Deeper Insights into the Illuminati Formula

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

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dream for control. Walt’s final pet project just prior to his death was the meticulously restored version of the witchcraft film ,,Bedknobs and Broomsticks." (Disney Magazine, Winter 96-97, pub. by Disney, p. 96 mentions this.) As a programming device, Mickey Mouse works well because it plays on the subconscious genetically transmitted fear of mice that women have. Mickey’s image can help create a love-hate relationship, which is so valued during the traumatization & programming of mind-controlled slaves. Some sources state that Walt’s love for animals came from the time his family had a farm near Marceline, Missouri. Walt began his schooling at Marceline, but continued it after the age of eight at Benton School in Kansas City, MO. Walt’s Dad had a serious gambling problem and passed the spirit of gambling to his son Walt. Walt never graduated from high school. He had a natural love and a flair for 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

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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. 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

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took over the Mickey Mouse drawings, he would take suggestions from Walt on what to draw. For instance, Walt puzzled him by insisting he do a cartoon series of Mickey Mouse committing suicide. Floyd had said, "Walt, You’re kidding!" But Walt thought that a series on suicide would be funny. Over the years the Walt Disney products never mentioned Floyd’s name. The bulk of the fans were led to believe Walt did the cartooning of Mickey Mouse himself. (See the book Walt Disney’s Mickey Mouse in Color. Ed. Bruce Hamilton, pub. The Walt Disney Co., 1988.) Fred Moore was involved in the creation of Pluto and some other cartoon characters. The idea for Pluto was Walt’s and it was Norm Ferguson’s genius at drawing that took the idea and created the actual images. Walt Disney was awarded 32 personal academy awards for the work that was done by his studios. Walt Disney’s famous signature was actually designed by someone else, and was taught to Walt. (Schickel, Richard. The Disney Version: The Life, Time, Art and Commerce of Walt Disney. NY, 1968, p. 34.) Walt could only make a crude Disney signature, so he delegated the writing of the signature to several artists including Bob Moore, Disney’s publicity artist. Later, after much practice he learned to make it well enough to do for publicity. Many people who wrote letters asking for his actual signature, and who actually did his signature, thought that they had received forgeries by his staff, because the famous Disney signature was so crude. The nicer looking ones were the forgeries. One cartoon animator who joined Disney in 1940 recalled that Walt told him the first day, "You’re new here, and I want you to understand just one thing. What we’re selling here is the name Walt Disney. If you can swallow that and always remember it, you’ll be happy here. But if you’ve got any ideas about seeing the name Ken Anderson [his name] up there, its best for you to leave right away."

OCCULT PORN KING

Walt grew up fascinated with the occult and in an abusive home situation. He was fascinated with cartoons, nature and children. He had an intuitive sense for quality cartoons that would appeal to children. At some point, the syndicate got him indebted to them. At that point he was their man. He owed them a debt that they held over him. In secret, Walt became a porn king. A victim remembers that he was sadistic and enjoyed snuff porn films. His interest in children was far from altruistic. The Hapsburgs of the 13th Illuminati bloodline had a sex salon in Vienna, where a porn photographer named Felix Salten worked. Felix Salten wrote a book Bambi, which was then translated into English by the infamous communist Whittaker Chambers. The elite were just beginning to form the roots for today’s environmental movement. The book appealed to Disney, because Disney liked animals better than people. In the book, tame animals view humans as gods, while the wild and free animals see humans as demons who they simply called "Him." The book begins with both free and tame animal viewing humans as rightly having dominion over them. In the end, the animals view all humans as simply being on the same level as animals, a vicious animal only fit to be killed. Disney instructed his animators to make the animals "to be human. I want people to forget they are watching animals." Bambi was to receive a Christ-like manger birth, with the animals hailing him as a "prince." Due to his sexual problems, Walt at one point permitted himself to be subjected to the packing of his genitals in ice for hours at a time. (Elliot, Walt Disney Hollywood’s Dark Prince, p. 83.) Children were instructed to call Walt "Uncle Walt." An example of this were the Mouseketeers. For those who know how mind-control programmers have traditionally liked to be called "uncle" by their child victims, the insistence by Walt to be known as "uncle" is

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distasteful. From what this author has learned from some sources about Walt’s non-public life as a hidden sadistic porn king, it raises questions about other parts of his life. For instance, Kenneth Anger in his book Hollywood Babylon II, p. 192, "Some animators stated that the boss [Walt Disney] seemed to have fallen in love with the boy. There may be some truth in this..." The boy, who Walt fell in love with, was a small young attractive boy actor named Bobby Driscoll who signed up in 1946 with Disney. He acted in Song of the South, Treasure Island and Bobby’s voice was used in Peter Pan. Bobby Driscoll was very intelligent and attractive. Did Disney help or abuse him? If Disney was such an upbuilding wholesome atmosphere, & this child actor had everything going for him, why did Bobby become a methamphetamine addict at 17 & die within just a few years? Why didn’t his talent & early career lead to something positive in his life? From those who knew Walt personally one learns that he had an obsession with the buttock part of anatomy. He enjoyed jokes about this part of the anatomy, which he told to his staff quite frequently. The staff edited out many of his crude posterior jokes from cartoon scripts. Two examples that got by the editors are a Christmas special where a little boy is unable to button the drop seat of his pajamas. The little boy’s problem in maintaining his modesty is the running gag of the cartoon. In the end, Santa gives him a champer pot. The 2nd example is the paddling machine used on the wolf in The Three Little Pigs. Numerous Disney cartoons feature buttocks of characters provocatively twitching.

AS A WITNESS BEFORE CONGRESS

After W.W. II, Walt Disney was called upon by Hollywood to testify in their defense at the Un-American hearings which were being carried out by congressmen who were concerned about the heavy communist influence within Hollywood. Walt downplayed any communist influence in Hollywood to Congress. Interestingly, Walt’s father was an outspoken Socialist Party leader in the United States who advocated a socialist New World Order. He regularly voted for socialist presidential candidate Eugene Debs. One of the first drawings Walt did as a boy was to duplicate the socialist political cartoons he found in a socialist periodical Appeal to Reason that his father subscribed to. When Walt asked in the 1930’s how his father felt about socialism’s successes, his father Elias said, "Today, everything I fought for in those early days has been absorbed into the platforms of both the major parties. Now I feel pretty good about that." (Thomas, Bob. Walt Disney, An American Original, pg. 147-148) Walt’s movie Alice’s Egg Plant (1925) was pure communist doctrine where the red hen (communist) leads the working chickens on a strike against Julius the farm manager (representing capitalists.) The strike at Disney and unionization of Disney in 1940, soured Walt toward communism. The workers at Disney publicly made personal verbal attacks on Walt & he never forgave the humiliation. In spite of his public distaste for communism, his Magic Empire (his castle where he was king) was run like a socialist dictatorship, similar to what the NWO plans. Employees at Disney did not have titles; it was faceless egalitarianism with an all powerful dictator Disney at the top. It was racially elitist too. The only full-time African-American during Walt’s lifetime at Disney was a black shoe shine man. Was Walt a socialist of the National Socialist (Nazi) variety? Arthur Babbitt claims, "On more than one occasion I observed Walt Disney and Gunther Lessing there [at Nazi meetings], along with a lot of other prominent Nazi-afflicted Hollywood personalities. Disney was going to meetings all the time." Lessing was mobster Willie Bioff’s crony. Bioff had spent his earlier days running a whorehouse, before coming to Hollywood for the mob. In the final panel of the Mickey

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Mouse comic strip of 6/19/40 a swastika appeared. Some people have wondered what this & other "secret signals" in Disney’s work meant. Disney was not Illuminati. The powerful elite are very skilled at controlling people that rub shoulders with them, those who are beginning to become independently wealthy. For instance, they destroyed Robert Morris, the great financier of the American Revolution. They simply used Hegelian Dialectics on Walt Disney. Their Unions and the Mob made Disney’s studio one of their prime targets. In order for Walt to protect himself from the unions, which he perceived as communist, Walt got help from the FBI and the mob. Walt was vulnerable to the unions, because he treated his workers terrible, with long hours, low pay, in addition to repeated abuses to their dignity. Walt’s large number of employees essentially never received any credit or recognition for their years of creativity and hard work, which was all essentially stolen and credited to Walt by the establishment to build his image. (I write "essentially", because someone might find some obscure exception, but across the board, Walt got all the credit for what his creative workers produced.) Perhaps Walt needed the ego boost from all the purloined public praise which he stole from his staff to be seen as a great animator, because he had wanted to be an artist/cartoonist and failed. The praise helped sooth the wounds. One worker recalls that Walt "had no knowledge of draftsmanship, no knowledge of music, no knowledge of literature, no knowledge of anything really, except he was a great editor." This may not be much of an exaggeration, because Walt was a high school drop-out, who grew up in poverty on a Missouri farm. Walt’s first official attempt to direct a film (and last) was the film The Golden Touch in 1935. The film was an embarrassment. Walt had to pull it from distribution. If Walt lacked abilities to animate, and direct, what was Walt’s talent? Walt was the driving force, the spirit so-to-speak behind Disney. He was the dictator who was feared enough to demand more from his workers than they knew they could give--and he could get it. He was the driving force that took a mob of artists, and gag creators, etc. and shaped them into a powerful force to make cartoons and later movies. He was the hard-driving genius who knew what he wanted and got others to create it for him. He was the driving force that kept an army of costumed sanitation men meticulously cleaning Disneyland. In normal year, Walt would have 800,000 plants replaced at Disneyland, & Walt refused to put up signs asking the "guests" (visitors) not to trample them. How powerful was Walt? Here is a man who during his lifetime and even up into the 1990’s had a rule in the studio & Disneyland that no male employees could have any facial hair, yet he himself wore a mustache for most of his life.

A possible CHRONOLOGY OF EVENTS surrounding WALT DISNEY'S ILLEGITIMATE BIRTH

It is beyond doubt that Walt Disney was an illegitimate child, but that fact resulted in a long list of mysterious happenings. It also gave power hungry men, something to blackmail Walt Disney with. Because this chapter 5 on Deception is focusing on Disney, and the big boys used blackmail to keep Disney in line, this information is pertinent. The following chronology of events is what this author’s believes most likely happened. Without any genetic tests, it is difficult to determine beyond a shadow of a doubt who Walt’s biological parents were, and what the actual history of Walt Disney was. Several people have spent many years investigating the real facts surrounding his birth. Many interesting and tantalizing clues have been found. This author believes that the following chronology is

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suggested by the evidence. (This author’s chronology is offered without hundreds of pages of evidence, because the mysteries around Walt Disney’s birth are here to stay, no matter what excuses people come up with, and this author doesn't want to stray from the intended purpose of the chapter. This is to show that Walt Disney had a secret bastard birth which gave J. Edgar Hoover --and his superiors-- blackmail leverage over Walt Disney. Walt may also have had gambling debts and an abnormal sexual appetite which also helped entrap him. For those who want more evidence and facts, the following are recommended: Almendros, Mojacar, Corner of Enchantment, p. 83; Interview magazine, no. 242, ""Walt Disney Was from Almeria"", and last but not least Eliot, Marc. Walt Disney, Hollywood’s Dark Prince, chapter 11.)

1890--An attractive spanish woman Isabelle Zamora Ascenslo of Mojacar leaves Spain and travels to California to a Franciscan monastery. In the same year, but later on In 1890-Walt's future father Elias, who fancies himself a ladies man, leaves his family to seek his fortune in the gold fields. In California, he meets another newcomer to the state, Isabella Ascensio, and the two newcomers in California have much in common, have a sexual affair and fall in love.

1891--Elias fails to make a fortune and returns to Chicago, but he doesn't forget Isabelle.

1893--Isabelle and Elias have a son, and Elias convinces his wife to accept the baby as theirs rather than have the family's reputation, their marriage, and their family ruined. The son doesn't look like the first two boys at all.

1901--Isabelle and Elias have another bastard son, who Elias brings home and names Walter after the minister of the church he attends. The two bastard sons do not look like the older sons of Elias, and they never have much to do with them, but cling to each other as brothers.

1903--The minister of the church Elias attends finds out about the bastard children and Elias quickly moves out of state so that the scandal will remain secret. Elias has also run up gambling debts.