Later this year, I hope to write a in-depth consideration of a travelling exhibition, which was an audacious hoax. It traded on public gullibility and credulity.
I will be looking at the main players in this little farce, their financial backers, their duped fund-raisers and promoters, their “visual consultants” who “created the brand”, and their social media supporters.
And I will be asking how powerful people – BBC journalists and prominent Labour MPs – came to support Beech, and his exhibition the “Wall of Silence”, which launched at Bristol’s Colston Hall in January 2016. It was a series of photographs, solicited online by Beech from people claiming to be victims of child abuse.
Beech inserted into the exhibition pictures of Baby P and Victoria Climbie, whose hideous and tragic demises had nothing whatever to do with Beech, or his false claims of non-recent child abuse. And it also featured Beech, posing as “Carl Survivor” who was seeking justice for his murdered friends.
Instead, this superficial exhibition betrayed Beech’s disturbing obsession with dead children. In reality, it was a vehicle for his own self-aggrandisement as a wannabe “celebrity victim”.
Others who rejoiced that they featured on Carl’s Wall included Chris Stacey, an avid Exaro promoter; Sue Crocombe RN, an ICU nurse at Salisbury General Hospital, and a shameless fan of David Icke, a woman from Mugla in Turkey styling herself Clare Sheahan. All claimed to believe “Nick” aka Carl. Crocombe claimed to be an old friend and blogged and tweeted in Beech’s support, even threatening to invite Beech to sue a disbeliever (me) for libel! Sheahan also sought to traduce me as a “paedo-apologist” (amid many other vicious and dishonest attacks – see blogs passim).
Questions should be asked about the participation of the City’s Mayor, who presided over its launch; the Police and Crime Commissioner who tagged along, and a certain forensic psychologist.
Dr Elly Hanson was a special adviser to Operation Midland, the Metropolitan Police’s “investigation” of Beech’s false claims of abuse against VIPs, and also advised Wiltshire Police’s Operation Conifer, which involved allegations of historic abuse against the late Prime Minister, Sir Edward Heath.
Hanson is a woman with an axe to grind. She spoke at the launch of the Wall of Silence, and at a subsequent seminar during the week of the exhibition, in which she was supported by Sue Crocombe. Hanson even e-mailed Beech’s Alter Ego “Fred” a lengthy and sycophantic letter at the behest of the Metropolitan Police, during its botched Operation Midland investigation!
She spoke again at the launch of a follow-up exhibition the following year. By then, Beech had been arrested and then charged for paedophile offences. Did Hanson really not know about his fall from grace?
Why did the Metropolitan Police seek to sacralise Beech as “credible and true”?
There are vital questions to be asked about this curious and disturbing episode, in the public interest.
How could eminent institutions have been persuaded to host Beech’s ego-stroking exhibition of January 2016, and its sequel in 2017, and thereby to promote him as a secular saint when Beech was, in reality, a practising paedophile? This 2016 exhibition had even been approved by the Houses of Parliament! Until it became public knowledge that Beech was charged, that is.
Investigations into this mendacious exhibition hit a road-block in the summer of 2017. By then, Beech had been charged with paedophile offences, but reporting restrictions had blocked the public’s right to know this. The public was only permitted to know this in February 2018, and then Sarah Champion MP’s sycophantic crusade to get Parliament to host Beech’s Wall of Silence was abruptly squashed. The charity which had supported the show had steadfastly denied any connection between Beech and the “Nick” of Operation Midland. It has since destroyed the exhibits.
How Beech’s brazen campaign of disinformation – alleging non-existent and horrific rapes and murders of children by an array of leading political figures in England – came to public attention in 2014 is also a matter of pressing public interest.
Beech’s wretched Vogon verse, in which he flagged up his interest in the torture of children, as well as his equally execrable blogs, should have signalled to any sensible and intelligent person that he was an obvious headcase. Instead, his rank outpourings won him an influential fanbase, and certain journalists and police officers treated him like victim royalty. That is grotesque.
Nor did his supporters brook any opposition. I have experienced a significant amount of harassment (both on and offline) for daring to question the coercive narrative of “believe the victim” demanded by Beech and his fanatical supporters. The latter behaved like abusive cult members (and they include both Crocombe and Sheahan, as well as an employee of Miele HQ in Gütersloh, Germany, who is fluent in Swedish). Both Beech and his fanatic internet enforcers were – disgracefully – given validation by the utterly gormless and discredited Metropolitan Police, whom Beech continually manipulated in regular e-mails, phone calls and meetings.
Indeed, anyone who dared to question Beech’s obviously far-fetched and bizarre claims was promptly denounced as a paedophile or a “paedo-apologist” by an odd Internet agency Exaro (Beech’s official publicists), and their astro-turfing crew of tweeters, sporting false online identities.
This is a common and dishonest strategy of “woke” claims-makers, who seek to put certain topics beyond debate. But Exaro, which appears to have been a foreign-influenced disinformation campaign and propaganda machine, demonstrated the vacuousness and manipulability of Britain’s political class, who displayed a remarkable deference to Exaro’s unhinged atrocity narratives. The most manipulable being the idiotic Theresa May, then Home Secretary, who bent over backwards to appease lunatic conspiracists raving about missing dossiers and predaTory paedos.
Thus, in Beech’s case, this baleful tendency generated something close to a “Year Zero” revolution, in which frauds, fake campaigners and manipulative attention-seekers could manipulate the levers of power. Barbarians inside the gate, indeed.
That was pernicious, and a serious threat to the integrity of civil society. It was intended to disintegrate trust in democratic institutions, especially all the arms of government.
And for now, a final memory. In October 2014, after he had gone to the Met, Beech tweeted an image from “The Lion King” on his Twitter handle @Carl_Survivor: come add your voice to mine & turn it into a roar. (No one did, of course, which spoke volumes).
As Beech’s convictions today at Newcastle Crown Court on twelve counts of perverting the course of justice and one of fraud have conclusively shown, he was a paper tiger after all. But Beech could not have got away with his wicked campaign of deceit for as long as he did without the uncritical support of certain public authorities, which should have known better. Shame on them, each and every one.
Up-dated 1 August.