I have already encountered quite a bit of information in past research about wild west shows; the origins of moving pictures and movie houses; affiliation of well-known actors, entertainers, and authors with freemasonry; thought-provoking evidence of an already existing civilization in North America and of a mud flood; and all of this is drawing me in to do a deep dive on the subject of “Old Wild West Shows and Western Movies as Shapers of the New Narrative.”
I am going to begin this post with my own experience with westerns, which is actually quite minimal.
One of my earliest memories is seeing the John Wayne movie “True Grit” in the movie theater with my cousins. The movie first premiered in theaters in June of 1969, so I would have been around the age of six, as my birthday is in July.
There are only two things that I remember from the movie – one was the hanging scene at the very beginning of the movie, before my older cousin Sam covered my eyes with his hands so I wouldn’t see that part
…and the other was the really suspenseful rattlesnake pit scene during which I got as far down in my seat as I could so as not to watch, and to this day I have never liked scary or suspenseful movies. I simply don’t watch them.
I grew up on the East Coast in Maryland, and neither of my southern parents were into westerns, so my exposure to them was what happened to be on television when I wanted to watch something, but not programs I followed on a regular basis.
This included Clayton Moore and Jay Silverheels as the Lone Ranger and Tonto…
…and “Gunsmoke” occasionally with James Arness, which I do remember enjoying.
Other than that, I wasn’t interested in the old western TV shows, like Bonanza, because they were boring to me.
Oh yeah, I did faithfully watch and enjoy “Little House on the Prairie” when I was growing up, but the nature of this show was a tad different from the others I will be talking about here, even if the intention of shaping the new historical narrative was the same, which I will be getting into shortly.
Then, after marrying my husband in 1989, who was a Texan almost 20-years-older than myself who grew up watching westerns during its hey-day, I got introduced to more John Wayne movies, and the movies of a few other western stars, but again, something that I only happened to watch when I happened to be around when he was watching them. We were living in New Mexico, in the southwestern United States at the time.
Through him, I got a little bit better understanding of why they were so popular with his generation, but I still wasn’t really interested in the genre.
Then, my husband and I moved to Fairbanks, Alaska, and lived there from 1994 to 1999, where I worked in the Activities Department at a nursing home there, that serves all of northern Alaska, an area bigger than the State of Texas, which is the largest state in what Alaskans call the “Lower 48.”
I was the only person in the Activities Department that worked on Sundays, and every Sunday night we had a movie on the calendar.
And even though I tried to show a variety of movies, the only movies that would draw a crowd were John Wayne, actors like Hopalong Cassidy, and a few other old stars.
Movies like “You’ve got Mail,” that came out in 1998, never cut it with that crowd.
I bring up these western stars and movies up because they made a very powerful impact on their generations, and continually imprinted in all our minds the picture of the “Old West” of the United States as empty land free for the taking by whoever could subdue the wild indians that lived there.
So, I am going to first delve into what I call the John Wayne version of history, that false historical narrative that we have been indoctrinated in from cradle-to-grave, and then move into providing evidence for the True History.
I am going to start by looking at the history of how we came to know about the “Wild West.”
What actually came before the old “Wild West Shows” were Dime Westerns, or western-themed dime novels, which became available starting in 1860, which would have been right before the beginning of the American Civil War in our historical narrative.
The dime novels were written on pulp paper – from which the term “Pulp Fiction was derived – and contained pictures, and were introduced by the publishing house of Beadle and Company, operated primarily by brothers Irwin & Erastus Beadle, which provided a cheaper form of reading material than what existed previously, and were targeted towards young boys with stories about wild west adventures, and which were the largest demographic of dime novel western readers.
The New York Tribune advertised the first dime novel of Beadle and Company –Malaeska: The Indian Wife of the White Hunter – on June 7th of 1860, by saying, “Books for the Millions! A dollar book for the dime. 128-pages complete, only ten-cents. Beadle’s dime novels No. 1 Malaeska.”
Hard to come by today, dime western novels were popular until around 1900, at which time they were slowly replaced in popular culture by “Pulp Magazines,” inexpensive magazines also printed on pulp paper, characterized by lurid, exploitative, and/or sensational subject matter.
Charles Dickens was born in February of 1812, and died in June of 1870, at the relatively young age of 58. He created some of the world’s best known fictional characters, and is regarded by many as the greatest novelist of the Victorian-era.
In spite of having no formal education after having left school to work in a factory because his father was in Debtors’ Prison, he edited a weekly journal for 20-years; wrote 15 novels; 5 novellas; and hundreds of short stories and articles.
Amongst his earliest efforts, “Sketches by Boz ~ Illustrative of Every Day Life and Every Day People” became a collection of short pieces Dickens published between 1833 and 1836 in different newspapers and periodicals.
The first completed volume came along in 1839. George Cruikshank was involved with the illustrations.
The work is divided into four sections: “Our Parish,” “Scenes,” “Characters,” and “Tales.”
So, Charles Dickens’ first published works also involved illustrations of visual imagery that formed our perceptions of what life was like at that time.
This concept was further evolved when he agreed to a commission in 1836 to supply the description necessary for the “Cockney sporting plates” of illustrator Robert Seymour for a graphic novel made up of comics content, for serial publication.
This was how the “Pickwick Papers” came about, first published in serial form, and called his first literary success.
It sure would appear like younger readers were the target audience Charles Dickens was appealing to with at least his early books, just like the Beadles’ dime western novels almost 30-years later, targeting young boys.
In both the case of the Dime Westerns and Charles Dickens, it makes me wonder about the size of the youth population compared with the rest of the population, and the need to imprint a new narrative on impressionable young minds..
After all, Dickens wrote about A LOT about orphans.
And was there a connection to freemasonry here, either with the Beadles or Charles Dickens?
Well, it took me a minute to find it, but Erastus Beadle was listed as a member in this book about the Otsego Lodge No. 138 in Cooperstown, New York…
…and Charles Dickens, while references I found said that he was distinctly not a freemason, though he was said to have brothers, sons, and friends who were freemasons, he did have a masonic lodge in England named after himself, the Charles Dickens Lodge No 2757 that formed in 1899, and met in a pub made famous in the 1841 Dickens’ novel Barnaby Rudge, King’s Head in Chigwell…
…and a number of other lodges in England founded in the 1890s in honor of his characters, like the Cheerybles Lodge in named after two brothers in Nicholas Nickleby…
…and the Pickwick Lodge No 2467, where there is a tradition of members giving themselves names of characters from “The Pickwick Papers.”
So there would seem to be some kind of connection between Charles Dickens and the Freemasons of his day, whether or not he was actually a member himself.
Next, I want to look at the Wild West Shows.
The Old Wild West Shows were described as travelling vaudeville shows in the United States and Europe that took place between 1870 and 1920.
Vaudeville originated in France in the 19th-century, we are told, as a theatrical genre of variety entertainment, and became one of the most popular forms of entertainment in North America for several decades.
While not in every case, it was typically characterized by travelling companies touring through cities and towns.
Enter U. S. Army scout and guide William F. “Buffalo Bill” Cody.
Frontiersman “Buffalo Bill” Cody at the age of 23 met writer Ned Buntline, who published a story called “Buffalo Bill, King of the Bordermen” about Cody’s adventures that was serialized on the front page of the “Chicago Tribune” newspaper on December 15th of 1869, and which was apparently admitted to be largely invented by the writer.
Other stories about Buffalo Bill by Buntline and other western writers followed from the 1870s through the early-part of the 20th-century.
Then, Buffalo Bill went on stage as an actor starting in 1872 in Chicago in a play written by Ned Buntline called “The Scouts of the Prairie.”
He became internationally known for his touring show, called “Buffalo Bill’s Wild West,” which travelled across the United States, Great Britain, and Continental Europe, which he founded in 1883.
In the years following the formation of his travelling Wild West show, Buffalo Bill Cody had earned enough from it’s performances by 1886 to purchase an 18-room mansion named the “Scout’s Rest Ranch,” now part of the Buffalo Bill State Historical Park, near North Platte, Nebraska…
…and had taken his Wild West show to London for the celebration of Queen Victoria’s Jubilee year in 1887, and they subsequently stayed on for another 5-months touring several big cities in England.
In 1889, Buffalo Bill’s Wild West returned to Europe to be part of the 1889 Paris World’s Fair, which was said to commemorate the 100th-Anniversary of the Storming of the Bastille during the French Revolution, and was also known to history as when the Eiffel Tower made its debut…
…and during the tour of Europe they did afterwards, Buffalo Bill and some of his performers apparently put on a show during an audience with Pope Leo XIII in 1890 when they were travelling through Italy.
All together, Buffalo Bill’s Wild West Show toured Europe eight times between 1887 and 1906.
In 1893, the name was changed to “Buffalo Bill’s Wild West and Congress of Rough Riders of the World” from horse-cultures the world over.
Apparently Buffalo Bill set-up his Wild West show independently at the Chicago World’s Fair in 1893 after they refused his request to participate, and this increased his popularity in the United States.
Headliners in the Buffalo Bill Wild West show included sharpshooter Annie Oakley…
…and storyteller and sharpshooter Calamity Jane…
…who also made an appearance in Buffalo, New York, at the 1901 Pan-American Exposition.
Performances at Buffalo Bill’s Wild West shows, among others included: re-enactments of the riding of the Pony Express; indian attacks on wagon trains; and stagecoach robberies.
I even saw a book about him called “Presenting Buffalo Bill – the Man who Invented the Wild West.”
And was William F. “Buffalo Bill” Cody a freemason?
Unlike the other people I have looked at thus far, I didn’t have to look far at all to find Buffalo Bill’s connection to freemasonry – it was right out there in the open!
While there were a number of Wild West Shows during that era…
…the other one I want to highlight for this post was the Miller Brothers 101 Ranch Wild West Show, from northeastern Oklahoma near Ponca City…
…which went national in 1907 at the Ter-Centennial Jamestown Exposition at Hampton Roads in Norfolk, Virginia, which commemorated the 300th-anniversary of the founding of the Jamestown Colony, the first permanent English settlement in the Americas.
Here’s what the historical narrative tells us about Jamestown.
We are told that Jamestown became the first permanent English settlement in the Americas when it was established on the northeast banks of the James River by the Virginia Company of London as “James Fort” on May 4th of 1607.
The official narrative promotes this appearance for Jamestown when it began…
…and yes, star forts are known to be in triangular shapes, and have rounded-bastions as well…
…and that the obelisk and the ruins of old red brick buildings and stone foundations at the Jamestown settlement came after the colony was established.
The Jamestown Obelisk was said to have been erected by the United States government in 1907 to commemorate the settlement, which is the same reason given for the Ter-Centennial Jamestown Exposition at Hampton Roads in Norfolk, Virginia.
The story goes that the Jamestown Exposition Committee purchased 340-acres at rural Sewell’s Point in Norfolk county that was equally distant from all of its member cities, and then the committee began making plans for developing an exposition that would draw national and international attention to America’s growing naval might and the economic potential of the region…
…and that work began on the exposition grounds starting in 1904, and by the end of 1905, the exposition grounds had miles of graded streets; a water and sewer system fed by a reservoir; and great basins…
…and that by the time it opened in 1907, it had all kinds of exciting sights to see!
After the 1907 Exposition, we are told, many of the buildings which had been built especially for it were used as part of the infrastructure of the new Naval Station Norfolk.
The Miller Brothers 101 Ranch Wild West Show received its first national exposure at the 1907 Jamestown Exposition.
Some of the biggest crowds of the exposition were lured by the Miller Brothers 101 Ranch Wild West Show on their way to the “War Path,” the name given to the Midway fairgrounds of the Exposition, where there were panoramic moving screen productions of the 1906 San Francisco Earthquake, and the Civil War battles of Hampton Roads, Manassas, and Gettysburg…
…among other sideshow attractions of the day, like an infantorium, in which premature babies were displayed to the public in incubators.
Later that same year, the show began the tour circuit in Brighton Beach, a neighborhood in Brooklyn, New York, with equestrian displays; trick-roping; indian dancers; and shooting; an in the history of the show, included famous people of the day like western actor Tom Mix and the Apache prisoner Geronimo.
The Miller Brothers 101 Ranch was a 100,000 acre, or 45,000 hectare, cattle ranch founded in 1893 by Colonel George Washington Miller, a Confederate Army veteran.
The Miller Brothers 101 Ranch Western Show started in 1905.
Brother Joe, a rancher who was an expert in grains and plants, started the show; brother George was a “cowman;” and brother Zack was a financial wizard.
I can’t find out anything about whether or not they were Freemasons.
Coincidentally…or not…the Miller 101 Ranch was also the birthplace of Marland Oil Company, which later merged with Continental Oil, better known as Conoco, in a successful take-over bid by J. P. Morgan in 1929.
E. W. Marland was a lawyer and oil-man who moved to Ponca City in 1908 from Pennsylvania…
…at which time he founded the “101 Ranch Oil Company” when he entered into a leasing arrangement with the Miller Brothers 101 Ranch in Ponca City.
Then in 1917, E. W. Marland founded the Marland Oil Company, which by 1920 controlled 10% of the world’s oil reserves.
Before moving on to movies and the Old West, this is a good place to bring up the meaning of the word “exposition.”
There are two definitions of the word exposition.
One is a device used to give background information to the audience about the setting and characters of the story.
Exposition is used in television programs, movies, literature, plays and even music.
What better way to tell your audience the story you want them to believe than the other definition of exposition, a large exhibition of art or trade goods.
These wild west shows were expositions themselves, and in many cases they were showcased as we have seen as part of much larger international expositions, where the audience was given the background, setting, and characters of the new narrative, or new “story.”
Now on to western movies.
The breakthrough of projected cinematography, meaning pertaining to the art or technique of motion picture photography, is regarded as the public screening of ten of the Lumiere brothers short films in Paris on December 28th of 1895. Interestingly, the French word “lumiere” means “light.”
Shortly thereafter, film production companies and studios were established all over the world.
One of the first cinemas was said to have opened in Petropolis, Brazil, in 1897, showing the Lumiere Brothers first films.
Petropolis is the name of a German-colonized mountain town 42-miles, or 68-kilometers, north of Rio de Janeiro.
Interesting-looking edifice, and intriguing blue glow of this steeple, in Petropolis.
The first commercially-successful western film is considered to be Edwin S. Porter’s silent western “The Great Train Robbery” which was released in 1903, and set the pattern for many more to come.
The story-line was as follows: outlaw gang holds up and robs a steam locomotive; flee across mountainous terrain; and defeated by a posse of locals.
Porter filmed it for the “Edison Manufacturing Company” at locations in New York and New Jersey…
…and the Edison company began selling it to Vaudeville houses and other venues the following month.
The first silent western film was an unprecedented commercial success, and the close-up of the actor Justus Barnes emptying his gun directly into the camera became iconic in American Culture.
A competitor to Edison in the early film-production business was a company founded by William Kennedy Dickson, a former inventor for Edison, in 1895 called “The American Mutoscope and Biograph Company.”
The firm got its start in the “mutoscope” business, which made “flip-card” movies…
…and was in competition to Edison’s “Kinetoscope” for individual peep-shows.
The “American Mutoscope and Biograph Company,” or “Biograph,” was the first company in the U. S. to devote itself to film production and exhibition, in the course of two decades, released over 3,000 short-films and 12 feature-films, and was the most prominent film studio during the silent film era.
D. W. Griffith, best known for his production of the 1915 film “The Birth of a Nation,” based on a book entitled “The Clansman,” considered both the most controversial film ever made, and the most racist film in Hollywood history…
…made silent westerns at the Biograph studios between 1908 and 1913, including “In Old California,” in 1910, which was the first movie shot in Hollywood.
Hollywood, a neighborhood in Los Angeles, California, became the center of the American Film Industry from New York.
Apparently, in the early 1900s, when the film industry was getting its start, most motion picture patents were held by the Edison Motion Picture Patents Company in New Jersey, and independent filmmakers were often sued or threatened to stop their productions, so they moved out west to Los Angeles, where Edison’s patents could not be enforced.
The film industries of Europe were devastated during World War I, and the film-makers of Hollywood became the most popular in the world by replacing the French and Italian firms that were devastated by the war.
The first feature-length motion picture to be entirely filmed in Hollywood was Cecil B. DeMille’s 1914 directorial debut, a silent western film called “The Squaw Man,” starring Dustin Farnum as James and Monroe Salisbury as his cousin Henry.
Interesting to note these two characters were upper-class Englishmen who were trustees of an orphans’ fund, who embezzled money from it to pay off gambling debts, and James escaped to Wyoming to escape from the authorities on their trail about it, forming the basis for the plot of him falling in love with an indian chief’s daughter.
Orphans’ fund? Why is there such an emphasis on orphans?
Come to think of it, my husband’s Gibson ancestor was an orphan who came to western Oklahoma from Alabama after the Civil War by way of a Texas cattle drive, and his great-grandfather took the name of the man he worked for.
From a young age, my husband Dave had dreams of becoming a mountain man, and if he could have found a way, he would have have!
Back to Hollywood.
Born in November of 1880, silent film producer, director, screenwriter and actor Thomas Ince was known as the “Father of the Western,” and made over 800 films.
Ince established his first movie studio, Bison Film Company, in 1909 in Edendale, a once historic district in Los Angeles that was the home of most major studios on the West Coast in the silent film era that was located where Echo Park and Silver Lake are today and doesn’t exist anymore.
Edendale’s hey-day as the center of the motion picture industry was in the decade between 1910 and 1920, and was home to famous early silent film characters like the Keystone Kops when Mack Sennett established his Keystone Studios there as well.
I have the red arrow pointing to the disappearing-window-act going on here at the Keystone studio building…
…which goes along with the Pacific Electric streetcars in the vicinity , like these on Douglas Street, that were used as sets for the Keystone Kops which are no longer with us today, and haven’t been for a long time.
They were already here.
Where’d they all go?
More importantly, why did they go away in the first place?
Within a few years of arriving in California, Thomas Ince established his first major movie studio on land in the Santa Monica Mountains and the Palisades Highlands in Santa Ynez Canyon, where the Miller Brothers owned land.
So what started out as the “Miller Brothers 101 Bison Ranch Studio,” soon became known as “Inceville,” the first full-service movie studio of its kind, and Ince was credited with revolutionizing the movie industry by creating the first major Hollywood studio.
Ince even leased the “101 Ranch and Wild West Show” from the Miller Brothers, bringing the whole troupe by train to California from Oklahoma, and as the “The Bison-101 Ranch Company,” they specialized in making westerns released under the name “World Famous Features.”
In 1911, Ince introduced the system of “assembly line” film-making, and reorganized how films were outputted, with weekly output increasing from one- to -three reels per week, which were written, produced, cut, assembled, and finished all within a week.
Inceville became the prototype for Hollywood film studios of the future.
In 1915, real estate mogul Harry Culver convinced Thomas Ince to come to what became Culver City, and form a partnership with D. W. Griffith and Mack Sennett in what became known as “The Triangle Motion Picture Company.”
We are told that the studio for the Triangle Company was newly built for it at the time.
Though the Triangle Company was already defunct after only seven years, by 1922, it was one of the first vertically-integrated film companies.
Production, distribution, and theater operations were combined under one roof, and it became the most dynamic studio in Hollywood, attracting stars and directors of the day, including Mary Pickford, Lillian Gish, Fatty Arbuckle, and Douglas Fairbanks, Sr.
In 1924, the Triangle Studio location became Lot 1 of the Metro-Goldwyn-Mayer studios…
…and is the location of the Sony Pictures Studio today.
So, how exactly did the 1% get so rich and powerful?
Here are some examples I have encountered in my research of one way they accomplished this feat, which is vertical integration.
First, vertical integration is where the supply chain of a company is owned by the company. It secures the supplies needed by the company to produce its product, and the market needed to sell it. It is also a way to consolidate control over production and increase profits for the company. It was a common practice during this era.
Here are some examples of the practice in action.
Adolphus Busch became the President of the Anheuser-Busch Brewing Company, headquartered in St. Louis, Missouri, in 1880 upon the death of his father-in-law, Eberhard Anheuser
In addition to refrigeration and pasteurization, Busch adopted vertical integration as a business practice, in which he bought all the components of his business, from bottling factories to ice-manufacturing plants to buying the rights from Rudolf Diesel to manufacture all diesel engines in America.
A text-book case of how to accumulate immense wealth, at the time of his death in 1913, the net worth of Adolphus Busch was $60 million.
The Busch Entertainment Corporation, which was founded in 1959, became SeaWorld Parks & Entertainment in 2009 with its sale to the Blackstone Group, an American multinational private equity, asset management, and financial services firm based in New York City.
See how that works??
I mean, all of this is how they got so entrenched in our lives and our culture!!!
Then there was Mr. Henry Ford.
The Ford Motor Company was financed by twelve investors in 1903…
…and started producing a few cars a day in its newly converted factory in Detroit on Mack Street.
It was where Ford’s first automobile, the Model A, was built.
In 1904, the Ford Motor company moved to a new factory on Piquette Avenue in Detroit.
This is where the first Model Ts were built.
In the next ten years, the Ford Motor Company would lead the world in the expansion and refinement of the assembly line concept.
Henry Ford also brought part production in-house, thereby bringing vertical integration into his company.
Ford moved operations into the Highland Park factory in 1910…
…and introduced the first moving assembly line there in 1913.
The introduction and refinement of the assembly line facilitated the mass production of new cars, which in turn made the purchase of a new car affordable for most people.
The mass production of gasoline-powered private and public transportation provided another form of transportation for people, eventually replacing electric streetcar systems in most places around the world, and providing a highly lucrative means of generating wealth for the numerous companies involved in the transportation industry. Non-polluting and low-fare streetcars were simply no longer wanted.
A great example of what started to take place with streetcars was the “Lightning Route,”which we are told only operated in Montgomery, Alabama, for 50 years, from 1886 to 1936, when the streetcars were retired in a big ceremony and replaced by buses.
Well, this answers my earlier question about what happened to streetcars and why!!!
It is definitely interesting to note that Thomas Ince and Henry Ford were both pioneers of assembly line production and vertical integration in their respective industries during the very same time period.
And…I don’t know…is this similarity just a coincidence, or is there a deeper connection contained within the symbology in these triangle logos?
It is also interesting to note that Thomas Ince got sick, and died suddenly at the age of 40, at the height of his career, after having been a private party guest on-board the yacht of William Randolph Hearst, with his cause of death attributed to acute indigestion.
I am going to do a freemason check of people I have recently mentioned before I move on, and I am doing this because it is a very important part of the puzzle to understanding what has taken place here.
I was able to find out that famous inventor Thomas Edison was a freemason…
…and so was famous movie director Cecil B. DeMille…
…famous automobile manufacturer Henry Ford…
…and famous actor Douglas Fairbanks Sr.
The silent film era continued on through the 1920s, with feature-length movies like director James Cruze’s 1923 feature-length silent film “The Covered Wagon,” which made $4-million at the box office after costing $800,000 to make…
…and John Ford’s 1924 railroad silent film classic “The Iron Horse,” about the construction of the Union Pacific and Central Pacific Railroads.
The first western with sound for a major studio was Fox-Movietone’s “In Old Arizona,” which was released in December of 1928, with actor Warner Baxter playing the Cisco Kid, a charming Mexican Robin Hood-type character.
Starting in the 1930s, until the late 1940s, B-western movies that were not expensive to make were churned-out by the hundreds for kiddie audiences at matinees.
Some were multiple-chapter serials that were cliffhangers, and others were series westerns with familiar characters, or “singing cowboys,” including Gene Autry, and his successor Roy Rogers.
“Singing Cowboys” highlighted musical and singing talents along with gunslinging talents.
Gene Autry became the top money-maker of the “Singing Cowboy” formula during this era, with movies like “Old Santa Fe” in 1934…
…and “Tumbling Tumbleweeds” in 1935.
The Alabama Hills in the Owens Valley of the Sierra Nevada Mountains, near Lone Pine, California, in Inyo County…
…which reminds me very much in appearance of the Granite Dells in Prescott, Arizona, about an hour south of where I live in Arizona…
…was the filming location of many westerns, including “Blue Steel” (1934) with John Wayne…
…”Oh, Susanna!” (1936) with Gene Autry…
…the western musical “Rhythm on the Range” (1936) with Bing Crosby…
…more thoughts along the lines of this finding to come shortly…
…and “Under the Western Stars” (1938) with Roy Rogers.
John Wayne went from being a B-Western leading actor in the 1930s, starting with Raoul Walsh’s “The Big Trail” in 1930…
…and was well on his way to becoming a top box office draw for decades when he starred in John Ford’s “Stagecoach” in 1939 and became a mainstream star.
In 1999, the American Film Institute selected him as one of the greatest male stars of classic American Cinema.
The entertainment career of Roy Rogers got its start when he co-founded the “Sons of the Pioneers,” one of the earliest singing western groups.
Then he went into acting, and became one of the most popular western stars of his era.
Roy Rogers was nicknamed “King of the Cowboys,”and appeared in over 100 films.
Also, for a period in total of 15-years, Roy Rogers first was on radio nine-years, and then on television from 1951 to 1957 in “The Roy Rogers Show,” where Roy appeared with his wife, Dale Evans; his horse “Trigger;” his german shepherd “Bullet;” and his jeep “Nellybelle.”
I am too young for the generation that grew up watching “The Roy Rogers Show,” as I was born in 1963, bu not for the Roy Rogers Restaurant franchises, known for great roast beef sandwiches, burgers, and fried chicken, and which are primarily found in the Mid-Atlantic and Northeastern United States, and where I got my first job at the age of 16 in 1979.
And yes, I had to wear the cowgirl uniform.
Probably one of several reasons I only lasted six-months working there.
That, and tired feet, and ‘faster, faster, faster,” and smelling like french-fries when I got home from work.
It was the first and last time in my life that I worked in a restaurant.
Both John Wayne and Roy Rogers were Shriners, an organization comprised of 32nd- and 33rd-degree freemasons, the highest degrees of western freemasonry.
The name “Shriners” is derived from the “Ancient Arabic Order of the Nobles of the Mystic Shrine.”
More on this shortly.
I think it is accurate to say that the freemasonic Shriners are best known to the general public for their hospitals…
…and parade antics in little cars.
Okay, so here is a good place to start tying loose ends together, so you can see where I am going with all of this.
Let’s return to Lone Pine, California for a moment, which became a home away from Hollywood for many-a-star-and-film-shoot.
What really sticks out in my mind about the name “Lone Pine” comes from the 1985 smash-hit movie “Back to the Future.”
In the course of the story, Marty McFly is transported back to the year of 1955 in his small California home town by the time-travel experiment of his eccentric scientist friend; when there, runs over one of the pines at the Twin Pines Mall; and when he needs has to go back to the future to fix what got messed up about his life when he returned to the past, where there was the “Twin Pines Mall,” he now finds the “Lone Pine Mall.”
And if you turn the time that showing on the “Twin Pines Mall” sign upside-down, it is “91:1” or “911.”
“Back to the Future” is a classic example of predictive programming about “9/11” happening in the future, and there is more than one example about this in the movie.
Predictive programming is defined as: storylines, or even subtle images, that in retrospect seem to hint at events that actually end up happening in the real world.
Researcher Jay Dyer has done excellent work on uncovering predictive programming in Hollywood movies, and I think it was watching a presentation from him a couple of years ago that I learned about the “9/11” predictive programming in “Back to the Future,” but as with everything else, there are many more examples to be found.
Director and producer Jay Weidner is another good resource for similar information, as he has done a lot to expose this kind of hidden information in our “programming.”
Jay Weidner did a documentary series called “Kubrick’s Odyssey: Secrets Hidden in the Films of Stanley Kubrick.”
Stanley Kubrick died on March 7th of 1999, six-days after screening a final cut of his movie “Eyes Wide Shut,” which was released in the United States on July 16th of 1999.
His cause of death was ruled to be a heart attack.
The “Controllers” behind what has taken place here love their rituals, and we are told the wood of the Holly tree was used by the Druids to make magic wands for spell-casting – hence the name “Hollywood.”
What have I come to believe happened here?
These are Prince Hall Shriners of the Ancient Egyptian Arabic Order of the Nobles of the Mystic Shrine.
Ancient Moorish Masonry has 360-degrees of initiation…327 more than western freemasonry.
Prince Hall, and fourteen other Moorish men were initiated into the British Army Lodge 441 of the Irish Registry, after having been declined admittance into the Boston St. John’s Lodge, at Fort Independence in Boston Harbor.
He was the founder of Prince Hall Freemasonry on September 29th of 1784, and the African Grand Lodge of North America.
Until Prince Hall found a way in, Moorish Masons were denied admittance into Freemasonry.
Moorish Masonry is based on Moorish Science, which also includes the study of natural and spiritual laws, natal and judicial astrology, and zodiac masonry.
This is where the perfect alignments of infrastructure on earth with the sky comes from – the consummate alignment of earth with heaven that is seen around the world – like the lunar roll along the top of this recumbant stone in Crowthie Muir near Forres, Scotland.
What I am seeing is that Humanity was on a completely different and positive timeline from what we are experiencing today.
This civilization, with different empires around the world, but all part of the same civilization, built all of the infrastructure on the earth in alignment with sacred geometry and Universal Law to create Harmony and balance between Heaven and Earth.
But then what happened?
And how did we get here from where we were?
It sure looks like the negative beings who became the “Controllers” wiped out this civilization by creating a worldwide liquefaction event, causing mud floods, and that then the powerful, life-enhancing infrastructure of the earth’s grid system built by the original civilization was dug out, and was reverse-engineered to become a control-system for Humanity.
I have come to believe that the freemasons in particular were leaders in the shaping of the “New World Order’s” infrastructure and narrative…
…and stole the legacy for themselves of the original Moorish Masons, the custodians of the Egyptian mysteries, according to George G. M. James in his 1954 book “Stolen Legacy.”
By the mid-1800s, enough infrastructure had been dug out of the mud flows to officially re-start the “New World Order” civilization at the Crystal Palace Exposition of 1851.
The negative beings behind the hijack of the timeline based much in the new historical narrative on the Moorish Legacy, but twisted and subverted from its original meaning.
Things like, for example, what Moorish Islam really means.
Back to where I started at the beginning of this post with John Wayne and “True Grit.”
One of the filming locations for the movie was in eastern Oklahoma’s Winding Stair mountains, a ridge that is part of what is called the Ouachita Mountains of western Arkansas and southeastern Oklahoma.
I found a few revealing photos taken on hiking trails in the Winding Stair Mountain National Recreation Area…
…and as I was researching this, I realized that Heavener, Oklahoma, and the Heavener Runestone State Park, is in the vicinity of the Winding Stair Mountains, where I have visited and had some of my earliest realizations about this ancient, advanced civilization all around us when I visited the Heavener Runestone Park, starting in 2015.
I took these pictures further up from the Runestone in a different location on the state park grounds, and there is no attention drawn to these ancient walls whatsoever.
All the attention is drawn to the Runestone.
The Ouachita Mountains of western Arkansas and southeastern Oklahoma have a frenchified spelling of the name Washitaw, the Ancient Mu’urs of this land, and recognized by the United Nations as the most ancient civilization on Earth.
Known as the Ancient Ones, and the Mound-Builders, they are an ancient people living in the present-day, and the ancient seat of this empire is Monroe, Louisiana, which is also called “Washitaw Proper” and the Washitaw Mu’urs have a matriarchal culture, and ruled by an Empress.
The hiding of this ancient advanced civilization in plain sight was accomplished by shaping the false narrative, educating us in it, and reinforcing it with images coming from Hollywood, literature, art – it is not supposed to be there, so we don’t see it. We don’t even think it.
And we have been kept addicted and distracted so we wouldn’t see what was right in front of our eyes!
This leads me into the Part 2 that I discovered while researching part 1 of “Shapers of the New Narrative” and realized there is too much information about this subject to put here.
After I do my next segment of “Short & Sweet,” In Part 2 of “Shapers of the New Narrative,” I will be looking into penny candy; dime museums; circuses; other notable things in the founding of the movie industry ; and those death-defying stunt performers that kept people looking up all the time!