Wednesday, October 12, 2016

Faking Fighter Jets Part 3: Another Look At The Overlooked Lookout Mountain

Faking Fighter Jets Part 3: Another Look At The Overlooked Lookout Mountain

Fighter Jet Footage Is Fake!
An airplane has to use the wing flaps (called ailerons) to maneuverer.
Compare the two animated sequences below. See the problem? The Fighter Jet is a Hollywood Special effect. It has to be. The wing flaps do not move. There is no way this jet could maneuver without the ailerons moving.
The larger the aircraft the less it can maneuver. But even the fighter jet is too large to act like a bumble bee! Even if some other imagined 'magic' propulsion could allow such motion, the medium of the air around the jet, would be a problem, The machine would either break itself apart or otherwise end up out of control of the pilot.
Fighter Jets Are Fake Part 2 Link Below:
LOOKOUT MOUNTAIN MAKES A MOVIE
"In an average year, Lookout Mountain produced 150 reels of finished film, a reel being 10 minutes of film, or roughly 35-40 finished films. In addition, Lookout Mountain provided film input for the monthly Air Force Newsreel, shown to Air Force personnel around the world, and briefing films for HQ USAF and unclassified film clips for the Secretary of the Air Force, Office of Information (SAFOI) to distribute to TV media from film received daily from the 600th Photo Squadron documenting Air Force combat operations in Vietnam.
Many of the Film Reports, Training Films and Special Film Projects featured well known Hollywood actors and voice-over narrators. Among those who have starred in Air Force films shot at "the Hill," as Lookout personnel called the studio, were: Bob HopeJimmy StewartRobert PrestonJames GarnerJuliet ProwseGregory PeckKeenan WynnMarvin MillerLes TremayneKim NovakGlenn Ford and Lee Marvin.[9] While a Brigadier General in the Air Force Reserve, Jimmy Stewart narrated several films and starred in a series of public service announcements for the Civil Air Patrol. Leonid Kinsky, who had played the bartender in "Casablanca" in 1942, starred in a series of training films with titles like "Kinsky's Report on Frostbite".[10]
Among Special Film Projects were films like There Is A Way on YouTube[11] which told the story of a squadron of F-105 pilots who flew to North Vietnam to bomb strategic targets and often had to fight their way in an out against North Vietnamese MIGS. USAF Combat Photography In Southeast Asia which told the story of the 600th Photo Squadron whose combat photographers documented Air Force operations in South Vietnam and which included the rescue of down pilots from North Vietnam. A Night On Jackrabbit Mesa, explained to civilian authorities, police, fire and rescue, how to secure and handle the crash of an Air Force plane.[12][13] Escape and Evasion, taught downed pilots how to evade the enemy and live off the land until rescued."
Hollywood = Military

A still from the Lookout Mountain video. This is another example of cartoon physics that is pushed into the public consciousness. These might as well be X-Wing Fighters. This is not real. What you are seeing is an example of cartoon thinking and nothing more. The jets have no physical means to perform these feats of wonder. The ailerons do not move! There is no way this is anything but Hollywood special effect miniature work. Youtube is filled with modern air show and many military videos with the same flaws. The ailerons (wing flaps) never move when these jet perform their maneuvers, this is impossible. Even if it were somehow possible, the person inside cannot magically ignore that kind of motion. Despite the propaganda to the contrary, nobody is going to be able to sit inside a fighter jet and perform cartoon maneuvers, The human body is not built for the kinds of sudden turns and all sorts of Star War like maneuvers we see on screen.

Stage magicians formed a 'secret society' of sorts and eventually moved west to Hollywood. 

The Hollywood Film Illusionists From Lookout Mountain
Please Watch This And Notice How The Jet Planes Are Just Models. The Ailerons (wing flaps) never move. This is impossible unless we are seeing Hollywood special effect model work.
This is the video the still frame above is taken from. What you are seeing is a Hollywood illusion. Please see the article index for more on how these effects were created before computers replaced darkroom wizardry. Make no mistake, the jets in this video are special effect work. What we ares eyeing below cannot be anything but Hollywood Special Effect Illusion. The stuff of the funny pages and yellow journalism, designed to keep the masses in a child like state of wonder. These Jets are as real as Star Wars X-Wing Fighters. These are probably models photographed with a machine controlled camera rig, or perhaps one of the many other techniques was used, this sort of visual manipulation goes back a long way.

Stage magicians formed a 'secret society' of sorts and eventually moved west to Hollywood. 

“This novel is a fictionalised biography of Charles Joseph Carter. The main character, Carter, is followed through his career, from his first encounter with magic to his last performance. Along the way he encounters many historical figures, including fellow magicians Harry Houdini and Howard Thurston, United States President Warren G. Harding, BMW founder Max Friz, the Marx Brothers, business magnate Francis Marion “Borax” Smith, the inventor of electronic television Philo Farnsworth, and San Franciscan madams Tessie Wall and Jessie Hayman.

Most of the novel centres on the mysterious death of President Harding, who dies shortly after taking part in Carter’s stage show. President Harding apparently knew of many serious scandals that seemed likely to bring down the establishment and it seems certain that he was assassinated by persons and methods unknown. Much of Carter’s past is shown in the form of flashbacks as U.S. Secret Service Agent Griffin investigates the magician as a suspect.

The flashbacks chart Carter’s early career including his first encounter with a magic trick, shown to him by “the tallest man alive”, Joe Sullivan (also an actual, if obscure, historical figure) in a fairground sideshow, his first paid performance for Borax Smith, his rivalry with the magician “Mysterioso”, his first meeting with Harry Houdini who bestows the title “Carter the Great” on him, and Carter’s marriage to Sarah Annabelle.

Unbeknownst to Agent Griffin, President Harding passed a great secret to Carter: a young inventor named Philo Farnsworth has a new invention called television. Television is wanted by both the radio industry and the military and they are hunting Carter to get it. Carter must draw on all his magic to escape kidnapping and death as he seeks out the inventor. Along the way Carter meets a young blind woman with a mysterious past and encounters a deadly rival.

Finally, in a magic show to end all magic shows, Carter must truly beat the devil if he is to save Farnsworth and his magical invention.”
— https://en.wikipedia.org/wiki/Carter_Beats_the_Devil
https://en.wikipedia.org/wiki/Carter_Beats_the_Devil
“A native of San Francisco, California, Carter began his career as a journalist and lawyer. As time passed, he grew an interest in magic. Due to stiff competition from the number of magic acts on the American stages at the time, Carter opted to pursue his career abroad, where he achieved his greatest fame. Among the highlights of Carter’s stage performances during his career were the classic “sawing a woman in half” illusion (an elaborate surgical-themed version with “nurses” in attendance), making a live elephant disappear and “cheating the gallows”, where a shrouded Carter would vanish, just as he dropped at the end of a hangman’s noose.

Carter’s first theatrical experience occurred at the Herzog’s museum and Pat Harris’ Masonic Temple in Baltimore at the age of 10, where he appeared as “Master Charles Carter the Original Boy Magician”.

Carter purchased the famous Martinka Magic Palace in 1917, a time when he was unable to continue his world touring magic show. The story goes that he kept his lion, Monty in the back room of the shop and when it would roar, the startled customers would run for the door.”
— https://en.wikipedia.org/wiki/Charles_Joseph_Carter
“In 1902, the Society of American Magicians was founded in Martinka’s backroom. And, early on the Martinka magic shop became a hang-out and gathering spot where both famous and unknown, professional and amateur magicians alike could socialize, swap stories and share insights. Over the decades of its almost 150-year-old existence, generations of magic enthusiasts have congregated there. Customers of the past included Alexander Herrmann, Harry Kellar, Howard Thurston and Houdini. And in more recent times, Woody Allen, Penn & Teller, David Copperfield and David Blaine, among others, have visited the shop.

The Martinka brothers also built the special effects for number of shows, including the classic 1939 film production of “The Wizard of Oz”.”
— https://en.wikipedia.org/wiki/Martinka
“Founded on May 10, 1902 in the back room of Martinka’s magic shop in New York, the Society expanded under the leadership of Harry Houdini during his term as National President from 1917-1926. Houdini sought to create a large, unified national network of professional and amateur magicians. Wherever he traveled, Houdini would give a lengthy formal address to the local magic club, making speeches, and usually threw a banquet for the members at his own expense.

For most of 1916, while on his vaudeville tour, Houdini, at his own expense, had been recruiting local magic clubs to join the SAM in an effort to revitalize what he felt was a weak organization. Houdini persuaded groups in Buffalo, Detroit, Pittsburgh, and Kansas City to join. As had happened in London, Houdini persuaded magicians to join. The Buffalo club joined as the first branch, (later assembly) of the Society. Chicago Assembly No. 3 was, as the name implies, the third regional club to be established by the S.A.M., whose assemblies now number in the hundreds. In 1917, he signed Assembly Number Three’s charter, and that charter and this club continue to provide Chicago magicians with a connection to each other and to their past. Houdini dined with, addressed, and got pledges from similar clubs in Detroit, Rochester, Pittsburgh, Kansas City, Cincinnati and elsewhere. This was the biggest movement ever in the history of magic. In places where no clubs existed, he rounded up individual magicians, introduced them to each other, and urged them into the fold. By the end of 1916, magicians’ clubs in San Francisco and other cities that Houdini had not visited were offering to become assemblies. He had created the richest and longest surviving organization of magicians in the world.

The SAM now embraces over 5,000 members and almost 300 assemblies worldwide. In July, 1926, Houdini was elected for the ninth successive time President of the Society of American Magicians. Every other president has only served for one year. He also was President of the Magicians’ Club of London.[3]

Society of American Magicians Hall of Fame and Magic Museum, Los Angeles, CA[4][5] closed temporarily due to fire, contamination, and resultant litigation. After its disastrous fire, the museum’s artifacts went on exhibit at the Whittier Museum for six months beginning in September 2012.[6]

The organization pays tribute to Harry Houdini, with a broken wand ceremony on the anniversary of his death (by the Jewish calendar)[7] at his grave in Machpelah Cemetery in Ridgewood, Queens, New York City.”
— https://en.wikipedia.org/wiki/Society_of_American_Magicians
The Grim Game è un film muto del 1919 diretto da Irvin Willat e interpretato da Harry Houdini. Prodotto dalla Paramount Pictures (con il nome Famous Players-Lasky Corporation) e distribuito il 12 ottobre 1919, il film offre l'occasione di assistere alle esibizioni del mago Houdini. L'incidente aereo non era stato preventivato in fase di sceneggiatura.
Harry Houdini
“He also served as President of the Society of American Magicians (aka S.A.M.) from 1917 until his death in 1926. Founded on May 10, 1902, in the back room of Martinka’s magic shop in New York, the Society expanded under the leadership of Harry Houdini during his term as National President from 1917 to 1926. Houdini was magic’s greatest visionary. He sought to create a large, unified national network of professional and amateur magicians. Wherever he traveled, Houdini gave a lengthy formal address to the local magic club, made speeches, and usually threw a banquet for the members at his own expense. He said “The Magicians Clubs as a rule are small: they are weak...but if we were amalgamated into one big body the society would be stronger, and it would mean making the small clubs powerful and worth while. Members would find a welcome wherever they happened to be and, conversely, the safeguard of a city-to-city hotline to track exposers and other undesirables.”

For most of 1916, while on his vaudeville tour, Houdini, at his own expense, had been recruiting local magic clubs to join the S.A.M. in an effort to revitalize what he felt was a weak organization. Houdini persuaded groups in Buffalo, Detroit, Pittsburgh, and Kansas City to join. As had happened in London, Houdini persuaded magicians to join. The Buffalo club joined as the first branch, (later assembly) of the Society. Chicago Assembly No. 3 was, as the name implies, the third regional club to be established by the S.A.M., whose assemblies now number in the hundreds. In 1917, he signed Assembly Number Three’s charter into existence, and that charter and this club continue to provide Chicago magicians with a connection to each other and to their past. Houdini dined with, addressed, and got pledges from similar clubs in Detroit, Rochester, Pittsburgh, Kansas City, Cincinnati and elsewhere. This was the biggest movement ever in the history of magic. In places where no clubs existed, he rounded up individual magicians, introduced them to each other, and urged them into the fold.

By the end of 1916, magicians’ clubs in San Francisco and other cities that Houdini had not visited were offering to become assemblies. He had created the richest and longest-surviving organization of magicians in the world. It now embraces almost 6,000 dues-paying members and almost 300 assemblies worldwide. In July 1926, Houdini was elected for the ninth successive time President of the Society of American Magicians. Every other president has only served for one year. He also was President of the Magicians’ Club of London.”
— https://en.wikipedia.org/wiki/Harry_Houdini
“Movie career
In 1906, Houdini started showing films of his outside escapes as part of his vaudeville act. In Boston, he presented a short film called Houdini Defeats Hackenschmidt. Georg Hackenschmidt was a famous wrestler of the day, but the nature of their contest is unknown as the film is lost.[57] In 1909, Houdini made a film in Paris for Cinema Lux titled Merveilleux Exploits du Célébre Houdini à Paris (Marvellous Exploits of the Famous Houdini in Paris).[58] It featured a loose narrative designed to showcase several of Houdini’s famous escapes, including his straitjacket and underwater handcuff escapes. That same year Houdini got an offer to star as Captain Nemo in a silent version of 20,000 Leagues Under the Sea, but the project never made it into production.[59] It is often erroneously reported that Houdini served as special-effects consultant on the Wharton/International cliffhanger serial, The Mysteries of Myra, shot in Ithaca, New York, because Harry Grossman, director of The Master Mystery also filmed a serial in Ithaca at about the same time. The consultants on the serial were pioneering Hereward Carrington and Aleister Crowley.[60]

In 1918, Houdini signed a contract with film producer B.A. Rolfe to star in a 15-part serial, The Master Mystery (released in January 1919). As was common at the time, the film serial was released simultaneously with a novel. Financial difficulties resulted in B.A. Rolfe Productions going out of business, but The Master Mystery led to Houdini being signed by Famous Players-Lasky Corporation/Paramount Pictures, for whom he made two pictures, The Grim Game (1919) and Terror Island (1920).[61]

The Grim Game was Houdini’s first full-length movie and is reputed to be his best. Because of the flammable nature of nitrate film and the inherent chemical instability of the acetate “safety” film that supplanted it, only 10 percent of old silent movies exist. Film historians considered the film lost. One copy did exist hidden in the collection of a private collector only known to a tiny group of magicians that saw it. Dick Brookz and Dorothy Dietrich of The Houdini Museum in Scranton, Pennsylvania had seen it twice on the invitation of the collector. After many years of trying, they finally got him to agree to sell the film to Turner Classic Movies[62] who restored the complete 71-minute film. The film, not seen by the general public for 96 years was shown by TCM on March 29, 2015, as a highlight of their yearly 4-day festival in Hollywood.[63]


Houdini swims above Niagara Falls in a scene from The Man from Beyond (1922)
While filming an aerial stunt for The Grim Game, two biplanes collided in mid-air with a stuntman doubling Houdini dangling by a rope from one of the planes. Publicity was geared heavily toward promoting this dramatic “caught on film” moment, claiming it was Houdini himself dangling from the plane. While filming these movies in Los Angeles, Houdini rented a home in Laurel Canyon. Following his two-picture stint in Hollywood, Houdini returned to New York and started his own film production company called the “Houdini Picture Corporation”. He produced and starred in two films, The Man from Beyond (1921) and Haldane of the Secret Service (1923). He also founded his own film laboratory business called The Film Development Corporation (FDC), gambling on a new process for developing motion picture film. Houdini’s brother, Theodore Hardeen, left his own career as a magician and escape artist to run the company. Magician Harry Kellar was a major investor.[64]

Neither Houdini’s acting career nor FDC found success, and he gave up on the movie business in 1923, complaining that “the profits are too meager”.

In April 2008, Kino International released a DVD box set of Houdini’s surviving silent films, including The Master Mystery, Terror Island, The Man From Beyond, Haldane of the Secret Service, and five minutes from The Grim Game. The set also includes newsreel footage of Houdini’s escapes from 1907 to 1923, and a section from Merveilleux Exploits du Célébre Houdini à Paris, although it is not identified as such.”
— https://en.wikipedia.org/wiki/Harry_Houdini#Movie_career
Bob Hope Hollywood Guy
"For years, at Christmas, the Air Force provided Bob Hope with air and logistical support for his annual Christmas tours to Vietnam to entertain the troops. As part of this support, Lookout Mountain Air Force Station provide 35mm film equipment and film crews to document Hope's tours. His tours were later broadcast on NBC as Bob Hope Specials.[10]
Lookout Mountain Air Force Station also supported the AEC with documentation of underground nuclear tests at the Nevada Test Site (NTS), Mercury, NV. Beginning in 1951 with Operation Ranger, the first series of atmospheric tests at NTS, photographers from the 1352 Photographic Squadron and the U.S. Army Signal Corps began experimenting with different photographic methods from high-speed to wide-screen. Nuclear tests were filmed in 35mm and 16mm color, in CinemascopeVistaVision, and even 3-D. One of the last underground nuclear tests covered by Lookout Mountain crews was Midi Mist in June, 1967. Between 1946 and 1969, Lookout Mountain studio produced more than 6,500 films for the Atomic Energy Commission and other government agencies. Many of these films remain classified"
“In the 1960s, Lookout Mountain, AFS was staffed by more than 250 military and civilian personnel. The studio employed many talented civilians as producers, writers, directors, cameramen, editors and animators. Many of these “old timers” had worked at Warner Bros., Metro-Goldwyn-Mayer, Universal and RKO Pictures.”[10] W. Donn Hayes (1893–1973), who coined the name American Cinema Editors (ACE), was the past president of the Motion Picture Editors Guild and worked at Lookout Mountain as his last career assignment. Hayes had been in the film and television industries since 1916. Among his credits were Tarzan Escapes (1936), Hitchcock’s Rebecca (1940), and Li’l Abner (1940). Another Lookout Mountain editor, William “Bill” Holmes (1904–1978) had edited 54 feature films at Warner Bros. Holmes’ credits included: Ben Hur (1925), I Was A Fugitive From A Chain Gang (1932), Dark Victory (1939), They Died With Their Boots On (1941) and Sergeant York, for which he won the 1941 Academy Award for Best Editing. Barry Shipman (1912–1994), one of Lookout Mts’ writers, had written serials for Universal Pictures including Dick Tracy (1937) and Flash Gordon Conquers The Universe (1940), and had written for such TV series as Lassie, Ramar of the Jungle, Adventures of Wild Bill Hicock and Death Valley Days.[15] Many of the studio’s producers and directors were veterans of Frank Capra’s WW II film unit, or had been with combat photo teams of the Army, Navy and Marines.”
— https://en.wikipedia.org/wiki/Lookout_Mountain_Air_Force_Station

The Art of Crafting Illusion: Whitney's mechanical analogue computer

This is an example of the type of work these guys actually do. They have to engineer the equipment they need to make the illusion look as real as possible. Today computer controlled cameras allow film makers (and perhaps propagandists like SITE) to easily create multi-layered film composites that are so common these days.
“John Whitney, Sr. (April 8, 1917 – September 22, 1995) was an American animator, composer and inventor, widely considered to be one of the fathers of computer animation.

The analogue computer Whitney used to create his most famous animations was built in the late 1950s by converting the mechanism of a World War II M-5 antiaircraft gun director.[1] Later, Whitney would augment the mechanism with an M-7 mechanism, creating a twelve-foot-high machine.[2] Design templates were placed on three different layers of rotating tables and photographed by multiple-axis rotating cameras. Color was added during optical printing.

Whitney’s son, John, Jr., described the mechanism in 1970:

“ I don’t know how many simultaneous motions can be happening at once. There must be at least five ways just to operate the shutter. The input shaft on the camera rotates at 180 rpm, which results in a photographing speed of 8 frame/s. That cycle time is constant, not variable, but we never shoot that fast. It takes about nine seconds to make one revolution. During this nine-second cycle the tables are spinning on their own axes while simultaneously revolving around another axis while moving horizontally across the range of the camera, which may itself be turning or zooming up and down. During this operation we can have the shutter open all the time, or just at the end for a second or two, or at the beginning, or for half of the time if we want to do slit-scanning[3]”
— https://en.wikipedia.org/wiki/John_Whitney_(animator)
“Whitney was born in Pasadena, California and attended Pomona College. His first works in film were 8 mm movies of a lunar eclipse which he made using a home-made telescope. In 1937-38 he spent a year in Paris, studying twelve-tone composition under Rene Leibowitz. In 1939 he returned to America and began to collaborate with his brother James on a series of abstract films. Their work, Five Film Exercises (1940–45) was awarded a prize for sound at the First International Experimental Film Competition in Belgium in 1949. In 1948 he was awarded a Guggenheim Fellowship.
During the 1950s Whitney used his mechanical animation techniques to create sequences for television programs and commercials. In 1952 he directed engineering films on guided missile projects. One of his most famous works from this period was the animated title sequence from Alfred Hitchcock’s 1958 film Vertigo, which he collaborated on with the graphic designer Saul Bass.
In 1960, he founded Motion Graphics Incorporated, which used a mechanical analogue computer of his own invention to create motion picture and television title sequences and commercials. The following year, he assembled a record of the visual effects he had perfected using his device, titled simply Catalog. In 1966, IBM awarded John Whitney, Sr. its first artist-in-residence position.
By the 1970s, Whitney had abandoned his analogue computer in favour of faster, digital processes. He taught the first computer graphics class at UCLA in 1972. The pinnacle of his digital films is his 1975 work Arabesque, characterized by psychedelic, blooming colour-forms. In 1969-70 he experimented with motion graphics computer programming at California Institute of Technology. His work during the 1980s and 1990s, benefited from faster computers and his invention of an audio-visual composition program called the Whitney-Reed RDTD (Radius-Differential Theta Differential). Works from this period such as Moondrum (1989–1995) used self-composed music and often explored mystical or Native-American themes.”
— https://en.wikipedia.org/wiki/John_Whitney_(animator)
JetStrike:Military & Commercial Jets! for Element 3D. Now Available! https://www.videocopilot.net/products/3d/jetstrike/ Visit Video Copilot: http://www.videocopilot.net Follow on Twitter: http://twitter.com/videocopilot
Subscribe to HBO: http://itsh.bo/10qIqsj Check out the John Adams Visual Effects feature.
The Overlooked Theater: Propaganda is Not Just For You. It's for the military personal too. Most Military Personal are more Propagandized than you are. They are part of the social experiment too and in fact they are lily to be subject to more intense forms of propaganda that may or may not makes it's way out into the public. The military focus a lot more on behavioral modification than most might think. The military prefers to get the enemy (you) to give up before any fight even happens. This is how they keep us in our places. They use cartoon imagery and fear of the same cartoons to keep the public thinking that the government is all powerful, which it is not. The government is also not all knowing, but they want you to have the impression that they are.
Created by the Air Force to promote the Lookout Mountain Air Force Station, this rare film shows some of the "nuclear filmmakers" of the USAF. The Lookout Mountain Air Force Station (LMAFS) was located on Wonderland Avenue, Los Angeles, California. It provided in-service production of classified motion picture and still photographs to the U.S.
“At age 18, Copperfield enrolled at New York City’s Jesuit based school Fordham University. However, three weeks into his freshman year he left Fordham to play the lead role of the musical The Magic Man in Chicago. It was on this occasion that he adopted the stage name “David Copperfield”, taken from the famous Charles Dickens novel because he liked the sound of it. Copperfield sang, danced and created most of the original illusions used in the show. The Magic Man became the longest running musical in Chicago’s history”
— https://en.wikipedia.org/wiki/David_Copperfield_(illusionist)
David Copperfield Jesuit Trained TV Magician
Do You Want To Get Smart?
The old 1960's television show Get Smart was telling us all what to do. Maxwell Smart works for CONTROL - a Government spy agency that exists to defeat KAOS. The secret that we must Get Smart about is that both sides are controlled opposition and work for the same Multimedia Beast that controls and dominates our lives and minds. This ages old control mechanism has taken many forms. It began a long time ago on an estate not so far away...
The first incarnation of the Yellow Beast was the Hoax of Royalty. Of course there is no such thing. This Noble lie must die!
The concept of Royalty is by definition the clear crime of protection racketeering. That's the meaning of the pirate flag and the Vampire Lords who grow fat and immortal feasting off the blood of their unwitting livestock.
When we peasants and rising middle class got tired of the royals protection hoax, the royals cooked up the controlled opposition called organized religion.
Obviously the Vatican and The Church of England are run by royalty of one kind or another from top down. This system allowed and allows the royals too mingle with us commoners. This is how we can join them and move up in rank, like in the game of chess. We pawns can get promoted!
This idea was and is always true with whatever system we are looking at.
Hollywood, The Music Industry, Government, Banking, Corporate and other institutions exist as the result of this long standing racket.
The university system and royal societies and all the museums and all the rest are the royal and elite's tools of social reinforcement,
These are the bars of our mental prison. We are supposed to be intimidated by all the art.
We are to be awed by the majesty of their great work. Yet it was artists and not the royals who would really and truly perform miracles. It's one thing to play dress up and make up languages and plays. It's another to actually engineer the electrical grid and to build great palaces and ships and create manufacturing processes and all the rest. Further the actual physical labor was performed by most of our ancestors. This gilded prison is of our own making, built with the blood and bones of our own kin.
Religion Was One of The Original Forms Of Yellow Journalism As Was The Traveling Snake Oil Sales Racket.
The Other Is The Military.
The Royalty That Runs The Show, Owns The Castle Walls
& The Costumed Robes
These Are The Ones Who Created The Idea of War In The First Place - Humans Are Not Really War Like - This is a Lie!
The Royals Become The Top Military Generals & They Run The Wars From Top Down & Still Do Today
Here is how and at what level these so-called royals mingle with us 'normals'.
They Seek To Put the Fear of The Devil Into Us So We Think We Need The Protection of The Castle Walls and Men in Theatrical Stage Robes.
We Must Contniue As Wage Slaves Working So They Can Play War-Games With Toys And Dress Up on Stages & Screens and otherwise play make believe.
All of this is yellow journalism.
Joseph Campbell defines yellow press newspapers as having daily multi-column front-page headlines covering a variety of topics, such as sports and scandal, using bold layouts (with large illustrations and perhaps color), heavy reliance on unnamed sources, and unabashed self-promotion. The term was extensively used to describe certain major New York City newspapers around 1900 as they battled for circulation.[3]
Frank Luther Mott defines yellow journalism in terms of five characteristics:[4]
  1. scare headlines in huge print, often of minor news
  2. lavish use of pictures, or imaginary drawings
  3. use of faked interviews, misleading headlines, pseudoscience, and a parade of false learning from so-called experts
  4. emphasis on full-color Sunday supplements, usually with comic strips
  5. dramatic sympathy with the "underdog" against the system.
disney info school = yellow journalism or disinfo!
Where Do Minions Come From?
ANSWER: 
Where Sgt. Pepper taught Walter Cronkrite, Dan Rather, Bobby Darin & The Beatles & Friends,

How To Tell Yellow Journalism Lies

• WEAVE TALL TALES •  DO VOICES & TELL JOKES & SING • DANCE • ACT & PLAY!
Are we surrounded by minions? It sure feels like it. We like them. They are really cute and designed for commercial business. These sweet little yellow products just can't help but fly off the shelves. We are lucky to have infinite supply online.
We know that at installations like the Defense Information School, the military trains agents, actors, voice over people, radio disc jockeys, comedians, journalists and behind the scenes production staff. This is where yellow journalism techniques are taught to trained agents who have security clearances. All news media is nothing but yellow journalism. We can see how things really work now. Yellow Journalism is the method for all of this. These sensationalized techniques really date back to the earliest days of religion, obviously. These are basic military style propaganda techniques designed to win a so-called war, before ever having to fire a shot.
The need or motive to fake news and wars dates back to the earliest days of our so-called civilization. Medieval castle walls were sold as protection to the mass of peasantry. The origins of our modern Mafia run global culture emerges from the shadow and into the light. We can use even wikipedia to reveal the truth. All we need to do is keep following a literal web linked trail and we will end up seeing how the United States is nothing but a corporate racket, an unlawful and unnatural front for the banking and currency industry, that represents old European moneyed interests who had originally funded this economic enterprise in the first place, or so they think. This funding was ill gotten gain in the first place of course.
We would call these people the royals. The Queen of England would seem to be the Empress of the World, at least on paper. The Treaty of Paris from 1783 makes for the proverbial eye opening read. The monarch retained more rights than you might know. The United States government is in debt to the royals. This body does not work for us. It works against us. Politicians swear an oath to defend it not us. They swear to uphold the Constitution which means the Government not the people. This is and was a simple bait and switch tactic. We The People, quickly became the Founding Fathers, and a new kind of elite. These men founded their version of a racket. We call this layer of extra governance and crime, the United States Government. Television is its most important medium and the on air talking head is the weapon of mass mental destruction that the government uses to control all of us. This same weaponized culture is online. In fact it is pretty much everywhere in our artificial world. We are so used to it we do not see it. We are like the fish in water who do now know they are in water. Better still we are the tadpole in a pot of water that is about to start boiling.
As it turns out, we are brain washed member of a cargo cult.
There will never not be a so-called National Debt clock ticking away. We get the long con now. We are all economic wage slaves in an inhumane system that is simply  built on lies. This is the racket and this is the crime. War and other false narratives are literally manufactured and promoted with the intent of creating a false impression in our minds. We have to believe we need all the layers of government to protect us from harm. This is why these bodies craft and exaggerate every event that fits this meme. The news media is state run and staffed with military trained minions with security clearances. This is how the show is run and it is run this way online too. Alex Jones is not alone. More minions lurk and the real purpose is to get us to do their job for them. 
Today, the internet is filled with alt media which emulate the practices of the old. Nothing changes. Seemingly amateur web personas might be part of the show. These fellow 'truth seekers' might be no more than dis-information agents, whether on the pay roll or not. We are encouraged to play gatekeepers to ourselves and others and in this manner we are unwitting pawns of the control system.
Minion School
"The Defense Information School, or DINFOS, is a United States Department of Defense (DoD) school located at Fort George G. MeadeMaryland. DINFOS fulfills the Department of Defense's need for an internal corps of professional journalists, broadcasters, and public affairs professionals.[1] Members from all branches of the U.S. military, DoD civilians and international military personnel attend DINFOS for training in public affairs, print journalismphotojournalismphotographytelevision and radio broadcastinglithography, equipment maintenance and various forms of multimedia. The American Council on Education recommends college credit for most DINFOS courses."
"Leadership courses
The Public Affairs Leadership Department is one of four departments in DINFOS.
The Public Affairs Leadership Department offers the Qualification Course (PAQC), the Joint Expeditionary Course (JEPAC), the Joint Intermediate Course (JIPAC), and the Joint Senior Course (JSPAC). Courses are offered to military officers, senior enlisted personnel, Department of Defense civilians, and members of coalition partners from around the world who are preparing for or already in billets of public affairs leadership.
The Public Affairs Qualification Course (PAQC) provides those who are new to the public affairs field the fundamentals of public affairs to include military-media relations, the different mediums used to facilitate the flow of accurate and timely information, and how to conduct public affairs operations in support of the command's mission. In addition, the students are taught the fundamentals of news, journalism, and how to write and copy-edit in accordance with the Associated Press (AP) Styleguide.
The Public Affairs Expeditionary Course is a ten-day, intensive follow-on course to PAQC. Students are expected to have a basic working knowledge and experience in PA as the course is focused more on the application of PA skills in a field environment.

Journalism courses

Journalism classes feature basic writing skills and include a headline style known at the school as "headline-ese", a total style for writing and developing headlines. Students are taught a variety of writing styles and formats such as news, sports and feature writing.
Photojournalism courses focus on composition, exposure, and general camera operation skills. Flash photography is introduced in the basic photography course. Students learn advanced photo-editing, composition and other techniques not taught in basic photojournalism classes.
For military print journalists, DINFOS offers the 12-week Basic Public Affairs Specialist Course (BPASC), a 26-week online BPASC and three-week Editors' Course. U.S. Army students are awarded the Military Occupational Specialty (MOS) designator of 46Q, and U.S. Marine Corps students are awarded the MOS 4341 Combat Correspondent.
For military Broadcast journalists, DINFOS offers the Broadcast Communication Specialist Course. Broadcasters begin by attending several weeks of BWAS - Basic Writing and Announcing Skills. If the class requirements are met, students may continue into Radio and Television broadcasting classes. U.S. Army students are awarded the MOS designator of 46R.
Students in all courses hail from all branches of the U.S. military and reserve as well as International military students.

Equipment maintenance courses

The Basic Television Equipment Maintenance (BTVEM) course includes apprentice level instruction in the repair of all types of studio and transmission equipment. Students also learn how to maintain the AVID non-linear digital editing systems. The U.S. Army MOS 25R and the Air Force AFSC 2E134 is awarded upon completion. Since December 2006 Air Force class graduated, DINFOS no longer trains Air Force personnel in the BTVEM course.
The Broadcast Radio and Television Systems Maintenance course is an advanced level course where students learn the ins and outs of American Forces Radio and Television Service (AFRTS) engineering standards and practices.
Both maintenance courses are nationally accredited by the Society of Broadcast Engineers (SBE). Upon completion of either course with an average GPA of at least 85%, students are certified by the SBE as broadcast technologists (CBT)."

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