Saturday, May 30, 2009

EMPIRE OF PLANET X pics



















What Hit The Pentagon On 9/11?

Click here to read and vote. :)

Thursday, May 28, 2009

Machinima (it's what I'm doing RIGHT NOW)

I’ve just watched this video (free req required) about machinima, by Paul Marino, Executive Director, Academy of Machinima Arts and Sciences.
This terms is used to describe movies done with games or game engines.

“Machinima is real-world filmmaking techniques applied within an interactive virtual space where characters and events can be either controlled by humans, scripts or artificial intelligence.”

This totally goes along the way of what I was saying about people doing movies in their garage. (I guess I didn’t invent anything then :p) Now imagine what people could do with Santos !!

Moreover, Paul Marino uses a term I really like, which is Ubiquitous Creativity, that is enabling creativity to people who would never have access to it before (remember SimTractor? ;)


http://cb.nowan.net/blog/category/art/

Wednesday, May 27, 2009

EMPIRE OF PLANET X

http://planetx.wikidot.com/

This is the wiki for my new public domain-based movie franchise.

Please visit and check it out!

50 minutes into Flash Gordon!

Done 50 minutes of the new film. Can't wait to see if the government blocks the export of this one like my last three films. Fucking fascism. What a fucking world.

Tuesday, May 26, 2009

Flash Gordon and the sequels...

While Flash Gordon is filled with sexual triangles, Flash Gordon's Trip to Mars is almost chaste. The difference between these two serials reflects the varied reactions to Alex Raymond's Sunday comic strip and the first Flash Gordon serial. While the comic strip and serial were phenomenally popular, a backlash began to develop. Church organizations in particular complained about the violence and the scantily-clad women--not to mention the hawkmen, who looked suspiciously like angels.

We don't know for certain if the comic strip's distributor, King Features, felt the mounting pressure and ordered Raymond to tone down the serial, but a form of self-censorship becomes apparent in the Flash Gordon comic strip panels of 1937. While Raymond's artwork reaches new heights this year (he was just 25 years old when he started Flash Gordon in 1934 and his artwork improved with each arc of the story), the story also loses much of its punch.

The same thing also happened when Universal filmed the first Flash Gordon sequel--Flash Gordon's Trip to Mars. In place of the sexual shenanigans, we get a wise-cracking comic relief stowaway, Happy, a newspaper reporter who accidentally becomes part of Flash's team of heroes, and a villainess named Azura, Queen of Magic, who doesn't have a third of Princess Aura's fire and determination.

With a reduction in budget (from $350,000 for Flash Gordon vs. $175,000 for Trip to Mars), there is also a noticeable reduction in the number of creatures. While Flash Gordon has a vicious crab monster, a wrestling gorilla-like orangopoid, a sea beast called an octosac, a sacred fire dragon, and a tiger-like tigron, Trip to Mars is virtually devoid of creatures.

However, some serial lovers consider Trip to Mars superior to Flash Gordon. It's not hard to see their logic: Flash Gordon's emphasis on sex was very unusual for serials. While serials were made for adults in the silent era, they were eventually handed over to kids in the sound era. So Flash Gordon appears to be a camp-filled anomaly--whereas Trip to Mars seems … well … normal. No more bare midriff for Dale. No more lustful stares from Princess Aura aimed at Flash (she disappeared entirely until the next sequel). No more Ming the Merciless pawing at Dale. No more scenes where Flash's shirt gets ripped away to reveal his oiled biceps. The sequel looks much like any other respectable serial aimed at an audience of popcorn-chomping kids.

from
Flash Gordon's Trip to Mars

[click photos for larger versions]

In the process of toning down the serial, much of what made Flash Gordon such a remarkable property was drained away. Trip to Mars is still a cut ahead of most all other serials, but without the jealousies and sexual desires as prime motivations, the serial's plot machinations reduce Ming to simply a power hungry tyrant. Before, he was a lust-crazed despot willing to sacrifice his own daughter in return for making Dale Arden his wife. This go round Ming attempts to extract "nitron" from Earth and he won't stop until Earth is dead. It's a rather hollow mania.

While Trip to Mars pales in comparison to Flash Gordon, it nonetheless includes several fine developments. The Clay People, for example, are one of the finest creations of the entire Flash Gordon series. The Clay People were not a creation of Alex Raymond. They were created by the Universal screenwriters. In the scene where the Clay People make their first appearance, time lapse photography allows them to magically emerge from cave walls. It's a simple but highly effective trick that gets repeated several times over the next several episodes. Trip to Mars also features the effective use of an eerie forest set ruled by a race of dwarfs, the Forest People. They live in a stark environment of leafless tress with gnarled branches (although the effect is occasionally ruined by a ridiculously phony forest model used for long shots).

For fans of Jean Rogers' Dale Arden, Trip to Mars contains a surprising change. While Dale was a blonde in Flash Gordon, she appears as a brunette in Trip to Mars--without any explanation whatsoever for the change. In fact, when the serial opens, Flash, Zarkov, and Dale are still on their way back to Earth after their exploits on Mongo in Flash Gordon. However, during the flight, Dale's hair has apparently turned color. Dale was indeed a brunette in Alex Raymond's comic strip, so the change does make some sense. But her hair is also cut short. Now she looks like a library assistant. Needless to say, her fans were disappointed.

In 1939, Universal dropped Jean Rogers from their roster of up-and-coming talent. Subsequently, she signed with Twentieth Century Fox. So when Universal began production of the final Flash Gordon serial in the fall of 1939, they had to find a replacement for the role of Dale Arden. Carol Hughes won the role. When compared with the sexy Dale Arden of the first Flash Gordon serial, Hughes seem bland. But when compared with the demure Dale Arden of Trip to Mars, Hughes fares well. She's a more forceful presence than Jean Rogers--and equally beautiful.

from
Flash Gordon Conquers the Universe

[click photos for larger versions]

Flash Gordon Conquers the Universe returned to Alex Raymond's comic strip for inspiration. It draws upon the celebrated "Ice Kingdom" story arc from the spring of 1939. The screenwriters also appropriated a character who had appeared earlier in the comic strip--Sonja. She would become the serial's requisite bad girl, following in the footsteps of Princess Aura in Flash Gordon and Azura, Queen of Magic, in Trip to Mars. While the comic strip Sonja threw herself at Flash, the serial's Sonja follows the chaste attitude of Trip to Mars. Sonja isn't interested in Flash. She's just interested in serving Ming.

Conquers the Universe also brings back two characters from the previous serials: Princess Aura and Prince Barin, who are now happily married. In the person of Priscilla Lawson in Flash Gordon, Princess Aura chased Flash unabashedly. But Anne Gwynne in Conquers the Universe is given the unenviable task of playing a colorless Princess Aura. Any fire in the eyes of the original Aura has long been replaced by blissful complacency. And while Prince Barin was played by the balding, portly (but powerful) Richard Alexander in both Flash Gordon and Trip to Mars, in Conquers the Universe, Barin suddenly loses 50 pounds and most of his muscles. In comparison to Alexander, Roland Drew's Barin looks meek and hardly capable of corralling the troublesome Aura.

While Conquers the Universe follows the pattern of Trip to Mars by eliminating creatures and utilizing ample stock spacecraft footage from Flash Gordon, it also benefits from a change of locale. For several episodes, Flash, Dale, Prince Barin, and Doctor Zarkov brave the chilly conditions of Frigia--a frozen land in Northern Mongo. This sequence provides one of the best cliffhangers of all serialdom: our heroes are caught in an avalanche as they attempt to scale a mountain. Well-integrated stock mountain-climbing film footage shows climbers being hurled down mountain slopes. Eventually two people slide over the edge of a crevasse. We hear Dale scream as they fall into the crevasse's shadowy depths. How can they survive? Of course, they do survive, but by 1939, serials were widely lying to their audiences. A fall over a crevasse in one episode becomes nothing more than a close call in the next chapter. But in Conquers the Universe the serial makers play fairly: Flash, Dale, Zarkov, and Barin do indeed fall into the crevasse and they barely escape with their lives. As the episode opens, Flash slowly rises from a bank of snow. Stunned, he shakes his head and brushes snow off his shoulders. He eventually arouses Zarkov and Dale, but Barin is seriously injured. And soon afterwards, we're given a doozy of a development as Ming sends mechanical men after our heroes. With spastic motions and foot-long fingers, the robots lurch across the frozen terrain.

In addition to the mechanical men, Conquers the Universe also features a race of men from "The Land of the Dead" who wear costumes that make them look like pointy-headed walking rocks. Unlike most serial characters, they don't speak English. They speak an obscure, strange-sounding tongue. Their speech is realized by playing their dialogue backwards. (Of course, Zarkov not only identifies the language of the Rock Men -- he can speak it!)

While Conquers the Universe is generally considered the weakest of the Flash Gordon serials, it's preferrable in many ways to Trip to Mars. Its cliffhangers, for example, are a noticeable improvement. Neither sequel comes close to capturing the delirious excesses of Flash Gordon, but these are superior examples of the American serial form.

Saturday, May 23, 2009

STEAMPULP (tm)

SteamPulp [(c) & tm] is my new term of art I have coined to embrace and encapsulate works such as Flash Gordon, Buck Rogers, Captain Marvel and similar old serials and stories.

Although the pulp fiction era was very much into name dropping then-current technology such as monoplanes, dynamos, electricity, electromagnetism, rays, atomic power, rocketry and so on, the science (threadbare as it was) that went into the stories was rooted firmly in the Victorian era of scientific romances. The old stories of the pulp era are fairytales and sword and sorcery stories cloaked in a veneer of science.

When George Lucas heavily plagiarised the pulp era for his Star Wars product manufacture he understood this perfectly. That's why there is virtually no single example in Star Wars of any technology that could work as it is shown to work- it is, scientifically, bunk- or to be more accurate- magic.

Steampulp sums up this bridging of the storytelling tropes of fantasy and the clunky nut and bolts castles on hilltops with rocketships parked behind of pulp science fiction.

Also there is a high degree of overt and covert sexuality and bloodshed in the old pulps. Conan the Barbarian sprang from this milieu and he can serve as one extreme, but even the superheroes of the pulps mowed down a fair number of villainous victims.

Uncanny Valley of the Super Vixens

The "uncanny valley" is a hypothesis that as a robot is made more humanlike, the emotional response from a human being to the robot will become increasingly positive and empathic, until a point is reached beyond which the response quickly becomes that of strong repulsion. The phenomenon can be explained by the notion that, if an entity is sufficiently non-humanlike, then the humanlike characteristics will tend to stand out and be noticed easily, generating empathy. On the other hand, if the entity is "almost human", then the non-human characteristics will be the ones that stand out, leading to a feeling of "strangeness" in the human viewer.

Tuesday, May 19, 2009

Dateline: Thailand

Here I am in beautiful if rainy Bangkok, capital of the representative monarchial democracy Thailand!

I spent the day with Viktor But, getting footage for the imminent Channel Seven news special as well as the documentary feature film MERCHANT OF DEATH which, since it will include this footage, will not only be the biggest budget documentary in Australian history, it will also be the most explosive and the best.

I don't really want to spend a lot of time gasbagging but let's go for some keywords to summarise the trip:

CIA
DIA
DOJ
ATF
Intelligence
Charm
Wit
Luck
Spirit
Courage
Thailand

Sunday, May 17, 2009

MERCHANT OF DEATH

Soon I will be updating with real news about my explosive documentary film MERCHANT OF DEATH on the life and times of Viktor But and the other international transporters, arms dealers and middle men who are at the same time blamed by the UN and other gutless governments for all the world's ills... Whilst at the same time being used by them for all their transport needs- including humanitarian aid, evacuating their own personnel they can't take proper care of and so on.

Thursday, May 14, 2009

Flash Gordon (public domain) synopsis

FLASH GORDON (1936)

Commentary by Judy Harris

Visit my homepage at http://www.bestweb.net/~foosie/index.htm

or E-mail me at foosie@bestweb.net

Mark Owen contacted me on 7/7/07 to say that this can be legally downloaded from the site www.archive.org

Flash Gordon Larry 'Buster' Crabbe
Dale Arden Jean Rogers
Emperor Ming Charles Middleton
Princess Aura Priscilla Lawson
Doctor Zarkov Frank Shannon
Prince Barin Richard Alexander
King Vultan John Lipson
High Priest Theodore Lorch
Prince Thun James Pierce
King Kala Duke York, Jr.
Officer Torch Earl Askam
Professor Gordon Richard Tucker
Professor Hensley George Cleveland
Zona Muriel Goodspeed
Ming's Guard/Shark Man House Peters, Jr.
Ming's Guard Glenn Strange
Tigron's Mistress Sana Rayya
Ming's Guard/Shark Man Lane Chandler
Ming's Guard Al Ferguson
Ming's Guard Fred Kohler, Jr.
Monkey Man Constantine Romanoff
Monkey Man Bull Montana
Palace Maiden Olive Hatch
Palace Maiden Suzanne Danielle
Orangopoid Ray "Crash" Corrigan

Screenplay: Frederick Stephani, George Plympton, Basil Dicker, Ella O'Neill

Directed by: Frederick Stephani

The Flash Gordon serials were already 20 years old when I first saw them as a child on TV. Seeing them now with adult eyes, it's easy to laugh at their innocence, political incorrectness and many scientific flaws (not to mention their toylike props and primitive special effects). But even looking at them from the vantage point of the 21st century, with all the special effects expertise squandered on lackluster plots in today's films, FLASH GORDON is still exciting and fast paced.

So much material is jammed into each 20 minute episode; so much plot is advanced with each line of dialogue, you can forgive the awkwardness of some of these lines because there's so much to feast your eyes on.

I never read the Alex Raymond "cartoon strip" but certainly 1932 Olympic medalist Buster Crabbe was born to play the title role. His Flash is a man of action, willing to face any danger, and loyal to every friend, no matter how recent the friendship. Crabbe also is in superb physical shape and up to doing the many fights and stunts required. Although it's obvious a stunt double stood in for him occasionally, it's equally clear he did most of the athletic stunts himself, including the underwater sequences.

Jean Rogers is likewise the perfect damsel in distress as Dale Arden, blonde and gorgeous and needing rescue at every turn. (Although Dale was dark haired in the Alex Raymond comic strip and in the 2nd and 3rd serials, rumor has it Rogers was made blonde in this because of the popularity of Jean Harlow.) Provoking lust in alien men and jealousy in alien women, Dale is forever screaming and fainting and no role model for any of today's females since she takes no positive action at any time but only serves as a pawn. Although she is clearly a villain, Princess Aura is the female who repeatedly takes decisive action, frequently rescues Flash and moves the action along.

When I first saw these serials, Frank Shannon didn't seem incongruous to play Doctor Zarkov, but with his thick Irish accent, he now strikes the adult me as an odd choice for a Russian scientist. It must have been the beard that made him look both sinister and intellectual, although looking at him now, he reminds me more of Jim Henson. As an adult I confess to being annoyed at Zarkov's great facility with science (or at least his amazing luck in discovering new "rays"); he is able to summon up a newly discovered ray for almost every contingency: one replaces the power source holding up Vultan's Sky City; one restores Flash's memory which had been lost due to "draughts of forgetfulness"; one makes Flash invisible in time to escape execution; and one communicates the great distance between Earth and Mongo. All this and he designed and built his own rocketship as well (although it can't land unless all power on Earth is turned off!). Among the trio of Zarkov, Flash and Dale is everything you need in an adventure film: brains, brawn, bravery and beauty.

Charles Middleton, long a baddie in Westerns, makes an indelible impression as the bald headed, high collared Ming, every inch the villain par excellence; his occasional hamminess just part of Ming's overall appeal. It's a shame he disappears for so much of the running time, replaced by his lesser minions.

All of the heroes and some of the villains show a lot of thigh in this serial in an apparent attempt to look futuristic. No costume designer is credited on screen (a lot of the costumes came from Universal's other period films), but I feel for Frank Shannon and Richard Alexander who had to parade around in pretty scanty outfits; they didn't have the athletic build of Buster Crabbe to bring it off. Crabbe, I understand, was embarrassed about having his hair dyed blonde, but this is how I first saw him and always think of him, so it's when he's dark haired that he looks odd to me. In his biography of Buster Crabbe, excerpted in FILMFAX No. 79, Karl Whitezel attributes this quote to Crabbe about his bleach job: "It was a little embarrassing. The bleach job didn't appeal to me at all." By the time of the first sequel, he was pleased to be reunited with the cast regulars in a followup to the earlier success and didn't mind the bleaching of his hair so much.

Although no credit is given on screen for music, I have learned Universal recycled music from its other films (such as Franz Waxman's score for BRIDE OF FRANKENSTEIN (1935), WEREWOLF OF LONDON (1935), EAST OF JAVA (1935) and THE INVISIBLE MAN (1933) and other, presumably public domain, sources (Liszt's LES PRELUDES). There's no doubt music plays an important part in making FLASH GORDON a watchable and exciting event. Interestingly, Waxman's BRIDE music is heard to better effect in the FLASH GORDON serials than in BRIDE OF FRANKENSTEIN where it was used under dialogue sequences or drowned out by special effects noises. The militaristic passages, in particular, seem incongruous for BRIDE's villagers and perfectly appropriate for FLASH; the creepy themes for Dr. Pretorious and the Monster are heard only fleetingly in BRIDE but are used repeatedly in FLASH, fitting especially perfectly to the eerie Clay People sequences in FLASH GORDON GOES TO MARS. The "mad scientist" type music is from the Creation lab sequence of BRIDE OF FRANKENSTEIN.

One of the things that gives me a lot of pleasure in these serials (and in older movies in general) is that the leading actors would be showcased at the beginning or end of the films, with a short silent clip from the film with their name and character's name superimposed. Very occasionally nowadays a film will still do this but, apparently, it is considered very old fashioned, so it is extremely rare, but something I wish EVERY film did.

A word about the cliffhangers I always enjoyed: when I was a kid, there were still some Robert Lowery BATMAN serials circulating at kiddie matinees I attended, and it was always interesting to speculate on how the heroes would escape from certain death. Many serials did not play fair and when the action "wound back" at the beginning of each new episode to show the tail end of the previous chapter, occasionally something would occur to rescue the hero before the doom that awaited him, but the makers of FLASH GORDON, for the most part, played fair with its cliffhangers, although not all of them were equally nail-biting.

As for its political correctness, Flash and Zarkov fly off to Mongo with good intentions but Flash seems overcome with protective ardor for Dale Arden which causes him to kill several Mongo citizens who are just obeying orders. While it's Princess Aura who causes the destruction of the Underwater Shark City, it is Zarkov who nearly destroys the floating Sky City. In addition, three animals sacred to Mongo are killed: the orangopoid and the tigron by Flash and the Fire Dragon by Zarkov. Most annoyingly to my adult sensibility, Dale is treated like chattel throughout the 3-hour running time, to be married off as a prize like the princesses in Grimm fairy tales.

George Lucas tried to obtain the rights to remake FLASH GORDON and, because he was unsuccessful, the world instead received STAR WARS (1977) which went on to be amazingly successful, spawning several sequels (and prequels to come), and having a profound impact on merchandising and special effects for decades. It's easy to see FLASH GORDON's impact on the STAR WARS films in the use of the chapter headings, text summary of the story background as well as the overall swashbuckling flavor and larger than life villains and creatures.

I can't help wishing for all the pleasure this serial has given me over the years, and the impact on people like George Lucas, that Universal had enough faith to expend the money to do it properly; there are a couple of sequences that are repeated from earlier chapters; and clearly the soundtrack has been augmented with voices after the fact, not using the original actors. An occasional chapter is dull and padded. Finally, director Frederick Stephani continually uses uninspired shots, framing things poorly or repeating the same camera setups. Despite all of this, FLASH GORDON was a success and went on to spawn two additional serials, the lamentable FLASH GORDON CONQUERS THE UNIVERSE (1940) which dared to replace Jean Rogers, Richard Alexander and Priscilla Lawson as Dale, Barin and Aura; and the truly great FLASH GORDON'S TRIP TO MARS (1938). In an interview published in FILMFAX #79, Crabbe revealed the entire first serial was shot in only six weeks for the entire 13 chapters. "We were on the set at seven each morning, broke for half an hour at lunchtime, then went back to work until five or six. We'd break for an hour to have dinner at the studio commissary or a nearby restaurant--depending on how we were costumed--and then reported back to the set for more shooting until ten at night or so, or whenever it was convenient to quit. We did this day in and day out, week in and week out, only taking Sundays off if we were on schedule." Crabbe also noted the cost-cutting use of standing Universal sets, including THE HUNCHBACK OF NOTRE DAME (1939) (the walls of which were the outer walls of Ming's castle) and Opera House interiors from THE PHANTOM OF THE OPERA (1925). Another example of thrift was the shooting of every possible scene that required actors in make-up of a particular kind within one day, so that every scene in the script that had Clay men, for example, was shot consecutively until all scenes featuring them were done.

CHAPTER 1 - PLANET OF PERIL

Earth is on the verge of destruction (stock footage of panicking crowds from around the world, possibly from SHOCK (1934) and LOOKING FOR TROUBLE (1935)) due to the Planet Mongo being on a collision course. Flash Gordon is on a transatlantic flight back to his father when atmospheric conditions force all the passengers to bail out. Even the sight of this "transatlantic flight" is amusingly naive; the seats aren't attached to the floor and there are no seat belts. Dale Arden happens to be on this flight and she and Flash share a parachute as they leap to safety, landing (in an amazingly fortuitous coincidence) right next to the rocketship of Doctor Zarkov, who they run into immediately (I told you this was fast paced).

Zarkov explains his theory that Mongo is inhabited and radioactive. His assistant has turned coward and he asks Flash to help him fly to Mongo in his rocketship. Dale begs to go along and, because no place on Earth is safe, Zarkov agrees. The ship is just a wonderful design, very streamlined and toylike. Its interior is realistically cramped and there are no seats or straps of any kind. (The miniature and full sized rocketship from JUST IMAGINE (1930) was used). When Flash asks Zarkov about arriving safely at their destination, Zarkov casually mentions he's made tests with models but they've never returned! In his excitement at actually taking off, Zarkov forgets to turn on the oxygen, causing Dale nearly to faint.

Using a "countermagnet" to brake their speed, the rocketship lands on Mongo, doing a belly flop amid a wonderful mountainous miniature with a great matte painting in the background of Ming's Palace atop the mountain. (Every time the rocketship takes off or lands, it seems to have to circle a couple of times, like a dog making itself comfortable before settling down.) Immediately, the ship is menaced by monsters, really lizards with extra spines stuck on them, made to look the size of dinosaurs against a miniature of the rocketship.

Shortly thereafter, one of Ming's ships passes by and kills two of the monsters with "rays" shot from the needle nose of the ship (the ship itself is a similarly wonderful design with a sort of smiley face when viewed straight on). A man in tight fitting armor (Officer Torch) followed by two possible robots emerge from this ship and take Flash, Dale and Zarkov prisoner.

When they confront Ming in his spacious throne room (which has a handy arena nearby), Zarkov learns Ming controls the movement of Mongo and plans to destroy Earth. Thinking quickly, Zarkov suggests Ming conquer it instead, and as a reward, Ming offers Zarkov the use of his laboratory. It is certainly one of the great plot flaws of the FLASH GORDON serials that Ming is so trusting and never even puts a guard on Zarkov, accepting at face value his offer for help against his own planet.

When Ming leers at Dale and orders her taken away, Flash rushes to her defense, and engages in a sword fight with Ming's men. This catches the interest of Ming's daughter, Aura, who bargains to win Flash for her own if he survives a fight in the arena. This turns out to be a wrestling match against 3 fanged men. When Flash overcomes them, Aura rushes into the arena and the first cliffhanger brings chapter one to an end - Flash and Aura falling through a trap door into a pit which is clearly the lair of some kind of large creatures.

CHAPTER 2 - TUNNEL OF TERROR

Seeing his daughter fall with Flash, Ming orders a net to save them. Aura and Flash escape through a secret door into a cavern which figures largely throughout many of the subsequent episodes. (This "Tunnel of Terror" was filmed in Brush Quarry in Bronson Canyon, site of many early Westerns.)

Aura stashes Flash in one of Ming's rocketships; as soon as he's out of hearing, she vows he will never see Dale again.

When Dale refuses to change her clothes into the latest Mongo attire or to marry Ming, he orders his high priest to subject her to the "dehumanizer" for as long as it takes to perform the marriage ceremony.

Flash teaches himself how to fly Ming's rocketship and, noticing that Ming's Palace is being attacked by gyroships of the Lionmen, he takes off to battle them. The gyroships spin like tops and, even more than the rocketships, look like little toys. The Lionmen (of whom we see only one, Thun, their Prince, until Chapter 13), are long haired and bearded.

Flash smashes into Thun's gyroship and both vessels crash; on the ground, they fight hand to hand and Flash spares Thun's life, forging an instant friendship between them. Thun then shows Flash a secret passage to the Palace, where they overcome the single guard minding the entrance and force him to take them to Zarkov in the lab. (This lab is the planetarium set from THE INVISIBLE RAY (1936). The lab machinery was created by Kenneth Strickfadden who also created the lab equipment for the Universal FRANKENSTEIN films.) Zarkov tells Flash he has repositioned Mongo so that it no longer will collide with Earth.

Dale is hypnotized by a flashing light and dressed up like a harem girl in a tight fitting bra and flowing skirt, her midriff bare. Her hair, which previously had been pinned up, is now loose and flowing.

The highpriest consults the oracle to see if the god Tao approves of the marriage (stock footage of dancing girls writhing before a large idol from JUST IMAGINE). Flash sees this also on the spaceograph (sort of a TV monitor-sized picturephone) in Zarkov's lab and learns about the impending marriage of Ming and Dale. He forces the guard to take him to the tunnel leading to the secret chamber where the marriage is taking place. Zarkov butters up Ming and manages to be invited as well.

The marriage takes place before a completely different idol, also referred to as Tao, which is more lifesize and Egyptian in appearance, flanked by two small Sphinxes (the statue of Amon-Ra from THE MUMMY (1932)). The ceremony seems to consist of nothing more than a gong being sounded 13 times. On the 13th stroke, the ceremony will be completed.

Flash hurries to Dale's rescue, slowed down first by a contingent of Ming's guards, and then by a creature unnamed here, but which turns up in Chapter 9 as the Fire Dragon (although it doesn't breathe fire during this appearance), which walks upright and has lobster-like claws. I had not read JABBERWOCKY when I first saw this as a child, but even now that's what I think of when I read that Lewis Carroll poem. Quoting from FILMFAX 79, Crabbe says: "There was a scene that featured Flash in combat with a Gocko: a fire-breathing dragon, eleven feet long, with a horse's head, the body of a dinosaur and the tail of a dragon. Operating the bulky monster was a horrendous job, since we were in an age without automation. One man did the whole job from inside by pushing the wire-framed structure about the set, turning its head and swishing its tail by hand cranks, and firing a flame-thrower through an opening in its mouth. It didn't look even remotely real, but it was the best thing we had at the time. Glenn Strange was the actor who dragged the Gocko around." This dragon is second cliffhanger, as Flash is caught up in its claw and loses consciousness.

CHAPTER 3 - CAPTURED BY SHARK MEN

Thun overcomes the last of Ming's guards and with one of their ray guns, he shoots the dragon and rescues Flash. Flash strangles the musician before he can strike the 13th note on the gong, and when he and Thun push against the idol, it causes the idol's arm to move in a way the highpriest decides signifies Tao has been displeased. Flash and Thun push over the idol entirely, grab Dale and bolt.

Flash and Dale fall through yet another trap door into an underground river, where Flash fights with Shark Men (ordinary men wearing bathing caps even on land). They are taken prisoner and placed in a hydrocycle (from the outside, this looks like a submarine with side fins; from the inside it is indistinguishable from the rocketship). En route we are shown some stock footage of an octopus fighting with a moray eel and a shark; the Sharkmen call the octopus an "octosak". (Octopus footage from BLACK PEARL (1928).)

In Kala's underwater palace, Flash and Kala fight and when Flash overcomes him, Kala pretends he's going to let him and Dale go in the morning. However, he merely separates them and locks Flash in a tank which he then starts filling with water, and into which he releases a small octopus, which is the third cliffhanger.

CHAPTER 4 - BATTLING THE SEA BEAST

Dale is forced to watch Flash's underwater struggles and faints from the sight of them. Aura and Thun arrive and, using a ray gun, force Kala to drain the tank. Aura rescues Flash and tries to get him to leave with her, but Flash insists on going back for Dale. Spitefully, Aura destroys the controls which keep the water out of the underwater city and the sea starts to pour in. Once again, Dale passes out from lack of air. Kala tries to contact Ming on the spaceograph but the sea breaks through and swamps everyone, for this episode's cliffhanger.

CHAPTER 5 - THE DESTROYING RAY

Using a ray to counteract the magnetic power that holds Kala's Shark Palace underwater, Ming raises the underwater city to the surface.

Prince Barin appears to Zarkov, claiming to be the true ruler of Mongo, dethroned when he was a child and Ming killed his father. Barin wears body armor, a cape and a helmet like a Roman centurion. He promises to rescue Flash in return for Zarkov's allegiance. They head off in Barin's rocketship.

Flash, Dale, Aura and Thun emerge onto dry land and see some winged men floating to the ground in the distance; these are some of the best miniatures of the entire series. They are the Hawkmen of King Vultan, an ally of Ming. The Hawkmen have huge wings, even when they aren't flying, and helmets which also have wings on the side; they wear short skirts like a Roman centurion. A fight ensues; Dale and Thun are captured, but Barin's ship lands in time to rescue Flash and Aura.

In Vultan's Sky City, which is a Swiftian island in the sky, held aloft by 3 visible beams of light, Thun has been sent to the atom furnace; a guard whips all the prisoners as they shovel radium (!) into the furnaces.

King Vultan is a jolly, fat guy with a beard; he also has designs on Dale and torments her with a bear with stripes painted on it. When he learns Barin's ship is approaching, he orders the melting ray be used against it. This looks very much like an ordinary search light. Fortunately, Barin's ship is equipped with resisto-force (always handy in a situation like this) which neutralizes the melting ray, but eventually this resisto-force is depleted, and Barin's ship plummets for the latest cliffhanger.

CHAPTER 6 - FLAMING TORTURE

Barin's ship is saved by the gravity-defying rays which support Vultan's Sky City. Aura, Barin, Flash and Zarkov are brought before Vultan who, like Ming before him, allows Zarkov the freedom of his laboratory and sends Flash and Barin to the furnace room.

There, a Hawkman regulates the furnace at a ludicrously oversized control, like something out of METROPOLIS (1927). Flash and Barin, stripped to the waist, join the other prisoners.

In Vultan's lab, which looks suspiciously like Ming's, Zarkov learns the Sky City is supported by the gravity resisting rays thrown off by the atom furnace. Vultan requests that he find a substitute ray and Zarkov has extra incentive because he knows that long term exposure to the radium in the furnace room will kill Flash and his friends.

When a guard whips a prisoner who has collapsed, Flash comes to his rescue, fomenting a mutiny which is overcome. Dale sees Flash being whipped in the Furnace Room and faints again.

As punishment for starting the mutiny, Flash is taken to the Static Room where, strapped to an apparatus suspended above a machine giving off sparks, he is nearly electrocuted in this chapter's cliffhanger.

CHAPTER 7 - SHATTERING DOOM

Dale faints again to see Flash tortured in the Static Room. Aura threatens Vultan with a ray gun, rescuing Flash, who is brought to Zarkov to revive in the electro stimulator.

Dale gets a more demure outfit to wear from Vultan, who tries to win her by performing shadow puppets and giving her jewels, but it's no use. Likewise, Aura declares to Flash that she loves him, but he makes it clear he intends to return to Earth eventually with Dale. Aura threatens him with a blowtorch but is unable to harm him.

Flash tries to rescue Dale from Vultan but gets sent to the Furnace Room again, where Zarkov is forced to hook up a high voltage wire to a shackle on Flash's wrist. If he tries to escape again, he'll be electrocuted.

Ming arrives and demands the return of his daughter and all the prisoners, but Vultan has his Hawkmen standing by and negotiates from a position of power.

During Flash's break from shoveling radium, Zarkov sneaks back and reattaches the shackle to the handle of a shovel. Flash throws the shovel into the furnace which results in this episode's cliffhanging explosion.

CHAPTER 8 - TOURNAMENT OF DEATH

Escaping from the Furnace Room after the explosion, Flash dashes to the throne room and threatens Ming with a sword but is overcome and taken to the Execution Room. He escapes as the Sky City becomes unstable now that the furnace no longer is operating to produce the rays which kept the city aloft.

Zarkov agrees to save the city with a new ray he has discovered provided Vultan frees his friends. Vultan agrees but Ming calls a Tournament of Death. If Flash survives, he wins his liberty, a kingdom of his own and a bride of his choice.

Wearing a new outfit, Flash crosses swords with his opponent, the Mighty Masked Swordsman of Mongo. After a prolonged bout, Flash unmasks the swordsman as Barin, who says he was forced into it. Barin apologies to Flash and reveals he is in love with Princess Aura and hoped to win her as the bride of his choice during the tournament.

Ming has now decreed Flash must fight "the mighty beast of Mongo" which is an orangopoid (actually a pretty decent gorilla suit with a single horn in the middle of its forehead, like a unicorn). Armed only with a knife, which he soon loses, Flash engages in a losing battle with this creature as this episode's cliffhanger.

CHAPTER 9 - FIGHTING THE FIRE DRAGON

Aura once again rescues Flash by grabbing a spear from a guard and giving it to Flash who uses it to kill the orangopoid. Highly displeased at the way things have turned out, Ming nevertheless agrees to reward the champion in three days at his Palace.

Back in Ming's Palace, Aura spots Flash kissing Dale. With the help of the highpriest, she has Flash and Barin drugged and Flash spirited away. Zarkov finds Barin drugged and Flash missing, with a scarf carelessly left by Aura nearby. Upon interrogating Aura's guard, Barin, Vultan, Zarkov and Dale discover where Aura has taken Flash and set off after him.

Flash awakens briefly and is given a second drug by Aura which causes amnesia, as they enter the Tunnel of Terror guarded by the Fire Dragon (the same creature from Chapter 2's cliffhanger), who can be summoned by a gong. Betraying Aura, the highpriest strikes the gong, summoning the dragon as Dale, Barin, Vultan and Zarkov arrive.

CHAPTER 10 - THE UNSEEN PERIL

Zarkov destroys the dragon with a grenade he luckily happens to be carrying. He recognizes Flash has been given a powerful drug, but is unable to counteract the memory loss.

At the ceremony to reward Flash for surviving the tournament, Flash is unable to remember anything and refuses to choose a bride. Aura leads Flash away, over Vultan's protest, so Ming has Vultan imprisoned.

Misled by Aura, Flash repudiates his friends, forcing Barin to knock him out in order to get him to Zarkov's lab. Belatedly, Zarkov has discovered a ray which restores Flash's memory.

Ming's guards break into Zarkov's lab and just as they are about to execute Flash, he disappears in this chapter's cliffhanger.

CHAPTER 11 - IN THE CLAWS OF THE TIGRON

Zarkov has made Flash invisible via yet another ray he has discovered combined with his newly invented invisibility machine. Flash uses his new invisibility to choke Ming in his own throne room, but spares his life at the request of Prince Barin. He then frees Vultan from his cell.

Aura spies on the lab and discovers the plans of Flash and his friends. Vultan, Zarkov and the invisible Flash carry power magazines to Zarkov's rocketship, while Dale and Barin guard the invisibility machine. Barin notices Aura's listening device and takes Dale to a cave in the catacombs under the palace for her safety.

Aura sets out to find Dale using the sacred Tigron (a tiger on a leash). Flash spontaneously becomes visible during a struggle with Ming's guards, as Barin returns. Flash and Barin set off to retrieve Dale, as the Tigron attacks her in this chapter's cliffhanger.

CHAPTER 12 - TRAPPED IN THE TURRET

Flash strangles the Tigron, rescuing Dale, who is none the worse for her recent mauling. Barin convinces Aura to win Flash's friendship by helping him (Aura had earlier used this argument on Vultan about Dale). Aura brings Flash, Dale and Barin to the throne room, where Barin declares his love for Aura.

With Aura's intercession, Ming grants everyone's freedom, but it's just another ploy and he sets spies on Flash and his friends. Although he's eager to be rid of Flash, Ming still lusts after Dale and wants to retain that scientific genius, Dr. Zarkov to help him conquer the universe.

Zarkov contacts Thun on the spaceograph and asks him to meet at Vultan's Palace. Barin arranges to meet Flash at the turret house, but is overhead by Ming's spies. Ming captures Barin and uses his ship to fire on Flash and his friends, trapping them in the turret house in a fiery explosion which is this chapter's cliffhanger.

CHAPTER 13 - ROCKETING TO EARTH

In this serial's one cliffhanger cheat, Flash finds a trap door through which everyone escapes before the turret house is destroyed in an explosion. As they make their way through yet another underground tunnel, they see Barin being led to prison and rescue him.

They return to Zarkov's lab where he has electrified the door to prevent Ming's guards attacking them, but Ming has the power turned off. Just as his guards are about to nab Flash and his friends, Thun leads an air attack in his gyroships and the Lionmen break into the throne room. In the general melee, Ming escapes into the Sacred Palace of the Great God Tao "from which there is no return" according to the hardly reliable highpriest, who announces Ming's death to Flash and Aura, who nevertheless believe him.

Aura now rules Mongo with Barin as her consort. Barin, Aura, Thun and Vultan see off their Earth friends as they board their rocketship for the return trip to Earth. Once airborne, however, the highpriest can't resist gloating to Aura that they are doomed because he has planted a bomb on Zarkov's rocketship. Barin quickly heads to the lab to contact Flash via Zarkov's communications device. Flash finds the bomb and, with little impact from the lack of air or the absence of gravity in space, opens the door of the rocketship and chucks it out seconds before it explodes.

En route to Earth, Flash communicates with his father, requesting that all power on Earth be turned off (!) in case it "counteracts" the rocketship. There is a brief montage of stock footage of newspaper headlines, excited crowds and the charming old New York skyline but Flash and Dale are oblivious, having eyes only for each other.

Versions of this serial were re-edited and re-released as a feature film variously titled ROCKET SHIP, SPACESHIP TO THE UNKNOWN and SPACE SOLDIERS.

THE END

Monday, May 11, 2009

Flash Gordon

Unlike Buck Rogers, who began life as a pulp character but found greater fame in the funny pages, Flash Gordon made his first appearance in a comic strip and later made a brief foray into the pulps. Alex Raymond had been ghosting Tim Tyler's Luck for King Features when he learned that the syndicate was looking for a science fiction strip to compete with Buck Rogers, which was distributed by a rival syndicate. His first idea was rejected, but he reworked the idea with the syndicate and Flash Gordon first appeared in the Sunday pages on January 7, 1934.

The first panel of the inaugural strip shows the front page of a newspaper, the headlines blaring, "WORLD COMING TO END—STRANGE NEW PLANET RUSHING TOWARD EARTH—ONLY MIRACLE CAN SAVE US, SAYS SCIENCE." In the succeeding panels, the narration informs us: "In African jungles tom-toms roll and thunder incessantly as the howling blacks await their doom! The Arab in the desert resigned to the inevitable faces Mecca and prays for his salvation! Times Square, New York—A seething mass of humanity watches a bulletin board describing the flight of the comet! The scientist, Dr. Hans Zarkov works day and night perfecting a device with which he hopes to save the world—His great brain is weakening under the strain. Aboard an eastbound transcontinental plane we have Flash Gordon, Yale graduate and world renowned polo player and Dale Arden, a passenger. Suddenly, a flaming meteor torn loose from the approaching comet, roars past the plane shearing off a wing—The plane flounders helplessly and dives! Flash takes the girl in his arms and bails out. His 'chute opens with a crack! They float earthward. Landing near Dr. Zarkov's great observatory, Flash frees himself of his parachute. A dishevelled wild-eyed figure confronts them..."

The dishevelled, wild-eyed figure (with an unfortunate comb-over) is Dr. Zarkov, of course, and he's holding a gun. Fearing that Flash and Dale are spies sent out to thwart his plans, the distraught scientist forces them into his rocketship, determined to blast off in an attempt to deflect the onrushing planet from its course and save the Earth. However, as his rocketship approaches the new planet, Dr. Zarkov has a sudden change of heart. Fearing that they'll all be killed, he tries to swerve his rocket away from the oncoming planet. Flash, realizing that they are Earth's only hope, struggles with the mad scientist and knocks him unconscious. Roaring over a beautiful city on the surface of the new planet, the rocket crashlands on the side of a mountain, the force of the impact apparently being sufficient to jar the planet into a new orbit.

On Mongo, for such is the name of the new planet, Flash Gordon, Dale Arden, and Dr. Zarkov come under the baleful influence of Ming the Merciless, Emperor of the Universe. In the course of their improbable and breathtaking adventures they meet Princess Aura, Ming's daughter, Prince Barin, the rightful ruler of Mongo, Thun, Prince of the Lion Men, Vultan, King of the Hawk Men, Azura, the Witch Queen of the Blue Magic Men, Fria, Queen of the frozen kingdom of Frigia, and countless other friends and enemies—all beautifully illustrated with the lush, sensuous artwork for which Alex Raymond is so justly remembered.

Flash Gordon

F
lash Gordon was an immediate success, and King Features soon sought other means to capitalize on the strip's growing popularity. Flash's exploits were adapted for radio in 1935, and 1936 brought the first novelization of Flash's adventures, Flash Gordon in the Caverns of Mongo, along with the filming of the first of three Flash Gordon movie serials starring Buster Crabbe. Also in 1936 came the publication of the first, and lamentably only, issue of the Flash Gordon Strange Adventure Magazine.

Aimed at a juvenile audience, the Flash Gordon pulp story faithfully retained the three main comic strip protagonists, the stalwart, natural leader of men, Flash Gordon, the voluptuous and occasionally petulant Dale Arden, and the brilliant though slightly unstable Dr. Hans Zarkov—but the majority of the action inexplicably takes place on Mars, and the villian, Pwami, Master of Mars, is little more than a country cousin to Ming the Merciless. Nevertheless, The Master of Mars, attributed to the otherwise unknown James Edison Northford (spelled "Northfield" on the contents page), was a rousing pulp adventure, with nearly every chapter ending in a seemingly inescapable cliffhanger—much like Raymond's Sunday pages and Buster Crabbe's serials.

As longtime pulp collectors may know, Flash Gordon Strange Adventure Magazine's chief claim to fame is that it included full page four-color illustrations done in the comic strip style. Although the color illustrations that appeared in the pulp were done by an artist named Fred Meagher, the plot had apparently been constructed to parallel events that had taken place in the comic strip. For example, early in the pulp adventure, the evil Pwami has Flash thrown into a pit, where he is menaced by a thirty-foot long Martian Pythocra, which just happens to resemble the Constrictosaurus Flash faced in a similar pit on Mongo in the comic strip published on December 29, 1935.

Illustration by Fred Meagher, published in
Flash Gordon Strange Adventure Magazine



Panel by Alex Raymond, published
on December 29, 1935

Special thanks to David, a longtime Alex Raymond fan, for the use of the Meagher illustration.

Likewise, at one point Dale finds herself confined in Pwami's sky gallery of Eros, a predicament remarkably similar to the one she faced in Vultan's tower harem on Mongo. Later, Flash finds himself underwater in one of the canals of Mars, fighting for his life against the Shark Men of Mars, who appear to be closely related to the Shark Men of Mongo. Perhaps the original intention had been to adapt Raymond's comic strip illustrations, similar to the adaptation that had been done for the cover (see box at the bottom of this page). If such is the case, however, the plan was regrettably abandoned, as Meagher's drawing skills weren't in the same league as Raymond's.

Dale Arden

As The Master of Mars progresses, Flash rescues Dale from Pwami's sky gallery, finds himself in the company of Illana, the beautiful Princess of Jupiter, is stranded with her in the magnetic mountains on the planetoid Tyron, rescues Dr. Zarkov from the prison asteroid Ceres, and is caught up in a titanic struggle between the forces of Earth and an invading fleet of Martian spaceships. All solid pulp science fiction adventure—that unfortunately failed to catch on with the reading public.

Dr. Zarkov

It isn't clear as to why Flash Gordon failed to successfully make the transition from comic strips to the pulps, other than to note that no attempts to adapt comic characters to the pulps had ever been successful. Sheena, a popular comic book character published by Fiction House, failed to survive her first pulp issue (other than a brief guest appearance in the final issue of Jungle Stories, also published by Fiction House). In any event, Flash Gordon's second pulp adventure, The Sun Men of Saturn, promised in the back pages of the December 1936 issue of Flash Gordon Strange Adventure Magazine, if it was ever actually written, did not see publication.

Ironically, the Flash Gordon Strange Adventure Magazine is now highly sought after by collectors. Although copies are seldom available, a copy was recently up for auction on eBay with a starting bid of $400. More affordably, underground reprints of the story can be had, or so I am told, for about $6.80 including postage.

T
he 1936 novelization, Flash Gordon in the Caverns of Mongo, published by Grosset & Dunlap, shared a similar fate with the pulp magazine—it had not been successful enough to result in a continuing series. Also aimed at a juvenile audience, the novel was published as being written by Alex Raymond, though there is no reason to think that he was the actual author. The cover illustration, end pages, and frontispiece were done by an illustrator named Robb Beebe, and the actual author of the book didn't really have a feel for Raymond's characters. At one point, the author appears to be unaware that Hawkmen could fly, and with the (premature) fall of Ming, the author has made Vultan the King of Mongo, whereas Raymond's storyline had made Prince Barin of Arboria the rightful heir.

Another good reason to believe that the novel wasn't actually written by Alex Raymond is that soon after beginning the Flash Gordon strip, Raymond turned the script writing duties over to Don Moore, a former pulp editor. Since Raymond was drawing Secret Agent X-9 and Jungle Jim at the same time he was doing the Flash Gordon strips, he didn't have the time to do his own writing. The main reason to doubt Raymond's authorship, however, is that even as a juvenile adventure story the book simply isn't very good.

The book starts out promisingly enough, with Lovecraftian references to "half-man, half-god things that inhabit the underworld" of Mongo, but the story quickly breaks down to a remarkably tedious battle between the forces of the upperworld and the pallid minions of the evil King Gonth of the netherworld. About halfway through the book, Flash is led to believe that Mongo and his friends have been lost, and in despair he flees to the moon Titan, which the author mistakenly believes to be in orbit around the planet Jupiter! On Titan, story "B" takes over as Flash becomes involved with the beautiful Princess Lahn-een (there aren't any plain-looking female royalty in Flash's universe) and her power struggle with the evil High Priest Oghr. After story "B" is more or less resolved, Flash, accompanied by Lahn-een and her forces, returns to Mongo and finishes up the nearly forgotten conflict from story "A" through a rather unique application of genocide. Except for Flash Gordon completists, this novel is best avoided, and it probably isn't something you'd want to read to your children.

O
ther than Big Little Book, Better Little Book, and similar adaptations of the Flash Gordon comic strips, there would be no further novelizations of Flash's adventures until 1974. In that year, Avon Books published the first of six adult Flash Gordon novelizations, the first four attributed to Con Steffanson and the remaining two attributed to Carson Bingham. In reality, the first three, The Lion Men of Mongo, The Plague of Sound, and The Space Circus, were written by Ron Goulart, and the final three, The Time Trap of Ming XIII, The Witch Queen of Mongo, and The War of the Cybernauts, were written by Carson Bingham, a pseudonym for Bruce Bingham Cassiday, a former pulp editor whose only previous writing experience was a novelization of the 1961 UK sci-fi movie Gorgo. The books were sold as being adaptations from Alex Raymond's original stories, but only the first novel is even remotely related to Raymond's work. In fact, all of the books in this series appear to be based on storylines from the Flash Gordon daily strips initiated by Dan Barry in 1951 (for example, The Witch Queen of Mongo is based on a Barry story that began on January 2, 1956). Of this series, the first three written by Ron Goulart are quick, enjoyable reads—although the language is a bit dated and the humor is pretty corny. The three by Carson Bingham are tedious time wasters, and may safely be avoided.

The next attempt at a Flash Gordon series was published by Tempo Books beginning in 1980. Although much better written than the final books in the previous series, this series isn't at all faithful to the Flash Gordon comic strip. In the first book, Massacre in the 22nd Century, Flash is introduced as a widower in his late thirties who is an agent with the Federation Central Intelligence Division. Dr. Zarkov, while still a brilliant scientist, is a frail old man who spends most of his time recovering from near-death experiences—and Dale Arden is his niece! This book and the remaining books in the series, War of the Citadels, Crisis on Citadel II, Forces from the Federation, Citadels under Attack, and Citadels on Earth, basically form an extended story arc in which our heroes get caught up in an ancient galactic civilization that has been at war for over 100,000 years. The earth itself is torn by the struggle between the Federation, the rightful government of the earth's own nascent galactic colonization efforts, and the Trans Federation, a vast conglomerate that has the power to openly flaunt the Federation's authority. It's all pretty standard SF adventure, but the three main characters could have been given any names—they bear little relation to the characters created by Alex Raymond. The books in this series were published anonymously, but were written by David Hagberg, who has also written under the name Sean Flannery, and who is better known for writing thrillers in the Tom Clancy vein.

I
n other media, Flash has met with comparatively greater success. As mentioned above, there was a Flash Gordon radio series in 1935. Running for 26 episodes between April 27, 1935 and October 26, 1935, The Amazing Interplanetary Adventures of Flash Gordon starred Gale Gordon in the role of Flash. The series faithfully adapted Flash's comic strip adventures, with the exception of the last two episodes, which took a surprising turn when Flash, Dale, and Dr. Zarkov returned to earth in their rocketship and crashlanded in Africa. In Africa, they meet Jungle Jim, who witnesses Flash and Dale's tribal wedding ceremony in episode 26. Not too surprisingly, the radio series was replaced the next week with The Adventures of Jungle Jim, and Flash, Dale, and Dr. Zarkov faded away—at least for that run. For almost immediately following the first series came a second radio series entitled The Further Interplanetary Adventures of Flash Gordon. This second series strayed from Alex Raymond's original storyline, with some of the episodes taking place in the undersea kingdom of Atlantis, and apparently ran into 1936.

Flash's most successful foray into other media was, of course, the 1936 serial Flash Gordon (AKA Space Soldiers). Starring Buster Crabbe with a blond dye-job as Flash, Jean Rogers as a sexy Dale Arden, Frank Shannon as a somewhat stodgy Dr. Zarkov, Priscilla Lawson as a sultry Princess Aura, Richard Alexander as a pudgy Prince Barin, Jack "Tiny" Lipson as an amusing and easily amused King Vultan, and the excellent Charles Middleton as Ming the Merciless, this first Flash Gordon serial produced by Universal Pictures was remarkably faithful to Alex Raymond's storyline, with the set design of some scenes apparently taken straight from Raymond's comic strip panels. While the cheap sets, primitive special effects, and stilted dialogue can cause unwanted chuckles among today's audiences, this serial is a rousing, non-stop actioner that continues to influence filmmakers, most notably George Lucas in his Star Wars series. Despite its limitations, or perhaps because of them, Flash Gordon is the epitome of Space Opera in the grand tradition and remains great fun to watch.

Given the immense popularity of the first serial, it isn't surprising that Universal Pictures rushed out with another one in 1938. Although taking plot elements and characters from Alex Raymond's strip, Flash Gordon's Trip to Mars made some significant deviations from the comic strip canon—most notably transferring the action to Mars, reportedly to capitalize on the interest in Mars that was generated by Orson Welles's radio broadcast of The War of the Worlds, and the addition of Happy Hapgood, an annoying journalist unnecessarily added to Flash's crew for comic relief. The plot this time has Ming the Merciless visiting Azura, the Queen of Magic on Mars (Witch Queen of the Blue Magic Men on Mongo in the original comic strip), and colluding with her to focus a deadly ray on the Earth so that he can wreak his revenge for the problems caused by Flash in the first serial. Flash, a disappointingly brunette Dale, and Dr. Zarkov, joined by the hapless Happy Hapgood, suspect that the attack is coming from Mongo, and blast off in their rocketship to thwart Ming's evil plans—but discover enroute that the ray is really coming from Mars and adjust their trajectory to land on the Red Planet. Since the detour to Mars was obviously done for commercial reasons, the scriptwriters had to strain a bit to incorporate Alex Raymond's Mongo-bound storyline, and it's a bit of a surprise when part way through the serial Prince Barin of Arboria shows up for no convincing reason.

Jean Rogers as a blonde Dale Arden in
Flash Gordon



Jean Rogers as a brunette Dale Arden in Flash Gordon's Trip to Mars
Which is sexier? You decide (hint: think "blonde").

Although the sets are a bit cheaper, and some of the special effects shots have obviously been salvaged from the first serial, the acting is generally better than in 1936's Flash Gordon, and all of the main characters are played by the same actors (Jean Rogers had reportedly dyed her hair brown for another film she was making at the same time), with the addition of Beatrice Roberts as Queen Azura and Donald Kerr as Happy Hapgood. It's not as fresh or as exciting as the first serial, but Flash Gordon's Trip to Mars is still great fun, and is actually preferred by some fans.

The final Flash Gordon serial, Flash Gordon Conquers the Universe, was released by Universal Pictures in 1940. Back on Mongo this time, Ming the Merciless has been busily sending spaceships to Earth to poison the atmosphere with dust that causes the Purple Death. So Flash, Dale (this time played by Carol Hughes—who more closely resembles the Dale of the comic strips—but who is no match for Jean Rogers, whether blonde or brunette), and Dr. Zarkov must return to Mongo to once again thwart Ming's nefarious plans. On Mongo, they meet up with old friends Prince Barin and Princess Aura, now married and played by different actors, and enlist the aid of Queen Fria of Frigia to fight Ming, the treacherous Sonja, and the villianous Captain Torch to once again save the Earth. Although the storyline returns to Alex Raymond's source material (with the exception of the aforementioned "Purple Death"), the actors are getting tired and the use of stock footage increases. The costumes are beautiful, however, and this concluding installment in the trilogy has its supporters.

W
ith the coming of television, many of the old serials were rerun to fill programming time, and one of the most popular was the 1936 Flash Gordon serial. So perhaps it isn't too surprising to discover that Flash's renewed popularity gave rise to a television series in 1954. Independently produced in West Germany by Inter-Continental Film Productions, and broadcast on the DuMont Television Network, the Flash Gordon TV series starred Steve Holland (perhaps better known to pulp fans as the male model used by James Bama for the Doc Savage cover illustrations for the Bantam reprints) as Flash Gordon, Irene Champlin as Dale Arden, and Joseph Nash as Dr. Zarkov. Set in the year 2203 (though the year is reported as 3063 in one episode), Flash, Dale, and Dr. Zarkov are all agents for the Galactic Bureau of Investigation, which operates under the authority of the Galactic Council. Although the characters are fairly faithful to those created by Alex Raymond, Raymond's storyline has been completely abandoned and the series is little more than a knock-off of Captain Video. As might be expected for an independent production, the sets are cheap, the special effects aren't very special, and as an actor Steve Holland makes a pretty good male model. The series gained some notoriety when a childrens' programming watchdog group singled it out before a Senate subcommittee as an example of lurid and violent programming. After 39 episodes (some sources say 52), some of which are available on tape, the show folded and was soon forgotten. It's not great TV, it's Retro-TV—and good fun for cultists.

Flash's next television appearance had to wait until 1979, when The New Animated Adventures of Flash Gordon, produced by Filmation in the limited animation style of the 1970s, was broadcast on NBC. While remaining fairly faithful to Alex Raymond's storyline, this series of thirty-minute episodes was updated a bit to reflect the post-Star Wars tastes of its audience. The series began broadcasting on September 8, 1979, and featured the voices of Robert Ridgely as Flash Gordon and Prince Barin, Diane Pershing as Dale Arden, Alan Oppenheimer as Dr. Zarkov and Ming the Merciless(!), Ted Cassidy as Thun, and Allan Melvin as King Vultan. In the second season, the episodes were trimmed to twelve minutes and a pet dragon named "Gremlin" was introduced for the kiddies. In 1986 Filmation brought Flash back to TV as one of the characters in its Defenders of the Earth series, but Flash was overshadowed in this series by his son Rick.

Of course, no review of Flash Gordon's career can ignore the 1980 feature movie—as much as one might wish to. Featuring a catchy theme song by the rock group Queen, and starring Sam Jones as a mediocre Flash, Melody Anderson as a cute Dale, Topol as an inspired Dr. Zarkov, Max von Sydow as a nearly perfect Emperor Ming, Timothy Dalton as an overly serious Prince Barin, Brian Blessed as a delightful Vultan, and the delicious Ornella Muti as a breathtaking Princess Aura, Flash Gordon is extremely enjoyable as a laugh-out-loud cult favorite, but fails miserably as a retelling of the Flash Gordon story. Although it's fairly faithful in following Alex Raymond's original storyline, poor acting, dated and ludicrous dialogue, phony-looking set design and special effects, and a complete absence of the sense of romance and adventure so prominent in the Flash Gordon comic strip prevents the movie from being seriously considered as anything other than a parody. The only reason one can think of to justify watching this movie more than once is the beautiful and sultry Ornella Muti as Princess Aura. Cult movie lovers (of which I consider myself one) may relish the movie for its sheer badness, and the skimpy attire worn by Ornella Muti appears to defy science, but it would be difficult to recommend the movie to a general audience. Except, perhaps, to have a look at the luscious Ornella Muti—or have I already mentioned that?.

Although there are rumors that another Flash Gordon movie is currently in the works, the lastest production featuring Flash and his friends was another animated series released for syndication by Hearst Entertainment in 1996. To the horror of Flash Gordon purists, Flash and Dale have become skateboarding insouciant teenagers, mistakenly kidnapped by a self-centered and cowardly Dr. Zarkov, who is more interested in going to Mongo in order to win the Nobel prize than in order to save the Earth. In keeping with the PC times, Ming is depicted as being reptilian (reptiles being harder to offend than humans), and Princess Aura is his half-reptile, half-human daughter who still has the hots for Flash. Prince Thun of the Lion Men has been replaced by Princess Thundar, another overactive teenager. There were at least 26 half-hour episodes of this series, and a video, Marooned on Mongo, is occasionally available for aucion on eBay should anyone wish to see it.

Jim Keefe's version
of Flash and Dale.

A
lex Raymond continued working on the Flash Gordon Sunday strip until he entered the Marine Corps in 1944. Austin Briggs, who had ghosted a few of Raymond's Sunday strips and had drawn the Flash Gordon daily strip since its inception in 1940, assumed duties on the Sunday strip with Raymond's departure. With Briggs' transfer to the Sunday strip, the dailies were abandoned and weren't revived until 1951, when Dan Barry began a new series of Flash Gordon dailies in a less romantic style with a radically altered continuity, assisted by writers and artists such as Harvey Kurtzman, Al Williamson (most notable for his excellent work in various Flash Gordon comic books), Frank Frazetta, Fred Kida, Bob Fujitani, and Harry Harrison. In 1948, Briggs abandoned the Sunday strip and it was continued by Mac Raboy until his death in 1967. With Raboy's death, Dan Barry and his various scriptwriters, ghost artists, and assistants assumed duties on the Sunday strip while continuing the dailies. Dan Barry quit the series in 1990, and the dailies and Sunday strips were taken over by Ralph Reese as artist, occasionally assisted by Gray Morrow, with scripts by Bruce Jones. In 1992 the art duties were farmed out to a studio in Buenos Aires, with writing by Kevin Van Hook and Thomas Warkentin. The dailies were dropped from syndication in 1993, and Jim Keefe took over as artist and writer of the Sunday strip in 1996, and continued up to 2003.

An admirer of Alex Raymond and Al Williamson (for examples of Al Williamson's exquisite commercial artwork featuring Flash Gordon, click here—warning to those with slow connections, this page includes large image files), Jim Keefe dispensed with the ill-advised directions introduced into the series by Dan Barry, and returned Flash Gordon to the continuity established by Alex Raymond in 1934. Although Keefe halted production of new strips in 2003, King Features continues to syndicate reprints of Keefe's work. If the strip doesn't appear in your newspaper's Sunday pages, you'd be well advised to contact the paper's comics editor and request that it be picked up.
Early "Recycling"

The illustration for the cover of the Flash Gordon Strange Adventure Magazine pulp (right) was adapted by Fred Meagher from this panel of Alex Raymond's Flash Gordon Sunday strip, published on June 21, 1936.


Flash Gordon

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Sunday, May 10, 2009

Behold Fool Rush Stork

Brotherhood of Skulls has existed since antediluvian times. One of its original names was The Manhunters or The Fishers of Men or Manfishers.

From the very beginning through to now they have operated continuously. Their uniform has always been black, their symbol always a silver skull.

They believe in physical immortality. Their means of achieving it, received direct from the devil god that founded them, are as follows:

Perverted sex

Sex magick

The ritual of the Smothering Air

The binding of demons

The trafficking with "unclean spirits", "demons of air and darkness" and "devils"

Human sacrifice of the most grisly sort including exsanguination, ripping the living hearts out of victims, sacrifice of children, mass murder, mass cremation for homeopathic ie ritual magic purposes and skinning virgins alive

At different times and in different places they have arrived to establish versions of their order:

"Atlantis"- the world before the Flood - the Order of GIR.RA.UD
"Headhunters" amongst the debased of the "Children of Noah"
Sumerian and Semitic Lillith Cult
Temple of Cthon
Cult of the Nameless One
Black Order of the Book of Skulls, Ancient Britain
Etruscan Cult of Orc
Roman Dis Pater sect
Priesthood and Scribes of Rahan Capuac
Witch Cult
Aztec priesthood of Tezcatlipoca
Jesuits
Illuminati
Skull and Bones (and related Phi Beta Kappa groups)
Nazi Germany - the SS
Hell's Angels bikie movement
Vampire the Masquerade / Goth subculture controllers


At each point, the Black Order or Brotherhood of Skulls has never numbered many members- a tiny handful in fact. But their effects have always been colossal since they are communicating the literal processes of the ancient "gods", never meant for human use or human life.

Friday, May 8, 2009

Flash Gordon and My Father

My late father, God rest him, absolutely ADORED the Flash Gordon serials.

The original ones, from the 1930s. When he was a kid, even though those serials were already a good 10-15 years old, they were still playing in local cinemas as matinees and he could also hear them on radio. Being that "old" as a media product wasn't the unforgiveable sin back then that it is today.

My father's love for them encapsulated his whole red-blooded value system, which is the value system I inherited from him, as all good fathers pass to their sons.

He loved the stories, he loved the science fiction speculation, he loved the swashbuckling optimism and the heroic adventures. Although he never seemed to show it in other ways he was a great fan of pulp fiction (as long as it wasn't gratuitously obscene or too luridly violent) and his massive fancrush on science fiction led me to follow in his footsteps. One of the heartbreaks of his declining years for both of us was the death of the sort of science fiction types we'd read through our lives, to be replaced by pablum and "franchise" books, barely worthy of the name of book itself.

But in Flash Gordon, in all media, Dad found the apogee of his delight, and for many years so did I. Dan Dare had his moments, as did many other sub-Flash heroes and heroines... But Flash was truly Emperor of the Universe.

Dad loved the women in Flash Gordon too- and he was quite correct in his judgment. There have been stunning women portraying the characters over the decades- from the original ingenues to the smoldering Ornella Muti and beyond.

I never got to find out what Dad thought of the Rocketeer, but I imagine its basic type of story would have appealed to him and I know the incredible art of Dave Stevens would have amused and captivated him too.

For my father- my somewhat respectful and hopefully humorous parody-adventure of Flash Gordon is respectfully dedicated to you, Dad. I love you. And I still miss you so much.

Flash Gordon Conquers The Internet



Wednesday, May 6, 2009

Flash Gordon Conquers The Internet

Based on the original 30s radio shows in the public domain, I will be doing an animated film of the original Flash Gordon adventure!

There will be some updates in the look- SOME, but it will be faithful to the public domain soundtrack being used... In all its "glory"...

Tuesday, May 5, 2009

Sunday, May 3, 2009

Zoo Free Love

WIZARD OF OZ and the ILLUMINATI MIND CONTROL

CHAPTER 5 SCIENCE NO. 5 - THE SKILL OF LYING, THE ART OF DECEIT

The rule of thumb that the programmers/handlers go by is that they will say anything to get the job done. A CIA handler will tell his agent in the field whatever will work to get the field agent’s cooperation on a mission. There is no height nor breadth nor length to these people’s deception. They have successfully kept some deceptions active for decades, if not for centuries.

THE USE OF FICTION

The history behind the Wizard of Oz programming is interesting. It suggests that the Wizard of Oz has had an important part in the occult world all along. One of the secrets of the Mystery Religions, especially the Egyptian Isis mystery religion was the ability to use drugs and torture to create multiple personalities. The word Oz is known to have been used by its author as an abbreviation for Osirus. Monarch victims have the “golden penis of Osirus” placed into them. The Grimm brothers, who were cabalistic jews, gathered the folk occult stories together. Their stories are full of spells, trances, and drugs. Sleeping Beauty is put to sleep, and the trigger to wake her is a kiss on the lips. These are serious hints that the occult world didn’t stop programming people with dissociative states and triggers when the ancient Egyptian empires fell. Instead of using modern lingo such as “hypnotize”, they would say “cast a spell.” Later in Freemasonry, the Right Worshipful Master would “charge” (meaning hypnotize) an initiate. The occultist Baum, a member of the Theosophical Society, was inspired by some spirit who gave him the “magic key” to write the Wizard of Oz book, which came out in 1900. The book’s story is full of satanic activity and satanic thinking. The story was chosen in the late 1940s to be the basis for the Illuminati/Intelligence community’s trauma-based total mind control programming. As a way of enhancing the effect of the programming, Monarch slaves are conditioned to place trigger items into their lives. When the movie was made, Judy Garland, who had lived a life touched by the occult world’s abuse, was chosen to act as Dorothy. Judy’s later husband, Mickey De Vinko was a satanist and the chief assistant to Roy Radin, a rich satanist who worked with the Illuminati, and who controlled the “Process church” covens which had as members mass murderers Berkowitz and Monarch slave Charlie Manson. There are several members of the Carr family, who are also tied into both De Vinko and Radin’s Process Church and the Illuminati. With the numerous long term connections between the Wizard of Oz books, and movie to the highest levels of the occult world, it is not without reason that one can theorize that the original series of 14 Oz books had an ulterior motive behind them. The 14 books of the Oz series are: 1) The Wizard of Oz, 2) The Land of Oz, 3) Ozma of Oz, 4) Dorothy and the Wizard in Oz, 5) The Road to Oz, 6) The Emerald City of Oz, 7) The Patchwork Girl of Oz, 8) Tik-tok of Oz, 9) The Scarecrow of Oz, 10) Rinkitink in Oz, 11) The Lost Princess of Oz, 12) The Tinman Woodsman of Oz, 13) The Magic of Oz, 14) Glinda of Oz. These books are still being sold, and are being read to children who are being programmed with trauma-based total mind control. The 14 books came out in various editions. The originals came out in 1900 and shortly thereafter. In the 1930s, the 1940’s, and the 1950’s the words were retype set and given different pages. (When working with a survivor it might help to identify what decade the edition the slave was programmed with, because the pictures and the page numbers varied from edition to edition.) Of course, having good pictures is an asset in programming, because the child will visualize off of the pictures when building its internal world. In addition to this, large Wizard of Oz theme parks are being built by the Illuminati to provide places to carry out programming and to reinforce the programming which traps the minds of Monarch slaves. The best example of this, is the audacious MGM Grand complex in Las Vegas, although other theme parks around America also use a Wizard of Oz theme. If you have read Fritz Springmeier’s Be Wise As Serpents you will know how the Theosophical Society ties in with Freemasonry, Satanism, and Lucis Trust. Several famous members of the Theosophical Society include:

Adolf Hitler (a Satanist who practiced human sacrifice, & who had HPB’s book at his side.)

Mahatma Gandhi (a Hindu guru considered a god by some of his followers. Gandhi was successful with the British in part because of the Theosophical Society.)

H.P. Blavatsky (The founder of the Theosophical Society. She referred to herself as HPB. She was initiated by Illuminatus Mazzini into Carbonarism , a form of Freemasonry, illumined by the Great White Lodge in 1856, was part of the Hermetic Brotherhood of Luxor, and spent lots of time with the Eddy Illuminati family in Vermont, who were well known mediums. She also was a member of the occult fraternities the Order of the Druses, the Adoptive branch of the Ancient & Primitive Rite of Freemasonry, & the hermetic masonic rites of Memphis and Mizraim. She was trained to handle live snakes by Sheik Yusuf ben Makerzi, the chief of the Serpent Handlers, and she was hypnotized by occultist Victor Michal and to some degree from 1866 under his influence.)

Alice Bailey (head of Lucis Trust)

Henry Steel Olcott (an important occultist)

Elvis Presley (a Monarch slave)

Manly P. Hall (an Illuminati Theta Programmer, and at least a Grand Master within the Illuminati who sat on the Grand Druid Council.)

Frank Baum

The man who wrote the book The Wizard of Oz was a member of the Theosophical Society. L. Frank Baum lived in South Dakota and created The Wizard of Oz book as a theosophical fairy tale incorporating the “ancient wisdom” of the Mystery Religions. The books have so much material from inside the secret world of the Illuminati, that the few who understand the Illuminati wonder if Baum wasn’t an insider. The moral of the book is that we must rely upon ourselves, for we alone have the power to save ourselves. This was part of the original lie of Satan in the garden. Satan has simply dressed up the same original lie into different packaging and is distributing it worldwide as the most popular American fairy tale. L. Frank Baum explained how he came to write the book, “It was pure inspiration....It came to me right out of the blue. I think that sometimes the Great Author has a message to get across and He has to use the instrument at hand. I happened to be that medium, and I believe the magic key was given me to open the doors to sympathy and understanding, joy, peace and happiness.” (Hearn, Michael P. ed., The Annotated Wizard of Oz. NY: Clarkson N. Potter, 1973, p. 73.) In Baum’s time, the head of the Theosophical Society, H.P. Blavastsky had been putting out her journal called Lucifer. In other words, I highly suspect Baum knew what the Theosophical Society was all about, and that he himself was deeply into the occult. The book The Wizard of Oz came out in 1900. (It wasn’t until 1939 that the movie was made.) This next section will cover the numerous parallels between the Wizard of Oz material and the occult world and the occult world’s programming. This is broken up into 3 sections:

PARALLELS BETWEEN:

A. THE WIZARD OF OZ BOOK & OCCULTISM

B. THE WIZARD OF OZ MOVIE & ILLUMINATI RITUALS

C. THE WIZARD OF OZ SERIES OF BOOKS AND MONARCH PROGRAMMING

For those readers who are unfamiliar with the occult world, some of these parallels at first may seem stretched. When one sees how many parallels there are, then occult nature of the books begins to sink in. The authors could provide the reader with more parallels between Satanism and The Wizard of Oz book, but we believe the following will suffice. (Some parallels may also apply to the movie.)

A.THE WIZARD OF OZ BOOK & OCCULTISM

Auntie Em represents HP Blavastsky’s “Mulaprakriti” and Uncle Henry represents HPB’s “Unmanifested Logos”.

The carnival huckster (later seen as the Wizard) is advertised as being connected to the royal families of Europe. The Royal families of Europe are secret Satanists, from powerful occult bloodlines.

Dorothy is brought to Oz by a cyclone. The word cyclone originally was the greek word cyclone which means both a circle or the coil of a snake. In other words, the snake takes Dorothy to Oz.

Dorothy’s three companions represent the mental, emotional, and physical bodies that HPB wrote about. Dorothy acquired these three companions just as Theosophy says we will when we come into incarnation. To quote HPB “There is no danger that dauntless courage cannot conquer; there is not trial that spotless purity cannot pass through; there is no difficulty that strong intellect cannot surmount.” (Algeo, John. “The Wizard of Oz: The Perilous Journey”, The Quest, Summer 1993. Wheaton, Il.: Theosophical Society in Amer.,p. 53.)

In the book, the Tin Woodsman was an ordinary being of flesh, but a wicked witch casts a spell on him. He kept chopping off parts of his body, which were then replaced by a tinsmith, until he became the first bionic man, with a completely mechanic body. Boy, hasn’t the Illuminati been trying to do this one!?

In step with Wizard of Oz mind-control programming, the wicked witch & naughty children cannot stand water but dissolve. Robotic clones are created in the minds of Monarch slaves which can only be mentally dissolved by mentally placing water on them.

Dorothy goes questing in Oz. Theosophists (New Agers, Satanists, etc.) go on quests.

Oz is shaped like a Mandala with Emerald City in the center, an impassable barrier, four-sidedness, 4 symbolic colors, the circle and the center. The colors and directions given in Oz may also have other symbolic meanings in the occult. For instance, Emerald City is green and green is the fourth point of the Eastern Star (women’s Freemasonry) & Satan’s color. A The route that Dorothy follows in Oz has the shape of a T with its 3 points defining an inverted triangle.

The Yellow Brick Road suggests gold, the perfect metal. Gold is considered to be divine & the source of wisdom by the Illuminati. HPB had written “There is a Road, steep and thorny, beset with perils of every kind, but yet a Road, and it leads to the very heart of the universe.” This was the yellow brick road that Baum the Theosophist sought to portray in his fairy tale. The book contains a great deal more perils and adventures on the road than the movie.

The article shows that the great teacher is a humbug but Dorothy and her own companions have the abilities to help themselves if they only will realize their own powers through the help of the good witch of the south. This is in line with the Theosophical Society’s, the Church of Satan’s, and other occult groups teachings which teach that the individual has the capabilities within themselves to achieve anything. One of the Theosophical Society’s publications states, “Prepare thyself, for thou wilt have to travel on alone. The teacher can but point the way.” (“The Voice of Silence” as quoted in “The Wizard of Oz” article, Quest, Summer, 1993 p. 54.) Part of the mind set of Satanism is that reality and fantasy become blurred. This blurring has been part of the brainwashing that is being systematically given to American children. Within Monarch slaves they have an incredibly difficult time trying to differentiate between reality and fantasy because of all the mind programming they have been subjected too. There are several techniques which will determine for Monarch survivors if their memories are real. In the board game called Illuminati!, put out by people connected to the Illuminati, the game states, “Don’t believe any of this, it is all true.” These are the type of double-bind self contradictory statements that Satanists love to spew out. Monarch slaves are programmed full of double-binds. With the Satanist’s penchant for blurring reality in mind, read the following quote where the President of the Theosophical Society admiringly describes the Wizard of Oz, “Part of Baum’s joke is that things are never what they seem. Dorothy seems to be a simple and harmless little girl, but it is she who kills the wicked witches of both East and West. The Scarecrow seems to lack brains, but he has all the ideas in the company. The Tin Woodman seems to lack a heart, but he is so full of sentiment that he is always weeping. The Cowardly Lion seems to be a coward, but he takes brave action whenever it is called for. The Wizard seems to be great and powerful, but he is actually a humbug. Oz seems to be a glorious and delightful land and Kansas to be dry, gray, and dull--but Oz is a world of illusion and Kansas is really home. Things are not what they seem, in Oz or Kansas.”

B. RELATIONSHIPS BETWEEN THE MOVIE & ILLUMINATI RITUAL

The close relationship between Dorothy and her dog is a very subtle connection between the satanic cults use of animals (familiars). Those who read Vol. 1, may remember the example written about on how Illuminati Kingpin Alfred I. du Pont’s dog Mummy served as Alfred’s familiar spirit. Animals are very often used in ritual. This connection is very subtle, perhaps too subtle for it to be worthy of mention, except that those in Satanism will see the significance, even though others won’t. What is trivial to one person may not be to the next. A Monarch slave as a child will be allowed to bond with a pet. The child will want to bond with a pet anyway because people are terrifying by this point. Then the pet is killed in porn to traumatize the child. This happens quite frequently.

The Rainbow--with its seven colors have long had an occult significance of being a great spiritual hypnotic device. Constance Cumbey, in her book The Hidden Dangers of the Rainbow, which exposes the New Age Occult Movement, correctly writes, “The Rainbow (also called the Antahkarana or Rainbow Bridge). This is used as a hypnotic device.,, (p.261) The Supreme Council of the 33rd0 of Freemasonry has used the rainbow on the cover of their magazine. In a book teaching Druidism (as in Illuminati Druidism), The 21 Lessons of Meryln, the Rainbow is described as “A true sign of Magic...it exists in both worlds at once!”

Elvira Gulch is a woman who owns 1/2 of the county where Dorothy lives in Kansas. She is shown later in the Land of Oz transformed as a witch. Many of the Illuminati elite are rich and lead double lives. People who meet them at a ritual will see the dark side of these rich people. At the rituals, people are tranced from drugs, chanting, and mind control; they are “over the rainbow.”

Professor Marvel uses a crystal ball which he claims was used by the Priests of Isis. Isis and Osirus are both part of the Ancient Egyptian Mystery religion and modern Satanism.

Kansas is black & white, Oz is in color. Reality is downplayed in witchcraft and satanism. Make believe is considered more colorful than reality. Also as an escape from this world, Satanists use drugs to enhance their perception of colors. Some of the famous writers took drugs which put them into altered states of consciousness in order to release their creativity.

Both good and bad witches in Oz carry staffs. In Satanism & the Illuminati, Priestesses also carry similar staffs. Also the idea that there are good and evil witches -- white and black magic is straight from the occult, and follows the Illuminati’s gnostic beliefs.

Several scenes involve transference of power via transference of slippers from a witch. In Illuminati ritual, to transfer power, a Matriarch, or Mother of Darkness will kill the person in a position of authority with a strike on the forehead with a special mace like staff, and then put on their slippers. Ruby colored slippers are actually used as a symbol of authority at the Matriarch level in the Illuminati. The shoes are said to be golden at the Mothers of Darkness level in the Illuminati.

The bad witch uses poison, poisoned apples and poisoned brew. Satanic covens in real life do this same thing.

The wizard is portrayed as someone who rules and is benevolent. In witchcraft, wizards do rule (even though in some groups wizards are simply called witches.)

Winged monkeys in the haunted forest, harken back to the pagan cultures which placed wings on various animal idols.

The trees are alive like animals in the film. The Illuminati believe that the trees have spirits. In one of the Oz films, even the stones have personality and talk. This comes straight out of Druidism.

The Tin Man is a person which has been part of Illuminati ceremonies. The first initial ceremony that children of the Illuminati may remember is where a Tin Man with an ax watches over their presentation to the coven.

If the parent presents the child, nothing is done, but if the parent refuses to present the children, then the Tin Man in the ritual will use his ax to sever the child’s head on a chopping block. (The Tin Man will also appear in Tin Man programming, and a Tin Man’s Castle may well be built in the Monarch slave’s head, but the point here is that the Tin Man is also part of ritual.)

Dorothy kills the wicked witch of the west by a sharp blow to the forehead with the witch’s staff. This is what is done in the Illuminati, when an elderly witch is being replaced. In both cases, whether in the movie or in real life in the Illuminati, when a witch is killed the people have a ceremony. In real life in the secret world of the Illuminati, a scroll is used to certify that the witch is dead both physically and spiritually. (The movie had this in it.) Just one example of the thousands of Illuminati Grande Dames killed in ritual like this is the recent billionairess Dorris Duke, who was ritually killed in 1993 on Halloween, also called All Hallows Eve, in the Beverly Hills, CA area. The Illuminati method for killing a Grande Dame and passing her spiritual power on is done with reverence. No blood is to be spilt out of respect for the elderly woman who gives up her life willingly. At death, the last breath is inhaled by the replacement to transfer the power. There may be as many as 2,197 Grande Dames at such a coronation. The Grande Mothers (whose Systems are mistresses for Satan and hierarchy leaders) and the next rank, the Grande Dames, are often veiled in ritual and would wear robes with different colored lining. The different colors of linings show the different grades. A typical Grande Mother vestment or robe is a black satin & velvet dress with a draped neckline, and ritual symbols down the center of the robe. After someone like Dorris Duke willingly gives her (their) life, her head is served on a silver platter at a banquet. For the deeper alters of a high level slave, this is part of their way of life; they are told it is their birthright and heritage. Such alters will not be able to identify with the culture at large. To give up their programming, means giving up their magickal powers and their culture, which they have had to work hard for. To leave they would need to see something that they perceive as better. They are locked into their slavery due do to their exposure to only a secret Illuminati culture and value system. Because of their dissociation with the rest of their own System of alters, they don’t perceive a need to change their lifestyle anymore than a Bushman would be able to feel a need to wear shoes. Why should the Bushman want shoes, if he has gotten along without them? Why should a high level slave want change, when they have gotten along without it? Experience shows that during deprogramming most of the lower level alters will want to escape their abuse, but the higher level ritual alters are so separated from the abuse they don’t want to give up their status and culture.

Throughout the movie, scrolls are used. As stated, Moriah continues to use scrolls for their official ritual functions.

The wicked witch of the west says that her question was not “to kill or not to kill” Dorothy?, but rather HOW to kill Dorothy for “these things must be done delicately.” This is exactly the attitude displayed within the Illuminati.

The film has occult items such as crystal balls in several scenes, haunted castles, magic and a benevolent wizard.

At one point the Lion says, “I do believe in spooks [ghosts], I do, I do, I do, I do.” (Today, intelligence agents are also called spooks.)

The Lion, Tinman, Dorothy and the Scarecrow must prove themselves worthy to receive the benevolence from Oz. The occult is full of rituals where the participant must prove himself worthy.

The phrase “seeds of learning” is used in Illuminati ceremonies. Staffs like the movie has are used by various occult groups. These staffs often serve as stun guns, so that shocks can be applied during ceremonies. The shocks may be applied so that the victim doesn’t remember the ceremony.

C. PARALLELS BETWEEN THE WIZARD OF OZ SERIES OF BOOKS AND MONARCH PROGRAMMING

The following are parts of the Wizard of Oz Monarch Programming, which is a base programming put in when the child is very young. Some of the slaves know portions of the Wizard of Oz script word-for-word.

Dorothy is told she doesn’t have a brain if she has gotten into trouble.

Dorothy is looking for a place where there is no trouble which is a place “over the rainbow.” To escape pain, alters go over the rainbow. (This is a.k.a. in Alice In Wonderland Programming as “going through the looking glass”.

Dorothy becomes unconscious, the world begins spinning, and then she see disjointed pictures. This also happens to Monarch slaves. Later in the film, Dorothy states, “My! people come and go so quickly.” This is exactly what happens to the Monarch slave whose multiple personalities come and go. When the multiple personalities switch in and out very fast a spinning process can start which can be dangerous if it doesn’t stop. Just like most hiccuping stops on its own, the rapid uncontrolled switching (which can be triggered by stress) usually stops on its own. Systems which subconsciously know they are going to be tortured and used may out of a subconscious fear begin this revolving switching. It is said that the Monarch victim will become comatose if the rapid spinning goes on too long. Personalities are switched in what are called “tornado spins” or “tornado spinning” and personalities called “spin off’ personalities come up according to the number of revolutions the slave is commanded to spin. By spinning the slave, the master can choose what sexual perversion he wants as each “spin off’ personality has been trained to carry out a different perversion.

Over the rainbow in Oz is for the Monarch slave to be in a trance, and into a certain area of the programming. To be fluctuating at both ends as an observer and not a participant or to go to the other extreme and become a participant. The theme song of the movie goes, “Somewhere over the Rainbow...there’s a land where the dreams that you dare to dream really come true.” These lyrics are a method to hypnotically confuse the brain to perceive that the “over the Rainbow experience” (which is usually horrible abuse) is a “dream”. The dissociative mind is only too happy to call the trauma a dream, which is lived as a reality for a moment, but is nevertheless recorded by the mind as a fantasy. The term for this is cryptoamnesia, which means the process where the proper functioning of memory is hypnotically messed up. The slave’s internal world becomes “reality” and the external real world becomes the Land of Oz which is perceived as make-believe.

Dwarfs are used in the internal programming. (Hollywood hired a large number of them for the movie’s cast. They are called Munchkins in the movie.) Mengele, known as the programmer Dr. Green, was especially interested in experimenting traumas on dwarfs.

For bona-fides & recognition signals, the Monarch slaves wear diamonds to signify they are presidential models, rubies to signify their Oz programming for prostitution, and emeralds to signify their programming to do drug business. Rings are also used to signify what activity the slave is doing, and what rank or level they are in the occult.

Monarch slaves are taught to “follow the yellow brick road.” No matter what fearful things lie ahead, the Monarch slave must follow the Yellow Brick Road which is set out before them by their master. For some slaves used as track stars, their Yellow Brick Road was the track they had to run. The Yellow Brick Road is the runway in which alters were trained to fly off from to exit their internal world and take the body. The Yellow Brick Road also pertains to the assignment that an alter is given. To follow the Yellow Brick Road is to go down the road that has been assigned by command. The Yellow Brick Road programming is placed into the child’s mind via the Yellow Brick Road of the Wizard of Oz story. Remember the key words, “Follow the Yellow Brick Road.” To get someone onto the Yellow Brick Road you must know the access code to get them through the poppy field. The color codes are important to get an alter through the field of poppies. “Fiddler” is important word to get to the yellow brick road (it signifies the programmer in the context of “the programmer is here, go over the rainbow”) and then the alters eat what is variously called MUSIC or a SCRIPT or A LETTER which are words meaning “instructions.” In the 1900 edition of the book on page 3 1-32 says (programming cues are in caps), “She closed the door, locked it, and put the KEY carefully in the pocket of her dress. And so, with Toto trotting along soberly behind her, SHE STARTED ON HER JOURNEY. THERE WERE SEVERAL ROADS NEAR BY, BUT IT DID NOT TAKE HER LONG TO FIND THE ONE PAVED WITH YELLOW BRICK. Within a short time she was walking briskly toward the EMERALD CITY, HER SILVER SHOES tinkling merrily on the hard, YELLOW ROADBED. The sun shone BRIGHT AND THE BIRDS SANG SWEET and Dorothy did not feel nearly as bad as you might think a little girl would who had been SUDDENLY WHISKED AWAY FROM HER OWN COUNTRY AND SET DOWN IN THE MIDST OF A STRANGE LAND....The houses of the Munchkins were odd-looking dwellings,...ALL WERE PAINTED BLUE, for in this country of the EAST BLUE WAS THE FAVORITE COLOR.. .FIVE LITTLE FIDDLERS PLAYED AS LOUDLY AS POSSIBLE AND THE PEOPLE WERE LAUGHING AND SINGING, while a big table nearby was loaded with DELICIOUS FRUITS [the programs] and NUTS, PIES, and cakes, and many OTHER GOOD THINGS TO EAT [scripts to ingest].”

Monarch slaves are threatened with fire, like the Scarecrow. They also see people dismembered like the Scarecrow was dismembered. For them it is not an idle threat. The front alters also have hearts full of pain like Scarecrow.

Certain alters are not given courage and most have their hearts taken from them. The alters who are programmed not to have hearts are hypnotically told the same thing the Tin Man says, “I could be human if I only had a heart.” (See Chapter 4, where it discusses hypnosurgery.)

Some alters are taught they are stupid and have no brain. Scarecrow is asked the question, “How can you talk without a brain? Scarecrow answers, “Some people without a brain can do a lot of talking.”

Emerald City is used in programming. Emerald City in the programming will be well guarded and hard to reach. Several important things will be placed inside the Emerald City, including the deeper Illuminati alters.

Castles are used in the programming. Lots of castles, either in the mind’s imagery or purely demoniac are placed into the slave’s mind.

Winged monkeys are able to watch in the movies somewhat as spy satellites. Winged monkeys are used in the programming to create a fear of always being watched.

The Flowers used in the movie and books, are also used in the programming. The witch uses poppy flowers to put the lion and Dorothy to sleep. Opium and cocaine are used to tranquilize Monarch slaves. An alter of a slave will get trancy when they enter the poppy field. (Heroin and cocaine come from poppies.) In the film, Dorothy says, “What is happening? I’m so sleepy.” She and the lion get sleepy for no apparent reason very quickly. Monarch slaves do the same thing. Waking up with snow in the movie is nothing less than an allusion to cocaine which is a common substance given to Monarch slaves to help make them dependent.

Dorothy states at one point in the movie that she “doesn’t remember”. She then follows this up with “I guess it doesn’t matter.”

Hour glasses appear in the movie in several spots, and they also occur in various contexts in people who have been programmed by the Monarch programming. Some victims of the programming have hour glass configurations each created around a separate axis. The hour glasses have the ability to be rotated which causes certain alters to be brought forward. Monarch slave masters have also used hour glasses to indicate to their slaves that death was imminent and that time was running out. This is the way the wicked witch used the hour glass on Dorothy, who happens to be saved just as the hour glass runs out. Some Monarch slave masters actually have large hour glasses (sometimes 3’ high) like in the movie. (In Cathy O’Brien’s autobiography of her life as a Monarch slave Transformation of America she has a photograph of Sec. of Defense Cheney’s hour glass on his desk with him seated. This hour glass was used to threaten her as a slave.) When a Monarch slave sees an hour glass they may switch, but basically it is a reminder that the slave masters have the power to run a person’s time out. One slave was told, “The sand that sifts through the hourglass is a measure of your worthiness to live or die.” The hour glass shape is basically two triangles which touch at their peaks, or an X configuration with the tops of the X having lines. The child’s mind is to visualize this configuration as a compass, as the four points N, 5, E, W, they are to see the X configuration also as an x, y axis upon which a city is structured upon. The hour glass then is tied to several other concepts which integrate themselves well with the basic X shape of the hour glass. Circles with X’s are stacked on top of each other to form the different worlds which contain the alters. The two pie shaped pieces of the hour glass will hold one world, while the hour glass configuration made by the other two adjacent pieces hold the looking glass mirror images of each alter. Each hour glass is called 2 quadrants. To remove 4 quadrants would of course take both alters and mirror images with it. In mathematics, it could be stated that regular alters are in quadrant x,y and -x, -y. And that the looking glass people--the mirror images, early splits made from each alter as a copy, are in quadrants -x, y and x, -y. (See the chapter on how to structure a System)

“Click your heel together and be there in a snap” is both in the movie and in the programming cues. Military Monarch slave models are especially taught to click their heels together. (Joseph Mengele, Dr. Black, Michael Aquino and others also liked to click their Nazi boots together while they programmed children.)

“SILENCE!” is both in the movie and a command of the Oz Programming. This word SILENCE stands for a code of “no talk” which runs deep in the mind of the slave.

As in the movie, certain slave alters will talk to their masters as Dorothy did, “If you please, Sir...”

The keys (and triggers) to control the switching of personalities and to give orders are frequently based on Wizard of Oz material. A Monarch slave owner might use cues based on the Wizard of Oz such as

“THERE’S A PAIR OF MAGIC SHOES TO WEAR WITH YOUR DRESS...SOMETHING IN LIGHTENING...TO TRANSPORT YOU FASTER THAN THE OL’ RUBY SLIPPERS.” (Quote from O’Brien, Cathy. “Operation Carrier Pigeon”, Monograph, pg. 2.) A cryptic death threat given to Cathy as a slave by handler Sec. of Defense Cheney to kill her daughter by taking off her daughter’s ears was then backed up by the hypnotic command based on Wizard of Oz programming, “I’LL GET HER, MY PRETTY. . .YOUR LITTLE GIRL.”

The programming that is related to the Tin Man produces a monarch slave which is

described as “A WELL OILED MACHINE” by the handlers. U.S. Sen. Allen Simpson, one of the perpetrators of the Monarch Program, referred to the Tin Man programming when he told a slave “THESE ARE BUT EMPTY SHELLS OF THE LIFE THEY WERE ONCE POSSESSED. LIKE YOU ARE--EMPTY AND VOID OF LIFE.”

Phrases like “troubles melt” can be found in both the movie and in the programming.

Let’s now cover what programming is based on the Oz books, that isn’t found in the movie. A great deal of the Oz programming comes from the books, of which only the first book was used for the movie. The public is familiar with the movie which is based on the first one, but in general doesn’t know the other books exist. We will not go through the scripts of all 14 books--there isn’t room for that, but by going through a few of the books, the reader will begin to see the massive amount of material which was used for programming scripts in the Oz books. It is one thing to say, the Wizard of Oz was used as a mind-control programming script, but that doesn’t convey the extent of it. Large sections of the 14 books are almost perfect for mind-control. If you take the trouble to read these quotes, you may find yourself startled at what you thought at first glance was a nice child story!

pg. 38 Book 1 The Wizard of Oz, “That is true,” said the Scarecrow. “You see,” he continued, confidently, “I DON’T MIND MY LEGS AND ARMS AND BODY BEING STUFFED, BECAUSE I CANNOT GET HURT. IF ANYONE TREADS ON MY TOES OR STICKS A PIN INTO ME, IT DOESN’T MATTER, FOR I CAN’T FEEL IT.” This is teaching dissociation. The slaves actually do have pins & needles stuck into them, or toothpicks under their fingernails, etc. If anyone asks the slave a question they can say according to the script, “I don’t know anything.” The infant slave will be taught words like this “STICKS & STONES MAY BREAK MY BACK, BUT WORDS WILL NEVER HURT ME, BECAUSE I’M NOT HERE.”

pg. 41 Book 1 The Wizard of Oz, “It never hurt him, however, and Dorothy would pick him up and set him upon his feet again, while he joined her in laughing merrily at his own mishap.” This is teaching the programming “IT’S O.K., IT DOESN’T MATTER, NOTHING WRONG HERE” that the slave is taught to tell the world.

pg. 40 Book 1 The Wizard of Oz, “nest of rats in the straw, ...at the scarecrow.” The mice in a Monarch System which control the turning of the quadrant’s clock, hide from the scarecrow. pg. 42 Book 1 The Wizard of Oz, “fewer fruit trees...” If the slave eats the fruit [code for programs] without permission, the dwarf munchkins will beat the alter with their clubs. Also on this page HOME is called KANSAS, and it is described as “how gray everything was there.” In other words, reality isn’t as great and colorful as the make believe internal world you can build in your mind to escape this hell we’re giving you.

pg. 43 Book 1 The Wizard of Oz, The Scarecrow looked at her reproachfully, and answered, “My life has been so short that I really know nothing whatever. I was only made day before yesterday. What happened in the world before that time is all unknown to me. Luckily, when the farmer made my head, one of the first things he did was to paint my ears, so that I heard what was going on.” This is the script read to new alters, to help them have a clean slate before programming them with another new script. This is coupled with the Wizard of Oz theme that the Wizard gives brains (what to think) to the Scarecrow. The alters are hypnotically programmed that if they think on their own--then they are empty headed like the Scarecrow. They can only have something in their head if they let the Wizard give them what to think.

pg. 45 Book 1 The Wizard of Oz, “It was a lonely life to lead, for I had nothing to think of, having been made such a little while before.” This is part of the script read a new alter.

pg. 48 Book 1 The Wizard of Oz, “So the Scarecrow led her through the trees until they reached the cottage, and Dorothy entered and found a bed of dried leaves in one corner. She lay down at once, and with Toto beside her, soon fell into a sound sleep. the Scarecrow who was never tired, stood up in another corner and waited...” This was used to program part of a script for an Illuminati ceremony.

pg. 57 Book 1 The Wizard of Oz, “So the old woman went to the wicked Witch of the East, and promised her two sheep and a cow if she would prevent the marriage. Therefore, upon the wicked Witch enchanted my axe, and when I was chopping away...the axe slipped all at once and cut off my left leg. “This at first seemed a great misfortune, for I knew a one-legged man could not do very well as a woodchopper. So I went to a tinsmith and had him make me a new leg out of tin. The leg worked very well, once I was used to it; but my action angered the wicked Witch of the East, for she had promised the old woman I should not marry the pretty Munchkin girl. When I began chopping again my axe slipped and cut off my right leg. Again I went to the tinner, and again he made me a leg out of tin. After this the enchanted axe cut off my arms, one after the other; but, nothing daunted, I had them replaced with tin ones. The wicked Witch then made the axe slip and cut off my head, and at first I thought that was the end of me. But the tinner happened to come along, and he made me a new head out of tin.” This is an Illuminati ceremony script done by Dr. Mengele with children at a very young age. It was a blood oath to “Green” that if they let anyone touch the programming they would cut themselves.

pg. 58 Book 1 The Wizard of Oz, “...splitting me into two halves. Once more the tinner came to my help and made me a body of tin, fastening my tin arms...But alas! I had now no heart, so that I lost all my love for the Munchkin girl... I had known was the loss of my heart. While I was in love I was the happiest man on earth; but no one can love who has not a heart, and so I am resolved to ask Oz to give me one.”

pg. 66 Book 1 The Wizard of Oz, The Scarecrow, the Tin Woodsman and Dorothy expect that the Wizard of Oz can give a brain, a heart, and send Dorothy back to Kansas. Under programming the Master as the Wizard can give alters what he wants including sending them back to Kansas (their internal reality). pg. 77 Book 1 The Wizard of Oz, “...they could see the road of yellow brick running through a beautiful country, with green meadows dotted with bright flowers and all the road bordered with trees hanging full of delicious fruits.” This is used for the imagery of the yellow brick road.

pg. 87 Book 1 The Wizard of Oz, “Scarlet poppies...their odor is so powerful that anyone who breathes it falls asleep, and if the sleeper is not carried away from the scent of the flowers he sleeps on and on forever. But Dorothy did not know this, nor could she get away from the bright red flowers that were everywhere about; so presently her eyes grew heavy and she felt she must sit down to rest and to sleep.” This is an important part of the programming. This is the story line for trancing deep. pg. 112 Book 1 The Wizard of Oz, “Then the Guardian of the Gates put on his own glasses and told them he was ready to show them to the palace. Taking a big golden key from a peg on the wall he opened another gate, and they all followed him through the portal into the streets of the Emerald City.” This is helpful imagery in setting up the internal Emerald City and its guards.

BOOK 3. OZMA OF OZ

pg. 20 Book 3 Ozma of Oz, “But the wind, as if satisfied at last with its mischievous pranks, stopped blowing this ocean and hurried away to another part of the world to blow something else; so that the waves, not being joggled any more, began to quiet down and behave themselves.” Used to create protective programming, notice how the wind is personified.

pg. 23 Book 3 Ozma of Oz, “So she sat down in a corner of the coop, leaned her back against the slats, nodded at the friendly stars before she closed her eyes, and was asleep in half a minute.” Alters may be trained to trance when placed in a corner.

pg. 27 Book 3 Ozma of Oz, “No, indeed; I never care to hatch eggs unless I’ve a nice snug nest, in some quiet place, with a baker’s dozen of eggs under me. That’s thirteen, you know, and it’s a lucky number for hens. So you may as well eat this egg.” This has been used often to get 13 splits when torturing. Many Illuminati Systems were set up on 13 grids.

pg. 30 Book 3 Ozma of Oz, “Next to the water [programming cue to build Atlantis] was a broad beach of white sand and gravel [programming cue to build Troy], and farther back were several rocky hills, while beyond these appeared a strip of green trees [programming cue to build a green forest] that marked the edge of a forest. But there were no houses to be seen, nor any sign of people [programming cue for alters to be invisible] who might inhabit this unknown land.” This page along with others near it, have been used to build the structures in the internal world of Illuminati slaves. In brackets are a sample of how it could be used when building an internal world.

pg. 34 Book 3 Ozma of Oz, “Why eating live things....You ought to be ashamed of yourself!” “Goodness me!” returned the hen, in a puzzled tone; how queer you are, Dorothy! Live things are much fresher and more wholesome than dead ones, and you humans eat all sorts of dead creatures.” This is used to encourage cannabalism.

pg. 35 Book 3 Ozma of Oz, “...a large sized golden key.” To encourage the imagery of golden keys, which are used frequently in the internal system. The next chapter “Letter in the Sand” has singing trees in it, which have been popular items for the Illuminati due to their druid beliefs.

pg. 39 Book 3 Ozma of Oz, “Bye, bye, and bye, when she was almost in despair, the little girl came upon two trees that promised to furnish her with plenty of food. One was quite full of square paper boxes, which grew in clusters on all the limbs, and upon the biggest and ripest boxes the word ‘Lunch’ could be read, in neat letters. The tree seemed to bear all the year around, for there were lunch-box blossoms on some of the branches, and on others tiny little lunch-boxes that were as yet quite green, and evidently not fit to eat.” Boxes are built internally in the slave’s mind and a box will contain a program. The food is the programming that the slave is to eat and digest. The programming in the box might be songs, nursery rhymes, or a poem or anything. (On page 41, there is a full page picture of a girl picking a lunch-pail from a tree limb to eat it.)

pg. 40 Book 3 Ozma of Oz, “The little girl stood on tip-toe and picked one of the nicest and biggest lunch-boxes, and then she sat down upon the ground and eagerly opened it. Inside she found, nicely wrapped in white papers, a ham sandwich, a piece of sponge-cake, a pickle, a slice of new cheese and an apple. Each thing had a separate stem,...” The lunch-boxes on the tree are the programs which the programmers put in. The stems are what link the programming stories together in the child’s mind.

pg. 42 Book 3 Ozma of Oz, “I had a pair of silver shoes, that carried me through the air. ..said Dorothy.” In the programming silver shoes are used as cues to go into altered states (i.e. through the air.)

pg. 44 Book 3 Ozma of Oz, “embroidered garments of many colors” Color programming for the ribbons.

pg. 47 Book 3 Ozma of Oz, “We’ll get you in time, never fear! And when we do get you, we’ll tear you into little bits.” “Why are you so cruel to me? asked Dorothy. “I’m a stranger in your country, and have done you no harm.” “No harm!” cried one who seemed to be their leader. “Did you not pick our lunch-boxes and dinner pails? Have you not a stolen dinner-pail still in your hand?...it is the law here that whoever picks a dinner-pail without our permission must die immediately.” The programming message to all of this is that no one had better touch the dinner-pails which represent the programs or they are to die immediately. Armies like in the story guard the internal programming of the slave.

pg. 51 Book 3 Ozma of Oz, these pages describe a crack in rocks that is a door. This is used for Petra programming.

pg. 52 Book 3 Ozma of Oz, “golden key”...”within the narrow chamber of rock was the form of a man--or, at least, it seemed like a man...his head and limbs were copper. Also his head and limbs were copper, and these were jointed or hinged to his body in a peculiar way, with metal caps over the joints, like the armor worn by knights in days of old.” These are a System’s robots which are said by the programmers to be friends, and which are invisible. You can see other people’s robots but not one’s own internal robots.

pg. 53 Book 3 Ozma of Oz, “This copper man is not alive at all.” The clone robots are made to think they are not alive, but just robots. In reality they are little child alters suited up to think they are robots.

pg. 55 Book 3 Ozma of Oz, “...back view of the copper man, and in this way discovered a printed card that hung between his shoulders, it being suspended from a small copper peg at the back of his neck.” The robots are put in by a combination of several stories. The deep sea divers of 20,000 Leagues Under the Sea, and the Wizard of Oz’s Copper Man reinforce each other. “Extra Responsive Mechanical man fitted with our special clock-work attachment. Thinks, Speaks, Acts, and Does Everything but Live. Manufactured only at our Works at Evna, Land of Ev. All infringements will be promptly Prosecuted according to Law.” This huge sign is part of the robotic programming the clone robots receive. Notice that they are drilled into total obedience--all infringements will be promptly Prosecuted. Obey the law that your Master gives you.

pg. 56 Book 3 Ozma of Oz, “DIRECTIONS FOR USING

For THINKING: --Wind the Clock-work Man under his left arm, (marked No. 1)

For SPEAKING: --Wind the Clock-work Man under his right arm, (marked No. 2)

For WALKING: --Wind Clock-work in the -middle of his back, (marked No. 3)

N.B.--This Mechanism is guaranteed to work perfectly for a thousand years.” These instructions were used to build Dr. Green’s (Mengele’s) boxes and the robots.

pg. 58 Book 3 Ozma of Oz, “The words sounded a little hoarse and creakey, and they were uttered all in the same tone, without any change of expression whatever; but both Dorothy and Billina understood them perfectly.” This was used to program the internal robots to speak in unison and to repeat themselves.

pg. 60 Book 3 Ozma of Oz, “Af-ter that I re-mem-ber noth-ing until you wound me up a-gain.” The internal robots forget and then are prepared again for war.

pg. 62 Book 3 Ozma of Oz, “From this time forth I am your o-be-di-ent servant. What-ev-er you com-mand, that I will do will-ing-ly--if you keep me wound up.” This is used to teach the internal robots obedience to their programming.

pg. 67 Book 3 Ozma of Oz, “Within the pail were three slice of turkey, two slices of cold tongue, some lobster salad, four slices of bread and butter, a small custard pie, an orange and nine large strawberries and some nuts and raisins. Singularly enough, the nuts in this

dinner-pail grew already cracked, so that Dorothy had no trouble in picking out their meats to eat.” This is given to front alters as the front programming so that they see the programs as only “fruit”.

pg. 68 Book 3 Ozma of Oz, “Do the lunch-box trees and the dinner-pail trees belong to the Wheelers? the child asked Tiktok, while engaged in eating her meal.

‘Of course not,’ he answered. ‘They belong to the roy-al fam-il-y of Ev, on-ly of course there is no roy-al fam-il-y just now be-cause King Ev-ol-do jumped in-to the sea and his wife and ten children have been trans-formed by the Nome King...you will find the roy-al ‘E’ stamped up-on the bottom of ev-er-y din-ner pail.” The Nome King in the programming became the ruler of the demons/system within the Monarch system. Several story lines from a number of sources are overlapped to reinforce the programming scripts. The programmers will use other stories to introduce themselves into the system too. In case readers don’t know, a Monarch system will have hidden powerful alters that are made in the image of their programmers, that serve as personal representatives of the programmers.

pg. 79 Book 3 Ozma of Oz, “I am only a ma-chine, and can-not feel sor-row or joy, no mat-ter what hap-pens.” This is teaching mechanical dissociation, and coincides with Tin Man programming.

pg. 83 Book 3 Ozma of Oz, “For the Princess Langwidere is a different person every time I see her, and the only way her subjects can recognize her at all is by means of a beautiful ruby key which she always wears on a chain attached to her left wrist. When we see the key we know we are beholding the Princess.” “That is strange,” said Dorothy, in astonishment. “Do you mean to say that so many different princesses are one and the same person?” “Not exactly,” answered the Wheeler. “There is, of course, but one princess; but she appears to us in many forms, which are all more or less beautiful.” Doesn’t this sound like MPD! Did Frank Baum know about MPD?

pg. 90 Book 3 Ozma of Oz, “Princess Langwidere’s sitting-room was panelled with great mirrors, which reached from the ceiling to the floor; also the ceiling was composed of mirrors, and the floor was of polished silver that reflected every object upon it. So when Langwidere sat in her easy chair and played soft melodies upon her mandolin, her form was mirrored hundreds of times, in walls, and ceilings and floor, and whichever way...” This is the mirror programming that has been done to so many victims!

pg. 91 Book 3 Ozma of Oz, “Now I must explain to you that the Princess Langwidere had thirty heads.” Isn’t this story line convenient for programming?

pg. 94 Book 3 Ozma of Oz, ...Langwidere to a position in front of cupboard No. 17, the Princess unlocked the door with her ruby key and after handing head No.9, which she had been wearing, to the maid, she took No. 17 from its shelf and fitted it to her neck....There was one trouble with No. 17; the temper that went with it (and which was hidden...)was fiery, harsh and haughty in the extreme, and it often led the Princess to do unpleasant things which she regretted when she came to wear her other heads.” Does the reader see how this is programming to switch personalities. And personality No. 17 is locked up--which is a common programming methodology. The fiery, harsh anger--those are the demonic imps that the victim is coached to accept as normal which are layered in. (See chapter 10).

pg. 98 Book 3 Ozma of Oz, “‘To hear is to obey,’ answered the big red colonel, and caught the child by the arm.”

pg. 99 Book 3 Ozma of Oz, “...the colonel had by this time managed to get upon his feet again, so he grabbed fast hold of the girl and she was helpless to escape.”

pg. 102 Book 3 Ozma of Oz, “Once a cyclone had carried her across it, and a magical pair of silver shoes had carried her back again.”

pg. 103 Book 3 Ozma of Oz, “Fist came a magnificent golden chariot, drawn by a great Lion and an immense Tiger, who stood shoulder to shoulder and trotted along as gracefully as a well-matched team of thoroughbred horses. And standing upright within the chariot was a beautiful girl clothed in flowing robes of silver gauze and wearing a jeweled diadem upon her dainty head. She held in one hand the satin ribbons that guided her astonishing team, and in the other an ivory wand that separated at the top into two prongs, the prongs being tipped by the letters ‘0’ and ‘Z’, made of glistening diamonds set closely together.” The way this was used for programming is that guard alters are made out of kittens, who believe they are fierce tigers and lions and other wild cats. Ozma, represents the Illuminati Queen Mother with her crown and scepter.

pg. 104 Book 3 Ozma of Oz, On this page we see Ozma of Oz, the Scarecrow, the Saw-Horse, the Tin Woodman, and soldiers. These characters were used in the programming. Toward the bottom of the page is something that was built into the Systems so that alters would stay in place in their internal world, “...the green carpet rolled itself up again...In order that their feet might not come in contact with the deadly, life-destroying sands of the desert.”

pg. 117 Book 3 Ozma of Oz, “Dorothy took the key to Tiktok from her pocket and wound up the machine man’s action, so that he could bow properly when introduced to the rest of the company.”

pg. 119-120 Book 3 Ozma of Oz,” ‘Let me introduce to you a new friend of mine, the Hungry Tiger.”...he displayed two rows of terrible teeth and a mouth big enough to startle anyone.’

‘Dreadfully hungry,” answered the Tiger, snapping his jaws together with a fierce click.”’ This is programming for deeper cats in an alter system. The next page tells how this is used to teach the child alter cannibalism. “...the tiger. “For my part, I’m a savage beast, and have an appetite for all sorts of poor living creatures, from a chipmonk to fat babies.’ ‘How dreadful!’ said Dorothy. ‘Isn’t it, though?’ returned the Hungry Tiger licking his lips with his long red tongue. ‘Fat babies! Don’t they sound delicious? ...If I had no conscience I would probably eat the babies and then get hungry again, which would mean that I had sacrificed the poor babies for nothing....For it is the nature of tigers to be cruel and ferocious, and in refusing to eat harmless living creatures I am acting as no good tiger has ever before acted.” This part of the book is used to help teach the child alters which think they are tigers to be cannibalistic and actually participate in eating babies. This is all filmed to be used against the mind-controlled slave.

pg. 130-3 1 Book 3 Ozma of Oz, “ ‘No one knows, exactly,’ replied the Princess. ‘For the King, whose name is Roquat of the Rocks, owns a splendid palace underneath the great mountain which is at the north end of this kingdom, and he has transformed the queen and her children into ornaments and bric-a-brac with which to decorate his rooms.’” ‘I’d like to know,” said Dorothy, ‘Who this Nome King is?’”

‘I will tell you, replied Ozma. ‘He is said to be the Ruler of the Underground World, and commands the rocks and all that the rocks contain. Under his rule are many thousands of the Nomes, who are queerly shaped but powerful sprites that labor at the furnaces and forges of their king, making gold and silver and other metals which they conceal in the crevices of the rocks, so that those living upon the earth’s surface can only find them with great difficulty. Also they make diamonds and rubies and emeralds, which they hide in the ground; so that the kingdom of Nomes is wonderfully rich, and all we have of precious stones and silver and gold is what we take from the earth and rocks where the Nome King has hidden them....the Ruler of the Underground World is not fond of those who live upon the earth’s surface, and never appears among us. If we wish to see King Roquat of the Rocks, we must visit his won country, where he is all powerful, and therefore it will be a dangerous undertaking....the furnaces of the Nome King....a single spark of fire might destroy me entirely.’ ‘The furnaces may also melt my tin,’ said the Tin Woodman; but I am going.”’ ‘I can’t bear heat,’ remarked the Princess... This is used to program in the dwarfs who mine the jewels (programs). The dwarfs are often demonic imps or gnomes, rather than being real alters. Notice that the story line fits in beautifully with the Hell Pit that the

- Programmers so often put at the basement of people’s minds. The Hell Pit would have programming to make someone burn. If someone approaches where the Dwarfs live (which is deep underground--deep in the mind) they will burn. Notice again the words diamonds, rubies, emeralds, silver and gold which are all parts of programming codes.

pg. 139 Book 3 Ozma of Oz, “ ‘But I know enough to obey my masters, and to gid-dup, or whoa, when I’m told to.” This is teaching obedience. “Lower down the table were the twenty-seven warriors of Oz.” This was used to create alters within the internal world.

pg. 147-148 Book 3 Ozma of Oz, The form was that of a gigantic man built out of plates of cast iron, and it stood with one foot on either side of the narror road and swung over its right shoulder an immense iron mallet, with which it constantly pounded the earth. These resounding blows explained the thumping sounds they had heard, for the mallet was much bigger than a barrel, and where it struck the path between the rocky sides of the mountain it filled all the space through which our travelers would be obliged to pass.

Of course they at once halted, a safe distance away from the terrible iron mallet. The magic carpet would do them no good in this case, for it was only meant to protect them from any dangers upon the ground beneath their feet, and not from dangers that appeared in the air above them. “Wow!” said the Cowardly Lion, with a shudder. “It makes me dreadfully nervous to see that big hammer pounding so near my head. One blow would crush me into a door-mat.”

“The ir-on gi-ant is a fine fellow,” said Tiktok, “and works as stead-i-ly as a clock. He was made for the Nome King by Smith & Tin-ker, who made me, and his du-ty is to keep folks from find-ing the un-der-ground pal-ace. Is he not a great work of art?”... “No,” replied the machine; “he is only made to pound the road, and has no think-ing or speak-ing at-tach-ment. But he pounds ve-ry well, I think.”...

“Is there no way to stop his machinery?” “On-ly the Nome King, who has the key, can do that,” answered Tiktok....Meanwhile the giant continued to raise his iron mallet high in the air and to strike the path terrific blows that echoed through the mountains like the roar of cannon.” This was used as the script to place in Thor, a giant who protects the programming. Very severe split brain headaches are programmed to occur to the victim, whenever the internal Thor pounds his hammer. If the programming is threatened, Thor and the imps (demons) appear, to protect it. There are an entire series of events using programming and obedient alters that takes place to protect the programming, if it is ever threatened.

pg. 159 Book 3 Ozma of Oz, “There was no reply, except that the shifting Nomes upon the mountain laughed in derision. ‘You must not command the Nome King.’ said Tiktok, ‘for you do not rule him, as you do your own people.’ The purpose of this part is to prepare the child’s alters to accept that internal Queens and other leading alters do not rule the demons that are placed into their system, and are not to order them around.

pg. 163 Book 3 Ozma of Oz, “In the center of this room was a throne carved out of a solid boulder of rock, rude and rugged in shape but glittering with great rubies and diamonds and emeralds on every part of its surface. And upon the throne sat the Nome King.

pg. 167 Book 3 Ozma of Oz, on this page is a picture of the Nome King telling Dorothy and Ozma that, “They belong to me and I shall keep them.” In other words, the imps and their jewells belong to the king of the demons. Around his throne are steps with gems, and this imagery was used to build the internal gems in a system, with Satan/the AntiChrist’s throne at the top of the stairs.

pg. 170 Book 3 Ozma of Oz, “Although this army consisted of rock-colored Nomes, all squat and fat, they were clothed in glittering armor of polished steel, inlaid with beautiful gems. Upon his brow each wore a brilliant electric light, and they bore sharp spears and swords and battle-axes if solid bronze. It was evident they were perfectly trained, for they stood in straight rows, rank after rank, with their weapons held erect and true, as if awaiting but the word of command to level them upon their foes.” ‘This,’ siad the Nome King, ‘is but a small part of my army. No ruler upon Earth has ever dared to fight me, and no ruler ever will, for I am too powerful to oppose.’ This was to help build acceptance within the child of the layering of armies of demons.

pg. 180, Book 3 Ozma of Oz, “For upon the edge of the table rested a pretty grasshopper, that seemed to have been formed from a single emerald.” The next page has a picture of a grasshopper wearing a hat and many shoes. This was used to help the victim take the hypnotic suggestion that their programmer was a grasshopper, a cricket. Mengele used a clicker which helped with this hypnotic suggestion too.

pg. 182-183 Book 3 Ozma of Oz, “...the King returned to his throne.... they were greatly disheartened by...the knowledge that she was now an ornament in the Nome King’s palace -- a dreadful, creepy place in spite of all its magnificance. Without their little leader they

did not know what to do next, and each one, down to the trembling private of the army, began to fear he would soon be more ornamental than useful....’Never mind,’ said the jolly monarch. ‘If he doesn’t care to enter the palace...I’ll throw him into one of my fiery furnaces.’

pg. 184 Book 3 Ozma of Oz, “...twenty-six officers filed into the palace and made their guesses---and became ornaments.” Story line used to program parts to become useful ornaments. “...he wore a heavy gold chain around his neck to show that he was the Chief Steward of the Nome King...” Many of the abusers signify their power to the slaves, by wearing a gold chain around their neck.

pg. 186 Book 3 Ozma of Oz, on this page it states that some magical power gave the King the ability to know all that took place in his palace. By crediting their abilities to an occult magical dimension, the programmers enhanced their appearance of power to the child victim. pg. 192 Book 3 Ozma of Oz, on this page and the surrounding pages, the people who have become ornaments are also assigned colors. The Queen of Ev “are all ornaments of a royal purple color.” and “all those people from Oz into green ornaments.”

pg. 194 Book 3 Ozma of Oz, ‘If I wore the magic belt which enables you to work all your transformations, and gives you so much other power....What color will you make the Kansas girl? asked the Steward. ‘Gray, I think,’ said his Majesty. ‘And the Scarecrow and the machine man?’ ‘Oh, they shall be of solid gold, because they are so ugly in real life.’ This was the script to bring in the color programming. Color programming is discussed in the Structuring chapter (7) and the Internal Controls chapter (11) dealing with the internal computers, and in chapter 4 where the codes are given.

pg. 192 Book 3 Ozma of Oz, ‘What more do you want?’ demanded the King. ‘A fat baby. I want a fat baby,’ said the Hungry Tiger. ‘A nice, plump, juicy, tender, fat baby.’ When the alters are forced to accept that they are tigers and other cats, then they are encouraged (forced) into cannibalism.

pg. 200 Book 3 Ozma of Oz, “So Tiktok touched a yellow glass vase that had daisies painted on one side, and he spoke at the same time the word ‘Ev.’ .... In a flash the machine man had disappeared,...” This was part of the programming to introduce daisies and switching.

pg. 201 Book 3 Ozma of Oz, “Next she touched the image of a purple kitten that stood on the corner of a mantel, and as she pronounced the word ‘Ev’ the kitten disappeared, and a pretty, fair-haired boy stood beside her.” This is teaching the switching of alters and their color programming.

**We will stop our coverage of the Ozma of Oz book here. We have only partially covered only two of the 14 Oz books, all of which were used as programming scripts. There are many more sections in this series of 14 books that served as programming scripts, but the reader has got the basic idea. It is still important to go over how some of the other books were used in programming, so that the reader begins to see how the story lines assist in programming, and how the story lines are so frequently tied together from perhaps 12 different stories to reinforce one alter’s programming.

ALICE IN WONDERLAND

Alice Through the Looking Glass

‘I can’t believe that!’ said Alice. ‘Can’t you?’ the Queen said in a pitying tone. ‘Try again: draw a long breath, and shut your eyes.’ Alice laughed. ‘There’s no use trying,’ she said. ‘One can’t believe impossible things.’ ‘I dare say you haven’t had much practice,’ said the Queen. ‘When I was your age, I always did it for half an hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast.” The chapter “Which Dreamed It” in Alice Through the Looking Glass has sexual programming, the Red Queen is purring. The story where Walruses make believe it is oysters is used for programming. Other sexual programming occurs in the chapter “It’s my own invention” where the Knight In Crimson (& White) Armor are prisoners which dual for her. Tweedle Dee & Tweedle Dum is used for S&M programming, which has a hand signal involving rotating the thumbs of a clasp hand. Alters go through the looking glass, and fall down an oak tree by falling into a deeper and deeper trance. Monarch programming is a reflection of how Satan’s mind works. Lewis Carroll’s bQok with its inversion themes fits in with this type of thinking. Lewis Carroll loved the humor of logical contradictions. In the book, Alice wonders if cats eat bats or bats eat cats, and she is told that to say what she means is not the same as meaning what she says. When she eats the left side of the mushroom, she grows large; the right side has the reverse effect. These changes in size are in themselves reversals. A large girl and small puppy end up to be a large puppy and a small girl. In Sylvia and Bruno, we are presented with an antigravity wool that can be placed into a parcel to make it weigh less than nothing, a watch that reverses time, a black light, and a projective plane with outside inside and inside outside. The slave learns that E-V-I-L is simply L-I-V-E backwards. In the looking glass world, the Red Queen knows of a hill so large that compared to it the hill in question is a valley. Also she knows of dry biscuits which quench thirst, a messenger who whispers by shouting, and Alice who runs as fast as she can to stay in one place. (Sometimes it seems we really do have to run fast to stay in place.) The King of Hearts thinks its not unusual to write letters to nobody, and the White King compliments Alice on having keen enough eyesight to see nobody at a great distance down the road. Can you see why this book was so good to program us? In the book Through the Looking Glass all asymmetrical objects (that means all objects which can’t be superimposed on their mirrored image) “go the other way.” There are left-right reversals. Tweedledee and Tweedledum are mirror image twins. The White Knight sings about squeezing his right foot into a left shoe, and there are several mentions of corkscrews. A Helix (a corkscrew) is an asymmetric structure with distinct left and right forms. The book’s type of thinking was extended beyond asymmetrical objects to asymmetrical relations of all types. For example, Alice walks backward, in the railway carriage the guard tells her she is traveling the wrong way. The king has two messengers, “one to come and one to go.” The White Queen explains the advantages of living backward in time, the looking glass cake is handed around first, then sliced. Odd and even numbers, which are equivalent to left and right or on and off are worked into the story at several points. For instance, the White Queen requests jam every other day. Going through the looking glass takes us to a world where the ordinary world is turned upside down and backward. Things go every which way except the way they are supposed to go. Anti-matter is a mirror image. Anti-matter milk will explode Alice, but an Anti-matter Alice on the other side of the looking glass can drink the anti-matter milk. In Chapter 11 Alice captures the Red Queen. It results in a legitimate checkmate of the Red King, who has slept through the entire live size chess game without moving. The checkmate ends the dream, but leaves open in the story the question of whether the dream was Alice’s or the Red King’s. The programming has so often been only a dream to us. The outside world was so often just an unreal dream to us. What was real and what was not real? The real world (for other people) was full of contradictions, and the unreal world (our internal world) was consistent. Everything was upside down, forwards and backwards. In the Looking Glass book, one shuttles back and forth mysteriously between real and dream worlds. “So, either I’ve been dreaming about life or I only dream that life is but a dream.’’ As a slave breaks away from the programming, life becomes a bewildering confusion as the slave is pulled between two worlds. The internal world has everything the alter needs, the external world is a harsh cold reality that doesn’t have much to offer. People in the external world can help make it real for a slave. The handlers will never do this. Alters will need a reason to want to come out of the internal reality which they are programmed to. believe in. For so long much of life was seen as a dream. It will be hard to get a grasp on what was real and what was the lie. Many of the lies are more real than the truth. Life was sometimes like the parallel dreams of the Red King and Alice, like two mirrors facing each other.

The TALL Book of MAKE BELIEVE.

This book was published by Harper & Row in 1950 and was indeed tall, the pages being 4” x 9 1/2”. On page 14, the programmer would read the first paragraph of the poem and then say “sleep, sleep, sleep.” “Have you ever heard of the Sugar-Plum Tree? ‘Tis a marvel of great renown! It blooms on the shore of the Lollypop Sea in the garden of Shut-Eye Town; The fruit that it bears is so wondrously sweet (As those who have tasted it say) That good little children have only to eat of that fruit to be happy next day. Sleep, Sleep, Sleep.”

On page 16-17, there is a story about how a child is dragged under the kitchen door and becomes flat. There is a picture of a child being pulled under a door and coming out flat on page 17. This was used as part of the script to make the ribbons for the slaves. The ribbons in a system can go under doors and through the entire system. On page 23, Rosa the flat person (pancake person) is shown again. This is ribbon. The top of the page has a large cricket like creature that was said to the child to be the programmer (Dr. Mengele). All of the stories in The Tall Book of Make Believe were used one way or the other in programming. We will just touch on some notable points. On page 38 is a poem about a Mr. Nobody. The programmers like to have alters identify themselves as “nobody”. On page 39 is a poem/story about “someone” who comes tapping...but it is “only the cricket whistling”. This was used to help program in that the 3 taps were the cricket (the cover image for the programmer.) On page 50, is the story of a girl who when she lays down becomes a different person Mrs. Brown. On page 67 is a poem Foreign Lands, where the child sees “the sky’s blue looking glass” and then ends up “to where the roads on either hand lead onward into fairyland.. .and all the playthings come alive.” In other words, what is in effect being communicated is: take the hypnotic image of flying into the sky in Papa’s silver plane (as the plane goes up the trance goes higher -deeper) and then go into a fantasy land where all your wishes can come true--so that you can escape the hell us programmers are giving you. On page 79 is the story of a ghost named Georgie who would run home and warn people at home when things were broken. This was part of the “fix me” programming--so that ghost-like alters, known as reporting alters, call “HOME” to “PAPA” if the programming is touched. On page 84 is the story “How they bring back The Village of Cream Puffs When the Wind Blows it away.” This story has several programming words in it, these words and their meanings are as follows: In programming the “Village of Liver-and-Onions” is a code word for “the coven. “Prairie” means “ceremony site”, and in another story “picnic” means “ritual”. It’s doubtful that most alters would remember these meanings, but they helped the abusers confuse the child. Imagine the victim trying to describe a ritual and telling someone that a village of liver & onions had a picnic.

ALIEN PROGRAMMING SCRIPTS

There are numerous scripts for the Alien programming. Recent novels and Hollywood movies provide a non-ending pool of programming resources for the Programmers. Visual reality headgear and other high-tech methods can easily be incorporated into an alien abduction theme. The following are samples of some of the people who the author Fritz has spent time with, who on one level knew they needed help, but didn t know just what they felt uneasy about.

PERSON 1. Had been abducted by aliens since she was a small child. Different types of aliens took her. Her mother worked for the CIA at Area 51. Her mother was abusive to her. One of her best friends is a Monarch slave. When the aliens come a bright light appears and then they abduct her. The aliens she works with the most look exactly like people, and in their handwriting show severe abuse. These benevolent aliens have taken her fetusus several times. She has time-travelled to their planet. She is dissociative. The government authorities are constantly monitoring and tracking her, and have made an effort to besmudge her record, so that it appears like she is looney tunes. This is the type of cases that this book s co-author has spent time working with. Doesn t this sound more like human mind-control than real aliens?

PERSON 2. This person hears aliens within his head (which when described sounds like a case of MPD (DID). The aliens would take him and force him to have homosexual activities even though he didn t want to participate. But that was O.K. to him, because they were a superior race and if these benevolent aliens which are so far advanced beyond us, want to have sex with him, that is their perogative. This person has a lot of depression. This person wonders why the authorities seem to keep track of him.

PERSON 3. This person worked at Area 51. Has a photographic memory throughout his entire MPD system. He realizes that he is MPD. His best friend claims to be an alien, a god of sorts, and is known by both this person & Fritz to be part of Naval Intelligence. This best friend acts more like a handler than an alien, and this Area 51 worker gives his best friend total alligiance. This man has all kinds of alien type stories, which sound in many cases like programming. This person admits that his family is Illuminati, and the front alters say he has watched Illuminati rituals as an adult, but hasn t participated . He shows signs of severe abuse. He is afraid to talk about trauma-based mind-control, but loves to talk about aliens. In fact, all three of the persons discussed on this page shied away from talking about Monarch mind-control, as if it were something not important, but they all love to talk about aliens.

And the list of interesting people like this could go on. When Mind-controlled slaves who have alien programming are being abducted by the intelligence agencies for their use and for programming here are some of the details of how and what occurs: A bright light is shined into their house. They have been hypnotically conditioned to view this light as a Flying Saucer, whether it is a helicopter or something else. As the NWO does have Flying Saucers, sometimes the real thing is used. Men in Black (just like in SRA cases) are often associated with the abductions. And the slaves frequently speak about "shadows in the mind." The slaves are taken to rooms where examining tables with white sheets and X-ray machines, Headgear and medical equipment is in place. (The alien equipment has gotten more high-tech over the last 40 years. The aliens wear suits that are full of occult symbology. The people are restrained with clamps and electrical shock and energy is used on them. They are told that they are receiving information. They are given tracking implants and other implants. All of the 3 above persons, receive information from the aliens regularly. Almost all of the elements of Monarch trauma-based mind-control appear in these abduction accounts, especially in the psychological features of the victim. The victims of alien abduction programming feel suicidal after they talk too much. They have headaches, sleep difficulties, nightmares, obsessive thoughts, a fear of hypnosis, trapped feelings, and paranoia. During their abductions the aliens use drugs, thought transfers, and painful medical procedures. The aliens use language that parallels the messages given to SRA victims, just change the language from Satan is in charge to the Aliens are in charge . Cattle mutilations where the blood has been drain are associated with abductions. There is documented accounts where cattle mutilations have been connected to Satanic cults using helicopters. The victims of aliens are forced to be impregnated and then the fetus is repeatedly taken. The aliens are repeatedly telling these victims that a holocaust is soon to come. Another strange phenomena, that others and this author have noticed is that these victims of alien abduction seen to know each other, much in the same way that victims of Illuminati mind-control seem to know each other. And the aliens seem to know everything about the victims. The victims have amnesia of their abductions. The memories of their abductions are hidden in altered states of consciousness, that hypnosis sometimes can pull up. Most victims are afraid of hypnosis or can t be hypnotized (they have been hypnotized not to allow anyone else to hypnotize them.)

To give credit where due, Bowart s Operation Mind Control Researcher s edition, (1994) has an excellent appendix with charts which compare SRA mind-control victims and alien abduction victims. The charts reveal how similar the two groups are. In preparing these paragraphs, we have used his charts as as a basis for how we wrote these last two paragraphs up. However, the co-authors experiences in working with abduction victims match the findings of Bowart. Do aliens from another planet exist? They may or may not. It is not a real issue, we have to face what is already on this planet. Fritz has several tapes of aliens of different types talking (which were obtained from abduction survivors) and their voices sound demonic and they are saying that they have been alive on this planet for many years. One said something like he s been here on earth 500,000 years. If an alien has lived on this planet for 1/2 million years, when does he get residence status. My! If that is true, he is no alien--we are! But one thing is certain, this planet contains some very slimy evil creatures who are either real non-humans or very deceptive dark humans. The Bible calls them demons and reprobate men. The four most popular origins of supposed aliens on earth are all star groups relatively close to our solar system. They are: the Piciades, known as the 7 or 9 sisters, because their are 9 stars of which 7 are visible; Sirius, the dog constellation; the Orion constellation; and the twin stars of Zeta Reticulli, which twin stars were amazingly charted by Chinese astrologers in 3,000 B.C.! Fritz, the co-author of this book kept an open mind on the issue, could there be any benevolent aliens ? Some abductees believed that their aliens were benevolent, but when they are debriefed the admit that mind-control and sexual molestation is carried out by the aliens. Fritz, has concluded with other investigators on this question, there are no benevolent aliens , in fact the only aliens that may be around are what have been known as demons. People who have participated in high level Illuminati ceremonies report the presence of creatures that look like the various aliens . (This whole subject is dealt with in another book by Fritz Springmeier.) Some points might be briefly brought out. Fritz has amassed a great deal of evidence that the elite have human-built Flying Saucers.

Notice how the controlled media always link aliens with Flying Saucers and UFOs? This is an entire book in itself, however, the bottom line is that at least most (if not all) of the alien abductions are simply part of the NWO s mind-control. It is obvious that for various reasons (including the goals set down in the secret Iron Mountain government report), the government (including cooperating agencies like NASA) decided to use an alien abduction theme rather than a Satanic Ritual Abuse theme to their mind-control programming. The major differences in the programming methodology is that the blood rituals of the SRA are no longer used. The reason why blood rituals are no longer needed is that the high-tech harmonic machines (which implant thoughts-see chap. 6) and other high-tech methods eliminate the need for the blood traumas. The victims of alien abductions are taken at random, where the Illuminati victims are abducted more frequently around ritual dates. The person who believes in UFOs and aliens is going to receive the same type of treatment as those who believe in Satanic Ritual Abuse. The legal system and society at large are conditioned to treat them as nuts. This protects their abusers. An Illuminati hierarchy member described their magic goal of pursuing a spiritual path through the finer frequencies of outer time. The alien programming is one way to experience this.

ISLAND OF THE BLUE DOLPHINS

This is a child s book by Scott O Dell. The people of an island have both an everyday name and a magical name. When the chief gives his magical name to a Russian captain named Orlov, he and his warriors end up being killed in battle. The alters of Monarch slaves have names they can give outsiders and then their access code names which must be kept secret. Part of the story is to stay in line with what one s ancestors have done. Other items in the book, such as the four winds from the four directions fit in with programming too. The book is just one of many that the programmers want the children to hear so that they naturally adopt the correct programming scripts.

THE LORD OF THE RINGS

Some Illuminati survivors are always looking for a ring. Rings play a significant part in the lives and programming of slaves. One section that is coding/programming found in J.R.R. Tolkien s Lord of the Rings is One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind them.

THE MOST IMPORTANT PROGRAMMING SCRIPT -- THE LESSER KEY

One of the most important scripts for the Illuminati Mind-control Programmers is the Lesser Key of Solomon Goetia, The Book of Evil Spirits. The Illuminati Doctors Green, Black, White and Blue (that is Mengele, Wheeler, Cameron, and Mueller) were fully knowledgeable about The Lesser Key of Solomon Goetia. In fact, all those who go beyond the initial levels in the Illuminati are required to study the entire book. It s an important ritual book.

It is very out of fashion to believe in demons. It is in fashion to believe in aliens, in ghosts, in the internal psychological wizard that guides you , and other things which to those high in demonology secretly know are simply covers for what used to be called demons. Both the high level Illuminati and the alert Christians are saying many of the same things concerning demons. Is “magical” phenonmena real? Do the programmers really believe in it? In the Lesser Key of Solomon Goetia it answers, “I am not concerned to deny the objective reality of all ‘magical’ phenonmena; if they are illusions, they are at least as real as many unquestioned facts of daily life; and...they are at least evidence of some cause.” (p.10) The author of the Lesser Key of Solomon Goetia then points out that all our sense impressions of the universe are dependent upon changes in the brain. Reality is a perception of the mind. So the author states, “...we must include illusions, which are after all sense impressions as much as realities’ are, in the class of ‘phenomena dependent on brain changes.’ Magical phenomena, however, come under a special subclass, since they are willed, and their cause is the series of ‘real’ phenomena called the operations of ceremonial magic.” In other words, when the Illuminati practice ceremonial magic, their magic to them is as real as life, but they do not feel a need to defend its reality. People in the occult encourage children to fantasize. Fantasy is looked at with favor. Whether the power and healing and mind-control of demonology stems from illusion or Jung’s autonomous power of the human psyche to attract & manifest archetypes through the human soul or some other source is not an issue for Satanists. They are seeing results, power, healings and the destruction of their enemies by demonology. Within the Illuminati illusion, myth, and perception are all esteemed. Are they alone? Are they alone? No, they are not alone. The myth that the United States is a democracy is probably a far stronger “reality” in the minds of Americans than the actual reality that it is a tightly controlled secret oligarchy with a republican front. But in this case, which is the greater real reality? The American believes his myth enough that he dies for it. He fights the “war to end all wars” and then the “war to save the world FOR DEMOCRACY” (to quote some popular world war slogans). In the American mind, he achieves victory even though he has fought and died for a myth. And even when the mythical goals he fought for aren’t even achieved, he believes he has achieved a victory. The first world war never brought everlasting peace and the war to save the world for democracy ended after “victory” with more of the world under stronger totalitarian rule than before the war began. The bottom line is that myths and illusions make up a large part of the reality of most people’s lives. Movie actors have repeatedly found out that they incur their fan’s wrath if they try to reveal their real selves to the public. The point also is that the person practicing ceremonial magic will not be impressed by the average person, even if he be a minister, who has structured his life on myths and illusions, who will tell him that his ceremonial magic is not real. The magician will naturally ask, “Who IS living in a world of reality?” Ceremonial magic is a very strong “reality” to the Illuminati’s mind-controlled slaves, because the programmers make great efforts to develop the five “impressions” listed on page 11 of The Lesser Key, which are:

(1) Sight. The circle, square, triangle, vessels, lamps, robes, implements, etc.

(2) Sound. The invocations.

(3) Smell. The perfumes.

(4) Taste. The Sacrements.

(5) Touch. As under (1).

These are reflected upon by the person, and these 5 produce unusual brain-changes. Later two more senses are also highly developed. Programmed multiple-slaves have visual and auditory aucuity far beyond the normal person. The Lesser Keys of Solomon Goetia goes on to say, “The Spirits of the Goetia are portions of the human brain. Their seals therefore represent methods of stimulating or regulating those particular spots (through the eye).”

“The names of God are vibrations calculated to establish:

(a) General control of the brain....

(b) Control over the brain in detail. (Rank or type of the Spirit)

(c) Control of one special portion. (Name of Spirit.)

The perfumes aid this through smell. Usually the perfume will only tend to control a large area; but there is an attribution of perfumes to letters of the alphabet enabling one, by a Qabalistic formula, to spell out the Spirit’s name.” (p. 12)

Did the reader grasp that? The most important script for the programmers is to use ceremonial magic which uses the names of God to establish GENERAL, & SPECIFIC CONTROL (via a hierarchial arrangement of demons) over a person’s mind. More will be covered about this in Chapter 10. But while we are on the subject let’s go just a little bit farther. “If, then, I say, with Solomon: ‘The Spirit Cimieries teaches logic,’ what I mean is: Those portions of my brain which subserve the logical faculty may be stimulated and developed by following out the processes called ‘The Invocation of Cimieries.’

And this is exactly what the programmers do. They invoke via many rituals all types of specific demon (or demonic energy) to enhance the particular mental functions they want. For instance, Typhon and Choronzon (also Horonzon) are demons who are essential in building the structure of a programmed multiple. They must be invoked before the early start of dividing the mind. Michael Bertieaux heads up the Horonzon Club, an unofficial part of Kenneth Grant’s OTO. The demon Horonzon (or Choronzon) looks like a grey alien, and was conjured up by Sir John Dee, who was Queen Elizabeth I’s genius advisor and court sorcerer. Transyuggothian magic is carried out in order to reach Transyuggothian Space (also known as Trans-Plutonian Space and Universe B). These existence of these dimensions are kept very secret. The ancient cult of the Star Sirius, from which supposedly we are now getting aliens, had rituals to get one into the celebrated Universe B. Sirius B (the binary twin star that exists with the actual Sirius A star) represented the god Ra Hoor Khuit. Sirius A represented the Egyptian devil. Let’s reflect on all this demonic “illusion”. As stated, an American will die for the myth that America is saving the world for democracy. This made sense to psychologists at the time. However, if a slave dies for what he sees as the reality of voodoo magic, the psychologist dismisses it as unimportant--a mere coincidence. Since voodoo magic doesn’t exist in the psychologist’s mind, the psychologist believes that magic carries no threat to its intended victim. Likewise, because the psychologist doesn’t believe in demons, demons supposedly pose no threat to the mind-controlled slave. The psychologist is really projecting his perception of reality upon someone else, and it doesn’t work. The Illuminati programmers are counting on the therapists ignoring demonology. In Bowart’s in-most-respects excellent book Operation Mind Control, (Researcher Edition, Ft. Bragg, CA: Flatland, 1994, p. 249.) asks the reader to self-hypnotize himself by several times “looking into your mind’s eye”. To Bowart, he sees the trance state as merely looking into your mind’s eye. He does not attribute any demonic activity to be involved with such things. No wonder, Bowart writes very disparagingly and critically about Christians who are trying to do demonic deliverances to slaves. But then as far as I know Bowart hasn’t freed anyone of their mind-control either, he is just a reporter. Both ministers and psychologists have contempt for each other’s excesses. We must bear in mind that the victims of this total mind-control have their bodies, minds, and spirits enslaved. The body, mind and spirit need to be simultaneously liberated. A great deal of the success of the Programmers is that ministers have rejected the study of the mind (psychology) and therapists have rejected spiritual things. The victim is left without a way to heal both spirit and mind. Partial freedom is still slavery. And not only that but both therapists and ministers seem to feel the actual physical threats to the slave’s body to be outside of their jurisdiction, and by default it is left up to the victim to provide. Which again without the body safe and healed, the mind and spirit are not fully free. There are therapists and others who pontificate about how evil Christian ministers are for trying to deliver mind-controlled slaves from their demonic possession. This is not the problem. The problem is that the Illuminati have skillfully separated the various therapeutic elements both functionally and legally. The answer to the enslavement of body, soul, mind and spirit is a team of people who will address all the issues together. Both the psychologists and ministers see the excesses of each other, but a little humility would go a long way, for both sides to recognize each other’s value. God works through all people, even those who resist Him. That is why he can rightly be called Almighty God.

THE USE OF LIES EXTERNALLY & INTERNALLY, THE USE OF COVERS AND FRONTS, & THE ART OF HIDING THINGS IN A SYSTEM

EXTERNAL DECEPTIONS

There seems to be no end to the lies that are involved with the Monarch programming. The old adage that nothing is as it appears, is generally the rule. However, once one catches on to the common tactics of deceptions, the tactics themselves become red flags which can alert a thinking person to what is hidden. This is similar to those Russians who could read between the lines when reading communist propaganda and figure Out the truth. The deception begins with covering up the identity of the slave. Within the Illuminati, the art of hiding genealogies is a fine art. Children are swapped and placed with foster parents. Mothers all of a sudden have babies, when no one has noticed them being pregnant. Investigators like Fritz Springmeier, who have been investigating court house records and other primary documents have seen court house records altered overnight, to cover up genealogical and financial information.

COVERS FOR INDIVIDUAL SLAVES

The individual slave is usually given a good cover. A good cover will be one that cannot be seen through, and still allows the person the freedom to get their job done. When building a cover, the following questions will be asked: how much will this cover allow this person to spend? what kind of people can this person associate with? where can this person go? and what kind of hobby can he or she have? By now, the Illuminati have their secret slaves in so many places that they have their bases covered in all fields. True life examples include: a Monarch programmer who appears to be simply a middle class housewife. A Monarch computer programmer who appears to be a deaf and dumb mute when in the presence of the public, but the deeper brilliant alters work secretly at programming computers during the day. An international spy, who is a programmed multiple, who has a totally different set of I.D. and wigs, so that when they switch to certain alters used for the intelligence agencies--they not only act different, they look different, and have different valid I.D. An apparently dumb blond may be a very intelligent highly trained Monarch slave. Within the intelligence world Monarch slaves will function as Agent Provocateurs, which are people who join groups with the purpose of leading the group to do things that will cause it harm. The neo-Nazis are full of Agent Provocateurs as are some of the Patriot groups. Some Monarch slaves are what is called “clean agents” -- that is they have never been used in intelligence work, so they have no record of use. Monarchs are great for being used by this or that group on a limited basis without anyone suspecting any connection. The Intelligence term for the elaborate cover histories they give one of their Monarch slaves to operate as an agent is called a “legend”. Supporting documents will be placed into the appropriate government files to support the legend. The intelligence agencies may have several intact “legends” for different personalities of a slave. The intelligence term is NOTIONAL. It roughly means “a fictional entity for the sake of an intelligence operation.” Notional organizations are created to steal strength away from sincere organizations. If a church (or non-CIA KKK group etc.) gets too sincere and powerful, a well-financed notional rival will start up, and then later fold under scandal. The net effect is to destroy the entire cause. At least half of the therapists helping Monarch slaves in the authors’ area are programmed multiples themselves! The therapeutic community is heavily infiltrated. The help lines for women in crisis are all dirty. Some of the Christian groups that claim to help SRA victims are really fronts.

One recovering Monarch slave tells about how her father was the mayor of an important city in Pennslyvannia. He was part of the Illuminati and he introduced drugs into his area, and had a monopoly on illegal drugs in the area. As mayor he established the first drug hot line, so that people could inform authorities about drug trafficking. He staffed the drug hot line with his own people and this allowed him to get tips to eliminate his competition. The intelligence agencies which are using mind-control are hiding their drug trafficking and criminal activities. One of the ways they do this is the so-called War on Drugs. The situation is so bad and widespread that even the controlled media has had news where they reported CIA agents smuggling drugs seized in South America into the U.S. using government channels.

When a slave is being programmed, the abusers will use schools, churches, Big Brothers, Boy Scouts and other activities to carry out the abuse and programming. Children pulled from classes will be given back-up amnesia so that they forget that they forgot. In other words, they are totally unaware that they have lost time when they were pulled out of the classroom. The teacher gives them a test score, and they are told they took a test during the missing time. How can the front alters deny it, when they have been hypnotized to believe it and they can see the test scores? Alter boys and boys at catholic orphanages have a record of being used by dirty priests. Recently, numerous priests have been discovered molesting children, and hundreds of lawsuits are underway, but it is still not coming out that this abuse is connected to trauma-based mind-control. In the past, if the parents who were part of the Illuminati elite, but were not religious wanted their boy programmed, they could send him off to a military school run under the cooperation of the Catholic church and units such as the 6th U.S. Army, which became one of the primary infiltrated units. The 6th army uses the magical hexagram as its logo. This would provide the programmed child with a religious front. He could say, “I went to catholic school.” The programming could be disguised as discipline, etc.

The establishment media have worked propaganda wonders for the abusers of the Monarch Mind-control. Britain is extremely repressive in their information control. If any news medium tries to leak the most simplist of information a secret document called a notice” will be sent at any time of day to them from a D-notice committee, and the media will have to stop whatever reference is deemed a secret. In the U.S. it in effect works as tight, it just is not officially as tight. The abusers know that they also have an Incredulous Factor that can assist them. Who would believe that a sweet child drinks blood and is cannabalistic? The more that they can do that is far fetched, the less credibility the child has if they do talk. Some children do try to talk. One Monarch slave talked at age five, and her entire family came down hard on her and blamed the child’s talking for the death of one of the abusers. What kind of proof can a child bring that adults will accept? In the McMartin Preschool case about 800 children were witnesses whose stories colloborated the SRA and programming that was done, but the media, and the judicial system were able to cover up the abuse and make it look on television that the abusers were the victims! It wasn’t until after the case was over and the property sold, that the tangible proof (the secret tunnels with paraphenalia) were found, and then the news media has covered that up too. The abusers will often wear masks and costumes. Let’s say a programmer wears a Mickey Mouse outfit, and the child would remember and tell, “Mickey Mouse hurt me.” Now who is going to believe the child? The child has told the truth, but will be reprimanded for telling the truth. It doesn’t take long for a severely abused child, who has been programmed to keep silent, to learn that no one wants to hear the truth anyway.

THE USE OF RELIGIOUS FRONTS

A great deal of Monarch programming and slave abuse, (as well as the drug trade) is done under three major covers or fronts:

Religious Fronts, the Front of National Security and the Military, and the Entertainment fields, especially the Country Western Industry, the Rock Music Industry and Hollywood. The religious fronts were popular for centuries, especially when groups like the Jesuits, the Assassins, and other groups held immense power. Religious fronts are still being used such as J.Z. Knight, Elizabeth Claire Prophet’s CUT church, the Church of Scientology, the Charismatic movement, Jim Jones & Jonestown, and David Koresh’s group etc. Billy Ray Moore’s Lord’s Chapel is entirely a mind-control operation. There is a nondenomination Pentecostal church is southern Washington whose entire membership is Satanists under mind-control. Various overseas “missionary” groups are covers for the CIA & mind-control. It would take a book to explain how these religious fronts are part of the total trauma-based mind-control and how they operate to protect mind-control, however there are publications which go into some of the CIA connections to these groups. It is suggested that interested persons read these publications. Some of the deceptions such as the lone assassin idea have been used for centuries as a cover for assassinations planned by the occult hierarchy. If we are going to really reveal how the Monarch Mind-control is done, we will have to explain how the deception is done. If one describes a chameleon only by saying “it is like a lizard”, without mentioning the camouflage, then the most important part has been overlooked. Religious fronts are an important part of the Illuminati program for making slaves. In fact, due to their gnostic philosophy of balancing their good deeds with their bad deeds, it is almost essential to have a religious front through which one can do good deeds. Even though adding this section to the book will spur some to blindly lash out at the book, still the whole story needs to come out. When we, the authors of this book, write that the Monarch-type total mind-control threatens everything this nation stands for, we are not exaggerating. The Monarch Mind-control program has not been used just to program slaves--but it has been part of a much bigger deception. When this deception is realized by this nation, it will shatter the very fabric of trust that Americans have in their institutions. If Americans will begin to understand the power structure behind their institutions, and who controls this structure, they will begin to see the lies in the scripts that they have been fed since infancy. And YOU, the reader of this next section in this book, if you love the truth, can help begin the healing process to overcome some of the devastation that is going to rock this nation when the truth comes out. This next section will help both Christian and non-Christian reader. The therapist can learn about what is happening so that they can better deal with what the SRA survivors are beginning to reveal. The grooming of the American people to believe massive amounts of lies did work, UNTIL a few loving therapists, ministers, and doctors began to liberate victims of the Monarch trauma-based mind-control. These programmed multiples began revealing a horror story of deception unparalleled in history. For the reader to deal with the next section means courage. It means that the reader will have to muster up some of the same type of love of truth that the mind-control survivors must muster to free themselves of the lies of their satanic programming. What we see and hear can be programming, in the same way SRA victims are deceived. Everyone in the Illuminati of any significance has participated in grooming the public to believe that Billy Graham is a great man of God. Graham has stood beside each of the Presidents and the Pope. The Illuminati don’t just program individuals, they program whole nations. The public has been led to believe in a television image. But what if the secular media’s image of Billy Graham is not real? For Christians it means that they can quit trusting in a man, and place their trust fully on God. For secular readers, they can begin to see the extent of how America’s institutions have been corrupted by the horrible trauma-based mind-control. The heart-beat of the Body of Christ is crying out that something is terribly wrong. We will address that. All of us, whether Christian or not, must step out of the lies and look clearly out into the darkness and see every facet of this evil mind-control. When men who worship the god of this world place “In God We Trust” on the Federal Reserve bank notes, we who know the truth must step out of our dream world and realize that they mean Lucifer. (By the way, the Federal Reserve is not a government agency, but a private banking institution of the Illuminati. This has been documented in a number of writings.) The issue at hand in this next section is to show how the institution called “the Christian church”, and the world in general has been deceived by a programmed multiple and this trauma-based mind-control. Secular readers will be shown that the doctrines that Christians want to believe in, have been subtly destroyed under the disguise of building them up. This is no different than the destruction of the positive values which hold any group together. (After the repeated colloboration by essentially all the Christian churches worldwide in many activities as the NCC, the Billy Graham Crusades, the Promise Keepers and other programs, the Christian churches, Orthodox, Catholic, Protestant & non-denominational can be considered one institution.) The infiltration and control of the Christian religion has been one of the easiest tasks of the Illuminati. The Christian churches are what the intelligence agencies called “SOFT TARGETS.”

THE DECEPTION OF BILLY GRAHAM, A MIND-CONTROL FRONT


In 1992, Billy Graham broadcast all over the U.S. his radio show called Embrace America 2000. In the Louisiana area, it came over the KJAM Lafayette Station. During the show, Billy Graham told the American people we need to embrace the New World Order. Billy Graham is also on record stating that people can have salvation through paganism (another name for witchcraft). For instance, in McCall Magazine (Jan. 1987) Graham stated,
"I used to believe that pagans in far-off countries were lost--were going to hell. I no longer believe that. I believe that there are other ways of recognizing the existence of God--through nature, for instance." Pagans believe that salvation can be obtained through nature. This is not a pleasant story. Billy Graham has been built up to be the most respected popular person in America, Who wants to find out they have been deceived? We will try to give you the facts, or evidence, and may God grant you wisdom as you read this. This section is not propaganda for our own personal views. Years ago, when Fritz set out on his search, he had no final outcome in mind. Fritz isn’t concerned with concealing facts one way or the other. There is no desire to stampede our readers any where. We do want to clarify many issues. We do want to help the truth seeker. But the co-authors personally have no battle to win, except that truth be brought forth. The issues at stake are not trivial. Historically, Billy Graham’s deception is one of the ,,greatest" deceptions that has ever been perpetrated. Some might argue the greatest, making Benedict Arnold, Quisling, and the Trojan Horse pale into insignificance. Allow us to introduce you just briefly into the world of the Illuminati, All top hierarchy Satanists are required to have covers, The Illuminatus will have multiple personalities, and he or she will have one personality that is particularly shown to the outside world. They (the Programmers, handlers and the Illuminati councils) try to get the best covers that they can. They like to be clergymen, but they are also mayors of big cities, lawyers, doctors, etc. A Christian psychiatrist who has worked with numerous victims of Satanism and Multiple Personality Disorder wrote this observation after having worked with a large number of ex-multi-generational programmed Satanic multiples, "Some satanists have invaded the church as it is the perfect cover for them. They masquerade as angels of light and gravitate towards positions of leadership in order to have more influence. Because much of what they say is sound doctrinally, they are rarely detected. Most survivors whom I have worked with had satanist parents who were in high positions in churches; many were pastors." (Dr. Fox, Loreda. The Spiritual and Clinical Dimensions of Multiple Personality Disorder. Salida, CO: Books of Sangre de Cristo, p. 196.) Let us repeat what Dr. Loreda Fox said, "Most survivors whom I have worked with had satanist parents who were in high positions in churches; many were pastors." She didn’t say "some," she said MOST. Independently, we have discovered the very same thing. People don’t grasp that just because a preacher can sincerely preach what seems a "perfect sermon," doesn’t mean that he can’t also be part of the Satanic hierarchy. What is happening with the Illuminati’s ability to create programmed multiples is that we are getting perfect preachers who are secret hierarchy members. Some of their "perfect sermons" are full of slides, such as "the Christian people need to get involved in the voting process. Christians love to hear such things, it tickles their ears, but the truth is that the entire voting process has been captured and corrupted. Voting machines have repeatedly been exposed to have been rigged, and the controlled media and public denial have prevented Americans from giving up their myth that the common man’s votes run this nation. (The subject of election corruption is dealt with in Fritz’s newsletters, etc.) In Fritz’s Be Wise As Serpents book (which exposed Billy Graham as a Luciferian in 1991), it is explained that high level Satanism is Gnosticism which requires that "the Force" of these great satanic magicians be balanced. In other words, in high level Satanism your good deeds must balance your evil deeds. People do not realize that unless someone does "good" deeds they cannot be a high level Satanist. That is why some of the greatest philanthropists are also our leading national satanists, To see Billy Graham do something commendable does not disqualify him from satanism. In fact, it is a requirement if he’s been part of the Illuminati, such as ex-insiders/witnesses say he was. In fact, it wasn’t until working on this book that an eyewitness to the mind-control abuse of at the hands of Billy Graham offered to help contribute to this section of the book. In other words, an eyewitness helped write this. This eyewitness account by the Co-author matches what the list of eyewitnesses that Fritz assembled in 1993 have said, But the eyewitness went further and exposed B.G. crusades’ skillful use of Monarch slaves to launder drug money. Several police officers have stated that today, there is for all practical purposes no police training helping police to understand Satanism. They are highly trained in many areas, but Satanism is avoided. When an SRA case involving multiplicity in Olympia, WA recently happened, the police who investigated the case found that they were treated as international experts in satanism by other policemen. They themselves knew that they knew very little. Where are the experts to teach us about how the Illuminati functions? Where are the experts who know who are in the Illuminati? There is no college open to the public that teaches Advanced Illuminati Studies 401, and gives degrees in Satanism. The expert witnesses are those who have managed to leave the Illuminati and Satanism, and stay alive long enough to talk. But the other side will argue, how can we verify the testimony of your witnesses Fritz? Remember what happened to over 100 people who had some type of knowledge about the Kennedy assassination? Jim Marrs in his book Crossfire on the Kennedy Assassination lists 103 people who were key figures in knowing about the assassination who have died, many in circumstances that indicate assassination. The story we are dealing with here is just as sensitive to the elite as Kennedy’s assassination, because it involves their preparations for the creation of a false Christ, called by Christians the AntiChrist, who will be the master handler/programmer. The LIST OF known & credible WITNESSES If the authors were to call my list of witnesses up to the witness stand--which I can’t for it would be a death sentence to many of them, the list would include:


1 Council of Foreign Relations member, who is secretly against the New World Order

1 National Security Agency person, who is against the New World Order
1 CIA high level administrator
2 Satanists, still in covens, but unhappy enough with the situation to talk
4 ex-Satanists, 3 of which are eyewitnesses, all Christians now
2 ex-New Age leaders who worked with the Conspiracy, both became Christians
1 ex-33° Mason, now a Christian
Various Christians who have worked with Billy Graham, Pastors, etc.
Various therapists working with SRA victims The man who ran Security at the Sacramento Crusade
Alice Braemer, a woman who worked as a secretary for Jeanne Dixon


None, except for a couple of exceptions, none of these people knew anything about what the other witnesses (sources) had said.
The high degree of validation and collaboration that separate testimony by witnesses who have never seen each other and live in different parts of the country is very powerful. There are several questions that pop up into people’s minds who are not familiar with who Fritz is, and are not familiar with these witnesses. The type of worries some readers could be naturally having might be: But how are we, the readers, to know how accurate these people are? Are they trustworthy? Do they have a reputation for honesty? Could they possibly be giving false information to discredit a great man of God? These kind of questions can be natural questions for people unfamiliar with how this information was obtained. But we assure you, that what we pass on from these eyewitnesses can be relied upon. None of these worries have any substance to them, because the manner in which Fritz came to find out about Billy Graham has generally been while he was researching other things related to the Illuminati. The author has not been out to build a case, the case has built itself from numerous detached witnesses who have nothing to gain by telling what they know. These witnesses have not come to Fritz to feed him bogus information. Just the paper trail on Billy Graham is very revealing in itself. Generally the information of these witnesses has been confided by these witnesses to their trusted friends. Initially, these witness have had no idea that the information they confided in their trusted close associates would go beyond their most trusted friends. These trusted friends then have had permission to let me contact them or find out their information. The reason why these people are believable is that the information they reveal could get them killed, and second, the manner and circumstances of how the information has originally unfolded has never been in any fashion or method that could be construed as an attempt to give false information.

CLARIFYING WHAT IS LOOKED FOR IN PROOF?

Too many people are considered guilty unless proven innocent--which means that a legitimate search for truth has NOT taken place. On the flip side, we must bear in mind that hidden information that has laid dormant for years may totally reverse our understanding of something. Exceptional circumstances may surprise us, If some item does not lend itself to totally irrefutable, totally unqualified claims, then knowing this, the proper investigator uses words like "almost certainly" and ,,most likely". If the investigator feels strongly that everything is totally clear, he may declare that something is correct "without qualification." This is the nature of proof. We need to understand the qualifications and reservations that often are attached to evidence or conclusions. But we certainly do want to press our investigations as far as possible to get as many "unqualified" conclusions as possible. Of course, by the time we write this, we have already done our investigating, and have one conclusion without any qualification: Billy Graham is working for the Satanic Hierarchy. We want to try to introduce the material in such a way that you will get some sense of the search, so that you will not simply accept our conclusion but will make rational spirit-led critically-thought-out decisions about Billy Graham. So for the sake of the reader’s investigation, please, let us unshackle ourselves from our prejudices and preconceived labels. Let us suspend our judgment about Billy Graham one way or the other, until we have thoroughly studied, prayed and gained discernment about this. It might be interesting to get some of the Masons, who casually without realizing what they were saying, have talked about Billy Graham’s membership, or other aspects of his Masonic involvement. It’s doubtful that such men would be of any value on the witness stand. Their numerous Masonic oaths to lie and conceal Freemasonry under penalties of gruesome death would tend to have more influence on them than swearing on a Bible. (See Duncan’s Masonic Ritual book, p. 30 for the 1st Degree oath.) This type of witness, because they talked accidently and casually are very valuable witnesses to whoever accidently hears them, but unfortunately they must be assumed to be still loyal to the Masonic Lodge and would be hostile witnesses that will not cooperate. If this were an actual court of law, depositions of Billy Graham’ s staff could be taken, so that it could be revealed to the court how many times they have lied. By showing their lies, their testimony would be impeached and Christians would realize that Billy Graham’s staff have played a major role in the deception. This article will put forth evidence that impeaches the testimony of Billy Graham’s staff. We must refer readers to the Be Wise As Serpents book and other writings of Fritz for more information. Also some other books will be named too. Because these leaders are corrupt, they have been participating in the mass deception of the world about what Billy Graham does and who he is. In fact, if this were a court of law all types of people could be subpoenaed to take depositions, and we might find out many more things than we already know.

THE MOTIVATION OF THE CO-AUTHORS


Many people, who like Billy Graham, have imputed evil motives to anyone exposing Billy Graham. As the Scripture say at one point, "Am I to become your enemy because I tell you the truth?" The story about Billy Graham and his life-long career for the Illuminati is not an easy thing for us to write. We do not enjoy speaking negative things against people. We do enjoy speaking positive things about people. And yet no man, no servant of God is above reproach. We can personally have an inner peace that what we have done was what we should have done. Something needs to be done to wake mankind up before its too late.


CLARIFYING WHAT IS ACCEPTABLE TESTIMONY

In some subjects, going to the encyclopedia or almanac will settle questions. In dealing with the Illuminati and high levels of the occult world -- unless the investigator is willing to listen to eye-witness testimony, he or she will get nowhere. There is rarely any written record of their secret activities. But how much stock can be put in eye-witnesses? Many people up to now have criticized Fritz for using eye-witnesses. But remember that if we did manage to get some paper trail or books on the subject, that book paper trail would not be acceptable in court, or even if allowed would not be as important as our eyewitnesses. In court, the written records can be introduced along with the person who recorded them. In other words, the personal witness is still important even with written documents. The testimony of our eyewitnesses expose Billy Graham’s mind-control activities. Still, we want to bear in mind that witnesses have varying degrees of credibility and knowledge. The qualifications of witness in relation to what they are testifying is important. But to simply dismiss all these witnesses because they are not paper is simply to cut ourselves off from many valuable sources of information. In accumulating evidence, the researcher will come upon two types of information. One is prearranged evidence and the other is called casual evidence. Casual evidence is evidence that has just happened to appear by accident. An actual example is when friends of mine met a total stranger who happens to be a Mason and he offhandedly talks about Billy Graham being a Freemason. Casual evidence is simply evidence that happens without the interested party having anything to do with it surfacing. Finding casual evidence is generally "luck"’, In this case, Fritz has bumped into a great deal of casual evidence, simply because he had his eyes open and has been investigating this area for several years. Because of the situation today in this nation, there is little chance to get a proper hearing of this information. In terms of the future, indeed, the backlash from this book may silence us. The truth will still remain, even if we and the other witnesses don’t. We can draw conclusions about ducks from studying various types of ducks. I can not draw conclusions about radios from studying ducks, I can generalize about American made cars, but I can’t include in my generalization about American cars an ox-cart in India. This may sound basic, and it is, yet people try to generalize by lumping the generational Satanists in with everybody else, and it just doesn’t work. They also try to draw conclusions about the Freemasons on the basis of what the Rotary Club they belong to is like and it just doesn’t work. In terms of trying to get a proper hearing today, one of the barriers is that people use their own experiences to draw conclusions. People have nothing in their experience to allow them to draw conclusions about the Illuminati programmers/handlers who are moral degenerates and programmed multiples, who will do anything, in spite of their nice fronts.

The policies of DECEPTION by the Billy Graham Crusade staff

In 1992, a Christian named Richard Bennett, a friend of Fritz’s confronted the Billy Graham Crusade staff. What he was concerned about was the Billy Graham crusade policy (that has been in place since the 50’s) of sending Catholics that come forward back to Catholic churches. Documentation shows that the deception is worse than that, new believers that have never gone to any church are sometimes referred by the Billy Graham counsellors to the Catholic Church. Now, why would Richard and Fritz be concerned about the Catholic Church? Richard Bennett was a priest from Ireland who worked at the Vatican, before giving his life to Christ. He knows how the Catholic hierarchy prevents people from realizing what they have in Christ. For those who have read Fritz’s Be Wise As Serpents book chapter 2.2 you know that Fritz is very concerned when anyone gives their allegiance to a power structure that is part of the NWO and part of its Monarch trauma-based total mind control. Not everything about the Catholic church is wrong. Yet, the Billy Graham Crusade could never get the support it gets from conservative Christians if Billy Graham’s staff didn’t lie about where Crusade converts are sent. What Richard and Fritz were concerned about was that new Christians would be sent to Catholic churches, which now are teaching Zen Buddhism, New Age things, not the salvation by grace that these new Christians need. Granted the enthusiasm of these new Christians might infuse some life into the Catholic church, but a babe in Christ is defenseless. He needs nurture, and the chance to grow. It isn’t meant for new Christians to be thrown to the wolves. Anyway, last Spring and Summer, the Billy Graham Crusade Executive committee was confronted face to face with the evidence of what the Billy Graham Crusade in Sept. ’93 was going to do. Actually, more people than Richard did confront them, but Richard is one of the most knowledgeable ministries to the Catholics in this area. What the Billy Graham Crusade Executive Committee told Richard Bennett was that he had nothing to worry about. That the crusade would never send anyone to a Catholic church, but that if new converts wanted to go there on their own, that was their own choice. Four Catholic leaders sat on the Executive Committee for the ’92 Portland Crusade -- Chancellor Mary Joe Telly, a deacon and two priests. On the Catholic radio station,(and we have it recorded,) Mary Joe Telly of the Billy Graham Executive Committee along with another Bishop Wall Schmidt told the Catholic listeners not to worry that if they came forward they would be guaranteed that they would be referred back to a Catholic church. They gave the assurance four times in that talk show. They said that the decision to send people who came forward to Catholic churches was firm because it had come right from the very top. This was 6 p.m KVDM Portland station. Our recording of this is a record of just one of thousands of lies that the Billy Graham Crusade people have told Christians over the years. In fact, from the evidence it appears the Billy Graham Crusade people say whatever they have to, regardless of the truth. In the North Star Baptist, Nov. 1964 there was article by Japheth Perez, who as a convert in the NY 1957 Billy Graham Crusade and a brand-new Christian, was sent to a Catholic church by the Billy Graham Crusade. Ian Paisley wrote this comment about Billy Graham’s staff: "Dr. Graham did not reply. He never does reply to letters like this. He states he never defends himself. He does have a staff, however, who are paid to defend him and who are never hampered by facts or bothered by ethics or logic in carrying out their duties. One of the group, George L. Edstrom, replied. The Jesuits themselves could not give a finer example of casuistry than his. It is thoroughly dishonest and deceitful, ... However, since this technique of deceit by misdirection, this failure to face up to the issues, this disregard of fact, and this blasphemous attempt to identify Dr. Graham’s official connection with infidels and his flattery and endorsement of them with our Lord’s ministry to publicans and sinners is so typical of the Graham organization..." In Fritz’s June ’93 Newsletter From A Christian Ministry, a letter from Graham’ s staff was reproduced with a point by point exposure of its lies. Christians are really not well aware of what the Billy Graham Crusade does. We quote a paragraph from a letter sent to Billy Graham clear back in the 1950s by a Pastor who, grieved by what Billy Graham was doing to the harvest field, said: "Some people say that if you have just one convert in an evangelistic campaign, it is worth the meeting. That is not true. The evangelist, as the pastor and teacher, is given to the Body of Christ. The real test of an evangelistic campaign is not how many people are converted but what kind of a spiritual condition does it leave in a community. Billy Graham is not only failing in the number of people he leads to the Lord Jesus Christ in this day when hearts are hungry and most people are afraid of what may happen in the world and when it is easier to get people converted than it ever has been in my lifetime, but Billy Graham is pulling the limbs off of the evangelistic trees and the orchard is being left in bad condition. As we have often said, the real test of an evangelist is not just how many converts he has but does he leave the orchard in condition so it will keep bearing fruit."

FROM THE BOOK, "Total Mind Controlled Slave" by Fritz Springmeier and Cisco Wheeler