“After W.W.II, Walt Disney was called upon by Hollywood to testify in their defense at the Un-American hearings which were being carried out by congressmen who were concerned about the heavy communist influence within Hollywood. Walt downplayed any communist influence in Hollywood to Congress.
Interestingly, Walt’s father was an outspoken Socialist Party leader in the United States who advocated a socialist New World Order. He regularly voted for socialist presidential candidate Eugene Debs. One of the first drawings Walt did as a boy was to duplicate the socialist political cartoons he found in a socialist periodical Appeal to Reason that his father subscribed to. When Walt asked in the 1930s how his father felt about socialism’s successes, his father Elias said, ‘Today, everything I fought for in those early days has been absorbed in the platforms of both the major parties. Now I feel pretty good about that.’ (Thomas, Bob: Walt Disney, An American Original, pg. 147-148).
Walt’s movie Alice’s Egg Plant (1925) was pure communist doctrine where the red hen (communism) leads the working chickens on a strike against Julius the farm manager (representing capitalists). The strike at Disney and unionization of Disney in 1940, soured Walt toward communism. The workers at Disney publicly made personal verbal attacks on Walt and he never forgave the humiliation. In spite of his public distaste for communism, his Magic Empire (his castle where he was king) was run like a socialist dictatorship, similar to what the NWO plans. Employees at Disney did not have titles. It was faceless egalitarianism with an all powerful dictator Disney at the top. It was racially elitist too. The only full-time African-American during Walt’s lifetime at Disney was a black shoe shine man. Was Walt a socialist of the National Socialist (Nazi) variety? Arthur Babbitt claims, ‘On more than one occasion I observed Walt Disney and Gunther Lessing there [at Nazi meetings], along with a lot of other prominent Nazi-afflicted Hollywood personalities. Disney was going to meetings all the time.’ Lessing was mobster Willie Bioff’s crony. Bioff had spent his earlier days running a whorehouse, before coming to Hollywood for the mob. In the final panel of the Mickey Mouse comic strip of 6/19/40 a swastika appeared. Some people have wondered what this and other ‘secret signals’ in Disney’s work meant. Disney was not Illuminati. The powerful elite are very skilled at controlling people that rub shoulders with them, those who are beginning to become independently wealthy. For instance, they destroyed Robert Morris, the great financier of the American Revolution. They simply used Hegelian Dialectics on Walt Disney. Their unions and the mob made Disney’s studio one of their prime targets. In order for Walt to protect himself from the unions, which he perceived as communist, Walt got help from the FBI and the mob. Walt was vulnerable to the unions, because he treated his workers terrible, with long hours, low pay, in addition to repeated abuses to their dignity. Walt’s large number of employees essentially never received any credit or recognition for their years of creativity and hard work, which was all essentially stolen and credited to Walt by the establishment to build his image. (I write ‘essentially’ because someone might find some obscure exception, but across the board, Walt got all the credit for what his creative workers produced.) Perhaps Walt needed the ego boost from all the purloined public praise which he stole from his staff to be seen as a great animator, because he had wanted to be an artist/cartoonist and failed. The praise helped sooth the wounds.
One worker recalls that Walt ‘had no knowledge of draftsmanship, no knowledge of music, no knowledge of literature, no knowledge of anything really, except he was a great editor.’ This may not be much of an exaggeration, because Walt was a high school drop-out, who grew up in poverty on a Missouri farm.
Walt’s first official attempt to direct a film (and last) was the film ‘The Golden Touch’ in 1935. The film was an embarrassment. Walt had to pull it from distribution. If Walt lacked abilities to animate, and direct, what was Walt’s talent? Walt was the driving force, the spirit so-to-speak behind Disney. He was the dictator who was feared enough to demand more from his workers than they knew they could give – and he could get it. He was the driving force that took a mob of artists, and gag creators, etc and shaped them into a powerful force to make cartoons and later movies. He was the hard-driving genius who knew what he wanted and got others to create it for him. He was the driving force that kept an army of costumed sanitation men meticulously cleaning Disneyland. In a normal year, Walt would have 800,000 plants replaced at Disneyland, and Walt refused to put up signs asking the ‘guests’ (visitors) not to trample them. How powerful was Walt? Here is a man who during his lifetime and even up into the 1990s had a rule in the studio and Disneyland that no male employee could have any facial hair, yet he himself wore a moustache for most of his life.”
Walt Disney, the communist influence in Hollywood, the socialist political cartoons, Nazi meetings and Illuminati control
“After W.W.II, Walt Disney was called upon by Hollywood to testify in their defense at the Un-American hearings which were being carried out by congressmen who were concerned about the heavy communist influence within Hollywood. Walt downplayed any communist influence in Hollywood to Congress.
Interestingly, Walt’s father was an outspoken Socialist Party leader in the United States who advocated a socialist New World Order. He regularly voted for socialist presidential candidate Eugene Debs. One of the first drawings Walt did as a boy was to duplicate the socialist political cartoons he found in a socialist periodical Appeal to Reason that his father subscribed to. When Walt asked in the 1930s how his father felt about socialism’s successes, his father Elias said, ‘Today, everything I fought for in those early days has been absorbed in the platforms of both the major parties. Now I feel pretty good about that.’ (Thomas, Bob: Walt Disney, An American Original, pg. 147-148).
Walt’s movie Alice’s Egg Plant (1925) was pure communist doctrine where the red hen (communism) leads the working chickens on a strike against Julius the farm manager (representing capitalists). The strike at Disney and unionization of Disney in 1940, soured Walt toward communism. The workers at Disney publicly made personal verbal attacks on Walt and he never forgave the humiliation. In spite of his public distaste for communism, his Magic Empire (his castle where he was king) was run like a socialist dictatorship, similar to what the NWO plans. Employees at Disney did not have titles. It was faceless egalitarianism with an all powerful dictator Disney at the top. It was racially elitist too. The only full-time African-American during Walt’s lifetime at Disney was a black shoe shine man. Was Walt a socialist of the National Socialist (Nazi) variety? Arthur Babbitt claims, ‘On more than one occasion I observed Walt Disney and Gunther Lessing there [at Nazi meetings], along with a lot of other prominent Nazi-afflicted Hollywood personalities. Disney was going to meetings all the time.’ Lessing was mobster Willie Bioff’s crony. Bioff had spent his earlier days running a whorehouse, before coming to Hollywood for the mob. In the final panel of the Mickey Mouse comic strip of 6/19/40 a swastika appeared. Some people have wondered what this and other ‘secret signals’ in Disney’s work meant. Disney was not Illuminati. The powerful elite are very skilled at controlling people that rub shoulders with them, those who are beginning to become independently wealthy. For instance, they destroyed Robert Morris, the great financier of the American Revolution. They simply used Hegelian Dialectics on Walt Disney. Their unions and the mob made Disney’s studio one of their prime targets. In order for Walt to protect himself from the unions, which he perceived as communist, Walt got help from the FBI and the mob. Walt was vulnerable to the unions, because he treated his workers terrible, with long hours, low pay, in addition to repeated abuses to their dignity. Walt’s large number of employees essentially never received any credit or recognition for their years of creativity and hard work, which was all essentially stolen and credited to Walt by the establishment to build his image. (I write ‘essentially’ because someone might find some obscure exception, but across the board, Walt got all the credit for what his creative workers produced.) Perhaps Walt needed the ego boost from all the purloined public praise which he stole from his staff to be seen as a great animator, because he had wanted to be an artist/cartoonist and failed. The praise helped sooth the wounds.
One worker recalls that Walt ‘had no knowledge of draftsmanship, no knowledge of music, no knowledge of literature, no knowledge of anything really, except he was a great editor.’ This may not be much of an exaggeration, because Walt was a high school drop-out, who grew up in poverty on a Missouri farm.
Walt’s first official attempt to direct a film (and last) was the film ‘The Golden Touch’ in 1935. The film was an embarrassment. Walt had to pull it from distribution. If Walt lacked abilities to animate, and direct, what was Walt’s talent? Walt was the driving force, the spirit so-to-speak behind Disney. He was the dictator who was feared enough to demand more from his workers than they knew they could give – and he could get it. He was the driving force that took a mob of artists, and gag creators, etc and shaped them into a powerful force to make cartoons and later movies. He was the hard-driving genius who knew what he wanted and got others to create it for him. He was the driving force that kept an army of costumed sanitation men meticulously cleaning Disneyland. In a normal year, Walt would have 800,000 plants replaced at Disneyland, and Walt refused to put up signs asking the ‘guests’ (visitors) not to trample them. How powerful was Walt? Here is a man who during his lifetime and even up into the 1990s had a rule in the studio and Disneyland that no male employee could have any facial hair, yet he himself wore a moustache for most of his life.”