Disney's demonic descent!
David Buckna
> Subject: Disney's demonic descent!
> View: Original FormatNewsgroups: alt.bible.prophecy,
> alt.religion.end-times.prophecies, alt.bible, alt.religion.christian.baptist,
> alt.religion.christian
> Date: 2004-05-17 15:00:59 PST
>
> Dark Days at Disney World
>
> Summary:
> Written from a perspective of a young woman who was an intern worker
> at Disney World, this article shows how the Disney corporation is
> slowly abandoning its family friendly image. The young woman describes
> the atmosphere of partying and reveling at the apartments where she
> was housed, and how she decided to leave after witnessing sexual
> activity performed in public by homosexuals.
On the other hand, I think it's quite interesting that aspects of
religion and faith _do_ pop up in some of Disney's earlier films:
eg. Johnny Appleseed singing "The Lord is Good to Me", the quote at
the end of "Donald in Mathmagic Land" which talks about the Great
Mathematician (quoting Galileo); Arliss asking Travis if cows go to
heaven (Old Yeller); Donald Duck as Noah's assistant in Fantasia; The
Small One (the animated short) about Mary and Joseph travelling to
Bethlehem, etc. From time to time ministers have popped up in Disney
films (albeit in minor roles) but these characters _are_ there. eg.
Rascal, Greyfriar's Bobby, ec.
Of course I don't think these elements were part of any hidden
religious agenda on Walt's part, but _do_ reflect aspects of our
culture.
http://www.abpnews.com/news/news_detail.cfm?NEWS_ID=19
> More importantly, Pinsky said, Disney's bottom line was always about making
> money, not advancing religion. "As the country's attitudes toward religion,
> values and culture shifted, Disney's animated features -- its historic
> corporate center of gravity -- have shifted to accommodate them," he
> concluded. "It's just business."
David Buckna
---
The Gospel According to Disney: Faith, Trust, and Pixie Dust
by Mark I. Pinsky
* Paperback: 280 pages
* Publisher: Westminster; (August 1, 2004)
* ISBN: 0664225918
Editorial Reviews
From Publishers Weekly
Pinsky, Orlando journalist and author of The Gospel According to the
Simpsons, sets his sights on a larger, yet more elusive target: the
Magic Kingdom. As Pinsky argues, Disney's cultural influence is
enormous: "millions of children around the world know much of what
they do about the practical application of right and wrong from
Disney." The "Disney gospel" is simple enough in outline: believe in
yourself, never give up, good will be rewarded and evil punished.
Unfortunately, the book bogs down amidst the massive Disney canon; and
organizing it in "episode guide" format, rather than thematically,
does not help. There are sparkles of marvelous, irreverent wit:
"Tinker Bell, it is immediately apparent, has undergone some
alterations over the decades, including breast reduction surgery and
liposuction on her derriere." But for long stretches, the critical
tone turns sober, even snarky, as Pinsky picks off obvious targets
such as Snow White's passivity or Mowgli's haircut rather than
surfacing the hidden spiritual gems he found so often in The Simpsons.
Even considering the variety of Disney creations, he seems torn
between admiring "Walt's dream, to communicate lessons to children
across cultures," and debunking its "uplifting, family-friendly fare"
as "a sentimental notion—naļve at best and disingenuous at worst."
Still, readers will be struck by Pinsky's cogent observations about
Disney classics.
Copyright © Reed Business Information, a division of Reed Elsevier
Inc. All rights reserved.
===
Steve
had bad roots:
Walt Disney was a Freemason, it is no wonder he has had so much
occultic stuff in his material through the years:
http://members.shaw.ca/Illuminaticonspiracy2/waltdisney.html
Walt Disney
Walt Disney
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WALT DISNEY
ONE OF THE GREATEST DECEPTIONS OF ALL TIME.
By Fritz Sprinmeier
INTRODUCTION
For years, I have heard many Americans say that something is terribly
wrong in this country & that things are "going to pot", and yet
Americans can’t put their finger on what exactly is wrong. When I
first began to receive reports from victims of Illuminati mind-control
about Disney’s involvement in their mind-control, I kept an open ear,
but I wanted some tangible proof. After investigating for myself,
there is now no doubt in my mind that Disney (the man, the movies &
the entertainment parks) has been a major contributor to the demise of
America, while maintaining a very well constructed front of
wholesomeness. In this chapter, you will learn why Disney is one of
the best deceptions of the Illuminati. This author has read a good
portion of what is available to the public concerning Disney. This
exposé is undoubtedly the deepest on Disney that has ever been done.
Perhaps part of my motivation is that I’ve tired of Christians talking
and acting like Disney stands for sainthood. Christians, who should
have known better, are some of the ones who have swallowed "hook, line
and sinker" the enormous deception that entails Disney. They feed
their children a steady diet of occultism and witchcraft because they
have been programmed to think of Disney as wholesomeness and
everything that is good about America. Many writers over the years
have tried to expose Disney; most have been stopped before they could
get their books published. The few authors who have managed have faced
vicious attacks on their character & integrity, and have faced
enormous struggles against public relations campaigns paid for by the
Disney. The Disney’s power, and the power behind them, has frightened
most people away from challenging them. But someone needs to speak on
behalf of the victims. Whether anyone listens or not, the victims will
know that somebody cared enough to stand up & write the truth. Disney
has not only left mind-control victims in its wake, but they have
harassed land-owners, stolen employee idea’s and left all kinds of
hurting victims in their path. Disney has risen to become the
unquestionable largest media-entertainment conglomerate in the world,
& was ranked company no. 48 in the top 500 companies by Forbes 500.
HOW THE ILLUMINATI LIKE TO HIDE BEHIND PERFECT FRONTS
There are numerous Illuminati homes, restaurants, wineries and other
institutions that are today carrying out the same type of strict
standards upon their employees that Walt Disney Studios maintained.
While Hollywood was immersed in moral filth from the start, Walt
Disney Studios had strict standards. In the 1930’s, Disney had a dress
code that required men in ties, and women in sober-colored skirts. If
a man looked lecherously at a woman at Walt Disney Studios he risked
being instantly fired. Walt was a shining example of the strictest
legalism. Even during the ’50's, if an employee were caught saying
anything considered a cussword such as "hell" they were instantly
fired no matter who they were. Walt would not allow his male employees
to have any facial hair, even though he himself sported a mustache. He
never allowed employees to have alcohol at the studios, (which might
not be a noteworthy standard except that Walt himself drank heavy
amounts of alcohol in his private office at work for decades).
Initially, Walt was very reluctant to have his young artists, who were
being trained by Don Graham, draw live nude models, but reluctantly
gave approval. Again the motive was not to serve God, but to make sure
the Disney reputation remained untarnished. With the power of the
establishment media behind Disney, Walt had nothing to worry about,
news about the nude drawing classes and their detailed drawings never
reached the light of day. Behind such strict fronts of legalistic
morals, cleanliness & soberness, you will often find lots of guilt and
high level satanic ritual. For instance, Hitler (who was by the way
also a failed artist & who liked mechanical things more than people)
obsessively washed his hands many times a day (out of guilt), and so
did Walt Disney. Walt obsessively washed his hands several times an
hour, every hour. Walt liked animals & his trains more than people.
This author has seen some alters who were forced to take another
human’s life, and when they relived the memory, the altars then tried
to physically wash the bloodguilt off of their hands. Another example
is that over the years this author has discovered that many of the
exclusive restaurants that are meticulous in every detail are tied in
with the mind-control and criminal activities of the elite. Dirty
money is keeping the places looking sparkling clean.
Walt Disney worked very hard at maintaining a great image for himself
and his company. An example of this, is how he exploded in rage and
wrote an angry memo when a Disney character was placed in a beer ad.
(Memo mentioned in Thomas, Bob. Walt Disney; An American Original.
Hyperion, 1994, p. 7.) He had a personal image builder, Joe Reddy, who
worked full time to build Walt’s image. Joe Reddy was a cigar-smoking
Irishman who loved the catholic college Notre Dame’s football team. He
also was a publicity agent for Shirley Temple. But the Disney
deception entails far more than Joe Reddy’s decades of image making,
and Walt’s own abilities to create good images of him. Just as with
Billy Graham (see Vol. 2 about Billy Graham), the entire Illuminati
threw their weight behind promoting Walt Disney. Ronald Reagan and
Walt Disney were good friends and both cut from the same die in many
ways. Both men were high ranking Freemasons, both came from socialist
backgrounds (Ronald’s mother was Eleanor Roosevelt’s best friend, &
Walt’s Dad was a socialist leader), both were paid FBI informants, and
both were involved heavily in the abuse of mind-controlled slaves.
Walt always generously supported Reagan’s political campaigns, and in
turn Reagan did political favors for Walt as Gov. of California. For
instance, Disney’s Mineral King mountain resort needed an access route
through the Sequoia Nat. Park at a time when there was lots of
congressional pressure to preserve the last stands of redwoods. Gov.
Reagan got his friend Disney his road through the park.
Reagan served as the emcee for the opening day of Disneyland on July
17, 1990. He returned with Illuminati TV host Art Linkletter for the
35th anniversary. Ronald Reagan & Art Linkletter both pumped Disney
publicly. Another slave abuser that spent time with Disney was Bob
Hope, who would spend time on the golf course with Walt. On the
opening day’s telecast, cameras showed Sammy Davis, Jr. (a member of
the Church of Satan) and Frank Sinatra (a mind-control slave handler)
driving the pint-sized Disney ears at the Autopia ride. When Disney
celebrated its fifty yr-anniversary with a two hour special on May 20,
1991, the program included people like occultist Bill Campbell and was
named "Best of Disney, 50 Years of Magic." For the silver anniversary
of Disney World in Oct. ’96, the Clinton’s were invited to help open
15 months of celebrations. The theme of the anniversary celebrations
was "Remember the Magic". A Boy’s & Girl’s Club sang ‘When you wish
upon a star’ (a popular programming song). Hillary Rodham Clinton
(herself an Illuminati Grand Dame and a mind-control programmer)
shared with the audience that she and Bill "first brought daughter
Chelsea to the Magic Kingdom when she was four." Roy E. Disney, nephew
of Walt, told the public that Disney World "is the story of men and
women who took hold of a dream and never let go." There is a double
meaning to that. Many victims of trauma-based mind-control have taken
hold of the illusions that were programmed into their mind secretly at
Disney, and never let go. Among the visitors to Disneyland have been
all the American Presidents from Eisenhower to Clinton, over a dozen
kings & queens, as well as Emperor Akihito of Japan, Anwar Sadat, and
Robert Kennedy (who rode the Matterhorn with astronaut John Glenn.)
Both Denmark’s & Belgium’s kings who are in the Illuminati visited, as
well as the dictators of Indonesia, the Shah of Iran and Ceausescu of
Romania. (As a side-note Roy E. Disney was forewarned by Arab leader
that the Shah was to be deposed.) Organizations that have been
actively working for a New World Order for many years gave big awards
to Walt in his early years such as the B’nai B’rith (Man of the Year
Award to Walt) and the Chamber of Commerce. In 1936, Walt was given
the Chamber of Commerce’s annual “ Outstanding Young Man" award. The
establishment’s Yale & Harvard Universities gave him honorary degrees.
Walt Disney biographer Leonard Mosley, who researched Walt Disney for
years (as well as writing books on the duPonts, the Dulles brothers,
and Hirohito) wrote in his book on Walt Disney, "The studio publicity
machines in the film colony had, as usual, gone out of their way to
try to persuade me, as a writer for a powerfully influential British
newspaper, that this was a city of lawless gods and goddesses, full of
clean-living, sanitized stars.
"It was even more of a deodorized world at the Walt Disney Studio
where the publicity men insisted their boss was faultless--never drank
too much, never used a swearword, never lost his temper, never
quarreled with his wife or family, never let down a friend. And woe
betide anyone who tried to suggest otherwise. Members of the resident
foreign and local press risked their jobs if they dared to write
stories inferring that Walt Disney could be domineering, implacable,
and unforgiving (as was the case, for instance, before, during, and
after the 1941 studio strike). The Disney flacks were capable of
exerting heavy pressure on editors and proprietors or, through the
advertising pages, against anyone who inferred Walt Disney was not the
epitome of well-scrubbed and benevolent perfection." (Mosley, Leonard.
Disney’s World. New York: Stein & Day, p. 10.) Disney is perhaps the
epitome of Illuminati abilities to create images. They have created
great images for things Disney, incl. Walt Disney, Disney movies, and
Disney’s Amusement parks. In some cases these things have been
overrated, in other instances the sinister side to them has been
carefully hidden. In order to make movies that contain the typical
smut of Hollywood, sex and violence, Disney did a slight of hand and
created subsidiaries which Disney runs, which has allowed them to keep
their good image. They also never showed the public the hard-core porn
that was made for years in secrecy for the elite. Behind Disney’s good
front lie hard porn, snuff films, white slavery, Illuminati
mind-control, and the seduction of several generations into
witchcraft. Disney’s involvement in these kinds of things will be
explained in this chapter. Nobody has sold America witchcraft as well
as the Disney brothers. Movie after movie has cleverly brought the
occult into the warp & woof of American thought, all under the
disguise of entertainment. For instance, it was Disney that brought us
cannibalism and told us that it was a "triumph of the human spirit" (a
direct quote from Disney’s Touchtone Producer Robert Watts concerning
Disney’s movie "Alive" featuring survivors of an airplane crash who
turned to cannibalism). Under the disguise of entertainment & showing
us how "triumphant" the human spirit was, they subtly promoted
cannibalism. Mickey Mouse plays a leading role in "The Sorcerer’s
Apprentice." And yet when this author has suggested that Disney movies
aren’t wholesome, many Christian parents come unglued and have gotten
angry with this author. The deceptive image that Disney movies are
wholesome is a triumph in Illuminati deception. Parents would be
surprised what is slipped into cartoons. In Disney’s "The Little
Mermaid" the castles are male sexual organs. In one cartoon Mighty
Mouse is shown without comment clearly snorting cocaine. Walt Disney
Studios Chairman Joe Roth is in charge of Walt Disney as well as
subsidiaries Touchtone, Miramax, and Hollywood Pictures, which were
all created to camouflage the Disney production of adult films. Disney
operates in a clandestine manner regarding the promotion, distribution
and rating of the films produced by their subsidiaries.
DISNEY MAKES MALE PHALLUSES INTO CASTLES.
Roth oversaw Disney’s subsidiary Hollywood Pictures’ Evita film. Evita
has as its main start "Material Girl" Madonna. Madonna is in reality a
mind-controlled slave who has appeared in numerous underground porn/&
ritual porn movies. (This author has an underground catalog from a
porn business that has recently changed its location of business. The
catalog offered a film of Madonna performing an actual blood
sacrifice.) She also was the main actress in Disney’s Dick Tracy film,
which is reported to be used for mind-control. During an Arsenio Hall
show, the cameras picked up Madonna, who as a guest acted
dissociative; during the show kissing her Baphomet ring. Disney
controls the products that are associated with the movies of their
subsidiaries. In Evita’s case they are marketing hats and other items,
as just one more of Disney’s countless artificially generated
consumerism campaigns. In Ruth Stein’s interview of Madonna, Madonna
appeared bored with plugging Disney’s consumer products. When asked
about the tango dresses and hats inspired by Evita that popped up in
stores after the film, Madonna said, "Believe me, I have nothing to do
with it. Disney is pushing the whole thing." (San Francisco Chronicle,
12/29/96, Datebook section). In one interview Madonna states she wants
her daughter to grow up knowing Catholicism, but she doesn’t believe
that it would be good for her daughter if Madonna married the father
of her child from Lourdes, Carlos Leon. In another interview, Madonna
says, "Actually, I’m a very good role model, because I say, ‘Look,
these are my standards’..." She then goes on to plug homosexuality,
same sex marriage, and single families in the interview. Walt Disney
stated that it plans to release an album by DANZIG, a heavy metal band
whose songs contain "dark themes". The Disney press release announces
on its by-line "Mickey Mouse is going heavy metal." Disney’s album,
BLACK ACID DEVIL" was due to hit the music stores Oct. 30, 1996 during
Halloween time. According to Disney this music has no satanic
references, but does have "dark, Gothic and sexual" overtones. Glenn
Danzig denies that he is a Satanist.
AN OVERVIEW
Disneyland and Disney world are world famous and the pride of America.
They are also extremely important programming centers for the
Illuminati to create total mind-controlled slaves. Disneyland is also
involved with providing a place for rituals, porn and other satanic
activities. In terms of deception, Disney movies and Disney Amusement
Parks rate as one of the best deceptions. According to deprogrammed
ex-Illuminati slaves, the Illuminati in the 1960’s needed to shift
their programming away from the military bases, because too much
publicity (heat) was shined on the military bases. Their goal was to
have someplace that people from all over the world could come to
without raising any suspicions, and a place, which would be the
perfect cover for many of their criminal activities.
According to a witness, the Illuminati Programmers got a big laugh out
of using Disneyland as a major Illuminati base for criminal activity.
Under the disguise of entertaining the world, they carried out money
laundering, child slavery laundering, and mind-control. They nicknamed
Disneyland "the little syndicate of mind-control." When a child of 3
or 4 was kidnapped, they could torture the child and then put him on a
ride such as a Ferris wheel or carousel that a. created dissociation
from the pain, while also b. going along with some fairy tale
programming script. An abducted child while waiting to be picked up
from one Illuminati non-parent caretaker by another could be kept
happy and distracted while waiting for the pickup. For years,
Disneyland was an Illuminati center for many of their worldwide
activities. Now Disney has created other sites around the world such
as Euro Disneyland 20 miles east of Paris and Tokyo Disneyland. Tokyo
Disneyland in 1991 had 16 million people attend. With such hugh
crowds, it doesn’t take much imagination how the Illuminati have been
able to do sneaky criminal activities right in front of people, and
the public never sees it, in the middle of all the activity. Euro
Disney has been money losing affair, but the Saudis who benefit from
its mind-control, gave Disney the money to keep it financially in
business. Walt Disney Records is the largest children’s record label
in the world. Disney through their movies, books, toys, records, etc.
has made a tremendous impact on the children of the world. Their movie
Return from Witches Mountain was one of the most powerful witchcraft
promotions ever made. Ducktails, which has deliberate Monarch
mind-control triggers written into the script, is also broadcast in
Poland and the former USSR.
From the time of the Roman Empire (at least, if not before) the
oligarchic leadership, who have been in control of both the Mystery
Religions and European aristocracy, have known about BREAD & CIRCUS.
Bread and Circus refers to the concept that IF the masses of people
are given entertainment and food staples, THEN they are easy to
control. Walt Disney movies have played a key role in providing
entertainment for the masses to insure Illuminati control. Walt
Disney’s friend the Masonic prophet H.G. Wells in his book “A Modem
Utopia” said that there would be lots of shows in the New World Order.
The World Future Society in a book review in their publication Future
Survey Annual, 1993, (ed. Michael Marien, Bethesda, MD: World Future
Soc., p. 91) describes Disney: "Control of commodities [such as
entertainment] and access to commodities translates into control over
people. ‘The postmodern US is a massive rush of disconnected
commodities, each seeking a moment of our attention." The world of
commodities is our soma, and entertainment is the current form of
public discourse. Walt Disney World, spread over 27,400 acres of
central Florida swamp and scrub forest, ‘is the most ideologically
important piece of land in the U.S.’ What goes on here is the
quintessence of the American way. It is visited by over 30 million
people a year--not only the major middle-class pilgrimage center in
the US, but by far the most important entertainment center in the
world. It is clearly Oz, utopia as a marketing device."
Two Disney brothers Walt (Walter Elias) and Roy O. Disney have been at
the center of the creation of amusement parks and popular Disney
films. In more recent times, two other men, Eisner and Katzenberg have
been notable at Disney. Eisner & Katzenberg, as well as others will be
discussed later. One of Disney’s directors, Victor Salva, was
convicted of molesting a boy and filming one of the sexual
molestations. Recently Disney Director Salva produced the Disney movie
"Powder". (Victor Salva’s sexual molestation conviction was covered by
newspaper articles such as Robert W. Welkos of the LA Times, in
newspapers such as The Oregonian, Weds. Oct. 25, 1995, A sect.) The
impact of the Disney brothers is monumental. Mickey Mouse teeshirts
can be seen being worn by natives all over the world. Disney World and
Disneyland are the quest for a large segment of humanity, who often
esteems these amusement parks as the highlight of their life. What is
highly esteemed among men is an abomination to God according to the
Word of God. The Bible arbitrarily makes this claim, but sadly,
research by this author over the years proves that a close examination
of Disney & mankind’s esteem for "Disney" things does vindicate the
Biblical expectation. In other words, as readers of this article will
find out, behind the appearance of wholesomeness of the Disney
brothers and their creations lays abominations-- some of the most
grotesque aspects of generational occultism the world has ever seen.
Disney’s Magic Kingdom has become an American Institution that impacts
people all over the world from the cradle to the grave.
WHO WAS WALT DISNEY?
In the large book The Art of Walt Disney from Mickey Mouse to the
Magic Kingdom by Christopher Finch (N.Y.: Harry N. Abrams, 1975) on
page 11 an interesting and revealing statement is made: "By
definition, public figures are known to everyone; yet, even after
talking with some of Disney's closest associates, it is impossible to
escape the conclusion that nobody really knew him. Always there was
some aspect of his personality that was just out of reach."
Those who got to know Walt too closely make complaints such as he was
"self-satisfied, intractable, and arrogant." He could bring his
artists to tears or anger in a matter of seconds. Finch is not the
only author who has tried to warn his readers that the public’s image
of Walt Disney was just that--only a false image. Mosley also writes
in his biography of Walt Disney, "Since Disney is regarded by millions
of people, particularly in the United States, as perhaps this
century’s most brilliantly successful creator of screen animation, I
think I should make one thing clear right away. I share the general
admiration of a man whose cinematic achievements were always so
happily inspired and inspiriting. But--and this is where I differ from
uncritical idolaters--I have to know all the facts, no matter how
unpalatable, as well as the romantic myths about any great man or
woman I admire. Many of the myths that have been created by his
publicists about Walt Disney are unpalatable, unbelievable, and
unsatisfactory because so much of the real Walt Disney has been
deliberately concealed.. .Walt Disney...had grave flaws in his
character." (Mosley. Disney’s World, pg. 9) Years ago, an Illuminati
Grand Master and programmer stated, "If the world only had the eyes to
see the fibers which lay under the surface of Walt Disney’s image,
they’d tar and feather him, and drag him through the streets. If only
they knew what Disney’s primary goals."
PERSONAL DETAILS
Walt had black hair with a black mustache, and bright quick eyes and
was about 6’ tall. He used his own facial features to clue artists on
how to draw Mickey Mouse’s features. He liked specially rolled brown
cigarettes, which he smoked up to 70 a day. He picked up the smoking
habit in the army. He loved expensive Scotch Whiskey, red sunsets, and
horses. He had a vacation home in Palm Springs, CA called the Smoke
Tree Ranch. He often wore the Ranch’s letter STR emblazoned on his
necktie. He played lots of golf with Bob Hope and Ed Sullivan at the
ST Ranch. His main home was an estate in Holmby Hills. The Holmby
Hills estate was located in a plush area where lots of rich
show-business families lived. It was located between Bel-Air (an
occult word for Satan) & Beverly Hills.
Walt spent many of his nights at the Disney Studios and later he had
his own private quarters at the center of Disneyland. He had
reoccurring bouts of insomnia. (For his nerves and insomnia he’d take
alcohol and tranquilizers.) He’d go weeks on end without stepping foot
on the Holmby Hills estate and seeing his family.
The main topic at the studio by the staff during different time
periods was Walt’s bizarre behavior-- he would not be available until
late afternoon, when he would emerge from the studio’s subterranean
maze of tunnels, where supposedly he was "chatting with the
maintenance engineers" everyday. The value of his estate when he died
was 35 million dollars of which Lillian his wife inherited half. In
his later years, when Disney took a vacation he went to Paris for 3
weeks, and 3 weeks at the Hotel du Cap, in Antibes, and then cruised
on Fritz Loew’s yacht with Ron and Diane Disney. In England, Walt
spent time with the British Royal family and met privately with
Masonic prophet H.G. Wells. In Rome, Walt visited privately with the
Pope and the dictator Mussolini. In 1966, Walt Disney died. Prior to
his death he had investigated cryogenesis--being frozen, and it is
believed by some that his body is frozen somewhere in California,
while others claim he was cremated.
MICKEY MOUSE
According to one source, the inspiration for Walt to create Mickey
Mouse came when he was unemployed and saw a mouse in the gutter. There
are quite a few stories in circulation as to where the idea came from.
Ub Iwerks claimed he thought Mickey up at an animator’s meeting in
Hollywood. Walt once said, "There is a lot of the Mouse in me."
(biographical article written by Elting E. Morison, p. 131) In fact,
Ub Iwerks told Walt that Mickey Mouse "looks exactly like you--same
nose, same face, same whiskers, same gestures and expressions. All he
needs now is your voice." Walt often did serve as Mickey’s voice. A
book put out by Walt Disney Co. in 1988 reveals that Walt Disney told
Ward Kimball "Quite frankly, I prefer animals to people." Walt usually
was the voice behind Mickey Mouse, (even though he wasn’t the artist.)
His mother was chilly for years about the work Walt did. Around 1940,
after much pleading, he finally got her to watch Mickey Mouse. His
unsupportive mother (which he would within a few years learn was not
actually his biological mother) told him she didn’t like Mickey
Mouse’s voice, to which he told her it was his, and then she responded
by saying he had a horrible voice. The "cold towel" she threw on
Mickey Mouse helped convince Walt to quit making Mickey Mouse
cartoons. Very few came out of Disney after that, and the very next
Mickey Mouse full-length feature cartoon, Fantasia, had Mickey mostly
silent.
Walt’s idea for The Sorcerer’s Apprentice was based on some of his own
ideas. Walt had had the dream which was used for Mickey Mouse in The
Sorcerer’s Apprentice of having "complete control of the earth and the
elements." Disneyland and Disneyworld were partial fulfillments of
that dream for control. Walt’s final pet project just prior to his
death was the meticulously restored version of the witchcraft film
,,Bedknobs and Broomsticks." (Disney Magazine, Winter 96-97, pub. by
Disney, p. 96 mentions this.) As a programming device, Mickey Mouse
works well because it plays on the subconscious genetically
transmitted fear of mice that women have. Mickey’s image can help
create a love-hate relationship, which is so valued during the
traumatization & programming of mind-controlled slaves.
Some sources state that Walt’s love for animals came from the time his
family had a farm near Marceline, Missouri. Walt began his schooling
at Marceline, but continued it after the age of eight at Benton School
in Kansas City, MO. Walt’s Dad had a serious gambling problem and
passed the spirit of gambling to his son Walt. Walt never graduated
from high school. He had a natural love and a flair for artwork,
although (contrary to his public image) he never became proficient at
it. He joined the army in W.W. I. as an ambulance driver by lying
about his age. During the war, he also chauffeured dignitaries. He
also did some other things that are very revealing. He enjoyed
drinking & gambling while in the service, and he ran a scam where he
doctored German artifacts picked up on the battlefield to sell to
people. War relics were tampered with to get them in shape to get the
most money from them possible. Walt took the battle souvenirs - and
dressed them up, for instance, coating the insides of helmets with
grease, hair & blood and putting holes in them to make them into
expensive souvenirs. This shows that Walt was willing to build
illusions if it paid. He could be deceptive if he saw an advantage to
it. From gleanings from things Walt said to people, it appears that as
a child, he’d seen the darker side of life (for instance, his father
had a habit of beating him in the basement) and had had some interest
or exposure to magic as a child. Bob Thomas writes, "Walt took a
boyish delight in playing tricks on his parents. He was fascinated
with magic tricks..." (Walt Disney, An American Original, p. 35.)
After the military, Walt hoped to have a career as an artist. He
applied to the advertising agency of Pesman-Rubin. Roy, his brother,
claimed that Pesman-Rubin hired Walt as a personal favor to Roy who
handled the agency’s account at the bank Roy worked at. Walter lasted
a month until the advertising agency let him go due to Walt’s
"singular lack of drawing ability." According to Current Biography
1952, in 1923, Walt and Roy had together $290. They borrowed $500 from
another Disney, one of their uncles named Robert Disney and began to
try to make cartoons. Robert Disney had retired in the L.A. area in
Edendale, CA after a successful mining career. Robert had always been
close to Walt’s father Elias, and helped Walt and Roy out when they
came to California. Walt loved to study Charlie Chaplin (a member of
the Collins family). He scrawled notes about his body language, facial
features, and his gag methods. He also read everything he could about
animation and cartooning. They worked out of their uncle’s garage in
Hollywood, CA. They were finally able to make a good cartoon Steamboat
Willie in 1928, which became an instant hit. As with many things in
life, the cartoon was not only good, but Walt finally had the
right,,connections." On Nov. 18, ’28, Steamboat Willie was shown in a
small, independent theater without any advance promotion or
advertising. But amazingly (!) the New York Times, Variety, and
Exhibitor’s Herald all ran rave reviews of the cartoon the next day.
Was this an accident? Did journalists from all these prestigious
periodicals just happen to go to this tiny independent theater? No it
was connections. The reason the elite decided to promote Walt Disney
after Steamboat Willie came out as Hollywood’s newest "boy wonder" was
to deflect enormous bitterness that had been generated by the Stock
Market collapse toward Jewish financiers. Hollywood, even in its first
two decades, was known as "Babylon" and "Sin City". The movie industry
was well known to be run by Jews, and many people blamed the Stock
Market Crash on the moral degradation that Hollywood had introduced to
this nation. There were calls for government regulatory groups to stop
the smutty Hollywood films. Edgar Magnin, the spiritual leader of the
major moviemakers who were part of the Los Angeles B’nai B’rith
reportedly encouraged those in the Mishpucka and others who were B’nai
B’rith movie makers that Hollywood needed to protect itself by putting
Walt Disney in the limelight as a Christian "white knight with family
values". (By the way, Edgar Magnin was nicknamed "Rabbi to the Stars",
because he was "the Hollywood rabbi".) E. Magnin’s grandfather’s
department store chain was one of the first major accounts of the Bank
of Italy, and Edgar Magnin had continued his family’s close
association with the Bank of Italy. The closeness also came from the
Bank of Italy’s close ties to the B’nai B’rith and ADL. In 1930, the
movie industry made a production code, which stated that the industry
must make a special effort to make movies appropriate for children.
Hollywood directly praised Disney in that code as an exemplary model
of what the movie industry wanted to do.
With the power of the B’nai B’rith and ADL behind him, Walt began
sailing to fame. Movie studios that had been turning out smut, with
lots of sex and violence all jumped on the bandwagon to show Walt’s
clean wholesome cartoons. Walt was the facelift Hollywood needed after
the Depression caused Americans to think about America’s morals. Many
of the regular moviemakers were so corrupt they were out of touch with
moral issues, but Walt Disney knew black from white. The Jewish movie
makers "pushed the man [Walt] they considered there best hope to the
front of the pack" who was billed as a fundamentalist Christian
(albeit a Masonic "Christian" who rarely stepped foot in a church).
(quote from Walt Disney Hollywood’s Prince of Darkness, p. 50.)
Strangely, the biographies indicate that Walt quit doing the actual
drawing in 1927, and Walt devoted himself entirely to the development
of the cartoon business, such as raising money. In other words, the
image of Walt Disney being the artist who has created the Disney
cartoons is inaccurate. The Disney brothers actually hired many other
artists to do the artwork. If Walt quit drawing in 1927, and their
first marketable cartoon was in 1928 that clearly shows that Walt did
not do the actual cartooning. He continued to oversee the work,
walking in and rigidly inspecting what was being done to suit his own
intuitive tastes. Actually the genius cartoon artist (animator) who
made Walt Disney a success was Ub Iwerks, about whom Walt on a number
of occasions said was "the best animator in the world". Without Ub
Iwerks to take Walt’s ideas and turn them into reality, Walt would
never have become famous. Ub was an incredible genius who had a sense
of line, a sense of humor, patience, organization and a great sense of
what Walt wanted. Walt treated him cruelly at times, interrupting him,
playing tricks on him, and not being totally honest with paying him,
but he stayed with Walt over the years and made Walt the success Walt
became. (The books Disney’s World and Disney Animation: The Illusion
of Life have information on the unheralded genius Ub Iwerks.) Another
unknown great artist was Floyd Gottfredson. Floyd Gottfredson drew all
the Mickey Mouse cartoons from 1932 until October, 1975--which is a
period of 45 1/2 years. Floyd Gottfredson was a Mormon born in a
railway station in 1905, and raised in a tiny Mormon town, Siggurd,
180 miles so. of Salt Lake City. In 1931, before Floyd totally took
over the Mickey Mouse drawings, he would take suggestions from Walt on
what to draw. For instance, Walt puzzled him by insisting he do a
cartoon series of Mickey Mouse committing suicide. Floyd had said,
"Walt, You’re kidding!" But Walt thought that a series on suicide
would be funny. Over the years the Walt Disney products never
mentioned Floyd’s name. The bulk of the fans were led to believe Walt
did the cartooning of Mickey Mouse himself. (See the book Walt
Disney’s Mickey Mouse in Color. Ed. Bruce Hamilton, pub. The Walt
Disney Co., 1988.)
Fred Moore was involved in the creation of Pluto and some other
cartoon characters. The idea for Pluto was Walt’s and it was Norm
Ferguson’s genius at drawing that took the idea and created the actual
images. Walt Disney was awarded 32 personal academy awards for the
work that was done by his studios. Walt Disney’s famous signature was
actually designed by someone else, and was taught to Walt. (Schickel,
Richard. The Disney Version: The Life, Time, Art and Commerce of Walt
Disney. NY, 1968, p. 34.) Walt could only make a crude Disney
signature, so he delegated the writing of the signature to several
artists including Bob Moore, Disney’s publicity artist. Later, after
much practice he learned to make it well enough to do for publicity.
Many people who wrote letters asking for his actual signature, and who
actually did his signature, thought that they had received forgeries
by his staff, because the famous Disney signature was so crude. The
nicer looking ones were the forgeries. One cartoon animator who joined
Disney in 1940 recalled that Walt told him the first day, "You’re new
here, and I want you to understand just one thing. What we’re selling
here is the name Walt Disney. If you can swallow that and always
remember it, you’ll be happy here. But if you’ve got any ideas about
seeing the name Ken Anderson [his name] up there, its best for you to
leave right away."
OCCULT PORN KING
Walt grew up fascinated with the occult and in an abusive home
situation. He was fascinated with cartoons, nature and children. He
had an intuitive sense for quality cartoons that would appeal to
children. At some point, the syndicate got him indebted to them. At
that point he was their man. He owed them a debt that they held over
him. In secret, Walt became a porn king. A victim remembers that he
was sadistic and enjoyed snuff porn films. His interest in children
was far from altruistic.
The Hapsburgs of the 13th Illuminati bloodline had a sex salon in
Vienna, where a porn photographer named Felix Salten worked. Felix
Salten wrote a book Bambi, which was then translated into English by
the infamous communist Whittaker Chambers. The elite were just
beginning to form the roots for today’s environmental movement. The
book appealed to Disney, because Disney liked animals better than
people. In the book, tame animals view humans as gods, while the wild
and free animals see humans as demons who they simply called "Him."
The book begins with both free and tame animal viewing humans as
rightly having dominion over them. In the end, the animals view all
humans as simply being on the same level as animals, a vicious animal
only fit to be killed.
Disney instructed his animators to make the animals "to be human. I
want people to forget they are watching animals." Bambi was to receive
a Christ-like manger birth, with the animals hailing him as a
"prince." Due to his sexual problems, Walt at one point permitted
himself to be subjected to the packing of his genitals in ice for
hours at a time. (Elliot, Walt Disney Hollywood’s Dark Prince, p. 83.)
Children were instructed to call Walt "Uncle Walt." An example of this
were the Mouseketeers. For those who know how mind-control programmers
have traditionally liked to be called "uncle" by their child victims,
the insistence by Walt to be known as "uncle" is distasteful. From
what this author has learned from some sources about Walt’s non-public
life as a hidden sadistic porn king, it raises questions about other
parts of his life. For instance, Kenneth Anger in his book Hollywood
Babylon II, p. 192, "Some animators stated that the boss [Walt Disney]
seemed to have fallen in love with the boy. There may be some truth in
this..." The boy, who Walt fell in love with, was a small young
attractive boy actor named Bobby Driscoll who signed up in 1946 with
Disney. He acted in Song of the South, Treasure Island and Bobby’s
voice was used in Peter Pan. Bobby Driscoll was very intelligent and
attractive. Did Disney help or abuse him? If Disney was such an
upbuilding wholesome atmosphere, & this child actor had everything
going for him, why did Bobby become a methamphetamine addict at 17 &
die within just a few years? Why didn’t his talent & early career lead
to something positive in his life?
From those who knew Walt personally one learns that he had an
obsession with the buttock part of anatomy. He enjoyed jokes about
this part of the anatomy, which he told to his staff quite frequently.
The staff edited out many of his crude posterior jokes from cartoon
scripts. Two examples that got by the editors are a Christmas special
where a little boy is unable to button the drop seat of his pajamas.
The little boy’s problem in maintaining his modesty is the running gag
of the cartoon. In the end, Santa gives him a champer pot. The 2nd
example is the paddling machine used on the wolf in The Three Little
Pigs. Numerous Disney cartoons feature buttocks of characters
provocatively twitching.
AS A WITNESS BEFORE CONGRESS
After W.W. II, Walt Disney was called upon by Hollywood to testify in
their defense at the Un-American hearings which were being carried out
by congressmen who were concerned about the heavy communist influence
within Hollywood. Walt downplayed any communist influence in Hollywood
to Congress. Interestingly, Walt’s father was an outspoken Socialist
Party leader in the United States who advocated a socialist New World
Order. He regularly voted for socialist presidential candidate Eugene
Debs. One of the first drawings Walt did as a boy was to duplicate the
socialist political cartoons he found in a socialist periodical Appeal
to Reason that his father subscribed to. When Walt asked in the 1930’s
how his father felt about socialism’s successes, his father Elias
said, "Today, everything I fought for in those early days has been
absorbed into the platforms of both the major parties. Now I feel
pretty good about that." (Thomas, Bob. Walt Disney, An American
Original, pg. 147-148) Walt’s movie Alice’s Egg Plant (1925) was pure
communist doctrine where the red hen (communist) leads the working
chickens on a strike against Julius the farm manager (representing
capitalists.) The strike at Disney and unionization of Disney in 1940,
soured Walt toward communism. The workers at Disney publicly made
personal verbal attacks on Walt & he never forgave the humiliation. In
spite of his public distaste for communism, his Magic Empire (his
castle where he was king) was run like a socialist dictatorship,
similar to what the NWO plans. Employees at Disney did not have
titles; it was faceless egalitarianism with an all powerful dictator
Disney at the top. It was racially elitist too. The only full-time
African-American during Walt’s lifetime at Disney was a black shoe
shine man. Was Walt a socialist of the National Socialist (Nazi)
variety? Arthur Babbitt claims, "On more than one occasion I observed
Walt Disney and Gunther Lessing there [at Nazi meetings], along with a
lot of other prominent Nazi-afflicted Hollywood personalities. Disney
was going to meetings all the time." Lessing was mobster Willie
Bioff’s crony. Bioff had spent his earlier days running a whorehouse,
before coming to Hollywood for the mob. In the final panel of the
Mickey Mouse comic strip of 6/19/40 a swastika appeared. Some people
have wondered what this & other "secret signals" in Disney’s work
meant. Disney was not Illuminati. The powerful elite are very skilled
at controlling people that rub shoulders with them, those who are
beginning to become independently wealthy. For instance, they
destroyed Robert Morris, the great financier of the American
Revolution. They simply used Hegelian Dialectics on Walt Disney. Their
Unions and the Mob made Disney’s studio one of their prime targets. In
order for Walt to protect himself from the unions, which he perceived
as communist, Walt got help from the FBI and the mob. Walt was
vulnerable to the unions, because he treated his workers terrible,
with long hours, low pay, in addition to repeated abuses to their
dignity. Walt’s large number of employees essentially never received
any credit or recognition for their years of creativity and hard work,
which was all essentially stolen and credited to Walt by the
establishment to build his image. (I write "essentially", because
someone might find some obscure exception, but across the board, Walt
got all the credit for what his creative workers produced.) Perhaps
Walt needed the ego boost from all the purloined public praise which
he stole from his staff to be seen as a great animator, because he had
wanted to be an artist/cartoonist and failed. The praise helped sooth
the wounds.
One worker recalls that Walt "had no knowledge of draftsmanship, no
knowledge of music, no knowledge of literature, no knowledge of
anything really, except he was a great editor." This may not be much
of an exaggeration, because Walt was a high school drop-out, who grew
up in poverty on a Missouri farm.
Walt’s first official attempt to direct a film (and last) was the film
The Golden Touch in 1935. The film was an embarrassment. Walt had to
pull it from distribution. If Walt lacked abilities to animate, and
direct, what was Walt’s talent? Walt was the driving force, the spirit
so-to-speak behind Disney. He was the dictator who was feared enough
to demand more from his workers than they knew they could give--and he
could get it. He was the driving force that took a mob of artists, and
gag creators, etc. and shaped them into a powerful force to make
cartoons and later movies. He was the hard-driving genius who knew
what he wanted and got others to create it for him. He was the driving
force that kept an army of costumed sanitation men meticulously
cleaning Disneyland. In normal year, Walt would have 800,000 plants
replaced at Disneyland, & Walt refused to put up signs asking the
"guests" (visitors) not to trample them. How powerful was Walt? Here
is a man who during his lifetime and even up into the 1990’s had a
rule in the studio & Disneyland that no male employees could have any
facial hair, yet he himself wore a mustache for most of his life.
A possible CHRONOLOGY OF EVENTS surrounding WALT DISNEY'S ILLEGITIMATE
BIRTH
It is beyond doubt that Walt Disney was an illegitimate child, but
that fact resulted in a long list of mysterious happenings. It also
gave power hungry men, something to blackmail Walt Disney with.
Because this chapter 5 on Deception is focusing on Disney, and the big
boys used blackmail to keep Disney in line, this information is
pertinent. The following chronology of events is what this author’s
believes most likely happened. Without any genetic tests, it is
difficult to determine beyond a shadow of a doubt who Walt’s
biological parents were, and what the actual history of Walt Disney
was. Several people have spent many years investigating the real facts
surrounding his birth. Many interesting and tantalizing clues have
been found. This author believes that the following chronology is
suggested by the evidence. (This author’s chronology is offered
without hundreds of pages of evidence, because the mysteries around
Walt Disney’s birth are here to stay, no matter what excuses people
come up with, and this author doesn't want to stray from the intended
purpose of the chapter. This is to show that Walt Disney had a secret
bastard birth which gave J. Edgar Hoover --and his superiors--
blackmail leverage over Walt Disney. Walt may also have had gambling
debts and an abnormal sexual appetite which also helped entrap him.
For those who want more evidence and facts, the following are
recommended: Almendros, Mojacar, Corner of Enchantment, p. 83;
Interview magazine, no. 242, ""Walt Disney Was from Almeria"", and
last but not least Eliot, Marc. Walt Disney, Hollywood’s Dark Prince,
chapter 11.)
1890--An attractive spanish woman Isabelle Zamora Ascenslo of Mojacar
leaves Spain and travels to California to a Franciscan monastery.
In the same year, but later on In 1890-Walt's future father Elias, who
fancies himself a ladies man, leaves his family to seek his fortune in
the gold fields. In California, he meets another newcomer to the
state, Isabella Ascensio, and the two newcomers in California have
much in common, have a sexual affair and fall in love.
1891--Elias fails to make a fortune and returns to Chicago, but he
doesn't forget Isabelle.
1893--Isabelle and Elias have a son, and Elias convinces his wife to
accept the baby as theirs rather than have the family's reputation,
their marriage, and their family ruined. The son doesn't look like the
first two boys at all.
1901--Isabelle and Elias have another bastard son, who Elias brings
home and names Walter after the minister of the church he attends. The
two bastard sons do not look like the older sons of Elias, and they
never have much to do with them, but cling to each other as brothers.
1903--The minister of the church Elias attends finds out about the
bastard children and Elias quickly moves out of state so that the
scandal will remain secret. Elias has also run up gambling debts.
1905--After moving to Marceline, Missouri, Isabelle is hired as the
Disney's maid, so that she has an excuse to move in with them without
creating suspicions. She probably does much of the raising and care of
the two boys.
1918--J. Edgar Hoover is busy involved with the prosecution of draft
dodgers in WW I, and it crosses his desk about the case of Walt Disney
committing the crime of forging his parents signature to join the
army. Cases like Walt's were watched because people who could be
blackmailed could be resources in the future for Hoover. That year,
Walt discovered that he had no birth certificate. Waft observes his
parents strange reactions concerning his birth certificate & other
questions, & begins to deeply distrust his father.
Nov. 1938--Walt's mother dies by gas, and the Disney's maid pulls
Elias to safety from the fumes, but Walt's mother dies.
1939-40--Hoover offers Walt Disney to help Walt locate his real
parents if Walt will work for the FBI. Either Hoover already knows
that he is a bastard child, or he soon learns the truth from an
investigation. This gives Hoover blackmail power over Walt Disney, and
assures Hoover that Waft will be loyal. Hoover informs Walt Disney of
the truth, and then moves to generously protect Disney & his father's
reputation. Two FBI men plant baptismal information of a child born to
Isabelle in 1890 named Jose Guirao in Mojacar, Spain. This date is 10
years off of Walt's birthdate, and is intended to throw people off
track. They can't plant a fake birth certificate for Waft in the
records for 1901, because everyone knows from WW I that none exists.
Therefore, they plant a fake birth certificate for Walt in the
Illinois State records in the year 1890. They hope people will think
that somehow a filing error occurred. This way if anything leaks, and
worst came to worst, Waft could at least pretend he was adopted and is
not an illegitimate bastard. They pay off townspeople in Mojacar to
tell a particular story. Townspeople probably receive ongoing
payments.
1941--Walt confronts his father with the truth, and his father commits
suicide, and his real mother comes to live with him as his maid.
1954--In order to reinforce the myth that Walt was born in Spain, a
group of Franciscan monks goes to Mojacar and visibly inquires about
the birth records of Jose Guirao and/or Walt Disney. They spend time
with the mayor and make sure that everyone connects Waft Disney with
Jose, who is a fictitious (nominal) character that the FBI has created
records of.
1967--A year after Walt's death, a large group of Americans (a large
group was needed because they are not skilled like the 2 FBI men in
1940) pretend to be on "official" business for the American
government. They go to Majacar Spain to destroy all the records of
Jose Guirao to insure that there will be no spanish claimants to Walt
Disney's fortune. Later to insure that the fictitious story is solidly
in place to mislead the few who might get by the cloud of secrecy over
Walt Disney, the Spanish government does a favor to certain powerful
people and pays an investigator to investigate the spanish origins of
Walt Disney. People of the village willingly tell people without any
fear or without any fanfare that Walt Disney was born at their
village. Unless they have recently done so, the village has never done
anything--no monuments, no markers, or anything about the birth site
of Disney. They probably didn't do this for years, because some of the
village probably knew it was a lie. With the older people gone, the
lie has probably become well entrenched as truth and there is most
likely some type of memorial to Walt Disney.
WALT DISNEY’S CHARACTER
Because the Disney deception is such a major Illuminati deception
worldwide, and because Walt Disney was the major catalyst behind all
the Disney theme parks, movies, trinkets etc. it is of importance to
examine his character. In studying historical figures, this author has
tried to get to the rock bottom truth. One may ask, how can this be
done? -especially since there have been decades of myths spread by the
establishment and their media? The following procedure which has
worked with other historical figures was also done by this author with
Walt Disney. The first part of this author’s own procedure is to study
everything that one can find on the man, paying special attention to
what bias and vantage point another author comes from. Special
attention is also paid to biographers who try to give the whole truth
as they have found it, rather than approved biographies that repeat
myths, platitudes, and flattery. The investigator has to be careful
because there are authors who deceptively say in their introductions
that they are "detached investigators" who are "going to be painfully
honest in their reporting" when they actually are skillful coverup
artists for the person they write about. When your author, Fritz
Springmeier, finished investigating written material about Walt
Disney, then I mentally placed what I knew on the shelf temporarily,
and did a handwriting analysis based on the scientific principles of
Graphoanalysis as well as the broader field of Graphology. This author
is a Certified Graphoanalyst who has done handwriting analysis
professionally. Using Graphoanalysis/graphology is an excellent way to
get an unbiased very deep looks at a historical figure. It is a way to
by-pass all the propaganda and myths. However, a close historical look
and the handwriting analysis (of various historical figures) have
always matched each other, as they did in this case too. Here is what
was found. The following paragraphs are how Walt was in the 1920’s.
The personality profile you will read did not endure. Under the
pressure of micromanaging Disney Productions as well as living with
financial stresses, by the 1940’s, Walt could be found in rages giving
rough treatment to his wife, and rough spankings to his two children.
He went to psychiatric counseling to cope with the stress. And
unfortunately with the progression of time, by the 1960’s Walt had
become a sadistic egotistical alcoholic. One biographer described him
as ,,...a bully and a know-it-all" (Disney’s World, p. 220) Even then
Walt had men working for him, such as Bill Walsh (who had been a
orphan as a child) who worshipped Walt. But here is how he was in the
1920’s:
Walt was a self-motivated individual with lots of energy which was
constantly seeking some outlet. (People have written much about this
trait of his.) He was more the giver than the taker in relationships.
(In the first few years, when he was responsible for making business
contracts he often gave away his work without setting prices for
profits. He even wrote letters to his boss to the effect that his
first priority was good cartoons not profits, and that he’d work
without profits, but he did want some appreciation for his work. That
was his sensitive nature showing.) Walt wouldn’t wait for others to
come up with an idea or someone else to make a move--he was there
first. He could communicate his ideas with clarity and ease and move
easily from idea to another. (He would storm into Disney Productions
and spew one idea after another into his workers’ ears.) He enjoyed
competition. He had a quick mind and keen perception. He frequently
acted on intuition and impulse, taking chances and endangering his own
security. (He frequently gambled all his life savings and everything
he could scrape together on a project.) Long projects bored him.
(Fortunately a large staff of artists did the real tedious work of
cartooning.) House chores and repetitive chores bored him and he
avoided them. (He was absolutely a total slob around the house as a
bachelor.) He was impatient with vague philosophies, he liked concrete
realities. He was difficult to get along with because he had both a
playful side (even to the point of cruel practical jokes) to his
personality and an aggressive intolerant impatient side that wanted to
achieve. Naturally, people around him were disconcerted because on a
subconscious level they never knew which side of him they would deal
with. (The reference series Current Biography "Disney" article p. 248
gives the following Walt Disney quote, "We don’t even let the word
‘art’ be used around the studio. If anyone begins to get arty, we
knock them down.") He was geared for action. He was always inventing
ways to get what he needed. He could be explosive when provoked. (The
old time associates of Walt remember his explosive temper.) He was a
person of dynamic energy, sensuality and keen thinking, and a disciple
of the pleasure principle.
Because his father was so abusive and misused his position of
authority, Walt came to be deeply ingrained with defiance toward
authority. (The themes of his films repeatedly sympathize with those
who rebel against authority, and the police and other authority
figures are consistently shown as absurd. One way he expressed
irresponsibility was with lively dance scenes, which has been a
hall-mark of teenage rebellion during the 20th century. "Comic anarchy
reaches its fullest expression in Alice Rattled by Rats, which shows
what the rats do when the cats goes away!) He felt that rules were for
others to follow. (That is one reason he would step outside of the law
and commit illegal acts. This is one trait that may be responsible for
some of the criminal activities Walt ended up participating in.) Walt
also didn’t like to be closely supervised. (He wanted to manage his
Disney Magic Kingdom as if it were his own kingdom. He wanted to be an
authority figure, and indeed became the dictator of his Magic Kingdom.
When his workers differed with his own views he felt that they were
infringing upon his own inalienable rights as an individual.) He was
somewhat of a melancholic temperament, that type of perfectionist who
still enjoys life. He felt a need to protect himself against intimacy
with others. He was most home in a setting which he made for himself.
Walt had the traits of an executive. He was slow to reveal his
innermost feelings, and definitely set his own goals. Walt was one of
those persons that when the going got tough, he hung in there.
Likewise he would cling to his ideas, plans, and possessions. (His
stubborn refusal to allow his brother Roy to stop the creation of
Disneyland led to events that split the brothers. The crime syndicates
to blackmail him with some debt took his determination to succeed. In
order to get his dreams, he was willing to give them what they
wanted.) A clue to Walt’s macabre sense of humor, at times almost a
graveyard sense of humor, and his high tolerance of seeing pain in
others, is that Walt was seriously thinking of volunteering again as a
medic after the W.W. I fighting in France was over, when volunteers
were needed for the Balkan fighting. Walt loved animals more than
people. The only human being that he had rapport with while growing up
on the farm was his Uncle Ed (who he called Uncle Elf), who looked
like a cross between a leprechaun and a prune. Uncle Elf could make
animals sounds and bird whistles to Walts delight. Walt loved the
charm of the farm and nature and he loved royalty, pageantry and a
strict social hierarchy such as Freemasonry provides. He often wove a
combination of the barnyard in with royal parades and other trappings
of royalty. For instance, in Alice the Piper, the King Hamlin is a
farmer who sleeps in a farmhouse. In Puss in Boots the local king
lives in an authentic palace incongruously placed in a village. His
early film Alice’s Day at Sea includes both the features of a royal
court and an American circus. In typical Disney disdain for authority,
he pokes fun at criminal fraternal groups with their rituals and
passwords in Alice & the Dog Catcher, Alice Foils the Pirates, and
Alice’s Mysterious Mystery. And while he was a secret FBI agent, he
went against Hoover’s wishes and poked fun at the FBI’s authority.
Walt was loyal to what he believed and could be loyal to those
individuals who he deemed worthy of his loyalty, but he didn’t want
anyone to have authority over him. (Walt was a 320 Freemason & an
occultist, he was loyal to that philosophy and loyal in his early
years to his older brother Roy O. Disney, who was a father figure to
him.) If anyone at the studios agreed with him when he was angry at
his brother Roy, he or she risked losing their job. Both brothers were
protective of each other, and felt they were the only ones who could
criticize the other one.
WHO WAS ROY O. DISNEY?
Roy O. Disney was born in 1893, and his brother Walt in 1901. They had
three other brothers, but Roy and Walt (1901-1966) were only close to
each other and not to their other brothers, who didn’t resemble them.
Walt was named Walter Elias, his middle name derived from his father’s
first name. The Disney family had immigrated from Ireland to Canada
and then to the U.S. The father of the brothers as stated was Elias,
and their mother of scottish descent, who may not have been the
biological mother, had the maiden name Flora Call. Roy died in 1971,
shortly after the opening ceremonies for Walt Disney World. He kept
his promises to his brother to build Walt Disney World. He reneged on
his promises concerning the city of Epcot (which was derailed into
becoming EPCOT). Roy O. during the 1930’s lived in North Hollywood.
Roy’s family later located in Napa Valley, CA, and was associated with
the Illuminati kingpins in the area. Napa Valley has been nicknamed
the Valley of Kings. This "Valley of Kings" plays a major role in the
dirty activities revealed in this chapter. Roy 0. Disney played a
bigger role at Disney Studios than people realize. For example, it was
Roy O. who made the decision to cut 45 min. out of Fantasia, so that
Walt’s pet project could be distributed to movie theaters. Roy O.,
considered by some insiders as the more evil of the two brothers, kept
the financial books for the Disney’s down through the years. It is
known that Disney kept two books during the 1950’s, so it is hard to
believe anything except that Roy 0. was fully aware of how Disney
brought in their money. The big boys always kept the financial screws
to Walt and Roy. The big boys often figured out scams to take their
money. When the Disney brothers had an arrangement with Columbia
Studio (run by Harry Cohn) they were advanced $7,500 for each cartoon
which cost them an unprofitable $13,500 to make. Further, Cohn liked
to cheat them by not sending them their money, and taking a ridiculous
amount of time to pay them what he owed them. The cash flow problems
of the Disney brothers also came from Walt’s desire to keep improving
and upgrading the technology they used. When Walt went to color over
Roy’s objections, Disney’s profit margin was damaged and the studio
was left with shortages of cash. In 1937, Walt’s repeated gambles with
cartoon production ideas caused Roy O. to say, "We’ve bought the whole
damned sweepstakes." From 1940 through 1946, Disney lost money every
year. In '46, he lost $23,000. Finally in 1947, things turned around
and the Disney studio made a profit of $265,000. Cartoons and movies
were not really big moneymakers for the Disney brothers, until it was
realized that old films could be replayed on television. Overall, from
the 20’s through the 50’s, the Disneys may have broke even with
animation. This is why Disney Studios at Christmas, 1931 was unable to
pay its payroll. Pinocchio cost $2.6 million to make in the late
’30’s, an amount hard to retrieve at that time from the box office,
and Fantasia’s original release in the ’40’s was a dismal financial
failure. When Sleeping Beauty was released in 1960, it was a loser,
movie goers were apathetic towards it. The real money made by the
Disney brothers in the 1930-1950’s came from the merchandising of
Disney products, the production of underground hard porn, and the
kickbacks from various groups which used Disney for mind-control
programming, and money laundering. When Walt died, his shares in
Disney were worth $18 million. His family all in all held 34% of the
stock in Walt Disney Productions. Roy o. Disney’s daughter Dorothy
Disney Puder & husband Episcopalian Rev. Glen Puder purchased property
at 1677 Sage Canyon Rd., Napa Valley east of Rutherford. (This is
close to the Rothschild’s Opus One Temple mentioned in VoL 1.) O.J.
Simpson’s lawyer Johnnie Cochran Jr. was in the Rothschild’s
hard-to-enter Opus 1 when the jury arrived at a decision in O.J.
Simpson’s case.) It is very typical for Mafia families in south Boston
to have one family member in the clergy & one full time in organized
crime. (See author’s Be Wise As Serpents for an expose on the
Episcopalian Church, which is simply a branch of Freemasonry.) All
kinds of interesting Mafia figures, Illuminati, and Bohemian Grovers
live up the Sage Canyon Rd. This is an area that has a large well-kept
cemetery for pets. Frank Well’s sister and Rich Frank, who will all be
discussed later in this chapter, also live on Sage Canyon Rd.
WHO WAS ROY B. DISNEY?
Roy Edward Disney (nephew of Walt) is the son of Roy Oliver Disney
(brother of Walt). Sometimes he has been called Junior. The 9/5/94
Newsweek story on Disney’s Magic Kingdom called him "Keeper of the
Flame." Roy is an executive with Walt Disney Co. at 500 5. Buena Vista
St., Burbank, CA 91521. He has worked as an asst. producer at Walt
Disney Co. from 1954 to 1977. He has also been the vice-pres. of Walt
Disney Co. He is president of Roy E. Disney Prodns. in Burbank. He is
chairman of the board for Shamrock Broadcasting Co. As if that weren’t
enough, he is on the board of directors for St. Joseph Med. Ctr.,
fellow U. Ky. Recipient of the Academy award nomination for Mysteries
of the Deep. He is a director of the Guild American West, the Writers
Guild, which is important. He belongs to the 100 Club, the Confrerie
des Chevaliers du Tastevin, and St. Francis Yacht Club. He likes speed
boat racing. Roy E. Disney was the cocky son of Roy O. He married a
gal named Patricia. He was merely tolerated by his uncle Walt,
especially after Roy E. made some snide remarks about Walt’s plans for
Disneyland, which he and his father opposed until Walt Disney
personally got the project going. Walt’s son-in-law Ronald Miller is
one of the Disney clan who can’t stand Roy E. The two never liked each
other, and in the power struggle between them after Walt’s death, Roy
E. won and ended up with Disney. Although people called Roy E. "Walt’s
idiot nephew", he eventually (with the help of his father & outsiders)
won the various power struggles at Disney after Walt died, and is now
a powerful figure. Roy E. Disney and Stanley P. Gold work together in
various ways, and are both on the present Disney Bd. of Dir. They are
friends and worked to prevent hostile takeovers of Disney in 1984.
Gold is in charge of Shamrock Holdings, Inc.
The battle between the two Disney factions
In 1953, the two brothers and their respective sides of the family
split when Walt created RETHAW Corporation. The two sides have fought
ever since. When Walt Disney created RETLAW (his name Walter spelled
backwards), this alienated his brother Roy O. & Roy’s side of the
family. Without going into all the details, what RETLAW did was cut
Roy O.’s side out of the money that was to be made. But Roy’s side
didn’t stand by and idly let their share of the pie be lost, they
fought back and held their own. Their big break came when Michael
Milken and his band of junk bond artists carried out a "greenmail" on
the Disney Corp. Only a few insiders know how greenmail works. It is a
legal form of blackmail. Milken would work with his friends Saul
Steinberg, Sir James Goldsmith, and Carl Icahn. Milken would provide
them the financial clout, to make them look financially capable of
financially purchasing a corporation that they had selected as a
target. According to insiders, Milken got 40% of the upside of any
"greenmail" that went right. The targeted corporation would learn that
someone like Saul Steinberg was going to buy them out. In order to
prevent the buyout, and to keep their jobs, the officers of the
targeted corporation would get frantic, and either do suicidal
refinancings, or buy the stock of the potential acquirer for much
greater prices than the Milken group paid for them. The "greenmail"
artists would then take their loot and go on their way. The
stockholders of the targeted company are the real losers of
"greenmail", because the management of the corporation in order to
finance their protection spends the stockholder’s money, takes on new
debts, and deprives the stockholders of some profit-making potential
of their shares. Michael Milken’s group made feints to take over a
large number of corporations, including Walt Disney, Phillips
Petroleum and Avco. Saul Steinberg made what looked like the
beginnings of a sincere hostile takeover of Walt Disney through
Reliance. At one point Reliance became Disney’s largest stockholder.
Steinberg filed an amended 13D saying he intended to acquire 25% of
the corporation. The CEO of Walt Disney, was Walt Disney’s son-in-law
Ron Miller. Saul Steinberg is a dear business partner with London’s
Jacob de Rothschild. Originally, Ron Miller (Stanford Univ. grad.) and
Ray Watson (a Bohemian Grove mmbr from Stanford Unive.) of Walt
Disney’s management brought in the Bass brothers to help them deal
with Saul Steinberg’s takeover and to buy and develop land (esp. in
Florida). Ray Watson was Ron Miller’s key right hand man to run
things. The Bass brothers are mafia. Disney acquired the Bass
Brother’s Arvida, and brought the Bass brothers into Disney’s
management. The Basses sold their stake in Texaco back to the oil co.
& then used this money to bolster Disney. Sid Bass & Chuck Cobb (chief
exec. Arvida) worked out a deal with Disney. Arvida (sold to Disney
for $200 mil.) would profit from developing Disney land in FL & Disney
would profit from the new financial strength that getting Arvida would
provide. Arvida owned oil fields, theme parks, and had helped create
planned communities. For Ron Miller, on the one side was the
Illuminati and the other side of things was the mafia. He didn’t trust
either, but Steinberg’s takeover could eliminate Disney’s management
and both he (and Roy E. Disney) wanted to save Disney from a takeover
by Steinberg. At first, Roy E. wrote a letter to Ron Miller & the
other board members stating his concerns about the acquisition of
Arvida For Disney management, at least the Bass brothers would let
Walt Disney continue to make their family movies. After the Bass
brothers joined the Disney management (and became one of Disney’s
major stockholders), they soon joined sides with Roy E. in a
management fallout over whether Disney should buy Gibson Greeting Card
Company. With enough votes on the board, they sent Ron Miller packing.
With Ron Miller, and those management men aligned with Walt’s side of
the family gone, then CEO Michael Eisner, Frank Wells, Rich Frank, and
Jeffrey Katzenberg and some others made the modern Walt Disney
Corporation. Disney’s Touchtone studio which was mentioned above in
connection to the movie Alive was created in 1984 by Walt Disney’s
son-in-law Ronald L. Miller. Ron Miller’s management style was
lackluster. The new management has really gone gang busters. Although
Walt’s side of the family is out of the management end of Disney, they
still receive financial rewards from various Disney enterprises. The
Bass brothers acquired more land for Disney in Florida. But under
their tutelage, Disney now has a management team that is skilled in
land grabbing techniques. The Bass fortune began with Perry Bass, who
created a company called Bass Enterprises. In 1969, Perry retired and
turned things over to his eldest son, Sid Richardson Bass. Sid has
three younger brothers Ed, Robert and Lee. The Basses owned 27% in
Prime Computer, as well as sizable real estate and oil holdings. The
Bass brothers founded a local prep school in Ft. Worth, TX. Their HQs
in Ft. Worth is full of modern art. The Bass brothers were very clever
in their deal with Disney. In exchange for their $14 investment in
Arvida, they had gotten (over a period of time) $950 million dollars
worth of Disney stock. In 1985, they liquidated Bass Brothers
Enterprises and divided the assets between the four brothers. Sid Bass
was able to shift his interests from finances to culture and high
society. One of the Bass brothers is involved with wineries in Napa
Valley. The Bass Brother’s financial strategist was Alfred Checchi,
now of Beverly Hills, who has been a supporter of Mishpucka member
Sen. Dianne Feinstein (D-Calif.).
Roy is involved in criminal activities, and several people
investigating him have been bluntly warned that if they continue, they
will see their children murdered. Napa Valley’s Illuminati activity
also connects in with CIA activities as well. The Napa Valley
Illuminati families all have CIA connections. For instance, British
millionaire Kenneth Armitage, who had to flee from England to avoid
arrest on numerous charges of theft, deception and false accounting,
had some of his good friends in the Napa Valley, such as Dr. John
Duff, Johnny Beck, & others. Armitage has since mysteriously died in
prison in England. Armitage had intelligence connections which tie in
with twilight world of the criminal activities of the numerous
intelligence acronym monsters. Also his company was authorized to
provide people with Central American government documents. There is
more-- much more to sordid affairs which swirl around Roy Disney. Napa
Valley, where many members of the Disney family live, has the
Illuminati’s Opus One temple owned by Rothschilds, as well as two
roads lined with meticulously kept wineries owned by Illuminati
kingpins and connected via secret underground tunnels. To top off this
incredible collection of Illuminati wineries (Rothschild’s, Mondavi’s,
Rutherford’s, Christian Brother’s, Sattui’s etc), on the north end of
a series of wineries on highway 29 lays the CIA’s medieval-looking
Culinary Institute of America Greystone (at 2555 Main St., St. Helena,
CA 94574), where numerous people have suffered torture. The Greystone
Culinary Institute of America recently had the person who runs their
campus store mentioned in House & Garden, Sept. ‘96.
WHAT DO WE KNOW ABOUT THE DISNEY FAMILY IN GENERAL?
Several members of the Disney family came to England with William the
Conqueror. They were not known as Disney then, but because they came
from the French Norman town of Isigny, they took the name d ‘Isigny,
and anglicized it into Disney. Walt had two daughters, Diane Marie
(bn. 12/18/33) and Sharon Mae.
Diane made some revealing comments when she said, he didn’t spoil us.
Like a lot of adolescent girls, I was crazy about horses, and I got
quite good at riding. I yearned for my own horse, but Dad wouldn’t buy
one. And we didn’t have a lot of clothes and other things." For being
one of the richest men in the nation, Walt can’t be accused of having
spoiled his children. He was also famous for his ten cent tips at
restaurants, which became the talk of the town. Sharon Mae was adopted
and arrived at the Disney home 12/31/36. (She died in ’93.) The
adoption was kept very secret. The newspapers around the country
announced that Lillian had given birth to Sharon, and the Disney
family kept up this lie for years. The reason given for Sharon’s
adoption was that Diane needed a playmate. For years, Walt Disney
didn’t care much for Sharon and seldom acted like he even knew her
name. Walt had wanted a son, but his wife wanted to adopt a girl, so
it was a beautiful girl that Lillian picked out to be a companion for
her first daughter. When Sharon was kindergarten age, Walt would take
her to the carousels in Griffith Park on Sunday afternoons. Sharon was
sent to private schools. She went to Westlake School for Girls, and
later was shipped off to Switzerland to a girls’ boarding school.
She had soft blond locks and was attractive. In June of 1948, Walt
took Sharon, who was then an attractive 12 yr. old to Alaska with him
for about 2 months. For most of this trip Walt and Sharon were alone
together. For a father, who had ignored Sharon for years, now Walt was
totally obsessed with Sharon. He bathed Sharon every night, combed her
hair, washed her underwear, and carefully dressed her each night from
head to toe before taking her to nice restaurants. He even followed
her when she sleep walked. Why was Sharon a dissociative person? That
summer in Alaska, Walt and his personal pilot took a trip in August to
Mt. McKinley, AK. Both were drinking scotch whiskey and they barely
missed hitting a mountain, and almost ran out of fuel before finding a
runway. Sharon first married a presbyterian Robert Borgfeldt Brown.
Later, Sharon went on to marry William Lund. Years later, Walt’s wife
Lilly even prevented a biographer from revealing that Sharon was
adopted. Sharon died relatively young. It is important to look at the
Disney family rather than just Walt Disney in trying to understand the
Disney phenomena. For instance in 1958, the Wall Street Journal
mentioned that Lillian B. Disney was beneficial owner of over 10% of
common Disney stock.
Lillian, Walt’s widow, quietly purchased property in Napa Valley and
moved there in the late 60’s. She bought the property through Walt’s
Retlaw Enterprises and the Lillian Disney Trust. Lillian and her 2
daughters ran Retlaw for years. Diane Miller, her daughter, also
bought land and moved to the Napa area. The Lillian Disney Trust
bought the Silverado Vineyards, which Diane & her husband manage as
,,gentlemen growers" as they call it. This side of the Disney family
is shunned by the Illuminati insiders in the Napa Valley, as well as
by the Roy O. side of the family. Although very private, there are
occasional moments of publicity from Diane Disney Miller, when she
donated wine for a fund raiser for the Planned Parenthood Shasta
Diablo held at the estate Niebaum-Coppola, owned by director/producer
Francis Ford Coppola. Francis F. Coppola comes from an old mafia
family. He owns a big winery & directed Disney’s Caption EO film.
Locals in the Napa area do not trust any of the Disneys, especially
the Roy O. side of the family. There are other Disney’s who tie in
with the occult world. Wesley Ernest Disney, a 32° Mason & Shriner,
who was a U.S. Congressman, a state official & lawyer in Kansas who
had a brother Richard Lester Disney-- who is a Rhodes Scholar and a
Mason too. Wesley Ernest Disney, by the way began as a lawyer in
Muskogee County (a Satanic controlled county), and was a Christian
Scientist. He lived in Tulsa, a powerful city of the Illuminati
hierarchy. Doris Miles Disney has been a writer of occult fiction,
such as The Magic Grandfather the Chandler Policy (1972) and Trick or
Treat (1972) as well as many other occult novels.
A HISTORY OF DISNEY
"The story of Disney’s silent film career is not so much a struggle
for artistic expression as it is a fight for commercial stability."
During the 1920’s, Walt stayed safely within the confines of comic
animation as defined by others, such as the producers of Felix the
Cat, Koko the Clown, and Krazy Kat. In other words, when many of the
ideas were coming from just himself, Disney’s movies were not any
better than others. In the 1930’s, Disney got some of the best talent
available and he began to settle for only the best results from that
talent. With the mob, and the Illuminati behind him, and driven by an
indebtedness to them, Disney began to achieve outstanding results in
animation. Between 1924 and 1927, Walt Disney made a series of 56
silent Alice Comedies which used three different girls (6-year-old
Virginia Davis, Margie Gay and Lois Hardwick) to act as Alice who
romps around in a makebelief cartoon world. These cartoons combined
live action and animation. By the time the series was done, Walt
Disney wanted to try working solely with animation. Margaret Winkler
in NY (who married Charles Mintz) distributed Walt Disney’s Alice
Comedies. From the beginning, children were the center of everything
Walt did. The occult world that backed Walt, as well as Walt himself,
believed that if they could bring out "the child" (that part of a
person called "the child" by various psychologists), then they could
appeal to the curiosity and feelings of the "child" part of adults. If
it worked with adults, they could do the same with the child part in
children. They knew even in the 20’s & ’30’s what had to be
accomplished in the secret Great Plan for a New World Order. The
Illuminati Great Plan called for family life to be destroyed, for
children to rebel against their parents, and for the world to become
more violent. Children needed to immerse in images of violence so that
a violent society could be created. For instance, the 1925 film Alice
Stage Struck shows little girl Alice strapped to a log leading to a
buzz saw. They also wanted to make occultism--witchcraft the common
belief of the American people. The Illuminati felt they could bring in
witchcraft if they appealed to the curiosity of the child in every
adult. For instance, the Donald Duck cartoon Corn Chips (1951) shows
Donald harassing Chip and Dale who then get back at him by stealing a
box of popcorn and spreading it all over the front yard. Now what does
a cartoon like this teach kids? It teaches that stealing to repay a
grudge is O.K. and that doing pranks is funny. In Disney’s 1920 films,
he shows kids cutting school, shoplifting and playing hookey. He shows
Alice running away from responsibility to have adventure. He shows
prisoners escaping and hobos escaping work. His films are expression
of misbehavior being successful. What does this teach children? In the
1951 cartoon, Get Rich Quick Goofy wins money at poker and his
initially angry wife who doesn’t like gambling forgives him when she
sees how much he’s won. Goofy indicates that they can have a spending
spree by telling his wife, "Easy come, easy go!" The gambling spirit
is a very powerful spirit that the Illuminati want to instill in this
nation. How can a cartoon that promotes gambling be wholesome for
children? Lt. Col. Dave Grossman is a military expert on how to
condition people so that they will kill. He writes in his superb book
On Killing (Boston, MS: Little Brown & Co., 1996) that the same
process that the government has used to condition soldiers to kill, is
being used by the entertainment industry. The only major difference is
that in the military, men are taught to kill only on command, while
our children are being taught to kill whenever they want to via TV’s
"entertainment." Grossman states on page 308, that the conditioning to
kill begins with cartoons. "It begins innocently with cartoons and
then goes on to the countless acts of violence depicted on TV as the
child grows up... .Then the parents, through neglect or conscious
decision, begin to permit the child to watch movies rated R due to
vivid depictions of knives penetrating and protruding from bodies,
long shots of blood spurting from severed limbs, and bullets ripping
into bodies and exploding out the back in showers of blood and
brains." While children see horrible deaths on T.V., they learn to
associate this suffering with entertainment, pleasure and their
favorite soft drink, their favorite candybar, and close intimate
contact with their date. (See On Killing, p. 302) Disney has the
appearance of Wholesomeness; this appearance is quite deceptive. A
close study of Disney cartoons will reveal lots of violence that could
not be depicted if the violence was actually real life & not
animation. It’s the wholesome front which is one of the deceptions
that makes Disney cartoons & films so dangerous. Yes, the image of
Disney has been that its cartoons are wholesome. No wonder Illuminati
mind-control programmers have laughed at how naive the American public
is toward Disney. The Disney Gargoyles cartoons are a television
series that is pure demonology. The story line is that a race of
demons protects New York City. One of the Gargoyles is even named
Demona. The Illuminati programmers are amazed at how stupid the masses
of people are, and how easily deceived. How the Disney movies are used
as programming scripts is very involved so only one detailed example
is given at the end of this chapter. The Illuminati and Mafia knew
that Walt had the ability to get the job done that the Great Plans
called for. (Source: confidential interview.) They knew they had the
"carrots and the sticks" to get him to cooperate. There is no doubt
that Walt was a hard worker who in turn expected high standards from
his employees. One co-worker of Walt wrote, "Walt made a simple
statement, that you can lick them with ‘product’ if you make your
product good enough, they cannot deny it.. . .In Walt’s estimation,
everything that was done had to be executed with a great deal of
thought and finesse." Neelands, Barbara, compiler. About Ben
Sharpsteen, article by David R. Smith (2nd Impress.) Calistoga, CA: A
Sharpsteen Museum Reprint, pg. 2-3. One big turn in Walt’s outlook
toward quality came in April, 1927 when the head of Universal Studios
wrote a scathing report on the quality of Disney studio work. It
forced Walt to realize that up to then he had been slipshod and
sloppy. He resolved to never take the easy way, but to work with
dedication toward making his drawings come to life with character and
interesting situations. In 1922, Walt made a film Cinderella. This is
not to be confused with the later animated film also of the same title
released in 1950. The 1950 feature was re-released numerous times. The
Alice cartoons were made with a 6- year-old girl playing Alice. The
first six Alice comedies had extensive live-action beginnings, and
then went into cartoon. A few of the 1920’s Alice silent cartoon
titles include:
Alice’s Wonderland (1923)
Alice Hunting in Africa (1924)
Alice’s Spooky Adventure (1924)
Alice Plays Cupid (1925)
Alice Cans the Cannibals (1925)
Alice Rattled by Rats (1925)
Alice Chops the Suey (1925)
Alice Charms the Fish (1926)
Alice the Whaler (1927)
Alice the Beach Nut (1927)
After the Alice Series, Disney began a fully animated series called
Oswald the Lucky Rabbit. Here we see the occult concept of luck (who
hasn’t heard of a lucky Rabbit’s foot?) being subtly promoted. Disney
cartoon may entertain, but they also indoctrinate while they
entertain. In 1926, Walt Disney signed an agreement with Mintz and
Film Booking Offices (EBO). Film Booking Offices were Illuminati
kingpin/mob boss Joseph Kennedy’s company. For at least the next
years, Disney worked under the control (auspices) of Illuminati
kingpin Kennedy. All of the Disney pictures were registered by R-C
Pictures Corp., one of the parent companies of Kennedy’s FBO. Joseph
Kennedy also controlled the RKO studio which worked together with the
other big studios to insure that no small studio would develop as a
competitor. By 1937, all the big studios--20th Cent., Paramount, MGM,
Warner Bros., Cohn’s Columbia Pictures and Kennedy’s RKO were allowing
the mob to skim money from them. Kennedy’s RKO gave Walt a guarantee
in 1937 that they’d distribute Snow White sight unseen. Walt Disney
had their films distributed by Kennedy’s RKO from 1936 to 1956.
Another little known detail is that in 1926, Leon Schlesinger (future
producer at Warner Bros.) subcontracted animation jobs to Disney. One
of these was Universal’s The Silent Flyer. In 1928, Steamboat Willie
debuted. This was an animated cartoon with a soundtrack starring a
mouse later named Mickey Mouse. It had taken lots of hard work and
determination on Walt’s part, but it was the first cartoon with a
sound track and it was successful. In 1929, the cartoon The Haunted
House came out. The story is, Mickey Mouse is forced by a storm into a
house full of ghosts who force him to contribute to their spooky
musicale. In 1930, Harry Cohn, one of the most ruthless and unsavory
characters controlling a studio bailed Walt Disney out of Walt’s
trouble with con-artist Pat Powers who was stealing Disney’s money.
Harry Cohn was a former NY pool hustler and gambler who was brought in
by Chicago investors to front their investments in Columbia Pictures,
and run their studio. He wore a sapphire ring that the Chicago
mafiaman Johnny Roselli gave him. Roselli later became a rogue asset
of the CIA, and testified before Congress (the Church Committee on
Assassinations in ‘74) about a CIA contract which was handed him.
Roselli worked for the Mafia Council of 9, which incl. Anthony Accardo
and Sam Giancana. Harry Cohn was said by some to be the most hated man
in Hollywood. His money gave him "the power of an emperor". His money
got him the best female flesh available which he used for his
pleasure. He always seemed to arrive from Las Vegas with rolls of new
greenbacks, which had close associates wondering where all the money
came from that he always got when he made trips to Las Vegas. In 1931,
Walt went into a long suicidal depression that lasted into 1932. In
the summer of 1932, he took a vacation to try and recover from his
nervous breakdown. By 1932, Ingersoll had marketed its first edition
of Mickey Mouse watches. Disney products have served as a model of
consumerism for the world. Disney watches have been made continuously
since 1932 or ‘33. In 1932, eighty major U.S. corporations (such as
General Foods, RCA & National Dairy) began to market Disney products.
Ed Sullivan began regularly running stories that bragged about
Disney’s work. Freemason Dr. Rufus B. von Kleinsmid, pres. of the
Univ. of So. Cal., gave Disney an award from Parents magazine for
Walt’s "work with children". In 1932, several artists who had worked
for William Randolph Hearst came to work for Disney. In 1932, Roy
switched Disney from Columbia to United Artists. United Artists agreed
to front Disney $15,000 for each cartoon.
In the 1930’s, the Illuminati’ Bank of America financed Walt Disney.
Years before, the Bank of America had been quietly created from Bank
of Italy which was controlled by the same oligarchy that has run the
Knights of Malta and renaissance Venice. The Bank of Italy was a
powerful bank in Hollywood’s first years. It’s representatives A.P.
and Atillo Giannini financed Walt during the 1920’s with petty cash to
keep him going, but not enough to get him out of financial bondage.
Joe Rosenberg of Bank of America was sympathetic to Walt. Joe
Rosenberg, a jewish banker, came to all of Disney’s board meetings,
sat beside Walt, and would advise Walt on what direction Disney
Studios should take. Joe wasn’t a board member, but his advice got
high priority. Bank of America also bankrolled other Illuminati
projects and organizations. Bank of America had one of their branch
offices on Disneyland’s Main St. from ’55 until ‘93. They were open on
holidays and Sundays for Disneyland. Bank of America is slated to be
perhaps the only bank to survive the economic crash, when the
Illuminati kingpins will allow their own banks to crash. Bank of
America executive S. Clark Beise (who is a Scottish Rite Freemason)
has been a member of Disney’s board of directors from ‘65 to ’75. One
of the biggest depositors in Bank of America is Roy E. Disney. Other
Disney execs like Rich Frank have also used Bank of America as their
bank of choice.
The Bank of America bankrolled the Disney animation Snow White. Walt
managed to sell Joseph Rosenberg on the idea, at a time when old time
Hollywood people were advising Rosenberg that Snow White could only be
a failure. When Snow White was successful, Walt announced a monster
party for all Disney workers at Lake Norconian, near Palm Springs,
southeast of San Bernandino, CA where the cost of everything the
Disney workers wanted to order--food or drink or whatever, would be
taken care of by the Disney’s. Under the full moon, the Disney male
and female workers, finally free of the tight rules at the studios,
had what amounted to a Roman orgy and a large nude skinny-dip at the
lake. Almost all of the Disney workers participated in the orgy and
Disney had only two options, 1. fire them all or 2. ignore that the
party took place. Walt choose the later option, and after that no-one
ever dared mention the party in his presence. In 1937, Walt and Roy
took a trip to Europe where Walt dined with the British Royal family,
& met privately with H.G. Wells, the masonic prophet! planner of what
Wells & other masons called "the New World Order". In Paris, the
League of Nations (the forerunner to the U.N.) gave him an award.
After the success of Snow White, Disney chose Pinocchio to follow it.
Many have asked why Pinocchio was chosen by Walt. If you look at the
script, the puppetmaker’s wife is taken out of the original script,
and there is an emphasis on the little wooden puppet visualizing
becoming a flesh & blood son to the man who had created him. Here we
have a boy with no soul, who is told if he works hard he will be given
one. (Does this sound familiar to readers of VoL 2?) The script was
definitely changed to have a storyline far more useful to mind-control
programming. For those who think Walt simply recreated fairy tales on
the screen, if one examines the changes that are made from the
original storylines, they are changed to make them more useful for
mind-control. Both Snow White and Pinocchio have occult type "deaths
and resurrections". After W.W. II, Joseph Rosenberg persuaded A.P.
Giannini, his boss, to bankroll Disney again. Although Walt was
financed by the Mishpucka (Jewish Mafia), he didn’t like the idea.
Richard Rosenberg, a later Pres. of Bank of America, is also
Mishpucka. Richard Rosenberg (his mother was a Cohen) was also in
charge of Northrop Corp. and Marin Ecumenical Housing Assn. (Other
examples of Mishpucka executives are R. Goldstein, v.p. of Procter &
Gamble, and Marvin Koslow, v.p. of Bristol Meyers Co.) In the 1930’s,
the elite promoted Disney’s new cartoons. In 1935, Walt Disney
received the French Legion of Honor for his Mickey Mouse cartoons.
Also in 1935, the Queen of England (who readers of my previous
articles will realize is Illuminati, involved in drug trade, and is
involved with the leadership of Freemasonry) and the Duchess of York
(also Illuminati) selected Mickey Mouse chinaware as gifts for 600
children. This was after Walt spent time with her in 1934. The League
of Nations (the pre-W.W. II equivalent of the U.N.) took the time to
vote its approval of Mickey Mouse. (Finch, Christopher. The Art of
Walt Disney from Mickey Mouse to the Magic Kingdom . NY: Harry N.
Abrams, Inc., 1975, p. 53.) There is no doubt that Walt Disney had
talent. There is also no doubt from the record that powerful people
wanted to promote him. No doubt his 320 Masonic membership and his
DeMolay activities helped boost his support, and also helped Walt’s
bent toward the occult. Let’s digress just to let people in on
Freemasonry’s involvement with acting and motion pictures. The famous
233 Club was a masonic chapter for actors who were Freemasons.
Examples of actors who were Freemasons include John Aasen, Gene Autry,
Monte Blue and Humphrey Bogart, Douglas McClean, John Wayne. Then
there is T.V. DJ Dick Clark. Examples of Motion picture executives who
were Freemasons incl. Ellis G. Arnall (Pres. of the Soc. of Ind.
Motion Picture Producers), Will H. Hays (Czar of motion pictures
1922-45, and Pres. Motion Picture Produces & Distributors of Amer.
Inc.), Benj. B. Kahane (v.p. & dir. Assoc. of Motion Picture
Producers, Inc.), Carl Laemmle (Pres. Univ. Pictures Corp til ’36),
Frank E. Mullen ( man. dept of info. RCA, VP NBC ‘39-’46, exec. VP NBC
‘46-’48), David Sarnoff (Chrm. of Bd. Radio Corp. of Amer. & ,,father"
of American television), Jack M. Warner (v.p. of Warner Bros.) and the
President & dir. of Universal Pictures since 1952. The Freemasons have
made much of Walt Disney’s membership in their membership sales
pitches. Because the 2 Disney brothers’ chief contributions to the
production of Disney films were the finances and occassionally the
ideas used in a film, it is rather misrepresentative of things that
Walt Disney got all the credit for the success and quality of the
Disney cartoons. He was showered with 700 awards and honors from
important people, including 30 Oscars, and the Presidential Medal of
Freedom (in ’64). Walt Disney’s great animators never got the credit
they deserved, but no one should forget that Walt was the driving
force that inspired and guided his workers. In 1934, Walt Disney made
a cartoon about a goddess of the Mystery Religions named Persephone.
In the cartoon entitled The Goddess of Spring, the goddess Persephone
is captured by Satan as his bride and sent to the underworld, with the
agreement she could return to earth six months of each year. The
Illuminati have rituals around Persephone. On Dec. 21, 1937, Disney
premiered the first full-length color cartoon movie "Snow White and
the Seven Dwarfs." This cartoon had taken $1.4 in depression-time
money and three years to make. Over 750 artists worked on the film.
Walt Disney had gotten the idea from a silent movie of Snow White
which he saw as a boy in 1917. The movie has an important occult theme
to it, and has been used for occult mind-control programming. When the
1940’s got started, Disney was in financial difficulties. At this
point, Nelson Rockefeller hired his cartoon capabilities to make
cartoons for South America, with the idea that South Americans would
remain loyal to the American capitalist hegemony, rather than shift to
rising ideologies of fascism/nazism, if they saw Walt Disney cartoons.
In Rio de Janeiro, Brazil on 8/24/42, Disney did its world premiere of
Saludo Amigos, a 42 minute feature about Latin America. Goofy becomes
a gaucho, a parrot teaches Donald Duck to dance the samba, as well as
Disney art showing various landscapes of Brazil in the film. However,
the film The Three Caballeros, if it was meant to encourage South
American loyalty to American capitalism, completely failed. The Three
Caballeros showed a sexually lecherous Donald Duck who in bad taste
tries to make it with latin women. The mysticism was also seen as
bogus. Although the latin Americans hated the film, the establishment
media’s Look magazine praised it. Another reason that Rockefeller sent
Walt to South America was to get him out of the way so that the
government could settle the strike by Disney workers. Nelson
Rockefeller was the government’s Coordinator of Inter-American
Affairs, a good position considering how much of South America the
Rockefeller’s controlled. Rockefeller told Disney that Disney couldn’t
beat the strikers, but that while Walt was in South America, FDR would
see to it that the strike got settled. When Disney returned he
submitted to the powers that were, and accepted the unions and the
mafia’s control. Another change for Walt Disney was that in 1940, he
and Roy turned Disney into a "public corporation" and initially sold
755,000 shares of common stock. The Illuminati Boston firm of Kidder,
Peabody & Co. were the underwriters of the studio’s public
stock-offerings. By 1940, the Disney Studio at Burbank had become a
miniature city with 1,000 men & women employees and 20 buildings on a
51 acre tract of land. After the U.S. joined W.W. II, Disney
Productions were made a part of the American military establishment.
The very next day after Pearl Harbor, the military moved onto the
Disney Studio, which leads this author to suspect that Disney was
already part of the power establishment prior to the war breaking out.
Disney made military movies/cartoons that taught the different
branches of the military many things. They made propaganda movies for
the allies. One series of films was "Why we fight." Disney made movies
for the IRS to get people to pay their taxes. Some of the Disney films
were top, secret, and concerned secret military weapons or secret
psychological tactics of the Americans. For instance, one military
film was "Army Psycho Therapy" which taught army men how to instill
fear, and about the basics of fear. Another army film was
"Prostitution & the War". Another showed a carrier pigeon evading the
Germans.
In 1940, Disney came out with 2 full length animated cartoons,
Pinocchio and Fantasia, both of which were soon used for Illuminati
mind-control programming. Fantasia contains Schubert’s sacred Catholic
music Ave Maria, which was used in a concluding segment side to side
with the profane Night on Bald Mountain song, as well as six other
classical pieces of orchestra music. As a feature cartoon it was a
flop, but as a programming tool it was fantastic. Fantasia receives a
comprehensive explanation of how it is used for mind-control
programming at the end of this chapter. Because an explanation of the
use of a Disney film for mind-control is complex, this explanation is
placed at the end of the chapter so that it won’t interrupt the flow
of this chapter’s information. The Pinocchio film has been redone and
released 9 times over the years. Some of the next full length animated
films to come out were: The Three Caballeros (1945) The Adventures of
Ichabod & Mr. Toad (‘49) Cinderella (1950) Treasure Island (1950)
Alice In Wonderland (1951) The Story of Robin Hood & His Merrie Men
(1952) Peter Pan (1953) 20,000 Leagues Under the Sea (1954) Sleeping
Beauty (1959) Very soon after the production of all of these movies,
the Illuminati and their intelligence agencies used them for
Illuminati total mind-control programming. To see their misuse as
programming scripts one has to understand how the fantasy worlds of a
programmed multiple are created and how the movie scripts are adapted
to be programming scripts. Vol. 2 gave quite a few examples of how
Alice In Wonderland and the Wizard of Oz scripts were used for
programming scripts. When Disney had his animal-nature documentaries,
he edited and used narration to give the animals human like
characteristics--something he’d already been doing with animation.
Disney played an important part in the Illuminati’s plan to elevate
animals and dehumanize humans. One of the biggest Illuminati kingpins,
and leader (Grand Master) of the Prieure de Sion was frenchman Claude
Debussy (bn.1862). Claude Debussy, a Merovingian, was Nautonnier
(Navigator-helmsman) of the Prieure de Sion from 1885-1918. (See the
document Dossiers secrets, planche no. 4, Ordre de Sion, written about
in Holy Blood, Holy Grail.) In 1891, when some secret coded parchments
(Merovingian documents) were found by a french clergyman Sauniere, he
was directed by church officials to visit with Emile Hoffet, an occult
acquaintance of Debussy. Debussy was close friends with many of the
top french occultists of his time. He is known to have been a close
friend to both the notorious satanists Jules Bois and MacGregor
Mathers. Mathers started the Order of the Golden Dawn. Debussy was
also a friend of the infamous Papus (aka Dr. Gerard Encausse) and W.B.
Yeats. Papus was one of the men who during his lifetime was part of
the interlocking occult directorate of occult groups. Claude Debussy
put some works of the previous P.d.S. Grand Master Victor Hugo to
music. Debussy and his other powerful occult friends were influential
with Monsieur Philippe, whose Russian occult circle influenced the
Russian Czars and Czarinas before Rasputin came around. Debussy
travelled to Russia and Rome. Some of Debussy’s works became operas.
Interestingly, Walt Disney was extremely anxious to make a cartoon
using Debussy’s Clair de Lane. The work was done, but it was never
shown to the public. Disney never found a place to use it. It was
originally done with animation with flying cranes for the occult
extravaganza Fantasia, but when the Fantasia ended up too long, Clair
de Lane was cut and shelved. It was again planned for the film Make
Mine Music, but then Blue Bayou was substituted in. Walt used the Le
Sacre du Printemps (the Rite of Spring) music for Fantasia. This piece
of music was written AS a pagan ritual where a virgin sacrifices
herself by dancing to death. Disney’s mobster Gunther Lessing had
threatened Stravinsky if permission weren’t given for Disney to use
the piece of music, it would be used anyway. Dr. Julian Huxley got
involved in the production of Fantasia. Aldous and Julian Huxley are
well known by conspiracy researchers for their roles in the World
Order. In the 1940’s and 1950’s, the Illuminati began using Disney’s
Alice In Wonderland and the Wizard of Oz films as programming bases
for their total mind-controlled slaves. Alice in Wonderland had been
done many years earlier by the Britisher William Cameron Menzies (who
also did Freemason H.G. Wells’ masonic forecast of the New World Order
entitled "Things to Come" in 1936, and the film Invaders From Mars.).
In 1944, Illuminati Kingpin William Randolph Hearst (with some minor
help from others) funded the Motion Picture Alliance, and Walt Disney
became a co-founder and its first Vice-President. In the early 1950’s,
Walt turned his attention from animated cartoons to other projects,
such as True-Life-Adventures, television shows, and the creation of
Disneyland. Seal Island was his first true life adventure which was
released to the general public on May 4, 1949, and soon won Walt
Disney an Oscar. Alfred and Elma Milotte had shot the film on some
Alaskan Islands named Pribilof Islands. James Algar had put the movie
together. In 1952, Walter spelled his named backwards to create the
name of another corporation ,,Retlaw". Roy and his family saw the move
as an attempt to cut them out of the financial picture. In 1954, Walt
Disney and ABC made a agreement. ABC would directly invest half a
million US dollars as well as guarantee $4.5 million in loans for the
construction of Disneyland. This made ABC 1/3 owner of Disneyland. In
return, Walt Disney agreed to produce a regular television series for
ABC. Remember too that ABC’s president Leonard Goldenstein was a good
friend of Ronald Reagan. On July 13, 1955, Walt and Lillian were
attempting to celebrate their 30th wedding anniversary at a park and
restaurant. Walt got too drunk to speak into the microphone, so he
blew noisemakers into it, while Lillian rushed to pull him out of
view. In 1961, Disney bought out the ABC investment (also labelled
Paramount) for $7.5 million with cash and notes, and to bring this all
up to date, later on July 31, 1995, Disney merged with Capital
Cities/ABC, with Disney in nominal control. Actually Capital Cities
has long been a CIA front company, so the merger placed Disney
squarely within the CIA ranks, although it had been in bed with them
for the CIA’s entire history. The Illuminati-controlled corporations
of Coca-Cola and the drug firm Johnson and Johnson became sponsors for
Disney’s early TV shows. On 7/3/57, the Wall St. Journal announced
that Atlas Corp. got 26% interest in Walt Disney Productions. Walt
Disney worked quietly with some consultants on the concepts behind
Disneyland. His brother and nephew tried to prevent the project from
happening. Later they requested that Walt sign over Disneyland, Inc.
to Walt Disney Productions, which Walt did. Walt kept 17.25 % of
Disneyland holdings and Walt Disney Productions got the rest. Walt
Disney Productions then shared their portion with others. The man who
helped Walt finance Disneyland was the executive vice-pres. of ABC
Kintner. Walt Disney got the Illuminati’s Stanford Research Institute
to determine what would be the best site for Disneyland.
A retired Navy admiral Joe Fowler was in charge of constructing both
Disneyland and Walt Disney World. How do admirals fit into the power
structure? Admirals are briefed each day, and are given information
concerning the secret power structure. Most men who are at that
military level are Illuminati or at least well controlled by the
system. Within the last few years there has been an intense effort to
weed out any admirals who are not loyal to the Illuminati.
Morgan-Evans, who lives in Malibu, and who may be of the famous Morgan
clan, was the one who created the spectacular landscapes for
Disneyland, Walt Disney World, and EPCOT in FL.
According to CIA informants opposed to the NWO, CIA contractors were
brought in to build the underground tunnels under Disneyworld in 1977.
These contractors were sworn to secrecy, but were only informed on a
need to know basis why the CIA was involved with an amusement park. To
work on the secret tunnel project took an "Above Top Secret"
clearance. A major programming center was constructed under Lake
Holden. (Many of the lakes in Florida are named Lake So-and-so, rather
than So-and-so Lake.) The tunnel system was built for programming
trauma-based total mind-controlled slaves. It was built of concrete
with steel reinforcement. Lake Holden lies just to the northwest side
of the Orlando International Airport and just south of Interstate 4.
(It is close to Range 29E on quad maps.) It is only (as the crow
flies) about 12 miles from Disneyworld. In spite of Draconian measures
of secrecy, numerous lawsuits (Fed. & State) were filed over the years
by victims trying to expose the Disneyworld programming tunnels, so
that finally the programming center was dismantled, cleaned up and a
,,maintenance" tunnel level and a ,,casting" tunnel level were opened
to the public. During its heyday, the programmers (military &
intelligence men) had exotic offices underground with unusual
programming equipment. It doesn’t take any imagination to realize that
if Disney carried mind-control programming above and below ground,
that they would need tight security forces to protect their secrets.
Indeed, such is the case. Disney amusement parks have been granted
draconian powers wherever they have been built! The Disney parks have
also employed armies of spies dressed like tourists to spy on Disney’s
employees! If amusement park workers did anything slightly out of
place, they were (and still are) reported by the spies in the camp,
and they often have lost their jobs. For instance, one ex-worker, who
had 10 years with Disney, was caught discussing his divorce with
another worker. Since divorce doesn’t fit the wholesome image that
Disney wants, when the spy dressed as a tourist reported his
conversation, he lost his job. Many workers have tried to tell their
personal horror stories of Disney’s draconian rules and their
draconian private police force, but most of the time Disney has had
the power to suppress and intimidate away any bad publicity. An
exception to that is the recent Nov. 4, ‘96 Napa Valley Register
article on page 2D entitled, "Critics of Disneyland Say Security
Abusive Inside Magic Kingdom." UCLA law professor David Sklansky
commented about Disney’s police, "One of the major problems we have is
nobody really knows what they are doing- how often they stop,
interrogate or search people. They are not subject to the same sort of
regulatory controls." It’s almost superfluous to tell readers that
Disney’s amusement park with it’s theme areas such as Fantasyland,
Tomorrow land and Adventure land were a great success. Everyone
worldwide was curious to visit this entertainment Mecca to participate
in something that had a clean, wholesome image to it. The entire world
system pulled together to insure that Disneyland got the image and
publicity that the top 13 Illuminati families and the various
syndicates wanted it to have. For 40 years they’ve done this. When
something that everyone thinks is clean and wholesome is not attacked
by the world system that should raise eyebrows among thinking people.
Home schooling, learning to read phonetically and other wholesome
activities for children have been viciously attacked and ridiculed by
the established media. Why has Disney gone untouched? Disney Studios
for years strove to have a very clean image. Workers had dress codes,
and any activity on the part of employees that wasn’t morally
conservative was grounds for instant dismissal. Of course, the
exceptions were well covered up, such as an employee who used hypnosis
to get quite a few of the females employees to undress until nude.
John L. Hulteng, author of The Messenger’s Motives (Englewood Cliff,
NJ: Prentice-Hall, 1976, p. 213) informs us, "As communication
researchers have emphasized, the greatest impact the media have on the
formation or change of public opinion is in terms of impressions built
up over a long period." [bold added] The wholesomeness of Disney is an
image that has been built over a long period of time. Disney’s occult
themes of world citizenship, witchcraft, humanism and idolatry have
also been long running impressions that have been craftively
perpetrated upon this nation, so long that they began prior to this
author’s --& probably the reader’s-- birth.
People don’t associate movie’s like Consenting Adults with Disney, or
The Corpse Had a Familiar Face with Disney. In fact as previously
mentioned, when Disney wanted to put out more "adult" films, they did
a slight of hand and created the label Touchstone films so that people
wouldn’t associate movies like Splash (which showed what looked like
bared breasts) with Disney Productions. Another label, Hollywood
Pictures, was created by Disney to help distribute Touchstone films.
At first the personnel of these companies was simply Disney’s staff,
but as time went on, they got their own production personnel.
On Oct. 27, 1954, Walt Disney’s Wonderful World of Color debuted on
television. The TV show celebrated Disney’s movie triumphs. The words
Wonderful World of Color are not ill chosen. According to an
Illuminati mind-control programmer, when Disney worked on his
cartoons, and amusement parks, colors --special colors and color
combinations--were specifically chosen for mind-control programming
purposes. Wonderful World of Color under various names such as
Disneyland aired for 22 years over the television networks. In 1955,
Walt Disney made his cartoon character Mickey Mouse real by creating a
fan club--the Mickey Mouse Club, which aired five days a week usually
just as children came home from school. Twenty-four children called
mouseketeers would help Mickey, and they would dance and sing and do
skits. The Mickey Mouse Club adored the unique, cute little beanie
Mickey Mouse caps with their big ears mounted to each side of the
beanie. In the 1950’s, most kid viewers of the show wanted their own
"Mouse Ears" and to become a Mouseketeer, especially children who were
receiving Mickey Mouse scripts in their total mind-control
programming. Disney used his Mouseketeers to play all the roles in an
Oz movie Rainbow Road to Oz, which was never shown to the public.
Adults today (both men & women) who received Mickey Mouse programming
during the 50’s through 70’s can still be seen with Mickey Mouse
clocks, watches, lampshades, knick-knacks, tee shirts, etc. Years
later the kids who watched can still remember "Spin and Marty" and the
Mickey Mouse theme song. The image that everything was perfect
including Mickey was portrayed by the Club’s T.V. program. Still
somehow the American people began to use the word "Mickey Mouse" as a
synonym for a silly, pretend way of doing things. It became common for
people to say, "He mickey-moused it together." to mean he did a poor
job putting it together. On Jan. 30, 1957, Walt Disney had a
television show aired entitled "All About Magic" where a Magic Mirror
explains about magic. The Magic Mirror also contains a
"Bibbidi-bibbidi-Boo" sequence. In 1959, Disney bought 8 small
submarines from Todd Shipyards for $2, 150.000.
When ABC wouldn’t let Walt make a TV series out of a storyline where a
magic ring changes a boy into a dog (a mind-control programming
theme)--because ABC didn’t think the public could swallow the story
line--Walt quit ABC for NBC. Walt then made a scaled down version of
this occult storyline entitled The Shaggy Dog. Early in the 1960’s,
Walt and his brother Roy went secretly looking for an area on the east
coast to build another Disney Park. Walt the younger of the two, died
in 1966, and Roy finished the project. Beginning in 1964, 30,000 acres
were secretly purchased at $200 an acre in the Orlando, FL area just
west of NASA’s Cape Kennedy. Using phoney names and paying cash,
Disney buyers bought the land and swore the sellers to secrecy. The
Magic Kingdom has been multiplying. In 1971, Walt Disney World was
opened to the public. Bob Hope and others participated in a Disney
special on Oct. 29, 1971 "Grand opening of Walt Disney World". From
the time of its opening until Oct. 12, 1995, Disney World calculated
1/2 billion people visited DisneyWorld. This amusement park is in
Orlando, FL on over 27,400 acres and includes the EPCOT Center (now
also called simply Epcot). The EPCOT center was another dream of Walt
Disney’s (albeit more than slightly modified from Walt’s original
EPCOT ideas.) EPCOT originally stood for Experimental Prototype
Community of Tomorrow. It was to be an extension of the massive
mind-control being carried out at Disney World. The original EPCOT
city designed by Walt was to carry on its commerce (traffic) via
underground roads and tunnels like the Disney Theme parks. After Walt
Disney died, his successors changed the proposed experimental city
into another theme park simply called Epcot. It is not unusual to see
crowds of over 48,000 people descend on Walt Disney World and the
EPCOT center in a single day. Some visitors arrive via a monorail.
Visitors can buy 5-Day World Hopper passes which allow them to bounce
around with admission to all the sites for a seven day period. In
other words, some families stay for a week at Disneyworld. Hardcore
visitors can get Annual Passports which provide unlimited use of Walt
Disneyworld for an entire year.
In reality, many visitors to Disneyworld begin the day enthusiastic
and after a day of hot sun and waiting in long lines with large crowds
for imitations of reality, the tourists are zombie-like and looking
forward to getting back to their hotels. Many people have felt the
rides were not nearly what they expected. Some of the rides are better
than others, and some typically get comments like, "It was stupid."
Some of the spooky events like Snow White’s Adventures, or the
oversized heads of the Disney characters walking around can leave the
little preschool children terrified and dazed for the rest of the day.
In contrast, older children, who normally rarely show patience at home
may show how much they want to go on a particular Disney ride, by
waiting an hour and a half in the hot sun for a ride. Alien Encounter
is a Walt Disneyland feature that invites tourists in for a
"demonstration of interplanetary teleportation." When the
"demonstration" as planned "breaks down" an ,,alien" with asocial
traits appears among the audience and terrorizes the audience. A cute
creature is hideously fried, deformed, and then vomited into space
screaming. Here are some comments from visitors to this Walt
Disneyland attraction:
· "Alien Encounter ...is one of those rides I can say I’ve seen and
that I have no intention of ever doing again. In fact, parents who
take children under the age of six should be brought up on child
abuse." Woman, from MI
· "Alien Encounter was the WORST experience for my 10-year-old (and
almost every child in there). It starts out cute enough during the
preshow, but the actual show is a disaster for children. My daughter
screamed and cried in terror throughout it. I thought the Disney
warnings were vague and inaccurate. When we left, there wasn’t one
child with dry eyes (even sturdy looking 12-year-old boys were
crying.). I think an age requirement of 13 or 14 is more appropriate.
I talked to a few adults and we even agreed that the special effects
were extremely unpleasant even for us. This show is not a Disney
family experience--its ATROCIOUS!!" A mother from Phillipsburg, NJ.
· "We did go to Alien Encounter...The preshow is deceiving. It kind of
lulls you into thinking "this isn’t so bad." When the main part came
up, I admit the experience gave me the absolute heebie-jeebies. . .I
am never doing that presentation again--it was way too intense for me,
and I’m now 27 years of age!--from a family in Laurel, MD Michael
Eisner, the President of Walt Disney Co., initially rejected Alien
Encounter for not being scary enough when it was being considered as
an addition to Disneyworld. One wonders what he would have liked! Snow
White’s Adventures, which was an attraction at Disneyland, was one of
what the Disney people called "dark rides". After a while a sign
appeared with a witch warning people that the attraction was scary.
Later in 1983, they renamed it Snow White’s Scary Adventures. It might
be interesting to point out that when the original Snow White and
Seven Dwaffs film came out, that England forbid the film to be seen by
any child under 16 unless accompanied by an adult because of the scary
content of the movie. How far we have come since then. Schools in the
Florida and California areas also make field trips to the Magic
Kingdom that are arranged with Disney. EPCOT receives tens of
thousands of children this way during March, September and October.
High schools use the Magic Kingdom for proms or senior nights, and
some couples use the facilities of the Magic Kingdom for weddings.
Modem Bride ranked Orlando as the number-one honeymoon destination in
the world. Group discussions of people who took honeymoons to
DisneyWorld have had a consensus that the hype is not as great as the
reality. Some weddings are done with cartoon characters. Disney offers
"fairy-tale" wedding packages. A great deal for two mind-controlled
slaves. They can reinforce their programming while getting married.
The Disney fairy-tale wedding typically has its ceremony on a pavilion
on an island in the Seven Seas Lagoon with the Cinderella Castle as a
backdrop. The fairy-tale wedding can then be followed with a Fantasy
reception with a choice of themes such as Beauty & the Beast or
Aladdin. The fantasy programming can continue as the bride is
delivered to a "Cinderella’s Ball" by an actual glass carriage drawn
by six white Disney ponies. A costumed fairy-godmother & stepsisters
are also at the ball. Desert is served in a white chocolate slipper.
One of the after-dark shows is IllumiNations which consists of music,
fireworks, erupting fountains, special lighting, and laser technology
done at the World Showcase Lagoon. EPCOT has a show Cranium Command at
the Wonders of Life in the Future World section where guests sit in a
theater that functions as a command control room for a boy’s brain. In
1980, Disney came out with the box office flop The Devil & Max Devlin.
In 1984, Roy E. Disney brought in Michael Milken, of junk bond fame to
help Disney out financially. In 1985, Disney bought MGM’s rights to
Leo the Lion logo and began using the MGM Wizard of Oz material. Later
a remake of Alice In Wonderland came out in the modern motif of Honey
I Shrank the Kids. In the 1990’s, Illuminati controlled companies
continued their promotion of Disney. For instance, the Nestle family’s
Nestle company promotes Disney movies on their chocolate bars. The
Nestle family is exposed in this author’s booklet Illuminati Control
Over Foods and Grains, p. 4 as one of the elite Black Nobility
families. In 1996, Walt Disney World created an actual residential
town named Celebration on its property. This self-contained community
has 20,000 and a school, a theater, a fiber optic information network
linking business, as well as other features.
SOME DISNEY people of interest.
Over the years, the close associates of the Disneys’ are very
revealing. The public can get a feel for Disney’s attitude toward
Illuminati bloodlines in the Disney movie The Happiest Millionaire
which is about Anthony J. Drexel Biddle and Angie Duke. Readers of
this author’s previous writings will recognize the Biddle and Duke
names. In fact, the movie was based loosely on a book written by
Cordelia Drexel Biddle about the Biddles.
X Atensio. His first name was Xavier, but was nicknamed and called X.
He worked on the haunted mansion of Disneyland with WED enterprises.
He joined Disney in 1938, and was an assistant animator of Fantasia.
Warren Beatty. (b. 1937 in VA) This actor is from the Illuminati
Beatty family and starred in Disney’s Dick Tracy. The Dick Tracy film
uses color in a special way, and this ties in with the color
programming of the mind-control. Some total mind-controlled slaves
have programming based on Disney’s Dick Tracy movie for them to track
down and kill "targets" (people). Warren’s sister is the famous (or
infamous) Shirley Maclaine. Shirley "MacClaine" is not what she
appears. Her father was a professor who was a CIA asset. She was used
by the CIA as a sex slave. She became popular with the studios because
she went to bed with the correct people. Her talents were used to get
her as an intelligence slave into places that an obvious intelligence
agent couldn’t go. She was married to a man in the NSA for nearly 20
years. Her adopted name Maclaine (reportedly her mother’s maiden name)
is a pun on McLain,, VA where the CIA programmed her. She was used by
the CIA in an operation in Australia, where the CIA used her as a sex
slave to compromise Andrew Peacock, an Australian MP,, so that they
could establish the Nugen-Hand bank for their dirty money laundering
etc. She is a friend with Satanist Stephen Nance who has provided her
with some of her teachings. Lowell McGovern writes her material. The
CIA has programmed many of their New Age slaves to adore Shirley
MacLaine. An example of this is Christa Tilton, one of their
mind-controlled slaves, who revealed in an interview how she
considered herself a born-again Christian who had spent most of her
life in Oklahoma, but had mysteriously been drawn to Shirley MacLaine.
During her life she has gotten repeated "psychic urgings"--that is
strong urges to do things and go places, which she doesn’t understand
where these urgings came from. After hypnosis, Christa drew pictures
of the doctor who programmed her. Christa has had a federal agent
monitor her constantly. Her husband has seen this agent, who has shown
up on her door step and made calls to her. She names the agent John
Wallis (most likely a cover name). This agent has a complete knowledge
of her life, and government agents have taken photos of her during her
supposedly "alien abduction" experiences. Christa is just one of
hundreds of victims who have been programmed to adore Shirley
MacLaine. (Christa is mentioned here because she is one case that this
author is familiar with.) Warren Beatty, who peppers his speech with
four-letter words was a student at the Stella Adler Theater Studio in
NYC.
Black, Shirley Temple. Shirley Temple Black sat on the Disney board of
directors (74-75). Her films were used for some of the early 40’s and
‘50’s programming and teaching slaves body movements/dance. She
married someone in an elite Network family from San Francisco named
Charles A. Black. Charles A. Black was a Lt. Col. in the Pentagon who
lived at Bethesda, MD. Was Shirley an early example of brain-stem
scarring to get geniuses? Shirley’s brother appears to have developed
"Multiple Sclerosis" from brain stem-scarring. It was Shirley Temple
who co-founded the International Federation of Multiple Sclerosis
Societies, and was a member of its exec. committee. Shirley
represented the U.S. at the UN General Assembly in 1969, belongs to
the Sierra Club, and has been decorated with the Cross of Malta.
Shirley has shown clues that she may be an Illuminati mind-controlled
child protege.
Stephen Bollenbach. Bollenbach was part of Walt Disney management, and
was a key figure who helped engineer Disney’s $19 billion buyout of
the CIA’s Capital Cities/ABC, as well as sell the idea to Eisner. He
is the CEO of the Network’s Hilton Hotels Corp. He recently has been
involved with trying to buy ITT, in order to put together the world’s
largest hotel-casino combination. Bollenbach has an extensive
background with the gaming-gambling industry. When the Justice Dept.
began looking into the merger of Disney with Cap. Cities/ABC,
Bollenbach resigned his Disney position. Some people feel his
resignation was needed for Disney to get the Justice Dept. to approve
the merger, because his past was vulnerable to be exposed.
Warren Buffett. A major stockholder in Walt Disney. He also owns 40%
of Berkshire Hathaway Inc. which also owns lots of shares of Disney
stock. According to S.F. Examiner, Buffett himself owns 24 million
shares of Disney. Warren Buffett is part of the Ak-Sar-Ben fraternity
and Monarch slave abusers who were exposed in the Nebraska Saving &
Loan scandal. He is perhaps the second richest man in the nation, and
too powerful for anyone to touch. In the kingpin vs. kingpin battles,
some people close to the inside see Buffett as a good guy. Readers
need to study the Lincoln Savings & Loan scandal and the scandals
connection to programmed child slaves at Boy’s Town to get more
information on this Disney stockholder. Robert G. Hagstrom, Jr., who
is the portfolio manager of the mutual fund Focus Trust, which has
shares in Walt Disney, wrote the book The Warren Buffett Way. Hagstrom
has a chapter on Disney in his The Warren Buffett Way. He quotes
Buffett as extremely enthusiastic about Disney’s merger with Capital
Cities/ABC. Because of his enthusiasm Buffett says, ,,The odds are
extremely high that we will have a very large amount of Disney stock."
Salvador Dali--This strange surrealist spanish artist was a friend of
Walt Disney. After Salvador was kicked out of Spain for Franco’s
belief that he was a communist, he came to America, and worked with
Disney Studios in 1946. Salvador, an eccentric who had no particular
work habits, described himself, "The only difference between me and a
madman is that I’m not a madman."
The Tommy Dorsey Band--This band has had a number of men in it who are
Mind-control slave abusers associated with the Network. Frank Sinatra,
a sexual slave user, got his big break with this band. This band
performed at Disneyland in 1984 at the Plaza Gardens. Tommy Dorsey was
part of the Network’s in-crowd. When he was on a USO Tour with Bob
Hope, he stabbed actor Joe Hall and threw him out of a window. Joe had
to have 32 stitches. But Joe didn’t get justice, the judge dismissed
his case against Tommy.
Michael Dammann Eisner, Chairman at Disney is a CIA asset and
connected to the mob. Some insiders believe he is connected to
elements of the CIA & mob that are anti-NWO. Even so, these anti-NWO
factions also employ mind-control. Eisner ignored a threat by Red
China to boycott Disney products if he made a movie about the nation
Tibet that China controls with draconian force. The U.N., the Commerce
Dept. and the State Dept. all tried unsuccessfully to get him to back
down on the film. A paper trail connecting Michael Eisner and Walt
Disney Co. to mind control is their support of the Boys & Girls Club
of Napa Valley, which is used for a supply of children for pedophilia
and mind-control. The Boy’s & Girls Club is used to supply caddies for
the Silverado Country Club, where these children are also used as
mind-controlled slaves for the sexual perversions of the elite. Notice
that Napa’s Silverado Country Club invites in celebrities (such as CIA
asset Pat Boone, Joe DiMaggio ex-husband of sex slave Marilyn Monroe,
Engelbert Humberdinck a slave handler, Digger Phelps Notre Dame’s
coach who uses slaves, and Jack Vale nti CEO of Motion Picture Assoc.
& Bohemian Grover) for a golf tournament which is billed as a
,,benefit for the Boys & Girls Club". The benefit for child slaves is
they get to caddie & sexually service elite perverts. Michael (bn.
March 7, ‘42 in NY) came from old American money of a family that has
been rich merchants and lawyers. Michael grew up in luxurious Park
Ave. as well as his family’s "country place" in Bedford Hills near Mt.
Kisco, NY. He went to an elite private school Allen-Stevenson, which
is famous for its children’s orchestra. At the age of 14, he then went
to Lawrenceville School, which is a prep-school for Princeton, whose
tuition in ‘56 was $3,000. Eisner’s class incl. NY’s governor’s son,
and other sons of powerful men, such as the son of Saudi Prince Turqi
al-Faisal. The school is a prep school for the establishment’s
entertainment industry. Students are only allowed to see their parents
on major holidays. Eisner was in the Periweg Club, the school’s drama
society. His poor scholastic performance meant that he had to go to a
small liberal arts college, rather than Princeton or Harvard such as
was family tradition. For instance, his grandfather had attended
Phillips Exerter Academy and Harvard. His grandfather has serve in
many govt. commissions and belonged to the Harvard Club, the American
Club in London as well as some yacht clubs. Between his junior &
senior year in high school, Eisner was a page at NBC’s HQ in the
Rockefeller Center. In 1966, he landed a job in the programming
department of ABC. He had an influential position. Eisner had one good
break for deciding TV programming. He was 21 when the target audience
was 21 years old, and when he was 35, the target age of the film
industry was then 35.
He has been described as having "supernatural enthusiasm" coupled to a
lifetime quest for untested ideas.
Rich H. Frank, was Executive Vice-President with Walt Disney until his
sudden resignation about a year before this was written. He worked
side by side with Katzenberg and left after Katzenberg resigned in a
dispute with Disney’s chairman Eisner. Rich Frank was President of
Walt Disney’s TV-Media Division. He acquired the estate of
VanHoffenwiggen, when VanHoffenwiggen fled the country and vanished
when Lendvest began to be exposed. VanHoffenwiggen was a major figure
involved with Lendvest Mortgage Inc., a drug-laundering operation and
drug smuggling operation operating out of Napa Valley. It was also the
fastest growing real estate mortgage company in northern California
until its drug smuggling began to be exposed. Lendvest did some tricks
ala Nugen Hand Bank. Millions of dollars of investors and creditors
have disappeared leaving lots of hurting people, and the mortgage
company filed for protection from creditors in U.S. Bankruptcy court,
and is still in operation. International financier Edmond Safra’s
private bank, the Republic National Bank of NY, launders money from
the Medellin drug cartel. Safra’s bank sent Lendvest lots of crisp new
$100 bills. The Safras are tied in with the Rothschilds. (The Safras
are reportedly recent property owners in St. Helena near Napa (through
Good Wine Co. which is the Spring Mountain Wineries), near where
Lendvest was HQed. Edmond’s nephew, Jacob Safra, has a partnership in
Napa Valley’s Good Wine Co. The Rothschild’s Citicorp gave Republic
National Bank the transaction ability to issue international (world)
bearer bonds ("bank notes") The Luxembourg/Belgium branch of Bank
Nacional de Paris issued a bearer bond that was connected the Lendvest
drug running operation. In Britain, a U.S. citizen Mike Spire ran the
British operation of Lendvest and InVest. LandVest’s parent was InVest
which has operated in the U.K., Switz., Saudi Arabia & Paraguay. Long
story made short, Lendvest has been an international CIA-Mafia drug
running operation, with Illuminati overtones and connections to it.
With all this in mind, it is strange, that Walt Disney’s President of
its TV-Media Division, Rich Frank, bought the palatial mansion of John
0. VanHoffenwiggen after VanHoffenwiggen disappeared from the country
when indictments and arrests began to be made of people connected to
Lendvest. According to insiders, Rich Frank is also one of a number of
Napa Valley people involved in illegal labelling of wines. Rich Frank
was a key figure in Disney’s programming venture with three regional
Bell Telephone companies (Ameritech, Bell South, & SBC Commun.) coming
together. Bell Telephone wanted to get into cable TV. Michael Ovitz
formed a rival group of 3 other Bell Telephone co.s. Calvin Robinson,
who tied in with Land Vest, worked with Boyce, who in turn worked for
TRW Co., in Redondo Beach, CA. Boyce was sentenced to 40 years for
selling US surveillance secrets to the soviets.
Daniel Hillis, the co-founder of a supercomputer producer Thinking
Machines from MIT, is in charge of the Walt Disney Imagineering unit.
Hillis helped Disney develop a virtual-reality ride at Disneyland
based on the Aladdin cartoon.
Jeffrey Katzenberg, has been the chairman of Disney’s movie studio, is
an aggressive worker, a model Type A person. ,,Ask 50 people to
describe Jeffrey Katzenberg, and most will say tenacious. ‘If Jeffrey
were any more aggressive, he’d be in jail." says the producer Dan
Melnick." ( Harmetz, Aljean, "Who Makes Disney Run?", NY Times. Feb.
7, ‘88, p. 29.) Katzenberg is the father of twins, which people joke
was typical of his efficiency. Katzenberg supervised the production of
Star Trek. Most of his movies have been box office successes. In the
‘70’s, Katzenberg worked for NY Mayor John Lindsay.
Sanford Martin Litvack. Sanford is the Executive Vice Pres. of Disney
and in charge of "Human Resources" for the corporation. He is a jewish
lawyer who was educated at the Jesuits’ Georgetown Univer. He is on
the bd of dir, of Bet Tzedek.
Vincent Price. Price has been one of the major influential occultists
who has provided the world with many occult horror books and scripts.
He worked for Disney some, and was the voice for Ratigan in The Great
Mouse Detective. Vincent Price’s good friend John Hay Whitney is an
Illuminati kingpin and vice-pres. of the Pilgrim Society and was
raised into the Illuminati through the Yale Scroll & Key fraternity.
His friend Whitney likes horror movies.
The Osmond Brothers. Merrill Osmond’s boys were "discovered" at
Disneyland when they were visiting the site in 1962. The Disney people
on Main St. just "happened" to recognize the talent of the five boys
and signed them up soon for their first professional singing contract.
The Osmond Boys did some television appearances for Disneyland such as
Meet Me at Disneyland, and Disneyland after Dark. (Considering the
mind-control programming done to these Osmund children, these TV shows
were a cruel joke.) Of the singing Osmond kids, Donny is the next to
the youngest, and his sister Marie is the youngest. Both Donny and his
sister Marie are programmed multiples who are slaves, who have been
subjected to a lot of abuse. They have good front alters. Their father
has made millions from drugs, porn and white slavery and is part of
the Mormon Illuminati front. The Mormon front of the Illuminati has
gotten a lot of good publicity off of the Osmonds. They sang for Andy
Williams whose french wife was once arraigned on murder charges. Later
they sang for the satanic Network’s Lawrence Welk show. Swedish
accented Lawrence Welk has been part of the Network. Marie Osmond has
grown up, and she has adopted 3 of her 5 children in spite of her busy
singing schedule which includes approx. 200 singing shows a year at
places like Mafia controlled Atlantic City. In terms of occult
families, adopted children are often programmed children, so this is a
clue that her children have been programmed too.
Michael Ovitz. Ovitz was the no. 2 man at Walt Disney for a while
until near the end of ‘96. Michael Ovitz was a high school classmate
in VanNuys, CA with Michael Milken (later the junk-bond wizard), &
there are many of the same people connected to both men. When Michael
Ovitz’s National Mercantile Bancorp (a saving & loan) began getting
into the quicksand of several lawsuits & scandals, attorney Robert
Strauss represented him. Illuminati member Robert Strauss has been a
lawyer connected with drug running & the mafia. He was also an FBI
agent from ‘41 to ‘45 with Hoover. He is admitted to the Wash. D.C.
bar. Pres. Bush appointed him U.S. Ambassador to Russia. He has been
on the board of dir, of the Illuminati’s PepsiCo,
Archer-Daniels-Midland (ADM), and General Instruments (which have been
exposed in other writings by this author.) He was also a board member
of the Illuminati-mafia run MCA. Strauss is seen in Wash. D.C. as a
behind the scenes power broker. Strauss represented Michael Milken
associate Ronald 0. Perelman, Chrmn. of Revlon, who made a $600 mil.
killing off of the 1st Gibraltar S&L. Strauss represented MCA, which
the Bronfmans took over in 1995. The book Knoedelsder, William.
Stiffed-The True Story of MCA, The Music Business, and the Mafia. NY:
HarperCollins Pub., 1993, does an good job of connecting MCA to the
mob, the Network, and Iran Contra. See especially page 442. Time
magazine 2/24/97 carried a page long story about Michael Ovitz being
out of a job. In the article, they reported that he was spending time
on his new yacht The Illusion, visiting Joe Silver’s estate in So.
Carolina, visiting his property in Aspen, CO, and eating lunch with
investment adviser Richard Salomon of Spears, Benzak, Salomon &
Farrell. Gordon Crawford of the Capital Group is quoted in the article
praising Ovitz, and saying he would invest in an Ovitz venture. Ovitz
is believed to be mafia by people in a place to know. He has also been
known to threaten people using mafia terms, for instance, Vanity Fair
(12/’96, p. 272) reports Ovitz threatening Bernie Brillstein, a
producer, with his "foot solders". The San Francisco Chronicle (Fri.,
1/26/’96, p. D20) quotes the latest issue of Columbia Journalism
Review about an incident where a reporter Anita Busch who was
investigating Ovitz got violently sick from the MSG in her food as she
interviewed him. To top off it all off, Ovitz followed up her story
which questioned his actions, by sending her a gift wrapped package of
MSG with a one-word note: "Enjoy.". Michael Ovitz has had the clout to
deal with Illuminati kingpin Edgar Bronfman head to head. He requested
& got Bronfman to keep his dad employed, which was dutifully done.
Edgar Bronfman Jr. had seriously considered having Ovitz head
Seagram’s MCA/Universal conglomerate.
Frank G. Wells. Frank was the President & the Chief Operating Officer
of The Walt Disney Co. Wells was also on Disney’s board of directors.
He was a Rhodes Scholar, and a lawyer in 1955. Those who have read
previous books (such as Vol. 1) by this author know how the Rhodes
Scholars fit into things & are part of the Illuminati. He worked
closely with Eisner & Katzenberg. Frank died in a helicopter crash in
the spring of 1994 while heli-skiing in Nevada. His surviving sister
is Molly Wells Chappellet who runs around in Illuminati circles. Molly
Wells Chappellet has been featured several times in Betty Knight
Scripp’s magazine Appellation. Betty Knight Scripp was married to a
Bohemian Grove member. Betty has been good friends with: the late
Pamela Harriman (who was a recent U.S. ambassador to France &
connected to the Rothschilds), as well as good friends with Her
Imperial Highness the Grand Duchess of Vladmir of Russia, who owns the
Chateau Margaux in Bordeaux. Betty Scripps personally monitors with
care what is put into her incredible magazine Appellation. She has a
column "Who’s Who in the Wine Country" where the Chappellets have
appeared in print numerous times.
Nearly all of Disney’s 1920 movies had a black cat in them. Many had
occult slants to the scripts. The occult slant never departed from
Disney themes.
Some of DISNEY’S blatantly OCCULT MOVIES.
Aladdin. A wisecracking all-powerful genie is shown.
Bednobs & Broomsticks. (1971) A witch finds a magic formula from a
lion king. The magic formula raises a ghostly army of armor in a
museum, which stops a band of German commandos.
Beyond Witch Mountain. (1982) A pair of twins leave Witch’s Mountain
and have to use their special occult powers to outwit a character
named Deranian.
Black Cauldron, The. (1985), A Horned King uses his magic to fight a
clairvoyant pig and the pig’s keeper. This animation cost $25 million,
but was a box office failure.
Bride of Boogedy. (1987) An evil spirit visits the Davis family and
puts the father under a spell. Directed by Oz Scott.
Child of Glass. (1978) A glass doll must be found to set a ghost free
in a haunted house.
Gnome-Mobi1e, The (1967). A multimillionaire and his grandchildren
encounter gnomes. In the end the multimillionaire deeds the forest to
the gnomes for eternity.
Halloween Hall of Fame (1977). Jack-o-lanterns come to life.
Halloween Treat (1982). Cartoons about Halloween. This was followed
the next year with a film Haunted Halloween which talked about the
origins of Halloween.
Misadventures of Merlin Jones. (1964) A genius tries to help other
students. He tries to also use hypnotism & ESP which backfire on him.
Richest Cat in the World. (1986) A wealthy man leaves his fortune to
his cat, who the relatives later discover can talk.
H. DISNEY & its MOB connections
When this author spoke to the co-author’s deeper Illuminati alters
about Disney, their reaction was that Disney had been described to
them when they were in the Illuminati as "a syndicate within a
syndicate." They said that while in the Illuminati, they were aware
that Disneyland had their own government, their own rules and their
own police force. They were a crime syndicate within a syndicate. What
these Illuminati alters casually mentioned, was verified by this
author the hard way through research. One Disneyland Security
Supervisor said, "There is no Constitution at Disneyland. We have our
own laws." Once, when Walt Disney got miffed at a Hollywood policeman,
Walt said, "I’ll have your badge." If Disney guards decide to, they
will get very rough physically with people, and assault them in any
fashion they see fit. The people they detain are often thrown into
tiny cells at Disneyland where they are kept without benefit of a
phone call, without benefit of a toilet or water. The judicial system
turns a blind eye to whatever Disney police do. Many people pay Disney
to get their children out of a Disney cell, and never get due process
of any law. This type of treatment has gone on for decades, and is
almost a daily occurrence at Disneyland. The Anaheim Police force is
very chummy with the Disney private police force. Also at one point,
the Burbank Chief of Police was the brother-in-law to Disney’s Chief
of Security. Recently, when a couple filed a wrongful death suit
against the Magic Kingdom of Disney in Florida, the state of Florida
surprisingly has appeared to have backed off from their traditional
behavior of protecting Disney’s sovereignty. An article on the suit
said, ""there is evidence of some nervousness with Disney’s relative
autonomy."" (San Francisco Chronicle, article "Mickey’s Dark Side"
Oct. 1, ‘96, p. C6) An attorney in the case said, "Disney World’s
security people aren’t just cops, they are bad ones. I don’t think
there is any corporation that has ever had the perceived power that
Disney has." Richard Foglesong, a professor of politics at Rollins
College in Winter Park stated, "Because Disney World controls so much
of its corporate and municipal universe, it can’t help but act in a
heavy-handed manner in order to ferociously protect its self-interest.
They have immunity from state and local land use law. They can build a
nuclear plant, distribute alcohol. They have powers local communities
don’t have. Do they abuse it? In my opinion, yes." In line with
Disney’s previous dictatorial policies on their properties, Disney’s
new city called Celebration will not have any elected government.
Since the city is unincorporated (a neat Disney trick) the mayor is
appointed by Disney. Several Disney "quasi-government’" bodies control
citizens of the city. For instance, the Celebration Residential Owners
Association, which participates in binding all residents to a
Declaration of Covenants, a legal binder of rules that residents must
live by. Of course the Declaration of Covenants was written by Disney.
These rules include such nit picky things as, no more than two people
can sleep in the same bedroom, no pickup trucks can be parked in front
of homes, and if Disney officials don’t like your cat or dog they can
forcibly remove the animal from your home. Disney Corp. has
perpetrated numerous deceptions on the residents, incl. shoddy work on
their homes, and operating their ""public"" school with Disney
cronies. Still, the residents that have moved into Celebration are
glowing with praise for the town in spite of the fact that the city is
totally run by Big Brother Disney Corp. Of course those who don’t love
it, soon leave. So much for the American tradition of self-government.
Some MOB HISTORY
Traditionally, the mob crime bosses have had a yearly summit. In 1928,
they had their yearly conclave at Cleveland. In 1929, they had their
secret yearly conclave at Atlantic City. In 1931, they held their
secret annual conclave at Wappingers Falls, NY. At the Wappingers
Falls meeting, attended by about 300 overlords and soldiers, the heads
of the family clans discussed their crime family agendas. They decided
where the first national Mafia convention was to be held. Once the
Mafia was able to hold their yearly private national meetings, they
were able to coordinate their activities, as well as decide such
things as:
a. The direction of national & internal operations, and long range
plans
b. The promotion of new bosses
c. Decisions on turf & rank, commodities & cash
d. Hashing out alliances or disputes with the Mishpucka, Triads, FBI,
Illuminati, etc. and working with others in a concerted manner. The
mafia clans would then leave the annual summit meetings and follow
through in their area of operations, until they would meet the next
year, review their successes & failures, get new assignments, and
decide upon new short & long term goals. In 1927, the Mishpucka worked
with Mafia to highjack a bootleg shipment of whiskey travelling from
Ireland to Boston for the Kennedy Illuminati family. Most of Kennedy’s
guards were killed in the shootout, and J.P. Kennedy had the widows of
the guards besieging him for financial assistance. Billy Graham’s good
friend Mafia Chief Joseph Bonanno was one of the chiefs who attended
the yearly conclaves. He also met with J.F. Kennedy in the Winter of
1959. John Kennedy was known to have said that mobster Sam Giancana
worked for his Kennedy family. The mob/Illuminati alliances and
infighting are too complex to deal with in this book, but both groups
had to put plans into action to deal with the repeal of Prohibition,
which would end their lucrative bootlegging. The short term plan for
the Mafia was to control the film industry in Hollywood, and to
penetrate the unions better. The long term plans called for sending
their next few generations of children off to the top schools and
getting them into legitimate respectable corporate positions. By
learning the ins and outs of honest, legal operations, they could then
mix in the illegal operations with their legal ones & look legal. They
planned to extend their power base into politics, the Harvard-Stanford
business schools, as well as the finest corporate board rooms. They
intended (and have succeeded) in getting some of their offspring to
produce/direct T.V./films. They would have an increasing presence
within the Bohemian Grove membership, as well as some of the other
great social & business clubs. Their plan to take over the film
industry hinged on their union control over unions and theaters. The
Chicago mob controlled the International Alliance of Theatrical Stage
Employees Union. The mob controlled the projectionist’s union, and if
the film makers had the theaters where their movies were shown shut
down, what good would it be to make movies? The film makers and the
mafia both had power & money. Rather than fight a protracted war, they
made a deal. The major studios would give about $50,000 a year to the
mafia, and the small ones $25,000, to be allowed to function. Other
agreements were also reached. Mob henchmen Willie Bioff and George E.
Browne were mob lieutenants who orchestrated the mob’s "Hollywood
takeover".
Time Magazine, Nov. 1, 1943, wrote, "In the witness chair in
Manhattan’s Federal Court sat bland, wily Willie Bioft (pronounced
Buy-off), blackmailer, panderer, labor leader, and now star witness
against eight ex-pals, who are charged with shaking down $1 million
from the movie industry...Question: Was it true that Bioft once had a
five-year plan for taking over 20% of Hollywood’s profits-and
eventually 50% interest In the studios themselves? Bioff (wistfully):
"If we’d lasted that long, we would have. Question: "Did you ever say
you were boss of Hollywood and could make producers do whatever you
wanted?" Bioff: "Yes-and I could make them dance to my tune." Although
Bioff rolled over on his pals and ended up getting car bombed, that
didn’t stop the mob/Mishpucka infiltration & control of Hollywood.
(Bioff had tried to save his public image by helping Walt Disney
settle his labor dispute with the mob-led unions, but Walt wisely
relected his offer of help, and made sure he didn’t offend the Chicago
mob leaders who were disgruntled with Bioff.) Hundreds of millions of
dollars were poured by the Mafia & Mishpucka into real estate in
southern California, by using legitimate local businessmen to launder
the money. Hollywood was declared a "free zone" where all the
Mafia/Mishpucka families could operate without a fear of a turf war.
Let us backtrack slightly to 1930. Columbia distributed Disney
cartoons from 1930 until 1932, when Disney switched to United Artists,
because Columbia wasn’t bothering to pay Disney the money they owed.
In 1930, Cohn, Pres. of Columbia Pictures, got Disney off the
financial hook with Powers by intimidating Powers with some street
toughs carrying a legal suit. If Disney wasn’t indebted to the mafia
before, he was at that point. Biographers have been puzzled why Disney
went into such a traumatic depression after Henry Cohn "helped" him.
Tough guy Henry Cohn made sure Walt knew who was boss. His attitude
was that Walt should be happy to be paid at all by him for the
cartoons Walt supplied Columbia. After this, Walt would lock himself
in his room and weep uncontrollably for hours. He was impossible for
anyone to get along with. He was unable to focus on anything, and
would stare for long periods out the window. Biographers blame Walt’s
behavior on the fact that his wife was pregnant. They also blame it on
his friend Iwerks defection to another company. Frankly, Walt had
treated Iwerk like a dog, and deep down must have known why Iwerk left
such an abusive relationship. To claim that he wept for hours day
after day because he realized he might become a father is too much to
swallow. When Walt was asked years later about why he was so depressed
he said it was the stress of the financial situation. Walt said, ,,I
had a nervous breakdown. ..Costs were going up; each new picture we
finished cost more to make than we had figured it would earn when we
first began to plan it...I cracked up." This author submits to the
reader that part of his breakdown may have indeed been the financial
stress from having come under the heel of the mafia. They had all the
means to make or break him, and he had no choice but to surrender to
their overwhelming power to blackmail & destroy him OR to get out of
the business. What this did was place Walt in a position where his two
strongest traits had to clash--his overwhelming obsession to be his
own boss, and his creative obsession to create animation which was
wrapped up with his ego & his deep phobias and psychological needs.
His mind couldn’t give up its independence nor its creativity without
great mental anguish, and therefore Walt was very saddened, knowing
that he would have to admit defeat, and buckle under the heels of the
big boys. Just when he needed emotional support his wife was going to
have a child, and his best animator left. Walt had abandoned Iwerks
years before, and Walt’s wife had wanted a child for some time.
Iwerk’s departure and his arriving child do not in themselves account
for the long intense nervous breakdown that Walt experienced.
Biographers point out that Walt was very reluctant to have children,
and that he was impotent with women including his wife much of the
time. His impotency to carry out normal sex may help explain his
secret sexual habits. Walt’s masonic brother Carl Laemmle offered Walt
a good deal to help him recover from Henry Cohn’s abusive control of
Walt, but Carl wanted the copyright to Mickey Mouse in return for the
help, and Walt wouldn’t part with Mickey Mouse. Instead, Walt signed a
contract offered by Joseph Schenck of UA (United Artists), who was one
of the Mafia’s illegal drug kingpins. In 1935, the mob’s illegal drug
dealer Joseph Schenck went on to found 20th Century, Inc. which later
merged with Fox in ‘38 to form Twentieth Century-Fox, whose board of
directors would include two Illuminati kingpins William Randolph
Hearst and Malcolm MacIntyre. Joseph Schenck’s brother Nicholas
Schenck and Marcus Loew merged Metro Pictures and Goldwyn Pictures and
named Louis B. Mayer as its head. Meanwhile over the years, MCA,
headed up by Illuminati Kingpin Lew Wasserman gained a monopoly over
the American film industry with the secret backroom deals that they
made with Ronald Reagan’s Screen Actor’s Guild and Petrillo’s American
Fed, of Musicians. (By the way, Lew Wasserman would try to revive
Reagan’s acting career in the early ‘60’s. Frank Sinatra and Walt
Disney were both friends of Ronald Reagan, and all three believed in
mind-control.) Ronald Reagan and Petrillo in turn worked with the
Mafia’s NCS Council of 9 (which incl. Anthony Accardo and Sam
Giancana), which at one point divided the U.S. into 24 mob
territories. After J. Schenck went to jail (very briefly), he was
replaced as Pres. of 20th-Cent. Fox by Spyros Skouras. Before his
arrest, while Schenck was still in charge of 20th-Cent. Fox, he made
numerous offers to Disney for Disney to incorporate his studio as a
subdivision of 20th-Cent. Fox. Disney worked for a few years with them
distributing his films, but he would not let go of trying to be
independent. The FBI and American Intelligence turned to the mob to
help them as the U.S. entered WW II. Perhaps Walt’s mob connection
added impetus for his recruitment. Walt went to a number of American
Nazi meetings prior to Pearl Harbor. This author believes from knowing
Walt’s personality that Walt may have been on assignment, rather than
a Nazi sympathizer. Still, why does one of Disney’s pre-Pearl harbor
cartoons display a swastika? Disney’s Epcot Resorts is close to the
mob’s Atlantic City Board Walk with its nightclubs. The resort was
designed by Robert A.M. Stern. (This author doesn’t know about Robert
Stern, but there are programmed multiples and Illuminati members
within the Stern family.) At Walt Disney World, the nightclub there
was named "Cage", and then later ’8 TRAX". Comedy Warehouse, which is
a nightclub at Pleasure Island in Walt Disney World opened on May 1,
1989 and has used slave comedians as well having people who are
mind-control abusers. On Feb. 11, 1987, Walt Disney Co. was
reincorporated in Delaware. Delaware is the only state that allows
total corporate secrecy. No one can find out who really is running a
Delaware corporation, and many other secrets can be hidden under
Delaware’s corporation laws. Capital Group has considerable shares in
Disney, as well as 29% of the shares of the Robert Mondavi winery at
7801 St. Helena Hwy, Oakville, CA. Wellington Group and Mellon bank
also have shares. Behind Capital Group are mob controlled groups like
Debartolo Reality Corp. and La Quinta Inns (a Bass bro. operation.)
Sam Bronfman operates Sterling & Monterey Vineyards. There are
countless people walking around that have felt the ruthless,
impersonal, controlling, money-grabbing side of the Disney Corp. Also,
there are a number of journalists who have experienced first hand the
secrecy and paranoia that the Disney corporation has. Most journalists
are not used to the secrecy that pervades Disney. Because Disney has
shaped the myths of America for several generations, the public takes
more concern over who is running Disney, than they would other
institutions. Because most of America believe in the image that the
Illuminati have built for Disney, they are rooting for it to succeed.
How Disney Executives have figured out how to steal land all across
the U.S.
Over the years Walt Disney has developed several very sneaky reliable
techniques to acquire land. They acquire land through their executives
and large stockholders and family members of the execs and
stockholders. After all the deals are made in an area, and when
everything is in place over a period of time, these people then turn
their land over to Disney. Disney works with government officials and
local bankers to line up special deals so they can succeed in their
plans. After everything is lined up, the corporation announces their
plans and goes forward. This methodology has been used repeatedly, for
instance the American History Theme Park in the Manassas Civil War
battlefield area of Virginia for which Disney has acquired 1,800 acres
and has access to at least 1,200 more. In Nov. ‘94, after a new
Virginia governor was elected, the Virginia "Disney’s America" project
was announced, and Virginia voted almost instantly for the money for
transportation and infrastructure improvements to the area so that
Disney’s theme park would be viable. Disney set up 3 banks in Napa,
CA. Their banks made loans to old families in the valley. The trusts
and the wills for these families were made up by Stanford Univ. grads.
These people set on the boards of these banks or connect with the
boards of these banks. They charge large fees, and know every trick in
the book to rob people of their estates and their living trusts. The
Stanford grads, who connect in with intelligence agencies & the mob
use certain code words when they set up their businesses, such as
RESOURCE, EVERGREEN and PACIFIC. There are a number of scared
landholders who are being intimidated to sell their land in the Napa
Valley region.
DISNEY and the GOVERNMENT
Just prior to W.W. II, the FBI recruited Walt Disney. His job was to
spy on Hollywood or anything else that looked suspicious. Documents
obtained from the Freedom of Information Act, in spite of heavy
censoring, clearly show that Walt Disney became a paid Special
Correspondent asset of the FBI. He reported to FBI agent E.E. Conroy.
In 1954, Walt was promoted to Special Agent in Charge (SAC) which
means others reported to him. After "leaving" the CIA, ex-DCI
(ex-head) of the CIA William Hedgcock Webster became a lawyer for the
Wash. D.C. based firm of Milbank, Tweed, Hadley and McCloy. In 1993,
when news broke about Walt Disney’s FBI membership, ex-CIA head
Webster worked with the Disney family to cover up to the public that
Walt Disney was an FBI agent. Webster went on TV and had interviews to
spread the fabrication that Walt was not connected to the FBI. Why?
One of the countless items that Disney was involved in was the
investigation into the disappearance/rape of a six-year old child Rose
Marie Riddle on 1/12/61. According to documents gotten from the
Freedom of Information Act, W.G. Simon was the FBI agent who met with
SAC Walt Disney in L.A. about the case. W.G. Simon has been one of
those people who has been publicly lying by claiming that Walt Disney
never was an FBI agent. The paper trail proves otherwise. Why is it so
important to the FBI and CIA to cover up that Walt was an FBI agent?
Walt also worked for the CIA, even though documentation of that is not
available. This author theorizes that the reason the FBI and CIA are
so touchy about letting people know that Walt worked for the
government is that the Network knows how the FBI and CIA worked
together to procure children for mind-control programming purposes.
Because Disney and Disneyland played such as enormous role in
Mind-control, Disney’s connection to them, although on the sufface a
seemingly minor fact, is in reality a minor fact setting on top of an
enormous ghastly secret. When W.W. II started, the government
incorporated the Disney studios into the war machine. The military
paid Disney $80,000 for 20 training cartoon, which cost Disney $72,000
to make. Disney studios also made some secret films for the military.
Mickey Mouse and Goofy cartoons were slanted to have war themes, for
instance, the Goofy cartoon of 1941 "The Art of Self Defense" and "How
to be a Sailor" in 1944. Perhaps in honor of the contribution Disney
had made to the war effort, "Mickey Mouse" was the password of the
Allies for millions of men on the big D-Day invasion on June 6,1944.
Walt Disney produced a cartoon showing Donald Duck paying his taxes
faithfully. The film was entitled The New Spirit. It was very
successful in getting Americans to comply with the IRS. In 1946,
Disney made a film for the public schools for sex education entitled
The Story of Menstruation. For the United Nations, Walt Disney created
"It’s a Small World" attraction for UNICEF for the ‘64-65 World’s
Fair. This attraction was moved to the theme parks & has been a major
feature for mind-control. After learning of the enormous amount of
mind-control programming going on during after hours in secret tunnels
at Disney as well as in the public facilities, it makes more sense why
the Russian Premier Nikita Khrushchev would be denied a visit to
Disneyland by the U.S. government "due to security considerations"
when he was visiting the U.S. in Sept. 1959. Khrushchev obviously had
his own security working in tandem with American security and the
intelligence people for whatever reason(s) didn’t want the
complication of these Russians going to a major programming site. Some
powerful military men have been connected to Disney films. Two former
commanding officers of the USS Alabama nuclear sub were technical
advisors for the Disney film Crimson Tide. Walt Disney was tied to the
U.S. government, and recent disclosures show that he was tied to the
FBI. Walt used his FBI connection to destroy the life of Art Babbitt,
who had led the strike against Disney in 1940. Babbitt found that
everything he attempted in life after the strike was ruined by some
hidden power. Was Walt part of naval intelligence attached to the FBI?
Was he part of the FBI that is involved with child procurement and
mind-control? In the 1950’s the Illuminati began organizing covens on
the West coast and began solidifying their power. (This comes from
several independent sources.) Likewise, it’s clear that Disney didn’t
have the clout in 1953 with local governments, that it does today.
Walt Disney was unsuccessful when he tried to get permission from the
city of Los Angeles and the Burbank City Council for the construction
of Disneyland (called Disneylandia at that time), in the Burbank area.
One Burbank councilman told Walt, "We don’t want the carny atmosphere
in Burbank."" Inconsistently, within a few years they gave permission
to Universal to build an amusement park in Burbank, which opened in
1964. Disney then ask the Stanford Research Institute to locate a spot
for Disneylandia (Disneyland), which they found at Anaheim. In recent
years, Disney decided they wanted to build another amusement park
(called California Adventure) across from Disneyland. In order to do
so, the Interstate highway will have to have changes, and the Anaheim
city council needed to approve the large 55 acre expansion. In
contrast to the Burbank City Council in 1953, Anaheim’s City Council
was enthusiastic about the expansion in spite of lots of local
opposition. The locals complained at council meetings to the City
Council that the city had no business going hundreds of millions of
dollars into debt to help a corporate giant. (Anaheim will issue $400
million in bonds.) Locals also raised concerns that the public school
system in Anaheim is stressed to the breaking point where they are
considering going to half days, and that Disney Corporation should
give as much consideration for the school children of Anaheim as they
do to their Amusement park. Disneyland’s Pres. Paul Pressler bragged
about Disney’s new California Adventure amusement park, "Disney’s
California Adventure is really a celebration of the fun, the beauty,
the people and the accomplishments of this magical state. We really
have set out to try to capture a bit of what the California dream is
all about." (Sounds like the dream is to be wealthy and control
people. The elite would rather give us BREAD & CIRCUS than an
education.)
The Dragnet films were done in part at the Disney studios. In an
Office Memo from the 66-new LA SAC FBI agent to Hoover (12/16/54),
which was obtained via the Freedom of Information Act, the typed memo
states, ,,Mr. Disney has volunteered representatives of this office
complete access to the facilities of Disneyland for use in connection
with official matters..." Historically, we now know that Disney’s use
for "official matters" included mind-control.
J. DISNEY & MIND CONTROL
Once the reader is familiar with the programming scripts, the reader
merely needs to watch the Disney "Adventures in Wonderland" that come
on TV in the morning to see Disney mind-control at work. Within a few
minutes one morning, this author had seen a white rabbit create "a
world in your mind" (the quote is what the show said!) with a ring,
watched Alice go through the mirrors, watched a White Rabbit [the
programmer] read a book to a little girl, and the TV listener be told
by the show "The White Rabbit is our only hope!" The deeper alters of
Illuminati slaves who are programmed for espionage, for spying &
blackmail, & seduction & assassination, are given programming to live
in a fantasy world. They never touch base with reality. Much of this
type of programming has gone on at Disneyland. Disneyland visitors are
taken in a boat where dolls sing an around-the-world theme song "It’s
a small small world". These doll world parts of the amusement parks
are used for programming assassination & espionage alters. The song &
dolls play important roles in these alter’s mind-control programming.
Some slaves at around age 19, have this type of programming tested to
make sure it is solidly in place. The song ,,It’s a Small World" was
composed by the Sherman brothers for Disney originally as a theme song
for a ride at the ‘63-’65 NY World’s Fair. The Sherman brothers were
talent that Disney discovered. They were born in NYC, and both
graduated from Beverly Hills High School. They wrote Disney songs for
at least 29 films. Mind-controlled slaves, who repeatedly bump into
each other, but don’t know why, will be found saying, "It’s a small,
small world." Both rituals & programming go on at Disney amusement
parks during both the day & night. Steven Rockefeller and Walt Disney
travelled and spent time together with Dr. Hadley Cantril, an
establishment expert on human behavior. (See There Was Once A Time of
Islands, Illusions & Rockefellers. NY: Harcourt Brace Jovanovich,
1975.) When Walt Disney began Walt Disney World he sent Card Walker to
the Florida capital to request quid pro quo, and the governor gave it
to Disney. What that meant is that Disney’s property in Florida was
totally controlled under Disney’s jurisdiction, they had their own
laws, their own police force, their own hospitals, and their own tax
rate. No outside authority would interfere with Disney’s jurisdiction.
DisneyWorld’s finances would be untouchable and out of sight by the
state of Florida. Never had so much power been given away. DisneyWorld
became its own crime syndicate within the syndicate. Disney amusement
parks are like a city within a city. They have there own security
forces, and the local police allow the Disney security forces to take
care of their turf. Disney has their own policies (laws). Some of the
security forces can be identified in plain clothes with clean-cut hair
styles and have communication devices. The security forces have a
headquarters room where TV monitors display-live the exit points at
Disney as well as other locations. America ‘s Most Wanted has a fairly
large file on children who have been kidnapped at Disney Amusement
Parks. One mother, who got separated from her child when getting off a
train, frantically told a guard her child was missing. The guard took
her to the monitor room, where they saw the kidnapper carrying the
child out of the park with the boy slumped over his shoulder. In that
short of a time, the kidnapper had drugged the child, cut his hair
different, and put a different shirt on him. (This anecdote was
mention in Inside the Mouse, pg. 52) As written before, white slavery
is part of what Disney is all about. This mother was one of the
fortunate few who did manage to find their kidnapped children. An
insider states that the Disney police are definitely part of those
moving and abusing innocent children brought in for occult rituals. In
addition, the Disney security forces spy on their own employees.
Employees do not enter the theme parks like the visitors, nor do they
move around like the visitors. They have underground tunnels and
underground entrances and facilities for that. One victim of total
mind-control mentioned that a tunnel entrance was at the Matterhorn
mountain at Disneyland. (The Matterhorn was opened by Walt and his
good-friend Richard Nixon, who rode in the first car down the
mountain.) The Disney productions has given the Illuminati the cover
to bring together Illusionists, magicians, and special effects artists
without anyone being suspicious. Some of these men were able to apply
their talents toward programming children. As an example of their
talents, Disney special effects artists were able to create 16
realistic-looking cadavers for the 1989 film Gross Anatomy. Walt
Disney, Inc. has teamed up with Los Alamos and Sandia Labs, two other
groups which are heavily involved in mind-control and people control
to develop body scans, branding and access codes for the visitors to
Disney’s theme parks. Each of the Disney Theme parks, such as
Disneyland, DisneyWorld, EuroDisney etc. have vast underground
facilities. These underground facilities allow many of the workers to
get to the ride areas via underground passages. Each theme facility
also has a vast infrastructure underground in order to maintain it.
The underground areas contain wardrobe design and repair units,
fitting rooms, restrooms, cafeterias, security units, computers,
freight ramps, utility encasements, and large connecting tunnels. The
underground areas also have programming rooms. They have their own
power plants and water systems and their own police force. Disney
company employs 71,000 people at several locations, tone recent TV
show used the figure 40,000 Disney employees.] People are coming and
going 24 hours at the Disney theme parks. Three shifts keep up the 24
hour business. The night crews maintain and repair the parks for the
thousands of people that will soon arrive in the morning. Disneyland
makes a natural prop for carrying out mind-control. The items they
sell are also natural props--such as the Goofy watch ($19.95) which
has hands that move backward to confuse a slave as to what time it is.
Was Walt Disney aware of how Disneyland was used for programming?
There is no doubt. Disney lived much of nights at Disneyland, and had
an apartment at the firehouse near the train station on Main St. At
night, if he was not doing anything else, he’d roam the grounds of
Disneyland scribbling notes on his own distinctive blue paper, which
he’d leave for workers to follow the next day. The notes would say
such things as "Replace these flowers," or "Move that bench". (Prince
of the Magic Kingdom, p. 25) Walt Disney knew everything that went on
in his Magic Kingdom. The Epcot Center and the Disney amusement parks
market all kinds of occult triggers, including crystals, rainbows,
wizards etc. that reinforce the programming. The Epcot Center has two
glass pyramids along with its "Journey into Imagination". Disneyworld
has the Island of Atlantis on its sub tour. Fantasyland is one of the
most used tours of Disneyland for mind-control purposes. It has
carousels, merry music, an incredible castle, boat rides, story book
characters etc. Sleeping Beauty Castle with its blue turrets and gold
spires is the central visual object of Disneyland. You cross a
drawbridge to get into it. Inside Fantasyland are Illuminati
programming sites such as the Mad Hatter teacups, the King Arthur
carousel horses, and Snow White’s forest.
In the far corner of Disneyland’s New Orlean’s Square is the Haunted
Mansion. This mansion is designed to frighten and scare, it has an
ingenious design and many special effects and illusions. Realistic
ghosts, a screeching raven, howling voices, and other scary things
welcome the visitor. Life size holograms are created at the Haunted
Mansion, and dance in sync with the music and then fade out at certain
points. There is a hologram of a woman’s head in a crystal ball who
chatters non-stop. A real good laugh for the programmers of a little
child. When you are toward the end, you will have a chance to look
into a mirror where a hologram ghost will nestle up beside you. Star
Speeder is another great programming location at Disneyland. It was
the creation of George Lucas and the Disney Imagineers. The technology
is borrowed from Star Wars, and is similar to flight simulators used
by the military to train pilots. Disneyland Hotel offers Character
Breakfasts, where children eat breakfast with Disney characters, to
people who make special arrangements. U.S. Special Forces, which
carries out mind-control, owns two hotels near Disney World, and the
Mormons have one also. Knott’s Berry Farm with its Ghost Town,
Amusement Park, & its Charlie Brown themes and characters is near
Disneyland. One of the Disney executives began one of the most
horrible trauma-based mind-control programming centers in Los Angeles
called Magic Castle a comedy warehouse. This trauma center had
horrible torture chambers. Children were brought in from South and
Central America to be programmed at the Magic Castle. A brave L.A.
policeman exposed the place--for which he lost his job, and eventually
was able to get the site closed. One of Disney’s recent ventures in
their Disney Institute, which Newsweek labeled "the Disneyland of the
Mind". (Newsweek, Mar. 4, 1996, p. 61) A private club called Club 33
at Disneyland located upstairs in the New Orleans Square is believed
to be involved in mind-control. Cub’s Den supervises children’s
activities at the Wilderness Lodge Resort at Walt Disney World.
At Disney-MGM studios the major attraction is the Twilight Zone Tower
of Terror. Guests take a strange scary trip through the hotel, where
guests are finally sent into an elevator that drops out of control 13
stories. The ride has been advertized on TV. Disneyland now has a
Temple to the Forbidden Eye--which is simply a Temple to the All
Seeing Eye, the Illuminati symbol. Visitors, who have the patience to
wait in line, can strap themselves in for a ride that is like a jack
hammer that jars the rider through a temple filled with snakes, rats,
and mummies. One aerobics teacher couldn’t walk for three days after
the jarring ride, which comes across as ,,hokey". The experience is
more traumatizing than fun, but then maybe that is what was intended.
DISNEY VACATIONS FOR THE ELITE
Years ago this author’s newsletters exposed Hilton Head Island, SC as
a watering hole of the powerful elite incl. retired generals and
admirals, and the site for the elite’s Renaissance Weekend "meat
market". Remember, that at one time Hilton Head Island was private,
with imported alligators in the water around it. A person was only
allowed on the island by going through security gates with a
clearance. In a later newsletter, Disney’s Hilton Head Island Resort
was mentioned. This resort, built by Disney Vacation Development,
Inc., is located on a 15-acre private island linked to Hilton Head
island by a narrow bridge. Members to the Disney Vacation Club can
exchange time for vacations at Disney and other resorts around the
world. Memberships cost minimum $9,412.
MELODYLAND
Right smack across from the entrance to Disneyland is the Assembly of
God’s Melodyland Christian Center, the birthplace of TEN (Trinity
Broadcasting Network). The Assembly of God denomination has been
heavily infiltrated by the Illuminati, and has been heavily used as a
front for programmed slaves. Paul Crouch, president of Trinity
Broadcasting Systems, Inc., was affiliated with Melodyland in 1973
when TBS was getting started. At that time, Melodyland was a rich
heavily infiltrated charismatic church, with its share of programmed
multiples. In 1973, closet homosexual minister Jim Bakker, and his
wife Tammy Faye, a programmed multiple were with Paul Crouch in
Anaheim at Melodyland. Paul Crouch had been the assistant pastor of
Bakker’s home church in Muskegon, MI. Crouch’s right hand man was
Alexander Valderrama, a charismatic Roman Catholic. TBS used an
abandoned military base as their TV complex, using hangers as studios.
In the early 70’s, ABC put Bakker & Crouch’s early shows on their
affiliate stations on Sunday morning. Bakker had already gotten his
career kicked off with Illuminatus Pat Robertson and his 700 Club. Jim
Bakker split and went to the east coast. To help Bakker with his
money, Bill Perkins, who had been a financial analyst for the World
Order’s mind-control research at Sandia National Labs in Livermore
came to help Bakker run his ministry’s finances. Later, televangelist
Bakker began building Heritage USA, which was to be a big-money
resort. Bakker hired people who had worked for Disney to construct
Heritage USA. Bakker studied Disneyland, Disneyworld, and other Disney
places as a model for Heritage USA. After Disneyworld opened in
Florida, Jim Bakker was a REGULAR visitor to it. Heritage USA’s Ft.
Heritage was modelled after Disney’s Ft. Wilderness, Main St. was
modelled after the Magic Kingdom’s Main St., and Disney’s wrought-iron
fencing was also copied. Most people are aware of Jim Bakker’s
$265,000 payoff to Jessica Hahn to keep her sexual services to him a
secret, his longtime homosexual relationship with his right hand man
David Taggart, and his prison sentence. James Orson (named after Orson
Welles) Bakker was from Muskegon, the same place that Cathy O’Brien, a
freed Mind-controlled slave came from. He was born pre-mature, and had
some interesting family situations that make his family suspect. While
Cathy O’Brien got programmed via the Catholics, Jim was part of
another denomination which also was into programming, the charismatic
Assemblies of God. His grandfather, who lived next door to Jim, and
where Jim spent much childhood time with was popularly known in town
as a "huckster", and nicknamed Kingfish after the manipulative
character on Amos & Andy. Tammy his wife grew up in International
Falls, MN in poverty in the home of her stepfather and mother. Besides
having a "shopping demon," she has had her share of phobias and mental
problems, as can be expected from someone who has had to suffer
through programming. It would be worth pointing out who has come to
Jim Bakker’s rescue when he was under attack. For instance, on
Thursday, Oct. 4, 1984 when Jim was under attack, Jim Bakker’s show
had six people give endorsements and praise of Jim Bakker. Those were
Ronald Reagan, Dale Evans, Robert Schuller, Oral Roberts, Billy Graham
and Rex Hubbard. Of those, this author knows for sure that all are
masons, except for Rex, who may or may not be. Robert Schuller, Billy
Graham and Oral Roberts are "Christian ministers" who participate in
using and handling mind-control slaves. These three ministers all
participate in secret Satanic rituals. The last few paragraphs have
given only a sketchy picture of the intimate relationship between
Disney Mind-control and the charismatic movement and its use of
trauma-based total mind-control.
DISNEYANA FOR THE PROGRAMMED & OBSESSED
For people who have been programmed with Disney programming and who
are obsessed with Mickey Mouse and everything else about Disney, and
for other people who just have the collecting spirit for Disney
memorabilia, there is a group called Disneyana. Disneyana, was
organized in the 1980’s, and consists of people who are cult-like in
their devotion to anything true Disney. Some of them to express their
devotion outwardly tatoo their bodies with Disney characters. This
group holds their annual convention at the Contemporary Resort in FL.
One Disneyana at the annual convention said, "We collect to keep the
good feeling inside." Another when interviewed said, "This is why it’s
all about love." The author knows as a fact some of the men who are
obsessed with Mickey Mouse & Disney items are programmed multiples.
One of Kenneth Anger’s occult friends has had the world’s largest
Mickey Mouse collection. Who is Kenneth Anger? Kenneth Anger, a member
of LaVey’s Magick Circle & later his Church of Satan, is an occultist
and an underground film maker. Kenneth Anger (he choose the last name
Anger) was raised on the Wizard of Oz books. His biographer Bill
Landis writes that the Oz books "laid the groundwork for Ken’s
attraction to Crowley, the occultist who would rework Rosicrucian
thought into his own magical system." Ken was obsessed with Crowley’s
life & magic. As a child, Ken had danced with Shirley Temple in
competition after she became a child star. Ken Anger loved the OTO’s
solar phallic religion, and was also obsessed with Mickey Mouse. He
spent part of his time studying his friend’s Mickey Mouse collection.
Ken Anger did his casting for his film ,,Lucifer Rising" by telling
occult friends & acquaintances that they could live out their goddess
or god power-trip fantasies by acting for him. The British
government’s National Film Finance Corp. fronted 15,000£ for Lucifer
Rising’s production. Famous occult musician Jimmy Page did the sound
track gratis. Ken Anger acted as the film’s Magus and made his Magus
role resemble Mickey Mouse in the film Fantasia. (The role Fantasia
plays in mind-control programming will follow as the last part of this
chapter.) "Lucifer Rising" also starts with Fantasia-type volcanoes.
Another of his well-known films was "Invocation of My Demon Brother."
Mind-control features in Disney movies.
The elements within Disney movies that are intentionally put in for
mind-control would take volumes to describe. A detailed description of
how just one Disney movie is used as a programming script soon
follows. Fantasia was selected as the example. A random sampling of
features in Disney movies for mind-control programming could include:
· Cogworth the enchanted mantle clock in Beauty and the Beast.
· The character Door Knob, which is a doorknob portrayed as a person
in the Disney cartoon Alice In Wonderland, is useful for programming
door knob alters.
· The Blue Yonder is a Disney movie on time travel of a young boy.
Time travel movies are used for programming to mess up the victim’s
sense of time.
· Disney film "Animated Alphabet" has letters which come alive, which
is useful for programming. And what about the ‘82 Disney movie
"Computers are People, Too!" ?
· All the Illuminati members this author is aware of who have received
trauma-based total mind-control were taught to astrally project and
study on the astral plane what they needed to learn. A Disney movie
that portrays this is Goofy over Dental Health. This is an educational
film released by Disney in ‘91 and again in ‘93, where Goofy places a
magical toothbrush under a child’s pillow, so that the child astrally
projects to a dentist office and while on the astral plane studies how
to have healthy teeth.
· Illuminati altars believe that trees and flowers are alive. The 1932
Disney film Flowers and Trees is a story about two trees that fall in
love. The film portrays the occult belief that trees can talk and
sing. Internally, alter systems will be constructed with singing trees
and flowers that represent people and which are alters. The singing
trees give out internal codes to move alters internally where they
need to go. Return to Oz. (1985) This Disney film begins its story
line about a girl who is thought to have psychological problems
because of her tales of Oz. She is warned not to talk about Oz by her
relatives. She is taken to a psychologist who wears a big ruby ring,
who tells Dorothy that electroshocks won’t hurt her, and that we are
at the "dawn of a New Age." Dorothy is told that her memories are
,,just dreams" that stem from excess electrical current in the brain.
She is sent to a mental institution to receive shock treatments for
talking about Oz. A lightening storm allows her to escape the shock
treatments and when she sleeps, she awakes in Oz. In Oz she goes
through many mind-control scenarios, ruby slippers, mirrors, etc., and
toward the end visits with evil Mombi, Princess of Oz who keeps Ozma
(Dorothy’s twin) as a slave. Mombi eventually casts a spell and
enchants Ozma into a mirror. Sci-Fi author J.D. Vinge in her Return to
Oz based on the screen play writes on pg. 211-212, "Dorothy gazed at
herself in the mirror, seeing her own reflection, and remembering the
moment when she had looked at herself and seen someone else there,
someone so like her that it could have been her sister." Parts of this
film were filmed near Stonehenge, Eng. Disney has put out several
films on the Wizard of Oz theme, all of which were used for
programming. The original series of Oz books were by Baum. In ’39, MGM
did the famous Wizard of Oz film. In the Disney movie Tron (1982), a
young computer genius goes into an altered state where he ends up
becoming a computer program. After defeating the MCP, he returns to
the real world. This is simply a programming script. A special effects
team created a 3-D world, showing how talented Disney special effects
people can be in making something seems real. This movie should show
people their mind-control capabilities. Mathematical Applications
Group, Inc. (MAGI) were one of the groups that created the graphics.
Disney came out with 3 videos of new adventures in Wonderland, which
are mind-control programming. In the mornings here 9-9:30, on channel
21, Disney has a Wonderland Show every morning which is mind-control
programming for children. Within a few minutes, this author had seen a
girl walk through a mirror, the 3 lives of Thomasina mentioned, and a
little ditty "I’m a little tea-pot" where a person becomes a tea pot.
They also had an "under the umbella" scene. This was all pure
programming, right on TV. Of course, they show the White Rabbit as a
central figure. ABC under the auspices of Disney produced a lengthy
140 min. film Wild Palms which depicts Illuminati mind-control and
life. One reader of Vol. 2 stated that the Wild Palms movie would have
made no sense except that having read the Vol. 2 book, the movie made
lots of sense in the light of Vol. 2’s revelations. The film depicts
how children are kidnapped, switched at birth, programmed via TV
cartoons, programmed to kill and use stun guns etc. The film depicts
Illuminati bloodlines and arranged marriages. Although the
name,,Illuminati" is not used, if viewers substitute in the name "the
Fathers" for Illuminati fathers, they will get an insider’s view of
life at the top. Their slaves as “Papa” or “Daddy” or “Mother” address
the main controllers. This is true to life. A person opposed to the
Fathers states, "One day we will wake up and discover we don’t own
this country and no one will care." The movie states that events are
not happening randomly. The movie shows an underground tunnel system
which has an entrance hidden by a swimming pool. Quite a few actual
programming codes were said during the film, for instance, "down,
down, down through the pool of tears..." and "we’re going to go down
the yellow brick road now." The movie was created by Bruce Wagner, who
obviously is an insider concerning trauma-based total mind-control.
The fact the movie was made shows the arrogance of the programmers’
beliefs that their criminal acts in programming thousands of little
children will not be exposed, and that people will be too stupid to
realize that what is put out as fiction is actually mirroring what is
happening. It’s like they believe their own script that IF people did
find out "no one will care."
Because so much of the Illuminati programming involves the creation
and programming of 3 alters linked into trinities, it is not
surprising that Disney has helped such triad programming with a series
of movies about threesomes, including:
3 Blind Mouseketeers
Three Caballeros
3 little pigs
Three Little Wolves
3 Lives of Thomasina
The Three Musketeers
3 Ninjas
Three Orphan Kittens
For Mickey Mouse programming they came out with Thru the Mirror, where
Mickey Mouse steps through his bedroom mirror and ends up in another
world (altered state). Not all of the Disney movies that have
mind-control programming themes got released to the public. One
unreleased cartoon had Penelope fleeing from a sinister looking
Grandfather Clock, which is carrying her to another world, and has
another scene where Penelope tries to hold onto someone, who
personifies the Wind. George Lucas, who directed the movie Star Wars,
which was a movie planned by the Illuminati & used for Illuminati
programming, also directed Disney’s movie "Captain EO". Captain EO
(who looks like a demonic entity) goes to rescue the Queen (who looks
like the harlot describes as Mystery Babylon in the Bible). The Queen
is in captivity simply because she and her people believe in black and
white (which represent good and evil). When they renounce such a
belief, they are saved by Michael Jackson (in actual life a
mind-controlled slave) playing Captain EO. It’s a New Age witchcraft
film through & through. By the way, Michael Jackson has gone to Disney
amusement parks many times, sometimes in disguise. It is public
knowledge that his Jehovah’s Witness family has been very abusive
mentally and physically to their children. Disney has put out several
movies on how the mind works, such as the educational film The Brain &
Nervous System in 1990. Their film Runaway Brain is a cartoon where
Dr. Frankenollie transplants Mickey’s brain into a monster’s body &
vice-versa. A 1994 film, Puppet Masters shows the govt.’s secret
Office of Scientific Intelligence trying to save the U.S. from aliens
who live in human bodies. In recent years, Bette Midler has been
Disney’s main actress. In the Vol. 2, it was exposed that she is
possibly a Monarch Mind-controlled slave. She is famous for her "mood
swings" (switches in personality), and she had a "mental breakdown" in
1985. Her eyes and body gestures are those of a programmed multiple.
She has gone out on tour for Disney without making -money, and she is
best of friends with Jeffrey Katzenberg (second in command at Disney).
Jeffrey Katzenberg by the way is extremely disliked by his counterpart
Sid Sheinberg. Bette Midler plays Stella in the movie Stella. Stella
is an occult name. In the movie, the script seems tailored for Bette
Midler and for someone who is a programmed slave, rather than the
actress fitting the role. At the movie’s end, Stella (Bette Midler)
attends her own daughter’s marriage by peeking in a window and
watching from the outside. This is the script they give so many of the
parts of a slave, so that they feel unworthy and feel like they are
always on the outside looking in at life. Many parts (personalities)
of slaves find it hard to connect with real life, because they feel
they are on the outside looking in. And then in true Disney fashion,
Disney had Bette Midler play the role of the lead witch in Hocus
Pocus. The movie Hocus Pocus does some hocus pocus of its own. While
pretending to make fun of witchcraft, they actually teach witchcraft.
They do make the 3 witches look comical. By the way, the 3 witches
stand for the maiden, mother, crone combo that the Illuminati
reverence. Disney subtly works in deep occult things, such as the
all-seeing eye on the cover of the book, the little girl promising the
cat (who is a familiar spirit) that her descendants would always care
for it (true, because the cat was a generational spirit). The cat is
killed in the movie but can’t die. And Bette Midler as lead witch in
her costume, which has some Mother-of-Darkness symbology on it, states
as she gets ready to take the life force from an innocent girl, "We
want to live forever, so we take children’s lives." This is wholesome
entertainment for children? The Disney capacity for deception extends
to its own workers. PR men recruit young people for its Disney College
program. They tell the young people what a great stepping stone it
will be for their careers. They have been known to make it sound like
the greatest thing in your life. Kids come from all over the country
due to the slick recruiting tactics to work for Disney. They are then
housed in Disney housing, given menial jobs, and paid low wages. Most
people in the College Program leave disillusioned. If the worker
happens to think of a great idea, Disney officials have been known to
steal the idea, and because the worker was working for Disney the
worker will find that they are unable to get any credit or money for
the idea that Disney steals and makes millions off of. One uncredited
creator of a Disney sale item said, ,,literally, they’re using
everybody for everything." (Inside the Mouse, p. 239.)
>>> Next, will be the script for how the Disney film Fantasia has been used as a standard programming tool since the 1940’s by the Illuminati.
DETAILED SCRIPT ON HOW THE DISNEY FILM FANTASIA IS USED
FOR PROGRAMMING TRAUMA-BASED MIND-CONTROLLED SLAVES.
During the 1950’s, ‘60’s, and ‘70’s at least 90% of the Illuminati’s
trauma-based mind-controlled slaves were subjected to watching
Disney’s Fantasia film in order for them to build the foundational
imagery of the mind-control. Child mind-control victims had their eyes
taped open, and then sat one-on-one with their primary programmers so
that the programmers could give the scripts as the child watched
Disney’s Fantasia over and over. What made Fantasia unique, as a
programming tool is that it had almost everything the programmers
needed to create the foundational imagery for their trauma-based
mind-control. To build a dependable alter system means that the worlds
need a solid foundation. Fantasia has provided the means to get a
solid foundation for the internal worlds that the Illuminati slaves
build in their mind. It is also a masterpiece in coordinating color
and music.
The Disney film Fantasia which premiered on Nov. 13, 1940 (at Broadway
Theater in NYC) was a financial disaster as a movie, but was an
Illuminati programming masterpiece. The film was released to theaters
in ‘40, ‘46, ‘56, ‘63, ‘69, ‘77, ‘82, ‘85, ‘90 in order to catch every
generation of children. The video was released in 1991. During
programming much of the child slave’s mind will watch the film. One
particular part (alter) will be forced to memorize everything in the
film. This small part (small alter) is well hidden in each victim’s
mind. This small alter, who has a vivid and total recall of the film
Fantasia, is locked carefully away so that ONLY an access code will
pull him/her up. Watching the videotape Fantasia is not going to pull
this alter up. The programmers pull this alter up when they have a
clean slate alter. When they are taking a clean slate of the mind,
they will pull the clean part up and have the alter who has memorized
Fantasia throw its memory onto an internal big screen. The internal
Outer space (aka Rubicon) is shaped like an amphitheater, and
functions as a big vast screen for replay. There is an internal ball
or sun created via the lighting effect of the movie Fantasia, so that
the movie appears projected in the mind as on a globe. And the
Fantasia film images hit this internal globe and go circular in the
mind and spin through the system. The programmer will then say to the
new part "THIS IS WHAT I WANT YOU TO CREATE. THIS IS WHAT WE NEED." In
this fashion, Fantasia has provided the programmers with their primary
tool for taking a dissociated clean slate part of the mind, and
manipulating it to become a new workable part within the system. The
young part that holds the entire Fantasia memory is strategically
placed in the system so that it can be called up from anyplace in the
system. No matter where the programmer is working in the system, he
can access this small alter whose function is to remember the movie.
Most of the system will go into a trance sleep if shown the movie. The
front (as well as most of the system’s alters) will be totally amnesic
to having ever seen the movie. Since the programming put in with
Fantasia is so fundamental it should come as no surprise that the
programmers have done an excellent job in protecting this programming
from everyone, including the slave. Abreacting the film for many
alters could rip the system apart, because after the film is memorized
severe trauma begins to be overlaid and attached to the film. There
may be some small alters that still carry tiny bits and pieces of
memory of the movie, but only one will really remember it.
The following script will be a running account of how Fantasia has
been used as an important preparatory film for Illuminati trauma-based
mind-control to train the mind-control victim’s mind to be able to
visualize the programming that will be layered in. The time clock will
begin when the feature film’s action begins, and then will run its
entire 116 minutes. This will give the researcher of mind-control a
blow-by-blow description of how a Disney movie is used for
programming. The film was often shown to child victims around 3 to 4
years of age with a wide screen while the child was under a guided LSD
trip. (Prior to the use of LSD some other drugs were used.) A Grande
Dame or Mother-of-Darkness often worked with the Illuminati programmer
as an Assistant Programmer. The scripts & the programming have already
been discussed prior to showing the child the film, so the programmers
know the direction they want to take the child, & will tailor some of
what is said to the child victim to individualize the programming.
When a three or four year old is shown Fantasia on a
hypnotically-prepared and controlled LSD trip, the colors & effects of
Fantasia are increased about 1,000 times. The film is realer than real
to the child. The movie will not be shown just once, but over and over
so that the scripts are ingrained into the mind. The imagery for the
child’s internal world will be well established, because the big
screen movie enhanced by both the drugs and the bright colors of the
art work will seem more real that life itself. At this time, the child
is a multiple, but the walls between the various parts of the mind are
not solid, but similar to the walls between ego states in an adult
non-multiple. A large part of the 3 or 4 year-old child’s system will
be allowed to view the system, including the Christian parts. Then the
entire system (with the single exception of the alter carrying the
entire memory of the film) will be hypnotically told to forget having
seen the film. Years later, the front alters will not remember having
seen the movie, but they may have a strange dislike for the film. They
may find that they can’t identify where their feelings of dislike of
the film stem from. The child victim will watch the movie with its
programmer and assistant programmer one-on-one, with no other children
in the room. The child will watch the film repeatedly and be grilled
about what is in the movie. The child will see the movie so many times
in such a vivid form and will be tested to the point that the movie
will be memorized. But it will be hypnotically locked up in the
subconscious by the programmers, so that it forms a base for the mind
to begin building programming, but will remain hidden from the
conscious. At the time the Fantasia film was made, the Illuminati had
been creating trained multiples for years, but they knew they wanted
to program the different personalities in accordance with the best
mind-control techniques of the day. For this reason, the Fantasia film
was planned ahead of time, so that it could possibly serve as a
programming aid. The film is silent (almost no words) except for music
so that it can be used for hypnotic visualization, so that the Mother
of Darkness & the programmer can fill in the programming script with
the child victim as they watch the movie. As it turned out, their
plans were successful. The New Age author David Tame states in his
book The Secret Power of Music (Rochester, VT: Destiny Books, 1984, p.
292), that Fantasia is. . . "A superb marriage between the visual and
musical arts. Most of the sequences.. .are what New Age cinema was
intended to be!" The power of the movie to influence the mind stands
out. In order to make the film, Disney used some strong arm tactics on
a few people. The movie was a box office flop when first released in
the 1940’s, but then it was made for the occult world anyway. By the
1960’s, the Illuminati had create a drug culture and had lots of
undetectable mind-controlled slaves running around that had been
programmed with Fantasia. In the 1960’s, Fantasia became a hit with
the drug culture which had its share of Illuminati slaves deeply
involved in it. One more reminder, the sentences that are "ALL CAPS"
in the script are things that the programmers are saying to the child
victim as the child watches the film. (Bear in mind, that the child
watches the film over & over, so not everything indicated in this
script by caps that the programmer says will necessarily be said in
one showing.)
00 minutes. Curtains open. Action begins with an orchestra. The
Conductor upon a step pyramid is the center of the scene, and is shown
to be the center of authority. Master Programmer Dr. Joseph Mengele
liked Fantasia because he was a musician and a violinist. Mengele (Dr.
Green) liked Bach, Beethoven, and Schubert and orchestra music. He
enjoyed taking what he liked & using this music to make slaves. He
would portray himself during programming, as being the conductor, &
all the orchestra were his children. The film will allow for a
repetition of this theme.
00.5 minutes. The instruments begin playing. The musicians are
silhouettes which cast shadows upon the wall. Alters will often see
themselves in this fashion too, as merely a shadow or merely a
silhouette.
01.5 minutes. The MC (named Taylor) begins talking. He begins grooming
the viewer. He says that the film may suggest to your imagination
"geometric figures floating in space."
02. minutes. The M.C. says there are 3 kinds of music. He says some
music is to create definite stories, some to create definite pictures,
and some music exists for its own sake.
02.5 minutes. The M.C. introduces us to the "Absolute music."
03. minutes. He states that ,,Abstract images that might pass through
your mind...music will suggest other things to your imagination..."
The Philadelphia Orchestra begins playing "Toccata and Fuge" by Bach
in the background. As a cartoon for children (or adults) the film has
already lost the normal audience at this point. (There is no way that
Disney could have escaped realizing that the film starts out losing
the normal audience.)
03.5 minutes. The conductor is standing out and everyone else is a
silhouette with shadow mirror images (like so many of the alters
become). Leopald Stokowski is now standing as the rising sun rises.
This is an allusion to sun worship and the sun rising in the east. The
music is going up and down, and this music at this point is used to
train the child to go up and down the trance ladder (that is to go
deeper or lighter in trance).
04. minutes. The conductor opens his hands and waves them in an
Illuminati hand signal. The music begins.
06 minutes. A row of violinists play, they are merely silhouettes with
shadows.
06.5 minutes. A harp scale is played in the background
that is used in the programming. Triggers are attached to this harp
scale, or the harp scale is used as a foundation identifier for a
piano scale. More children can be taught the piano than the harp, so
this scale is usually transferred to a piano scale.
07 minutes. A series of 3 musicians is shown.
07.5 minutes. The conductor (the programmer) becomes invisible. The
Prog. Assistant will ask the child, ,,WHO IS GREEN? GREEN BECOMES
INVISIBLE."
08 minutes. First lines representing bows are shown (the violinists
are invisible), then the Golden Gate Bridge. "REMEMBER THE BOW, NOT
THE VIOLINIST." The bow lines flashing on the screen represent energy.
08.5 minutes. Colored disks are flashed onto the screen. The lights
are represented to the child victim ‘THAT’S DR. GREEN’S ORCHESTRA."
Geometric shapes and flashes of lines explode onto the screen.
Concentric rings that will pattern the concentric worlds appear. (See
Vol. 2 p. 196 for an illustration of this.)
10. minutes. Asst. Prog. will say, ,,YOU ARE HIS STAR." as stars flash
on the screen. Many hidden alters (parts) are stars. Swirling lines
arrive, and then colors and then more concentric lines.
11 minutes. Worlds within worlds are shown. Water is shown. Concentric
circles that are the pattern for the worlds are presented. A varying
number (5 or 7) of Castle-like structures materialize and then
disappear. (These will form the pattern for some of the internal
castles.) A quick flowing yellow line comes down the center of the
screen, ‘THAT’S THE YELLOW BRICK ROAD."
11.5 min. Lots of stars emerge.
12 minutes. Various worlds are shown, and an illusionary castle. Lots
of stars are shown, which will be how the victim will model many of
their alter parts after. Lots of purple stars appear, representing
royal star alters.
12.5 minutes. Spiral splotches of cloud-like colors appear and
disappear in dissociative colors. This is the Kingdom of the Gods
during programming. The Asst. Programmer takes the opportunity to ask,
"WHOSE ORCHESTRA?" This scene is used for the internal heaven where
the kings are. Then the camera shows the conductor finishing.
13 minutes. The programmer has finished building his basic worlds.
13.5 minutes. The MC talks about Tchaikovsky’s Nutcracker.
14 minutes. 13 circling lights come into view circling around and
around. (The 13 lights are something like 4 yellow lights, 3 white
lights, 4 orange, 2 blue-something like this. They don’t have to be
all the different programming colors at this point, because that
programming will come in its own time.) Stars turn into fairies. A
fairy with lots of fairy dust whirls around. ("Make a wish" the slave
will be told later on, create what you want.) Flowers grow into
butterflies. Hypnotic music plays as the fairy throws fairy dust.
Soon, the Fairy spins a web.
15 minutes. The cabalistic tree of life is made with lights, and then
the many colors of the ribbons are flashed up on the screen quickly. A
compass image is very quickly flashed on the screen.
16 minutes. Lights multiply on the screen, and a spider web appears in
the background. There are lots of stars which shine as lights in a
spider web. (Stars will serve as alters in programming, the spider web
serves as a system within the system, see Vol. 2.) There are several
shots of multitudes of stars on a spider web. 16.5 minutes. There is
an explosion of light which has a splintering effect (which will fit
in well with an electroshock later on to create alters.) Around and
around go 6 big mushrooms dancing, with a little one trying to
participate. The programmer will point out that the mushrooms are "A
FAMILY". When the splintering effect is done with real electricity in
the future, the mind will splinter into a family.
17.6 minutes. Concentric circles appear in water. Flashing pedals
emerge as if they were dissociation spreading through the water. The
flowers are the top spinners (see the pages in Deeper Insights on spin
tortures to create spinner families), they dance, & then they float
away in the bubbles (of dissociation). "A FAMILY OF SPINNERS" the
programmer will say. "SEE THEY SPIN YOU INTO BUBBLES INTO
NOTHINGNESS." There is lots of dancing shown by the spinners. Everyone
is dancing to the top. The child victim’s head will be wobbling back
and forth from the influence of the drugs and dissociation at this
point.
19.5 minutes. When the family of fish make a star, the Asst.
Programmer says, "SEE HOW SAD THEY ARE." The fish dance in circles and
they also hide behind veils. "THE FISH MADE ITS OWN BUBBLES AND YOU
CAN MAKE YOUR OWN BUBBLES TOO."
21.5 min. The child is trained to trance at the hypnotic 8’s that
appear in the water. This type of scene will put the deeper alters to
sleep of a slave still actively being used. The movie here is being
used to teach symbols, which will be important in the programming.
Asst. Programmer, "LOOK YOU’RE JUST FLOATING.. ..FLOAT, FLOAT, FLOAT,
SLEEP...SEE SHE WENT RIGHT INTO THE CENTER OF THE TRANCE STATE.. .YOU
DANCE ROUND AND ROUND AND ROUND AND WHERE WE END UP YOU’LL NEVER
KNOW."
22 minutes. Lots of bubbles begin appearing. They will be used in the
programming to assist the child to protect its mind from the traumas.
The asst. programmer may have a bubble toy to make bubbles in her hand
as a game to play with the child. The child will be trained and
programmed to put its memories into bubbles and let them disappear.
,,WHY WOULD YOU WANT TO GO INTO THE BUBBLE TO GET AWAY FROM THE
DARKNESS? 1,2,3...NOW THERE ARE MANY BUBBLES, THIS IS WHAT WE WANT YOU
TO DO." At this point the film is showing different colors of bubbles,
for instance gold bubbles. This trains the child’s mind to identify
different colors of bubbles. The bubble-fish-flower scene is going on.
,,DON’T YOU FEEL LIKE THAT FISH, ROUND AND ROUND YOU GO" (dissociation
encouraged). The fish continues going in a dissociative spin. The fish
swim in graceful perfect figure 8’s which have a subconscious hypnotic
induction message to the victim. "SLEEPY LITTLE FISH" is said when the
music gets hypnotic. "YOU’RE SLEEPY & YOU’RE TIRED, THIS IS NOTHING
BUT A DREAM." "ALL THE DIAMONDS ARE ALL AROUND, NOT YOU" In other
words, this is teaching the child that their entire internal world can
be around them, but "you don’t know that it’s you." The child begins
to lose the ability to realize that other parts of itself belong to
itself, they are only stars, etc. The fish changes into anot her
character. flowers are appearing in different colors of the color
coding, red, green, orange, blue, white. . .All of a sudden it get’s
still. "SHH, LISTEN CLOSELY."
22.5 minutes. Eyes shine in the darkness. "EVERYTHING IS FINE, YOU
JUST RELAX."
Silhouettes appear, which represent fish (alters, and people) who are
there but you don’t see them, they are behind the veil like the
silhouettes. ‘THEY AREN’T THERE, IF YOU SEE THEM THEY AREN’T REAL THEY
LOOK LIKE A FLOWER, WHEN YOU SEE THEM, YOU WON’T SEE A CHILD- YOU WILL
SEE A FLOWER." The silhouette veil gives the sense to the child that
he can sense something but it’s not there. 23 min. Different plants
appear and dance. (This part of movie is very important in
structuring.) The plants separate into many plants and flowers, and
they multiply on the screen, but at the end they solidity into a solid
plant. This is teaching the ,,you-are-one-but-you-are-many" concept.
"FAMILIES ALWAYS WORK TOGETHER. WHETHER YOU ARE BLUE OR YELLOW OR
GREEN, FAMILIES ALWAYS WORK TOGETHER IN HARMONY."
24 minutes. "BUBBLES ALL HAVE A LIFE SOURCE...THERE, LOOK, WHAT’S IN
THAT BUBBLE?" 24.5 minutes. ,,YOU CAN HAVE YOUR OWN ORCHESTRA". Fruit
that hangs on the tree is shown, which will be the basis for how they
hang the programs (the fruit) in the internal world. Note the colors,
orange, white, yellow, purple, blue, green,...
24.5 minutes. Fairyland appears on the screen. The Fairies awake and
fly through leaves. ‘THERE’S YOUR FAIRIES. SHE IS VERY MAGICAL. SHE
CAN CREATE ANYTHING AND SO CAN YOU." "THE FAIRIES ARE SO MAGICAL."
Disney often portrays Mickey Mouse as a Sorcerer.
When the core is being first split, the parts of the mind that are
creative are taken and used to create the fairies. The programmers
will only take these original creative splits, they will not try to
get fairies from any more torture. The fairies are the creative parts
of the child, how ever many creative parts that the child has
splintered will be the number of fairies created. These parts of the
mind receive very heavy programming. They are core splits. (If readers
remember on page 87 of Vol. 2, it refers to a Core Protector coded
"Creation". That alter was a fairy, a core split. Not only does this
creative part make things "magically" for the system, it protects the
core. Does that help people to understand how the Core can be so
creatively protected?! (For more understanding about the Core see
Cisco’s very deep article on the Core.) Fairies are assigned to every
part of an alter system. The child of 3 or 4, who watches Fantasia has
had their core locked away at 2 1/2. The core’s stars have not been
locked away yet, & have access to her energy. When the system is
built, the stars are locked away & become the core’s guardians. They
will act like the core to protect her. The real value of the fairies
comes when the core’s stars are locked away & the Programmers have to
depend upon the creative power of the fairies.
24 minutes. A vine (which represents a system’s double helix) lights
up one leaf after another. The leaves are staggered (alternated) and
they light up in sequence, which teaches the child the foundation of
how they will create the DNA helix and its staggered exit permissions.
25.5 min. The leaves are now floating up and down, like the alters
will learn to do. "SOME FALL TO THE GROUND AND DIE." This is the point
where the story of the Oak Tree will be added in for programming. When
the Illuminati programmers want "to destroy" an alter they can use the
chandelier-MT 6:22-23 torture mentioned on page 310 of the Vol. 2
Formula book, and then have the splintered alters become leaves that
fall to the ground and die. After this, these disobedient and now
"dead" alters can be taken & be dissociated from their memories. The
memories are locked up someplace permanent within the mind.
26. min. Out of a leaf like "box" come a series of fairies. The child
is taught to put things (such as alters) in boxes of various shapes.
26.5 min. Leaves blow in the wind. Fairies cover things and keep them
safe.
27. min. Fairies continue flying around. The seasons are passing in
sequence. An internal green-skirted fairy will be connected to the
internal hourglass during the programming.
27.5 min. The fairies quit flying and skate on ice. The season has
turned to winter.
28 min. A winter scene. The four seasons have come to an end.
28.5 min. A sorcerer is introduced by the MC (emcee). The sorcerer is
shown and then his assistant or trainee who is Mickey Mouse. Mickey
Mouse wants to be creative and magical like the great wizard. Mickey
Mouse sees the power that the sorcerer has, and wants that power. What
is really being subtly portrayed here is the programmer (the wizard)
and the core & the core’s creative splits (Mickey Mouse). Showing the
programmer as a great wizard is actually right on the money. The top
programmers are all Grand Masters in the Illuminati and are very much
into witchcraft.
29 min. The sorcerer (wizard) is shown again. This time the wizard,,
with his skull beside him, creates from his witch’s cauldron a big
colorful butterfly which is forever changing. (Is this big yellow,
purple, white, and blue butterfly meant to be a Monarch butterfly? The
programmers will use it that way for this Monarch programming.) The
great wizard magically creates the big colorful butterfly and then he
shatters it into countless splinters!
30 min. Mickey sneaks around and grabs the magic hat. (The magic hat
is one of the few things in the film that doesn’t mean anything for
the programming. It merely has witchcraft symbols.) Then a magic broom
appears.
30.5 min. The broomstick comes alive. The broomstick imagery will be
used to help create the pancake people (ribbon alters who will haul
the internal computer messages). The broomstick person in the film
hauls buckets of water. The child is having story after story layered
in over a period of time, which are being skillfully constructed
toward a programming end. Parts of the child’s mind that see the movie
Fantasia
will be dissociated clean slates. They will need to have some imagery
given to them so that they have something to build mentally upon. In
Cisco’s section of the book, in the Truth article it is discussed how
themind looks at sensory inputs and tries to make sense of a pattern
by comparing it to previous patterns that it has identified. Learning
is a step-by-step building process, and so is programming.
31. min. Mickey as the apprentice sorcerer (in a sense the victim who
the programmer is training) manipulates the broomstick person. "THE
CHILD (Mickey) CAN DO WHAT THE GREAT MAGICIAN DID. YOU CAN TELL YOUR
MIND WHAT TO DO. YOU GET POWER BY LEARNING TO BE CREATIVE." Mickey
(and the victim) become mirror images of the Wizard over them.
32 min. Then the sorcerer sits on his throne, and while on the throne
acts like the conductor. Here is a subtle mental tie-in that Mickey is
playing the role of programmer (conductor) and is sitting on an
Illuminati throne (like so many of the Illuminati Grand Master
programmers have actually done.) Michael Aquino is just one of several
mind-control programmers who have gone by the name of Mickey. Because
Mickey Mouse is substituted for being the programmer at different
points in programming, this scene will tie in well with other standard
programming sessions.
32.5 min. Mickey in the film clearly is shown leaving his physical
body and astrally projecting himself. This is such a vivid portrayal
of occult astral projection, that it is mind-boggling that many
Christians consider Walt Disney movies to be christian. (See Vol. 2,
p. 319, for a discussion of the scientific methods to understand and
induce astral projection.) This again is laying the mental foundation
for the child to leave its body mentally and either hover over its
body in dissociation or to travel somewhere via astral projection.
Mickey Mouse then begins conducting lights. These lights represent the
alters that the victim will make for the conductor. The lights (aka
stars) are the conductor’s orchestra. Lightning (such as flashes that
come from electroshock) and stormy weather are being controlled by
Mickey. Notice that the things Mickey is controlling are fear-based.
After the child has viewed the film many times and memorized it, when
the electro-shock is applied during this time of the film, the child
will control it like Mickey by ‘magically’ creating splits.
33.5 min. Mickey begins conducting waves. Then, for those who
understand the veiled scenes, Mickey begins going through the
different magic spheres conquering the different spirits. This is
Enochian Magic. 34 min. Mickey wakes up back in his body, and he is in
trouble with rising water i.e. a water trauma. Mickey is thrown into
the water. The child victim will identify this with the drowning
tortures that are given to instill "no talk-no tell" messages. After
Mickey (or in child himself) has done something, and returns to his
body, then the "‘no-talk"’ message will kick in. Victims of
mind-control often get the feeling of drowning when they trigger a
no-talk message.
34.5 min. More water continues to flow.
35 min. All of a sudden without any continuity of action, Mickey gets
an ax and kills the broom by splitting it. The broom dies and then
multiplies when it comes back to life. This is such a clear picture of
what the programmers want the child’s mind to do. They will traumatize
the child essentially unto death, and then they want the tortured
alter to multiply itself into many more duplicate alters. Armies of
brooms are formed from the broom. This scene here is a clear red flag
that the Illuminati asked Walt Disney to produce this film. This scene
with the trauma death of the broom, with it splitting in half, and
then coming back to life in a multiplied form, is evidence that this
film was meant to be used for training children in multiplicity. The
assistant programmer will say "IT’S O.K. TO SPLINTER." "YOU ARE TIRED,
YOU CAN ESCAPE THAT BY RESTING AND LET A PART OF YOURSELF COME OUT."
At this point, it is necessary to explain what is going to be done
when they begin to splinter the child’s mind. After the splitting
trauma, the programmer needs to be able to see what the child has
created, so he wants the child to look at what’s been made. "‘CAN YOU
LOOK AT WHAT YOU’VE CREATED?" However, the part of the child that
looks back at the trauma will then see that the dissociated trauma was
real and that will make the child angry. The programmers want the
child to dissociate what he built, and when the child looks back at
what he has created he goes into a vortex of dissociation. The child
is told if he ever looks back at the memory he will go into the
vortex.
35.5 min. Water is being thrown in by the brooms, while Mickey throws
water out.
36 min. All of a sudden a hypnotic vortex sucks things in during the
film.
36.5 min. The brooms all march in an army, while Mickey reads his
magic book. Mickey then uses his magic book as a lifeboat when he gets
whirled into a vortex. A vortex is often created from that part of the
mind that is holding the high energy that accumulates in the mind just
before the mind splits. It holds the highest energy of the mind. One
way a vortex is created is to place the child on a traumatic Disney
ride--like a rollar coaster. Special electrical boxes or electrical
shoes are outfitted onto the child so that during the ride, at a
particular timed moment when fear is increasing, that fear has pain of
the electrical shock added to it. A cattle prod of course would be too
dangerous to take up on some type of ride like that with all the
motion. Also bear in mind, a small child doesn,,t take need the
electrical power that an adult needs to take it down.
37 min. At the bottom of vortices in the Illuminati programming, the
programmers place Guardian demons. In Fantasia, when Mickey gets to
the bottom of the vortex, sure enough, there is a Guardian there to
meet him. The Guardian spirit parts the water as if he were Moses with
the Red Sea.
38. min. The Conductor and Mickey Mouse shake hands. The conductor
does something very significant. Mickey congratulates the conductor
and then the conductor (programmer) in turn says, "Mickey, you’ve done
a good job." (Yes, the core/core splits have done a good job at this
point, they have just created their inner world!) The MC tells us
about the next song the occult Rite of Spring. Spring rituals are
creation rituals and so this music is ritually connected to what the
programmers are going to do in this segment. The MC states that
instead of the viewer seeing tribal dances (which are by the way
witchcraft dances), that instead Disney has decided to show us scenes
of what went on billions of years ago. (This next part is also a
subtle push for Darwin’s theory of evolution. But because it is
child’s entertainment, people don’t have their guard up. The theory of
evolution is important, because it allows people including the victim
to not take moral responsibility for their actions, and it is also the
basis of some of the Hinduism and witchcraft teachings that will be
given the deeper alters. This is a backdoor approach to destroy
godliness that is carried out on children in general.)
39.5 min. The MC says, "Imagine a lonely tormented little planet
spinning in a sea of nothingness." This is exactly what the programmer
will say to the child as they work together at building an internal
world. The "sea of nothingness" is what the reader will see described
in our books as "Outer Space" or ,,the
Rubicon." Also that "sea of nothingness" is used much later to
reinforce the secrecy of the programmers. Much later as the programmer
and torture has progressed the programmers will say to alters, "LOOK
DOWN ON THE EMPTY SEA OF NOTHINGNESS. THERE IS NO DR. GREEN. THERE IS
NO DADDY THERE."
40 minutes. A swirl of stars in a galaxy appears. Swirls of comet-like
lights flash by. "MANY WORLDS THERE." This will set the base for the
child to build galaxies and worlds within their mind. "BE LIKE GOD,
CREATE YOUR WORLD. BE YOUR OWN GOD AND CREATE YOUR OWN WORLD" the
child is told at this point.
42 minutes. The face of the planet emerges.
42.5 min. Lots of volcanoes erupt on the screen, setting the
foundation to build realistic internal volcanoes.
45 min. Oceans, and water and fire are coming into being. The child
victim needs to know how a world is created in order to create their
own internal world. Lava begins flowing as the flute plays the
background music. Lightening flashes. The violence of the fierce
weather portrayed will be enhanced by the child on drugs to a thousand
times its magnitude. This is important because it will take a great
deal of mental energy and external torture to create the internal
worlds. Having such super-vivid pictures will help when the victim
goes to build their internal worlds. There will be special purpose
fragments that will be made into the elements of fire and water.
That’s all these special purpose fragments will know. Breaking through
the layers in the alter systems will trigger internal earthquakes.
This and a later earthquake scene are used to build the foundation for
the internal violent weather. If an internal earthquake shakes a
slave’s mind, it has the same effect as if a real earthquake were
going off. Everything internally shakes and shifts. An alter system
will also have fire children, who start internal fires, and will give
internal alters the abreaction or sense that they are burning. The
mind gets very survival minded when it thinks it is burning, and goes
right back into the programming that is linked with the victim’s
compliance for survival during programming. 46 minutes. The oceans
continue to form.
47 min. A calm occurs in the action.
47.5 min. The screen gets dark except for an amoeba, which becomes two
amoebas. As the little amoebas multiply, the asst. programmer
encourages the child, "IT’S O.K. TO MULTIPLY. GOD WANTED YOU TO
MULTIPLY" Remember, the programmers are working with a pre-schooler
with clean slate alters. The programmers must show images that the
child can relate to. The concept of the broom being split in half and
then multiplying and now the concept of the amoebas splitting are
portrayed in a way that the child’s mind can grasp the concept.
48.5 min. "IF GOD CAN MAKE A FISH, YOU CAN MAKE A FISH. YOU CAN DO
ANYTHING, YOU CAN BE ANYTHING."
49 minutes. Dinosaurs appear. The programmers will reframe the concept
of dinosaurs into monsters and demons. The sea-going dinosaurs will be
refrained as guardian demons which guard the internal rivers. These
guardian demons tie in with Armageddon end-time programming. They also
guard the various worlds.
50 min. Dinosaur-birds swoop down and grab prey. This imagery will be
refrained to lay the basis for the winged-monkey watchers of the Oz
stories. The winged-monkey watchers are the child alters who are
assigned to watch and guard the system.
51.5 min. Fierce dinosaurs (later ref rained as Dragons) protect the
swamps. Swamps are built into the internal worlds, so this is very
helpful. Demons and alters like Dameon are set up as guards.
52 minutes- More swamps appear. The swamp scenes will form the base in
the child’s mind for the internal river Styx. (See more about this in
this book’s article "Programming, foundations, destruction of"). Some
dinosaurs that have long necks that look like snakes begin appearing.
The asst. programmer will reframe these to the child, "LOOK, THE SEED
OF SATAN." "THAT IS A DEMON." While the child watches, they reframe
the hugh dinosaurs as being demons. Pictures of reptilian looking
demons will be shown to the child too. At that age, the child is not
going to see the difference. (A note for therapists: Some ""demons’"
may actually be important parts to an alter system, and are being used
to protect unauthorized users from entering important areas of the
system.)
54 min.- Fierce Tyrannosaurus Rex chases dinosaurs. This chase scene
is especially frightening to a young child on a LSD trip. Long-necked
snake-like dinosaurs appear. They may be refrained as a python snake.
T Rex is also known as Leviathan, a demon that inhabits the kundalini
spinal column and causes pain in the victim, he is written about on
page 302 in our Vol. 2 book. In the film a long fierce struggle
between T Rex and other dinosaurs ensues.
55 min. The dinosaurs begin dying and soon dies. ,,THE LORD DOESN’T
LIKE THEM."’ This will later be refrained that if parts integrate they
are to die. If someone tries to get into the system, the alters are to
bury themselves deep like these dinosaurs do on the film.
56 min. Dead bones appear
59 min. Mountains soar out of the ground into eminence.
59.5 min. It gets stormy on the screen, winds & floods appear.
60. min. Stillness comes as the sun rises.
61 min. The sun sets. (During the programming, this may be refrained
as the moon setting. It can be both or either or. Remember, the
programmer is working with the child’s creativity.) Various scenes
during the film show the moon in different phases which is important
for bringing in programming concepts like Mr. Moon.
61.3 min. The orchestra is now playing. Music is an important part of
mind-control programming. The affect of music on the mind and body has
been studied. Music can double the heart beat, accelerate the
respiratory rate, make that rate irregular, enhance perception, lower
the threshold for various sensory stimuli, change blood pressure &
circulation, and alter the muscles in the body. Dance music and
"march" music done by orchestras change muscle response. Music is also
a great way to cause dissociation.
62.5 min. The MC introduces the "‘Sound Track’ who he says is an
important person for Fantasia who can be seen around the Disney
studio. When Mr. Sound Track appears, he is simply a vertical line.
The MC says he is "an important screen personality." The ground work
is being laid for a person being anything, even a line. The MC states
that each sound creates a picture.
63 minutes. The MC encourages the personified Sound Track ""don’t be
nervous."" Then a sound is made like an electrical shock and the line
develops a splotch of color in it. During the programming at this
point an electrical shock would be applied to the child.
63.5 minutes. The harp is ask to sound. The harp begins playing a
scale and the line becomes double 8’s and snake-like spirals. The
child will be taught to dissociate when seeing such double 8’s.
64 min. The violin begins going up and down. Each of these instruments
is going up and down the scale, like do-ray-me-fa-so-la-tee-do. The
music is used to teach the alters to go up and down the helix, which
is figured in this part of the film. As the music goes down, an alter
is taught to go down in trance, and as it climbs higher, the alter
will trance higher. All these instruments (violin, flute, bass,
bassoon) are being used to teach alters how to work in the system. The
MC describes the flute as "very pretty".
64.3 min. A trumpet begins playing and the colors, yellow, orange,
etc. begin showing.
64.5 min. When the bassoon plays, the MC says, "Go on. Drop the other
shoe"-- "Go to the shoe" which translates "‘go to the ground"" --the
deepest trance level. The following is the double-pyramid, with a
helix up the middle that appears when the bassoon plays: -(This
configuration is very important to all these Illuminati alters
systems.)-
65 min. The drum plays and some other percussion instruments play.
These are taught to the child as the cult’s "HEARTBEAT". They will
hear this sound internally for many years to come. Then some sounds
that have a shattering effect (cymbals) like broken mirrors are made
in the film.
65.5 min. As the sounds take place a line is made with a pyramid at
the top. This is laying the groundwork for the system’s structuring.
66 min. The MC laughs and talks about Beethoven’s Pastoral Symphony
(Beethoven’s 6th) which is next.
66.5 minutes. The screen comes alive with magical Unicorns of
different colors. Then Pan (a satan-like figure) appears playing his
pipes, and soon lots of little Pans (little demons) are playing their
pipes. The little Pans (demons) play and dance with the unicorns. The
orchestra plays again. (This author, Fritz, remembers when I said that
Pan was an evil demon, I was rebuked by a Christian minister. He then
said Pan a benevolent cheery creature". A number of books which may be
obtained from Satanic bookstores document that Pan is indeed
considered a powerful demon by occultists.)
67 min. Pegasus (the mythical greek winged horse) flies in. As a
Mother horse she takes care of little ones on the screen. She is a
protector in the programming.
68 min. "FANTASY IS FUN. FANTASY IS A GAME YOU PLAY. MOTHER TEACHES
YOU. SEE HOW MOTHER IS A TEACHER. SEE THE BLACK AND WHITE HORSE. THEY
ALWAYS FLY TOGETHER, BUT ARE SEPARATE. THEY ARE FLYING OVER THE
CLOUDS." "OVER THE CLOUDS, INTO THE BLUE YONDER." The child is
rewarded for what it has to do with the game of fantasy. "THAT’S YOUR
REWARD FOR DOING WHAT YOU ARE TO DO. YOU CAN LEARN TO FLY OVER THE
CLOUDS." The child feels rewarded by the game of fantasy. The fantasy
scenes in Walt Disney’s Fantasia are like the Wizard of Oz scenes in
Oz, fantasy-land is more colorful and fun than real life. Vivid colors
will be splashed about during the fantasy-land scenes.
68.5 min. A castle appears as Pegasus flies around. This and other
castle scenes will help the child develop the imagery for the
spiritual castles that the child will build internally. Then they swim
in the water. "SEE THE MIRROR IMAGES, WATER CAN BE GLASS." During the
programming mirrors are put into the internal
system. A mirror can be a piece of glass, the surface of a pond, or an
asphalt runway. When the programming is complete, underneath the water
&/or the runway lurk demons.
70 min. Waterfalls emerge and issue forth. The waterfalls are used by
the programmers to erase all the slave’s memory of what was done to
them. The child will be told at the end of watching Fantasia (and this
will be said at other programming events too), "JUST REMEMBER THE
GOOD, JUST REMEMBER THE FANTASY". The fantasy is given so that the
subconscious can rest in peace after the programming. The child is
told "WASH YOURSELF CLEAN."
70.5 min. The little girls appear as girl centaurs (half girl-half
horse). "SEE THE LITTLE GIRLS ARE HORSES."
71 minutes. Then a scene appears where one girl centaur braids another
girl centaur’s long hair. The Illuminati teach their slaves to braid
their memories. They braid their memories up and then lock them in.
All the Daddy memories will be locked up & braided and then locked for
good.
72 min. Male centaurs appear. They are near water and make mirror
images in the water.
72.5 min. A crown is placed on a female centaur and 2 doves. During
the Illuminati death, burial and resurrection ceremonies lilies are
used for crowns, and doves are used. These are significant
programming/ritual symbols. The female centaurs look at the male
centaurs. This will be refrained as a system can have both male and
female parts.
73 min. Starting with one female centaur, the females act seductive to
the males, who then respond. For bras the females have bras of
daisies. The Vol. 2 book explained how the daisy programming is a
life-or-death type program. Vivid colors are used for each centaur.
For instance, one may be purple and another one another color, which
sets the groundwork for alters to have different access color codes.
Alters do not usually see themselves as being in different colors,
although it does happen on occasion.
73.8 min. A marriage takes place between the centaurs. The programmers
catch these nuances of the film and use them. The marriage here
teaches the child to be acquainted with the arm-and-arm marriage
ceremonies. Remember, the programmers are dealing with clean slates
that must be taught from the ground up. In the next few minutes, the
cherub children will watch sexual body language, and the child victim
is also picking up on enticing sexual body motions.
74.2 min. The centaurs go swimming. "I FEEL LIKE A LITTLE GIRL WITH A
HORSE’S BODY."
75 min. Little cherubs are dancing and flying around. When pictured
the artists at times single out 3 cherubs who blow flutes together.
The female centaur appears,
who is fair haired (blond) and blue-eyed, which is what the Illuminati
like. When she hears the tone (of the flutes) she goes into a trance
state and walks with her eyes closed. This imagery is used to teach
alters that when they hear certain tones, they are to go into a trance
state and do certain things. The little cherub turns into a heart, and
when no one is watching goes into the tree. In programming, this part
is the Keeper of the Tree. Notice how everything is veiled. The
assistant programmer will point the cherub out to the child victim,
"LOOK AT WHAT HE DID."
76.5 min. A curtain then shrouds the scene. The curtain appears to be
tree-like. More bubbles appear, and more water. All the mythical
creatures on the screen begin to dance and be merry and have a feast.
77 min. "SEE THE FEASTS, SEE THE BANQUETS, THE FEASTS ARE O.K. THE
BANQUETS ARE O.K."
78 min. "THE LEAVES ARE FALLING." Blood-like wine is drank at the
feast. "SEE THE BLOOD."
"SEE THE LITTLE DEVILS POP UP." The only human in this Disney scene is
honored. This is done to teach the alters that humans and animals can
mix. That they can be accepted for what they are, even if they think
they are an animal or something else they will be accepted at the
cult’s feasts. These scenes are all for internal programming. By the
way, one of the pretty female centaurs makes a sexual pass at the fat
human, who then chases her. "MUST PLEASE THE MASTER."
80 min. A scary storm comes up, and Zeus, and the greek gods appear.
,,BETTER FEAR IT. HE’S A GOD YOU’D BETTER FEAR HIM. HE THROWS
LIGHTNING." This demon who throws lightening is named Furfur. He also
makes thunder & strong winds in the system (alter system’s worlds).
Readers can learn more about this demon, named Furfur, in Cisco’s
second part of Deeper Insights in the article on "Programming,
foundations, destruction of".
81 minutes. Lightening bolts are thrown from heaven.
81.5 min. All the little cherubs run for cover in fear.
82 min. Pegasus the protector flies in to protect everyone, especially
a new born Pegasus. The wind is personified as a two-headed blowing
person. This two-headed Janus wind comes storming through the heavens.
The programmer will often place his own voice "IN THE WIND." The greek
god (internal demon) throws a lightening bolt.
83 min. "SEE THE GODS". The child is learning what to make internally.
Zeus then relaxes & goes to sleep.
84 min. More vivid colors form. "FAMILIARIZE YOURSELF WITH ALL THE
COLORS." The film at this point is teaching the child to stay in the
framework of the programming for safety. To go outside of the
programming is terror. The child is learning to fear the godlike
demonic guardians.
84.5 min. The fantasy world is coming alive. It is a happy fantasy
world. A goddess in the sky makes a rainbow emerge. This is the
rainbow goddess of the programming.
85 min. All the happy unicorns and cherubs fly ‘"over the rainbow."
(Refer back to the Vol. 2 book p.94 to understand the significance of
going over the rainbow.) The unicorn is derived from old British
paganism where the lion represented sun worship, and the unicorn
represented moon worship. This is why the Royal Arms of the British
Royal Family have a unicorn on one side, & a lion on the other.
Sexually the unicorn represents androgeny. During programming, the
horses, pegasi, unicorns and centaurs shown in the Fantasia movie
become the foundation upon which the Illuminati programmers build the
Night Mare alters who are beasts of burden who carry an alter system’s
memories. These are logical no-emotion alters who are early splits &
who are programmed after the child is verbal. See Cisco’s article on
Dream Work for more understanding about the horse alters, as well as
chapter 7 on Structuring.
86 minutes. More rainbows and lots of bubbles come into view. The film
has done an excellent lob of showing how the Furfur God of thunder
protects the Rainbow. Once an alter has gone over the rainbow, they
can not come back because a demon protects the Rainbow. The rainbow is
also protected by alters who fear the gods. After seeing Fantasia, the
therapist can understand why the little child protector alters have
fear about these gods. The master (who represents Furfur) in the movie
swallows the rainbow. If an alter looks internally for the rainbow, he
or she will only find stars, because the protector will come up and
say, "I swallowed the rainbow." The rainbow is kept well hidden
internally. This scene is used to teach alters how to go over the
rainbow. ""BEFORE YOU GO OVER THE RAINBOW, YOU HAVE TO PUT ALL YOUR
MEMORIES IN THE BUBBLE. YOU CAN’T TAKE ANYTHING OVER THE RAINBOW INTO
FANTASY LAND."
86.5 minutes. Apollo, the sun god comes out.
87 min. A big mother spirit who fills the whole sky is now shown by
Disney. She hangs over the rainbow. When a system is built this is
indeed what they put in. All go to sleep in the film.
87.5 minutes. Arrows shoot the stars into the heavens. This is more
programming imagery. When you look for the rainbow, you see stars.
88 min. The conductor finishes again.
88.5 min. The next setting is a Venetian nobleman’s (a duke’s) palace.
Curtains open. The use of curtains is spoken about in our previous
books.
89 min. Curtains open. An Ostrich begins dancing, and gets others to
ballet dance.
90 min. The Ostriches begin dancing in a circle, this is laying the
groundwork for what the cult family does. The Assistant programmer may
tell the child, "SEE IT’S O.K. TO DANCE TOGETHER. DANCING IS
ACCEPTABLE." The programmers will not directly tell the child that
this represents the cult family.
Fantasia portrays Satan as a terrible powerful being.
91.5 min. The Ostriches are eating grapes. They are playing, looking
in the pool & they are seeing bubbles.
92 min. Hippos emerge out of the pool. "IT’S O.K. TO BE DIFFERENT.
IT’S O.K. TO BE STRANGE. USE YOUR CREATIVITY." The hippos begin to
dance and dance.
94 min. Elephants appear and are having fun and blowing bubbles out of
their trunks. The programmers may be having fun blowing bubbles with
the child. The programmers like to mix love and hate, kindness and
sadistic behavior. That way the victim has a hard time separating love
from hate. If you ask many slaves about "Daddy" they will tell you
that they had fun with Daddy. They are right--they had fun intermixed
with sadistic torture. Bubbles continue to lift off. One of the
bubbles has a fish in it. This is imagery for the bubble programming.
The child victim is trained to dump their bad memories into bubbles
and let them float away. The therapist will notice that many victims
feel like they are floating. They have an unreal feeling. The bubbles
are floating their bad memories away.
98.5 minutes. A new setting and the hippos are hypnotically sleeping.
3 sinister alligators that remind one of the 3 primary programmers
appear. The 3 alligators have robes that hide them, and shadow images
of themselves lurking behind them. The alligators are trying to get
the hippos. The 3 alligators are portrayed like the programmer is, he
is someone to fear, love, & respect all at once. The hippo is running
away and dancing. The alligator dances with the hippo, but makes
menacing attempts to eat him. A flying hippo lands on an alligator.
Elephants, hippos, alligators are shown. The elephants, ostriches,
hippos and alligators all dance in fantasyland.
100 min. The orchestra is dancing. ‘"DO WHAT YOU’RE TOLD AND WE WILL
HAVE FUN."
101 min. The MC announces the next part as ""the struggle between the
profane and the sacred."’ The conductor stands in a silhouette that
suggests the same pose that the upcoming Satan takes.
102 min. A high dark mountain with a castle looms in front of the
viewer. A winged fiercesome Satan figure raises his wings. His wings
are sectioned like fingers with claws, and will form the imagery of
the demon Malebrinche, whose satanic claws hang over the alters and
terrorize them. In the Illustrated Guidebook, the reader will find
lots of these claws in the pictures lurking in the background. A child
victim will be taught to fear the hands of the programmer, Satan and
Malebrinche. The wings (hands with claws) open. And Satan is portrayed
as an awe-inspiring figure. (By the way,, the word maleficia means
evil misfortune caused by witches. The witch in Disney’s Sleeping
Beauty has the demonic name of Maleficent.)
102.5 min. Satan begins raising the dead skeletons. This provides a
foundation to layer in the Valley of the Dry bones coming alive with
armies of skeletons.
104 min. The film also has some images at this point that will help
with the foundation for the Armageddon programming. Satan calls
everything to himself.
104.5 min. The hell pit is shown. This is laying a foundation for the
hell pit with all its demons. All kinds of vivid colors are shown in
hell, to make the scene more real than real for the child victim.
Satan smiles as demons burn in hell. "NO MATTER WHAT COLOR YOU ARE, IF
YOU ARE NOT GOOD YOU’LL END UP THERE.’"
105 min. "THAT’S WHAT HAPPENS IF YOU’RE BAD. YOUR THROWN INTO THE HELL
PIT."
105.5 min. Three beautiful lady demons begin to dance in a circle, all
of a sudden these demons take on their luciferian form, one becomes a
goat.
106 min. The demons continue to dance with powerful Satan watching
over them. The hell pit and the demons are portrayed in vivid scary
graphic depictions. The hellish fire and the ghoulish dancing of its
occupants continues for what seems a long time. "WHEN GOD FINDS OUT
HOW BAD YOU ARE, LOOK AT WHAT HE’LL DO TO YOU."
107 min. Satan is portrayed by Disney in all his evil dark majesty.
107.5 min. Bells begin to ring, and the demons slink away, & the dead
return to the earth to their graveyards.
108 min. Ghosts return to the graves. Soft music begins to play. Ave
Maria by Schubert, which was written for the Catholic church, begins
playing.
109 min. Satan folds himself into a mountain. ‘"DO YOU SEE LUCIFER
ANYWHERE? NO. YOU ONLY SEE A MOUNTAIN."
110 min. Lights shine as if they are a column of moving people who are
walking with lights, and then some walls appear.
110.5 min. An arched bridge appears with its mirror image. The column
of silhouetted people who continue walking have mirror images in the
river. The asst. programmer will be telling the system (which the
front parts will hear) "TIME FOR ALL THE GOOD CHILDREN TO GO TO
CHURCH. IT’S O.K. TO GO TO CHURCH. GO SERVE GOD."
113. min. An opening, a vertical sliver of light comes from what
appears to be doors opening up. There is a mirror effect in the way
the doors open, which will facilitate making mirror image front
worlds. A whole new world opens up, which will be the front system’s
world. Both the front alters and the deeper ones will be told to
forget the movie. Later when a system is better programmed, the
programmers will pull up the front alters and have them walk through
these doors into the light. When they are hypnotically taken through
these doors into the light and away from the fear and darkness of the
Kingdom of Satan, they are hypnotically told to close those doors and
never look back. The Kingdom of Satan has been shown in detail and in
great length. The Kingdom of Satan has been shown as powerful and
fearful. Satan is shown as a mighty power that is to be feared. The
Kingdom of Light is only shown as a peace, as a refuge from evil. It
is not shown to be good. It is not shown to have power or
intelligence. It is simply a place to go to escape the fear of Satan’s
power. This is all the programmers really want the church to be. It
will be a stabilizing balance to let the mind recuperate from the hell
of the programming, but it is not intended to be seen as greater than
Satan and his Kingdom.
115 min. The film ends with a peaceful gaze at heaven. The child is
being told in the last few minutes "THAT WORLD BELONGS TO YOU. IT’S A
BEAUTIFUL WORLD. IT’S THE WORLD WE WANT YOU TO LIVE IN. IT’S
BEAUTIFUL." After all the hell that is eventually dumped on the child,
and the scare that Satan gives them in this Fantasia film, the child
is only too happy to create a beautiful world to live in.
** * * * * ***** ******** ****** ******** **********
The effectiveness of Disney’s Fantasia is that it is used to
communicate to & build the unconscious structures within the child’s
mind. The unconscious mind is the seat of our creative abilities. Then
the conscious mind makes adaptations upon this unconscious thinking.
SUMMARY
Now that the reader has covered so much, the following quotes (with
bold emphasis’s added) take on even deeper meaning:
Joe Flower in Prince of the Magic Kingdom, ,, Walt Disney was obsessed
with creation, driven to build magical worlds not, as many artists
are, out of paint and canvas, or words, or even film, but physically,
out of concrete, wires, smoke, electricity, and highly programmed
employees." (p. 23)
Julian Halevy in Nation decries Disney taking this nation into a
"drift to fantasy." He adds, "...one feels our whole culture heading
up the dark river to the source--that heart of darkness where Mr.
Disney traffics in pastel trinketed evil for gold and ivory." For
those who understand programming Aubrey Menen comments about Disney’s
success are profoundly appropriate, "the strongest desire an artist
knows...to create a world of his own where everything is just as he
imagines it." John Ciardi was not so nice, he termed Walt Disney as
"the shyster in the backroom of illusion." Eliot said, "While his
filmed fairy tales may have appeared at first glance to be light and
dreamlike, upon closer examination they seemed more nightmares of
deconstructed reality in league with the era’s leading neo-Freudian
Modernists."
· You have now finished reading a never-before-heard, unprecedented
Warning about the Dark Reality of the Disney’s Magic Kingdom, and how
it fits in with Mind-Control. Most Americans when surveyed say they
believe in God, most go to church, and many believe they are
born-again. Because of the Illuminati’s deception campaign over
several generations, the American public, and the world in general has
been led to believe that Disney was good, and that Walt Disney was a
good man. Because of his image, people suspended judgement about
Disney and Disney movies. They entrusted their children to him. People
had been manipulated into a frame of mind, a predisposition that
whatever comes out of Disney is good. They entrusted their children to
take in what Disney fed their children’s little minds week after week.
The public’s predisposition of trust was used to introduce Illuminati
beliefs and their political agenda, and to carry out a vast program of
trauma-based mind-control on hundreds of thousands of tiny little
children, whose minds and souls were stolen from them. Because many of
the child slaves, who are programmed with Disney-themes, are
programmed with roles in bringing in the Anti-Christ, Walt Disney and
his family have played a major role for the Anti-Christ. And now you
can see how accurate the Word of God is when it says, What is highly
esteemed among men, is an abomination to God. First, there will be an
Overview of the types of sources used, and then will follow a partial
Bibliography on this Disney Section.
TYPES OF SOURCES
People who have worked for Disney and who are getting pensions and
medical insurance have talked about Disney under the condition of
anonymity. This is because the Disney hierarchy will not permit
exposure without retaliation. Several non-Disney people who helped
with discovering facts for this section were threatened that their
children lives would be taken if they continued to investigate Disney.
What I (Fritz Springmeier) finally have put in this, is solely my
responsibility.
· One type of source for this was books on the Hollywood Film Industry
and books on Disney Films. There were about 20 books of this category
which were perused for a better understanding of who the Disney
brothers were and what Disney Co. was about. One of the best in this
type of source was The Art of
Walt Disney from Mickey Mouse to the Magic Kingdom by Christopher
Finch (NY: Harry N. Abrams, Inc., 1975.)
* Another type of source were the standard biographical reference
books,, such as Who’s Who, Who’s Who in the West (1951), World
Biography, Who Was Who,, Current Biography 1952, etc.
* Another type of source was critics of Disney’s movies such as
several articles exposing the Lion King, Media Spotlight’s article
Fantasia, Rush Limbaugh’s comments and statements concerning how
Disney had betrayed its viewers’ trust, the Spotlight’s Feb. 26, ‘96
p. 31 article "Disney Turns Back on Family Values."’
· Another type of source was magazine and newspaper articles about
Disney such as the Oregonian’s art. on a Disney director being a
convicted child molester. NY Times, Newsweek and other magazine and
newspaper sources. An important series of extremely good investigative
reports which were written by Harry V. Martin for the Napa Sentinel in
1989 were very important in learning of some of the
Illuminati/CIA/Contra/Drug Running activities in Napa Valley, CA that
Roy Disney is associated with. Harry V. Martin went into all kinds of
records and did an excellent job of investigative reporting. The
magazine Monde 2000, no.12, had an article on non-lethal weapons that
the NWO is developing. This article was reprinted in Encounter
Chronicles Journal of Scientific Intelligence, and discussed how
Disney has been working with Sandia Labs and Los Alamos.
· Another type of source were victims of Illuminati mind-control, who
have recovered memories of being programmed at Disneyland and
Disneyworld.
· Another type of source has been to watch Disney movies as an
investigative tool to understand how Disney is programming, how they
are skillfully indoctrinating the American people into witchcraft,
etc. This author has also personally been to both Disneyland, near
Anaheim, CA and Disneyworld, near Orlando, FL.
· Another source was the Walt Disney Co.’s Annual Reports, and also
the reference book Directory of Corporate Affiliations (1986)
published by the National Register Pub. Co.
· Another type of source were books which specialized in covering
details about Disneyland such as Disneyland And Beyond the Ultimate
Family Guidebook (edited by Ray Riegert, and printed by Ulysses Press
of Berkeley, CA); and Walt Disney’s Disneyland (by Martin A. Sklar and
introduced by Walt Disney.) AAA had a 27 page booklet "Disneyland Park
and Southern California", which came out in 1996, which provides
information on what is being offered at Disneyland and vicinity. The
book refers repeatedly to "Disney Magic". One has to wonder how
Christians and non-occultic persons can’t see how occult Disney is.
HOME
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On 19 Jul 2004 12:26:37 -0700, dabu...@direct.ca (David Buckna)
wrote:
>as "a sentimental notion—naïve at best and disingenuous at worst."
David Buckna
> Since Walt Disney was a Freemason, we can see why Disney is Fallen, it
> had bad roots:
>
>
> Walt Disney was a Freemason, it is no wonder he has had so much
> occultic stuff in his material through the years:
>
> http://members.shaw.ca/Illuminaticonspiracy2/waltdisney.html
>
> Walt Disney
>
> Walt Disney
>
>
> --------------------------------------------------------------------------------
>
>
> --------------------------------------------------------------------------------
>
> WALT DISNEY
>
> ONE OF THE GREATEST DECEPTIONS OF ALL TIME.
>
> By Fritz Sprinmeier
Are you sure the guy's name isn't Fritz SPINmeier?
I think it's important to first separate the FACTS from the SPECULATIONS...
http://www.snopes.com/disney/waltdisn/
Illegitimate birth?
http://www.snopes.com/disney/waltdisn/illegit.htm
http://www.snopes.com/disney/disney.asp#disney
http://www.snopes.com/disney/waltdisn/waltdisn.asp
http://www.snopes.com/disney/films/films.asp
http://www.snopes.com/disney/wdco/wdco.asp
http://www.snopes.com/disney/parks/parks.asp
---
David Buckna
Steve
created that site to confuse people to the truth, Walt Disney is
clearly a Freemason, it is a known fact.
Steve
On 20 Jul 2004 11:09:54 -0700, dabu...@direct.ca (David Buckna)
wrote:
>Steve <stev...@mailsnare.net> wrote in message news:<8o9of0h19sc4h61nq...@4ax.com>...
BringerOfLight
> It is all true, and Snopes is a tool of the ProPAGANda masters, they
> created that site to confuse people to the truth, Walt Disney is
> clearly a Freemason, it is a known fact.
>
> Steve
I think you need to come off the drugs Steve, this "pagans are taking
over the world" nonsense doesn't wash anymore. As for this "Disney is
Fallen" tosh, some of you people really cannot smell the shit you
shovel.
David Buckna
> It is all true, and Snopes is a tool of the ProPAGANda masters, they
> created that site to confuse people to the truth, Walt Disney is
> clearly a Freemason, it is a known fact.
>
> Steve
http://freemasonry.bcy.ca/anti-masonry/anti-masonry03.html
[snip]
Walt Disney?
USA motion picture and television producer, Walter Elias Disney
(1901/12/05 - 1966/12/15), was a member of the appendent organization
for boys, DeMolay International. He was not a freemason. For reasons
of their own, a few anti-masons, detractors of American pop culture
and conspiracy theorists have referred to Disney as a 33º freemason
but this claim is unfounded.
===
Guys like Fritz Sprinmeier seem to have alot in common with Texe
Marrs:
http://www.apologeticsindex.org/m00.html
Marrs, Texe
Self-styled apologist known for his sensationalistic, speculative
claims. Disseminates conspiracy theories, hype, and other unbalanced
information. Taken seriously only be those on the fringe...
David Icke, a former British television sportscaster turned prophet of
doom, and Texe Marrs, a retired U.S. Air Force officer turned pastor,
have issued Web site warnings that, come millennium eve, former
President George Bush and fellow members of a cult known as the
Illuminati will summon oppressive evil forces at a black mass in a
burial chamber deep inside the great Cheops pyramid.
Egyptian boogie nights, U.S. News & World Report, Dec. 27, 1999
---
THE PRESENT-DAY
ILLUMINATI THEORY
The Real or Illusionary Threat
of a Secret Worldwide Conspiracy
by G. Richard Fisher
http://www.pfo.org/illumint.htm
[snip]
"We have a choice — the illusion of an elusive Illuminati with its
dozens of contradictory notions and theories or the reality of the
Word of God."
Christians and Conspiracy Theories
http://www.apologeticsindex.org/c24.html
---
David Buckna
Steve
Don't post those Satanic Freemasonry lies here.
Steve
On 20 Jul 2004 16:51:20 -0700, dabu...@direct.ca (David Buckna)
wrote:
>Steve <stev...@mailsnare.net> wrote in message news:<j3pqf018vburrielo...@4ax.com>...
Robert
>
> Don't post those Satanic Freemasonry lies here.
>
> Steve
>
>
> On 20 Jul 2004 16:51:20 -0700, dabu...@direct.ca (David Buckna)
> wrote:
>
>>Steve <stev...@mailsnare.net> wrote in message
>>news:<j3pqf018vburrielo...@4ax.com>...
>>> It is all true, and Snopes is a tool of the ProPAGANda masters, they
>>> created that site to confuse people to the truth, Walt Disney is
>>> clearly a Freemason, it is a known fact.
That's a lie, Walt Disney was a Baptist!
Robert
David Buckna
In the June, 1949 issue of Guideposts, Walt Disney mentions the
Congregational church, where he had been baptized and had attended
Sunday school growing up.
Bob Thomas writes in "Walt Disney: An American Original":
"Walt considered himself religious yet he never went to church. The
heavy dose of religiousity in his childhood discouraged him; he
especially disliked sanctimonious preachers. But he admired and
respected every religion, and his belief in God never wavered."
As Walt two daughters grew up, they went to a variety of churches: eg.
Sunday school and youth group at Hollywood Presbyterian Church; a
Christian Science Sunday school; and Catholic school for daughter
Diane. Diane was married in an Episcopal church, and sister Sharon was
married in a Presbyterian church.
=========================================================
http://forums.gospelcom.net/view/hollywoodjesus/disney/view_post?id=13
about disney spirituality
candy (crizz...@tns.net) 10/15/03 09:20PM
Options:
Okay. I'm trying to figure out how this works. I can't see very well
and I'm writing this with the help of a screen-reader.
I loved the article "It All Started With A Mouse" and the article
about Snow White. It's rare that you see anything positive about
Disney from Christians on the internet. Almost everything else I've
seen about Disney is negative...bashing him for portraying magic and
the occult. Admittedly, Disney portrayed magic even more than he did
Christianity. But there's a very good reason for that. Walt Disney had
grown up in a very religious home. His father was a deacon in the
Congregationalist Church. Walt became discouraged by the kind of
religion that his father presented to him. He did not totally reject
Christianity but he modified it to his liking. Walt was a very
complicated and often contradictory person. He believed in evolution
and he also believed in God. He once claimed that he tried to live a
Christian life (that's found in Walt Disney: Famous Quotes) but he
never publicly professed to be a Christian. He made more statements
about religion than he did about magic, but he portrayed magic a lot
more than religion. It's my belief that Walt Disney was a Christian,
but he was not what we would call a Fundamentalist. He was what could
be called a liberal Christian, with a lot of unorthodox ideas. He had
grown up on the King James Bible, and he often portrayed the Bible as
a source of spiritual authority. For instance, Jimmie Dodd sang that
little song "Do What the Good Book Says" on the mickey Mouse Club. The
Bible was quoted in several films, including Perri, Tonka, and Johnny
Tremain. Walt had to have known about the Gospel because he had grown
up in a traditional Protestant church. I've heard that the
Congregationalist Church had become very liberal by the time that Walt
was born, but I doubt that it was so liberal as to not preach the
Gospel. Walt's father was certainly not liberal. He was the closest
thing to a Puritan you could get. Elias didn't drink, smoke, or swear,
and he didn't approve of entertainment. That's where Walt and his dad
had a parting of the ways. And that's why I think Walt ultimately
rejected certain aspects of Christianity; he associated it too much
with his strict father. I think that Walt's discouragement with the
church and his interest in fantasy and magic had everything to do with
the relationship he had with his father. The Disney films themselves
bear this out.
As for Pinocchio, I believe that it's the most religious film Disney
ever made, despite the fact that the words "God" and "salvation" were
never mentioned. There's a lot of allusions to the Bible in the film,
and the characters are portrayed as spiritual archetypes. The Blue
Fairy is a type of guardian angel, Jiminy Cricket is a type of
minister, and the villains represent various vices. The Coachman who
took "bad boys" to Pleasure Island clearly symbolizes the Devil. Then
there's the whole scenario of Pinocchio being swallowed by Monstro,
which parallels the Jonah and the Whale story. This symbolizes the
idea of going down into the "belly of hell" and rising up again from
hell in a resurrected state. Pinocchio is a great film to analyze from
a Christian perspective. Interestingly, it's also regarded as Disney's
scariest film. It's also been regarded as a kind of autobiography of
Walt Disney himself. It's actually my favorite film. I'll be really
interested to see what Ken P. has to say about it.
from another Disney fan,
Candy
=========================================================
http://www.startedbyamouse.com/archives/WaltPrayer.shtml
http://www.startedbyamouse.com/archives/WaltPrayerOriginal.shtml
---
David Buckna
Steve
afraid.
Walt Disney was a Freemason.
Steve
David Buckna
> Many Baptist are Freemasons, not many Baptist will be in heaven I am
> afraid.
>
> Walt Disney was a Freemason.
>
> Steve
Really..... I don't think any humans are in any position to say who
will or who won't be in heaven. In the book of Romans it mentions God
is the one who searches the hearts.
Ever hear of this book?
http://www.fischtank.com/book/12step.cfm
12 Steps for the Recovering Pharisee (like me)
by John Fischer
------------------------------------------------------------------------
The 12 Steps
1. We admit that our single most unmitigated pleasure is to judge
other people.
2. Have come to believe that our means of obtaining greatness is to
make everyone lower than ourselves in our own mind.
3. Realize that we detest mercy being given to those who, unlike us,
haven't worked for it and don't deserve it.
4. Have decided that we don't want to get what we deserve after all,
and we don't want anyone else to either.
5. Will cease all attempts to apply teaching and rebuke to anyone but
ourselves.
6. Are ready to have God remove all these defects of attitude and
character.
7. Embrace the belief that we are, and will always be, experts at
sinning.
8. Are looking closely at the lives of famous men and women of the
Bible who turned out to be ordinary sinners like us.
9. Are seeking through prayer and meditation to make a conscious
effort to consider other better than ourselves.
10. Embrace the state of astonishment as a permanent and glorious
reality.
11. Choose to rid ourselves of any attitude that is not bathed in
gratitude.
12. Having had a spiritual awakening as the result of these steps, we
will try to carry this message to others who think that Christians are
better than everyone else.
---
The Introduction
As I have grown to understand the gospel and learn more of God's
grace, I have also become conscious of a corresponding struggle with
pride and self-righteousness. Like anyone, I want to be well thought
of. I am often conscious, as I am even now, of picking my words
carefully, like walking through a minefield of impressions, so as to
appear honest while stopping short of the naked truth that might
implicate me more than I am willing. It is a problem that the
Pharisees of Jesus' day sought to overcome by concealing themselves
behind a whitewashed religious veneer.
So when a gentleman came up to me at a summer festival at which I was
teaching and commented on how he had found my writings to be, for him,
like a twelve-step plan for recovering Pharisees, I realized that I
had been working on rooting out this problem for quite a while, though
until now it had never been the focus of my work. I decided it was
time to make it such. His fingering of this correlation struck a chord
in me, as did the use of the recovery model as a creative approach to
this chronic spiritual disease.
My use of the recovery model in this book is admittedly somewhat
tongue-in-cheek. I am not expecting Pharisee recovery groups to spring
up all over the country as a result of my discussions here (though it
might not be such a bad idea), nor am I expecting people to see these
steps as some sort of methodology through which they can accomplish
the permanent eradication of pride and self-projected superiority. I
am more interested in borrowing the recovery model as a way of
unmasking, and potentially freeing us from, the intoxication of
spiritual pride and prejudice that continually lures believers away
from the grace, gratitude and life of astonishment that the Spirit of
God desires for us.
It is my firm belief that the prideful attitude of the Pharisees and
their practice of measuring out righteousness are problems that affect
not only Christians but e3veryone at some point. They are built into
human nature. They even accompany other religions and cults.
Pharisaism always seems to show up whenever righteousness is pursued
in any form, at any level. Acceptance on the basis of performance was
how most of us began our lives, and it's not easy to shake. In
biblical history this is called the Old Covenant.
The Old Covenant requires a standard of performance and a reason to be
obedient to it. But the standard, in its truest form, is impossible to
pull off consistently. It could be argued that this is the whole point
of God's dealings with humanity through the covenants. The Old
Covenant is there to break us, to show us that we cannot live
according to its precepts--that sin and selfishness dwell in us to a
significant degree so as to rule out the possibility of following even
the clear call of Jesus to love God, self and others. This inability
to follow the standard, along with its accompanying humility,
qualifies us for a Savior--someone who will fulfill the law on our
behalf and grant us righteousness as a free gift. This is God's grace
as given to us in the New Covenant through the death and resurrection
of our Lord and Savior Jesus Christ.
The Pharisees enter the picture as the ones who figure out a way to
make the Old Covenant work for them, thus making the new one
unnecessary. As official interpreters of the laws of God, they adapt
the standard through their own interpretation until the law (actually,
their version of it) becomes something that is not impossible to
perform but indeed quite possible, though difficult and meticulous at
times. The "standard" is set so that attaining it is difficult enough
to weed out the undesirables but not so difficult as to become overly
burdensome--and that's the key. Armed with this new standard,
Pharisees can then qualify themselves for righteousness and judge
those who, according to their measurement, fall short. Once this
course is entered upon, it can branch into a myriad of avenues of
arrogance, judgment and false humility.
What makes pharisaical sin so dangerous is that it disguises itself as
a form of enlightenment. This is what Jesus meant when he said, "If
the light within you is darkness, how great is that darkness!"
(Matthew 6:23).
The darkness is great because one is deluded into thinking it is
light. You think you are seeing better than anyone else, when, in
fact, you can't see at all. This means the idea that you can't see is
farthest from you. A blind person knows he is blind. A Pharisee thinks
he can see, and this is why the "light" within him is actually
darkness. Jesus called the Pharisees "blind guides."
So it is necessary in this darkness we call light to identify our
error and get free from our entrapment--exactly the job of all
recovery groups. It could even be argued that our churches ought to be
more like this. The church should be the most honest place on earth--a
place where it is possible to say among friends: "Hi, I'm John, and
I'm a Pharisee."
"Hi, John," comes the echo, and we reveal in the realization that this
is the meeting place of accountability for equals. These are the
Simons who want to come down off their pedestals and join the company
of saved sinners at the feet of Jesus, who, like the prostitute
anointing his feet with perfume and tears, can't seem to get enough of
this grace and forgiveness. This is the gospel for those courageous
enough to tear off of their masks of adequacy and self-righteousness
and get on with a life of gratitude and love for others. This is the
Pharisee recovery group of which I speak, and these are the steps
which will lead us out. I know, for I am an expert in the downturned
look, the haughty eye, the wagging head--and I've had enough of it.
Welcome to the group.
------------------------------------------------------------------------
Steve
Jesus too.
Steve
On 21 Jul 2004 11:44:59 -0700, dabu...@direct.ca (David Buckna)
wrote:
>Steve <stev...@mailsnare.net> wrote in message news:<j2vsf09e5i01ptlgi...@4ax.com>...
Cindy
> Many Baptist are Freemasons, not many Baptist will be in heaven I am
> afraid.
Well, I agree with that!
John
> You can't serve 2 masters, Freemasons serve Satan, they can't serve
> Jesus too.
>