Walt Disney – Behind The Scenes – Took Battle Souvenirs

Continued from the Disney – The Greatest Deception Of All Time article.

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.

Walt joined the army in WWI 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 and gambling, while in the service and ran a scam where he doctored German artifacts picked up on the battlefield to sell. War relics were tampered with, to get them into shape, to get the most money for them.

Walt took the battle souvenirs and dressed them up, i.e. coating the insides of helmets with grease, hair and blood, plus putting holes in them, to make them into expensive souvenirs. This shows that Walt was willing to build illusions and be deceptive, if he saw an advantage to it. From gleaning things Walt said to people, it appears that as a child, he’d seen the darker side of life (his father had a habit of beating him in the basement) and had had some interest or exposure to magic as a child.

Walt hoped to have a career as an artist and applied to the advertising agency of Pesman-Rubin. His brother Roy, claimed that Pesman-Rubin hired Walt as a personal favor. Walt only lasted a month until the advertising agency let him go, due to Walt’s “singular lack of drawing ability”. However in 1923, Walt and Roy together, had only $290, but borrowed $500 from their uncle Robert and began to try to make cartoons. Robert Disney had retired in the L.A. area in Edendale, CA, after a successful mining career.

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IN THE BEGINNING

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 gag methods. He also read everything he could about animation and cartooning. They worked out of their uncle’s garage in Hollywood.

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-18-1928, Steamboat Willie was shown in a small independent theater, without any advance promotion or advertising. 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 the nation. There were calls to stop the smutty Hollywood films. Edgar Magnin, the spiritual leader of the major movie makers, reportedly encouraged those in the Mishpucka and others who were Los Angeles 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”.

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HOLLYWOOD CONNECTIONS

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 face-lift 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”, billed as a fundamentalist Christian. Strangely, the biographies indicate that Walt quit doing the actual drawing in 1927 and devoted himself entirely to the physical development of the cartoon business, such as raising money.

In other words, the image of Walt Disney being the artist who created the Disney cartoons, 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.

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DISNEY’S ACTUAL ANIMATORS

Actually the genius cartoon artist (animator) who made Walt Disney a success was Ub Iwerks, about whom Walt 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 keen line, sense of humor, organization and a great feeling of what Walt wanted. However, Walt treated him cruelly at times, playing tricks on him and not being totally honest about paying him, but he stayed with Walt over the years.

Another unknown great artist was Floyd Gottfredson, who drew all the Mickey Mouse cartoons for over 45 years, from 1930 until 1975. Floyd was born in a railway station in 1905 and raised in a tiny Mormon town. Before Floyd totally took over the Mickey Mouse drawings, he would take suggestions from Walt. For instance, Walt puzzled him by insisting he do a cartoon series of Mickey Mouse committing suicide, because Walt thought it would be funny. Over the years, 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. 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 was awarded 32 personal academy awards, for the work done by his studios.

Walt Disney’s famous signature was actually designed by someone else and taught to Walt. Walt could only make a crude Disney signature, so delegated the writing of the signature to several artists including Bob Moore, Disney’s publicity artist. Later, after much practice, he learned to do it well enough, for publicity. Many people who wrote letters asking for his actual signature, thought that they had received forgeries by his staff, because the famous Disney signature was so crude.

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 we’re selling the name Walt Disney. If you can swallow that and remember it, you’ll be happy, but if you’ve got any ideas about seeing your name up there, its best for you to leave right away”.

OCCULT, PORN & SEXUALITY

Walt grew up in an abusive home situation and was fascinated with the occult, cartoons, nature and children. He had an intuitive sense for quality cartoons that would appeal to children. At some point, he got indebted to the syndicate and became their man, thus owned and controlled by them. 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.

Due to his sexual problems, Walt permitted himself to be subjected to the packing of his genitals in ice, for hours at a time. Children were instructed to call him “Uncle Walt” i.e. the Mouseketeers. Mind-control programmers have traditionally liked to be called “uncle” by their child victims. From some sources about Walt’s non-public life, as a hidden sadistic porn king, it raises questions about other parts of his life.

Kenneth Anger commented, “Some animators stated that the boss [Walt Disney] seemed to have fallen in love with the boy” The boy was a very intelligent and attractive actor named Bobby Driscoll, who signed up in 1946 with Disney. He acted in “Song of the South”, “Treasure Island” and his voice was used in “Peter Pan”. If Disney was such an uplifting wholesome atmosphere and this child actor had everything going for him, why did Bobby become a methamphetamine addict at 17 and die within a few years?

From those who knew Walt personally, one learns that he had an obsession with the buttocks. 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, but some got by. Numerous Disney cartoons feature buttocks of characters provocatively twitching.

CONGRESS, POLITICS, STRIKE, LEGACY

After WWII, 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 played down any communist influence in Hollywood. 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 and he never forgave the humiliation. His Empire was like a socialist dictatorship. Employees at Disney did not have titles, it was faceless egalitarianism. It was racially elitist too, with the only full-time African-American, a black shoe shine man.

On more than one occasion Walt and Gunther Lessing were observed at Nazi meetings, along with a lot of other prominent Nazi-afflicted Hollywood personalities. Disney was not Illuminati. The powerful elite are very skilled at controlling people that rub shoulders with them, especially those who are beginning to become independently wealthy. They simply used Hegelian Dialectics on Walt Disney. In order for Walt to protect himself from the unions, Walt got help from the FBI and the mob.

Walt needed the ego boost from all the praise he stole from his staff, because he had wanted to be an artist/cartoonist and failed. 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.” Walt’s first official attempt to direct a film (and last) was the film “The Golden Touch” in 1935. Walt had to pull it from distribution.

If Walt lacked abilities to animate and direct, what was Walt’s talent? He was the dictator who was feared enough to demand more from his workers than they knew they could give. He was the driving force that took a mob of artists and gag creators and shaped them into a powerful force to make cartoons and later movies. Here is a man who had a rule male employees could have any facial hair, yet he himself wore a mustache for most of his life.

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Main Reference :- https://www.cia.gov/library/abbottabad-compound/FC/
FC2F5371043C48FDD95AEDE7B8A49624_Springmeier.-.Bloodlines.of.the.Illuminati.R.pdf

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