| Topic: |
Religions > Bible |
| User: |
"David Buckna" |
| Date: |
19 Jul 2004 02:26:37 PM |
| Object: |
Disney's demonic descent! |
From: martus (marttila69@hotmail.com)
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—naïve 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.
===
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| User: "Steve" |
|
| Title: Re: Disney's demonic descent! |
19 Jul 2004 02:57:13 PM |
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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
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 ***** 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
***** 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 ***** son, who Elias brings
home and names Walter after the minister of the church he attends. The
two ***** 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
***** 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 ***** 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 *****. 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 ***** 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 millio | |
