The Disney Bloodline

THE SKILL OF LYING, THE ART OF DECEIT

 

Part II

 

H. DISNEY & its MOB connections

When this author spoke to the co-author’s deeper Illuminati alters about Disney, their reaction was that Disney had been described to them when they were in the Illuminati as "a syndicate within a syndicate." They said that while in the Illuminati, they were aware that Disneyland had their own government, their own rules and their own police force. They were a crime syndicate within a syndicate. What these Illuminati alters casually mentioned, was verified by this author the hard way through research. One Disneyland Security Supervisor said, "There is no Constitution at Disneyland. We have our own laws." Once, when Walt Disney got miffed at a Hollywood policeman, Walt said, "I’ll have your badge." If Disney guards decide to, they will get very rough physically with people, and assault them in any fashion they see fit. The people they detain are often thrown into tiny cells at Disneyland where they are kept without benefit of a phone call, without benefit of a toilet or water. The judicial system turns a blind eye to whatever Disney police do. Many people pay Disney to get their children out of a Disney cell, and never get due process of any law.

This type of treatment has gone on for decades, and is almost a daily occurrence at Disneyland. The Anaheim Police force is very chummy with the Disney private police force. Also at one point, the Burbank Chief of Police was the brother-in-law to Disney’s Chief of Security. Recently, when a couple filed a wrongful death suit against the Magic Kingdom of Disney in Florida, the state of Florida surprisingly has appeared to have backed off from their traditional behavior of protecting Disney’s sovereignty. An article on the suit said, ""there is evidence of some nervousness with Disney’s relative autonomy."" (San Francisco Chronicle, article "Mickey’s Dark Side" Oct. 1, ‘96, p. C6) An attorney in the case said, "Disney World’s security people aren’t just cops, they are bad ones. I don’t think there is any corporation that has ever had the perceived power that Disney has." Richard Foglesong, a professor of politics at Rollins College in Winter Park stated, "Because Disney World controls so much of its corporate and municipal universe, it can’t help but act in a heavy-handed manner in order to ferociously protect its self-interest. They have immunity from state and local land use law. They can build a nuclear plant, distribute alcohol. They have powers local communities don’t have. Do they abuse it? In my opinion, yes." In line with Disney’s previous dictatorial policies on their properties, Disney’s new city called Celebration will not have any elected government.

Since the city is unincorporated (a neat Disney trick) the mayor is appointed by Disney. Several Disney "quasi-government’" bodies control citizens of the city. For instance, the Celebration Residential Owners Association, which participates in binding all residents to a Declaration of Covenants, a legal binder of rules that residents must live by. Of course the Declaration of Covenants was written by Disney. These rules include such nit picky things as, no more than two people can sleep in the same bedroom, no pickup trucks can be parked in front of homes, and if Disney officials don’t like your cat or dog they can forcibly remove the animal from your home. Disney Corp. has perpetrated numerous deceptions on the residents, incl. shoddy work on their homes, and operating their ""public"" school with Disney cronies. Still, the residents that have moved into Celebration are glowing with praise for the town in spite of the fact that the city is totally run by Big Brother Disney Corp. Of course those who don’t love it, soon leave. So much for the American tradition of self-government.

Some MOB HISTORY

Traditionally, the mob crime bosses have had a yearly summit. In 1928, they had their yearly conclave at Cleveland. In 1929, they had their secret yearly conclave at Atlantic City. In 1931, they held their secret annual conclave at Wappingers Falls, NY. At the Wappingers Falls meeting, attended by about 300 overlords and soldiers, the heads of the family clans discussed their crime family agendas. They decided where the first national Mafia convention was to be held. Once the Mafia was able to hold their yearly private national meetings, they were able to coordinate their activities, as well as decide such things as:

a. the direction of national & internal operations, and long range plans

b. the promotion of new bosses

c. decisions on turf & rank, commodities & cash

d. hashing out alliances or disputes with the Mishpucka, Triads, FBI, Illuminati, etc. and working with others in a concerted manner.

The mafia clans would then leave the annual summit meetings and follow through in their area of operations, until they would meet the next year, review their successes & failures, get new assignments, and decide upon new short & long term goals. In 1927, the Mishpucka worked with Mafia to highjack a bootleg shipment of whiskey travelling from Ireland to Boston for the Kennedy Illuminati family. Most of Kennedy’s guards were killed in the shootout, and J.P. Kennedy had the widows of the guards besieging him for financial assistance. Billy Graham’s good friend Mafia Chief Joseph Bonanno was one of the chiefs who attended the yearly conclaves. He also met with J.F. Kennedy in the Winter of 1959. John Kennedy was known to have said that mobster Sam Giancana worked for his Kennedy family.

The mob/Illuminati alliances and infighting are too complex to deal with in this book, but both groups had to put plans into action to deal with the repeal of Prohibition, which would end their lucrative bootlegging. The short term plan for the Mafia was to control the film industry in Hollywood, and to penetrate the unions better. The long term plans called for sending their next few generations of children off to the top schools and getting them into legitimate respectable corporate positions. By learning the ins and outs of honest, legal operations, they could then mix in the illegal operations with their legal ones & look legal. They planned to extend their power base into politics, the Harvard-Stanford business schools, as well as the finest corporate board rooms. They intended (and have succeeded) in getting some of their offspring to produce/direct T.V./films.

They would have an increasing presence within the Bohemian Grove membership, as well as some of the other great social & business clubs. Their plan to take over the film industry hinged on their union control over unions and theaters. The Chicago mob controlled the International Alliance of Theatrical Stage Employees Union. The mob controlled the projectionist’s union, and if the film makers had the theaters where their movies were shown shut down, what good would it be to make movies? The film makers and the mafia both had power & money. Rather than fight a protracted war, they made a deal. The major studios would give about $50,000 a year to the mafia, and the small ones $25,000, to be allowed to function. Other agreements were also reached. Mob henchmen Willie Bioff and George E. Browne were mob lieutenants who orchestrated the mob’s "Hollywood takeover".

Time Magazine, Nov. 1, 1943, wrote,

"In the witness chair in Manhattan’s Federal Court sat bland, wily Willie Bioft (pronounced Buy-off), blackmailer, panderer, labor leader, and now star witness against eight ex-pals, who are charged with shaking down $1 million from the movie industry...

Question: Was it true that Bioft once had a five-year plan for taking over 20% of Hollywood’s profits-and eventually 50% interest In the studios themselves? Bioff (wistfully): "If we’d lasted that long, we would have.

Question: "Did you ever say you were boss of Hollywood and could make producers do whatever you wanted?" Bioff: "Yes-and I could make them dance to my tune."

Although Bioff rolled over on his pals and ended up getting car bombed, that didn’t stop the mob/Mishpucka infiltration & control of Hollywood. (Bioff had tried to save his public image by helping Walt Disney settle his labor dispute with the mob-led unions, but Walt wisely relected his offer of help, and made sure he didn’t offend the Chicago mob leaders who were disgruntled with Bioff.)

Hundreds of millions of dollars were poured by the Mafia & Mishpucka into real estate in southern California, by using legitimate local businessmen to launder the money. Hollywood was declared a "free zone" where all the Mafia/Mishpucka families could operate without a fear of a turf war. Let us backtrack slightly to 1930. Columbia distributed Disney cartoons from 1930 until 1932, when Disney switched to United Artists, because Columbia wasn’t bothering to pay Disney the money they owed. In 1930, Cohn, Pres. of Columbia Pictures, got Disney off the financial hook with Powers by intimidating Powers with some street toughs carrying a legal suit.

If Disney wasn’t indebted to the mafia before, he was at that point. Biographers have been puzzled why Disney went into such a traumatic depression after Henry Cohn "helped" him. Tough guy Henry Cohn made sure Walt knew who was boss. His attitude was that Walt should be happy to be paid at all by him for the cartoons Walt supplied Columbia. After this, Walt would lock himself in his room and weep uncontrollably for hours. He was impossible for anyone to get along with. He was unable to focus on anything, and would stare for long periods out the window. Biographers blame Walt’s behavior on the fact that his wife was pregnant. They also blame it on his friend Iwerks defection to another company. Frankly, Walt had treated Iwerk like a dog, and deep down must have known why Iwerk left such an abusive relationship.

To claim that he wept for hours day after day because he realized he might become a father is too much to swallow. When Walt was asked years later about why he was so depressed he said it was the stress of the financial situation. Walt said, ,,I had a nervous breakdown. ..Costs were going up; each new picture we finished cost more to make than we had figured it would earn when we first began to plan it...I cracked up." This author submits to the reader that part of his breakdown may have indeed been the financial stress from having come under the heel of the mafia. They had all the means to make or break him, and he had no choice but to surrender to their overwhelming power to blackmail & destroy him OR to get out of the business.

What this did was place Walt in a position where his two strongest traits had to clash--his overwhelming obsession to be his own boss, and his creative obsession to create animation which was wrapped up with his ego & his deep phobias and psychological needs. His mind couldn’t give up its independence nor its creativity without great mental anguish, and therefore Walt was very saddened, knowing that he would have to admit defeat, and buckle under the heels of the big boys. Just when he needed emotional support his wife was going to have a child, and his best animator left. Walt had abandoned Iwerks years before, and Walt’s wife had wanted a child for some time. Iwerk’s departure and his arriving child do not in themselves account for the long intense nervous breakdown that Walt experienced.

Biographers point out that Walt was very reluctant to have children, and that he was impotent with women including his wife much of the time. His impotency to carry out normal sex may help explain his secret sexual habits. Walt’s masonic brother Carl Laemmle offered Walt a good deal to help him recover from Henry Cohn’s abusive control of Walt, but Carl wanted the copyright to Mickey Mouse in return for the help, and Walt wouldn’t part with Mickey Mouse. Instead, Walt signed a contract offered by Joseph Schenck of UA (United Artists), who was one of the Mafia’s illegal drug kingpins. In 1935, the mob’s illegal drug dealer Joseph Schenck went on to found 20th Century, Inc. which later merged with Fox in ‘38 to form Twentieth Century-Fox, whose board of directors would include two Illuminati kingpins William Randolph Hearst and Malcolm MacIntyre. Joseph Schenck’s brother Nicholas Schenck and Marcus Loew merged Metro Pictures and Goldwyn Pictures and named Louis B. Mayer as its head. Meanwhile over the years, MCA, headed up by Illuminati Kingpin Lew Wasserman gained a monopoly over the American film industry with the secret backroom deals that they made with Ronald Reagan’s Screen Actor’s Guild and Petrillo’s American Fed, of Musicians.

(By the way, Lew Wasserman would try to revive Reagan’s acting career in the early ‘60’s. Frank Sinatra and Walt Disney were both friends of Ronald Reagan, and all three believed in mind-control.) Ronald Reagan and Petrillo in turn worked with the Mafia’s NCS Council of 9 (which incl. Anthony Accardo and Sam Giancana), which at one point divided the U.S. into 24 mob territories. After J. Schenck went to jail (very briefly), he was replaced as Pres. of 20th-Cent. Fox by Spyros Skouras. Before his arrest, while Schenck was still in charge of 20th-Cent. Fox, he made numerous offers to Disney for Disney to incorporate his studio as a subdivision of 20th-Cent. Fox. Disney worked for a few years with them distributing his films, but he would not let go of trying to be independent. The FBI and American Intelligence turned to the mob to help them as the U.S. entered WW II. Perhaps Walt’s mob connection added impetus for his recruitment. Walt went to a number of American Nazi meetings prior to Pearl Harbor. This author believes from knowing Walt’s personality that Walt may have been on assignment, rather than a Nazi sympathizer. Still, why does one of Disney’s pre-Pearl harbor cartoons display a swastika? Disney’s Epcot Resorts is close to the mob’s Atlantic City Board Walk with its nightclubs. The resort was designed by Robert A.M. Stern. (This author doesn’t know about Robert Stern, but there are programmed multiples and Illuminati members within the Stern family.) At Walt Disney World, the nightclub

there was named "Cage", and then later ’8 TRAX". Comedy Warehouse, which is a nightclub at Pleasure Island in Walt Disney World opened on May 1, 1989 and has used slave comedians as well having people who are mind-control abusers. On Feb. 11, 1987, Walt Disney Co. was reincorporated in Delaware. Delaware is the only state that allows total corporate secrecy. No one can find out who really is running a Delaware corporation, and many other secrets can be hidden under Delaware’s corporation laws. Capital Group has considerable shares in Disney, as well as 29% of the shares of the Robert Mondavi winery at 7801 St. Helena Hwy, Oakville, CA. Wellington Group and Mellon bank also have shares. Behind Capital Group are mob controlled groups like Debartolo Reality Corp. and La Quinta Inns (a Bass bro. operation.) Sam Bronfman operates Sterling & Monterey Vineyards. There are countless people walking around that have felt the ruthless, impersonal, controlling, money-grabbing side of the Disney Corp. Also, there are a number of journalists who have experienced first hand the secrecy and paranoia that the Disney corporation has. Most journalists are not used to the secrecy that pervades Disney. Because Disney has shaped the myths of America for several generations, the public takes more concern over who is running Disney, than they would other institutions. Because most of America believe in the image that the Illuminati have built for Disney, they are rooting for it to succeed.

How the Disney Executives have figured out how to steal land all across the U.S.

Over the years Walt Disney has developed several very sneaky reliable techniques to acquire land. They acquire land through their executives and large stockholders and family members of the execs and stockholders. After all the deals are made in an area, and when everything is in place over a period of time, these people then turn their land over to Disney. Disney works with government officials and local bankers to line up special deals so they can succeed in their plans. After everything is lined up, the corporation announces their plans and goes forward. This methodology has been used repeatedly, for instance the American History Theme Park in the Manassas Civil War battlefield area of Virginia for which Disney has acquired 1,800 acres and has access to at least 1,200 more. In Nov. ‘94, after a new Virginia governor was elected, the Virginia "Disney’s America" project was announced, and Virginia voted almost instantly for the money for transportation and infrastructure improvements to the area so that Disney’s theme park would be viable. Disney set up 3 banks in Napa, CA. Their banks made loans to old families in the valley. The trusts and the wills for these families were made up by Stanford Univ. grads. These people set on the boards of these banks or connect with the boards of these banks. They charge large fees, and know every trick in the book to rob people of their estates and their living trusts. The Stanford grads, who connect in with intelligence agencies & the mob use certain code words when they set up their businesses, such as RESOURCE, EVERGREEN and PACIFIC. There are a number of scared landholders who are being intimidated to sell their land in the Napa Valley region.

DISNEY and the GOVERNMENT

Just prior to W.W. II, the FBI recruited Walt Disney. His job was to spy on Hollywood or anything else that looked suspicious. Documents obtained from the Freedom of Information Act, in spite of heavy censoring, clearly show that Walt Disney became a paid Special Correspondent asset of the FBI. He reported to FBI agent E.E. Conroy. In 1954, Walt was promoted to Special Agent in Charge (SAC) which means others reported to him. After "leaving" the CIA, ex-DCI (ex-head) of the CIA William Hedgcock Webster became a lawyer for the Wash. D.C. based firm of Milbank, Tweed, Hadley and McCloy. In 1993, when news broke about Walt Disney’s FBI membership, ex-CIA head Webster worked with the Disney family to cover up to the public that Walt Disney was an FBI agent. Webster went on TV and had interviews to spread the fabrication that Walt was not connected to the FBI. Why?

One of the countless items that Disney was involved in was the investigation into the disappearance/rape of a six-year old child Rose Marie Riddle on 1/12/61. According to documents gotten from the Freedom of Information Act, W.G. Simon was the FBI agent who met with SAC Walt Disney in L.A. about the case. W.G. Simon has been one of those people who has been publicly lying by claiming that Walt Disney never was an FBI agent. The paper trail proves otherwise. Why is it so important to the FBI and CIA to cover up that Walt was an FBI agent? Walt also worked for the CIA, even though documentation of that is not available. This author theorizes that the reason the FBI and CIA are so touchy about letting people know that Walt worked for the government is that the Network knows how the FBI and CIA worked together to procure children for mind-control programming purposes. Because Disney and Disneyland played such as enormous role in Mind-control, Disney’s connection to them, although on the sufface a seemingly minor fact, is in reality a minor fact setting on top of an enormous ghastly secret. When W.W. II started, the government incorporated the Disney studios into the war machine.

The military paid Disney $80,000 for 20 training cartoon, which cost Disney $72,000 to make. Disney studios also made some secret films for the military. Mickey Mouse and Goofy cartoons were slanted to have war themes, for instance, the Goofy cartoon of 1941 "The Art of Self Defense" and "How to be a Sailor" in 1944. Perhaps in honor of the contribution Disney had made to the war effort, "Mickey Mouse" was the password of the Allies for millions of men on the big D-Day invasion on June 6,1944. Walt Disney produced a cartoon showing Donald Duck paying his taxes faithfully. The film was entitled The New Spirit. It was very successful in getting Americans to comply with the IRS. In 1946, Disney made a film for the public schools for sex education entitled The Story of Menstruation.

For the United Nations, Walt Disney created "It’s a Small World" attraction for UNICEF for the ‘64-65 World’s Fair. This attraction was moved to the theme parks & has been a major feature for mind-control. After learning of the enormous amount of mind-control programming going on during after hours in secret tunnels at Disney as well as in the public facilities, it makes more sense why the Russian Premier Nikita Khrushchev would be denied a visit to Disneyland by the U.S. government "due to security considerations" when he was visiting the U.S. in Sept. 1959. Khrushchev obviously had his own security working in tandem with American security and the intelligence people for whatever reason(s) didn’t want the complication of these Russians going to a major programming site.

Some powerful military men have been connected to Disney films. Two former commanding officers of the USS Alabama nuclear sub were technical advisors for the Disney film Crimson Tide. Walt Disney was tied to the U.S. government, and recent disclosures show that he was tied to the FBI. Walt used his FBI connection to destroy the life of Art Babbitt, who had led the strike against Disney in 1940. Babbitt found that everything he attempted in life after the strike was ruined by some hidden power. Was Walt part of naval intelligence attached to the FBI? Was he part of the FBI that is involved with child procurement and mind-control? In the 1950’s the Illuminati began organizing covens on the West coast and began solidifying their power. (This comes from several independent sources.) Likewise, it’s clear that Disney didn’t have the clout in 1953 with local governments, that it does today.

Walt Disney was unsuccessful when he tried to get permission from the city of Los Angeles and the Burbank City Council for the construction of Disneyland (called Disneylandia at that time), in the Burbank area. One Burbank councilman told Walt, "We don’t want the carny atmosphere in Burbank."" Inconsistently, within a few years they gave permission to Universal to build an amusement park in Burbank, which opened in 1964. Disney then ask the Stanford Research Institute to locate a spot for Disneylandia (Disneyland), which they found at Anaheim. In recent years, Disney decided they wanted to build another amusement park (called California Adventure) across from Disneyland. In order to do so, the Interstate highway will have to have changes, and the Anaheim city council needed to approve the large 55 acre expansion.

In contrast to the Burbank City Council in 1953, Anaheim’s City Council was enthusiastic about the expansion in spite of lots of local opposition. The locals complained at council meetings to the City Council that the city had no business going hundreds of millions of dollars into debt to help a corporate giant. (Anaheim will issue $400 million in bonds.) Locals also raised concerns that the public school system in Anaheim is stressed to the breaking point where they are considering going to half days, and that Disney Corporation should give as much consideration for the school children of Anaheim as they do to their Amusement park. Disneyland’s Pres. Paul Pressler bragged about Disney’s new California Adventure amusement park, "Disney’s California Adventure is really a celebration of the fun, the beauty, the people and the accomplishments of this magical state. We really have set out to try to capture a bit of what the California dream is all about." (Sounds like the dream is to be wealthy and control people. The elite would rather give us BREAD & CIRCUS than an education.)

The Dragnet films were done in part at the Disney studios. In an Office Memo from the 66-new LA SAC FBI agent to Hoover (12/16/54), which was obtained via the Freedom of Information Act, the typed memo states, ,,Mr. Disney has volunteered representatives of this office complete access to the facilities of Disneyland for use in connection with official matters..." Historically, we now know that Disney’s use for "official matters" included mind-control.

J. DISNEY & MIND CONTROL

Once the reader is familiar with the programming scripts, the reader merely needs to watch the Disney "Adventures in Wonderland" that come on TV in the morning to see Disney mind-control at work. Within a few minutes one morning, this author had seen a white rabbit create "a world in your mind" (the quote is what the show said!) with a ring, watched Alice go through the mirrors, watched a White Rabbit [the programmer] read a book to a little girl, and the TV listener be told by the show "The White Rabbit is our only hope!" The deeper alters of Illuminati slaves who are programmed for espionage, for spying & blackmail, & seduction & assassination, are given programming to live in a fantasy world. They never touch base with reality. Much of this type of programming has gone on at Disneyland.

Disneyland visitors are taken in a boat where dolls sing an around-the-world theme song "It’s a small small world". These doll world parts of the amusement parks are used for programming assassination & espionage alters. The song & dolls play important roles in these alter’s mind-control programming. Some slaves at around age 19, have this type of programming tested to make sure it is solidly in place. The song ,,It’s a Small World" was composed by the Sherman brothers for Disney originally as a theme song for a ride at the ‘63-’65 NY World’s Fair. The Sherman brothers were talent that Disney discovered. They were born in NYC, and both graduated from Beverly Hills High School. They wrote Disney songs for at least 29 films. Mind-controlled slaves, who repeatedly bump into each other, but don’t know why, will be found saying, "It’s a small, small world." Both rituals & programming go on at Disney amusement parks during both the day & night. Steven Rockefeller and Walt Disney travelled and spent time together with Dr. Hadley Cantril, an establishment expert on human behavior.

(See There Was Once A Time of Islands, Illusions & Rockefellers. NY: Harcourt Brace Jovanovich, 1975.) When Walt Disney began Walt Disney World he sent Card Walker to the Florida capital to request quid pro quo, and the governor gave it to Disney. What that meant is that Disney’s property in Florida was totally controlled under Disney’s jurisdiction, they had their own laws, their own police force, their own hospitals, and their own tax rate. No outside authority would interfere with Disney’s jurisdiction. DisneyWorld’s finances would be untouchable and out of sight by the state of Florida. Never had so much power been given away. DisneyWorld became its own crime syndicate within the syndicate. Disney amusement parks are like a city within a city. They have there own security forces, and the local police allow the Disney security forces to take care of their turf. Disney has their own policies (laws). Some of the security forces can be identified in plain clothes with clean-cut hair styles and have communication devices.

The security forces have a headquarters room where TV monitors display-live the exit points at Disney as well as other locations. America ‘s Most Wanted has a fairly large file on children who have been kidnapped at Disney Amusement Parks. One mother, who got separated from her child when getting off a train, frantically told a guard her child was missing. The guard took her to the monitor room, where they saw the kidnapper carrying the child out of the park with the boy slumped over his shoulder. In that short of a time, the kidnapper had drugged the child, cut his hair different, and put a different shirt on him. (This anecdote was mention in Inside the Mouse, pg. 52) As written before, white slavery is part of what Disney is all about. This mother was one of the fortunate few who did manage to find their kidnapped children. An insider states that the Disney police are definitely part of those moving and abusing innocent children brought in for occult rituals. In addition, the Disney security forces spy on their own employees.

Employees do not enter the theme parks like the visitors, nor do they move around like the visitors. They have underground tunnels and underground entrances and facilities for that. One victim of total mind-control mentioned that a tunnel entrance was at the Matterhorn mountain at Disneyland. (The Matterhorn was opened by Walt and his good-friend Richard Nixon, who rode in the first car down the mountain.) The Disney productions has given the Illuminati the cover to bring together Illusionists, magicians, and special effects artists without anyone being suspicious. Some of these men were able to apply their talents toward programming children. As an example of their talents, Disney special effects artists were able to create 16 realistic-looking cadavers for the 1989 film Gross Anatomy.

Walt Disney, Inc. has teamed up with Los Alamos and Sandia Labs, two other groups which are heavily involved in mind-control and people control to develop body scans, branding and access codes for the visitors to Disney’s theme parks. Each of the Disney Theme parks, such as Disneyland, DisneyWorld, EuroDisney etc. have vast underground facilities. These underground facilities allow many of the workers to get to the ride areas via underground passages. Each theme facility also has a vast infrastructure underground in order to maintain it. The underground areas contain wardrobe design and repair units, fitting rooms, restrooms, cafeterias, security units, computers, freight ramps, utility encasements, and large connecting tunnels. The underground areas also have programming rooms. They have their own power plants and water systems and their own police force. Disney company employs 71,000 people at several locations, tone recent TV show used the figure 40,000 Disney employees.] People are coming and going 24 hours at the Disney theme parks.

Three shifts keep up the 24 hour business. The night crews maintain and repair the parks for the thousands of people that will soon arrive in the morning. Disneyland makes a natural prop for carrying out mind-control. The items they sell are also natural props--such as the Goofy watch ($19.95) which has hands that move backward to confuse a slave as to what time it is. Was Walt Disney aware of how Disneyland was used for programming? There is no doubt. Disney lived much of nights at Disneyland, and had an apartment at the firehouse near the train station on Main St. At night, if he was not doing anything else, he’d roam the grounds of Disneyland scribbling notes on his own distinctive blue paper, which he’d leave for workers to follow the next day. The notes would say such things as "Replace these flowers," or "Move that bench". (Prince of the Magic Kingdom, p. 25)

Walt Disney knew everything that went on in his Magic Kingdom. The Epcot Center and the Disney amusement parks market all kinds of occult triggers, including crystals, rainbows, wizards etc. that reinforce the programming. The Epcot Center has two glass pyramids along with its "Journey into Imagination". Disneyworld has the Island of Atlantis on its sub tour. Fantasyland is one of the most used tours of Disneyland for mind-control purposes. It has carousels, merry music, an incredible castle, boat rides, story book characters etc. Sleeping Beauty Castle with its blue turrets and gold spires is the central visual object of Disneyland. You cross a drawbridge to get into it. Inside Fantasyland are Illuminati programming sites such as the Mad Hatter teacups, the King Arthur carousel horses, and Snow White’s forest.

In the far corner of Disneyland’s New Orlean’s Square is the Haunted Mansion. This mansion is designed to frighten and scare, it has an ingenious design and many special effects and illusions. Realistic ghosts, a screeching raven, howling voices, and other scary things welcome the visitor. Life size holograms are created at the Haunted Mansion, and dance in sync with the music and then fade out at certain points. There is a hologram of a woman’s head in a crystal ball who chatters non-stop. A real good laugh for the programmers of a little child. When you are toward the end, you will have a chance to look into a mirror where a hologram ghost will nestle up beside you.

Star Speeder is another great programming location at Disneyland. It was the creation of George Lucas and the Disney Imagineers. The technology is borrowed from Star Wars, and is similar to flight simulators used by the military to train pilots. Disneyland Hotel offers Character Breakfasts, where children eat breakfast with Disney characters, to people who make special arrangements. U.S. Special Forces, which carries out mind-control, owns two hotels near Disney World, and the Mormons have one also. Knott’s Berry Farm with its Ghost Town, Amusement Park, & its Charlie Brown themes and characters is near Disneyland. One of the Disney executives began one of the most horrible trauma-based mind-control programming centers in Los Angeles called Magic Castle a comedy warehouse.

This trauma center had horrible torture chambers. Children were brought in from South and Central America to be programmed at the Magic Castle. A brave L.A. policeman exposed the place--for which he lost his job, and eventually was able to get the site closed. One of Disney’s recent ventures in their Disney Institute, which Newsweek labeled "the Disneyland of the Mind". (Newsweek, Mar. 4, 1996, p. 61) A private club called Club 33 at Disneyland located upstairs in the New Orleans Square is believed to be involved in mind-control. Cub’s Den supervises children’s activities at the Wilderness Lodge Resort at Walt Disney World.

At Disney-MGM studios the major attraction is the Twilight Zone Tower of Terror. Guests take a strange scary trip through the hotel, where guests are finally sent into an elevator that drops out of control 13 stories. The ride has been advertized on TV. Disneyland now has a Temple to the Forbidden Eye--which is simply a Temple to the All Seeing Eye, the Illuminati symbol. Visitors, who have the patience to wait in line, can strap themselves in for a ride that is like a jack hammer that jars the rider through a temple filled with snakes, rats, and mummies. One aerobics teacher couldn’t walk for three days after the jarring ride, which comes across as ,,hokey". The experience is more traumatizing than fun, but then maybe that is what was intended.

DISNEY VACATIONS FOR THE ELITE

Years ago this author’s newsletters exposed Hilton Head Island, SC as a watering hole of the powerful elite incl. retired generals and admirals, and the site for the elite’s Renaissance Weekend "meat market". Remember, that at one time Hilton Head Island was private, with imported alligators in the water around it. A person was only allowed on the island by going through security gates with a clearance. In a later newsletter, Disney’s Hilton Head Island Resort was mentioned. This resort, built by Disney Vacation Development, Inc., is located on a 15-acre private island linked to Hilton Head island by a narrow bridge. Members to the Disney Vacation Club can exchange time for vacations at Disney and other resorts around the world. Memberships cost minimum $9,412.

MELODYLAND

Right smack across from the entrance to Disneyland is the Assembly of God’s Melodyland Christian Center, the birthplace of TEN (Trinity Broadcasting Network). The Assembly of God denomination has been heavily infiltrated by the Illuminati, and has been heavily used as a front for programmed slaves. Paul Crouch, president of Trinity Broadcasting Systems, Inc., was affiliated with Melodyland in 1973 when TBS was getting started. At that time, Melodyland was a rich heavily infiltrated charismatic church, with its share of programmed multiples. In 1973, closet homosexual minister Jim Bakker, and his wife Tammy Faye, a programmed multiple were with Paul Crouch in Anaheim at Melodyland. Paul Crouch had been the assistant pastor of Bakker’s home church in Muskegon, MI. Crouch’s right hand man was Alexander Valderrama, a charismatic Roman Catholic. TBS used an abandoned military base as their TV complex, using hangers as studios. In the early 70’s, ABC put Bakker & Crouch’s early shows on their affiliate stations on Sunday morning. Bakker had already gotten his career kicked off with Illuminatus Pat Robertson and his 700 Club.

Jim Bakker split and went to the east coast. To help Bakker with his money, Bill Perkins, who had been a financial analyst for the World Order’s mind-control research at Sandia National Labs in Livermore came to help Bakker run his ministry’s finances. Later, televangelist Bakker began building Heritage USA, which was to be a big-money resort. Bakker hired people who had worked for Disney to construct Heritage USA. Bakker studied Disneyland, Disneyworld, and other Disney places as a model for Heritage USA. After Disneyworld opened in Florida, Jim Bakker was a REGULAR visitor to it. Heritage USA’s Ft. Heritage was modelled after Disney’s Ft. Wilderness, Main St. was modelled after the Magic Kingdom’s Main St., and Disney’s wrought-iron fencing was also copied. Most people are aware of Jim Bakker’s $265,000 payoff to Jessica Hahn to keep her sexual services to him a secret, his longtime homosexual relationship with his right hand man David Taggart, and his prison sentence. James Orson (named after Orson Welles) Bakker was from Muskegon, the same place that Cathy O’Brien, a freed Mind-controlled slave came from. He was born pre-mature, and had some interesting family situations that make his family suspect.

While Cathy O’Brien got programmed via the Catholics, Jim was part of another denomination which also was into programming, the charismatic Assemblies of God. His grandfather, who lived next door to Jim, and where Jim spent much childhood time with was popularly known in town as a "huckster", and nicknamed Kingfish after the manipulative character on Amos & Andy. Tammy his wife grew up in International Falls, MN in poverty in the home of her stepfather and mother. Besides having a "shopping demon," she has had her share of phobias and mental problems, as can be expected from someone who has had to suffer through programming. It would be worth pointing out who has come to Jim Bakker’s rescue when he was under attack. For instance, on Thursday, Oct. 4, 1984 when Jim was under attack, Jim Bakker’s show had six people give endorsements and praise of Jim Bakker. Those were Ronald Reagan, Dale Evans, Robert Schuller, Oral Roberts, Billy Graham and Rex Hubbard. Of those, this author knows for sure that all are masons, except for Rex, who may or may not be. Robert Schuller, Billy Graham and Oral Roberts are "Christian ministers" who participate in using and handling mind-control slaves. These three ministers all participate in

secret Satanic rituals. The last few paragraphs have given only a sketchy picture of the intimate relationship between Disney Mind-control and the charismatic movement and its use of trauma-based total mind-control.

DISNEYANA FOR THE PROGRAMMED & OBSESSED.

For people who have been programmed with Disney programming and who are obsessed with Mickey Mouse and everything else about Disney, and for other people who just have the collecting spirit for Disney memorabilia, there is a group called Disneyana. Disneyana, was organized in the 1980’s, and consists of people who are cult-like in their devotion to anything true Disney. Some of them to express their devotion outwardly tatoo their bodies with Disney characters. This group holds their annual convention at the Contemporary Resort in FL. One Disneyana at the annual convention said, "We collect to keep the good feeling inside." Another when interviewed said, "This is why it’s all about love." The author knows as a fact some of the men who are obsessed with Mickey Mouse & Disney items are programmed multiples. One of Kenneth Anger’s occult friends has had the world’s largest Mickey Mouse collection. Who is Kenneth Anger? Kenneth Anger, a member of LaVey’s Magick Circle & later his Church of Satan, is an occultist and an underground film maker.

Kenneth Anger (he choose the last name Anger) was raised on the Wizard of Oz books. His biographer Bill Landis writes that the Oz books "laid the groundwork for Ken’s attraction to Crowley, the occultist who would rework Rosicrucian thought into his own magical system." Ken was obsessed with Crowley’s life & magic. As a child, Ken had danced with Shirley Temple in competition after she became a child star. Ken Anger loved the OTO’s solar phallic religion, and was also obsessed with Mickey Mouse. He spent part of his time studying his friend’s Mickey Mouse collection. Ken Anger did his casting for his film ,,Lucifer Rising" by telling occult friends & acquaintances that they could live out their goddess or god power-trip fantasies by acting for him. The British government’s National Film Finance Corp. fronted 15,000£ for Lucifer Rising’s production. Famous occult musician Jimmy Page did the sound track gratis. Ken Anger acted as the film’s Magus and made his Magus role resemble Mickey Mouse in the film Fantasia. (The role Fantasia plays in mind-control programming will follow as the last part of this chapter.) "Lucifer Rising" also starts with Fantasia-type volcanoes. Another of his well-known films was "Invocation of My Demon Brother."

Mind-control features in Disney movies

The elements within Disney movies that are intentionally put in for mind-control would take volumes to describe. A detailed description of how just one Disney movie is used as a programming script soon follows. Fantasia was selected as the example. A random sampling of features in Disney movies for mind-control programming could include:

• Cogworth the enchanted mantle clock in Beauty and the Beast.

• The character Door Knob, which is a doorknob portrayed as a person in the Disney cartoon Alice In Wonderland, is useful for programming door knob alters.

• The Blue Yonder is a Disney movie on time travel of a young boy. Time travel movies are used for programming to mess up the victim’s sense of time.

• Disney film "Animated Alphabet" has letters which come alive, which is useful for programming. And what about the ‘82 Disney movie "Computers are People, Too!" ?

• All the Illuminati members this author is aware of who have received trauma-based total mind-control were taught to astrally project and study on the astral plane what they needed to learn. A Disney movie that portrays this is Goofy over Dental Health. This is an educational film released by Disney in ‘91 and again in ‘93, where Goofy places a magical toothbrush under a child’s pillow, so that the child astral projects to a dentist office and while on the astral plane studies how to have healthy teeth.

• Illuminati alters believe that trees and flowers are alive. The 1932 Disney film Flowers and Trees is a story about two trees who fall in love. The film portrays the occult belief that trees can talk and sing. Internally, alter systems will be constructed with singing trees and flowers that represent people and which are alters. The singing trees give out internal codes to move alters internally where they need to go. Return to Oz. (1985) This Disney film begins its story line about a girl who is thought to have psychological problems because of her tales of Oz. She is warned not to talk about Oz by her relatives. She is taken to a psychologist who wears a big ruby ring, who tells Dorothy that electroshocks won’t hurt her, and that we are at the "dawn of a New Age." Dorothy is told that her memories are ,,just dreams" that stem from excess electrical current in the brain. She is sent to a mental institution to receive shock treatments for talking about Oz.

A lightening storm allows her to escape the shock treatments and when she sleeps, she awakes in Oz. In Oz she goes through many mind-control scenarios, ruby slippers, mirrors, etc., and toward the end visits with evil Mombi, Princess of Oz who keeps Ozma (Dorothy’s twin) as a slave. Mombi eventually casts a spell and enchants Ozma into a mirror. Sci-Fi author J.D. Vinge in her Return to Oz based on the screen play writes on pg. 211-212, "Dorothy gazed at herself in the mirror, seeing her own reflection, and remembering the moment when she had looked at herself and seen someone else there, someone so like her that it could have been her sister." Parts of this film were filmed near Stonehenge, Eng. Disney has put out several films on the Wizard of Oz theme, all of which were used for programming. The original series of Oz books were by Baum.

In ’39, MGM did the famous Wizard of Oz film. In the Disney movie Tron (1982), a young computer genius goes into an altered state where he ends up becoming a computer program. After defeating the MCP, he returns to the real world. This is simply a programming script. A special effects team created a 3-D world, showing how talented Disney special effects people can be in making something seem real. This movie should show people their mind-control capabilities. Mathematical Applications Group, Inc. (MAGI) were one of the groups that created the graphics. Disney came out with 3 videos of new adventures in Wonderland which are mind-control programming.

In the mornings here 9-9:30, on channel 21, Disney has a Wonderland Show every morning which is mind-control programming for children. Within a few minutes, this author had seen a girl walk through a mirror, the 3 lives of Thomasina mentioned, and a little ditty "I’m a little tea-pot" where a person becomes a tea pot. They also had an "under the umbella" scene. This was all pure programming, right on TV. Of course, they show the White Rabbit as a central figure. ABC under the auspices of Disney produced a lengthy 140 min. film Wild Palms which depicts Illuminati mind-control and life. One reader of Vol. 2 stated that the Wild Palms movie would have made no sense except that having read the Vol. 2 book, the movie made lots of sense in the light of Vol. 2’s revelations. The film depicts how children are kidnapped, switched at birth, programmed via TV cartoons, programmed to kill and use stun guns etc.

The film depicts Illuminati bloodlines and arranged marriages. Although the name ,,Illuminati" is not used, if viewers substitute in the name "the Fathers" for Illuminati fathers, they will get an insider’s view of life at the top. The main controllers are addressed by their slaves as "Papa" or "Daddy" or "Mother". This is true to life. A person opposed to the Fathers states, "One day we will wake up and discover we don’t own this country and no one will care." The movie states that events are not happening randomly. The movie shows an underground tunnel system which has an entrance hidden by a swimming pool. Quite a few actual programming codes were said during the film, for instance, "down, down, down through the pool of tears..." and "we’re going to go down the yellow brick road now." The movie was created by Bruce Wagner, who obviously is an insider concerning trauma-based total mind-control. The fact the movie was made shows the arrogance of the programmers’ beliefs that their criminal acts in programming thousands of little children will not be exposed, and that people will be too stupid to realize that what is put out as fiction is actually mirroring what is happening. It’s like they believe their own script that IF people did find out "no one will care."

Because so much of the Illuminati programming involves the creation and programming of 3 alters linked into trinities, it is not surprising that Disney has helped such triad programming with a series of movies about threesomes, including:

• 3 Blind Mouseketeers

• Three Caballeros

• 3 little pigs

• Three Little Wolves

• 3 Lives of Thomasina

• The Three Musketeers

• 3 Ninjas

• Three Orphan Kittens

For Mickey Mouse programming they came out with Thru the Mirror, where Mickey Mouse steps through his bedroom mirror and ends up in another world (altered state). Not all of the Disney movies that have mind-control programming themes got released to the public. One unreleased cartoon had Penelope fleeing from a sinister looking Grandfather Clock which is carrying her to another world, and has another scene where Penelope tries to hold onto someone who personifies the Wind. George Lucas, who directed the movie Star Wars, which was a movie planned by the Illuminati & used for Illuminati programming, also directed Disney’s movie "Captain EO". Captain EO (who looks like a demonic entity) goes to rescue the Queen (who looks like the harlot describes as Mystery Babylon in the Bible).

The Queen is in captivity simply because she and her people believe in black and white (which represent good and evil). When they renounce such a belief, they are saved by Michael Jackson (in actual life a mind-controlled slave) playing Captain EO. It’s a New Age witchcraft film through & through. By the way, Michael Jackson has gone to Disney amusement parks many times, sometimes in disguise. It is public knowledge that his Jehovah’s Witness family has been very abusive mentally and physically to their children. Disney has put out several movies on how the mind works, such as the educational film The Brain & Nervous System in 1990. Their film Runaway Brain is a cartoon where Dr. Frankenollie transplants Mickey’s brain into a monster’s body & vice-versa. A 1994 film, Puppet Masters shows the govt.’s secret Office of Scientific Intelligence trying to save the U.S. from aliens who live in human bodies. In recent years, Bette Midler has been Disney’s main actress.

In the Vol. 2, it was exposed that she is possibly a Monarch Mind-controlled slave. She is famous for her "mood swings" (switches in personality), and she had a "mental breakdown" in 1985. Her eyes and body gestures are those of a programmed multiple. She has gone out on tour for Disney without making -money, and she is best of friends with Jeffrey Katzenberg (second in command at Disney). Jeffrey Katzenberg by the way is extremely disliked by his counterpart Sid Sheinberg. Bette Midler plays Stella in the movie Stella. Stella is an occult name. In the movie, the script seems tailored for Bette Midler and for someone who is a programmed slave, rather than the actress fitting the role. At the movie’s end, Stella (Bette Midler) attends her own daughter’s marriage by peeking in a window and watching from the outside.

This is the script they give so many of the parts of a slave, so that they feel unworthy and feel like they are always on the outside looking in at life. Many parts (personalities) of slaves find it hard to connect with real life, because they feel they are on the outside looking in. And then in true Disney fashion, Disney had Bette Midler play the role of the lead witch in Hocus Pocus. The movie Hocus Pocus does some hocus pocus of its own. While pretending to make fun of witchcraft, they actually teach witchcraft. They do make the 3 witches look comical. By the way, the 3 witches stand for the maiden, mother, crone combo that the Illuminati reverence. Disney subtly works in deep occult things, such as the all-seeing eye on the cover of the book, the little girl promising the cat (who is a familiar spirit) that her descendants would always care for it (true, because the cat was a generational spirit).

The cat is killed in the movie but can’t die. And Bette Midler as lead witch in her costume, which has some Mother-of-Darkness symbology on it, states as she gets ready to take the life force from an innocent girl, "We want to live forever, so we take children’s lives." This is wholesome entertainment for children? The Disney capacity for deception extends to its own workers. PR men recruit young people for its Disney College program. They tell the young people what a great stepping stone it will be for their careers. They have been known to make it sound like the greatest thing in your life. Kids come from all over the country due to the slick recruiting tactics to work for Disney.

They are then housed in Disney housing, given menial jobs, and paid low wages. Most people in the College Program leave disillusioned. If the worker happens to think of a great idea, Disney officials have been known to steal the idea, and because the worker was working for Disney the worker will find that they are unable to get any credit or money for the idea that Disney steals and makes millions off of. One unaccredited creator of a Disney sale item said, ,, literally, they’re using everybody for everything." (Inside the Mouse, p. 239.)

 >>> Next, will be the script for how the Disney film Fantasia has been used as a standard programming tool since the 1940’s by the Illuminati.

K. DETAILED SCRIPT ON HOW THE DISNEY FILM FANTASIA IS USED FOR PROGRAMMING TRAUMA-BASED

MIND-CONTROLLED SLAVES.

During the 1950’s, ‘60’s, and ‘70’s at least 90% of the Illuminati’s trauma-based mind-controlled slaves were subjected to watching Disney’s Fantasia film in order for them to build the foundational imagery of the mind-control. Child mind-control victims had their eyes taped open, and then sat one-on-one with their primary programmers so that the programmers could give the scripts as the child watched Disney’s Fantasia over and over. What made Fantasia unique as a programming tool is that it had almost everything the programmers needed to create the foundational imagery for their trauma-based mind-control. To build a dependable alter system means that the worlds need a solid foundation. Fantasia has provided the means to get a solid foundation for the internal worlds that the Illuminati slaves build in their mind. It is also a masterpiece in coordinating color and music.

The Disney film Fantasia which premiered on Nov. 13, 1940 (at Broadway Theater in NYC) was a financial disaster as a movie, but was an Illuminati programming masterpiece. The film was released to theaters in ‘40, ‘46, ‘56, ‘63, ‘69, ‘77, ‘82, ‘85, ‘90 in order to catch every generation of children. The video was released in 1991. During programming much of the child slave’s mind will watch the film. One particular part (alter) will be forced to memorize everything in the film. This small part (small alter) is well hidden in each victim’s mind. This small alter, who has a vivid and total recall of the film Fantasia, is locked carefully away so that ONLY an access code will pull him/her up. Watching the videotape Fantasia is not going to pull this alter up. The programmers pull this alter up when they have a clean slate alter. When they are taking a clean slate of the mind, they will pull the clean part up and have the alter who has memorized Fantasia throw its memory onto an internal big screen. The internal Outer space (aka Rubicon) is shaped like an amphitheater, and functions as a big vast screen for replay. There is an internal ball or sun created via the lighting effect of the movie Fantasia, so that the movie appears projected in the mind as on a globe.

And the Fantasia film images hit this internal globe and go circular in the mind and spin through the system. The programmer will then say to the new part "THIS IS WHAT I WANT YOU TO CREATE. THIS IS WHAT WE NEED." In this fashion, Fantasia has provided the programmers with their primary tool for taking a dissociated clean slate part of the mind, and manipulating it to become a new workable part within the system. The young part that holds the entire Fantasia memory is strategically placed in the system so that it can be called up from anyplace in the system. No matter where the programmer is working in the system, he can access this small alter whose function is to remember the movie. Most of the system will go into a trance sleep if shown the movie. The front (as well as most of the system’s alters) will be totally amnesic to having ever seen the movie. Since the programming put in with Fantasia is so fundamental it should come as no surprise that the programmers have done an excellent job in protecting this programming from everyone, including the slave. Abreacting the film for many alters could rip the system apart, because after the film is memorized severe trauma begins to be overlaid and attached to the film. There may be some small alters that still carry tiny bits and pieces of memory of the movie, but only one will really remember it.

The following script will be a running account of how Fantasia has been used as an important preparatory film for Illuminati trauma-based mind-control to train the mind-control victim’s mind to be able to visualize the programming that will be layered in. The time clock will begin when the feature film’s action begins, and then will run its entire 116 minutes. This will give the researcher of mind-control a blow-by-blow description of how a Disney movie is used for programming. The film was often shown to child victims around 3 to 4 years of age with a wide screen while the child was under a guided LSD trip. (Prior to the use of LSD some other drugs were used.) A Grande Dame or Mother-of-Darkness often worked with the Illuminati programmer as an Assistant Programmer.

The scripts & the programming have already been discussed prior to showing the child the film, so the programmers know the direction they want to take the child, & will tailor some of what is said to the child victim to individualize the programming. When a three or four year old is shown Fantasia on a hypnotically-prepared and controlled LSD trip, the colors & effects of Fantasia are increased about 1,000 times. The film is realer than real to the child. The movie will not be shown just once, but over and over so that the scripts are ingrained into the mind. The imagery for the child’s internal world will be well established, because the big screen movie enhanced by both the drugs and the bright colors of the art work will seem more real that life itself. At this time, the child is a multiple, but the walls between the various parts of the mind are not solid, but similar to the walls between ego states in an adult non-multiple. A large part of the 3 or 4 year-old child’s system will be allowed to view the system, including the Christian parts. Then the entire system (with the single exception of the alter carrying the entire memory of the film) will be hypnotically told to forget having seen the film. Years later, the front alters will not remember having seen the movie, but they may have a strange dislike for the film. They may find that they can’t identify where their feelings of dislike of the film stem from. The child victim will watch the movie with its programmer and assistant programmer one-on-one, with no other children in the room. The child will watch the film repeatedly and be grilled about what is in the movie.

The child will see the movie so many times in such a vivid form and will be tested to the point that the movie will be memorized. But it will be hypnotically locked up in the subconscious by the programmers, so that it forms a base for the mind to begin building programming, but will remain hidden from the conscious. At the time the Fantasia film was made, the Illuminati had been creating trained multiples for years, but they knew they wanted to program the different personalities in accordance with the best mind-control techniques of the day. For this reason, the Fantasia film was planned ahead of time, so that it could possibly serve as a programming aid. The film is silent (almost no words) except for music so that it can be used for hypnotic visualization, so that the Mother of Darkness & the programmer can fill in the programming script with the child victim as they watch the movie. As it turned out, their plans were successful. The New Age author David Tame states in his book The Secret Power of Music (Rochester, VT: Destiny Books, 1984, p. 292), that Fantasia is. . . "A superb marriage between the visual and musical arts.

Most of the sequences.. .are what New Age cinema was intended to be!" The power of the movie to influence the mind stands out. In order to make the film, Disney used some strong arm tactics on a few people. The movie was a box office flop when first released in the 1940’s, but then it was made for the occult world anyway. By the 1960’s, the Illuminati had create a drug culture and had lots of undetectable mind-controlled slaves running around that had been programmed with Fantasia. In the 1960’s, Fantasia became a hit with the drug culture which had its share of Illuminati slaves deeply involved in it. One more reminder, the sentences that are "ALL CAPS" in the script are things that the programmers are saying to the child victim as the child watches the film. (Bear in mind, that the child watches the film over & over, so not everything indicated in this script by caps that the programmer says will necessarily be said in one showing.)

• 00 minutes. Curtains open. Action begins with an orchestra. The Conductor upon a step pyramid is the center of the scene, and is shown to be the center of authority. Master Programmer Dr. Joseph Mengele liked Fantasia because he was a musician and a violinist. Mengele (Dr. Green) liked Bach, Beethoven, and Schubert and orchestra music. He enjoyed taking what he liked & using this music to make slaves. He would portray himself during programming as being the conductor, & all the orchestra were his children. The film will allow for a repetition of this theme. 

   

• 00.5 minutes. The instruments begin playing. The musicians are silhouettes which cast shadows upon the wall. Alters will often see themselves in this fashion too, as merely a shadow or merely a silhouette. 

   

• 01.5 minutes. The MC (named Taylor) begins talking. He begins grooming the viewer. He says that the film may suggest to your imagination "geometric figures floating in space." 

   

• 02. minutes. The M.C. says there are 3 kinds of music. He says some music is to create definite stories, some to create definite pictures, and some music exists for its own sake. 

   

• 02.5 minutes. The M.C. introduces us to the "Absolute music." 

   

• 03. minutes. He states that ,,Abstract images that might pass through your mind...music will suggest other things to your imagination..." The Philadelphia Orchestra begins playing "Toccata and Fuge" by Bach in the background. As a cartoon for children (or adults) the film has already lost the normal audience at this point. (There is no way that Disney could have escaped realizing that the film starts out losing the normal audience.) 

   

• 03.5 minutes. The conductor is standing out and everyone else is a silhouette with shadow mirror images (like so many of the alters become). Leopald Stokowski is now standing as the rising sun rises. This is an allusion to sun worship and the sun rising in the east. The music is going up and down, and this music at this point is used to train the child to go up and down the trance ladder (that is to go deeper or lighter in trance). 

   

• 04. minutes. The conductor opens his hands and waves them in an Illuminati hand signal. The music begins. 

   

• 06 minutes. A row of violinists play, they are merely silhouettes with shadows. 

   

• 06.5 minutes. A harp scale is played in the background that is used in the programming. Triggers are attached to this harp scale, or the harp scale is used as a foundation identifier for a piano scale. More children can be taught the piano than the harp, so this scale is usually transferred to a piano scale. 

   

• 07 minutes. A series of 3 musicians is shown. 

   

• 07.5 minutes. The conductor (the programmer) becomes invisible. The Prog. Assistant will ask the child, ,,WHO IS GREEN? GREEN BECOMES INVISIBLE." 

   

• 08 minutes. First lines representing bows are shown (the violinists are invisible), then the Golden Gate Bridge. "REMEMBER THE BOW, NOT THE VIOLINIST." The bow lines flashing on the screen represent energy. 08.5 minutes. Colored disks are flashed onto the screen. The lights are represented to the child victim ‘THAT’S DR. GREEN’S ORCHESTRA." Geometric shapes and flashes of lines explode onto the screen. Concentric rings that will pattern the concentric worlds appear. (See Vol. 2 p. 196 for an illustration of this.) 

   

• 10. minutes. Asst. Prog. will say, ,,YOU ARE HIS STAR." as stars flash on the screen. Many hidden alters (parts) are stars. Swirling lines arrive, and then colors and then more concentric lines. 

   

• 11 minutes. Worlds within worlds are shown. Water is shown. Concentric circles that are the pattern for the worlds are presented. A varying number (5 or 7) of Castle-like structures materialize and then disappear. (These will form the pattern for some of the internal castles.) A quick flowing yellow line comes down the center of the screen, ‘THAT’S THE YELLOW BRICK ROAD." 

   

• 11.5 min. Lots of stars emerge. 

   

• 12 minutes. Various worlds are shown, and an illusionary castle. Lots of stars are shown, which will be how the victim will model many of their alter parts after. Lots of purple stars appear, representing royal star alters. 

   

• 12.5 minutes. Spiral splotches of cloud-like colors appear and disappear in dissociative colors. This is the Kingdom of the Gods during programming. The Asst. Programmer takes the opportunity to ask, "WHOSE ORCHESTRA?" This scene is used for the internal heaven where the kings are. Then the camera shows the conductor finishing. 

   

• 13 minutes. The programmer has finished building his basic worlds. 

   

• 13.5 minutes. The MC talks about Tchaikovsky’s Nutcracker. 

   

• 14 minutes. 13 circling lights come into view circling around and around. (The 13 lights are something like 4 yellow lights, 3 white lights, 4 orange, 2 blue-something like this. They don’t have to be all the different programming colors at this point, because that programming will come in its own time.) Stars turn into fairies. A fairy with lots of fairy dust whirls around. ("Make a wish" the slave will be told later on, create what you want.) Flowers grow into butterflies. Hypnotic music plays as the fairy throws fairy dust. Soon, the Fairy spins a web. 

   

• 15 minutes. The cabalistic tree of life is made with lights, and then the many colors of the ribbons are flashed up on the screen quickly. A compass image is very quickly flashed on the screen. 

   

• 16 minutes. Lights multiply on the screen, and a spider web appears in the background. There are lots of stars which shine as lights in a spider web. (Stars will serve as alters in programming, the spider web serves as a system within the system, see Vol. 2.) There are several shots of multitudes of stars on a spider web. 16.5 minutes. There is an explosion of light which has a splintering effect (which will fit in well with an electroshock later on to create alters.) Around and around go 6 big mushrooms dancing, with a little one trying to participate. The programmer will point out that the mushrooms are "A FAMILY". When the splintering effect is done with real electricity in the future, the mind will splinter into a family. 

   

• 17.6 minutes. Concentric circles appear in water. Flashing pedals emerge as if they were dissociation spreading through the water. The flowers are the top spinners (see the pages in Deeper Insights on spin tortures to create spinner families), they dance, & then they float away in the bubbles (of dissociation). "A FAMILY OF SPINNERS" the programmer will say. "SEE THEY SPIN YOU INTO BUBBLES INTO NOTHINGNESS." There is lots of dancing shown by the spinners. Everyone is dancing to the top. The child victim’s head will be wobbling back and forth from the influence of the drugs and dissociation at this point. 

   

• 19.5 minutes. When the family of fish make a star, the Asst. Programmer says, "SEE HOW SAD THEY ARE." The fish dance in circles and they also hide behind veils. "THE FISH MADE ITS OWN BUBBLES AND YOU CAN MAKE YOUR OWN BUBBLES TOO." 

   

• 21.5 min. The child is trained to trance at the hypnotic 8’s that appear in the water. This type of scene will put the deeper alters to sleep of a slave still actively being used. The movie here is being used to teach symbols, which will be important in the programming. Asst. Programmer, "LOOK YOU’RE JUST FLOATING.. ..FLOAT, FLOAT, FLOAT, SLEEP...SEE SHE WENT RIGHT INTO THE CENTER OF THE TRANCE STATE.. .YOU DANCE ROUND AND ROUND AND ROUND AND WHERE WE END UP YOU’LL NEVER KNOW."

   

• 22 minutes. Lots of bubbles begin appearing. They will be used in the programming to assist the child to protect its mind from the traumas. The asst. programmer may have a bubble toy to make bubbles in her hand as a game to play with the child. The child will be trained and programmed to put its memories into bubbles and let them disappear. ,,WHY WOULD YOU WANT TO GO INTO THE BUBBLE TO GET AWAY FROM THE DARKNESS? 1,2,3...NOW THERE ARE MANY BUBBLES, THIS IS WHAT WE WANT YOU TO DO." At this point the film is showing different colors of bubbles, for instance gold bubbles. This trains the child’s mind to identify different colors of bubbles. The bubble-fish-flower scene is going on. ,,DON’T YOU FEEL LIKE THAT FISH, ROUND AND ROUND YOU GO" (dissociation encouraged). The fish continues going in a dissociative spin. The fish swim in graceful perfect figure 8’s which have a subconscious hypnotic induction message to the victim. "SLEEPY LITTLE FISH" is said when the music gets hypnotic. "YOU’RE SLEEPY & YOU’RE TIRED, THIS IS NOTHING BUT A DREAM." "ALL THE DIAMONDS ARE ALL AROUND, NOT YOU" In other words, this is teaching the child that their entire internal world can be around them, but "you don’t know that it’s you." The child begins to lose the ability to realize that other parts of itself belong to itself, they are only stars, etc. The fish changes into another character. flowers are appearing in different colors of the color coding, red, green, orange, blue, white. . .All of a sudden it get’s still. "SHH, LISTEN CLOSELY." 

   

• 22.5 minutes. Eyes shine in the darkness. "EVERYTHING IS FINE, YOU JUST RELAX." Silhouettes appear, which represent fish (alters, and people) who are there but you don’t see them, they are behind the veil like the silhouettes. ‘THEY AREN’T THERE, IF YOU SEE THEM THEY AREN’T REAL THEY LOOK LIKE A FLOWER, WHEN YOU SEE THEM, YOU WON’T SEE A CHILD- YOU WILL SEE A FLOWER." The silhouette veil gives the sense to the child that he can sense something but it’s not there.

   

• 23 min. Different plants appear and dance. (This part of movie is very important in structuring.) The plants separate into many plants and flowers, and they multiply on the screen, but at the end they solidity into a solid plant. This is teaching the ,,you-are-one-but-you-are-many" concept. "FAMILIES ALWAYS WORK TOGETHER. WHETHER YOU ARE BLUE OR YELLOW OR GREEN, FAMILIES ALWAYS WORK TOGETHER IN HARMONY."

   

• 24 minutes. "BUBBLES ALL HAVE A LIFE SOURCE...THERE, LOOK, WHAT’S IN THAT BUBBLE?" 24.5 minutes. ,,YOU CAN HAVE YOUR OWN ORCHESTRA". Fruit that hangs on the tree is shown, which will be the basis for how they hang the programs (the fruit) in the internal world. Note the colors, orange, white, yellow, purple, blue, green,...

   

• 24.5 minutes. Fairyland appears on the screen. The Fairies awake and fly through leaves. ‘THERE’S YOUR FAIRIES. SHE IS VERY MAGICAL. SHE CAN CREATE ANYTHING AND SO CAN YOU." "THE FAIRIES ARE SO MAGICAL."

 

Disney often portrays Mickey Mouse as a Sorcerer.

• When the core is being first split, the parts of the mind that are creative are taken and used to create the fairies. The programmers will only take these original creative splits, they will not try to get fairies from any more torture. The fairies are the creative parts of the child, how ever many creative parts that the child has splintered will be the number of fairies created. These parts of the mind receive very heavy programming. They are core splits. (If readers remember on page 87 of Vol. 2, it refers to a Core Protector coded "Creation". That alter was a fairy, a core split. Not only does this creative part make things "magically" for the system, it protects the core. Does that help people to understand how the Core can be so creatively protected?! (For more understanding about the Core see Cisco’s very deep article on the Core.) Fairies are assigned to every part of an alter system. The child of 3 or 4, who watches Fantasia has had their core locked away at 2 1/2. The core’s stars have not been locked away yet, & have access to her energy. When the system is built, the stars are locked away & become the core’s guardians. They will act like the core to protect her. The real value of the fairies comes when the core’s stars are locked away & the Programmers have to depend upon the creative power of the fairies. 

   

• 24 minutes. A vine (which represents a system’s double helix) lights up one leaf after another. The leaves are staggered (alternated) and they light up in sequence, which teaches the child the foundation of how they will create the DNA helix and its staggered exit permissions.

   

• 25.5 min. The leaves are now floating up and down, like the alters will learn to do. "SOME FALL TO THE GROUND AND DIE." This is the point where the story of the Oak Tree will be added in for programming. When the Illuminati programmers want "to destroy" an alter they can use the chandelier-MT 6:22-23 torture mentioned on page 310 of the Vol. 2 Formula book, and then have the splintered alters become leaves that fall to the ground and die. After this, these disobedient and now "dead" alters can be taken & be dissociated from their memories. The memories are locked up someplace permanent within the mind.

   

• 26. min. Out of a leaf like "box" come a series of fairies. The child is taught to put things (such as alters) in boxes of various shapes.

   

• 26.5 min. Leaves blow in the wind. Fairies cover things and keep them safe.

   

• 27. min. Fairies continue flying around. The seasons are passing in sequence. An internal green-skirted fairy will be connected to the internal hourglass during the programming.

   

• 27.5 min. The fairies quit flying and skate on ice. The season has turned to winter.

   

• 28 min. A winter scene. The four seasons have come to an end.

   

• 28.5 min. A sorcerer is introduced by the MC (emcee). The sorcerer is shown and then his assistant or trainee who is Mickey Mouse. Mickey Mouse wants to be creative and magical like the great wizard. Mickey Mouse sees the power that the sorcerer has, and wants that power. What is really being subtly portrayed here is the programmer (the wizard) and the core & the core’s creative splits (Mickey Mouse). Showing the programmer as a great wizard is actually right on the money. The top programmers are all Grand Masters in the Illuminati and are very much into witchcraft.

   

• 29 min. The sorcerer (wizard) is shown again. This time the wizard,, with his skull beside him, creates from his witch’s cauldron a big colorful butterfly which is forever changing. (Is this big yellow, purple, white, and blue butterfly meant to be a Monarch butterfly? The programmers will use it that way for this Monarch programming.) The great wizard magically creates the big colorful butterfly and then he shatters it into countless splinters!

   

• 30 min. Mickey sneaks around and grabs the magic hat. (The magic hat is one of the few things in the film that doesn’t mean anything for the programming. It merely has witchcraft symbols.) Then a magic broom appears.

   

• 30.5 min. The broomstick comes alive. The broomstick imagery will be used to help create the pancake people (ribbon alters who will haul the internal computer messages). The broomstick person in the film hauls buckets of water. The child is having story after story layered in over a period of time, which are being skillfully constructed toward a programming end. Parts of the child’s mind that see the movie Fantasia will be dissociated clean slates. They will need to have some imagery given to them so that they have something to build mentally upon. In Cisco’s section of the book, in the Truth article it is discussed how the mind looks at sensory inputs and tries to make sense of a pattern by comparing it to previous patterns that it has identified. Learning is a step-by-step building process, and so is programming.

• 31. min. Mickey as the apprentice sorcerer (in a sense the victim who the programmer is training) manipulates the broomstick person. "THE CHILD (Mickey) CAN DO WHAT THE GREAT MAGICIAN DID. YOU CAN TELL YOUR MIND WHAT TO DO. YOU GET POWER BY LEARNING TO BE CREATIVE." Mickey (and the victim) become mirror images of the Wizard over them.

   

• 32 min. Then the sorcerer sits on his throne, and while on the throne acts like the conductor. Here is a subtle mental tie-in that Mickey is playing the role of programmer (conductor) and is sitting on an Illuminati throne (like so many of the Illuminati Grand Master programmers have actually done.) Michael Aquino is just one of several mind-control programmers who have gone by the name of Mickey. Because Mickey Mouse is substituted for being the programmer at different points in programming, this scene will tie in well with other standard programming sessions.

   

• 32.5 min. Mickey in the film clearly is shown leaving his physical body and astrally projecting himself. This is such a vivid portrayal of occult astral projection, that it is mind-boggling that many Christians consider Walt Disney movies to be christian. (See Vol. 2, p. 319, for a discussion of the scientific methods to understand and induce astral projection.) This again is laying the mental foundation for the child to leave its body mentally and either hover over its body in dissociation or to travel somewhere via astral projection. Mickey Mouse then begins conducting lights. These lights represent the alters that the victim will make for the conductor. The lights (aka stars) are the conductor’s orchestra. Lightning (such as flashes that come from electroshock) and stormy weather are being controlled by Mickey. Notice that the things Mickey is controlling are fear-based. After the child has viewed the film many times and memorized it, when the electro-shock is applied during this time of the film, the child will control it like Mickey by ‘magically’ creating splits.

   

• 33.5 min. Mickey begins conducting waves. Then, for those who understand the veiled scenes, Mickey begins going through the different magic spheres conquering the different spirits. This is Enochian Magic. 34 min. Mickey wakes up back in his body, and he is in trouble with rising water i.e. a water trauma. Mickey is thrown into the water. The child victim will identify this with the drowning tortures that are given to instill "no talk-no tell" messages. After Mickey (or in child himself) has done something, and returns to his body, then the "‘no-talk"’ message will kick in. Victims of mind-control often get the feeling of drowning when they trigger a no-talk message.

   

• 34.5 min. More water continues to flow.

   

• 35 min. All of a sudden without any continuity of action, Mickey gets an ax and kills the broom by splitting it. The broom dies and then multiplies when it comes back to life. This is such a clear picture of what the programmers want the child’s mind to do. They will traumatize the child essentially unto death, and then they want the tortured alter to multiply itself into many more duplicate alters. Armies of brooms are formed from the broom. This scene here is a clear red flag that the Illuminati asked Walt Disney to produce this film. This scene with the trauma death of the broom, with it splitting in half, and then coming back to life in a multiplied form, is evidence that this film was meant to be used for training children in multiplicity. The assistant programmer will say "IT’S O.K. TO SPLINTER." "YOU ARE TIRED, YOU CAN ESCAPE THAT BY RESTING AND LET A PART OF YOURSELF COME OUT." At this point, it is necessary to explain what is going to be done when they begin to splinter the child’s mind. After the splitting trauma, the programmer needs to be able to see what the child has created, so he wants the child to look at what’s been made. "‘CAN YOU LOOK AT WHAT YOU’VE CREATED?" However, the part of the child that looks back at the trauma will then see that the dissociated trauma was real and that will make the child angry. The programmers want the child to dissociate what he built, and when the child looks back at what he has created he goes into a vortex of dissociation. The child is told if he ever looks back at the memory he will go into the vortex.

   

• 35.5 min. Water is being thrown in by the brooms, while Mickey throws water out.

   

• 36 min. All of a sudden a hypnotic vortex sucks things in during the film.

   

• 36.5 min. The brooms all march in an army, while Mickey reads his magic book. Mickey then uses his magic book as a lifeboat when he gets whirled into a vortex. A vortex is often created from that part of the mind that is holding the high energy that accumulates in the mind just before the mind splits. It holds the highest energy of the mind. One way a vortex is created is to place the child on a traumatic Disney ride--like a rollar coaster. Special electrical boxes or electrical shoes are outfitted onto the child so that during the ride, at a particular timed moment when fear is increasing, that fear has pain of the electrical shock added to it. A cattle prod of course would be too dangerous to take up on some type of ride like that with all the motion. Also bear in mind, a small child doesn't take need the electrical power that an adult needs to take it down.

   

• 37 min. At the bottom of vortices in the Illuminati programming, the programmers place Guardian demons. In Fantasia, when Mickey gets to the bottom of the vortex, sure enough, there is a Guardian there to meet him. The Guardian spirit parts the water as if he were Moses with the Red Sea.

   

• 38. min. The Conductor and Mickey Mouse shake hands. The conductor does something very significant. Mickey congratulates the conductor and then the conductor (programmer) in turn says, "Mickey, you’ve done a good job." (Yes, the core/core splits have done a good job at this point, they have just created their inner world!) The MC tells us about the next song the occult Rite of Spring. Spring rituals are creation rituals and so this music is ritually connected to what the programmers are going to do in this segment. The MC states that instead of the viewer seeing tribal dances (which are by the way witchcraft dances), that instead Disney has decided to show us scenes of what went on billions of years ago. (This next part is also a subtle push for Darwin’s theory of evolution. But because it is child’s entertainment, people don’t have their guard up. The theory of evolution is important, because it allows people including the victim to not take moral responsibility for their actions, and it is also the basis of some of the Hinduism and witchcraft teachings that will be given the deeper alters. This is a backdoor approach to destroy godliness that is carried out on children in general.)

   

• 39.5 min. The MC says, "Imagine a lonely tormented little planet spinning in a sea of nothingness." This is exactly what the programmer will say to the child as they work together at building an internal world. The "sea of nothingness" is what the reader will see described in our books as "Outer Space" or "the Rubicon." Also that "sea of nothingness" is used much later to reinforce the secrecy of the programmers. Much later as the programmer and torture has progressed the programmers will say to alters, "LOOK DOWN ON THE EMPTY SEA OF NOTHINGNESS. THERE IS NO DR. GREEN. THERE IS NO DADDY THERE."

   

• 40 minutes. A swirl of stars in a galaxy appears. Swirls of comet-like lights flash by. "MANY WORLDS THERE." This will set the base for the child to build galaxies and worlds within their mind. "BE LIKE GOD, CREATE YOUR WORLD. BE YOUR OWN GOD AND CREATE YOUR OWN WORLD" the child is told at this point.

   

• 42 minutes. The face of the planet emerges.

   

• 42.5 min. Lots of volcanoes erupt on the screen, setting the foundation to build realistic internal volcanoes.

   

• 45 min. Oceans, and water and fire are coming into being. The child victim needs to know how a world is created in order to create their own internal world. Lava begins flowing as the flute plays the background music. Lightening flashes. The violence of the fierce weather portrayed will be enhanced by the child on drugs to a thousand times its magnitude. This is important because it will take a great deal of mental energy and external torture to create the internal worlds. Having such super-vivid pictures will help when the victim goes to build their internal worlds. There will be special purpose fragments that will be made into the elements of fire and water. That’s all these special purpose fragments will know. Breaking through the layers in the alter systems will trigger internal earthquakes. This and a later earthquake scene are used to build the foundation for the internal violent weather. If an internal earthquake shakes a slave’s mind, it has the same effect as if a real earthquake were going off. Everything internally shakes and shifts. An alter system will also have fire children, who start internal fires, and will give internal alters the abreaction or sense that they are burning. The mind gets very survival minded when it thinks it is burning, and goes right back into the programming that is linked with the victim’s compliance for survival during programming. 46 minutes. The oceans continue to form.

   

• 47 min. A calm occurs in the action.

   

• 47.5 min. The screen gets dark except for an amoeba, which becomes two amoebas. As the little amoebas multiply, the asst. programmer encourages the child, "IT’S O.K. TO MULTIPLY. GOD WANTED YOU TO MULTIPLY" Remember, the programmers are working with a pre-schooler with clean slate alters. The programmers must show images that the child can relate to. The concept of the broom being split in half and then multiplying and now the concept of the amoebas splitting are portrayed in a way that the child’s mind can grasp the concept.

   

• 48.5 min. "IF GOD CAN MAKE A FISH, YOU CAN MAKE A FISH. YOU CAN DO ANYTHING, YOU CAN BE ANYTHING."

   

• 49 minutes. Dinosaurs appear. The programmers will reframe the concept of dinosaurs into monsters and demons. The sea-going dinosaurs will be refrained as guardian demons which guard the internal rivers. These guardian demons tie in with Armageddon end-time programming. They also guard the various worlds.

   

• 50 min. Dinosaur-birds swoop down and grab prey. This imagery will be refrained to lay the basis for the winged-monkey watchers of the Oz stories. The winged-monkey watchers are the child alters who are assigned to watch and guard the system.

   

• 51.5 min. Fierce dinosaurs (later ref rained as Dragons) protect the swamps. Swamps are built into the internal worlds, so this is very helpful. Demons and alters like Dameon are set up as guards.

   

• 52 minutes- More swamps appear. The swamp scenes will form the base in the child’s mind for the internal river Styx. (See more about this in this book’s article "Programming, foundations, destruction of"). Some dinosaurs that have long necks that look like snakes begin appearing. The asst. programmer will reframe these to the child, "LOOK, THE SEED OF SATAN." "THAT IS A DEMON." While the child watches, they reframe the hugh dinosaurs as being demons. Pictures of reptilian looking demons will be shown to the child too. At that age, the child is not going to see the difference. (A note for therapists: Some ""demons’" may actually be important parts to an alter system, and are being used to protect unauthorized users from entering important areas of the system.)

   

• 54 min.- Fierce Tyrannosaurus Rex chases dinosaurs. This chase scene is especially frightening to a young child on a LSD trip. Long-necked snake-like dinosaurs appear. They may be refrained as a python snake. T Rex is also known as Leviathan, a demon that inhabits the kundalini spinal column and causes pain in the victim, he is written about on page 302 in our Vol. 2 book. In the film a long fierce struggle between T Rex and other dinosaurs ensues.

   

• 55 min. The dinosaurs begin dying and soon dies. ,,THE LORD DOESN’T LIKE THEM."’ This will later be refrained that if parts integrate they are to die. If someone tries to get into the system, the alters are to bury themselves deep like these dinosaurs do on the film.

   

• 56 min. Dead bones appear

   

• 59 min. Mountains soar out of the ground into eminence.

   

• 59.5 min. It gets stormy on the screen, winds & floods appear.

   

• 60. min. Stillness comes as the sun rises.

   

• 61 min. The sun sets. (During the programming, this may be refrained as the moon setting. It can be both or either or. Remember, the programmer is working with the child’s creativity.) Various scenes during the film show the moon in different phases which is important for bringing in programming concepts like Mr. Moon.

   

• 61.3 min. The orchestra is now playing. Music is an important part of mind-control programming. The affect of music on the mind and body has been studied. Music can double the heart beat, accelerate the respiratory rate, make that rate irregular, enhance perception, lower the threshold for various sensory stimuli, change blood pressure & circulation, and alter the muscles in the body. Dance music and "march" music done by orchestras change muscle response. Music is also a great way to cause dissociation.

   

• 62.5 min. The MC introduces the "‘Sound Track’ who he says is an important person for Fantasia who can be seen around the Disney studio. When Mr. Sound Track appears, he is simply a vertical line. The MC says he is "an important screen personality." The ground work is being laid for a person being anything, even a line. The MC states that each sound creates a picture.

   

• 63 minutes. The MC encourages the personified Sound Track ""don’t be nervous."" Then a sound is made like an electrical shock and the line develops a splotch of color in it. During the programming at this point an electrical shock would be applied to the child.

   

• 63.5 minutes. The harp is ask to sound. The harp begins playing a scale and the line becomes double 8’s and snake-like spirals. The child will be taught to dissociate when seeing such double 8’s.

   

• 64 min. The violin begins going up and down. Each of these instruments is going up and down the scale, like do-ray-me-fa-so-la-tee-do. The music is used to teach the alters to go up and down the helix, which is figured in this part of the film. As the music goes down, an alter is taught to go down in trance, and as it climbs higher, the alter will trance higher. All these instruments (violin, flute, bass, bassoon) are being used to teach alters how to work in the system. The MC describes the flute as "very pretty".

   

• 64.3 min. A trumpet begins playing and the colors, yellow, orange, etc. begin showing.

   

• 64.5 min. When the bassoon plays, the MC says, "Go on. Drop the other shoe"-- "Go to the shoe" which translates "‘go to the ground"" --the deepest trance level. The following is the double-pyramid, with a helix up the middle that appears when the bassoon plays: -(This configuration is very important to all these Illuminati alters systems.)-

• 65 min. The drum plays and some other percussion instruments play. These are taught to the child as the cult’s "HEARTBEAT". They will hear this sound internally for many years to come. Then some sounds that have a shattering effect (cymbals) like broken mirrors are made in the film.

   

• 65.5 min. As the sounds take place a line is made with a pyramid at the top. This is laying the groundwork for the system’s structuring.

   

• 66 min. The MC laughs and talks about Beethoven’s Pastoral Symphony (Beethoven’s 6th) which is next.

   

• 66.5 minutes. The screen comes alive with magical Unicorns of different colors. Then Pan (a satan-like figure) appears playing his pipes, and soon lots of little Pans (little demons) are playing their pipes. The little Pans (demons) play and dance with the unicorns. The orchestra plays again. (This author, Fritz, remembers when I said that Pan was an evil demon, I was rebuked by a Christian minister. He then said Pan a benevolent cheery creature". A number of books which may be obtained from Satanic bookstores document that Pan is indeed considered a powerful demon by occultists.)

   

• 67 min. Pegasus (the mythical greek winged horse) flies in. As a Mother horse she takes care of little ones on the screen. She is a protector in the programming.

   

• 68 min. "FANTASY IS FUN. FANTASY IS A GAME YOU PLAY. MOTHER TEACHES YOU. SEE HOW MOTHER IS A TEACHER. SEE THE BLACK AND WHITE HORSE. THEY ALWAYS FLY TOGETHER, BUT ARE SEPARATE. THEY ARE FLYING OVER THE CLOUDS." "OVER THE CLOUDS, INTO THE BLUE YONDER." The child is rewarded for what it has to do with the game of fantasy. "THAT’S YOUR REWARD FOR DOING WHAT YOU ARE TO DO. YOU CAN LEARN TO FLY OVER THE CLOUDS." The child feels rewarded by the game of fantasy. The fantasy scenes in Walt Disney’s Fantasia are like the Wizard of Oz scenes in Oz, fantasy-land is more colorful and fun than real life. Vivid colors will be splashed about during the fantasy-land scenes.

   

• 68.5 min. A castle appears as Pegasus flies around. This and other castle scenes will help the child develop the imagery for the spiritual castles that the child will build internally. Then they swim in the water. "SEE THE MIRROR IMAGES, WATER CAN BE GLASS." During the programming mirrors are put into the internal system. A mirror can be a piece of glass, the surface of a pond, or an asphalt runway. When the programming is complete, underneath the water &/or the runway lurk demons.

   

• 70 min. Waterfalls emerge and issue forth. The waterfalls are used by the programmers to erase all the slave’s memory of what was done to them. The child will be told at the end of watching Fantasia (and this will be said at other programming events too), "JUST REMEMBER THE GOOD, JUST REMEMBER THE FANTASY". The fantasy is given so that the subconscious can rest in peace after the programming. The child is told "WASH YOURSELF CLEAN."

   

• 70.5 min. The little girls appear as girl centaurs (half girl-half horse). "SEE THE LITTLE GIRLS ARE HORSES."

   

• 71 minutes. Then a scene appears where one girl centaur braids another girl centaur’s long hair. The Illuminati teach their slaves to braid their memories. They braid their memories up and then lock them in. All the Daddy memories will be locked up & braided and then locked for good.

   

• 72 min. Male centaurs appear. They are near water and make mirror images in the water.

   

• 72.5 min. A crown is placed on a female centaur and 2 doves. During the Illuminati death, burial and resurrection ceremonies lilies are used for crowns, and doves are used. These are significant programming/ritual symbols. The female centaurs look at the male centaurs. This will be refrained as a system can have both male and female parts.

   

• 73 min. Starting with one female centaur, the females act seductive to the males, who then respond. For bras the females have bras of daisies. The Vol. 2 book explained how the daisy programming is a life-or-death type program. Vivid colors are used for each centaur. For instance, one may be purple and another one another color, which sets the groundwork for alters to have different access color codes. Alters do not usually see themselves as being in different colors, although it does happen on occasion.

   

• 73.8 min. A marriage takes place between the centaurs. The programmers catch these nuances of the film and use them. The marriage here teaches the child to be acquainted with the arm-and-arm marriage ceremonies. Remember, the programmers are dealing with clean slates that must be taught from the ground up. In the next few minutes, the cherub children will watch sexual body language, and the child victim is also picking up on enticing sexual body motions.

   

• 74.2 min. The centaurs go swimming. "I FEEL LIKE A LITTLE GIRL WITH A HORSE’S BODY."

   

• 75 min. Little cherubs are dancing and flying around. When pictured the artists at times single out 3 cherubs who blow flutes together. The female centaur appears, who is fair haired (blond) and blue-eyed, which is what the Illuminati like. When she hears the tone (of the flutes) she goes into a trance state and walks with her eyes closed. This imagery is used to teach alters that when they hear certain tones, they are to go into a trance state and do certain things. The little cherub turns into a heart, and when no one is watching goes into the tree. In programming, this part is the Keeper of the Tree. Notice how everything is veiled. The assistant programmer will point the cherub out to the child victim, "LOOK AT WHAT HE DID."

   

• 76.5 min. A curtain then shrouds the scene. The curtain appears to be tree-like. More bubbles appear, and more water. All the mythical creatures on the screen begin to dance and be merry and have a feast.

   

• 77 min. "SEE THE FEASTS, SEE THE BANQUETS, THE FEASTS ARE O.K. THE BANQUETS ARE O.K."

   

• 78 min. "THE LEAVES ARE FALLING." Blood-like wine is drank at the feast. "SEE THE BLOOD." "SEE THE LITTLE DEVILS POP UP." The only human in this Disney scene is honored. This is done to teach the alters that humans and animals can mix. That they can be accepted for what they are, even if they think they are an animal or something else they will be accepted at the cult’s feasts. These scenes are all for internal programming. By the way, one of the pretty female centaurs makes a sexual pass at the fat human, who then chases her. "MUST PLEASE THE MASTER."

   

• 80 min. A scary storm comes up, and Zeus, and the greek gods appear. ,,BETTER FEAR IT. HE’S A GOD YOU’D BETTER FEAR HIM. HE THROWS LIGHTNING." This demon who throws lightening is named Furfur. He also makes thunder & strong winds in the system (alter system’s worlds). Readers can learn more about this demon, named Furfur, in Cisco’s second part of Deeper Insights in the article on "Programming, foundations, destruction of".

   

• 81 minutes. Lightening bolts are thrown from heaven.

   

• 81.5 min. All the little cherubs run for cover in fear.

   

• 82 min. Pegasus the protector flies in to protect everyone, especially a new born Pegasus. The wind is personified as a two-headed blowing person. This two-headed Janus wind comes storming through the heavens. The programmer will often place his own voice "IN THE WIND." The greek god (internal demon) throws a lightening bolt.

   

• 83 min. "SEE THE GODS". The child is learning what to make internally. Zeus then relaxes & goes to sleep.

   

• 84 min. More vivid colors form. "FAMILIARIZE YOURSELF WITH ALL THE COLORS." The film at this point is teaching the child to stay in the framework of the programming for safety. To go outside of the programming is terror. The child is learning to fear the godlike demonic guardians.

   

• 84.5 min. The fantasy world is coming alive. It is a happy fantasy world. A goddess in the sky makes a rainbow emerge. This is the rainbow goddess of the programming.

   

• 85 min. All the happy unicorns and cherubs fly ‘"over the rainbow." (Refer back to the Vol. 2 book p.94 to understand the significance of going over the rainbow.) The unicorn is derived from old British paganism where the lion represented sun worship, and the unicorn represented moon worship. This is why the Royal Arms of the British Royal Family have a unicorn on one side, & a lion on the other. Sexually the unicorn represents androgeny. During programming, the horses, pegasi, unicorns and centaurs shown in the Fantasia movie become the foundation upon which the Illuminati programmers build the Night Mare alters who are beasts of burden who carry an alter system’s memories. These are logical no-emotion alters who are early splits & who are programmed after the child is verbal. See Cisco’s article on Dream Work for more understanding about the horse alters, as well as chapter 7 on Structuring.

   

• 86 minutes. More rainbows and lots of bubbles come into view. The film has done an excellent lob of showing how the Furfur God of thunder protects the Rainbow. Once an alter has gone over the rainbow, they can not come back because a demon protects the Rainbow. The rainbow is also protected by alters who fear the gods. After seeing Fantasia, the therapist can understand why the little child protector alters have fear about these gods. The master (who represents Furfur) in the movie swallows the rainbow. If an alter looks internally for the rainbow, he or she will only find stars, because the protector will come up and say, "I swallowed the rainbow." The rainbow is kept well hidden internally. This scene is used to teach alters how to go over the rainbow. ""BEFORE YOU GO OVER THE RAINBOW, YOU HAVE TO PUT ALL YOUR MEMORIES IN THE BUBBLE. YOU CAN’T TAKE ANYTHING OVER THE RAINBOW INTO FANTASY LAND."

   

• 86.5 minutes. Apollo, the sun god comes out.

   

• 87 min. A big mother spirit who fills the whole sky is now shown by Disney. She hangs over the rainbow. When a system is built this is indeed what they put in. All go to sleep in the film.

   

• 87.5 minutes. Arrows shoot the stars into the heavens. This is more programming imagery. When you look for the rainbow, you see stars.

   

• 88 min. The conductor finishes again.

   

• 88.5 min. The next setting is a Venetian nobleman’s (a duke’s) palace. Curtains open. The use of curtains is spoken about in our previous books.

   

• 89 min. Curtains open. An Ostrich begins dancing, and gets others to ballet dance.

   

• 90 min. The Ostriches begin dancing in a circle, this is laying the groundwork for what the cult family does. The Assistant programmer may tell the child, "SEE IT’S O.K. TO DANCE TOGETHER. DANCING IS ACCEPTABLE." The programmers will not directly tell the child that this represents the cult family.

Fantasia portrays Satan as a terrible powerful being.

• 91.5 min. The Ostriches are eating grapes. They are playing, looking in the pool & they are seeing bubbles.

   

• 92 min. Hippos emerge out of the pool. "IT’S O.K. TO BE DIFFERENT. IT’S O.K. TO BE STRANGE. USE YOUR CREATIVITY." The hippos begin to dance and dance.

   

• 94 min. Elephants appear and are having fun and blowing bubbles out of their trunks. The programmers may be having fun blowing bubbles with the child. The programmers like to mix love and hate, kindness and sadistic behavior. That way the victim has a hard time separating love from hate. If you ask many slaves about "Daddy" they will tell you that they had fun with Daddy. They are right--they had fun intermixed with sadistic torture. Bubbles continue to lift off. One of the bubbles has a fish in it. This is imagery for the bubble programming. The child victim is trained to dump their bad memories into bubbles and let them float away. The therapist will notice that many victims feel like they are floating. They have an unreal feeling. The bubbles are floating their bad memories away.

   

• 98.5 minutes. A new setting and the hippos are hypnotically sleeping. 3 sinister alligators that remind one of the 3 primary programmers appear. The 3 alligators have robes that hide them, and shadow images of themselves lurking behind them. The alligators are trying to get the hippos. The 3 alligators are portrayed like the programmer is, he is someone to fear, love, & respect all at once. The hippo is running away and dancing. The alligator dances with the hippo, but makes menacing attempts to eat him. A flying hippo lands on an alligator. Elephants, hippos, alligators are shown. The elephants, ostriches, hippos and alligators all dance in fantasyland.

   

• 100 min. The orchestra is dancing. ‘"DO WHAT YOU’RE TOLD AND WE WILL HAVE FUN."

   

• 101 min. The MC announces the next part as ""the struggle between the profane and the sacred."’ The conductor stands in a silhouette that suggests the same pose that the upcoming Satan takes.

•  

• 102 min. A high dark mountain with a castle looms in front of the viewer. A winged fiercesome Satan figure raises his wings. His wings are sectioned like fingers with claws, and will form the imagery of the demon Malebrinche, whose satanic claws hang over the alters and terrorize them. In the Illustrated Guidebook, the reader will find lots of these claws in the pictures lurking in the background. A child victim will be taught to fear the hands of the programmer, Satan and Malebrinche. The wings (hands with claws) open. And Satan is portrayed as an awe-inspiring figure. (By the way,, the word maleficia means evil misfortune caused by witches. The witch in Disney’s Sleeping Beauty has the demonic name of Maleficent.)

   

• 102.5 min. Satan begins raising the dead skeletons. This provides a foundation to layer in the Valley of the Dry bones coming alive with armies of skeletons.

   

• 104 min. The film also has some images at this point that will help with the foundation for the Armageddon programming. Satan calls everything to himself.

   

• 104.5 min. The hell pit is shown. This is laying a foundation for the hell pit with all its demons. All kinds of vivid colors are shown in hell, to make the scene more real than real for the child victim. Satan smiles as demons burn in hell. "NO MATTER WHAT COLOR YOU ARE, IF YOU ARE NOT GOOD YOU’LL END UP THERE.’"

   

• 105 min. "THAT’S WHAT HAPPENS IF YOU’RE BAD. YOUR THROWN INTO THE HELL PIT."

   

• 105.5 min. Three beautiful lady demons begin to dance in a circle, all of a sudden these demons take on their luciferian form, one becomes a goat.

   

• 106 min. The demons continue to dance with powerful Satan watching over them. The hell pit and the demons are portrayed in vivid scary graphic depictions. The hellish fire and the ghoulish dancing of its occupants continues for what seems a long time. "WHEN GOD FINDS OUT HOW BAD YOU ARE, LOOK AT WHAT HE’LL DO TO YOU."

   

• 107 min. Satan is portrayed by Disney in all his evil dark majesty.

   

• 107.5 min. Bells begin to ring, and the demons slink away, & the dead return to the earth to their graveyards.

   

• 108 min. Ghosts return to the graves. Soft music begins to play. Ave Maria by Schubert, which was written for the Catholic church, begins playing.

   

• 109 min. Satan folds himself into a mountain. ‘"DO YOU SEE LUCIFER ANYWHERE? NO. YOU ONLY SEE A MOUNTAIN."

   

• 110 min. Lights shine as if they are a column of moving people who are walking with lights, and then some walls appear.

   

• 110.5 min. An arched bridge appears with its mirror image. The column of silhouetted people who continue walking have mirror images in the river. The asst. programmer will be telling the system (which the front parts will hear) "TIME FOR ALL THE GOOD CHILDREN TO GO TO CHURCH. IT’S O.K. TO GO TO CHURCH. GO SERVE GOD."

   

• 113. min. An opening, a vertical sliver of light comes from what appears to be doors opening up. There is a mirror effect in the way the doors open, which will facilitate making mirror image front worlds. A whole new world opens up, which will be the front system’s world. Both the front alters and the deeper ones will be told to forget the movie. Later when a system is better programmed, the programmers will pull up the front alters and have them walk through these doors into the light. When they are hypnotically taken through these doors into the light and away from the fear and darkness of the Kingdom of Satan, they are hypnotically told to close those doors and never look back. The Kingdom of Satan has been shown in detail and in great length. The Kingdom of Satan has been shown as powerful and fearful. Satan is shown as a mighty power that is to be feared. The Kingdom of Light is only shown as a peace, as a refuge from evil. It is not shown to be good. It is not shown to have power or intelligence. It is simply a place to go to escape the fear of Satan’s power. This is all the programmers really want the church to be. It will be a stabilizing balance to let the mind recuperate from the hell of the programming, but it is not intended to be seen as greater than Satan and his Kingdom.

   

• 115 min. The film ends with a peaceful gaze at heaven. The child is being told in the last few minutes "THAT WORLD BELONGS TO YOU. IT’S A BEAUTIFUL WORLD. IT’S THE WORLD WE WANT YOU TO LIVE IN. IT’S BEAUTIFUL." After all the hell that is eventually dumped on the child, and the scare that Satan gives them in this Fantasia film, the child is only too happy to create a beautiful world to live in.

 The effectiveness of Disney’s Fantasia is that it is used to communicate to & build the unconscious structures within the child’s mind. The unconscious mind is the seat of our creative abilities. Then the conscious mind makes adaptations upon this unconscious thinking.

 SUMMARY

Now that the reader has covered so much, the following quotes (with bold emphasis’s added) take on even deeper meaning:

Joe Flower in Prince of the Magic Kingdom, "Walt Disney was obsessed with creation, driven to build magical worlds not, as many artists are, out of paint and canvas, or words, or even film, but physically, out of concrete, wires, smoke, electricity, and highly programmed employees." (p. 23)

Julian Halevy in Nation decries Disney taking this nation into a "drift to fantasy." He adds, "...one feels our whole culture heading up the dark river to the source--that heart of darkness where Mr. Disney traffics in pastel trinketed evil for gold and ivory." For those who understand programming Aubrey Menen comments about Disney’s success are profoundly appropriate, "the strongest desire an artist knows...to create a world of his own where everything is just as he imagines it." John Ciardi was not so nice, he termed Walt Disney as "the shyster in the backroom of illusion." Eliot said, "While his filmed fairy tales

may have appeared at first glance to be light and dreamlike, upon closer examination they seemed more nightmares of deconstructed reality in league with the era’s leading neo-Freudian Modernists."

· You have now finished reading a never-before-heard, unprecedented Warning about the Dark Reality of the Disney’s Magic Kingdom, and how it fits in with Mind-Control. Most Americans when surveyed say they believe in God, most go to church, and many believe they are born-again. Because of the Illuminati’s deception campaign over several generations, the American public, and the world in general has been led to believe that Disney was good, and that Walt Disney was a good man. Because of his image, people suspended judgement about Disney and Disney movies. They entrusted their children to him. People had been manipulated into a frame of mind, a predisposition that whatever comes out of Disney is good. They entrusted their children to take in what Disney fed their children’s little minds week after week. The public’s predisposition of trust was used to introduce Illuminati beliefs and their political agenda, and to carry out a vast program of trauma-based mind-control on hundreds of thousands of tiny little children, whose minds and souls were stolen from them. Because many of the child slaves, who are programmed with Disney-themes, are programmed with roles in bringing in the Anti-Christ, Walt Disney and his family have played a major role for the Anti-Christ. And now you can see how accurate the Word of God is when it says, What is highly esteemed among men, is an abomination to God. First, there will be an Overview of the types of sources used, and then will follow a partial Bibliography on this Disney Section.

TYPES OF SOURCES

People who have worked for Disney and who are getting pensions and medical insurance have talked about Disney under the condition of anonymity. This is because the Disney hierarchy will not permit exposure without retaliation. Several non-Disney people who helped with discovering facts for this section were threatened that their children lives would be taken if they continued to investigate Disney. What I (Fritz Springmeier) finally have put in this, is solely my responsibility.

 

• One type of source for this was books on the Hollywood Film Industry and books on Disney Films. There were about 20 books of this category which were perused for a better understanding of who the Disney brothers were and what Disney Co. was about. One of the best in this type of source was The Art of Walt Disney from Mickey Mouse to the Magic Kingdom by Christopher Finch (NY: Harry N. Abrams, Inc., 1975.)

   

• Another type of source were the standard biographical reference books,, such as Who’s Who, Who’s Who in the West (1951), World Biography, Who Was Who,, Current Biography 1952, etc.

   

• Another type of source was critics of Disney’s movies such as several articles exposing the Lion King, Media Spotlight’s article Fantasia, Rush Limbaugh’s comments and statements concerning how Disney had betrayed its viewers’ trust, the Spotlight’s Feb. 26, ‘96 p. 31 article "Disney Turns Back on Family Values."’

   

• Another type of source was magazine and newspaper articles about Disney such as the Oregonian’s art. on a Disney director being a convicted child molester. NY Times, Newsweek and other magazine and newspaper sources. An important series of extremely good investigative reports which were written by Harry V. Martin for the Napa Sentinel in 1989 were very important in learning of some of the Illuminati/CIA/Contra/Drug Running activities in Napa Valley, CA that Roy Disney is associated with. Harry V. Martin went into all kinds of records and did an excellent job of investigative reporting. The magazine Monde 2000, no.12, had an article on non-lethal weapons that the NWO is developing. This article was reprinted in Encounter Chronicles Journal of Scientific Intelligence, and discussed how Disney has been working with Sandia Labs and Los Alamos.

   

•  Another type of source were victims of Illuminati mind-control, who have recovered memories of being programmed at Disneyland and Disneyworld.

   

• Another type of source has been to watch Disney movies as an investigative tool to understand how Disney is programming, how they are skillfully indoctrinating the American people into witchcraft, etc. This author has also personally been to both Disneyland, near Anaheim, CA and Disneyworld, near Orlando, FL.

   

• Another source was the Walt Disney Co.’s Annual Reports, and also the reference book Directory of Corporate Affiliations (1986) published by the National Register Pub. Co.

   

• Another type of source were books which specialized in covering details about Disneyland such as Disneyland And Beyond the Ultimate Family Guidebook (edited by Ray Riegert, and printed by Ulysses Press of Berkeley, CA); and Walt Disney’s Disneyland (by Martin A. Sklar and introduced by Walt Disney.) AAA had a 27 page booklet "Disneyland Park and Southern California", which came out in 1996, which provides information on what is being offered at Disneyland and vicinity. The book refers repeatedly to "Disney Magic". One has to wonder how Christians and non-occultic persons can’t see how occult Disney is.

Partial BIBLIOGRAPHY

BOOKS

• AAA. Disneyland Park and Southern California. 1996. the Walt Disney Co.’s Annual Reports. pub. by the Walt Disney Co. annually.

• Auletta, Ken. Three Blind Mice. NY: Random House, 1991.

• Cluran, Richard M. To the End of Time. Rockefeller Ctr, NY, NY: Simon & Schuster.

• Commander M. The Controllers: A New Hypothesis of Alien Abductions. (subtitle Alien Abductions, or Government Secret Mind Control Black R&D Programs). 88 pages long. 1990.

• Current Biography 1952

• Directory of Corporate Affiliations (1986) published by the National Register Pub. Co.

• Eliot, Marc. Walt Disney Hollywood’s Dark Prince. NY, NY: Harper Paperbacks, 1993.

• Finch, Christopher. The Art of Walt Disney from Mickey Mouse to the Magic Kingdom. NY: Harry N. Abrams, Inc., 1975.

• Hagstrom, Robert G. Jr. The Warren Buffett Way. NY: John Wiley & Sons.

• Hulteng, John L. The Messenger’s Motives, Ethical Problems of the News Media. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1976.

• Jackson, Kathy Merlock. Walt Disney, A Bio-Bibliography. Westport, CN: Greenwood Press.

• Landis, Bill. Anger, The Unauthorized Biography of Kenneth Anger. NY: HarperCollins Pub., 1995.

• Moldea, Dan E. Dark Victory, Ronald Reagon, MCA and the Mob. NY, NY: Viking, 1986.

• Mosley, Leonard. Disney’s World. Stein & Day: NY, 1985.

• Neelands, Barbara. About Ben Sharpsteen. Second Impressions, No. 1 A Sharpsteen Museum Reprints Project, Calistoga, CA: Sharpsteen Museum, July, 1990.

• Riegert, Ray, ed. Disneyland And Beyond the Ultimate Family Guidebook. Berkeley, CA: Ulysses Press of Berkeley, CA.

• Schickel, Richard. The Disney Version. NY: Simon & Schuster, 1968.

• Siu, R.G.H. The Craft of Power. NY, NY: Quill, William Morrow & Co.

• Sklar, Martin A. (with intro by Walt Disney) Walt Disney’s Disneyland. Walt Disney Prod., 1969.

• Smoodin, Eric. Disney Discourse Producing the Magic Kingdom. Routledge: NY, 1994.

• Stein, Jeff, ed. The Basic Everyday Encyclopedia. NY, NY: Random House, 1954.

• Sterling, Claire. Thieves World -The Threat of the New Global Network of Organized Crime. NY: Simon & Schuster, 1994.

• Taylor, John. Storming the Magic Kingdom. NY: Alfred A. Knopf, 1987.

• Thomas, Bob. Walt Disney An American Original. Hyperion (Disney): CA, 1994.

• Wallechinsky, David and Irving Wallace and Amy Wallace. The Book of Lists. 666 5th Ave., NY, NY: Bantam Books, 1978.

• Wallechinsky, David and Irving Wallace. The People’s Almanac. Garden City, NY: Doubleday and Co., 1975. 

• Who’s Who, Who’s Who in the West (1951), Who Was Who World Biography

PERIODICAL SOURCES

• Carson, L. Pierce, Who’s Who in the Napa Valley, Appellation, Oct/Nov. ‘95 

• George Magazine, ""Here Comes the Son’", Dec. Vol. 1, No. 10. 

• House & Garden, "Sticks and Stones, Mickey for Mayor?", Oct. 1, 1996, pp. 61 -68ff. 

• Martin, Harry V. Napa Sentinel. A series of articles in 1989 were very important in learning of some of the Illuminati/CIA/Contra/Drug Running activities in Napa Valley, CA that Roy Disney is associated with. Harry V. Martin went into all kinds of records and did an excellent job of investigative reporting. 

• Monde 2000, no.12, had an article on non-lethal weapons that the NWO is developing. This article was reprinted in Encounter Chronicles Journal of Scientific Intelligence, and discussed how Disney has been working with Sandia Labs and Los Alamos. 

• Media Spotlight’s article Fantasia, Mother Jones, May-Ju’, 97, p. 61. 

• NAPA VALLEY REGISTER, the following articles are samples of what was used:

  • "ABC Will Mount An Anti-Drug Campaign’" Friday, Jan. 10, 1997, p.1D

  • "Children’s Books Get Red Carpet Treatment In Hollywood Films" May 16, 1996, p. SC

  • "Disney and McDonalds’" May 24, 1996

  • "Disney Buys ABC", Saturday, Aug. 19, 1995, D.

  • "Disney Earnings Up 28 Percent In Third Quarter", Friday, July 26, 1996, p. 8C

  • ,,Disneyland Expansion Given OK" Wednesday, Oct. 9, 1996, p.D

  • ‘"Disney Links to McDonald’s May Be Back. Thursday, Apr. 11, 1996, 7A

  • "Disney World Makes Sure World, Remember the Magic"" (by L. Pierce Carson), Sun., Oct. 20, ‘96

  • "Federal Employees Get Disney Tour" Saturday, Dec. 9,1995, p. 5A

  • "It’s Lights-Out For Main Street" May 14, 1996.

  • "An Overlooked, Different World Inside Theme Park" Sunday, Sept. 29, 1996, p. SC

  • "Mickey Going On The Road", Friday, 7/26/96, p. 8C ‘"Past and Future In Disney Community’", Friday, Oct. 4, 1996, p. iD

  • "Planned Parenthood Benefit On Sunday"--Events of Interest sect. on p. A2, Sept. 13, ‘96

  • "Pentagon Still Wastes Money", Mon., 4/15/96, p. 4B

   

• Newsweek "Power Failure" 12/23/96, p. 34-36; ‘"Sending an SOS at ABC", 5/12/97, p. 54-55 

• NY TIMES (the following are samples of what was used: Articles during the "50’s & ‘60’s were looked at. ,,Disney Offers Faux Memories of Atlantic City Boardwalk" by Joe Sharkey, Tuesday, Dec. 10, 1996 "Baptists Censure Disney On Gay-Spouse Benefits" Thurs. June 13, 1996, p. Ala ,,Disney to acquire 2 radio stations", 4/15/97, p. C4. 

• The PRESS DEMOCRAT (the following are example of what was used:)

  • "Baptists, Disney Paths Diverge" Saturday, June 29, 1996, p. D4

  • "Disney To Buy Stake In Web Company" 2/15/97, p. E6

  • "Heavy Disney" Sunday, Oct. 20, 1996

  • "The Ins and Outs of Allen" by Frederic M. Biddle and Renee Graham, On Q,, Sept. 29, 1996, p. 27

   

• SAN FRANCISCO CHRONICLE (the following are examples of what was used:)

  • "Disney, Miramax Bond", May 10, 1996 "Disney Signs Asian Animator" "Miramax Plans To Make ‘Thoughtful" Films", 4/11/96

   

• SAN FRANCISCO EXAMINER (the following are examples of what was used:)

  • "Disney Institute Is A Short Course In Creativity"" by Catherine Watson, Sunday, May 26, 1996, p. T9 ,,Mouse Matriculation Is A Great Experience"" by Catherine Watson, Sunday, May 26, 1996, p. T9 "Tomorrowland Jumps Into The Future", Sunday, July 14, 1996, p. T3 the Spotlight’s Feb. 26, ‘96 p. 31 article "Disney Turns Back on Family Values."

   

• Time Magazine, "Job Hunting With Mike [Ovitz]" 2/24/97, p. 50; ‘"Hilton Has Room For ITT’" 2/10/97 

• Wall St. Journal (many issues from several decades.) SOME OF OTHER SOURCES (used & not used).

· Various Disney brochures.//· Rush Limbaugh’s comments concerning how Disney had betrayed its viewers’ trust.//· Interviews w/ Napa Valley residents.

· Interviews with disgruntled insiders to the NWO.

· Interviews with various types of Disney victims. [Disney has used mafia-type tactics, i.e. death threats, to intimidate numerous people into selling their property. Roy E. Disney has been reported involved in these land thefts. Victims of this type of intimidation are in many states, but several prominent regions are Napa Valley, CA; Shenandoah Valley; Virginia, & FL Disney’s land-grabbing operations could be a book in itself. This author has lots more research which I HAVE NO PLANS to reveal, which has been left w/ key others, such as the connections of VaVin, near Leon,VA, who produce Prince Michel de Virginia, whose chef & others connect to Belgium. The background of several key people, like Robert Podesta. Financial records, such as Fed. Judge Fern M. Smith (Burrows). ETC. This para. is not indexed.]