“The story of Disney’s silent film career is not so much a struggle for artistic expression as it is a fight for commercial stability. During the 1920s, Walt stayed safely within the confines of comic animation as defined by others, such as the producers of Felix the Cat, Koko the Clown, and Krazy Kat. In other words, when many of the ideas where coming from just himself, Disney’s movies were not better than others. In the 1930s, Disney got some of the best talent available and he began to settle for only the best results from that talent.
With the mob, and the Illuminati behind him, and driven by an indebtedness to them, Disney began to achieve outstanding results in animation. Between 1924 and 1927, Walt Disney made a series of 56 silent Alice Comedies which used three different girls (6-year-old Virginia Davis, Margie Gay and Lois Hardwick) to act as Alice who romps around in a make-belief cartoon world. These cartoons combined live action and animation. By the time the series was done, Walt Disney wanted to try working solely with animation. Margaret Winkler in NY (who married Charles Mintz) distributed Walt Disney’s Alice Comedies. From the beginning, children were the center of everything Walt did. The occult world that backed Walt, as well as Walt himself, believed that if they could bring out ‘the child’ (that part of a person called ‘the child’ by various psychologists), then they could appeal to the curiosity and feelings of the ‘child’ part of adults. If it worked with adults, they could do the same with the child part in children.
They knew even in the 20s and 30s what had to be accomplished in the secret Great Plan for a New World Order. The Illuminati Great Plan called for family life to be destroyed, for children to rebel against their parents, and for the world to become more violent. Children needed to immerse in images of violence so that a violent society could be created. For instance, the 1925 film Alice Stage Struck shows little girl Alice strapped to a log leading to a buzz saw. They also wanted to make occultism – witchcraft, the common belief of the American people. The Illuminati felt they could bring in witchcraft if they appealed to the curiosity of the child in every adult. For instance, the Donald Duck cartoon Corn Chips (1951) shows Donald harassing Chip and Dale who then get back at him by stealing a box of popcorn and spreading it all over the front yard. Now what does a cartoon like this teach kids? It teaches that stealing to repay a grudge is ok and doing pranks is funny.
In Disney’s 1920 films, he shows kids cutting school, shoplifting and playing hockey. He shows Alice running away from responsibility to have adventure. He shows prisoners escaping and hobos escaping work. His films are expression of misbehaviour being successful. What does this teach children? In the 1951 cartoon, Get Rich Quick, Goofy wins money at poker and his initially angry wife who doesn’t like gambling forgives him when she sees how much he’s won. Goofy indicates that they can have a spending spree by telling his wife, ‘Easy come, easy go!’ The gambling spirit is a very powerful spirit that the Illuminati want to instill in this nation. How can a cartoon that promotes gambling be wholesome for children?
Lt. Col. Dave Grossman is a military expert on how to condition people so that they will kill. He writes in his superb book On Killing (Boston, MS: Little Brown & Co., 1996) that the same process that the government has used to condition soldiers to kill, is being used by the entertainment industry. The only major difference is that in the military, men are taught to kill only on command, while our children are being taught to kill whenever they want to via TV’s ‘entertainment’. Grossman states on page 308, that the conditioning to kill begins with cartoons:
‘It begins innocently with cartoons and then goes on to the countless acts of violence depicted on TV as the child grows up…Then the parents, through neglect or conscious decision, begin to permit the child to watch movies rated R due to vivid depictions of knives penetrating and protruding from bodies, long shots of blood spurting from severed limbs, and bullets ripping into bodies and exploding out the back in showers of blood and brains.’
While children see horrible deaths on TV, they learn to associate this suffering with entertainment, pleasure and their favourite soft drink, their favourite candy bar, and close intimate contact with their date. (See On Killing, pg. 302). Disney has the appearance of Wholesomeness; this appearance is quite deceptive. A close study of Disney cartoons will reveal lots of violence that could not be depicted if the violence was actually real life and not animation. It’s the wholesome front which is one of the deceptions that makes Disney cartoons and films so dangerous. Yes, the image of Disney has been that its cartoons are wholesome. No wonder Illuminati mind-control programmers have laughed at how naive the American public is toward Disney.
The Disney Gargoyles cartoons are a television series that is pure demonology. The story line is that a race of demons protects New York City. One of the gargoyles is even named Demona. The Illuminati programmers are amazed at how stupid the masses of people are, and how easily deceived. How the Disney movies are used as programming scripts is very involved so only one detailed example is given at the end of this chapter. The Illuminati and Mafia knew that Walt had the ability to get the job done that the Great Plans called for. They knew they had the ‘carrots and the sticks’ to get him to cooperate.“
In the History of Disney, the Great Illuminati Plan unfolds
“The story of Disney’s silent film career is not so much a struggle for artistic expression as it is a fight for commercial stability. During the 1920s, Walt stayed safely within the confines of comic animation as defined by others, such as the producers of Felix the Cat, Koko the Clown, and Krazy Kat. In other words, when many of the ideas where coming from just himself, Disney’s movies were not better than others. In the 1930s, Disney got some of the best talent available and he began to settle for only the best results from that talent.
With the mob, and the Illuminati behind him, and driven by an indebtedness to them, Disney began to achieve outstanding results in animation. Between 1924 and 1927, Walt Disney made a series of 56 silent Alice Comedies which used three different girls (6-year-old Virginia Davis, Margie Gay and Lois Hardwick) to act as Alice who romps around in a make-belief cartoon world. These cartoons combined live action and animation. By the time the series was done, Walt Disney wanted to try working solely with animation. Margaret Winkler in NY (who married Charles Mintz) distributed Walt Disney’s Alice Comedies. From the beginning, children were the center of everything Walt did. The occult world that backed Walt, as well as Walt himself, believed that if they could bring out ‘the child’ (that part of a person called ‘the child’ by various psychologists), then they could appeal to the curiosity and feelings of the ‘child’ part of adults. If it worked with adults, they could do the same with the child part in children.
They knew even in the 20s and 30s what had to be accomplished in the secret Great Plan for a New World Order. The Illuminati Great Plan called for family life to be destroyed, for children to rebel against their parents, and for the world to become more violent. Children needed to immerse in images of violence so that a violent society could be created. For instance, the 1925 film Alice Stage Struck shows little girl Alice strapped to a log leading to a buzz saw. They also wanted to make occultism – witchcraft, the common belief of the American people. The Illuminati felt they could bring in witchcraft if they appealed to the curiosity of the child in every adult. For instance, the Donald Duck cartoon Corn Chips (1951) shows Donald harassing Chip and Dale who then get back at him by stealing a box of popcorn and spreading it all over the front yard. Now what does a cartoon like this teach kids? It teaches that stealing to repay a grudge is ok and doing pranks is funny.
In Disney’s 1920 films, he shows kids cutting school, shoplifting and playing hockey. He shows Alice running away from responsibility to have adventure. He shows prisoners escaping and hobos escaping work. His films are expression of misbehaviour being successful. What does this teach children? In the 1951 cartoon, Get Rich Quick, Goofy wins money at poker and his initially angry wife who doesn’t like gambling forgives him when she sees how much he’s won. Goofy indicates that they can have a spending spree by telling his wife, ‘Easy come, easy go!’ The gambling spirit is a very powerful spirit that the Illuminati want to instill in this nation. How can a cartoon that promotes gambling be wholesome for children?
Lt. Col. Dave Grossman is a military expert on how to condition people so that they will kill. He writes in his superb book On Killing (Boston, MS: Little Brown & Co., 1996) that the same process that the government has used to condition soldiers to kill, is being used by the entertainment industry. The only major difference is that in the military, men are taught to kill only on command, while our children are being taught to kill whenever they want to via TV’s ‘entertainment’. Grossman states on page 308, that the conditioning to kill begins with cartoons:
‘It begins innocently with cartoons and then goes on to the countless acts of violence depicted on TV as the child grows up…Then the parents, through neglect or conscious decision, begin to permit the child to watch movies rated R due to vivid depictions of knives penetrating and protruding from bodies, long shots of blood spurting from severed limbs, and bullets ripping into bodies and exploding out the back in showers of blood and brains.’
While children see horrible deaths on TV, they learn to associate this suffering with entertainment, pleasure and their favourite soft drink, their favourite candy bar, and close intimate contact with their date. (See On Killing, pg. 302). Disney has the appearance of Wholesomeness; this appearance is quite deceptive. A close study of Disney cartoons will reveal lots of violence that could not be depicted if the violence was actually real life and not animation. It’s the wholesome front which is one of the deceptions that makes Disney cartoons and films so dangerous. Yes, the image of Disney has been that its cartoons are wholesome. No wonder Illuminati mind-control programmers have laughed at how naive the American public is toward Disney.
The Disney Gargoyles cartoons are a television series that is pure demonology. The story line is that a race of demons protects New York City. One of the gargoyles is even named Demona. The Illuminati programmers are amazed at how stupid the masses of people are, and how easily deceived. How the Disney movies are used as programming scripts is very involved so only one detailed example is given at the end of this chapter. The Illuminati and Mafia knew that Walt had the ability to get the job done that the Great Plans called for. They knew they had the ‘carrots and the sticks’ to get him to cooperate.“