# Stolen History Part 3 - The Mystery of the World's Fairs



## dreamtime (Dec 3, 2021)

*Previous part: Stolen History Part 2 - The Destruction of the Old World*​
This is the third part of our docu series "_Stolen History - Lifting the Veil of Deception_".

Many thanks to @David Glenney and @Sovereine for narrating. This documentary has already been published in the german language a couple weeks ago.

If you want to support our work on the documentary, you can do so via Patreon. We have a professional video producer who works on this next to his full-time job. You can also subscribe to our separate, documentary youtube-channel.



_View: https://www.youtube.com/watch?v=ucIMj47hUf4_

Also avaiable on Odysee, Bitchute
German Version on Youtube

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*Here is the complete video transcript:*​

The Mystery of the World's Fairs​Introduction​


> In order to understand the spiritual background typical of every non-modern civilization, it is necessary to retain the idea that the opposition between historical times and 'prehistoric' or 'mythological' times is (...) the qualitative and substantial opposition between times that are not of the same kind. (...) If modern man until recently had conceived and extolled the meaning of history as evolution, as higher development, the truth known by traditional man was exactly the opposite. In all the ancient testimonies of traditional mankind one can find again and again in one way or another the thought of a regression, of a fall: from originally higher stages we have descended to stages more and more conditioned by the human, mortal and accidental element. To assert, as one must traditionally assert, that in the beginning there existed not an animal-like caveman, but a "more-than-man," and that even ancient prehistory knows not only culture, but even an "_era of gods," _means purest "mythology" to many who believe in the gospel of Darwinism. - Julius Evola


In the previous part, "_The Destruction of the Old World_", we explained how social conditions changed abruptly as a result of a cataclysmic event (be it a natural disaster or a war, or both) loosely between the early 18th and late 19th century - this event is also known as the Reset. The Industrial Revolution was one of the most obvious consequences of this Reset. After the disappearance of the old world, a power vacuum arose that was exploited by a small power elite to disempower the old kingdoms. They divided the world among themselves through imperialism and the establishment of modern nation states.

In the course of industrialization, the invisible ruling powers were faced with the challenge of convincing the masses of their secret plans. The world exhibitions were created as a way to reach this goal. In all likelihood, these exhibitions were created to introduce certain technologies into society. Or rather - to re-introduce them.

The first major World's Fair was held in London in 1851, consistent with the role of the British Crown as a mayor political player at that time. 1851 must therefore be regarded as a symbolic year for the peak of the Industrial Revolution. Supposedly a third of the entire population of Britain - 6 million people - visited the "_Great Exhibition of the Works of Industry of all Nations_". However, the transfer of knowledge and technology targeted by these exhibitions may have begun as early as the 1840s. The French Industrial Exhibition held in Paris in 1844 was considered a precursor to the great London World's Fair of 1851. In Germany, world's fairs were usually called "_Trade and Industry Exhibitions", _although Germany played a rather minor role compared to others. It should be noted that this also applies to Germany's role as a colonial power; European policy has always been clearly directed against Germany and the German population. The reasons for this remain speculative.

Western Europe, Australia, New Zealand and America, controlled by the British Crown, should be considered the most important players of the Industrial Age. These countries, already mostly controlled by the cabal at the time, hosted virtually all of the world's fairs. The term cabal describes the hierarchical, monolithic organization operating out of secrecy, which has its roots in the ancient mystery cults. This cabal was able to spread across the earth like a spider's web, especially after the last reset. Shortly before his death, John F Kennedy, likely referred to this very cabal when he said:



> For we are opposed around the world by a monolithic and ruthless conspiracy that relies primarily on covert means for expanding its sphere of influence--on infiltration instead of invasion, on subversion instead of elections, on intimidation instead of free choice, on guerrillas by night instead of armies by day. It is a system which has conscripted vast human and material resources into the building of a tightly knit, highly efficient machine that combines military, diplomatic, intelligence, economic, scientific and political operations. Its preparations are concealed, not published. Its mistakes are buried, not headlined. Its dissenters are silenced, not praised. No expenditure is questioned, no rumor is printed, no secret is revealed.



Who exactly was Kennedy referring to here? Is it merely the danger of communism, as is often claimed? Or could he have been referring to the group that UFO researcher Richard Dolan has dubbed the "_Breakaway Civilization_"?

Although Kennedy may have been part of this cabal, his words still ring true. Ultimately, the elite control all sides through the dialectic process - where the world is a stage and they pull the strings. Just as the aristocratic elite were replaced by a new political power structure during the French Revolution, in our time there are also pre-planned power struggles that appear natural to the uninitiated observer. On a political level, we know this under the name COINTELPRO, short for Counter-Intelligence Program. It refers to the infiltration of political groups by the FBI during the early days of the Cold War. Nowadays the term "controlled opposition" is most often used to describe resistance movements being deliberately built and controlled in order to neutralize the energy of the masses and channel it into activities acceptable to the elite. The process of dialectics (i.e., the study of opposites and their resolution) is a fundamental aspect of mass psychology. Usually on emotionally loaded issues the masses split into two opposite poles, thus creating a field of tension. To control people, it is necessary to control both poles of this field. By controlling both poles (thesis and antithesis), the desired synthesis (outcome) can be predicted.

The Kennedy assassination was a sort of alchemical process, as the American authors James Shelby Downard and Michael Hoffman describe in their work "King Kill 33" - the "regicide" is an ancient magical ritual that creates social renewal. Ritual regicide is well studied in research (see René Girard, James Frazer) and is found in all ages and societies. Big media events are, according to Downard and Hoffman, largely planned beforehand, with the sole purpose to transform humanity. In the alchemical sense - it is about dissolving the divinely predetermined order to create a satanic order - _solve et coagula_. For this purpose, such media-staged psychodrama is essential to reach the masses. Besides John F. Kennedy we also see these staged dramas in the deaths of Princess Diana and Michael Jackson. Collective energy is built up to channel and ritually sacrifice the hope of the masses. We can observe this process again at present. If you are attentive, you can see in the current political developments all the signs of an artificial transformation of society orchestrated by shock. The uprooting from the past is the foundation for all further developments.

Manly P. Hall, Freemason and initiated occultist, writes in his book, _The Adepts in the Western Esoteric Tradition:_



> _The alchemical tradition contains all the elements of a world program of enlightenment and reform. It requires only a superficial acquaintance with the philosophy and literature of alchemy in order to sense the magnitude of this concealed_ _project. The alchemical laboratory became the shrine of the spiritual sciences, taking the place of the ruined sanctuaries of the ancient Mysteries._


Now lets return to the "_Breakaway Civilization_" - this term was coined by Richard Dolan in his book "_UFOs and the National Security State_". He came to the conclusion that an elite group with access to high technology and secret knowledge has followed its own path of development independent of the rest of humanity. This allowed a parallel civilization to establish itself on Earth that we know little about today. According to Dolan, they probably live in huge interconnected underground bases. They are financed by black budgets, the visible part of which is called the Deep State, but their structures go much deeper. They have their own view of the cosmos and our place in the world, of our history and our origins. They keep their knowledge secret, and much of their work is to keep the public ignorant.

To quote Richard Dolan:



> "There is a clandestine group that possesses technology that is vastly superior to that of the “mainstream” world, the ability to explore areas of our world and surroundings presently unavailable to the rest of us. (...) They have scientific and cosmological understandings that give them greater insights into the nature of our world, and a significant “built-off-the-grid” infrastructure, partially underground, that affords them a high degree of secrecy and independence of action. In our own official world history, you go back 200 years and compare levels of technology from Europe to, say, Central Africa, and you’re talking about two vastly different ways of understanding the world. So really, what is the difficulty in understanding that a classified, secret scientific community would make radical breakthroughs that they wouldn’t share? I don’t think it’s outrageous, and I do think this has happened since World War II. Now, one of the breakthroughs they’ve made is in what we would call ‘anti-gravity technology.’ Could this have happened in the 19th century? I don’t think that it’s impossible in theory. I have speculated privately many times whether there has been a secret breakaway group going back to ancient times. When you look at some of the really puzzling mysteries of our ancient world, whether it’s the Great Pyramid of Giza or Machu Pichu, there are elements of those and other architectural sites that have been left behind that to me at least don’t make a whole lot of sense in the context of human society as it then was supposed to have existed. The Great Pyramid doesn’t make sense to me in terms of 2,500 years ago ancient Egyptian culture. I wonder if this was a human construct at the time, and what human civilization are we talking about here?


Could it be that this civilization, split off from our official historical line of development, is behind many of the events of the 20th century?

And what of the World's Fairs? Were a large proportion of the World's Fair Buildings actually built from scratch, as the official historiography claims? There is much to suggest that the robber barons of the industrial age not only hid once widespread technological knowledge from us, but that they also hijacked some of the impressive architectural masterpieces in which parts of this knowledge was displayed.

Some of the buildings from the World's Fairs still exist today, and they are obviously not made of plaster or similar fragile materials. Were they subsequently rebuilt to be permanent structures? Is it even possible that the elaborately designed Expo sites were built with the technological capabilities of the time within just a few months, only to be destroyed again a few months later after the exhibitions had ended? Or is it plausible that after a great catastrophe the worldwide remains of the preceding high culture were not only systematically destroyed, but also pressed into an image of history imposed on us?

Some available information suggests that even after the worldwide, game-changing event we call the Reset or Mud Flood, there still remained countless complete and beautiful cities that were conquered by a new power elite and then repurposed as "World's Fairs".

Especially in America, the so-called New World, the many Greco-Roman cities would have been difficult to explain because in contrast to Europe, the Americas do not have an official greco-roman history.

The more carefully one investigates, the more difficult it becomes to find plausible explanations for the construction and destruction of these extraordinary and huge exhibition areas.

The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style.

(Note: With World War I, classical architectural ambitions in Europe ended abruptly and many exhibitions also did not take place as planned. It was only in the wake of fascism that there was a return to ancient design principles, but these were often implemented superficially and were mainly applied to a few representative magnificent buildings. After the Second World War, on the other hand, classical architecture was deliberately replaced with new trends - e.g. Bauhaus and Brutalism. Officially the intention was to create an aesthetic distance to fascism, but in all likelihood its purpose was to cut the connection to the Old World through soulless, brutalistic architecture.)

No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining.

Funding​Quite a few Fairs were enormous monetary losses. This is astonishing in that the initial motivation for the exhibitions supposedly came from the industrialists themselves. The investment deficits could indicate that the Fairs had a hidden agenda that was not profit-oriented.

Berlin, Germany, 1896:



> With an investment volume of ten million Reichsmarks, the trade exhibition closed with a deficit of two million Reichsmarks, which Berlin's economy was left with. (Unlike the accompanying colonial exhibition, which enjoyed generous state support from the Foreign Office, the trade exhibition had to manage without financial contributions).



Lübeck, Germany, 1895:



> Although a total of 750,000 visitors came, the German-Nordic Trade and Industry Exhibition closed with a financial deficit. The exhibition buildings were completely demolished after the end of the event, and a residential area was created on the Marli site, which became part of the Lübeck suburb of St. Gertrud, which was developed in terms of urban development in the first half of the 20th century.



Nuremberg, Germany, 1906:



> Despite the 2.5 million visitors, the Bavarian Jubilee Exhibition of 1906 is a financial loss for Nuremberg.



St. Louis, USA, 1904:



> In the end, the Expo made a loss of $8.5 million. This is the equivalent of more than $250 million today.



Philadelphia, USA, 1926:



> The exhibition attracted far fewer visitors than the 10 million originally planned. In the end, it was unable to service its debts and went bankrupt in 1927.



Now let's take a closer look at some of these Expos.

Panama-Pacific International Exposition, USA, 1915​When the _Panama Pacific International Exposition _opened in 1915, European nations were already entangled in the First World War. The annihilation of the old monarchies had begun, the European continent was being reshaped, and all areas of government, society, economy, and culture were undergoing fundamental change. The city of San Francisco itself was just recovering from the terrible earthquakes and fires that had raged in 1906 - yet in the midst of these hectic times an exposition, unimaginably large by today's standards, opened its doors to celebrate the completion of the Panama Canal in August 1914. The fairgrounds covered 600 acres and two and a half miles along the waterfront, receiving nearly 20 million visitors between Feb. 20 and Dec. 4, 1915, making it one of the most successful expositions of the time. Because of its size and expansive grounds, it was virtually impossible for guests to see the entire fair, even after multiple visits.

Most of the buildings, it is said, were made of wood, plaster and linen fiber in order to keep costs as low as possible and to be able to demolish them quickly once the World's Fair was over. However, if we take a closer look at some of the photos of these brand new buildings, doubts about the official story quickly arise. Many buildings, for example, show signs of age shortly after completion and appear to be heavily eroded - such as the _"Fountain of the Earth"._

If the official origin story is coherent, shouldn't these buildings have looked brand new? Instead, from the very beginning, we are looking at ancient monuments that might as well have come from the fabled Atlantis or ancient Rome.

The architect of the Palace of Fine Arts, Bernard R. Maybeck, is quoted as saying that every great city needs ruins. That's why the Palace was supposed to fall into disrepair after the Expo ended, some of whose structures were really only meant to last for the duration of the exhibition. It is said that even as it was being built, it was inspired by Roman overgrown ruins, in keeping with the mood of 18th-century Piranesi engravings, who became famous for painting ruins.

But isn't the palace still holding up remarkably well in this photo from 1919, a full four years after the Expo ended? Where are the weather-related signs of decay?

There are further contradictions: Allegedly all buildings were only cheaply and quickly raised from plaster, but the Bill Graham Civic Auditorium still stands today. Unlike the Palace of Fine Arts, it was never fundamentally renovated or rebuilt, so it has always been made of solid stone even according to the official narrative.

Let us now turn our attention once again to the Palace of Fine Arts and let some contemporary witnesses have their say:

Professor van Noppen of Columbia University noted that



> "the Palace of Fine Arts is so sublime, so majestic, and is the product of such imagination that it would have graced the age of Pericles,"
> The Palace of Fine Arts - FoundSF



Thomas Edison was also full of enthusiasm:



> "The architect of that building is a genius. There is nothing equal anywhere on earth."



Are these really statements one would expect to hear about a newly-constructed, contemporary building of plaster and linen?

And Louis Christian Mullgardt, one of the architects of the Exposition, told the Commonwealth Club:



> "when the Exposition buildings are torn down, then we will have destroyed one of the greatest architectural units which has ever been created in the history of the world."
> Destruction of the Fair - FoundSF



It's hard to believe that he was merely talking about temporary new buildings. Toward the end of his life, the famous Mullgardt ended up impoverished in the insane asylum at Stockton, California. Is it possible that he could never really live with the lie of having claimed the creation of various architectural masterpieces?

A wealthy San Francisco citizen - Phoebe Apperson Hearst, wife of industrialist Robber Baron George Hearst - founded the _Palace Preservation League_ while the Expo was still running, and it was only thanks to this effort that the Palace was not demolished. Her son, the publisher of the San Francisco Examiner, William Randolph Hearst, contributed to the success of the campaign.

But the official story goes like this:



> Although the palace was saved from demolition, its structure was not stable. Originally intended to last only for the duration of the exhibition, the colonnade and rotunda were not built of durable materials, but were framed with wood and then covered with rods, a mixture of plaster and linen-like fibers. As a result of construction and vandalism, the simulated ruin was indeed a crumbling ruin by the 1950s.



So we are to believe that the _Palace Preservation League_ went to great lengths to save a temporary ruin from destruction. More likely is the following scenario: the Palace was never rebuilt - only renovated, because it was a normal, permanent building. In the official narrative, the renovation from 1964 onwards was then possibly turned into the creation of a new permanent building.

On the original photos from the time after the Expo, columns made of wood and plaster are clearly visible.

So, if the video material hasn't been manipulated, it indicates that the Palace of Fine Arts was indeed a modern and temporary new building made of cheap materials.

However, to get a better idea of the temporary materials used at this point, let us take a look at the correspondence of Bernhard Maybeck, the alleged architect of the Palace of Fine Arts, with an Australian architect named Walter Burley Griffin. In this correspondence, Maybeck suggests to Griffin that, just as with the Panama Pacific International Exposition, the new Australian capital should be built of wood and stucco to generate public enthusiasm for classicist architecture and then, by means of public support, be able to finish the city with durable materials. Griffin frostily informed Maybeck, however, that



> _"plaster or stucco are hardly considered as temporary expedients [in Australia] for they are largely employed for buildings both commercial and governmental, already deemed to be permanent."_
> Destruction of the Fair - FoundSF



This shows how absurd the idea is to classify buildings as temporary just because they are clad in stucco - countless houses of the German Gründerzeit and the American Gilded Age consist mainly of stucco, plaster and wood, yet they have already stood for more than 100 years without any major signs of decay.

Therefore, two things can be said about the Palace of Fine Arts: While historical and photographic records suggest that solid materials such as stone or cement were not used in the original construction, building with materials such as wood or plaster does not necessarily mean that structures fall apart after a short period of time, which was obviously not the case with the Palace of Fine Arts either. On the contrary, it had to withstand quite a lot, as it was not only used for art exhibitions. During the Second World War it was used by the military for the storage of trucks and jeeps. Later on it was used as a storage for other materials and even as a temporary headquarters for the fire brigade. Whether the official construction of the Palace of Fine Arts for the 1915 Exposition was just a basic repair or renovation or a new building cannot be said with definitive certainty.

On closer examination, we notice a glaring contradiction: The alleged new building was decorated with the symbol of the swastika, which was revered as a good luck charm in old times - however, in the course of World War II, it got practically banned from public use in the USA. So why is it depicted on this new build from the 1960s?

Despite the uncertainty, it seems to be one of the most popular examples when it comes to exposing the official Expo narrative as a lie. Yet there are plenty of other, more obvious examples, the most interesting of which we will discuss during this documentary.

It appears that the Expo organizers' plan always was to completely destroy everything after the exhibitions ended, however this often resulted in a public backlash - meaning that at least some of these structures were preserved thanks to the public outcry. For example, the Palace of Fine Arts, the Bill Graham Civic Auditorium, and the Japanese Tea House still exist today.

But what about the many photos that supposedly show construction and demolition of the World's Fairs? It would be relatively easy to document only the demolition of those buildings that were actually only temporarily erected. Furthermore, there is the possibility that the photographs selling us the construction process were actually taken during the demolition of the buildings, or during a renovation. Further meticulous research would be needed to arrive at a clearer picture, which goes beyond the scope of this documentary.

Interestingly, some of the public photo archives have only been put online after the alternative history community pointed out inconsistencies in the narrative. For example, the St. Louis Public Library Digital Collections only just went online in 2019.

Northwest German Trade and Industrial Exhibition Bremen, Germany, 1890​The Northwest German Trade and Industrial Exhibition in Bremen's Bürgerpark in 1890 poses a couple mysteries.

This wine house is supposed to be a wooden house, and said to be a cheap copy of a real old Hanseatic merchant's house. This is hardly credible, as the wine house seems to be embedded in a street of other authentic historical houses. And why was this building actually demolished immediately after the exhibition ended? Even if the house was made entirely of wood, it could have been left standing. 100 years ago, Bremen's architecture was overwhelmingly medieval-Hanseatic. Nobody would have thought of imitating a house like this one for exhibition purposes, since the city was full of such houses. The story only makes sense if the real intention was to destroy as many old-world buildings as possible - be it through "accidental" fires, world exhibitions or other modernization projects. The most impressive building of the Bremen World's Fair - the multi-storey _Parkhaus_ - was also "accidentally" burned down a few years after the Expo.

This photo shows a modern steel bridge against the backdrop of historic domed buildings - as the cities' newspaper (Weser-Kurier) notes, not only a strange, but an almost paradoxical contrast. This paradox is only resolved if we assume that the steel bridge was actually built for the exhibition, but that the classical buildings were already standing beforehand.

In another photo, the ex-director of Bremen's Bürgerpark, architect Wilhelm Benque, is shown with a "hidden hand," a typical Masonic pose, which, according to _Duncan's Ritual And Monitor Of Freemasonry _reveals him to be a Master of the Second Veil. The hidden hand likely lets the other initiates know that the individual depicted is part of the secret elite, that his deeds have been sanctioned from above, as well as partially done in secret. Long before the advent of mass media historical figures, Napoleon being one of the most famous, have been depicted in hidden hand portraits. Coincidence? It appears to have been this hidden power that has shaped world events in recent centuries.

Shortly after the end of the Bremen exhibition Wilhelm Benque promptly spoke out and defamed one of the most impressive buildings of the exhibition - the multi-storey Parkhaus: In January 1891, he attacked the building he hated so much publicly in the local newspaper. The debate about the beautiful building only ended when the structure went up in flames in 1907 - the official explanation being fireworks that went out of control.

The phenomenon that most of the  World's Fairs structures mysteriously disappeared is not an isolated case, but can be observed in many of the Expos between 1850 and 1920. Was there something to hide?

The argument that the buildings were simply poorly built and that they would have inevitably fallen into disrepair quickly is inaccurate, because even today some of the Expo buildings are still standing. The solid stone observation tower in Bremen's Bürgerpark, for example, was not completely demolished until 1962, mainly because it was badly damaged during World War II. In fact, all the Expo buildings that are still standing today are built so solidly that they hardly age.

It is reported of the pavilion of the Bremen cigar company _Engelhardt & Biermann_, now known as the _Waldbühne_, that it was destroyed immediately after the exhibition - after all, it was only made of "temporary materials" - only to be rebuilt true to the original, but this time in a permanent form. We are even told that the cigar company was kind enough to pay for the demolition and rebuilding entirely out of their own pockets. How credible that is, you can decide for yourself.

Great Exhibition London, Great Britain, 1851​The London "Crystal Palace Exhibition" was the first prominent worldwide industrial exhibition. A whole 28 countries with a total of 17,062 exhibitors on a total area of over 80,000 square meters took part and received about six million visitors in six months, a quantity comparable to about one third of the total population of Great Britain at that time. To appreciate the full scale, it is necessary to imagine that the gigantic glass house, fitted with cast-iron frame elements, was estimated to be three times the size of St Paul's Cathedral or four times the size of St Peter's Basilica.

In total, it is said, 4,000 tons of iron were processed for columns, trellis girders and gutters and about 153,000 square meters of glass were produced. 80 glaziers are said to have installed 18,000 panes in one week and more than 5,000 workers are said to have been employed on the building during the construction phase.

A civil engineer remarked about the Crystal Palace:



> "I'm a civil engineer and I consider the construction of the Crystal Palace in 39 weeks from approval to opening to be complete nonsense. The glass they apparently had to use is cylinder glass measuring 1.25 x 0.25 meters, which was very labor intensive. It had to be blown in a trench, cut and then polished. So the glass alone would have been impossible to make in the 4 months given; about 153,000 square meters of glass. With no machinery, just horses for power. You couldn't make it in 39 weeks today, let alone in 1850."



Add to this the fact that simple automation processes for the mass production of glass did not develop until 30 years later. So everything had to be produced by hand, and the distance from the glassworks in Smethwick to Hyde Park, where the Crystal Palace was originally built, was around 209 km. And as if all this wasn't fantastic enough, the glass palace was completely dismantled after the exhibition, and then re-built in a larger form in Sydenham Hill and used as a museum there.

To bring visitors to the London exhibition site, two stations were newly built, both confusingly called "Crystal Palace" and differing only in their underground and overground locations respectively. The fire that destroyed the Crystal Palace in 1936 made the "High Level Station" virtually redundant, which is why it was eventually demolished. The beautifully tiled subway, supposedly built by Italian masons and stonemasons, however, survived.

Incidentally, parliamentary buildings made of wood and plaster were erected especially for the "Festival of the Empire", which was one of the largest single events at London's Crystal Palace and took place on 12 May 1911. These buildings were also intended to be used only temporarily and were connected by an electric tramway, the so-called "All-Red Route". For example, the replica of the Canadian and New Zealand Parliament Buildings, the former visible on the left in the foreground of the Crystal Palace.

On November 30, 1936, however, the Crystal Palace fell victim to a devastating major fire. Michelle Gibson writes about this:



> We learn that the Crystal Palace was moved to Sydenham Hill in south London in 1854 and rebuilt, and that it was later destroyed by fire in 1936. How did they manage to move a massive building made of glass panels and cast iron, three times the size of St. Paul's Cathedral in London, to another location? The New York Crystal Palace was also destroyed by fire, but much earlier than the London Crystal Palace. The Crystal Palace in New York burned down in 1858, apparently in front of a large audience.



In an article that takes a closer look at these events, it states:



> 500 firefighters and 90 fire trucks were needed to put it out, and another 749 police officers to control the crowds. Witnesses described "so much molten glass that it looked like a waterfall," even "like a Niagara Falls of molten glass". According to one eyewitness, "the glass actually caught fire, and when it was really hot, there was a sodium flame, and the molten glass poured straight down". Mrs Ford from Sydenham described "hot molten glass and metal flowed down the street and adults formed a human chain and passed buckets of water from hand to hand to stem the flow of hot glass". Another witness recalled that people "picked it up and rolled it into balls to keep as souvenirs." (...) However, the two towers of the palace are said to have remained standing even "deformed" by the fire. The flames were accompanied by clouds of sparks and violent explosions. The reference to the explosions, by the way, is noted only in a few records. BlogZeit für Spurensucher :: Eisen und Glas in Flammen? Die rätselhafte Geschichte des Crystal Palace



The fire burned with great intensity all night, even 20 hours later there were reportedly still pockets of fire. The British press considered the destruction of the Crystal Palace a serious blow to the political power of England, and the public wondered _"how steel and glass can burn so fiercely"._

It is important to know that in glass production the raw materials are heated to about 1,600 to 1,800 °C, but finished glass can melt between 600 and 800 °C. The melting point of cast iron is relatively low when compared to other alloys. Cast iron, when compared with other alloys, has a relatively low melting point of around 1150°C. But the question is where the temperatures should have come from and whether furnishings would already have been sufficient to generate heat of this magnitude.

Incidentally, there has never been an official investigation into this incident, and the fire is still considered unsolved to this day.

Chicago World's Fair, USA, 1893​On May 1, 1893, the city of Chicago held the "_World's Colombian Exposition_" to celebrate the "discovery" of America by Columbus 400 years earlier. In fact, the World's Columbian Exposition in Chicago was to be the largest to date. 70,000 exhibitors from 46 nations were present - 25,000 of them from the USA alone - to present their technical achievements, marking the beginning of a new era. Not only a film projector, the first dishwasher, a fully electric kitchen, an elevated train with electric drive and a rolling footbridge could be marvelled at, but also the amusement park with fairground stalls, circus performances, artificial ice rinks and an 80-meter-high Ferris wheel attracted numerous visitors.

The organizers of the fair



> _"...hoped to demonstrate the great industrial might of the United States and symbolize the transfer of leadership from the Old World to the New," _



which_, _given the historical background, may have been a coded message as well - except that the term "old world" may mean something different than what we learn nowadays.

The Chicago Expo, which makes us think involuntarily of ancient Rome, was nicknamed the "_White City_" and was the inspiration for the Emerald City in the book "_The Wizard of Oz_". Here is one of the sketches that illustrator W.W. Denslow made in response to the Chicago Expo for "The Wizard of Oz": The tops of the domes are studded with crystals - hence the name Emerald City in the book.

Here, Denslow stands against the backdrop of the Expo site after the devastating fire and on the verge of complete demolition.

Interestingly, Indian Researcher Praveen Mohan describes in his videos that many ancient Indian temples were originally studded with crystals at the top. Some, like the _Somawathiya _pagoda, still have those crystals today.

Does "_The Wizard of Oz_" contain an unconscious collective memory of humanity, or did Denslow possibly know something that is no longer available to us today?

In any case, the Chicago World's Fair was one of the most impressive exhibitions ever in architectural terms. According to the story presented to us, over 200 buildings were built on the shores of Lake Michigan on an area of 278 hectares, in only 3 years. Paradoxically, the construction period coincides with the period of economic depression, and the Panic of 1893 was the most severe economic crisis in the history of the United States to date. Who would have thought that in such a time there were enough workers and resources to build an almost paradisiacal city?

Were these buildings actually designed by architects Daniel Burnham and Frederick Law Olmsted and meant to be understood as a homage to Greco-Roman architecture, or did some of them already exist before the Expo began? Were they showing the public the remains of the old world one last time, only to destroy them afterwards?

Considering the immense effort that was necessary to construct the buildings, the official explanation hardly seems plausible, especially since there are only a few photos of the construction phase, or precise records of the course of the complex construction projects. This discrepancy between the functionality of the building as an exhibition object and the effort of construction is most evident in the colossal "Manufacturers and Liberal Arts Building".

This 200 meters wide and 500 meters long building required twice as much steel as the Brookyln Bridge, and was four times the size of the Roman Coliseum. It may even have been one of the largest buildings ever built. Covering an almost unimaginable area of about 20 football fields, this huge building housed numerous items from manufactories around the world that supposedly represented the level of technical expertise that had emerged since industrialization. This construction alone would have taken years and consumed numerous resources, even if you believe the official narrative of a temporary building. Nevertheless, the building was completely demolished after the Expo.

Of the more than 200 buildings, 14 (!) had similar dimensions to the "Manufactures and Liberal Arts Building" and they too were almost all destroyed after the 130-day duration of the exhibition. Today only two buildings remain, the so-called "_Museum of Science and Industry_" and the "_World's Congress Auxiliary Building_". Considering the high effort of the construction, the question arises why only two of these buildings were allowed to remain standing, since other possible uses would have been quite conceivable and it sounds very unbelievable that such immense resources were simply wasted.

The following photo purportedly shows the construction of the "Administration Building": chicago administration building

A photographer told us about this:



> "Without access to the originals, it is difficult to say whether the image here is a true "photograph." In this version, however, a pencil drawing was clearly applied. My professional opinion is that all the pictures I have found of this building have been altered in some way. None of these pictures can be used as evidence that the building is "under construction". In my opinion, the photos indicate "restoration" rather than construction, based on the anomalies marked in the photo."



He further notes that the following photos of the construction process are contradictory: https://imgur.com/a/p3FmVum.



> Both photos are presented as evidence of the "construction" of the building. First of all, I would like to give you a short hint and emphasize that both pictures are misleading in their presentation. In the right picture, the dome appears to be completely finished, while in the left picture it is clearly not. But in the right photo, the smaller domes that are at each corner of the central part of the building are missing, while in the left photo, with the dome still incomplete, the smaller domes are present. The construction process in the right photo appears to be almost complete, so why would these smaller domes be missing?



Another interesting building at the Columbia Exposition was the main train station on the Expo grounds, whose entire rail system consisted of 35 tracks. By comparison, the main station in Munich, one of the largest stations in Germany, has only 34 tracks. Allegedly, the entire station was only temporary in nature, but it begs the question of how it would even be possible to build a station in such a way that it was stable and functional, but still "temporary" in nature? The only photo of the alleged construction of the station building shows a building already completely finished amidst mud - it appears to have been nothing more than freshly painted. Of the construction process itself, according to our research, not a single photo exists.

A few months after the Expo, the station burned to the ground along with other buildings at the exhibition. Cause of the fire: Arson by unknown.

The official story is this: A security guard at the Expo, conveniently called C. Mason, noticed the fire in the casino, and also immediately tried to sound the alarm. Unfortunately, none of the five devices to activate the fire alarm worked, which he tried out in quick succession. Fortunately, he eventually found a phone, so he was finally able to report the fire. By then, however, it was already too late, and due to changed official procedures, only ten fire trucks were able to arrive at the scene instead of the usual 20.

It is also possible that this fire and subsequent demolition shortly after the Expo ended is related to the Great Chicago Fire of 1871. There are some contradictions with this fire. Officially, the cause of the Great Chicago Fire was that a cow knocked over a lantern. Evidence for this theory was never presented.

Were the remains of the old world destroyed here in two phases, first with the city fire that claimed the lives of some 17,500 buildings, and later with the demolition of the Expo site? Were there even two separate fires? Were there fires at all? Questions upon questions.

Supposedly, by the mid-19th century, Chicago had rapidly developed from a small Indian settlement into the huge metropolis we know today. But again, there is no documentation of the logistics of city planning. Interestingly, Chicago appears with the name Chilaga on old maps. So was this possibly an important Old World city and was Chilaga deliberately renamed Chicago to obscure its history?

If we look at the "White City" of the Expo mentioned earlier from this point of view, the area could in fact have been a government district of Chilaga that was converted to a modern Expo area. So, did the 27 million people who visited the "exhibition" actually witness the destruction of one of the last parts of Chilaga?

The statue of the Republic, which was on display at the Chicago World's Fair, holds in its right hand a sphere on which an eagle with outstretched wings is enthroned, while its left hand adorns a staff with a Phrygian cap, which was a symbol of the Scythians or Tartars and presumably symbolized freedom and justice. In the course of the Age of Enlightenment, the Phrygian cap continued to be used as a symbol of freedom.

Significantly, in the same year that the Chicago Expo was being planned, the new University of Chicago was founded, considered one of the most important private American university foundations of the era, generously supported by oil magnate John D. Rockefeller. And this very university bears in its coat of arms a griffin burning in a fire, in which one could also recognize a symbol for the destruction of the old world empire. Some symbols, such as the double-headed eagle, the mythological griffin, the quadriga (i.e. four-horse), and the lion, we encounter again and again in the context of the old world.

Louisiana Purchase Exposition St. Louis, USA , 1904​The Louisiana Purchase Expo, also known as the St. Louis World's Fair, was twice the size of the Chicago Expo and consisted of more than 1,500 buildings (General view of the Louisiana Purchase Exposition at St. Louis, photographed from top of Festival Hall) connected by roads and trails over a length of 121 km. Only two buildings are said to have been solidly and permanently built, while all others were demolished immediately after the Expo. The whole thing was financed with more than 15 million US dollars, at a time when St. Louis was in economic distress and its citizens were plagued by corruption, poverty and disease. The planning of the Expo itself was also overshadowed by several cases of corruption.

The first $5 million was provided by the City of St. Louis through the sale of Municipal bonds. Another $5 million was raised through private donations from interested citizens and businesses throughout Missouri. The final $5 million came in the form of funds that were part of a congressional appropriation bill passed in late May 1900. In the end, the Expo made a loss of $8.5 million, the equivalent of more than $250 million today. But if there was no financial incentive for the Expo - what was the point?

On the official Expo website we can read:



> As the majority of the pavilions were built to be temporary, few legacies remain today. However, the Palace of Visual Arts still stands in its place, and now serves as the Museum of Arts of St. Louis, one of the largest arts museum in the United States.
> 1904 Saint Louis



The Missouri Exposition Pavilion, as the largest and most impressive building, was supposed to have been preserved for future generations, but it burned down barely two weeks before the end of the Expo, on November 18, 1904. As it was said, a reconstruction was therefore renounced.

The site was also home to the world's largest organ and dome at the time.



> The Festival Hall was another staple of the Expo in St. Louis, featuring the largest dome in the world at the time. The building featured three water cascades draining into the Fountain of Liberty, which was adorned with statues personifying Liberty (the largest of the statues), Genius and Inspiration. 1904 Saint Louis



The approximately 4.9 km2 fairgrounds used for the World's Fair were located on what is now Forest Park and the Washington University campus, and it was the largest fair area the world at that time. The total construction time was less than three years and the Palace of Agriculture alone took up a staggering 81,000 square feet. It was said to be impossible to get even a glimpse of everything in less than a week.

More than 19 million people are said to have visited the Expo at that time. Remarkable, considering that St. Louis had only half a million residents back then. One observer of the World's Fair noted at the time that the streets of St. Louis were full of life, more so than any other city in the North.

George Kessler was the architect of the Expo. But oddly enough, there is a "popular myth" that says Frederick Law Olmsted actually designed the fairgrounds.

There are hundreds of photos of the alleged construction process of the Expo. And of course, various buildings were indeed newly constructed for the Expo - especially the trashy structures that lack the classicist aesthetic. Existing structures also appear to have been outfitted with obviously primitive, tasteless decorations. However, the photographs purporting to show the construction process of the grand, impressive classical exhibition palaces may as well have been made during demolition.

Historian Dr. Robert Archibald says about the St. Louis Expo:



> "The fair planners had a contractual obligation to demolish the fair grounds and return Forest Park to sort of a predetermined lands. They were legally obligated to do that. The problem on the Pike was they were all concessionaires and everything they had set up was all theirs. They couldn't sell it for anything. The costs of demolition were greater than the value of what there was to salvage,"



This defies all economic logic and only makes sense if there was a secret agreement between the city and the industrialists - they had to erase all traces of the Expo, against any natural economic impulse of these entrepreneurs who always strive to maximize profits. The story we are being served up is almost perfect - but on closer inspection we see that it has been reversed. Thus, pictures of the demolition were probably simply declared to be shots of the construction process - and the photos of the empty site after the demolition are now sold to us as photos taken before the construction. The digitized archive photos are in all likelihood a mixture of authentic, real new buildings, demolition photos, and manipulated photo collages.

Panama-California Exposition San Diego, USA, 1915​President Theodore Roosevelt, speaking to visitors outside the Exposition's Organ Pavilion on July 27, 1915, said:



> "It is so beautiful that I wish to make an earnest plea ... I hope that not only will you keep these buildings running for another year but you will keep these buildings of rare, phenomenal taste and beauty permanently."



The official Guide Book accompanying the San Diego Expo lists the permanent and temporary buildings, and describes that the temporary buildings will be demolished soon after the Expo. But most of these buildings, the official narrative says, were nonetheless in use for more than 50 years and were reused during the second San Diego Expo in 1935. How is it possible that these buildings easily lasted another 50 years (or even longer) if they were only built with limited durability only for the period of the first Expo?

Officially, the remaining structures were rebuilt in the second half of the 20th century and are now known as the _Casa del Prado _(Balboa Park in modern San Diego).

To summarize: Temporary buildings are erected that are supposed to last only a few years, but they easily last more than 50 years and continue to be used until they suddenly fall into disrepair; but because they are so beautiful, they are rebuilt with more massive materials in the 1960s and 1990s.

In the official Guide Book of the exhibition we can read that many visitors of past exhibitions were disappointed because most of the buildings were immediately demolished again. The planners of the Panama-California Expo in San Diego therefore note:



> Nothing connected with past fairs has been so depressing as the destruction of the buildings after the exposition was over. This will not be the case when, on January 1, 1916, the Panama-California Exposition is closed, for all the structures except the concession buildings along the Isthmus have been built to stay. In the great west quadrangle, for example, all the structures are built entirely of steel and concrete and will be used in decades to come for housing the museum exhibits which have been donated the Exposition. https://archive.org/details/TheOfficialGuideBookOfThePanama-californiaExpositionSanDiego1915



It is not known whether this pamphlet was printed after Theodoore Rosevelt had advocated for the preservation of the buildings. However, the quote from Roosevelt would have been extremely odd if it had already been officially known at the time that most of the buildings were to be preserved. One can assume that the planners began to sweat a bit after prominent protests were directed against the demolition plans, and therefore they had to change their narrative somewhat.

Further, we learn that the subsequent expo, the "California Pacific International Exposition", on the same grounds in 1935, was so popular that some buildings were converted from temporary to permanent. Many buildings or reconstructed versions are still in use today and are used by several museums and theaters in Balboa Park. The Casa del Prado was supposedly demolished in the 60s and rebuilt true to the original in permanent form. The House of Charm and the House of Hospitality were even only rebuilt in the 1990s. And this despite the fact that the official Expo booklet stated that the temporary buildings were designed for a maximum lifespan of 30 years.

Here we encounter the usual story again - if some buildings of the Expos were not demolished, they were supposedly demolished and then rebuilt in a permanent way, although enormous sums were already invested in the renovation process of the supposedly temporary buildings before their demolition.

Ironically, in the early 1960s, the destruction of some buildings and their replacement with modern, architecturally inappropriate structures caused an uproar in San Diego. In 1967, some citizens formed a "_Committee of One Hundred_" to protect and preserve the historic structures. The movement was a success and the historic buildings were preserved or rebuilt. Isn't it amazing the persistence with which certain forces seem to push to erase the old architecture?

We are beginning to see a pattern - the public was shocked every time the exhibition buildings disappeared again and the planners couldn't move fast enough to destroy everything again if possible.

Another temporary building, the "_Electrical Building_", burned down in 1978 allegedly by arson of two youths. According to the official story, it was then rebuilt true to the original in a permanent form. The Old Globe Theater - originally built for the Expo 1935 - also burned down in 1978 as a result of arson.

Quote from Wikipedia:



> "Bertram Goodhue, master architect of the 1915/16 Panama-California Exposition, had urged that the temporary buildings on Balboa Park's main avenue, El Prado, be torn down. But the citizens of San Diego spurned this advice. With the help of federal government money, they patched up the temporary palaces in 1922 and 1933. This allowed most of the original buildings to be reused for the second exhibition in 1935.



Specifically about the _House of Charm_, which now houses the Art Museum, we read:



> Although there were ongoing doubts about the soundness of the building, which was not intended to be a permanent structure, it continued to be used during the 1940s and 1950s. Tenants included the Model Railroad Museum, the San Diego Hall of Champions, and the San Diego Men's Art Club (forerunner of the San Diego Art Institute). In 1978, the building was condemned as unsafe and was temporarily evacuated, but the San Diego Art Institute moved back in after sprinklers were installed. https://en.wikipedia.org/wiki/House_of_Charm



So sprinklers were all that was necessary to reclassify this "temporary" building as safe? That is, it was only a matter of fire safety, not that the building was structurally unsafe.

Politician George W. Marston wrote in 1922:



> You may prove what you will in facts and figures about the shaky old buildings; the only answer is “They shall not pass.” Somehow, without knowing how to explain it, we are instinctively, subconsciously, incurably in love with them and will not give them up. It’s the grand emotion and is founded, I think, on something real and vital. History of the House of Hospitality Building in Balboa Park - San Diego History Center | San Diego, CA | Our City, Our Story



Let's summarize: Most of the temporary buildings in San Diego were supposed to be torn down and only meant to last for a short time (30 years at most), but officially stood well into the 1990s. Then they got demolished and rebuilt as perfect copies in a permanent way. The organizers behind the Expo always wanted to get rid of the buildings, but there was public resistance so enormous that many got renovated or rebuilt instead.

In principle, permanent buildings are also affected by the need for regular renovation. For example, many cathedrals - such as Cologne Cathedral or Freiburg Cathedral in Germany - have been in a permanent state of renovation during their entire official existence.

This is what the San Diego Pavilion looked like in the 70s, which was officially one of these permanent buildings. It had to be restored at a cost of about half a million dollars: spreckels organ pavillon

Expensive renovations are therefore not a reliable indication that a building was not originally constructed in a permanent form.

Liège International (World's Fair in Liège), Belgium, 1905​About the exhibition we can read the following interesting remark:



> Note: It is sometimes difficult to tell whether certain nations actually participated in a significant way. Newspaper reports as well as the official documents or secondary sources may indicate participation when actual participation did not occur or occurred minimally. Some nations had unofficial exhibits. It is unknown whether some above that are listed as official, actually were. Take the above as a guide, not gospel. Various sources differ on who exhibited. http://jdpecon.com/expo/wfliege1905.html


The documentation of the Expos seems to have been a bit poor and contradictory in general.

The only thing that can be said with absolute certainty is that of all the exhibition buildings in Liege, only the Palace of Fine Arts has been preserved and can still be admired in all its splendour today.

Note that the other buildings in the exhibition shown here are little different from the Palace of Fine Arts, most of the buildings appear to have been similarly massive in construction and probably would not have needed to be demolished.

Great Industrial Exposition of Berlin, Germany, 1896​The Berlin Trade Exhibition of 1896 was the first exhibition to feature baby incubators. Incubators displaying premature babies were to be found at most Expos from then on. What does this say about a society that displays "preemies" in such a cold and inhumane way? Were these incubators as much a part of an agenda as the orphan trains? In any case, uprooting children seems to be the best way to traumatize a society and completely disconnect it from its history. In particular, the former colonies - Australia, New Zealand and America - were largely populated by orphans and criminals. For example, the first European settlers of Australia in 1787 are said to have been 700 convicts, and within the next 80 years more than 160,000 prisoners were shipped to Australia to repopulate the country. A report by the UK's _House of Commons Child Migrant's Trust _also states that an estimated 150,000 children were affected by forced relocations to the colonies over a period of 350 years and that this process did not stop until the late 1960s. Whether all of these children were orphans or had living parents cannot be conclusively determined. However, what is known of the shipped children of the 20th century is that many did indeed come from poor, broken homes and their parents were still alive, although they were usually told otherwise.

But back to the trade exhibition. The Berlin area of 900,000 square meters was even larger than that of previous World's Fairs in America and elsewhere. The Old Berlin area alone, which was supposedly a detailed replica of late medieval Berlin, consisted of 120 elaborately designed buildings. Among them were two city gates, the Zwinger, the market square, the town hall, the hospital and a theater of breathtaking size. Photos of this area show massive and seemingly ancient stone buildings.

Surprisingly, not a single photo exists of the "Alt Berlin" theater, which was demolished in 1897 - neither of the construction, the finished building, nor the demolition. And at that time it was supposed to have been the largest theater in Berlin. It was closed already during the course of the Berlin Trade Exhibition and the demolition process began shortly after. A website dedicated to the architect Bernhard Sehring informs us:



> "Facts and details about this theater have unfortunately been hard to find and we are pinning our hopes on further searches for old postcards or private photographs. In addition, there was a ban on publication and advertising and the fact that the actual visitors to the fair probably did not have the time and leisure for a theater performance lasting several hours - after all, it was a trade exhibition. All this had a serious effect on the number of visitors and led to bankruptcy and ultimately to the demolition of the 200,000 Mark building, which was not winter-proof, while the Fair was still in progress."


Die Roseburg - Über das Märchenschloss im Ostharz und den Architekten Bernhard Sehring

The ban on advertising is also mysterious - why was the theater not allowed to advertise? Well, perhaps they wanted the theater to disappear as quickly as possible and without much fuss.

Even the marketplace in Alt-Berlin, supposedly built of temporary materials, hardly looks like a cheap new construction. The roof tiles look weathered, the stones massive and ancient. On the walls of the houses we also see signs of age. _Spandaustraße_ in Alt-Berlin shows the same picture: weathered massive buildings. Nothing in this photo indicates that even a single building here was temporary. The filthy house walls alone speak volumes. Here it seems that a historic part of the city, like all the buildings of the 1896 Trade and Industrial Exhibition, has simply been razed to the ground and all records of its existence destroyed.

Incidentally, Germany did not play a major role at the world exhibitions. It was not until the foundation of the German Empire in 1871 that the



> _"German contribution to the [...] exhibition of commercial, industrial, technical and artistic products [...] assumed more significant proportions_".



It can be assumed that before 1871 there was no central authority through which the cabal could have exerted influence on the Germans. In the wake of the founding of the Reich, however, a spectacular process of high industrialization occurred. Within a few decades, the Empire made up for and even surpassed the deficits in comparison to other European countries. When the Empire also overtook Britain, it was decided by the cabal (for whatever reason) to neutralize Germany geopolitically and catapult it into cultural irrelevance with two world wars. In the period between 1871 and 1914, however, Germany was transformed for the first time from an agricultural to an industrial country, with drastic consequences for the reality of life for many Germans. Due to the massive immigration into the empire between 1871 and 1914 (from 40 to over 60 million inhabitants), it can be assumed that misery and poverty were rampant in the German cultural area before the founding of the empire, and that in the course of industrialization many people could once again hope for prosperity.

But what role did the newly founded empire play in the destruction of the German spirit? Did people still live in the consciousness of the Old Reich, as the Holy Roman Empire of German Nations was also called, which according to official historiography lasted until 1806? The last Prussian king, Wilhelm II, put it this way:



> _"It is our duty to educate the youth so that they become young Germans and not young Greeks or Romans"_.



Thus, national identity formation and patriotic education became the flagship of Prussian education. How is it that Germans came to think of themselves as Romans? Was German identity first thrust upon us to separate us from our Nordic-Germanic brothers and sisters outside the imperial borders? At the very least, this focus on "national identity formation" and the architecture that exists in Germany suggests that there was once a unified culture in Europe and that our past was rooted in an advanced culture that is commonly described as Greco-Roman, but had nothing at all to do with Rome or Greece - because "Rome" was everywhere, as part of a nordic culture.

Industrial and Commercial Exhibition Düsseldorf, Germany, 1902​The trade exhibition in Düsseldorf followed on from the Rhenish-Westphalian Industry and Trade Exhibition of 1880. The latter was held in a huge, impressive neoclassical hall in the _Zoological Garden_. The pictures that have survived show a rather massive-looking building, but we learn:



> _the building material was mostly wood, the roofs were made of reddish-brown roofing felt, and draperies (i.e., decoratively arranged materials) were made of colorfully stenciled burlap._



More than 100 supposedly temporary halls were completely demolished after the exhibition. We cannot verify any of this at the current time - detailed graphics of the exhibition do not even seem to exist.

A different location was chosen for the Düsseldorf Trade Exhibition in 1902 - which would naturally be the obvious choice if the aim was to destroy as much architecture as possible. Thus it has been handed down that more than 150 exhibition buildings were erected on the banks of the Rhine, including the main building known as the Kunstpalast. This domed building alone contained 14 huge halls. The official version says:



> _The mostly temporary exhibition architectures combined new industrial and craft production methods with the forms of Art Nouveau, sometimes also with the forms of Neo-Baroque or eclectic mixtures of styles._



Although at the time there seemed to be no desire to spend either time or money on permanent buildings, the operators did show astonishing endurance when it came to the subsequent relocation of some of the exhibition halls. One hall was transported to Bochum, one to Cologne and a third even to Mexico City and rebuilt.

However, the largest halls of the 1902 exhibition were designed to stand the test of time. The exhibition building of the State Railroad, for example, was similarly impressive as the _Art Palace_. And the _Art Palace_ itself was never demolished, only "built over" and "integrated", which raises some questions given the ugliness of the modern building. The exhibition hall of the _Bochum Association_, which now stands as the _"Century Hall"_ in Bochum, also mysteriously looks completely different nowadays.

Saxon-Thuringian Industrial and Commercial Exhibition Leipzig, Germany, 1897​It is also known from the Leipzig exhibition that all the buildings were demolished afterwards. In the end, only an empty area remained, today part of the _Clara-Zetkin-Park_, formerly called _König-Albert-Park_. The fact that two hills were built from the rubble of the demolished buildings, which still "adorn" the park today, seems a little macabre.

The Leipzig exhibition, like the Berlin exhibition, included a "replica of the old town", and of course, as with other expos, these were supposed to have been only cheap "cardboard buildings". But in an article of that time we find a hint that the reality must have looked a bit more complicated. So we can read in the newspaper "The Bower" from 1897:



> We first prefer the excursion to the village situated at forest and river, whose houses partly consist of "real" buildings, which were demolished at their location and were rebuilt here, and partly copies as lifelike replicas. https://de.wikisource.org/wiki/Die_Sächsisch-Thüringische_Industrie-_und_Gewerbe-Ausstellung_in_Leipzig



It is astonishing to see how this aspect is completely ignored in the generally discoverable sources - some of these buildings were thus, according to the narrative of the time, presumably genuine old buildings from German cities - but were "demolished" and "rebuilt" for the exhibition. Whether this process can be said to have been an economically rational decision remains to be seen. But which house owner actually agreed to make his houses available for "demolition", only to stand idly by and watch the final demolition after the end of the exhibition?

Even the description of the main building does not exactly give the reader the impression of a cheap building:



> When we enter the exhibition park through the main gate flanked by two high obelisks, the area of which covers 400,000 square meters, we are met by a surprisingly beautiful sight. In front of us stretches an extremely charming landscape. In the midst of magnificent plantings lies a sparkling pond, animated by swans and framed by delicate statues, and in the background the impressive main building is visible, greeting us like a white castle. This is our destination. We walk along the wide linden avenue leading around the water, which runs through magnificent gardens, in which kiosks and temples are picturesquely scattered, and reach the mighty main building via the flood canal bridge, which is decorated with statues representing Saxony and Thuringia, industry and trade. The building itself, in Renaissance style, occupies an area of more than 40,000 square meters, including the machine hall, and is adorned with a number of small towers. In front of the entrance are the pillared figures of the cities of Dresden, Leipzig and Chemnitz.



Even the electricity stations, which were supposedly built in Düsseldorf as well as in Leipzig especially for the Expos, must have been so temporary that they suddenly collapsed only a few days after the end of the exhibitions - in any case, they were completely removed as quickly as possible. The same fate befell the electric circular track of the Expo and it's almost surprising that it was usable at all. Well, maybe the tracks and wagons made of temporary materials were unusable already a few days after the Expo and started to magically disintegrate.

What if the power plants of the Expos functioned completely differently than we are told today? Are we possibly dealing with a completely different form of energy supply that was still in use at various exhibitions? In any case, the speed at which the supposed power stations were removed is suspicious.

This also befell other buildings and power plants that aren't associated with the Expos. For example, the tower of the Dresden district heating power station, which in itself was an architectural feast for the eyes and whose facade was made of Elbe sandstone in order, as it was said, to pick up on the harmony of the cityscape. Why it was allowed to remain standing for only 34 years after its final completion in 1901 will probably never be conclusively explained. Officially, it was no longer needed, but it seems strange why it was not even considered worth preserving in order to preserve the cityscape as a whole, after no effort had originally been spared in terms of appearance. Just compare today's industrial facilities with this extraordinary beauty. By the way, the demolition of the rest of the building did not take place until 1978, so it seems that the removal of the tower was particularly urgent.

Exposition Universelle Paris, France, 1889​Most of the buildings of the Paris Expo of 1889 were located on military or municipal land and were demolished shortly after the end of the exhibition. Only the Eiffel Tower remained, although eleven years later another exhibition was held and it seems completely nonsensical to rebuild everything again for this. The second exhibition in 1900 was also strongly criticized, as it had not been as impressive as its predecessor. This may have been primarily due to the fact that most of the old structures had already been razed to the ground and the new buildings looked primitive in comparison.

It was of great importance for the cabal to gain control of Paris. The French Revolution, or the Age of Revolutions followed destruction of the old world. They concluded the events that today's historians refer to as the "General Crisis". The General Crisis is a term that describes the period of widespread conflict that destabilized Europe from the early 17th century to the early 18th century. These two terms (General Crisis, Age of Revolutions) disguise the destruction of the old world as unrelated events. With the European revolutions began the age of modern pseudo-democratic states.

The influence of the secret lodges, especially Freemasonry, on the French Revolution is well known. Propaganda was used to incite the masses against the king, and the "Ancien Regime" was deposed. It is against this background that the 1889 exhibition should be viewed, as it marks the 100th anniversary of the French Revolution.

A special feature of the Paris exhibitions is the Eiffel Tower. Unlike many other buildings, in this case the construction is documented in a comprehensible way.

This steel building was therefore indeed built anew for the exposition, another indication of which is that the architectural style of the tower differs considerably from the ancient Greco-Roman style buildings. The Eiffel Tower, while impressive in size, is not an aesthetic structure, such as the _Palais du Trocadero_:

Does the Eiffel Tower, then, represent the cabal's achieved control over this part of the old world? Looking at famous pictures of the exhibition, the Eiffel Tower looks like a gigantic juggernaut, sterile and functional, towering over the old sublime architecture, symbolizing the triumph of modernity over the old world.


The Robber Barons of the Gilded Age​Everywhere in the Western world there were the robber barons - industrialists who were directly or indirectly controlled by secret societies, and who could accumulate enormous amounts of money as long as they did what was asked of them. This period has different names - In the United States it is known as the _Gilded Age_, and in Germany as the _Gründerzeit_ - from about the 1860s to the early 1900s. However, this "golden age" came to an abrupt end with the First World War.

In any case, industrialists seem to have been the stewards of the "new" technologies, and most of today's major entrepreneurs were shaped in one way or another by the transfer of technology from the World's Fairs. Emil Rathenau, for example, founded AEG in response to the technical achievements he observed at the World's Fairs in Paris, Vienna and Philadelphia.

Some interesting aspects emerge from the analysis of the industrial families:


They were, and still are, obsessed with art and other artifacts from the pre-industrial era. The early industrialists literally hoarded entire houses full of sculptures and paintings, as if it was just a matter of making as many remnants of the old world disappear as possible. It remains to be said that thousands of works of art and sculptures were presented at the world exhibitions, which have since largely disappeared.
They lived in the most impressive neoclassical buildings (basically palaces) that existed at the time. Mysteriously, however, they had many of these buildings demolished very quickly. Perhaps a little too quickly considering the construction costs.
One of the most impressive examples is certainly the Astor House in Manhattan (Mrs. William B. Astor House - Wikipedia). Among the largest in the entire city, it was supposedly completed in 1896 and demolished already in 1926.

And is this photo of the alleged construction of the _Villa Hügel_ of the german industrialist family Krupp really a new building or rather a renovation project? https://de.wikipedia.org/wiki/Villa_H%C3%BCgel_(Essen)#/media/File:Villa_H%C3%BCgel_Bau.jpg

In any case, it is very likely that all these buildings were already standing and were simply taken by the new power elite. Possibly, then, the term robber barons meant precisely people who had literally stolen their property.

Purpose of the World Exhibitions​If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few.

The misappropriation of majestic old-world building sites by the new post-colonial power elite happened at the same time as other events that all seem to be connected. Thus, from the mid-19th century onwards, not only were World's Fairs held in oversized and far too expensive buildings that were completely inappropriate for them, but at the same time the first psychiatric hospitals ("insane asylums") were being built. Just like the world exhibitions, these psychiatric hospitals were architecturally unsuitable for the defined purpose. Architecture always reflects the consciousness of the builders and is defined by its purpose. However, we would expect industrialists to build simply and economically, to use steel and concrete, and by no means to demolish their buildings immediately, but to try to generate income from land and buildings for as long as possible. But we see just the opposite - the buildings at the World's Fairs are detailed, ornate, aesthetic, and far too large and expensive for their purpose. They represent something completely different from the world we know. They represent ancient Rome, the classical ideals of the beautiful, the true, the good; the pursuit of the divine and perfection.

The World's Fairs connect two completely opposite eras (or cultures) that should have no points of contact at all - the world of the industrial robber barons and an old world that we can no longer remember, but in which the economic principles we know played no great role.

Of course, some of the buildings at the fair grounds were indeed cheaply constructed and temporary in nature. For example, in this photo of the _Lousiana Purchase Expo_, you can clearly see that some of the plaster is peeling off and the interior, consisting of wood, is exposed: https://s3.stolenhistory.net/stolenhistory-net/data/kotk_attachments/23270/1560191255339.jpeg

Another example of a temporary structure is the _Porte Monumentale_ at the World's Fair in Paris. File:Grand entrance, Exposition Universal, 1900, Paris, France.jpg - Wikipedia

This monumental gate has been called "tasteless" and considered by some critics to be the ugliest of all the Paris exhibits.

Years after the St. Louis Expo, one of the architects, Louis Sullivan, wrote in _"The Autobiography of an Idea."_



> Meanwhile the virus of the World's Fair, after a period of incubation in the architectural profession and in the population at large, especially the influential, began to show unmistakable signs of the nature of the contagion. There came a violent outbreak of the Classic and the Renaissance in the American East, which slowly spread westward, contaminating all that it touched, both at its source and outward. The selling campaign of the bogus antique was remarkably well managed through skillful publicity and propaganda, by those who were first to see its commercial possibilities. The market was ripe, made so through the hebetude of the populace, big business men, and eminent educators alike. By the time the market had been saturated, all sense of reality was gone. In its place had come deep- seated illusions, hallucinations: The blanketing of the brain. Thus Architecture died in the land of the free and the home of the brave. https://archive.org/stream/autobio00sull/autobio00sull_djvu.txt


Sullivan aptly describes here the poisoned rebirth of pseudo-classicism in the 20th century - the attempt to imitate the old structures without having understood the architectural principles. We always see two fundamentally different types of architecture in the photos of the expos - on the one hand, the massive, classicist buildings, with uniform and harmonious proportions of the golden ratio. They do not differ in the slightest from the real European renaissance buildings, because in fact they come from the same era. On the other hand, we also see cheap-looking, actually temporary buildings made of plaster and other cheap materials, which do not originate from any known historical epoch and which were obviously built with the intention of tearing them down again as quickly as possible.

The following photo shows very well how little time there was to renovate the areas back then: https://imgur.com/a/60gXoeb  The buildings in the background have been renovated and repainted, while the two small houses in the foreground are still very yellowed and show their true age.

Many temporary structures were erected around the old buildings for the Expos - e.g. cheap pavilions, walls made of plaster and imitations of famous buildings, but after the Expos not only the temporary but also the old buildings were demolished.

Did the World's Fairs perhaps serve, among other things, as an instrument to give people a national identity after the unified culture had collapsed? The separation into nations seems artificial - the Slavs, for example, seem just like the Germans of Nordic origin and thus part of the same people. The term "Slav" originated from the pejorative term "sclavi", was put into the world by the Vatican and stood for the "pagan" tribes of Europe who did not want to submit to the monotheistic power apparatuses. After the successful infiltration of the German cultural area, only the pagan Eastern Europeans were referred to as "Slavs". In fact, most of the nations we know today were not founded until after 1850 - modern Egypt, for example, only in 1953, after the British conquest. Illyria, the homeland of the Illyrians, became the Balkans after annexation by France. Free Tartary became Uzbekistan, Persia became Iran in 1935, the Ottoman Empire became Turkey in 1923, and so on. The old words have a meaning - our whole past resonates in them. When these words are spoken, that alone establishes a real connection with the past. By losing these words, we also lose that connection, and with it, the connection to our ancestors. Meanwhile, our world is divided into various soulless administrative units, controlled by a small secret elite.

It was at the Expos that people first came into contact with the "new technologies" - telephones, railways, electric light (i.e. the light bulb), wireless communication, incubators, cars, photography, films. In addition, the supposed realities of life in the colonies were also frequently depicted (Africa, South America, etc.). The creation of the patent system played an important role in building the monopolies - because only with patents it was possible to own knowledge and thus technologies, and thus control people.

The foundation of the world we live in today was laid then during the time of the world expositions. The technological knowledge of the old world was selected: One part of the knowledge was kept secret, the other part was presented to the public. One of the most important criteria in this decision-making process was whether a technology could be controlled by a central authority. Any form of free energy must have been very dangerous to the forces that controlled the robber barons of the industrial age from the shadows. It is important to understand that these industrialists had not earned their wealth themselves - they were born into elite families and chosen to play a predetermined role.

Hierarchy and power​Only since the dawn of the 20th century has the attitude prevailed that one must take something from others in order to be able to have something oneself. Competition took the place of cooperation. These two opposing world views - cooperation and competition - can be visualized as follows: With a circle and a pyramid.

The competition system is pyramidally organized. It involves an authoritarian chain of command that requires absolute obedience. At the level of the intelligence services, this system is represented by the "need-to-know" principle. Competitive thinking can only arise in a hierarchically organized society. In this society, energy flows from the masses at the base upward to the top of the pyramid, where it may even be absorbed or consumed by non-earthly entities. At the top seems to be what is named in mythological, religious and esoteric lore as Satan, Antichrist, Evil, or the Demiurge. At the base of the pyramid are people who feel powerless, basically slaves. Success in this system is defined by making it "_to the top_". This always implies that on the way up you oppress other people - take something away from them. The further up you go, the more powerful you feel. Energy is represented or symbolized by money in this system. The money system was built in such a way that, in the sense of the pyramidal system, it gradually directs people's life energy to the top of the pyramid. We can assume that this is also where the true reason for the existence of the fiat money system is hidden: to rob people of their life energy.

We already encounter the connection between parasitic, paranormal beings, the monetary system and the oppression of humanity in the work "_Momo_" by the author Michael Ende: men in grey, called time thieves, steal people's time. These interdimensional parasites convince the adults that they can save time by depositing it in a time savings bank. The adults believe the promises of the men in gray. In reality, the more they save, the less time they have - the time they save is lost to them. Life gradually becomes sterile and bleak. Buildings become standardized and all look the same, just like clothes. No one lives in the present anymore, no one has time for each other and life becomes hectic. Only the children recognize the cold, vicious nature of the gray men, as they are still in touch with their own aliveness. The adults fall prey to the idea of having to save time and so their lives become increasingly bleak and grey. But the Gray Men are gradually able to cast their spell over the children as well. Only Momo can resist the cold, psychopathic power of the Grey Men. Outside of space and time, she defeats the Men in Grey, frees the stolen time, and gives people back their vitality and the love in their hearts.

It's amazing, by the way, that in the novel Momo lives in an old, decaying Roman amphitheater surrounded by dreary, modern new buildings. Momo represents the connection to the old world. She represents life. When Momo defeats the men in gray, the last one says with relief, "_Finally it's over_!" Michael Ende realized that evil has no existence of its own. It is only a shadow, a black hole, the absence of something. Evil can only exist as long as there are people running away from themselves and their own aliveness. The parasites are our own creation. The destruction of the parasites is the triumph of man over his own contradictory nature and his dark side.

Power and powerlessness are in truth only two sides of the same coin, and also in karmic terms everything has its price. Every experience of power is always based on a corresponding experience of powerlessness, even if these experiences are separated on a temporal level. A good metaphor for the pyramidal system is a black hole that absorbs all light, consumes everything and releases nothing - it is a one-way street. That's why secret societies exist in the first place - in a pyramidal system, the relevant decisions have to be made in the shadows and no one is allowed to know the people making the decisions. The system is like a hydra, and we can only see some of their heads. Evil is always absorbing, consuming, calculating, inward looking. It closes itself to life, to exchange and to truth.

Possibly in the old world, on the other hand, people were integrated into a cycle. Everything was cyclical and in balance. People knew that they had nothing to lose by giving to others. In these communities, people lived for each other - on an energetic level, energy flowed freely between them without flowing outward. In these small, healthy communities there were no authoritarian hierarchies, no chains of command, no parasitic forces. Authorities evolved naturally, and people with natural authority were keen not to abuse their power, as this would have resulted in expulsion from the communities. The system, built on cooperation, includes multiple rings running concentrically outward. In the center is the "heart" - the wisest, most intelligent, most capable people in the community. Unlike the pyramidal system, these people do not hide, for they need not fear transparency. Even architecture reflected this concentric system. For example, in the round city of Baghdad, or Atlantis, which was supposedly built in rings. From the center or heart of the city, life moves outward in rings. The city wall separates the city from the outside world, creating a self-contained, living system. Goodness is outwardly radiant, giving, without ulterior motive and without expecting anything in return. It is its own cause, its own source, and has enormous radiance.

The Hero's Journey​


> With the First World War, the Russian Revolution and the Second World War, it can finally be said that the decisive events are rushing towards the end times.
> 
> In 1914, the imperial courts still represented a remnant of feudal and aristocratic Europe in the Western world. (...)
> 
> The world war of 1914-1918, like few other wars in history, shows all the signs of a clash not between states and nations but between ideologies of different castes. This resulted directly and intentionally in the destruction of Imperial Germany and Catholic Austria, and indirectly in the collapse of the Tsarist Empire and the Communist Revolution. Furthermore, this resulted in such a chaotic and contradictory political-economic situation in Europe that all the preconditions for a new world conflict were in place. (...) - Julius Evola - Revolt against the modern world



In his 1922 poem "_The Waste Land_", the poet T.S. Eliot describes the atmosphere of Western society after World War 1.

He writes about a collective loss of meaning in human existence. The 1st World War and what is sold to us as the "Spanish Flu" catapulted Europe into godless modernity, completing the development that had been initiated earlier with the World's Fairs and the Industrial Revolution. Man, cut off from his roots, became a cog in a great wheel. Life was replaced with mere functioning. There isn't a more hopeless poem than Elliot's. Elliot processed the fate of a lost generation, of people who were only running away from themselves. Civilization was riddled with materialism, hedonism and atheism. Behind this, for him, was the godlessness of modernity, the nihilism that opened up like a yawning abyss in front of humanity. This modern nihilism and materialism shows itself ideologically above all in the theory of evolution and heliocentrism. Traditional man lived in a world that represented just the opposite: instead of a slow evolution from animal to human, with no higher meaning in a cold and hostile universe, we were placed by a Creator in a perfect world where we are the center of reality and where everything we experience and do has deep meaning. Turning away from this view rooted in tradition and dissolving the old order is the most important goal of the occult secret societies.



> "According to the traditional view, the material world contains only effects; nothing takes place in this world that did not first originate in a world invisible to us. (...) The ancient world elevated man to God, endeavored to free him from the material passions, to transcend him, with free elevation in thought as well as in action; (...) The Semitic world not only deprived the human "creature" of the divine, but finally reduced God to a human form. - Julius Evola, Revolt Against the Modern World



The 1925 novel "_The Great Gatsby_" by F. Scott Fitzgerald is another example of postwar literature that reflects this loss of meaning. Post-war society in _"The Great Gatsby" _is characterized by materialism, consumerism and competitiveness. Behind this is a sense of isolation - people had been cut off from their natural communities by the upheavals of modernity, and without these communities they lost not only their connection to their past, but also to their fellow human beings. When a human being lives only for himself, life is only worth something if you have more than others. In contrast to this destructive processing of what had happened was J.R.R. Tolkien, who was also active at the time of the First World War. He grasped the complete dimension of the problem. He could only process this in myths and pictures, because it is not consciously accessible to us. While Eliot and Fitzgerald are now known only to a small academic elite, Tolkien created a resonance among the masses that still seems unbroken. Unlike Eliot, he grasped the big picture and also recognized that good triumphs in the end. Unlike the alienated academics of the 20th century, he restored hope and brought back meaning to humanity.

Mythologist and author Joseph Campbell describes in his epic work "_The Hero with a Thousand Faces_" that there is the same basic structure in the most famous stories and myths of mankind: The universal hero's journey. In the Jungian sense, it is one of the most important archetypes. It is the mono-myth, the essence of all myths and stories.



> "You enter the forest
> in the darkest place
> where there is no path
> Where there is a way or path,
> ...





> "The Hero's Journey is about the courage to seek the deep; the image of creative rebirth; the eternal cycle of change within us; the uncanny discovery that the seeker is himself the mystery he seeks to know. The hero's journey is a symbol that, in the original sense of the word, connects two ideas far apart, the spiritual quest of the elders with the modern search for identity, which is always the same one, shape-shifting yet wonderfully constant story."


Who's the hero? You and me. Anyone who sets out on the quest. The hero's journey essentially consists of three sections: separation, initiation, and return. This myth is encoded, for example, in the biblical story of the prodigal son. The son leaves his father (separation), experiences initiation (he seeks happiness in the material, external world, squanders money and becomes impoverished; then he repents of his sins and finds God), and return (reunion with family). The hero's journey is a journey out of a morally corrupt, stuck life into one's own darkness, a confrontation with one's own shadows. This confrontation leads to an initiation and eventual integration of what has been experienced. In this way the hero brings a piece of divinity and vitality into the material, in the biblical sense satanic, world.



> For we wrestle not against flesh and blood, but against powers, against principalities, against the rulers of the darkness of this world, against spiritual wickedness in high places. - Ephesians 6:1



These dark rulers work directly through people, as Bob Dylan has made unmistakably clear. Those who have power, fame and influence in this world in these times pay a high price. A price that goes beyond this world. In the beginning, there is always a decision.



> Bradley: Why do you still do it? Why are you still out here?
> Dylan: Well, it goes back to that destiny thing. You know, I made a bargain with it, you know, long time ago. I’m holding up my end.
> Bradley: What was your bargain?
> Dylan: Get where I am now.
> ...



In terms of our history, humanity is going through the hero's journey - we are collectively in the second part, the initiation process, the point where "_the night is darkest_" - the dark night of the soul. The point where we are confronted with darkness, with evil. At the end of this process there is a renewal, a reconnection with one's own history, destiny and being, and ultimately with God.

According to Zoroastrianism, the purpose of our existence on earth is to enable the dark part of human nature to live out its darkness. This enables humanity to overcome its own darkness. In this way, entering the karmic cycles of the earth can be understood as the conscious decision to break away from evil. In Zoroastrianism, the world was created only to finally eradicate evil (_Ahriman, comparable to Satan in the Bible) _- according to this, God set a trap for his adversary by creating the earth. Evil is now trapped in earthly existence and inevitably exposed to the process of becoming conscious - and is thereby finally destroyed at the end of the earthly ages. In order to support this process it is necessary that enough of us make a conscious decision for truth and against the lies of this world.

Outro​


> “For every shadow, no matter how deep, is threatened by morning light.”
> - The Queen in the movie The Fountain


​Dedicated​To the community of stolenhistory.net

Special thanks to


freygeist
timeshifter
novusod
KorbenDallas
CyborgNinja

Images​Download from s3.stolenhistory.net: https://s3.stolenhistory.net/downloads/videofiles/Images SH3.zip
Download from Google Drive: https://drive.google.com/file/d/1_hsl2nYGpVJkXxUn5lUVNFWJFrJ4vtpL/view?usp=sharing

Quotes​
          ​
Videos​



)
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## Gabriel (Dec 4, 2021)

By far, this was my favorite.


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## JustWow (Dec 4, 2021)

I woke up early (4:00 a.m.) for some reason?  Trying to be quiet until the rest of the house wakes up, I grabbed some coffee and my laptop.  I was so excited to see this had been published!!! I have watched about a third... very good job!  Thanks for your hard work.


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## Will Scarlet (Dec 4, 2021)

dreamtime said:


> To bring visitors to the London exhibition site, two stations were newly built, both confusingly called "Crystal Palace" and differing only in their underground and overground locations respectively. The fire that destroyed the Crystal Palace in 1936 made the "High Level Station" virtually redundant, which is why it was eventually demolished. The beautifully tiled subway, supposedly built by Italian masons and stonemasons, however, survived.



Presumably this refers to the Hyde Park "London exhibition site" rather than the Sydenham Hill "museum." However, there were no railway stations built in Hyde Park "to bring visitors to the London exhibition." It being central London, there were plenty of railway stations already in place. There were new ones built at the Sydenham Hill site, where the area is now known as Crystal Palace and one of the stations is still in use today. The Sydenham Hill (not Hyde Park) subway survived the fire because it was below ground as did the entire basement level of the Palace with its high tech smokeless furnaces that were fed directly by rail. It wasn't a "museum" either.



dreamtime said:


> The British press considered the destruction of the Crystal Palace a serious blow to the political power of England



By 1936 the Palace had had its day and was struggling to survive, so it had no political significance whatsoever. The two massive water towers that also survived the fire were destroyed a few years later due them being considered a useful guide for German bombers when attacking London. Winston Churchill called the fire, the 'end of an era' or some such twaddle.

The Hyde Park Exhibition apparently made a huge profit. Enough to created Albertopolis, but that 6 million visitors figure should sound warning bells.

I have evidence to show that the construction, deconstruction, transportation and reconstruction of both Palaces was genuine, which I did offer you some time ago. It was at the same time I pointed out your muddling of the images of the two Crystal Palaces in the last video, but I see you have done exactly the same again in this one, sorry, I mean your anonymous 'video producer' has done exactly the same again.


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## dreamtime (Dec 4, 2021)

Will Scarlet said:


> I mean your anonymous 'video producer'



He's not anonymous. He's listed in the intro.

I had forwarded your information to him, I wasn't aware that we still mixed some things up.

There are enough discrepancies in the official narrative, so I decided to focus on questioning the narrative in this documentary.

The entire topic is so complex and full of holes that in my view there's just no easy way to say that the construction of the Palace was genuine. Remember this video tries to make the case against the official narrative, and we do stress many times that things aren't as black and white and that there are many open questions.


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## MgvdT (Dec 4, 2021)

I love these 'cities'! Absolutely amazing and inspiring. No wonder all the youth is depressed nowadays with their lack of future sight and improvements. The main question for me isn't if we build it, but why we stopped building like this. And in my opinion, whatever you believe, the idea that we don't build like this anymore but instead place the temporarily, rash buildings we have now should be a major warning flag.

Great post with a lot of information in it, good job team!


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## Akanah (Dec 4, 2021)

Good new Informations in this video about the buildings. But I think the hint to technology kept hidden by dark elite need not have been in the video. Regarding the video in general, it occurred to me that these buildings from the World's Fairs might not have been for ornament/exhibition, but might have had a useful function for a short time before somehow self-destructing like a phoenix by fire. Perhaps they had such a function as the construction of a spiritual world-spanning energy network for the earth. Also, I think that these buildings could have been built by Freemasons and they might not have been normal people.


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## suspicious (Dec 4, 2021)

Great job! Any plans for a Part 4 ?


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## Will Scarlet (Dec 4, 2021)

dreamtime said:


> He's not anonymous. He's listed in the intro.



Apologies, my mistake, what I really meant was anonymous as far as this forum is concerned.



dreamtime said:


> in my view there's just no easy way to say that the construction of the Palace was genuine.



And yet I had explained to you in some detail how Felix and I had spent years trying to prove that the original Hyde Park Crystal Palace was a pre-existing ancient structure and how we failed miserably and ended up proving it was genuine.



dreamtime said:


> Add to this the fact that simple automation processes for the mass production of glass did not develop until 30 years later. So everything had to be produced by hand, and the distance from the glassworks in Smethwick to Hyde Park, where the Crystal Palace was originally built, was around 209 km. And as if all this wasn't fantastic enough, the glass palace was completely dismantled after the exhibition, and then re-built in a larger form in Sydenham Hill and used as a museum there.



(209 kms by train is no big deal.)

So then if you personally consider that the both of the Crystal Palace constructions were not only impossible, but also not real, where was the Great Exhibition of 1851 actually held? Were all the public records falsified along with the parliamentary records, legal proceedings, newspapers, guide books, photographs, etc., including those from all of the other countries that took part? What was it that burnt down in 1936?

I tell you what, forget the issues above. As your sole purpose is to try "to make the case against the official narrative," disregarding anything too complex, then well done, excellent job.


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## dreamtime (Dec 4, 2021)

Will Scarlet said:


> So then if you personally consider that the both of the Crystal Palace constructions were not only impossible, but also not real, where was the Great Exhibition of 1851 actually held? Were all the public records falsified along with the parliamentary records, legal proceedings, newspapers, guide books, photographs, etc., including those from all of the other countries that took part? What was it that burnt down in 1936?



I don't personally believe anything here. There are a couple aspects where I see pretty strong evidence for history forgery, and in the case of London I don't have enough detailed knowledge to position myself. I did not spend a lot of time on the parts about London, this was actually researched and written by @Mosaic. If you have any question about any other fair mentioned in the docu, I can give you more information, as I have researched and written that myself.

For example, now that I reflect back on it, I can actually see pretty clearly that the San Diego Fair was indeed constructed anew. So if I would do the docu now, I would rewrite the part about San Diego and explain why in this case they actually build it anew, mostly because the architectural style is so different compared to the greco-roman classical style. And then it makes more sense that they actually promised to keep the buildings beforehand.

As I said, were were collecting hints and pieces to question the official story. We also want to summarize the research done by the alternative history community, so we build opon what others have discovered, like Michelle Gibson. We can't do more, everything else has to be done by people who go into the archives and study these things for years.

What you expect is some kind of fundamental research, but for that you need actual trained historians.

If you have done this, please publish your work, otherwise I can't really say anything about it.

But whatever happened in London does not matter in the bigger context, at least to me. I think we have provided enough evidence to clearly see that _something_ isn't right with what's presented to us here.


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## Collapseinrealtime (Dec 4, 2021)

Stellar presentation, best yet of the series! Thank you for all the work, research, time, and preparation that went into this. It is perfectly crafted for the awakening researcher who is beginning to seriously question official narratives. This will go a long way to waking people up up who have never previously contemplated their self-imposed mind prisons. So much evidence hiding in plain view!


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## alltheleaves (Dec 5, 2021)

MgvdT said:


> we don't build like this anymore but instead place the temporarily, rash buildings we have now should be a major warning flag.


50 year lifespan for a major world capitol's new landmark tallest building, according to an engineer I spoke with.

If not because of an impending reset it's because of short sightedness. 

Agree both are red flags.


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## Will Scarlet (Dec 5, 2021)

dreamtime said:


> We also want to summarize the research done by the alternative history community, so we build opon what others have discovered, like Michelle Gibson.



Michelle Gibson is OK to rely upon and quote from, but not a member of your own forum who offered their research well in advance of publication. You didn't put me in touch with Mosaic, but merely passed a couple of non image or video related questions from the video editor about a tree and fountains.

I'll try not to take any of that personally. I would recommend that you disclose your agenda for future 'docus' with the forum before asking for collaborative research rather than keeping it a secret between you, Mosaic and Van Der Zwaan, that would save members a lot of wasted time.


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## dreamtime (Dec 5, 2021)

Will Scarlet said:


> I would recommend that you disclose your agenda for future 'docus' with the forum before asking for collaborative research rather than keeping it a secret between you, Mosaic and Van Der Zwaan, that would save members a lot of wasted time.



I never asked for collaborative research on the world fair topic. The text was already mostly finished when we discussed it. The thread about collaboration is about the reset topic, which is yet to be written. Also no idea why you put 'docus' in quotes, is that your way of saying, this is under your standard of what a docu should look like? Why don't you just ignore it then?

I also think you got something wrong here. If you or anyone else shares something in that thread, there is no obligation for me to include it. I may use it as an inspiration. I don't owe you anything.

If you think sharing your perspectives in this forum is a waste of time if they do not get included in our video project, there is something wrong with your motivation to contribute here.

As they say, many cooks spoil the broth. The collaboration thread is an invitation for our members to share their knowledge and ideas, not a promise for everyone to decide what gets included.


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## Will Scarlet (Dec 5, 2021)

So, not a Community at all then.



dreamtime said:


> Also no idea why you put 'docus' in quotes, is that your way of saying, this is under your standard of what a docu should look like? Why don't you just ignore it then?



Yes, Sir. Ignored - all of it.


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## Akanah (Dec 5, 2021)

Will Scarlet said:


> So, not a Community at all then.
> 
> 
> 
> Yes, Sir. Ignored - all of it.


I am not even able to check all the details that occurred in the video. Therefore I cannot criticize much. I just find that the documentary of Stolenhistory stands out strongly from most alternative documentaries on youtube that only string together many images meaninglessly and uncharitably and get on your nerves with penetrating music. I find the documentary of Stolenhistory nice and calm and mostly factual told. This documentary does not scare newcomers, so that they do not want to deal with these topics.


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## Jd755 (Dec 5, 2021)

Akanah said:


> mostly factual


As I don't watch these videos, not into being programmed by video imagery and music when it comes to stolen history explorations, I read through the transcript and it is indeed a script from the minds of a pair of scriptwriters who take the research and publication efforts of many people and sift through them to arrive at a literal script that fits their beliefs
Most of the facts as in documents and photographs of documents and photographs of the actual fairs and the discussion of said fairs on SH version 1 have been left out of this script.
Now that might well be for brevity, though the video is longer than a lot of box office movies, it might be accidental, it might be deliberate as it doesn't fit the script writers story but its all still here and accessible, thanks to a few SH version 1 members, so please please do the decent thing and spend a while in the archives on here to get a clearer picture of what these worlds fairs were likely about. Who knows it might trigger a train of thought within you which leads you to shine a brighter light on them and you can share it with those of us on here who do not subscribe to the scriptwriters direction of travel.


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## Akanah (Dec 5, 2021)

kd-755 said:


> As I don't watch these videos, not into being programmed by video imagery and music when it comes to stolen history explorations, I read through the transcript and it is indeed a script from the minds of a pair of scriptwriters who take the research and publication efforts of many people and sift through them to arrive at a literal script that fits their beliefs
> Most of the facts as in documents and photographs of documents and photographs of the actual fairs and the discussion of said fairs on SH version 1 have been left out of this script.
> Now that might well be for brevity, though the video is longer than a lot of box office movies, it might be accidental, it might be deliberate as it doesn't fit the script writers story but its all still here and accessible, thanks to a few SH version 1 members, so please please do the decent thing and spend a while in the archives on here to get a clearer picture of what these worlds fairs were likely about. Who knows it might trigger a train of thought within you which leads you to shine a brighter light on them and you can share it with those of us on here who do not subscribe to the scriptwriters direction of travel.


I have brought enough time in the archives, because I am a good reader. 
I think that in a 2-hour video you can not bring all the facts. I see these videos more as an introduction for newcomers.


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## Jd755 (Dec 5, 2021)

Apologies. I was not sending you specifically into the archive on here but any reader who lands here. 
The videos are not factual. They are speculations/explorations put together by two minds working together based in the available evidence they read through. listen to or watch.


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## Akanah (Dec 5, 2021)

kd-755 said:


> Apologies. I was not sending you specifically into the archive on here but any reader who lands here.
> The videos are not factual. They are speculations/explorations put together by two minds working together based in the available evidence they read through. listen to or watch.


One could find a compromise for the future. For the next video you could open a thread where the topics are presented that should appear in the video and then it is discussed in the forum what should come in and what not. At least I would find that good.


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## Jd755 (Dec 5, 2021)

Akanah said:


> One could find a compromise for the future. For the next video you could open a thread where the topics are presented that should appear in the video and then it is discussed in the forum what should come in and what not. At least I would find that good.


I should make it crystal I have nothing to do with the video production team nor do I see where the gain is in producing them simply because during my time on the three versions of SH the only thing that has become more likely to be true rather than false is most historical characters are just that characters ergo not once living people. Every other subject is as grey as ever it was.
What you suggest is a level of collaboration and dare I say interest that my experience of SH forums shows is simply not there.

Dreamtime and Mosaic could have opened the floor from the get go, maybe they did and I missed it, if so apologies but perhaps it was recognised there is no consensus here so decided to go ahead without it. My only concern is to make it clear in this thread, because it isn't mentioned in the transcripts, that the videos do not present a consensus view of the SH membership past and present.


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## Akanah (Dec 5, 2021)

kd-755 said:


> I should make it crystal I have nothing to do with the video production team nor do I see where the gain is in producing them simply because during my time on the three versions of SH the only thing that has become more likely to be true rather *than false is most historical characters are just that characters ergo not once living people*. Every other subject is as grey as ever it was.
> What you suggest is a level of collaboration and dare I say interest that my experience of SH forums shows is simply not there.
> 
> Dreamtime and Mosaic could have opened the floor from the get go, maybe they did and I missed it, if so apologies but perhaps it was recognised there is no consensus here so decided to go ahead without it. My only concern is to make it clear in this thread, because it isn't mentioned in the transcripts, that the videos do not present a consensus view of the SH membership past and present.


The bold print is true, but that's not what the videos are about. 
Up to now, the videos have mainly been about the building structures and the mud flood.
The Thunderboltsproject also makes videos from time to time for better visualization of difficult topics. Some people don't have the nerve to read everything and they like visual presentations better or they are more appealing. I have trained in the graphic arts myself and know that videos on specific topics just sell better. 

I would like to ask how long such a video production takes.


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## Jd755 (Dec 5, 2021)

Well there is a thread made by dreamtime for precisely the information you requested to be posted. As you can see from the responses it has not proven popular especially when the current size of the membership is taken into account.

Collaborative Research on Mud Flood and Reset for Documentary Series


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## dreamtime (Dec 5, 2021)

Akanah said:


> I would like to ask how long such a video production takes.



Our video guys says if this was a regular job, I would have to pay him around $15,000 per video. On part 2 he worked around 150 hours.


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## luddite (Dec 6, 2021)

kd-755 said:


> My only concern is to make it clear in this thread, because it isn't mentioned in the transcripts, that the videos do not present a consensus view of the SH membership past and present


So what should happen? Should all the videos be deleted because consensus wasn't reached? 

The only option I see here from your and @Will Scarlet perspective is that you can make videos also. It's surprisingly hard to do. I trust you will open it up for collaboration with a thousand members or so. Go for it guys!


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## Jd755 (Dec 6, 2021)

You write like there is a tag team in operation. The only similarity is we step out of line in terms of praising this video series but we do so for very different reasons.  

A simple still inserted into each video that makes it crystal the views of the scriptwriters do not represent the views of the entire stolen history community would do.


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## luddite (Dec 6, 2021)

kd-755 said:


> You write like there is a tag team in operation


Nope, I was just trying to kick-start a community collaboration.


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## dreamtime (Dec 6, 2021)

kd-755 said:


> Dreamtime and Mosaic could have opened the floor from the get go, maybe they did and I missed it, if so apologies but perhaps it was recognised there is no consensus here so decided to go ahead without it. My only concern is to make it clear in this thread, because it isn't mentioned in the transcripts, that the videos do not present a consensus view of the SH membership past and present.



I have never come across anyone expecting the docus to represent everyone in the forum. Who would think like that? The forum isn't a hive-mind.

Anyone who has worked with texts as a writer and author knows that it's impossible to have more than one main author.

We tried to include more people (freygeist contributed to part 3) but it turned out, it's basically impossible. His contributions were valuable, but in the end I had to rewrite almost every single sentence, so that the text stays coherent. Mosaic contributes ideas, reflects on my writings, and optimizes the text.

The only thing that would still help is if we got support from actual researchers who simply look up facts. Something like "Please list everything you can find about the little ice age" and then 2 weeks later I get a 30-page document with all available facts extracted from papers, books and articles. I think it's very unlikely we find someone for that, though.


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## Jd755 (Dec 6, 2021)

Well the collaboration you seek simply doesn't exist. There were a fair few attempts on SH v1 where collaboration was put forwards and they all came to nothing as your request on here has. What you are doing is building a script from the work of the many good researchers who provided content and links to sources on SH v1 and to a much lesser degree the researchers on here. and failing to say the conclusions you come to are not shared by everyone.
There are a couple of thousand members on here some of whom were also v1 people 300 of whom contribute according to a post you put out a few weeks ago, and all you have in terms of collaboration is you and mosaic and through your contacts have access to an off forum videographer who appears to have total editorial control over imagery used and a pair of stalwart narrators and a couple of back ground people as you link to them in the video so around a dozen out of a couple of thousand.
This would suggest most are not interested in doing anything to help provide content or produce said video series.

If the insertion of a still is not the way ahead  for the video team then so be it.


luddite said:


> Nope, I was just trying to kick-start a community collaboration.


Sorry flew right over my head. Be fair I did put the link in back up the page, to dreamtimes collaboration request thread!


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## luddite (Dec 6, 2021)

kd-755 said:


> Sorry flew right over my head. Be fair I did put the link in back up the page, to dreamtimes collaboration request thread


No worries. 

We tried making a wiki to help people collaborate when sh1 died. That was a complete failure.


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## Will Scarlet (Dec 6, 2021)

luddite said:


> you can make videos also.



So, you think that left alone to cherry-pick from the collaboration of a thousand members and given our particular individual biases, we would produce a documentary series that claims to present...



dreamtime said:


> beginner-friendly topics that offer a good introduction



...without influencing those 'beginners' with our biases in any way?

That's your solution is it? Would we get funded by Patreons?

Should we decide to collaborate on a video (which is highly unlikely) it would be made clear from the beginning that it was not a representation of the forum's consensus views on the topics discussed and we wouldn't claim it to have been co-written with stolenhistory.net, actually we probably wouldn't mention stolenhistory.net at all unless acknowledging other members contributions.

In fact, it would be just like a forum post, except one presented by two members.

There are techniques for presenting information without stating it as 'fact' or preaching. There's suggestion and possibility followed by the hanging question, thus placing the final decision with the audience. But what do I know.


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## Akanah (Dec 6, 2021)

kd-755 said:


> Well there is a thread made by dreamtime for precisely the information you requested to be posted. As you can see from the responses it has not proven popular especially when the current size of the membership is taken into account.
> 
> Collaborative Research on Mud Flood and Reset for Documentary Series


Thanks, ah this thread. Although we seem to have thousands of members on this forum, I get the impression that only about a dozen of you are actively posting on the forum. At least I only ever read from the same forum users.
We may have a lot of deadbeats. Of course, most people have no interest in working on the video if it's not their topic. I would probably also want to get involved in a video where it is about different theories about the shape of the earth. I also never assumed that the videos would reflect a unified opinion of the forum users.


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## dreamtime (Dec 6, 2021)

Akanah said:


> Although we seem to have thousands of members on this forum, I get the impression that only about a dozen of you are actively posting on the forum. At least I only ever read from the same forum users.



We have more than 2000 members, but only 859 members with at least one post, and only 327 members with more than 5 posts.


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## David Glenney (Dec 6, 2021)

dreamtime said:


> Our video guys says if this was a regular job, I would have to pay him around $15,000 per video. On part 2 he worked around 150 hours.


Wow.  Is he hiring by any chance?  I would be thrilled to make half that at a regular job.  

Anyway, recently heard about, probably in a Stefan Lanka or Tom Cowan video on odysee, an idea that a scientific paper or study should include opposing (or different) interpretations.  Course then it may foster a lively discussion about the exact proportions and level of perceived mockery...  "He put clown music behind my counterpoint!"

But the videos will drive at least one person to the forum, and thence, an opportunity to read the unofficial unofficial narratives.


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## dreamtime (Dec 6, 2021)

David Glenney said:


> Is he hiring by any chance?



He's a self-employed music and video producer. Not easy in covid-times, btw.



David Glenney said:


> that a scientific paper or study should include opposing (or different) interpretations



that's a good point to consider.


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## heretolearn (Dec 6, 2021)

this was really informative thank you for posting/creating. My take away from it all was that, all these expos were perhaps the very first versions of what we see happening in Davos today. Whoever it was that seeded this place after the reset. Arranged to all gather at a pre determined location where pre-reset architecture needed to be destroyed. They met up with all the tech and information they had scavenged from around this world of ours, in a show me yours I'll show you mine kind of arrangement. All meeting up and working out who's fits with who's and so on. Sacrificing the Building or Buildings afterwards along with any evidence of their meet up. We see and hear of what was placed front of house at these events. But it would be amazing to discover the things which were kept from the general public which these purveyors must have shared between themselves and were never shown. Facinating topic Thank you once again.


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## David Glenney (Dec 6, 2021)

dreamtime said:


> He's a self-employed music and video producer. Not easy in covid-times, btw.


My specialty was concert videography, so I know how that went!  The day the music died...


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## alltheleaves (Dec 6, 2021)

luddite said:


> Nope, I was just trying to kick-start a community collaboration.


Individuals staring at screens can communicate and possibly collaborate but it's not a community.


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## dreamtime (Dec 6, 2021)

Just wanted to publicly thank you, @Timeshifter for providing your professional opinion as a photographer, at 50 minutes into the video:


_View: https://youtu.be/ucIMj47hUf4?t=2994_​


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## luddite (Dec 6, 2021)

David Glenney said:


> My specialty was concert videography, so I know how that went!  The day the music died...


Is weird times. Sorry to hear that. It seems only politicians and journalists have increased their roles.


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## Timeshifter (Dec 6, 2021)

dreamtime said:


> Just wanted to publicly thank you, @Timeshifter for providing your professional opinion as a photographer, at 50 minutes into the video:
> 
> 
> _View: https://youtu.be/ucIMj47hUf4?t=2994_​



Good work all round guys, happy to help


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## dreamtime (Dec 7, 2021)

There were two minor errors - the narrator saying "miles" where he should have said "meters" (my fault), and a missing translation of a title from german to english.

We have now uploaded a corrected version to our SH-channel, and it will also be mirrored to Bitchute and Odysee:


_View: https://www.youtube.com/watch?v=TzVeKL-hERA_​

You can download the video in uncompressed HD quality (5 GB) here: https://drive.google.com/file/d/1QqkdVyLewqfxvWyKUvD-py4o3WtR6WfP/view?usp=sharing

Odysee: Stolen History Part 3 - The Mystery of the World's Fairs


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## Bitbybit (Dec 7, 2021)

sorry, but i am not a believe in this. Thousands of old locals in the cities living in the year 1902 (time of san fransisco WF) were still alive just a few decades ago. How come they never spoke or wrote about the lies that was created about their hometown?


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## dreamtime (Dec 7, 2021)

Bitbybit said:


> sorry, but i am not a believe in this. Thousands of old locals in the cities living in the year 1902 (time of san fransisco WF) were still alive just a few decades ago. How come they never spoke or wrote about the lies?



Other viewers have voiced this criticism before as well. It's the most common criticism of the video, you are probably the 20th person or so bringing it up.

And I do not really have an answer to this. I have many times wondered about this myself.

Possible explanations:


Since they build thousands of buildings, and most of them were actually temporary, people may have forgotten that some of those buildings were there already before the construction process started. Two World Wars happened afterwards, people probably had other problems.
Some fotos, like the one of the Chicago Railway Station, implicate the buildings show signs of relocation.
The mystery with the World's Fairs isn't actually that they lied about the construction *timeline*, but that they lied about the construction *methods* - maybe they covered everything up because they actually used "old-world" building methods. This would explain why they were able to build hundreds of massive buildings in often less then 1-2 years, but had difficulties documenting the construction process.
When you look at the evidence we have provided, you will see many discrepancies that stand on it's own even if you don't believe our conclusions - some things simply do not add up, for example the desire to destroy most of the buildings even though they were still perfectly capable ot being used.

We are looking at a world-wide industrial-grade production of perfect  classical buildings by industrialists with no apparent motivation to build like that.

Just look at the Bremen Expo, and how the very architect responsible for the Expo attacked the main building, and afterwards it went up in flames. If this isn't a smoking gun, what is? That building, if still standing, would be the absolute glory of Bremen today. Even if half of the city didn't get destroyed in WW2. I bet he had the task to destroy the building, but he wasn't able to convince the public, so in the end they decided to simply burn it down. I really like the part about Bremen in the docu. The example of the modern steel bridge is also very interesting. The Bremen Newspaper "Weserkurier" itself noted how absurd the contrast is between the modern bridge and the classical buildings - both said to be built at the same time by the same people.

We also received some comments under the german video where people said that their grandparents talked about how the World's Fairs were a cover-up.

Additionally, we received praise by people who should know what they talk about - architects.

Here's a translation of the top comment under our german video:

_Incredible! Am architect and many things were completely unknown to me from the "world exhibitions". It is so monumental what is described here that it makes me queasy when I think of the broad masses of people who have 0 idea. Thank you for the mega work!_​


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## luddite (Dec 7, 2021)

Bitbybit said:


> Thousands of old locals in the cities living in the year 1902 (time of san fransisco WF) were still alive just a few decades ago. How come they never spoke or wrote about the lies?


Were they ever asked?


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## 6079SmithW (Dec 7, 2021)

Watching now. Great job guys, the narrator is epic


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## Fawkes (Dec 8, 2021)

dreamtime said:


> In the previous part, "_The Destruction of the Old World_", we explained how social conditions changed abruptly as a result of a cataclysmic event (be it a natural disaster or a war, or both) loosely between the early 18th and late 19th century - this event is also known as the Reset. The Industrial Revolution was one of the most obvious consequences of this Reset. After the disappearance of the old world, a power vacuum arose that was exploited by a small power elite to disempower the old kingdoms. They divided the world among themselves through imperialism and the establishment of modern nation states.


This is not my original observation, but has anyone else noticed how there were five Bonaparte brothers, and also five Rothschild brothers, contemporary with each other, and living during this cataclysmic time of change? Could they all be interchangeable sons of a branch from that small powerful royal elite family? Notice the lifespans of the family patriarchs, *Mayer Amschel Rothschild* (23 February 1744 – 19 September 1812), and *Carlo Maria Buonaparte* or *Charles-Marie Bonaparte* (27 March 1746[1] – 24 February 1785). Mayer doesn't really come into prominence until after the "decease" of Carlo in 1785. Also, both of their wives, Guttle Schnapper (1753–1849), and  *Maria-Letizia Buonaparte*[a] (née *Ramolino*;Letizia Bonaparte - Wikipedia* 24 August 1750 (or 1749[c]) – 2 February 1836), outlived their husbands by many years. 

It is well known that the Rothschild brothers were associated with banking, of course, but their proven ancestry stops in the year 1577. However, going further back in time, the Bonaparte brothers also had banking ancestry, as one Francesco Buonaparte was an equestrian mercenary at the service of the Genoese Bank of Saint George. It was one of the oldest chartered banks in Europe and of the world.  Unusually for its time, the Bank made use of a number of Jewish agents. In 1490, Francesco Buonaparte went to the island of Corsica, which was controlled by the bank. In 1493, he married the daughter of Guido da Castelletto, representative of the Bank of Saint George in Ajaccio, Corsica. Coincidence?*


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## space966 (Dec 8, 2021)

@dreamtime Does there's in Germany world war 2 veterans?


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## Jd755 (Dec 8, 2021)

Some SH links for anyone interested enough to read through. There are others use the site search function stick on Expositions and you will get all threads on Expositions from SH version 1 archive. Enjoy.

SH Archive - Father Himalaya's Pyrheliophor
SH Archive - 1907: Jamestown Ter-Centennial Exposition
SH Archive - Restoration of Maya ruins at the 1893 Columbian exposition
SH Archive - 1882 Industrial Exposition Building in Milwaukee
SH Archive - Exposition Universelle, Liège 1905
SH Archive - 1904: the destruction of the Louisiana Purchase Exposition in Saint Louis
SH Archive - 1885 Industrial Exposition Building in Minneapolis
SH Archive - 1893: the destruction of the World's Columbian Exposition in Chicago
SH Archive Replies - 1893: the destruction of the World's Columbian Exposition in Chicago
SH Archive - Alaska–Yukon–Pacific Exposition Orphan Raffle?
SH Archive - Steam power at St Louis Exposition 1904
SH Archive - 1915 San Francisco: Panama-Pacific International Exposition
SH Archive Replies - 1936 Texas Centennial Exposition
SH Archive Replies - 1915 San Francisco: Panama-Pacific International Exposition
SH Archive Replies - Tartarian Symbols at the 1893 Chicago World's Fair (Columbian Exposition)
SH Archive - 1901-1902 Charleston West Indian Exposition
SH Archive - USA: 1850-1915 Expositions, Exhibitions, Centennials, Jubilees, etc
SH Archive - 1893 Chicago Ferris Wheel: World's Columbian Exposition
SH Archive - Documentary: 1893 World's Columbian Exposition in Chicago
SH Archive - Exposition Universelle, Paris. Photographer unknown. 1900.
SH Archive - 1898 and 1899:  Trans-Mississippi and Greater America Expositions in Omaha


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## 6079SmithW (Dec 8, 2021)

@luddite tried pm you but it won't let me 

Sorry for the spam post. 

Back to your lives people, get your fourth booster


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## Liberated Collective (Dec 8, 2021)

Well overall, this documentary was incredible as with the rest, but it is imo the best for eye candy and actually seeing what has been purposefully hidden from the masses. It literally had me crying actually, not in a bad way really, but just the sheer power of this mind control matrix the entire world is locked under, and how if we all truly got the science fiction out of the way they give us (space, dinosaur theory, evolution) and all the false math whatnot related to , we could then start to understand what and who has got us here. You are doing amazing work in that, these are the things we all should focus on, and not the science fiction they have us look toward. Thanks a lot for this pt3 documentary.
I dunno why the drama I am seeing though, we are here to awaken the masses not seek fame or fortune. All will be revealed for everyone about everyone/everything, I just don't get it and it's a Lil disheartening.


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## Will Scarlet (Dec 9, 2021)

dreamtime said:


> Additionally, we received praise by people who should know what they talk about - architects.
> 
> Here's a translation of the top comment under our german video:
> 
> _Incredible! Am architect and many things were completely unknown to me from the "world exhibitions". It is so monumental what is described here that it makes me queasy when I think of the broad masses of people who have 0 idea. Thank you for the mega work!_



Imo, this is like asking an Ikea employee to evaluate a Chippendale - that's provided you can convince him you're not talking about a male stripper. Modern architecture and more importantly, its training syllabus, is driven by the Climate Change / Global Warming agenda. Aesthetics, proportion, harmonious geometry, etc,. are all a very poor second to ecology, environment, sustainability, function and energy efficiency. Also, most of the structures you have identified relied as much upon engineering as they did on architecture, if not more.

This same climate agenda is also evident within both engineering and design aspects of the motor industry. 99% of cars look viscous and threatening, as if they want to destroy the world with their carbon emissions. At the top end, even Rolls Royces (I mean the BMW ones) look like shite. Modern Art knows nothing of beauty anymore, just perversion and ugliness.

There are no more *craftsmen*. The loss of engineering and artistic skill has been an even greater crisis than that of endangered animal species. Everything is mass-produced by machines to the lowest possible price and the lowest possible quality.

This isn't because there was a reset when all these skills were forgotten - it has been a deliberate, planned and coordinated manipulation. The Transhuman ethic demands that all previous human skills and achievements must be denigrated and denied. It preaches that such achievements are only possible through the technological and chemical enhancement of human beings. We are to become the AI of the future.

To claim that the techniques used in the construction of the World Fair edifices were 'impossible' is ludicrous, because they were constructed. That we can't do that "even today" does not prove that they weren't constructed or that they were built by a previous civilisation, it merely demonstrates modern ineptitude.

@dreamtime When you called me into this thread here: Collaborative Research on Mud Flood and Reset for Documentary Series asking for information that was not directly related to either the Mudflood or Reset, I did my best to provide it. Please note, that will not be happening again. As you said to me "I don't owe you anything" and when I volunteered information regarding the Great Exhibition hoping to not only prevent the repetition of an error made in Part 2, but also to assist with the research, you simply ignored it because it didn't fit in with your new narrative.

Furthermore, I used quote marks around the word 'docus' in an earlier reply. This was due to the fact that I was repeating the word from you, but I had never used it before and didn't really know what it meant or if it is even a word. However, somehow you managed to interpret those quote marks as a personal attack. I would remind you that, according to you, I am the one who takes things too personally and can't take criticism. You also insinuated that I hold some kind of grudge or sour-grapes over not being included in what have to be the most elaborate and expensive forum posts ever. I can assure you that I have not at any time held any desire whatsoever to be a part of your Mudflood / Reset campaign.


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## Jd755 (Dec 9, 2021)

Will Scarlet said:


> To claim that the techniques used in the construction of the World Fair edifices were 'impossible' is ludicrous, because they were constructed.


As the linked threads I listed show quite clearly. The engineered loss of skills crafts and high quality materials is quite deliberate. I have a friend who owns a building company and he is a skilled bricklayer by trade as he is a time served craftsman and he tells me he is constantly ripping out high quality wood from house remodelling and replacing it with crap as this is what the architects specify. The high quality wood is still available but not in the quantity required and manipulation of the value of the currency has made it unprofitable to plant tree species that take hundreds of years to grow sufficiently to deliver high quality timber in quantity.
The amount of morons who live round here who bin 100+ yr old pine doors and replace them with pressed fibreboard with cardboard infill doors to 'fashionable' is staggering.
Dumbing down in the machine age, which really is the one we are living in, delivers banality but also conformity which is the mindset which permits injections of unknown substances every few months to stay and play in other peoples games.


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## Bitbybit (Dec 9, 2021)

dreamtime said:


> Other viewers have voiced this criticism before as well. It's the most common criticism of the video, you are probably the 20th person or so bringing it up.
> 
> And I do not really have an answer to this. I have many times wondered about this myself.
> 
> ...


Ok, sorry for repeating the question. I wasnt aware of it.
I am sure people could have forgot a lot etc, and yes it could ber very mysterious But if we are able to find the discrepensies and discover the mysteriies with photos today, I think it would be accounts from at least one person that noticed the lies in the printed papers and books . But as far as i know, every single old person, not one have had any objections to the current narrative.

What would you say about the Eiffel tower, it was built in 1889 to the world fair and planned to be dismantled in 1909.


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## Liberated Collective (Dec 9, 2021)

Will Scarlet said:


> Imo, this is like asking an Ikea employee to evaluate a Chippendale - that's provided you can convince him you're not talking about a male stripper. Modern architecture and more importantly, its training syllabus, is driven by the Climate Change / Global Warming agenda. Aesthetics, proportion, harmonious geometry, etc,. are all a very poor second to ecology, environment, sustainability, function and energy efficiency. Also, most of the structures you have identified relied as much upon engineering as they did on architecture, if not more.
> 
> This same climate agenda is also evident within both engineering and design aspects of the motor industry. 99% of cars look viscous and threatening, as if they want to destroy the world with their carbon emissions. At the top end, even Rolls Royces (I mean the BMW ones) look like shite. Modern Art knows nothing of beauty anymore, just perversion and ugliness.
> 
> ...



Imo, yes global warming agenda / pop up / throw away society totally doing its job dumbing down the craftsmanship, bit also quality, Planned obsolescence, but see, imo in order to truly get folks to put so much energy behind these nwo goals, a reset most likely did occur, not only by wars, a great flood, ND moving populations around, into government sanctioned institutions , retraining brains about history, this has been a war against parasites that so far we have been losing....


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## alltheleaves (Dec 10, 2021)

kd-755 said:


> As the linked threads I listed show quite clearly. The engineered loss of skills crafts and high quality materials is quite deliberate. I have a friend who owns a building company and he is a skilled bricklayer by trade as he is a time served craftsman and he tells me he is constantly ripping out high quality wood from house remodelling and replacing it with crap as this is what the architects specify. The high quality wood is still available but not in the quantity required and manipulation of the value of the currency has made it unprofitable to plant tree species that take hundreds of years to grow sufficiently to deliver high quality timber in quantity.
> The amount of morons who live round here who bin 100+ yr old pine doors and replace them with pressed fibreboard with cardboard infill doors to 'fashionable' is staggering.
> Dumbing down in the machine age, which really is the one we are living in, delivers banality but also conformity which is the mindset which permits injections of unknown substances every few months to stay and play in other peoples games.


Hopefully the 100 year old doors survive and get re-used by wiser folks.



Liberated Collective said:


> Imo, yes global warming agenda / pop up / throw away society totally doing its job dumbing down the craftsmanship, bit also quality, Planned obsolescence, but see, imo in order to truly get folks to put so much energy behind these nwo goals, a reset most likely did occur, not only by wars, a great flood, ND moving populations around, into government sanctioned institutions , retraining brains about history, this has been a war against parasites that so far we have been losing....


The "only" way to "win" is not to play the game.


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## Fawkes (Dec 10, 2021)

dreamtime said:


> The official version about the World's Fairs can be summarized as follows: People in the 19th century loved Greco-Roman architecture for reasons unknown, so it was extremely important to the architects who organized the World's Fairs between 1850 and about 1914 to build in a classical style.


Maybe I missed it, but I was looking for a mention of the 1939/40 (beginning of WW2) and 1964/65 (beginning of Vietnam War) New York World's Fairs. New York City became the American "Rome", in the "Empire State" of New York, after the US helped the British Empire out in both WW 1 & 2. The world capital was transferred to New York City after that from London, with the Rockefeller power elite family donating land for the United Nations there.


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## Jd755 (Dec 10, 2021)

alltheleaves said:


> Hopefully the 100 year old doors survive and get re-used by wiser folks.


We are a dying breed it seems. The old doors mostly go off  for processing into chipboard.


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## Liberated Collective (Dec 10, 2021)

alltheleaves said:


> Hopefully the 100 year old doors survive and get re-used by wiser folks.
> 
> 
> The "only" way to "win" is not to play the game.


Right. Which is the "it was over before it started," really. We are trapped by this beast system.smh


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## alltheleaves (Dec 10, 2021)

kd-755 said:


> We are a dying breed it seems. The old doors mostly go off  for processing into chipboard.


That's insane. Save the Doors!✌


Liberated Collective said:


> Right. Which is the "it was over before it started," really. We are trapped by this beast system.smh


At least cut a good deal before re in-carne-ating.

Near Death Experiencer Who Experienced A Demiurge -- Interviewed by Wayne Bush -- Transcript

Here is a bit of age of aquarius hopium. Need it these daze.

_View: https://m.youtube.com/watch?v=fdsCGm4bP3E_


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## trismegistus (Dec 10, 2021)

Fawkes said:


> Maybe I missed it, but I was looking for a mention of the 1939/40 (beginning of WW2) and 1964/65 (beginning of Vietnam War) New York World's Fairs.


My uncle seemed a bit puzzled why out of his entire collection this was the one I wanted, but I know you all will understand my reasoning


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## John Galt (Dec 10, 2021)

Excellent video and excellent production quality. This level of work will convince many and bring God knows how many newcomers.

Thank you to everyone involved, great work.


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## Jd755 (Dec 10, 2021)

It's researchers & posters that are needed to keep this place going not more lurkers.


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## alltheleaves (Dec 10, 2021)

trismegistus said:


> My uncle seemed a bit puzzled why out of his entire collection this was the one I wanted, but I know you all will understand my reasoning
> 
> View attachment 14768


Videophones were on display in 1964 but wide release not until 40+ years later.

https://pbs.twimg.com/media/DiSz4A8WsAAR7pr.jpg


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## Fawkes (Dec 11, 2021)

trismegistus said:


> My uncle seemed a bit puzzled why out of his entire collection this was the one I wanted, but I know you all will understand my reasoning


Of course I understand, during "64-67" was the British Invasion of the US, a "T"avistock "P"rogram to brainwash the teenagers with rock & roll plus drugs. 


kd-755 said:


> It's researchers & posters that are needed to keep this place going not more lurkers.


I am really trying my best to attract attention here, both positive and negative, with my postings.


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## Grumpy Owl (Dec 11, 2021)

dreamtime said:


> When you look at the evidence we have provided, you will see many discrepancies that stand on it's own even if you don't believe our conclusions - some things simply do not add up, for example the desire to destroy most of the buildings even though they were still perfectly capable ot being used.
> 
> We are looking at a world-wide industrial-grade production of perfect classical buildings by industrialists with no apparent motivation to build like that.
> 
> Just look at the Bremen Expo, and how the very architect responsible for the Expo attacked the main building, and afterwards it went up in flames. If this isn't a smoking gun, what is? That building, if still standing, would be the absolute glory of Bremen today. Even if half of the city didn't get destroyed in WW2. I bet he had the task to destroy the building, but he wasn't able to convince the public, so in the end they decided to simply burn it down. I really like the part about Bremen in the docu. The example of the modern steel bridge is also very interesting. The Bremen Newspaper "Weserkurier" itself noted how absurd the contrast is between the modern bridge and the classical buildings - both said to be built at the same time by the same people.



Its an interesting theory that the buildings at these Worlds Fairs already existed as opposed to being freshly built for the occasion. An excuse to destroy and rebuild.

On a side-related note, there are similarities nowadays under the guise of 'major sporting events' such as the football World Cup or the Olympic Games. Cities/countries get selected to be the 'host' of such events, which then triggers off a number of new construction and development projects. New stadium/stadia to be built, as well as 'olympic villages' for the competitors to stay in, see certain areas destroyed and rebuilt afresh, with modern ugly looking buildings, and of course these projects fully comply with the Agenda 21 / 2030 program.


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## alltheleaves (Dec 12, 2021)

Grumpy Owl said:


> Its an interesting theory that the buildings at these Worlds Fairs already existed as opposed to being freshly built for the occasion. An excuse to destroy and rebuild.
> 
> On a side-related note, there are similarities nowadays under the guise of 'major sporting events' such as the football World Cup or the Olympic Games. Cities/countries get selected to be the 'host' of such events, which then triggers off a number of new construction and development projects. New stadium/stadia to be built, as well as 'olympic villages' for the competitors to stay in, see certain areas destroyed and rebuilt afresh, with modern ugly looking buildings, and of course these projects fully comply with the Agenda 21 / 2030 program.


I'm not totally convinced on this one. But it is harder to prove a negative. That something didn't happen.

This 19th century image of san francisco looks undeveloped. Top right of map. Numbers 10. 11. 12. Site of the 1915 exposition.


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## dreamtime (Dec 19, 2021)

Will Scarlet said:


> Furthermore, I used quote marks around the word 'docus' in an earlier reply. This was due to the fact that I was repeating the word from you, but I had never used it before and didn't really know what it meant or if it is even a word. However, somehow you managed to interpret those quote marks as a personal attack.



Sorry, last months have been rough for me.


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## Will Scarlet (Dec 20, 2021)

dreamtime said:


> Sorry, last months have been rough for me.



I understand, it's been a bad time for everyone I guess. Don't worry, it's forgotten.


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## Safranek (Dec 21, 2021)

Here's a little something I just came across by accident that pertains to this topic. It seems to confirm what is claimed in this SH video regarding the buildings' prior existence. Could it be possible that somehow info such as this survived to the present?

Here's a narrated video and a PDF of the allegedly actual newspaper:

On January 6, 1858 . The Raftsman Journal published an intriguing article called Antiquities in America, discussing many of the ruins and structures around this continent that have not been discussed by official history...


_View: https://www.youtube.com/watch?v=8l9QV7fJ8yo_


-------------------------------------------

Source:  Raftsman's journal. [volume] (Clearfield, Pa.) 1854-1948, January 06, 1858, Image 1


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## dreamtime (Dec 21, 2021)

Images and Quotes have just been added to the OP.


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## Math & Physics (Dec 26, 2021)

dreamtime said:


> Images and Quotes have just been added to the OP.


Amazing work, The Crystal Castle footage seems to be edited, avoiding the 'waterfall of flaming glass'.
Yet the comment at the very end does give a compelling "Hold your breath", as the Summer Land fires were TOXIC:
Sumer Land disaster, Facinating Horror
Just found out my Great Grand Mother attended the Chicago World fair, for her Honeymoon.  Think I'll go through the old photos, if they can be located.


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## matematik (Dec 26, 2021)

Bitbybit said:


> sorry, but i am not a believe in this. Thousands of old locals in the cities living in the year 1902 (time of san fransisco WF) were still alive just a few decades ago. How come they never spoke or wrote about the lies that was created about their hometown?



I think most "normies" are quite unobservant and uninterested in their local history frankly. Only a small minority actively take note of the changes in their area and an even smaller minority would ever entertain the notion that the authorities are lying to them.

When areas get redeveloped today, most people can't remember what was there even a few years before, let alone what was there decades ago.


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## Bitbybit (Dec 26, 2021)

matematik said:


> I think most "normies" are quite unobservant and uninterested in their local history frankly. Only a small minority actively take note of the changes in their area and an even smaller minority would ever entertain the notion that the authorities are lying to them.
> 
> When areas get redeveloped today, most people can't remember what was there even a few years before, let alone what was there decades ago.


But it wouldnt be so much about history per se. Imagine growing up in a city area, and then suddenly at adult age hearing that this and that building was something else contradicting 100% to what you know is true. Not a single grandpa or grandma have left any question about this global phenomena.

The eroded buildings inca, baalbek, megalithic walls etc, is of course something else. I believe there is much fake history in those cases. But with the world fairs nah
We constructed the Eiffel tower, the Titanic etc
Imagine living in this booming era with no social media, less political distractions, very little regulations but a lot of opportunities. Then it seems not weird that all you could think of as a visionary creator was building huge mechanical and concrete stuff.


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## Scythian (Dec 27, 2021)

I perceive the World's Fairs as the first psi-op in order to demolish a good part of the buildings of the old world. You need only to organize the Fair in a zone of old buildings designated for demolition then build a few temporary ones of wood and call all the buildings new. You can even do a little white washing to create the illusion of everything just finished. After the Fair it's over you can level everything, no questions asked.    
​


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## NERCE (Jan 23, 2022)

This was a long one, but this is by far some of the best, most comprehensive research and information that I've ever read. The sheer amount of joy I got from reading this is going to last my lifetime. We not have the structures of the past, and we may be plunged in a world of darkness, but through God and the communities we dwell, Good shall vanquish this evil. Thank you so much for writing this.


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## Missj (Feb 18, 2022)

dreamtime said:


> Other viewers have voiced this criticism before as well. It's the most common criticism of the video, you are probably the 20th person or so bringing it up.
> 
> And I do not really have an answer to this. I have many times wondered about this myself.
> 
> ...


People need to understand if anyone questioned the fixed narrative they were put into prisons or mental instructions that is a fact look it up.


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## trismegistus (Feb 18, 2022)

Missj said:


> People need to understand if anyone questioned the fixed narrative they were put into prisons or mental instructions that is a fact look it up.


Actually on stolenhistory, *you* are the one who looks it up and provides evidence here, not the other way around.

Please look over our rules and guidelines for how to approach participating on the site.


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## dreamtime (Feb 18, 2022)

​
*Sydney International Expo 1879 in Australia*

Pictured here: The Garden Palace in Hyde Park.

When one enthusiast penned the hope that the exhibition would 'lead to universal brotherhood, to universal commerce, to better times, and better men, and things' he was going further than most, but few anticipated that the end would be quite as deflating as it was. At dawn on 22 September 1882, the Garden Palace spectacularly burnt down, with reports of blackened iron pieces landing as far away as Rushcutters Bay.​​By this time the building was being used for occasional events and as office space for various government departments. Records, including those of land occupations, the 1881 Census details, and railway surveys, all went up in flames. So too did 300 uninsured canvasses from the Art Society's annual exhibition, the grand organ and the foundation collection of the Technological and Mining Museum (now the Powerhouse Museum).​​No-one was ever charged, although arson was generally suspected. Many mourned the loss of the building, and a fresh outpouring of eulogistic poems appeared in the press, along with a new round of self criticism over the waste of it all. And more than a few people expressed some satisfaction that at least the people of Sydney now had their Botanical Gardens back.​



The Burning of the Garden Palace, seen from the North Shore

By John Clark Hoyte From the collections of the State Library of New South Wales

Garden Palace | The Dictionary of Sydney


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## davtash (Feb 23, 2022)

By far the best in the site. Inspite of the nitpicking. I  will use it in my teaching and have ordered Eliot again. More please on why the Germans got the brunt? And an idle thought; is the reason the so called white colonies are getting it so hard because they are still colonies and ruled by the prison guards? An addition would be the Bradford Exhibition of 1904, Bradford UK. The west riding a hive of totall undestroyed 'Tartaria' everywhere. Check out Piece Hall, Halifax.
Cartwright Memorial Hall and the Great Bradford Exhibition of 1904
The Bradford Exhibition featured people exhibits too. Elsewhere?
I have a  thread on here re Bradford but not many Bradford people are interested. When I asked about the exhibition and my few a few years ago at the museum, I was met by maybe apathy for the want of a better word.


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## EJDoyle (Mar 1, 2022)

FANTASTIC job folks. While I'm a 50+ year veteran of counter culture activism, research, and harvesting of information, last month I just came across the "mud flood" theory on Jon Levi's site. I then went to others to find out what people were talking about regarding "Old world" "Realm" "Narrative" etc.

Been asking around other places but no replies yet. What I am trying to piece together is _what_ is the educated guess at what all this is about? Off planet or terrestrial? Whose agenda as there are so many these days...NWO, Skull&Bones, UN Agenda 21 & 2030, etc. So what end goal could be a possibility as it has appeared to me for decades that the controllers have been at the helm for a long time.

Also where does the Mandela Effect and all its residual evidence fall in.

So I discovered this site this morning eating breakfast and watching youtube on my FireTV "Part 3" and it feels like perhaps the other two parts may help get some insight for me. I had been so burnt out on all the false fear based narrative on the so-called "alternative" news sites I was really starving for something beyond snarky, cliche' comments by arrested adolescents.


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## TheearthistheLORDs (Mar 14, 2022)

My family and I were able to watch all three episodes this weekend.  I am humbled by how much I don't know, yet encouraged that there is still time to learn.  I hope we are able to participate on this site in a way that is in the same spirit as this series.

Wow.  What a great batch of information and inspiration.


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## ThomasDeDenker (Apr 13, 2022)

Already hoping for part 4 ;-)


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## Udjat (May 2, 2022)

First, this is the doc that introduced me to SH, and I must say it is quite compelling!  I love looking at these old pictures.  I am a youth service librarian and in the adult section there has been a book title that I always passed on my way through the adult book section.  It is called "the devil in the white city", and I never really understood what it was about until I discovered the world fairs.  The book is about the serial killer that haunted the Chicago world fair.  Then I watched your doc, part three, about the world fairs and I couldn't believe this connection.  The world fair was calling me right from the book shelves, go figure!  

This world fair thing is a trip.  I just wanted to ask this question, if someone could enlighten me, but, if the world fair buildings existed before, and were reclaimed, wouldn't a civilization have populated the buildings and used them, for instance the native Americans?  

I question the fact that these buildings were a temporary build because some of these buildings have lasted the duration, in particular the Galleria in France.  At least these days, no one would put that much glass work into buildings that were meant to be torn down after the fair was over.

And yes, they always seem to build these fairs in swampy areas, at least the ones in America.  I think that has something to do with energy spots.  Water is one of the elements that make the world go round, without it you would be screwed.  But on the other hand, if these places already existed, maybe they were victims of the 1700's cataclysm and mud flood, and then were reclaimed?

Oh...... it's already 8:30, I have to go!!  Have a great day everyone, and be well!!!!!


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## luddite (May 2, 2022)

Udjat said:


> a civilization have populated the buildings and used them, for instance the native Americans?


Of course that seems logical to our current thinking but what if no one was here and we are the first? Always good to keep your mind open.


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## MP5000 (May 6, 2022)

When there was such a great civilisation befor 500 years ago then how all the history from 0-1700 should have happend in just less then 200-300 years. Especialy the rome empire lasted for longer then 300 years (im not a expert)


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## Pathfinder (May 6, 2022)

matematik said:


> I think most "normies" are quite unobservant and uninterested in their local history frankly. Only a small minority actively take note of the changes in their area and an even smaller minority would ever entertain the notion that the authorities are lying to them.
> 
> When areas get redeveloped today, most people can't remember what was there even a few years before, let alone what was there decades ago.



Those are excellent points.  I agree that most people wouldn't bother because they wouldn't be interested, but mainly because memory fades and becomes less reliable as the years pass.  In driving around my home town there are places where buildings, even relatively modern ones like maybe a fast food restaurant built in the 1960s, used to stand, but they're now gone and I can't even remember what they looked like:  Out of sight, out of mind.

"How come they never spoke or wrote about the lies that was created about their hometown?"

Also, maybe some people DID speak up, or they tried to speak up.  Where would they speak up, however?  Send a letter to the editor of their local paper?  The editor gets to choose to print it or not. The editor even gets to edit it, so the published letter might even say something different from what the letter-writer wrote.  There was no internet in the lifetimes of anyone who lived through those old World's Fairs and other salient events from that era.  Anyway, how would we know whether anyone did speak up or not?


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## Udjat (May 6, 2022)

I was reading an old Nat Geo and the first page where the "letters" are in the mag, I came across one lady that mentions the World Fair of 1982 in Knoxville, TN.  She mentions first, that there is a building called the Baiterek in Kazakhstan and that the building is "like nothing else".  But when she sees it, her first reaction is a memory of the World Fair of 1982 she attended.  The Baiterek building I guess is a fancier version of the Sunsphere, that was part of this World Fair in Knoxville.  The Baiterek building was built in 1996 I but the similar one at the Knoxville World Fair was built before, in 1982.  Go Figure!  Interesting I must say!


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## PantaOz (Sep 23, 2022)

Fawkes said:


> Maybe I missed it, but I was looking for a mention of the 1939/40 (beginning of WW2) and 1964/65 (beginning of Vietnam War) New York World's Fairs. New York City became the American "Rome", in the "Empire State" of New York, after the US helped the British Empire out in both WW 1 & 2. The world capital was transferred to New York City after that from London, with the Rockefeller power elite family donating land for the United Nations there.


Even the UN and New York are transformed with the "help" of the Rockefeller family... this short documentary was selling them as philanthropists to the masses!





Your browser is not able to display this video.




They control the power... they control a lot, but they are small fish if we compare them with sharks like Rothschild or the ones we do not even have the names of... the land of the UN building was paid by the Rockefeller family... of course they will have a say!


dreamtime said:


> View attachment 19847 View attachment 19848 View attachment 19849 View attachment 19850​
> *Sydney International Expo 1879 in Australia*
> 
> Pictured here: The Garden Palace in Hyde Park.
> ...


Wow... this is something I really enjoyed reading...

I knew a lot about this 1879 held under the supervision of the Agricultural Society of New South Wales  having as an example the “Exposition Universelle” in Paris in 1878. The first time in Sydney we could see the International Watch Company exhibition... was the time keeping suddenly becoming very important?



> “Adjoining the Italian Court one bay was allotted to Switzerland, where there was a creditable display of watches, wood carvings and laces” (Report of the Executive Commissioner )






 


The Powerhouse Museum still has some photos from the exhibition, and I would like to share them with you!




Macquarie Street entrance to the Garden Palace, photographed by Messrs Richards and Company, 1879-1880. Collection; Powerhouse Museum.




Statue of Queen Victoria by Marshall Wood in the Garden Palace, 1879-1880. Collection; Powerhouse Museum.



> The main feature of the Sydney exhibition was an ornate building, the ‘Garden Palace’, which was over 244 metres long and had a floor space of over 112,000 metres. *Designed by the Colonial Architect James Barnet the building included 4.5 million feet of timber, 2.5 million bricks and 243 tons of galvanised corrugated iron; all of which was lost when the ‘Garden Palace’ was destroyed by fire in 1882.*





> This was also a devastating blow for the Powerhouse Museum, or the ‘Technological, Industrial and Sanitary Museum’ as it was then known, for the many of the exhibition objects had been earmarked as the first acquisitions for the new museum. Only a few items were rescued after the fire; a piece of molten glass and a piece of metal from the statue of Queen Victoria.



There is few more photos from the exhibition album that somehow survived!


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## ViniB (Sep 25, 2022)

I found some interesting material about the presence of the brazilian delegation in the 1876 fair, quite telling in my opinion 

 





Pretty scarce material, hard to find even among the government archives


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## PantaOz (Sep 29, 2022)

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*Exposition in Charleston - 1902
*
The camera was placed in almost the center of the compound area by the exhibit buildings, and the cameraman began to photograph and pan his camera simultaneously. The film consists of pictures of the walkways, pools of water, bridges over the pools, exhibit buildings, bandstands, statuary, and decorations of all nature that, put together, made up the Exposition in Charleston in 1902.


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## ky11z (Nov 27, 2022)

Anyone have more info on the world fairs in Australia? This is the first I've heard of them been held in Oz


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