The Wizard Of OZ

[living love]

The Wizard Of OZ
An Allegory is the expression of truths about human conduct and experience by means of symbolic fictional figures and actions.

Such was the movie The Wizard of Oz, an allegory of the state of affairs we now live in today — an allegory of the unfolding New World Order that was instituted in America via the stock-market crash of 1929 and the bankruptcy of the United States in 1933.

The setting of this allegory is in Kansas — the “heartland” of America; the geographical center of the U.S.A.

In came the twister — the whirling confusion of the Great Depression, the stock-market crash, the U.S. Bankruptcy, and the theft of America’s gold — that whisked Dorothy and Toto up into the New Order of the World; an artificial new dimension “somewhere, over the rainbow,” above the solid ground of Kansas.

When they landed in Oz, Dorothy commented to her little dog Toto: “Toto? I have a feeling we’re not in Kansas anymore . . .”
Exactly!

After the bankruptcy of the United States, Kansas was no longer “Kansas” anymore, it is now “KS” — a two-capital-letter federal postal designation that is part of the “federal zone,” designated by the Zone ImProvement (ZIP) Code established by the bankrupt United States in 1933 — and Dorothy and Toto were now “in this state.” The terms: “in this state,” “this state,” and “state” are deceptively defined for tax jurisdiction purposes as the “District of Columbia,” a.k.a. the United States, Inc., or the corporate United States.

In the 1930s the all-capital-letter-written-name strawman — the newly created artificial “person” that has no brain and speaks and acts for its once-upon-a-time sovereign, you and me — was created while Americans were confused and distracted by the commotion caused by the introduction of the New World Order of communistic socialism, to figure out that they even had a strawman with which to contend. The scarecrow identified this strawman persona for Dorothy thusly: “Some people without brains do an awful lot of talking. Of course, I’m not bright about doing things.”

In his classic song, “If I Only Had A Brain,” the scarecrow/strawman succinctly augured, “I’d unravel every riddle, For every Individdle, In trouble or in pain.”

Individual: a United States government Employee. (Title 5 USC §552(a)2). The Internal Revenue Code (IRC) and all state tax codes are in harmony with the above definition of “individual” by reference only. A Corporation-of-one is an artificial person constructed by law; not a living, breathing man or woman. An “individual” is a public corporate persona existing only in the public (government) domain having been created by law, not by God.

The drafters of codes and laws take everyday common speech and give it arcane encrypted meanings that are generally unknown or unknowable to the uninitiate even after serious study. Therefore, most folks are commercially, legally, and financially enslaved because of their ignorance of the true situation. Even knowing that “ignorance of the law is no excuse” they find themselves helpless, unarmed, and uninformed.

Translation: Once we discover that our strawman exists, and that we have co-signed for him, political and legal mysteries, complexities, and confusions are resolved. When we take title to our strawman, we protect ourselves from any liabilities that we might otherwise occur.

The tin-man, our Taxpayer-Identification-Number (TIN) man, is a hollow man of tin, a vessel, or vehicle; newly created code words for our strawman.

Just as the strawman has no brain, the tin-man vessel/vehicle has no heart. Both are artificial persons. (person = persona = mask).

Persons are divided by law into natural and artificial. Natural persons are persons created by God, and artificial persons are persons devised by human law for the purpose of governing them as “corporations-of-one” or bodies-politic.

The precise definition of the term “person” is therefore necessary to identify those to whom the 14th Amendment to the Constitution affords its protections and liabilities, since the 14th Amendment expressly applies to “persons.”

A strawman is a person with a fictitious name written in “legalese” — language foreign to the rules of English grammar. Men and women with names written in cursive, with initial-letters-only capitalized, are not “persons” even though they are referred to as natural persons at times.

It is as impossible for a person to be natural as it is for a man to be artificial. “Person” is a silent artificial construct hatched up by lawyers, to be used and controlled by lawyers encrypted “codes.”

One of the definitions of “tin” in Webster’s dictionary is “counterfeit.” The tin-man represents the mechanical and heartless aspect of commerce and commercial law. Just like they say in the Mafia, as they throw you overboard, “Nothing personal; it’s just business.”

The heartless tin-man carried an “axe,” a traditional symbol for God, and for modern commercial law, in most dominant civilizations, including fascist states. In the words of the tin-man, as he expressed relief after Dorothy had oiled his arm, “I’ve held that axe up for ages.”

The word “ace” is etymologically related to the word “axe” and in a deck of cards the only card above the King is the Ace; God. One of the Axis Powers of World War II was a fascist state, Italy. The symbol for fascism is the “fasces,” a bundle of rods with an ax bound up in it with its blade sticking out.

The fasces may be found on the reverse of the American Mercury-head dime (the Roman deity Mercury was the God of Commerce) and on the wall behind and on each side of the Speaker’s Podium in the United States Senate, each gold fasces being approximately six feet high. At the base of the Seal of the United States Senate are two fasces, crossed.

The lion in the story represents the “at-one-time” fearless American people as having lost their courage. And after a round with the IRS, in “defending” your T-I-N man, dummy corporation, vessel vehicle, individual employee, public corporation, all capital letters written name, artificial person, strawman, you’d lose your courage, too. You perhaps haven’t known it, but the IRS has been dealing with you all along via your tin-man under the hidden laws of commerce. Just like the tin-man, “commerce” has no heart; it is heartless.

To find the Wizard, you have to “follow the yellow-brick road” (the gold-bar road). Follow the trail of America’s stolen gold and you’ll find the thief who stole it.

In the beginning of the movie, the Wizard’s counterpart was the traveling mystic, “Professor Marvel,” who Dorothy encountered when she ran away with Toto. His macabre shingle touted that he was “acclaimed by The Crowned Heads of Europe, Past, Present, and Future.” Professor Marvel must have really been a Wizard to be acclaimed so by the future Crowned Heads of Europe, even before they were crowned!

Before the bankers stole America, they had long-since overpowered the Christian Kings and Queens of Europe and looted their kingdoms. Maybe “Professor Marvel” knew something about the future that other folks didn’t know. With a human skull peering down from its painted perch above the door to his wagon, the professor lectured Dorothy about the priests of Isis and Osiris, the Pharaohs of Egypt, and the days of yore.

When Dorothy Gale and her new friends emerged from the forest, they were elated to see the Emerald City before them, only a short distance away. The Wicked Witch of the West, desperate for the ruby slippers that Dorothy was wearing, would have to make her move before our heroes arrived safely inside the Emerald City gates.

In the original book, The Wonderful Wizard of Oz, by Frank Baum, published 39 years before the movie came out in 1939, and three years before the crash, the slippers were not ruby-red, but silver.

America still had its gold at that time, and the value of 1 oz. of gold was set at 15 ozs. of silver; silver being the more plentiful. Backed by gold, the currency carried America to a position of pre-eminence throughout the world. But when the movie came out in 1939, the slippers were not silver, but ruby red.

Between 1916 and 1933, America’s gold was absorbed by the private non-federal Federal Reserve and shipped off to the FED owners in Germany and England because the use of Federal Reserve Notes carried an interest penalty that could only be paid in gold. Our former currency, United States Notes, carried no such interest requirement, but such was the “bargain” that came with the New World Order of the non-federal Federal Reserve in 1913.

When the United States’ Bankruptcy was declared in 1933, Americans were forced to turn in (surrender) all their gold coin, gold bullion, and gold certificates by May 1st — “May Day” — the birthday of the Communism and the Illuminati in 1776, the year that the American Colonists declared their independence from the Crown.

Talking to people who were alive at that time, the general sentiment toward such “theft” in 1933 bordered on a second revolutionary war.

Maybe it was too much of a clue, or too much salt in their wounds, for Dorothy to be skipping down the golden yellow-brick-road in a pair of silver slippers. So, for whatever reason, a color less likely to provoke the people was selected.

With regard to the choice of ruby slippers — slippers colored red — one explanation is that on commercial documents and the like, red signifies private as opposed to public. Your new Social Security Card has a red serial number on the reverse. But no matter their color in the movie, the Wicked Witch of the West had big plans to get her hands on the precious slippers before Dorothy and crew could make it to Emerald City.

Her tactic was to drug them into unconsciousness by covering the countryside with poppy flowers, poppies — the source of heroin, opium, and morphine — and then waltz in and snatch the slippers. In other words, the best way to loot the gold was to dull the senses of the American people with a contrived crisis (the Great Depression).

The poppy-drugs worked on Dorothy, the lion and Toto — the flesh-and-blood entities — but had no effect on the scarecrow or the tin-man — the artificial entities. The two cried out for help, and Glenda — the Good Witch of the North — answered their cries with a blanket of snow that nullified the narcotic effect of the poppies on Dorothy, Toto, and the lion.

As they all scampered toward the Emerald City — the city of green non-federal Federal Reserve Notes (the new fiat money, money by decree) — we hear the Munchkins singing the glories of the Wizard’s Creation:

“You’re out of the woods, Your out of the dark, Your out of the night. Step into the sun, Step into the light, Keep straight ahead for the most glorious place on the face of the earth or the stars!”

This jingle abounds with Illuminati/Luciferian metaphors regarding darkness and light.

The Wicked Witch of the West made her home in a round medieval Watchtower — ancient symbol of The Knights Templar of Freemasonry who are given to practicing witchcraft and are also credited to be the originators of modern banking, circa 1099 A.D.

The Wicked Witch of the West was dressed in black, the color that symbolizes the planet Saturn, a sacred icon of The Knights Templar, and the “color of choice” of judges and priests for their robes.

Who was the Wicked Witch of the West? Remember, in the first part of the film her counterpart was Almira Gulch who, according to Aunt Em, “owned half the county.” Miss. Gulch alleged that Dorothy’s dog, Toto, had bitten her. She came to the farm with an “order from the Sheriff” demanding that they surrender Toto to her custody and control. Aunt Em was not immediately cooperative and answered Miss. Gulch’s allegations that Toto had bitten her, “He’s really gentle; with gentle (gentile) people, that is.”

When Miss. Gulch challenged them to withhold Toto from her and “go against the law,” dear old Aunt Em was relegated to “pushing the Party Line” for Big Brother government. Aunt Em dutifully succumbed to the pressure and counselled Dorothy, reluctantly, “We can’t go against the law, Dorothy. I’m afraid poor Toto will have to go.”

When Dorothy refused to surrender Toto, Miss Gulch lashed out: “If you don’t hand over that dog I’ll bring a suit that’ll take your whole farm!”

Today 70% of all attorneys in the world reside in the West — in America to be exact — and 95% of all law suites in the world are filed under the Jurisdiction of the corporate United States. The Wicked Witch of the West and Miss. Gulch symbolize Judges and Attorneys — primary agents for the transfer of all wealth in America from the people to the United States, the United Nations, and the international banks.

The American Bar Association is a branch of the Bar Council, under the Bar Association of England and Wales. As the copyrighted property of a British Company, all states’ and United States Codes are private British owned Law, and all states’ and United States courts, state Bar Associations, and the “State of [each of the 50 States],” go by and enforce private de facto British owned Law against Americans, operating as private foreign owned tribunals or administrative agencies doing business in the states under cover and color of [each of the 50 states’] Law.

The Wicked Witch of the West wanted the ruby (silver) slippers (the precious metals) — and her counterpart, Miss. Gulch, wanted Toto, too. What does “toto” signify in attorney legalese? “Everything!” Miss. Gulch wanted to take everything.

Dorothy and the gang fell for the Wizard’s illusion in the beginning, but soon wised up and discovered the Wizard for what he was, a confidence man. When asked about helping the scarecrow/strawman, the Wizard cited — among other babblings about “getting a brain” and “universities” — the land of “E Pluribus Unum” (Latin for “One out of many”); converting many into one; meaning the New World Order.
For the rest of the story http://maine-patriot.com/04.htm

[SwiftSloth]

...... As a film student, I see people compare movies to things way to much... Even the best of theories makes me say 'um... maybe', and often times 'probably not'. In this case, maybe. But I do find it kind of unlikely.

[Malcolm Wright]

Originally Posted by SwiftSloth

...... As a film student, I see people compare movies to things way to much... Even the best of theories makes me say 'um... maybe', and often times 'probably not'. In this case, maybe. But I do find it kind of unlikely.

Me: that was WAY too out there... I mean you can read anything into anything if you're going to that degree...

There is however a blatent drug reference in the wizard of oz. Dorothy falls asleep in a field of poppies (what do we make with poppies, kiddies, and what does opium do to you?), and is awakened by falling snow... You don't get much more direct reference than that


M.

[SwiftSloth]

Now that I think about it, to be entirely honest, I cant buy into this theory of yours. Why? Because its far to precise. The Wizard of Oz is the most famously slopped together masterpiece in history. It went threw producers, directors, actors, etc etc. The original script was barely followed, and there was infinite amounts left on the cutting room floor. Its an interesting take, but I just cant buy into it.

[Snouter]

SwiftSloth, why do you assume new directors would change the underlying storyline? The Wizard of Oz is an amazing masterpiece though, and that essay is actually pretty good.

Now cue up Dark Side of the Moon and watch the movie again with the sound muted.

[CowPunk]

Now, let's talk about the opposite: how Pink Floyd's Dark Side of the Moon was an allegory for the The Wizard of Oz.

[SwiftSloth]

Originally Posted by Snouter

SwiftSloth, why do you assume new directors would change the underlying storyline? The Wizard of Oz is an amazing masterpiece though, and that essay is actually pretty good.

Because, the script rarely matters to a director. Its all about personal vision. The fact is, this theory fits every piece together to perfectly to be entirely correct. Theres no way with multiple directors and producers, they'd maintain such a meaning.

[Snouter]

SwiftSloth, you admit the script doesn't change, so how can deciding on camera angles change the underlying themes and symbolism?

Turn the sound of the film all the way down, and turn the sound of the album [Dark Side of The Moon] up as high as you can stand.

It will probably take you a few tries to get the sync lined up just right so be patient. First load the Dark Side of the Moon CD into your CD player and hit PLAY (>) and then immediately hit PAUSE (II) so it is cued up and ready to roll. Be sure also to set your CD player to continuous replay. This in most CD players is done by hitting the "REPEAT" button twice. Hitting it once will usually repeat only the presently playing track so hit the button two (2) times and it will replay the CD over and over. The CD will play roughly two and a quarter times through the entire length of the movie.

Now start the video and fast forward past all the preview junk (about five minutes worth on the THX version) at the beginning and watch for the THX Digital logo to pop up. Now get the tape to the very beginning where the BLACK & WHITE MGM lion roars. After the BLACK & WHITE MGM Lion roars for the THIRD (3rd) time IMMEDIATELY hit the play button on the CD player.

The credits begin to roll, and the ambient noise that opens the album begins. You know the synchronicity will work if the music kicks in just as Produced by Mervyn Leroy pops up.

Now, we would suggest you stop reading here and experience it first. It is much more fun to watch it without knowing, ahead of time, what you are going to see. Otherwise, from here, we are going to take you on a step by step tour of the scenes and music as they occur...

By the way at the end of Dark Side of the Moon, after you hear "There is no dark side of the moon really. As a matter of fact it's all dark ..." you can faintly hear some music playing. Strangely enough it's an orchestral version of The Beatles' Ticket to Ride...

http://www.rareexception.com/Garden/Floyd/Floyd.php

[SwiftSloth]

Originally Posted by Snouter

SwiftSloth, you admit the script doesn't change, so how can deciding on camera angles change the underlying themes and symbolism?

Well, there is one large problem as well. The book was written in 1910.

[SwiftSloth]

Also, check out the writing credits:

L. Frank Baum (novel The Wonderful Wizard of Oz)


Noel Langley (screenplay) and
Florence Ryerson (screenplay) and
Edgar Allan Woolf (screenplay)


Irving Brecher uncredited
William H. Cannon uncredited
Herbert Fields uncredited
Arthur Freed uncredited
Jack Haley additional dialogue (uncredited)
E.Y. Harburg uncredited
Samuel Hoffenstein uncredited
Bert Lahr additional dialogue (uncredited)
John Lee Mahin uncredited
Herman J. Mankiewicz uncredited
Jack Mintz uncredited
Sid Silvers uncredited

http://imdb.com/title/tt0032138/fullcredits#writers

You really think that this many people would form a meaning based on a book written in 1910 as coherent as the one posted in this thread? Way to unlikely dude.

However, the Pink Floyd thing I buy. I need to try it sometime.

[Snouter]

Originally Posted by SwiftSloth

You really think that this many people would form a meaning based on a book written in 1910 as coherent as the one posted in this thread?

I think that a committee of talented people would help with some ideas as long as the ideas were consolidated for the final product. So yes, this actually supports the idea of coherent symbolism and themes.

Originally Posted by SwiftSloth

However, the Pink Floyd thing I buy. I need to try it sometime.

I recall trying it one time a while back.

[SwiftSloth]

But dude... The premises, all of them, are based on a book from 1910. All the charecters, what they wanted, the slippers, etc etc. No matter how you look at it, somebody was assigning meanings to things that had no original intention for those meanings.

Did the Pink Floyd thing work for you?