was inspired by a poem of the same name. It shows the dichotomy of the life an abused person leads. One side is normal, outward appearances, and the other side is tormented. The eyes are a reflection of the soul. The left eye shows the torment this person lives in while the right eye shows the unnamed perpetrator.
Sin Weighs In
91 x 61
Shows a scale with the bishop as the fulcrum. He is nailed to a cross and weighed down by the pedophile priest who has a child representing both male and female in his arms. The fires of hell and the hands of the damned are reaching up for the priest and the child whose life has become hell because of the abuse. The Eucharist on the left side represents God as being above all this with the problem being the hierarchy of the church and not God.
Living Without Trust
28 x 36
Based on a poem by the same name. The drawing is divided using the grave marked “Trust” as the dividing line between a normal childhood and the abuse. After that time, nothing is normal without the ability to trust. The adults reach out to their inner children in an effort to recapture the trust that was destroyed. They are haunted by the ever present priest perpetrator who hovers over their dead trust,
46 x 61
This painting can be read left to right or right to left, but it is about being torn apart and changing through healing. If you go right to left, you see the tightly wound person unraveling and then taking off as a butterfly. If you go left to right, you see the person coming together into a cocoon and then becoming a butterfly.
28 x 36
The crepe soled shoes represent the working people in the pews. It was inspired by a conversation I overheard in a cafeteria. The two middle-aged women in creped soled shoes were discussing the Clergy Abuse Scandal and spelling out the reasons they woud not go back to church. This is the outcome, the people in the pews stepping on the priests and bishops who have violated their trust and left their churches in shambles
From the Saatchi Online Gallery, London.
Not only is Vinnie Nauheimer a wonderful writer, take a look at his talent at painting.
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Video Artist Upload Here
Born in 1949 in the Bronx, NY. Stayed there until I served in the Navy during the Vietnam Nam era. Went to college after the service and spent the next thirty years in sales and marketing.
About the Artist
I started painting in my mid twenties and then stopped by thirty. I started painting again to express my feelings of outrage and anger over the clergy abuse scandal. The collection shown here was my outlet. The inspiration came from personal experiences and those of the many wonderful survivors of clergy abuse that I met in online chat groups and in person. Each of these painting has a poem that goes with it. Some were inspired by the poem and some paintings inspired the poem.
Likewise, the mainstream-media that is owned by Opus Dei has also crowned Obama as president even as Obama’s memoir was written by Ayers.
Science points to Ayers authorship of Obama's 'Dreams'
Posted: October 29, 2008
1:00 am Eastern
I write this from a hotel room in Washington, D.C., to which city I have repaired in only a semi-successful attempt to bring the news to our truth-phobic national capital.
At the heart of my message is that Barack Obama is an impostor, the Milli Vanilli of politics, a man who has been lip-synching for the last 13 years to lyrics pre-recorded by, among others, Bill Ayers.
Exhibit A in my testimony is Obama's 1995 memoir, "Dreams From My Father." The evidence overwhelms the dispassionate observer that Bill Ayers served as chief book doctor on this fulsomely praised persona-builder.
Now, the science is coming in, from a variety of sources, and it confirms a hypothesis that is evident to anyone who cares to look: Obama had substantial help from Ayers.
Early in this investigation, I had contacted Patrick Juola, one of the nation's leading authorities on data-driven computer analysis. Juola cautioned that in his field, "the accuracy simply isn't there."
He continued, "The best-performing methods we know about can get 90-plus percent accuracy, but can also get 50 percent or less (and we don't yet understand the conditions that cause that to happen), which means that for high stakes issues (such as national politics), the repercussions of a technical error could be a disaster (in either direction)."
Juola added, "A better approach is simply to do what you're already doing (as far as I can tell from the columns you were so kind as to send) – good old-fashioned literary detective work."
That much said, there was a general feeling among people interested in this story that the public would need the confirmation of science, and not just from one source.
Fortunately, five different sets of researchers have taken the challenge to test the hypothesis that Ayers was heavily involved in the writing of "Dreams." And although there are admitted limits to this emerging science, the consensus among these researchers is noteworthy.
I am aware of a fifth stylometric analysis, soon to be released, this one from a British scholar of international repute, but here are some quick summaries from the first four. The authors' contact information could be made available on deep background for serious news sources.
"Using the chi-square statistic," observes one professor, "Obama's and Ayers's books were indistinguishable, while Obama's book was easily distinguishable from books by other authors."
Writes another analyst, using his own proprietary software, "There is a strong likelihood that the author of "Fugitive Days" ghost-wrote "Dreams From My Father" using recordings of dialog (either tape recorded or notes). Alternatively, another scenario could be possible: Ayers might have served as a 'book doctor.'"
One systems engineer writes, "The statistical style analysis performed by our research team suggests that the writing style of 'Dreams From My Father' is significantly more similar to the style observed in 'Fugitive Days' than to the style found in other works by Barack Obama
such as 'Audacity of Hope.'"
He continues, "Even more interesting, when we extract those sections of 'Dreams From My Father' that Dr. Cashill believes to be Ayers' writing and treat this as a unique document, the style analysis software identifies a stronger correlation between this sample and Ayers' 'Fugitive Days' than we see between this same sample and the remainder of 'Dreams From My Father'! Thus we have reason to believe that 'Dreams From My Father' had at least two authors, and one author's measured style features more closely match those of Ayers than they match those of the other author(s)."
"Under the Q-value statistic," argues one university-based analyst who tested "Dreams" against Ayers' 2001 memoir, "Fugitive Days," "segments of 'Dreams' consistently compared as well with 'Fugitive' segments as it did with other segments of 'Dreams' itself. In contrast, 'Dreams' compared poorly with other documents."
Writes another: "The Ayers-Obama matching shows a measurable and substantial effect. It is easily and objectively distinguishable from comparison to a third document. These results achieved through good methodology should readily stimulate scientists skilled in the particular relevant fields to construct their own tests, place objective metrics on the correlation between the Ayers-Obama documents and publish results."
He adds, and I agree, "We strongly think this bears immediate investigation by the academic community at large as the initial data presented is highly suggestive that these two documents share large portions of authorship."
Here is one of the more user-friendly of the studies in pdf format, as well as my summary of the literary detective work that has taken the project this far. Those readers who have influence the media, now is the time to use it.
Read Cashill's three-part series on Obama's "Dreams":
Part 1, "Bill Ayers' motive for penning memoir"
Part 2, "Deconstructing the text"
Part 3, "Real author of Barack book: Why it matters"
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