Wall Street Coalition Partners Set New Record to Signal
the Importance of a Successful ICC Review
© 2010 Brad Kempo B.A. LL.B.
Barrister & Solicitor
Not since executives at the three major U.S. stock markets began massaging closing numbers in September 2006 to contribute to the diplomatic effort to contain China’s imperialistic ambitions, fix Canada’s dysfunctionalities and address the proliferation of stealth cognition technologies had they embedded so many lexiconic constituents as they did on September 13, 2010. Why?
There was a convergence of events and circumstances that led these global powerhouse executives to set a new record on September 13th. Most prominent in motivating them was Satanic condemnation embedded in Saturday’s semi-final match at the U.S. Open and Sunday’s MTV’s award show. They took this unique step to underscore how much they like all coalition partners are extremely trepidatious of the political and corporate cultures spreading throughout the world as the China-Canada alliance goes on a spending spree to buy up and control large swaths of the world. Instead of democracy, rule of law and human rights continuing their trajectory as was the case in the 20th century to become constituents of humanity’s dominant ideology, their opposite will become manifest if nothing substantive is done. They view the ICC as a way to address this critically serious problem.
Additionally, (i) the date September 13th is 9.13 – a double Taylor Identifier (9+1+3=13; and 13), the lexiconic constituent named after ‘Partner of the Year’ and Uber-Achievement Geo Award recipient Taylor Swift. And (ii) since mid-July they’ve embedded TIs daily as documented and this date was the beginning of the eighth week doing so.
Plus on this day the CNN spin-off Headline News Network introduced a new television show:
The program’s title contains a double entendre: (i) being named after this celebrated partner and (ii) articulating how international justice is defined in terms of what she represents, namely having a personality and career that embodies the coalition’s geo-persona, i.e., that which is produced by democracy, rule of law, human rights, transparency, accountability and free market capitalism.
On this special day Wall Street market executives inserted a record-breaking, coalition-identifying twelve Taylor Identifiers:
Dow 10544.13 81.36 +0.78%
Dow 10544.13 81.36 +0.78%
Nasdaq 2285.71 43.23 +1.93%
Nasdaq 2285.71 43.23 +1.93%
Nasdaq 2285.71 43.23 +1.93%
Nasdaq 2285.71 43.23 +1.93%
S&P 500 1121.90 12.35 +1.11%
S&P 500 1121.90 12.35 +1.11%
Taylor kept her supra-celebrity status (defined as being adored and highly respected by coalition partners) at peak levels in August due to her non-stop diplomacy not only since becoming a member in March 2008, but also throughout August and September 2010; especially her contribution in her much anticipated August 27th-premiered music video – the first for her new album ‘Speak Now’, scheduled for release in late October.
[justice, Powell Maneuver]
She is co-director of this production and thus was in charge as to how it was geo-politicized; which began in the very first scene. She choreographs herself to enter a restaurant where she meets her love interest. The time on the clock she walks by is set at exactly 10:10 – lexiconically that’s twenty – the human experimentation theme. And she juxtaposes that reference to two decades of being an Article 7 victim with the colors of Chinada to identify the perpetrators.
Next in the scene are two pictures on the wall above the table she sits at of dogs (one for China and one for Canada):
This is the diplomatically coercive Dogville punishment theme that’s been used thousands of times over the years to threaten lethal military force and capital punishment. Their observation is timed to the lyric “left a small town and never looked back” – referring to the Custodian Chief’s eventual emancipation from Vancouver and the start of a life elsewhere and devoid of a kind of criminality and human rights violation that plagued him for so long and shocked and horrified those who learned of it.
The lyrics and images then begin a retrospective of her life depicting her parents having an unsuccessful marriage – one she doesn’t want to repeat. For this scene where they argue violently she adds a coalition identifying three bananas: the lab monkey theme in the context of the coalition's dispute with the Chinada High Command over stealth cognition technologies R&D, deployment and proliferation:
She includes them again a little later, timed to the lyric “It’s all I’ve ever known”; which describes how over a quarter century his life’s been lost to Chinada malfeasance, and thus his existence of being an enslaved, tortured human experimentation victim is all he’s really ever known.
Enhanced colorization techniques are employed on flowers situate on the kitchen counter during the scene where as a couple she and her love interest argue; using red, white & pink (Canada condemnation) to symbolically illustrate the conflict between the two sides of this first clash of civilizations in the 21st century.
This fighting reminds her of what her parents went through and makes it clear to her love interest if there’s a repeat of that the relationship won’t survive. Her facial expression to the lyric “brace yourself for the good-bye” captures coalition anger; articulating the inevitable forced departure of the malfeasant from public and private sector office:
The video immediately returns to the kitchen where her parents (attired in red and white) are fighting and right behind them is the pattern of prison certainty to describe where those who in Canada brazenly broke the law are going to end up:
A scene revisited several times is of her in a forest in which many dozens of photos are hanging on strings. This is her depiction of Photographic Diplomacy and what was produced using his digital camera to capture images from geo-politicized video for archiving purposes.
The lyrics and video then move into a phase where the couple get married, have children and enjoy a life together. Implicit in it all is the isolation-deprivation theme, where the Custodian Chief was denied these normal experiences because of his two-decade plus predicament.
This theme is explicit in the scene where she’s reading to the extra playing her baby son: white with stripes and the red bed cover = Canadian prison certainty. This also constitutes the child protection theme.
The beach scene where all are playing together as a family includes Taylor being attired in prison certainty, and timed to the lyric to “we’re gonna make it now”, referring to coalition confidence it will achieve all its objectives, which necessitate imprisonment for those who deserve it:
To conclude, and most geo-aggressive constituting coercive diplomacy is the ‘gun to the temple’ Richie-Santelli Maneuver juxtaposed with Chinada colors to “I can see it”, referring to serious ramifications for not heeding years of coalition demands to halt violations of domestic and international law:
As is now standard in the industry, a ‘behind the scenes’ video was made describing the production. Footage includes her with the youngster who played the child version of herself. The girl is attired in prison certainty and at the end of the first clip another girl to her left executes a Clooney Maneuver [@ 1:54] (child protection theme)
That’s followed by a very protracted and embellished double-handed Diaz-Latifah-Oprah-Swift Maneuver [@ 2:16] timed to her scripted triggering remark “You pulled it off”, which is a prediction the coalition will achieve all stated objectives:
Also of note is her first performance of 'Mine', taped during the summer for a country music festival and broadcast on September 1st. The colors of China are heavily accentuated throughout and she begins by indicating she feels like a "secret agent", which is a public reference to the nature of the pre-release filming and geo-politically to her status as a coalition partner:
