Your Guide to Monarch Mind Control - Chapter Five

The Illuminati Formula Used to Create an Undetectable Total Mind Controlled Slave
By Fritz Springmeier and Cisco Wheeler

Introduction
Chapter One
Chapter Two

Chapter Three

Chapter Four

CHAPTER 5 THE SKILL OF LYING, THE ART OF DECEIT

Wow, what an exciting chapter title! Unfortunately, nothing has changed in the way this book is written. As we go further into the book, I'm finding less and less to extract that helps us understand what everyone is talking about when they talk about mind control programming.

The majority of this chapter of nearly 100 pages is devoted to exposing evangelist Billy Graham as an operative of the elite. This is proven by his alliance with Catholicism, which conspiracy theorists consider a major arm of the satanic elite. It's also tedious, excessively tangential to the topic of the book and mired with plodding detail.

The first few sections are devoted to Wizard of Oz, Alice in Wonderland and other fictional narrative programming. While one would hope that this would illuminate the references we find while reading other mind control theorizing, in fact the references are shallow.

Theorists love to point out images in which a seemingly innocuous fashion model is referencing, say, the Cheshire Cat, and announce that this is evidence that the model has undergone AIW programming. It would appear that the character has some sort of special significance.

This is not exactly the case. What S&W are discussing, though they don't seem to understand it very well, is using pre-fab models for mental structuring. This is an unexciting visualization technique, manipulating one's thoughts using the various perspectives one can assume mentally.

For example, neuro-linguistic programming has a technique to reduce the power of particular memories. The first step is to change one's perspective while remembering. Rather than relive the memory, patients are encouraged to view the actions of the memory from the third perspective as an uninvolved observer. Then the patient is asked to view those actions within a frame, like a window or picture frame. Then they are told to imagine the size of the picture being smaller. Finally, one can mentally "move" the picture out of their sight. Done effectively (probably with multiple attempts), this recontextualizes the memory as being less important and less painful than before.

If this sounds related to the "dissociation" we've discussed in previous chapters, there's a reason. What they are discussing is consciously manipulating how the mind processes its tasks. S&W tell us that, when experiencing trauma, victims imagine that the trauma is happening to someone else--applying a third person perspective. That "someone else" is then imagined into a personality with a name and personal qualities.

S&W take our ability to do this to an absurd extreme, but we see shadows of it all the time. To "put on your game face," we imagine ourselves serious and determined. By imagining it, we become so. "Fake it till you make it" is another example.

The use of Oz or Wonderland programming here is the same. All S&W are saying is that the elements of The Wizard of Oz are used as signifiers for mental elements. To "go over the rainbow," in the book is to enter Oz; in mind control, it's to enter an interior mental state. 

One can use the same metaphor innocuously. When you are stressed, close your eyes and imagine yourself going "over the rainbow" into Oz. Once there, you find that you've defeated the immediate stress (Wicked Witch of the East) but you wish to find permanent tranquility (Home). You imagine yourself walking down the Yellow Brick Road and join forces with your mind (Scarecrow), your heart (Tin Man) and your will (Lion).

Is that what Oz is really about? No more or less than the ugly and twisted significance the theorists apply to it.

Oz, Wonderland and all the other references that theorists point to really are prevalent in the media. But I don't believe that it's the result of a world-wide conspiracy of satanists and omnipotent programmers. Instead, those works have lasted because they are more susceptible to metaphorical interpretation than most other narratives. They can be reinterpreted as stress-relief metaphors, cutesy and/or sexy images or parallels to demonic forces.

Understanding this makes S&W's assertions that, for example, "Auntie Em represents HP Blavastsky’s “Mulaprakriti” and Uncle Henry represents HPB’s “Unmanifested Logos,” rather pointless. The association of fictional reference to conspiracy reference is close to random. 

However, the author of Oz, L. Frank Baum, did join the aforementioned Blavastsky's Theosophical Society. One can take from that what one will. While some theosophical concepts can be seen in Oz, they aren't much different from common philosophical ideas like the combination of mind, heart and will discussed above. My take is that he's just another of the soft-headed talents who were taken with the promises of New Age philosophy. That type of thinking, through Gurdjieff and Crowley and its current incarnations, is both dangerous and foolish, but not a branch of an all-powerful international conspiracy. 

The more practical explanation is that Baum joined the Society because it mirrored how he conceived the world. The book being a product of his mind, it naturally also mirrored how he conceived the world--it wasn't written as a cloaked manual for mind control.

Wonderland and the obscure children's books discussed in this chapter are the same way. They introduce a magical world full of marvelous things, which S&W cherry-pick and claim reference the occult or programming codes.

In this way, the victim is told to "chase the white rabbit" in order to enter the trance state. The "Wonderland" the victim encounters is her internal world, where concepts can be manipulated just as Lewis Carroll plays logical games within the book. The Cheshire Cat, to return to our example, is said to be a trigger for some kind of programming associated with the character's attributes, perhaps by maintaining a smile no matter what happens.

But I would be failing in my duties if I didn't draw out some of the references S&W cite. One of the more desperate is that Oz's Dorothy is whisked away by a cyclone. "Cyclone," we're told, derives from the Greek word for snake, which means that Dorothy was taken "over the rainbow" by a serpent. I shouldn't have to tell you the significance of serpents, or that the cyclone was mostly called a "twister" in the film. 

The fact that the great Wizard of Oz was actually a fraud is supposed to reference the core of Luciferian worship, that God is Man's enemy because he wishes to prevent men from becoming Godlike themselves. I suspect this teaching is for Illuminati trainees, not mind-controlled peons.

In the film, the same actors play characters in Kansas as well as characters in Oz. Rather than imply that Oz was simply a dream, this shows that Illuminati elite often lead double lives. Toto, of course, was an animal familiar.

Here's a sad example:

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

The most important book, we're told, is The Lesser Key of Solomon, which is a real book of demonology dating back to pre-Enlightenment times. In this way, of course, demons can be channeled within the programming.

But the chapter is ostensibly about the use of deception. What little is directly discussed here is standard-issue conspiracy stuff. Records are altered, sometimes overnight. False identities are provided to slaves with a false history of records. Organizations have noble public missions but evil designs in private.

This leads to a discussion of false-front Christian organizations and then to the over-long expose of Billy Graham I mentioned before. We're told that the Amish, strangely enough, are a major source of programming slaves and agents. 

In order to throw off the suspicious, the conspiracy uses deflection, misinformation, false leads as well as controlling all sides of an apparent conflict. 

Finally, S&W tell us that deception is found even within the cult teachings. Each level of the sect is told something different, more "true" than the last. At the highest level, we're told, the elite openly worships Satan but lower levels are told that they worship Lucifer the Light-Bringer or Mother Gaia--whatever's necessary at the time. We get a hint of the overall plan that culminates once world domination has been achieved--bringing the world back into "balance" through the death of almost all of the world's population.

Chapter Six will be very short, about the use of electronics in programming.