From the time of the Roman Empire (at least, if not before) the oligarchical leadership, who have been in control of both the Mystery Religions and European aristocracy, have known about BREAD
& CIRCUS. Bread and Circus refers to the concept that IF the masses of people are given entertainment and food staples, THEN they are easy to control. Walt Disney movies have played a key role in providing entertainment for the masses to insure Illuminati control. Walt Disney’s friend the Masonic prophet H.G. Wells in his book A Modem Utopia that there would be lots of shows in the New World Order. The World Future Society in a book review in their publication Future Survey Annual, 1993, (ed. Michael Marien, Bethesda, MD: World Future Soc., p. 91) describes Disney:
"Control of commodities [such as entertainment] and access to commodities translates into control over people. ‘The postmodern US is a massive rush of disconnected commodities, each seeking a 10
moment of our attention." The world of commodities is our soma, and entertainment is the current form of public discourse. Walt Disney World, spread over 27,400 acres of central Florida swamp and scrub forest, ‘is the most ideologically important piece of land in the U.S.’ What goes on here is the quintessence of the American way. It is visited by over 30 million people a year--not only the major middle-class pilgrimage center in the US, but by far the most important entertainment center in the world. It is clearly Oz, utopia as a marketing device."
Two Disney brothers Walt (Walter Elias) and Roy O. Disney have been at the center of the creation of amusement parks and popular Disney films. In more recent times, two other men, Eisner and Katzenberg have been notable at Disney. Eisner & Katzenberg, as well as others will be discussed later. One of Disney’s directors, Victor Salva, was convicted of molesting a boy and filming one of the sexual molestations. Recently Disney Director Salva produced the Disney movie "Powder".
(Victor Salva’s sexual molestation conviction was covered by newspaper articles such as Robert W.
Welkos of the LA Times, in newspapers such as The Oregonian, Weds. Oct. 25, 1995, A sect.) The impact of the Disney brothers is monumental. Mickey Mouse teeshirts can be seen being worn by natives all over the world. Disney World and Disneyland are the quest for a large segment of humanity, who often esteem these amusement parks as the highlight of their life. What is highly esteemed among men, is an abomination to God according to the Word of God. The Bible arbitrarily makes this claim, but sadly, research by this author over the years proves that a close examination of Disney & mankind’s esteem for "Disney" things does vindicate the Biblical expectation. In other words, as readers of this article will find out, behind the appearance of wholesomeness of the Disney brothers and their creations lays abominations-- some of the most grotesque aspects of generational occultism the world has ever seen. Disney’s Magic Kingdom has become an American Institution that impacts people all over the world from the cradle to the grave.
C. WHO WAS WALT DISNEY?
In the large book The Art of Walt Disney from Mickey Mouse to the Magic Kingdom by Christopher Finch (N.Y.: Harry
N. Abrams, 1975) on page 11 an interesting and revealing statement is made: "By definition, public figures are known to everyone; yet, even after talking with some of Disney's closest associates, it is impossible to escape the conclusion that nobody really knew him. Always there was some aspect of his personality that was just out of reach."
Those who got to know Walt too closely make complaints such as he was "self-satisfied, intractable, and arrogant." He could bring his artists to tears or anger in a matter of seconds. Finch is not the only author who has tried to warn his readers that the public’s image of Walt Disney was just that--only a false image. Mosley also writes in his biography of Walt Disney, "Since Disney is regarded by millions of people, particularly in the United States, as perhaps this century’s most brilliantly successful creator of screen animation, I think I should make one thing clear right away. I share the general admiration of a man whose cinematic achievements were always so happily inspired and inspiriting. But--and this is where I differ from uncritical idolaters--I have to know all the facts, no matter how unpalatable, as well as the romantic myths about any great man or woman I admire. Many of the myths that have been created by his publicists about Walt Disney are unpalatable, unbelievable, and unsatisfactory because so much of the real Walt Disney has been deliberately concealed.. .Walt Disney...had grave flaws in his character." (Mosley. Disney’s World, pg. 9) Years ago, an Illuminati Grand Master and programmer stated, "If the world only had the eyes to see the fibers which lay under the surface of Walt Disney’s image, they’d tar and feather him, and drag him through the streets. If only they knew what Disney’s primary goal s."
11
PERSONAL DETAILS
Walt had black hair with a black mustache, and bright quick eyes and was about 6’ tall. He used his own facial features to clue artists on how to draw Mickey Mouse’s features. He liked specially rolled brown cigarettes which he smoked up to 70 a day. He picked up the smoking habit in the army. He loved expensive Scotch Whiskey, red sunsets, and horses. He had a vacation home in Palm Springs, CA called the Smoke Tree Ranch. He often wore the Ranch’s letter STR emblazoned on his necktie.
He played lots of golf with Bob Hope and Ed Sullivan at the ST Ranch. His main home was an estate in Holmby Hills. The Holmby Hills estate was located in a plush area where lots of rich show-business families lived. It was located between Bel-Air (an occult word for Satan) & Beverly Hills.
Walt spent many of his nights at the Disney Studios and later he had his own private quarters at the center of Disneyland. He had reoccurring bouts of insomnia. (For his nerves and insomnia he’d take alcohol and tranquilizers.) He’d go weeks on end without stepping foot on the Holmby Hills estate and seeing his family.
The main topic at the studio by the staff during different time periods was Walt’s bizarre behavior--
he would not be available until late afternoon, when he would emerge from the studio’s subterranean maze of tunnels, where supposedly he was "chatting with the maintenance engineers" everyday. The value of his estate when he died was 35 million dollars of which Lillian his wife inherited half. In his later years, when Disney took a vacation he went to Paris for 3 weeks, and 3 weeks at the Hotel du Cap, in Antibes, and then cruised on Fritz Loew’s yacht with Ron and Diane Disney. In England, Walt spent time with the British Royal family and met privately with masonic prophet H.G. Wells. In Rome, Walt visited privately with the Pope and the dictator Mussolini. In 1966, Walt Disney died.
Prior to his
death he had investigated cryogenesis--being frozen, and it is believed by some that his body is frozen somewhere in California, while others claim he was cremated.
MICKEY MOUSE
According to one source, the inspiration for Walt to create Mickey Mouse came when he was unemployed and saw a mouse in the gutter. There are quite a few stories in circulation as to where the idea came from. Ub Iwerks claimed he thought Mickey up at an animator’s meeting in Hollywood.
Walt once said, "There is a lot of the Mouse in me." (biographical article written by Elting E.
Morison, p. 131) In fact, Ub Iwerks told Walt that Mickey Mouse "looks exactly like you--same nose, same face, same whiskers, same gestures and expressions. All he needs now is your voice." Walt often did serve as Mickey’s voice. A book put out by Walt Disney Co. in 1988 reveals that Walt Disney told Ward Kimball "Quite frankly, I prefer animals to people." Walt usually was the voice behind Mickey Mouse, (even though he wasn’t the artist.) His mother was chilly for years about the work Walt did. Around 1940, after much pleading, he finally got her to watch Mickey Mouse. His unsupportive mother (which he would within a few years learn was not actually his biological mother) told him she didn’t like Mickey Mouse’s voice, to which he told her it was his, and then she responded by saying he had a horrible voice. The "cold towel" she threw on Mickey Mouse helped convince Walt to quit making Mickey Mouse cartoons. Very few came out of Disney after that, and the very next Mickey Mouse full-length feature cartoon, Fantasia, had Mickey mostly silent.
Walt’s idea for The Sorcerer’s Apprentice was based on some of his own ideas. Walt had had the dream which was used for Mickey Mouse in The Sorcerer’s Apprentice of having "complete control of the earth and the elements." Disneyland and Disneyworld were partial fulfillments of that dream for control. Walt’s final pet project just prior to his death was the meticulously restored version of the witchcraft film ,,Bedknobs and Broomsticks." (Disney Magazine, Winter 96-97, pub. by Disney, p. 96
mentions this.) As a programming device, Mickey Mouse works well because it plays on the subconscious genetically transmitted fear of mice that women have. Mickey’s image can help create a 12
love-hate relationship, which is so valued during the traumatization & programming of mind-controlled slaves.
Some sources state that Walt’s love for animals came from the time his family had a farm near Marceline, Missouri. Walt began his schooling at Marceline, but continued it after the age of eight at Benton School in Kansas City, MO. Walt’s Dad had a serious gambling problem and passed the spirit of gambling to his son Walt. Walt never graduated from high school. He had a natural love and a flair for art work, although (contrary to his public image) he never became proficient at it. He joined the army in W.W. I as an ambulance driver by lying about his age. During the war, he also chauffeured dignitaries. He also did some other things that are very revealing. He enjoyed drinking & gambling while in the service, and he ran a scam where he doctored German artifacts picked up on the battlefield to sell to people. War relics were tampered with to get them in shape to get the most money from them possible. Walt took the battle souvenirs - and dressed them up, for instance, coating the insides of helmets with grease, hair & blood and putting holes in them to make them into expensive souvenirs. This shows that Walt was willing to build illusions if it paid. He could be deceptive if he saw an advantage to it. From gleanings from things Walt said to people, it appears that as a child, he’d seen the darker side of life (for instance, his father had a habit of beating him in the basement) and had had some interest or exposure to magic as a child. Bob Thomas writes, "Walt took a boyish delight in playing tricks on his parents. He was fascinated with magic tricks..." (Walt Disney, An American Original, p. 35.)
After the military, Walt hoped to have a career as an artist. He applied to the advertising agency of Pesman-Rubin. Roy, his brother, claimed that Pesman-Rubin hired Walt as a personal favor to Roy who handled the agency’s account at the bank Roy worked at. Walter lasted a month until the advertising agency let him go due to Walt’s "singular lack of drawing ability." According to Current Biography 1952, in 1923, Walt and Roy had together $290. They borrowed $500 from another Disney, one of their uncles named Robert Disney and began to try to make cartoons. Robert Disney had retired in the L.A. area in Edendale, CA after a successful mining career. Robert had always been close to Walt’s father Elias, and helped Walt and Roy out when they came to California. Walt loved to study Charlie Chaplin (a member of the Collins family). He scrawled notes about his body language, facial features, and his gag methods. He also read everything he could about animation and cartooning. They worked out of their uncle’s garage in Hollywood, CA. They were finally able to make a good cartoon Steamboat Willie in 1928, which became an instant hit. As with many things in life, the cartoon was not only good, but Walt finally had the right ,,connections." On Nov. 18, ’28, Steamboat Willie was shown in a small, independent theater without any advance promotion or advertising. But amazingly(!) the New York Times, Variety, and Exhibitor’s Herald all ran rave reviews of the cartoon the next day. Was this an accident? did journalists from all these prestigious periodicals just happen to go to this tiny independent theater? no it was connections. The reason the elite decided to promote Walt Disney after Steamboat Willie came out as Hollywood’s newest "boy wonder" was to deflect enormous bitterness that had been generated by the Stock Market collapse toward Jewish financiers. Hollywood, even in its first two decades, was known as "Babylon" and "Sin City". The movie industry was well-known to be run by Jews, and many people blamed the Stock Market Crash on the moral degradation that Hollywood had introduced to this nation. There were calls for government regulatory groups to stop the smutty Hollywood films. Edgar Magnin, the spiritual leader of the major movie makers who were part of the Los Angeles B’nai B’rith reportedly encouraged those in the Mishpucka and others who were B’nai B’rith movie makers that Hollywood needed to protect itself by putting Walt Disney in the limelight as a Christian "white knight with family values". (By the way, Edgar Magnin was nicknamed "Rabbi to the Stars", because he was "the Hollywood rabbi".) E. Magnin’s grandfather’s department store chain was one of the first major accounts of the Bank of Italy, and Edgar Magnin had continued his family’s close association with the Bank of Italy. The closeness also came from the Bank of Italy’s close ties to the B’nai B’rith and ADL. In 1930, the movie industry made a production code which stated that the industry must make a special effort to make movies appropriate for children. Hollywood directly praised Disney in that code as an exemplary model of what the movie industry wanted to do.
13
With the power of the B’nai B’rith and ADL behind him, Walt began sailing to fame. Movie studios that had been turning out smut, with lots of sex and violence all jumped on the bandwagon to show Walt’s clean wholesome cartoons. Walt was the facelift Hollywood needed after the Depression caused Americans to think about America’s morals. Many of the regular movie makers were so corrupt they were out of touch with moral issues, but Walt Disney knew black from white. The Jewish movie makers "pushed the man [Walt] they considered their best hope to the front of the pack" who was billed as a fundamentalist Christian (albeit a masonic "Christian" who rarely stepped foot in a church). (quote from Walt Disney Hollywood’s Prince of Darkness, p. 50.) Strangely, the biographies indicate that Walt quit doing the actual drawing in 1927, and Walt devoted himself entirely to the development of the cartoon business, such as raising money. In other words, the image of Walt Disney being the artist who has created the Disney cartoon’s is inaccurate. The Disney brothers actually hired many other artists to do the art work. If Walt quit drawing in 1927, and their first marketable cartoon was in 1928, that clearly shows that Walt did not do the actual cartooning. He continued to oversee the work, walking in and rigidly inspecting what was being done to suit his own intuitive tastes. Actually the genius cartoon artist (animator) who made Walt Disney a success was Ub Iwerks, about whom Walt on a number of occasions said was "the best animator in the world". Without Ub Iwerks to take Walt’s ideas and turn them into reality, Walt would never have become famous. Ub was an incredible genius who had a sense of line, a sense of humor, patience, organization and a great sense of what Walt wanted. Walt treated him cruelly at times, interrupting him, playing tricks on him, and not being totally honest with paying him, but he stayed with Walt over the years and made Walt the success Walt became. (The books Disney’s World and Disney Animation: The Illusion of Life have information on the unheralded genius Ub Iwerks.) Another unknown great artist was Floyd Gottfredson. Floyd Gottfredson drew all the Mickey Mouse cartoons from 1932 until October, 1975--which is a period of 45 1/2 years. Floyd Gottfredson was a Mormon born in a railway station in 1905, and raised in a tiny Mormon town, Siggurd, 180 miles so. of Salt Lake City. In 1931, before Floyd totally took over the Mickey Mouse drawings, he would take suggestions from Walt on what to draw. For instance, Walt puzzled him by insisting he do a cartoon series of Mickey Mouse committing suicide. Floyd had said, "Walt, You’re kidding!" But Walt thought that a series on suicide would be funny. Over the years the Walt Disney products never mentioned Floyd’s name. The bulk of the fans were led to believe Walt did the cartooning of Mickey Mouse himself. (See the book Walt Disney’s Mickey Mouse in Color. Ed. Bruce Hamilton, pub. The Walt Disney Co., 1988.)
Fred Moore was involved in the creation of Pluto and some other cartoon characters. The idea for Pluto was Walt’s and it was Norm Ferguson’s genius at drawing that took the idea and created the actual images. Walt Disney was awarded 32 personal academy awards for the work that was done by his studios. Walt Disney’s famous signature was actually designed by someone else, and was taught to Walt. (Schickel, Richard. The Disney Version: The Life, Time, Art and Commerce of Walt Disney.
NY, 1968, p. 34.) Walt could only make a crude Disney signature, so he delegated the writing of the signature to several artists including Bob Moore, Disney’s publicity artist. Later, after much practice he learned to make it well enough to do for publicity. Many people who wrote letters asking for his actual signature, and who actually did his signature, thought that they had received forgeries by his staff, because the famous Disney signature was so crude. The nicer looking ones were the forgeries.
One cartoon animator who joined Disney in 1940 recalled that Walt told him the first day, "You’re new here, and I want you to understand just one thing. What we’re selling here is the name Walt Disney. If you can swallow that and always remember it, you’ll be happy here. But if you’ve got any ideas about seeing the name Ken Anderson [his name] up there, its best for you to leave right away."
OCCULT PORN KING
Walt grew up fascinated with the occult and in an abusive home situation. He was fascinated with cartoons, nature and children. He had an intuitive sense for quality cartoons that would appeal to children. At some point, the syndicate got him indebted to them. At that point he was their man. He 14
owed them a debt that they held over him. In secret, Walt became a porn king. A victim remembers that he was sadistic and enjoyed snuff porn films. His interest in children was far from altruistic.
The Hapsburgs of the 13th Illuminati bloodline had a sex salon in Vienna, where a porn photographer named Felix Salten worked. Felix Salten wrote a book Bambi, which was then translated into English by the infamous communist Whittaker Chambers. The elite were just beginning to form the roots for today’s environmental movement. The book appealed to Disney, because Disney liked animals better than people. In the book, tame animals view humans as gods, while the wild and free animals see humans as demons who they simply called "Him." The book begins with both free and tame animal viewing humans as rightly having dominion over them. In the end, the animals view all humans as simply being on the same level as animals, a vicious animal only fit to be killed.
Disney instructed his animators to make the animals "to be human. I want people to forget they are watching animals." Bambi was to receive a Christ-like manger birth, with the animals hailing him as a
"prince." Due to his sexual problems, Walt at one point permitted himself to be subjected to the packing of his genitals in ice for hours at a time. (Elliot, Walt Disney Hollywood’s Dark Prince, p.
