Multiple personality disorder: ‘Creating personas was my way of coping with abuse’

[Looks like they're stepping up this the promotion of MPD/MK for some reason..., this follows on from the previous post with The Times' article on it. (I'll probably add some images to it, but I'm breaking from posting properly for a few days. No point putting the whole article in bold, it's all very obviously very important and relevant stuff.)]

After years of abuse by her father, Alice Jamieson developed multiple personality disorder. She tells how trauma has shaped her life...

Meeting new people is stressful for Alice Jamieson — not her real name — and it is at times of stress that her alternative personality is inclined to appear. So perhaps I should not be surprised that when Alice first walks towards me at her home, there is no sign of a 40-year-old woman who is about to begin a PhD. In her place is a ten-year-old boy called JJ who hangs his head, dangles his arms and talks in a slow, high-pitched voice.

Would I like to see his new light? I follow him to another room, where a spectacular aeroplane light fitting hangs from the ceiling. He whizzes the propeller round and shows me a set of wooden letters that are to be attached to the door. They spell “JJ’S DEN”. “I can come here and be on my own,” he explains.

We sit down in the kitchen and I tell JJ that I think Alice’s book is really good. I’m trying to use words appropriate for a conversation with a ten-year-old boy when his legs stop swinging and he raises his head and looks at me keenly. Alice is back. She shakes my hand to introduce herself; she has no knowledge of the conversation we have just had.

When Alice Jamieson was 24 she was told that she had multiple personality disorder, or dissociative identity disorder (DID), a condition that is associated with abuse in childhood. At one point she had about 15 alternative personalities, many of them children with specific memories of the abuse that she suffered, largely at the hands of her father, although at times he sanctioned the involvement of other adults, too.

Related Links

• Woman turns into young boy live on air

• Analyse this: multiple personalities

• "A profound duplicity of life"

DID is an elaborate defence mechanism that enables victims of abuse to cope with what has happened to them. If a bad experience is dealt with by a separate person, then good experiences — perhaps with the same adult to whom attachment is imperative — can be preserved.

Alice’s book, Today I’m Alice, is a compelling account of the strategies she has used to survive more than two decades of grotesque sexual, physical and emotional harm. It is not comfortable reading but it does offer insight into a form of mental illness that is more pervasive than we may realise. This is pertinent as health and social care professionals debate how best to identify the abuse of children. It is estimated that nine out of ten abused children remain silent about their damaged past, even as adults.

Alice grew up with her parents in a big house in suburbia. Her father was a respected professional who enjoyed golf, and she had an older brother, though this was a family in which there was little communication. When she was six months old her father started to abuse her. Throughout her childhood, adolescence and young adulthood he raped her hundreds of times. “There was no perversion my father didn’t inflict on me,” she writes.

To Alice the child, this was all she knew and therefore it was normal. She told no one because her father said that no one would believe her, and as “Daddy’s little girl” she craved his attention. Yet by the time she was a teenager she was anorexic, numbing herself with alcohol, a compulsive runner, and had obsessive complusive disorder. She also began to hear the voices of various characters who told her that she was useless and urged her to kill herself. She has since overdosed more than 100 times and the forearms she has cut repeatedly are patched up with 600 stitches. She has also suffered from drug addiction.

Her book tells this story in the manner of a curtain being drawn back. As a child Alice was aware of disturbing dreams; slowly she came to understand that these were repressed memories of real events, and that she endured her abuse by dissociating from it, by becoming another person who would hold that memory. This meant that she lost the time when she functioned as another person. With professional help, some of her “alters” have become integrated, though she chooses to keep JJ.

“Creating personas in my head was my way of coping,” Alice says. “They would take on board the abuse and I’d not remember what had happened. JJ is the main person who comes out. I think he represents the childhood that I lost. It’s important to have that ability to sit and play.”

JJ reappears a minute later. He giggles, asks my name again, then says: “I’m getting in the way. You’ve got questions to ask.” I will meet him five times.

The big question that Alice’s history raises is why her abuse was not picked up. Her mother and brother knew nothing about it until she told them as an adult, though at the age of 2 she had an anal fissure and as a small child she was repeatedly treated for cystitis in hospital. Part of her mission now is to ensure that all professionals who work with children recognise the signs.

“Why it didn’t ring alarm bells with somebody at school, I don’t know. I was depressed at 14, 15. I’d fall asleep in lessons, yet nobody asked questions. When I was a teenager a child psychiatrist asked me outright: ‘Have you been abused?’ What are you meant to say when you’re living at home with your parents? You’re not going to say yes because the fear of God is put into you — no one will believe you.”

Certainly sexual abuse was not widely debated in the Seventies and Eighties, and even now it is more commonly associated with sink estates than with the middle classes. That has been her father’s protection. When, at the age of 21, she confronted him with the knowledge that he had abused her, he raped her at knifepoint and beat her up so badly that she needed hospital treatment.

In 1999 she did eventually report the abuse to the police, who investigated — but her father, who denies the allegations, was not prosecuted, largely because Alice’s mental health was poor at the time. The abuse has, however, been validated by the Criminal Injuries Compensation Authority, which carried out a two-and-a-half-year investigation and awarded her more than £400,000. She also has a letter from her local police force confirming its belief that she has told the truth.

Much of her life has been lonely. Not knowing how to have a loving relationship, she avoided them. Her recovery has a lot to do with Alec, whom she met three years ago when he was a churchwarden. A jovial man in his sixties, he spends hours playing with JJ. “He was unconditional,” says Alice, “never judgmental. He didn’t say anything about belief or disbelief, he wasn’t fazed by what I said. If I hadn’t made that bond I’d be dead now.” The book has also been cathartic: “Almost more so than any therapy I’ve had, because I described what happened.”

It is hard to put across the experience of meeting Alice without describing her voice, her manner, the way she looks at you, all of which could identify her and consequently her father, which legal considerations prevent. But I can say that when we said goodbye she kissed me enthusiastically on both cheeks. For a woman who has experienced such trauma that only a few years ago she could not bear to be touched, that is a positive sign.

Today I’m Alice, by Alice Jamieson, is published by Sidgwick & Jackson, £12.99

How alter egos aid survival

A child survives by forming an attachment to one or more adults. If that attachment is threatened, the child has to find a way to cope. Multiple personality disorder, or dissociative identity disorder, is a survival mechanism.

“When a child’s neurological system can’t cope with what’s going on, they have to find some way of dealing with it as if it hasn’t happened,” says Remy Aquarone, secretary of the European Society for Trauma and Dissociation and director of the Pottergate Centre for Dissociation and Trauma. “Perhaps a father looked after his daughter most of the time but would occasionally abuse her. Then the two experiences are separated to preserve the attachment to the good father, which is paramount. So the child finds herself split into one person who deals with the abuse, and another who deals with the attachment. Adults who were abused as children will say that they could tell immediately from the way their abuser talked and their body movement whether abuse was about to happen. If it was, they would immediately switch personality to minimise the impact.”

This is a primitive mechanism linked to animal responses, Aquarone says. “An animal that is about to be attacked increases its chances of survival if it plays dead and is passive. With a child, a threat comes along, the child freezes, then something takes its place. It’s a psychological coma of forgetting and not knowing.”

Alice Jamieson’s sense that she loses time is typical of people who are abused over many years, Aquarone adds. “People carry on for maybe 20 years having no memory of the abuse, then it starts leaking through and they have a breakdown, which is the beginning of trying to process what couldn’t be processed before.

“The more that went wrong in childhood, the more different situations have to be coped with by another part of them — by an ‘alter’. In adulthood this is no longer necessary as a survival mechanism but it is templated, so it carries on.”

Many people with dissociative conditions do not seek treatment; Aquarone estimates that 0.5 per cent of the population may be affected. Treatment began 20 years ago in the US and focused on integrating the personalities. Today the emphasis is to reduce the symptoms, which often include self-harm, and to facilitate communication between the outside personality — in this case Alice — and her alters. The outside personality is encouraged to talk about her history and to understand that her alters use up some of her conscious time. “You make sure that the outside personality is the one in charge,” says Aquarone.

Today I'm Alice: A Memoir of MPD

An academic who was sexually abused as a child and developed multiple personality disorder sees her autobiography published this week.

[Thanks to a commenter for providing this fascinating and unexpected link to this interesting MK/abuse book which came out this month. If you want to know how this dissociative disorder ((and other facets of dissociation)) can be manipulated in the most extreme way (for the purpose of creating programmed multiple slaves; it's very possible, it is incredibly naive to assume that it hasn't been going on) please see Illuminati Formula (which obviously has it's fair share of problems) and more personal accounts from people like Cathy O'Brien. Remember 'Alice' (in Wonderland, created by pedophile Lewis Carroll) is the archetype for this kind of MK/abuse/mind-fuckery (the story's themes work perfectly in programming, see the linked Disney/Wonderland post), so releasing this book under that name is even more significant. Note the fractured words MK symbolism I've discussed many times before on the above book covers.]

Alice Jamieson, as she is now known, was raped repeatedly by her father throughout her childhood. The experience left her with complex psychiatric problems yet she went on to a successful academic career.

When her injuries forced her to abandon that career, she began writing about her experiences as a cathartic exercise. But last year her book was the subject of a bidding war by publishers. The rights were won by Macmillans and it is published on 1st May entitled: Today I’m Alice.

Alice is now 40. She began suffering sexual and other abuse by her father when she was two years old. She was systematically raped from the age of five.

An early memory is being put in a cardboard box with the family dog, with a choke chain around her neck and her father telling her to keep quiet whilst he occasionally tugged on the chain to scare her.

Another memory is of a night when she was five years old. Before he raped her, her father ‘abused’ all of her teddies and threw them out of bed.

On occasions he would bring her mother’s cigarette lighter into Alice’s bedroom and flick it by her feet. There was a mirror on the wall facing Alice’s bed so it looked to Alice as though her feet were on fire.

On other occasions he would bring a jam jar with spiders in it and threaten to let them loose over her stomach. [these are many standard traumas we've discussed before here at this blog]

From the age of four Alice had regular bouts of cystitis. This was so frequent that at about ten years she had to visit a children’s hospital once a month for over a year.

Her parents broke up when she was 17, but the abuse by her father continued relentlessly. To cope with her situation, Alice threw herself into her academic studies. She went to university and gained a first class honours degree, but each time she returned home her father raped her.

Eventually when she confronted him about the abuse he raped her again and beat her up so badly she required hospital attention.

She had been undergoing psychiatric care since she was in her early teens, but now developed schizophrenia and began periods of self-harm and drug and alcohol abuse. She spent some time as an in-patient at a psychiatric hospital.

Each time she was abused Alice dissociated [I explained this a lot in the Alice in Wonderland/Disney post], detaching herself from the emotional and physical assaults, by creating other ‘personalities’, so that she – Alice – did not remember any of the abuse until adulthood.

This was a coping mechanism that was subsequently diagnosed as ‘dissociative identity disorder’, or ‘multiple personality disorder’ as it is more generally known. It is a rare condition, and involves ‘splitting’ the personality into different people, who often have no knowledge of the others.

In spite of her horrific home life she was successful at school, gaining 11 GCE ‘O’ levels and 2 ‘A’ Grade A levels. She went on to university where she gained a first class honours degree and later went on to study for her PhD. But she had to abandon this due to psychiatric problems and has worked only intermittently since.

In 1997 Alice reported her abuse to the police, who interviewed her father but decided that there was insufficient evidence to press charges.

However, she also took her case to lawyers, Pictons of Luton, who specialise in child abuse claims. They made a claim on her behalf to the Criminal Injuries Compensation Authority (CICA), who make payments to those who have suffered injury as a result of criminal acts.

They were instrumental in achieving a CICA award to Alice of £434,500, which may be the second highest such settlement.

The case was managed at Pictons first by partner Tracey Emmott, who heads Pictons’ child abuse team and also represents survivors of the abuse at Haut de la Garenne in Jersey, and then by Emma Anthony.

Both are warmly acknowledged by Alice for their help not only in winning the award but for their support during the period when she felt nobody else believed her.

‘The CICA decision and the amount awarded is a clear acknowledgement of the seriousness of our client’s abuse, and properly reflects the devastating and long term effect it has had on her life,’ says Tracey Emmott.

‘We’re pleased to have won such appropriate and deserved compensation for our client, which we believe may be one of the highest ever awards in an abuse case.’

‘The circumstances of Alice’s ordeal are truly horrific and even among the grisly and humiliating stories I encounter as a child abuse lawyer I’d have to say that I still find it almost unbelieveable, especially of a parent towards his daughter.’

‘We’re naturally delighted by the size of the award,’ says Emma Anthony. ‘From Alice’s perspective, the result means she has achieved formal recognition of what happened to her and a resultant sense of closure. But it’s also important in terms of the wider fight to raise the profile of child abuse. The recognition of the dreadful taboo surrounding this whole area is now becoming much more widespread, and so encouraging greater insight, understanding and recognition for the survivors.’

‘The hope must be that, as this awareness grows, the myths surrounding abuse are broken down and the perpetrators are brought into the open, the instances of abuse will diminish.’

Alice Jamison’s claim against the CICA was managed by Pictons on a ‘no win, no fee’ arrangement, but they chose to accept only half the fees to which the agreement entitled them.

Here is another pertinent review (showing some other common MK themes [masks/mirrors/etc]) from this link:

When Alice was a teenager strange things started happening to her. Hours of her life disappeared. She heard voices shouting at her, telling her she was useless, a failure. In her dreams she watched a girl being sexually abused and awoke pleased that she wasn't that girl, curious who she was, and why these dreams haunted her. As she grew older the dreams grew more shocking, more detailed, more real.

Staring at herself in the mirror she'd catch her face changing like a rubber mask and would see someone else staring out from her eyes. Today I'm Alice describes the extraordinary journey of a teenager drowning the voices with alcohol, battling anorexia and OCD, to a young woman slowly losing control to 'the children' growing from voices in her head to full-blown personalities.

Alice suffered the despotic regimes of the psychiatric wards as she slipped further into mental illness until she was finally diagnosed with multiple personality disorder. When her 'alters' were revealed in therapy she discovered how each one had their own memories of abuse and a full picture of her childhood finally emerged. Moving, ultimately inspiring, this memoir written with Clifford Thurlow is a gripping account of a rare condition, and the remarkable story of a courageous woman's battle for sanity.

Disney Twenty-Three Part 1: Alice, Oswald and Thirty-Three Little Masonic Pigs

An official Disney magazine 'Disney 23' had it's inaugural issue recently, with an article on Tim Burton's history with Disney as it's main feature (further down the post). Annie Leibovitz' Disney photo shoots and other things featured, the title '23' comes from when Disney was founded in 1923. Most people are aware of the '23 enigma' in some part, even if it's just from seeing a poster for the movie 'The Number 23'. More from this magazine in the next part or the one after, some good preview images of Burton's Alice in Wonderland and other relevant info/images. I'll use this as an opportunity to post more on Disney in general and also some numerology in the Disney Timeline I've been meaning to post on, I only got as far as 1933 in this so lots to go! If you want a comprehensive analysis of Disney's history then I recommend this link and Cremation of Care always does good stuff, link. What I'm doing here is a summary of some of Disney's main themes from my perspective (people will probably know more than me, so do comment), I go off on an Alice Liddell/Lewis Carroll tangent also.

It was founded in 1923, when "Walt Disney signed a contract with M.J. Winkler to produce a series of Alice Comedies, beginning the Disney company under its original name Disney Brothers Cartoon Studio, with brothers Walt and Roy Disney, as equal partners." I've embedded the original one 'Alice's Wonderland' below, the subversive themes of these black and white shorts should be obvious: "Alice visits Disney's cartoon studio where the cartoons jump off the page. Later on, she sleeps and dreams that she has gone to Cartoonland [Wonderland] where she is able to interact with the cartoon characters." Walt undoubtedly had Alice in Wonderland in mind when he created Alice's Wonderland and the subsequent Alice Comedies, but it wasn't until 1951 that he tackled the actual Lewis Carroll work, instead of just using (as is the case here) it's central themes of a young girl called Alice dissociating into an alternate reality.

Alice's Wonderland
Uploaded by cartoonclasico

Walt Disney is the White Rabbit (who leads Alice down the rabbit hole into Wonderland; a metaphor [and programming device] for 'leading' children down into dissociation [tumbling into a trance] through abuse [the white rabbit represents the abuser/'master'/programmer that must be followed at all times], the introduction to Disney's 1951 Alice in Wonderland pretty much announces that Walter is the White Rabbit [above image]. It is worth noting the White Rabbit in the film appears for the first time as a reflection in the pond Alice is playing by, right when ripples [a metaphor often used for trauma; i.e. in the International Society for Traumatic Stress Studies' logo] are made). Obviously much more on this version of Alice in Wonderland (and the new one) to come in the next parts.

To further illustrate the subversive MK elements, from wiki: "Alice is a little girl, yet she spends much of her time avoiding danger, and even getting kidnapped by the cartoon villains, threatened with such perils as being tied to a log in a sawmill." Themes of dissociation are clearly present; remember Alice in Wonderland is about a little girl's dissociation from sexual abuse [("Lewis Carroll" was a pedophile, the fact that Walt would choose the name and themes of 'Alice' as his first work should tell you a lot about Disney) as a survival mechanism the mind of an abused child "splits off" from conscious reality, i.e. tumbling down the rabbit hole out of this reality (she follows/is led by the White Rabbit [abuser/programmer] into it) into Wonderland [in Through Looking Glass, going through the looking glass/mirror becomes the metaphor/mechanism of dissociation, more on this below], the cyclone taking Dorothy over the rainbow into Oz, and all the many variants in countless works of fiction (all of which can be used in programming)]. The first written message of Alice's Wonderland (it being silent) starts with "Little Alice, chuck full of curiosity..." remember the little girl who apparently told/inspired Lewis Carroll to write Adventures in Wonderland was called Alice Liddell; so in calling her 'Little' I view it as consciously invoking the original abused Alice Liddell (with the name essentially reversed). And describing her as being full of 'curiosity' is another clear Alice in Wonderland reference as one of her trademark lines is how 'curious' she always is.

The above video comes from a TV version of Through the Looking Glass showing Alice stuck in the mirror (notice Queen Victoria [see further down] pictured often, the cat and generally the overt psychological/MK themes going on here). This theme of going 'Through the Mirror' and dissociation is used by Disney in a 1936 Mickey Mouse (Magic Mirror) short entitled 'Thru the Mirror', I've embedded it below but also with a few relevant screen captures (from the Alice in Wonderland DVD).

MM falls asleep reading Through the Looking Glass and he leaves his body (dissociates; the sleeping/dreaming is always symbolic dissociation not a literal standard dream, victims are taught to believe their abuse was a 'dream' [which is easy to do because the victim's dissociative mind will automatically want to think that it wasn't real as a survival mechanism; most "dreams" are quickly forgotten])


He goes 'Thru the Mirror' where everything is backwards/mirrored, and all of the inanimate objects become animated and alive, which is obviously a common theme in Disney films.


Notice the rainbows (more dissociation symbolism [Dorothy is taken by the cyclone over the rainbow into Oz ((dissociation/trance)), described above], rainbows are a very effective trigger [it's different colours make it a good hypnotic device; just look at all the hypnosis services using it as their name/logo] also [going over the rainbow/through the mirror as I've said are quite similar so it's interesting that both feature here]) in this very MK symbolic Gamecube game cover (click the image for it's wiki, predictable plot [collecting mirror shards is worth noting]); Magical Mirror starring Mickey Mouse.



Standard Masonic top hat [he also dances on top of it and such]/phallic cane dance [remember MMC, Mickey Mouse Club programmed slaves Britney/Christina and Madonna's MTV top hat/androgyny 'Like a Virgin' ritual and Beyonce and co at the recent Oscars].

Lots of other symbolic things feature (Poseidon and lots I haven't pictured or described), remember Belgium's Joker rode in on a bicycle (I think there are some more Joker/bicycle connections in the comments too).


More from the above article in the next parts (top half of image at end of this post).

Some brief information on Alice Liddell (above photo taken by Carroll [back in those days, they could get away with public pedophilia which this image is not, Queen Victoria even ordered some for Prince Albert.]) and how Alice in Wonderland was allegedly created: "On 4 July 1862, in a rowing boat travelling on The Isis from Folly Bridge, Oxford to Godstow for a picnic outing, 10-year-old Alice asked Charles Dodgson (More commonly known by his pen name, Lewis Carroll) to entertain her and her sisters, Edith (age 8) and Lorina (age 13), with a story. As the Reverend Robinson Duckworth rowed the boat, Dodgson regaled the girls with fantastic stories of a girl, named Alice, and her adventures after she fell into a rabbit-hole. The story was not unlike those Dodgson had spun for the sisters before, but this time Alice asked Mr. Dodgson to write it down for her. He promised to do so but did not get around to the task for some months. He eventually presented Alice with the manuscript of Alice's Adventures Under Ground in November 1864." Now obviously most of that is the kind of typical myth given to the public to make them feel at ease (Peter Pan creator J. M. Barrie would be another example of this kind of thing I think), I feel we know enough to be able to read into it. Considering the themes of dissociation/confusion and many other psychological/MK aspects involved in child abuse that are present in Alice in Wonderland... it really isn't brain surgery to figure out what's going on here! Anyone expecting some kind of definitive proof either way is kidding themselves, there's a reason why those pages from his diary went missing, why Alice's mother tore up all the letters from Dodgson to Alice, and I am sure most of Dodgson's more explicit photographs and drawings of naked little girls have been kept successfully buried.

[Edit: deleted fake image I had previously removed from another post but forgot it was still in here, thanks to the commenter who mentioned it.]

Alice is on the right, her sisters Edith and Irena (middle) are with them. Alice's MK/abuse probably started with her Oxford University Vice-Chancellor father Henry Liddell, who was also the Dean of Christ Church (Carroll met the family as Henry had just become the Dean of Christ Church) and he probably allowed her to be used by people like the aforementioned Reverend Robinson Duckworth (was a chaplain/member of the Order of St. John, with it's Maltese style cross always used by the powers that be, also a member of 'elite' Gentlemens clubs like the Athenaeum Club) who rowed the boat [this nursery ryhmne was probably sung in their "entertaining" of the girls: "Row, row, row your boat, gently down the stream. Merrily, merrily, merrily, merrily life is but a dream." (more dissociation ((don't worry about the abuse, just keep rowing (((keep following the white rabbit, keep following the yellow brick road etc etc)))... it's all just a dream anyway, in MK this is partly how dissociation is used; dreams, fantasy and reality are confused)), nursery ryhmnes/fairy tales are all full of it)]. Showing some more of Robinson's 'elite'/monarch connections, he served as Instructor and Governor to Prince Leopold (leopard; suffered from hemophilia [as most of the ibred royal scum did] and "mild epilepsy"), who more than likely used the Liddell sisters (again showing how these slaves are often used by 'elite'/royalty; Daisy Greville was another one [who then became King Edward VII's mistress, and was used by various "powerful men"]), Alice named one of her son's after the Prince and he was also the child's godfather (both her son's died in the mass ritual blood-sacrifice at WW1), Robinson became King Edward's Ordinary-in-Chaplain, then Queen Victoria's (you'll notice Monarch, Queen Victoria's painting featuring prominently in the Through The Looking Glass video further up). Like the occultist author of The Wizard of Oz Frank Braum, Lewis Carroll was also a member of/or at least influenced by the Theosophical Society.

Below is a picture from later in Alice's life, showing her vacant/dissociative/glazed over eyes.

Society was incredibly misogynistic back then (but Queen Victoria was in power, how could it have been?! [wake up, Monarchs are empty-headed figureheads]), it still is today though it has evolved, below is her gravestone where she lost, not only her last name as you'd expect (she married cricketer Reginald Hargreaves), but even her first? Sounds like men were trying to control her her whole life...

You could spend years speculating why Dodgson and the Liddell family fell out [letter from Alice's mum to Dodgson: 'It is no longer desirable for you to spend time with our family.'], if he was in fact a pedophile who abused Alice Liddell, etc. But to me, his and her connections to the clergy (many clergymen are pedophiles [it was planned that way, what did they think would happen with all that sexual repression?!], especially in the higher echelons [at Christ Church etc]; a large number of multi-generational abuse families comes from the Christian church and all other similar religions), connections to royalty ("relationships" with Princes and such), the themes of dissociation and other elements pertaining to abuse being so prevalent in his work and others make it patently obvious what Alice in Wonderland is really about [below trailer (notice the checkerboard and whatnot) is from "Dreamchild" where an 80 year old Alice attends Columbia University: "Via flashbacks, it is insinuated that Dodgson had an infatuation with the young Alice Liddell. Was it an innocent admiration he had for the girl or something inappropriate? Alice is clearly troubled by her recollections of Dodgson. The parameters of her relationship with him were somewhat tortured."].

Alice is usually accompanied by her cat Julius (AKA Felix the Cat), Alice (in Disney's Alice in Wonderland at least) is also accompanied by a cat, before tumbling down the rabbit hole (much more on this + pictures in the coming parts). Walt's original Alice was played by a 4 year old Virginia Davis from Kansas City, who would go onto perform in plays such as 'The Blue Bird' (I've linked to the 1940 Shirley Temple movie version as it has a better description of it's MK elements [similar to Wizard of Oz, don't forget Project BLUEBIRD], based on the same fairy play written by Maurice Maeterlinck [who was heavily into the occult/mysticism]) and not much else, she has appeared in 13 movies in total.

Walt with Shirley Temple (from inside Club 33).

Anyway, we have established that Alice in Wonderland heavily influenced Walt Disney, creating 'Alice's Wonderland' and the Alice shorts that followed, as their first public films. But he did not immediately seek to turn the actual Lewis Carroll books into a movie, it was always on his mind however ("he had been thinking of making it for 30 years before 1951"-paraphrased from Wonderland DVD). We will come to Disney's Alice in Wonderland 1951 work in the next parts, but continuing the Disney timeline after the Alice Comedies came Oswald the Lucky Rabbit in 1927; I've embedded one short he features in 'The Mechanical Man' (this isn't Disney, just their character; but Disney did make a 'Mickey's Mechanical Man' in 1933 [33/MM]) below with some standard MK themes (robot needing a heart etc) and the usual subversive sexual imagery (the dancing phallus at 0:25). American/Soviet military programmed mind control assassin Lee Harvey Oswald was nicknamed in the military, 'Ozzie Rabbit' after the cartoon rabbit; I wouldn't be surprised (wild speculation admittedly) if one of the episodes was used on him as a trigger in the assassination of JFK (not that he fired the fatal shots or anything, MK'd patsies are always a necessity in political assassinations [note his grave below, simply 'OSWALD']).

Skipping a few years (the skull and bones invoking, somewhat macabre 'Skeleton Dance') to the Masonic 1933, Walt unsurprisingly (more on Walt's potential Freemasonic connections below) chose to turn a very Masonic fairy tale into a film in 'Three Little Pigs' [33, 3 little pigs; there are three main degrees of freemasonry]. The fairy-tale itself has some unarguably Masonic overtones; the three pigs are brothers (Masons refer to themselves as "brothers") who are builders (AKA Masons). If you were a Freemason you'd take the third pig's taking the time to build a strong and sturdy house that cannot be broken into by the big bad wolf (AKA the elements, danger, bad things) as an analogy for their own lives and building a better society as a whole. Which would be the kind interpretation that I think most Masons wouldn't argue with (considering the origins of Freemasonry, the building of Solomon's temple is it's central allegory); I would suggest however that it is more about (from Walt and other illuminists' perspectives) building a closed society for the "brothers" to live in only, we/the masses (the nasty wolf) are kept out (in a state of ignorance/submission/slavery).

We have seen that Walt chose to create a fairy-tale extremely analogous to Freemasonry's central allegories in the year 1933 (beyond coincidence), this is a good opportunity to make some other pertinent Walt Disney Freemasonry connections. I don't think it particularly matters if he was a "33rd Degree Freemason" specifically which people harp on about; he was part of that 'elite' culture though so the '33' symbolism he would have been more than aware of, this is confirmed when you consider he was a member of the Order of DeMolay a Kansas (Oz) City Masonic youth organization (similar to the Rainbow girls [with more big Disney connections] and others): "Founded by a Freemason, DeMolay is closely modeled after Freemasonry. It is not directly connected to Freemasonry, though it normally meets in a Masonic Lodge room [...not directly connected?!]. DeMolay is considered to be part of the Masonic Family... The organization is named after Jacques DeMolay, a knight and crusader who was the 33rd and last Grand Master of the Knights Templar." So we can see that Walt would clearly have been conscious of the importance of 33 to DeMolay [it's founder, "Dad" was a 33rd also] and Freemasonry.

Source for these First Day Covers; the below one commemorating Mickey Mouse being an honory DeMolay and above showing more sun symbolism (see further down), and below that commemorating his "Presidential Medal of Freedom", which is always hilariously ironic in who it is given to.

One such Masonic Lodge room a chapter of DeMolay meet in (found via google), note the usual Freemasonic checkerboard floor.

I personally feel organizations such as these are used for programming children (or at least getting them on their side and putting them on their intended future path, whilst keeping them in ignorance) for their future role on the global stage (Freemasonry is only a small part of it, it has been used as a conduit for control; most Masons are entirely innocent), apart from Walter (alter, alter-personalities) Elias (El Hebrew name for god, old testament Freemasonry/qabalah) Disney (see wiki entry on Elias for more [literally means 'the sun'; sun symbolism often consciously featured on Mickey, like in the below screencap from the start of 'Thru the Mirror']); other puppets to have been members include John Wayne, President Bill Clinton and many others.

Disney even hosted it's own Masonic Club, supposedly for it's employees who were Freemasons (source for some of this info), note the symbolic colours chosen, blue (with a slight purple tinge) and yellow/gold, this link describes their use of blue and gold (I have posted on it before, in regards to the illuminist show Eureka) together and speculates as to why. These specific colours are often used by Masons (you'll also notice the flute playing pig has the same colours), if you've looked into Freemasonry for five minutes you would have seen these colours used together; it is no coincidence then that Disney World Resort's official logo is blue with the gold shooting stars [remember Elias/Elios = sun, a star; yellow/gold symbolizes the sun too].

Gold and Blue were the official colours chosen in 2005 to celebrate it's 50 years of successful child mind-fucking (["The happiest celebration on Earth"] it's worth noting all the various other connected things celebrating their 50/55 year anniversaries recently/past few years, such as Barbie and Playboy [both of which are heavily associated with Marilyn Monroe, Tinkerbell ((slutty-looking ["mature-allure"]/sleepy-eyed/child-like innocent little fairy)) was based on her, as some rumors suggest; the real model for Tinker Bell ((see keyhole [keys/keyholes = symbolizing keys/triggers for accessing alters/dissociative states/sex programs/etc] picture below)), MK Margaret Kelly ((ballerina, never knew her parents [so an easy target similar to Norma Jeane who was also fostered] etc)) seems like she went through similar sex programming as MM, she died on September 11th 2004]).

MK and Tinker Bell.

Bearing all that in mind, the name of Disney's Club 33 makes a lot more sense [note the clear duality symbolism on the above logo too, remember Walter's DeMolay chapter would have met up in a Masonic lodge over a checkerboard floor (duality)]; which I want to finish just by posting a few images of. Specifically located on 33 Royal Street, which is enough explanation as to why the number 33 for some people! That specifically numbered location would have been chosen with conscious intent, for the reasons stated further up.

And to give you some more idea of the occult numerology employed by Disney in regards to MM, I've posted on this before but M=13, confirmation that this is occult numerology (it shows that Walt was definitely thinking of numerology anyway) comes in the official address of the original Disneyland resort which is actually 1313 Harbor Blvd [so 1313/MM (Mickey Mouse, Minnie Mouse etc; M is like 3 on it's side also, why so obsessed with the number 3 Disney?), how can this '1313' be coincidence? the resort's PO Box is 3232, more numerology], the address you send applications for club 33 membership to is: Club 33, 1313 Harbor Blvd, Anaheim.

Look at the 33 corporations (the number of Lessees/park sponsors of the original park, again this would be consciously done; these people are sociopaths obsessed with ritual, symbolism/numerology is unbelievably prevalent in the corporate world), very much "part of the Disneyland story" (they fucking own/control it). And Monsanto, Coca-Cola, General Electric and co are not evil in the slightest!



I must credit the site Disneylandclub33.com for many of these images, great little site; though I'm not sure what they'd make of this if anyone from there read this...

Finish this part up with a few images from '33', below is Mickey Rooney attending; with a (Pirates of the Caribbean; which is of course itself loaded with occult themes, this article is good [it states that he was a 33rd degree Master Mason; not that it really matters if he was or wasn't]) skull and bones image helpfully in the frame, showing some of that symbolism within 'Club 33's walls. He comes from a 'vaudeville' entertainment family, the best character actors (his father Joe Yule was one, so was his mother) are the ones that can mentally genuinely 'become' the personality they are supposed to be portraying (as an example, Heath Ledger's Joker alter-personality was deeply programmed in). Going by Mickey's roles (and his name change, worked with Garland a lot etc) I would suggest the he is likely MK'd, "He began performing at the age of 17 months as part of his parents' routine, wearing a specially tailored tuxedo.", playing the Wizard in a stage production of the Wizard of Oz (with Eartha Kitt as it goes), in a kids animeated feature 'Journey Back to Oz' (not Disney, I'll get to their 'Return to Oz' soon enough [probably in the last part]) he played the scarecrow and probably a lot more roles (there's so many! Boys Town is probably worth noting [see Conspiracy of Silence], I did not know mind controlled cult leader Charles Manson was likely programmed there, but that obviously makes perfect sense).

Just to illustrate the similar themes to Wonderland: "During a twister, Dorothy is hit on the head by a fence and she is once again whisked to the land of Oz." [Wonderland and the Land of Oz essentially serve the same purposes in programming, dissociation. (Alice tumbling down the rabbit hole into Wonderland; the cyclone taking Dorothy to Oz, in this case even more MK symbolic due to Dorothy's head trauma)]


"Mickey starred as the Movie Mason in a Disney Channel Original Movie family film 2000's Phantom of the Megaplex." [Phantom of the Opera is MK]...."In 1966, while Rooney was working on a film in the Philippines, his wife Barbara Ann Thomason (aka Tara Thomas, Carolyn Mitchell), a former pin-up model and aspiring actress who had won 17 straight beauty contests in Southern California, was found dead in their bed. Beside her was her lover, Milos Milos, an actor friend of Rooney's. Detectives ruled it murder-suicide, which was committed with Rooney's own gun. Milos was also a bodyguard and was connected to Stevan Markovic, bodyguard of French star Alain Delon. Markovic was also found dead in mysterious circumstances in Paris two years later."..."Joe got the role [Mickey McGuire] and became "Mickey" for 78 of the comedies, running from 1927 to 1936, starting with Mickey's Circus, released September 4, 1927.^[3] These had been adapted from the Toonerville Trolley comic strip, which contained a character named Mickey McGuire. Joe Yule briefly legally became Mickey McGuire to trump an attempted copyright lawsuit (as it was his legal name, the movie producers did not owe the comic strip writers royalties). Rooney later claimed that, during his Mickey McGuire days, he met cartoonist Walt Disney at the Warner Brothers studio, and that Disney was inspired to name Mickey Mouse after him,^[4] although Disney always said that he had changed the name from "Mortimer Mouse" on the suggestion of his wife. [probably all the various stories are lies, we'll never know really]"

I wanted to also post this image, showing some more symbolism in those images as we have two pinned butterflies and a zebra [duality, valis etc]. The butterflies come from Lillian [lily/lilith/etc] Disney's collection, again I recommend the comprehensive link on Disney I posted in the opening paragraph for more information on Lillian.




Gots to have your horn-ed beasts ;) note the goat head (but any horned beast will do), more of those pinned butterflies, the below "Great Horned Owl" (top of below image; symbolically positioned) was moved to the animal kingdom ([the animal kingdom has the qabalistic Tree of Life as it's focal point] pictured below it for better detail).



And of course the animatronic vulture (note all the fleur-de-lis on the curtains) that Walt intended would speak to the guests but that feature wasn't inclued, and microphones hidden in the chandaliers (which are still there, and working I think) to listen in on the guests.


And to finish, a little preview image for the next couple of parts (I think part 2 will stick with Disney, then a more Burton-centric Part 3) of Mia Wasikowski as Alice (spot the rabbit/cat) about to tumble down the rabbit hole into Wonderland. It will take me a few days to put together so in the mean time you could read my post on Disney's Enchanted (plenty of other Disney stuff throughout the blog).