This past weekend, 5/8/2010, Firefighters for 9/11 Truth and Architects and Engineers for 9/11 truth held a conference in the San Francisco area to discuss their work. One of the guest speakers was a gentleman by the name of Tom Sullivan who had previously worked for Controlled Demolition, Inc. (CDI), owned and operated by the Loizeaux family.

Tom Sullivan worked for CDI about 10 years ago before and during 9/11, and he worked for CDI for almost 3 years. His roll with CDI was Site Photographer/Explosives Technician. He is also licensed by the FDNY to handle explosives. His explosives tech. duties included placing explosives in buildings to prepare them for demolition.

Sullivan worked on projects such as Seattle King Dome, Three Rivers Stadium, Philadelphia Naval Hospital, Key Span Gas Holders, among others. He also went to high-school with Doug Loizeaux of CDI as well. Sullivan has also published work in the book "Implosion" published by Black Dog Publishing.

Meet Mark Loizeaux. Mark Loizeaux runs a company called Controlled Demolition Inc.
Most of his handiwork have been shown on TV. he is a specialist in the field of Controlled demolition.
According to CDI website they do a lot more than Controlled demolition.
They do for example Forensic examinations on blast sites. They also work for the American Defence department and in fact they work for 5 different Government departments: Department of Defence (DOD), Department of Housing and Urban Development (HUD), Department of Justice (DOJ) and Department of State.

He is what you might call the US department of Demolition and a such very connected to the US Elite. So it should come as no surprise that Mark Loizeaux was contacted few days after the attacks of 911 to help with the Crime scene investigation the removal of the WTV 7 steel and debris.

He did his job so well that only a piece of steel about 40x60 cm has survived.

It is difficult for me to know where to begin peeling away the layers of misinformation the BBC peddled to their audience in last weeks exposé on the collapse of Building 7 of the World Trade Center in New York. There are so many people out there grinding away at the production, I don’t feel the need to repeat what they have already done with journeyman-like effectiveness, yet there is something that I have yet to see addressed that I feel is crucial to exposing the overall lack of trustworthiness of the piece. And there is another related aspect of it, that I feel may in fact, be almost an unintended admission, of sorts.

At issue? Mark Loizeaux’s direct misrepresentation of fact and Peter Hayden’s uncanny admission.