A Proper Gander At Propaganda

Truth Transcends Community

"Then a mighty strange thing happened.  Guess you could call it fate. You see, a gust of wind blew the picture frame down and it landed on the muckety-muck's head And the mice they all went crazy. For the first time they saw the lie.

It was all a hoax on just simple folks. And the muckety-muck must die. And die he did. The members of his staff they just fled. They were scared. Hah. Just not prepared." - Song: The Proper Gander. Songwriter: Bobby Darin

"Propaganda in the United States is spread by both government and media entities. Propaganda is information, ideas, or rumors deliberately spread widely to influence opinions. It's used in advertising, radio, newspaper, posters, books, television, and other media."  -  Propaganda in the United States - Wikipedia

"A man without a government is like a fish without a bicycle.” Alvaro Koplovich
Article index

The Military Industrial Entertainment Complex™ Presents: Faking Fighter Jets Part 2- STEALTH BOMBERS, BELL AEROSPACE & THE JETSON ROCKET JET PACK HOAX

Please excuse any typos you may come across, spell check is evil. We will correct them as we find them. Thank you, AAMorris Staff.

Fighter Jet Footage Is Fake!
An airplane has to use the wing flaps (called ailerons) to maneuverer.
Compare the two animated sequences below. See the problem? The Fighter Jet is a Hollywood Special effect. It has to be. The wing flaps do not move. There is no way this jet could maneuver without the ailerons moving.

(scroll down for more)

 

Hollywood Silver Tongued Screen Magic

As it turn out, Hollywood has been working with the U.S. Military for years. The two have always been one.
Film making and visual special effects go hand in hand. What is less known is how stage magicians would join in the fun and would go on to help create the modern day special effects juggernaut that is modern film making.


The publics perception of war has been defined solely by the multimedia beast. Highly edit images with quick cuts and voice overs have been used for over a century to convince the masses that what they saw on screen was reality. As it turns out this is usually far from the case.


It looks like most of what you think you know about history, wars and even science & technology is wrong. Jet Packs and Super Maneuverable upside down flying fighter jets and upside down flying helicopters and flying squirrel suited men and the like are all Hollywood special effects work and nothing more. Lockheed Matin, Boening and the rest all have been involved in pioneering computer technology and model making. The aerospace/military industry grows with Hollywood, they are closely related.


War is more fake than you think. The media and the news is made of lies more so than not. The supposed military might you’ve been seeing on screens for ages is fake. The old documentaries are not factual. They are more scripted than not. The same is true today.

Fakery and Art go hand in hand. Art represents reality it is not reality itself. This kind of confusion can be found through out our culture and is reinforced by the mainstream media.


Of course most people think the media is independent from the federal government, nothing could be further from the truth. The history of radio, film and television are examples of how the federal government controls these communication systems and always had control over them.


You are not as free as you think or been told you are. Everything you know is probably wrong. Get ready for some cognitive dissonance as you have the veils lifted from your eyes.


What the propagandists that we call journalists have been telling us for years, is wrong. The NEWS is mostly fiction. The wars weren’t what you think. The so-called wars that you’ve seen on screens have been faked. You have no idea what really did or did not happen. The real combat, whatever it was, not shown to the public.

History and the university system itself is less about education and more about indoctrination than people think. There's no great conspiracy, this is how the world really works. What you think of as politics is also a highly scripted fiction. Things just do not work how we've been taught. 

As it turns out the true battlefield is the human mind. Perception management and behavior manipulation is the true work of the military. Mass psychology is used to control you. Images of war are part of this control system.


Modern weaponry and technology is more illusion than most realize. This article explores how jet packs and fighter jet footage is faked and has been faked for years. The article index and the prior part of this series explains more. Please try to keep an open mind, especially if you are new to this subject. You might not realize it, but you’ve spent yor life asleep, the so-called Matrix is more real than you might think. Culture is more cult than you know. Augmented reality has existed for as long as people have been able to lie to themselves and others.

THIS IS THE MILITARY INDUSTRIAL ENTERTAINMENT COMPLEX™

Disney Research Chief Joins U.S. Spy Agency
Technology: Eric Haseltine is leaving Imagineering unit for a key post with NSA.
July 17, 2002|RICHARD VERRIER TIMES STAFF WRITER

Walt Disney Co.’s chief of research and development is leaving to become head of research for the National Security Agency, which uses sophisticated technology to gather intelligence, break codes and protect sensitive government information systems.

Haseltine worked for a decade at Walt Disney Imagineering, the company’s design and development group. As such, he would seem an unlikely choice for his new government mission. But the worlds of the NSA and Disney Imagineering aren’t so dissimilar. Both include a diverse group of top-level scientists and share a penchant for security and secrecy (Disney won’t say how many scientists it employs). There’s a certain institutional quality to the unmarked, drab buildings that make up the sprawling Walt Disney Imagineering complex in Glendale.

Beyond developing innovative ride systems for theme parks, Disney’s research and development team also has expertise in areas with military applications, including virtual reality technology. Disney scientists are at the forefront of interactive TV and developing systems for protecting the company against Internet piracy.

Haseltine, 50, who holds a doctorate in physiological psychology, is no stranger to the defense world. He spent 13 years at Hughes Aircraft Co., where he managed R&D projects and was known as a top expert on flight simulation. He joined Disney in 1992.

In his new role, he will lead a research and technology team for the spy agency, a division of the Defense Department. Neither NSA nor Haseltine will detail his exact responsibilities.

”I’m particularly motivated because of what happened on Sept. 11,” Haseltine said. “Under ordinary circumstances, I would never have dreamed of leaving Disney, but these aren’t ordinary circumstances.”

Air Force Lt. Gen. Michael V. Hayden, director of the NSA, said in a statement that Haseltine “is the right leader to drive our R&D area to heightened technological superiority for national security.”

Disney has not yet named a replacement for Haseltine. “While we never like to see someone of Eric’s caliber leave,” said Disney spokeswoman Marie Garvey, “the company understands his desire to serve his country.”

Haseltine led Disney’s push into virtual reality entertainment, which culminated in the DisneyQuest regional entertainment centers. He also played a key role in bringing enhanced TV to ABC’s “Monday Night Football.”

He became head of research and development two years ago. He starts his new job as the NSA’s associate director of research Aug. 5.

Haseltine is the latest among several senior scientists and executives who have left the vaunted Walt Disney Imagineering division in recent years, mostly to pursue Web-related ventures.

Among them was former research and development director Bran Ferren, who recruited a number of top scientists to help Disney tap the potential of the Internet. They included personal computer pioneer Alan Kay and Marvin Minsky, one of the brains behind artificial intelligence.
— http://articles.latimes.com/2002/jul/17/business/fi-disney17
Less than four minutes of film records the surprise attack on Pearl Harbor, so Ford and co-director Gregg Toland (who photographed “Citizen Kane’’) staged footage using miniature battleships and airplanes on the Fox lot in Hollywood.
— http://nypost.com/2014/02/24/how-oscar-winning-directors-faked-wwii-combat-footage/

http://nypost.com/2014/02/24/how-oscar-winning-directors-faked-wwii-combat-footage/

Orson Welles The F - Faker Extraordinaire - Known For The So-Called War of The World Radio Hoax - & Citizen Kane -

F for Fake (French: Vérités et mensonges, “Truths and lies”) is the last major film completed by Orson Welles, who directed, co-wrote, and starred in the film. Initially released in 1974, it focuses on Elmyr de Hory’s recounting of his career as a professional art forger; de Hory’s story serves as the backdrop for a fast-paced, meandering investigation of the natures of authorship and authenticity, as well as the basis of the value of art. Loosely a documentary, the film operates in several different genres and has been described as a kind of film essay.

Far from serving as a traditional documentary on Elmyr de Hory, the film also incorporates Welles’s companion Oja Kodar, notorious “hoax-biographer” Clifford Irving, and Orson Welles as himself.

Welles finally presents Kodar’s story: she holidayed in the same village as Picasso, who noticed her and painted 22 pieces with her as the model. She insisted she be allowed to keep the paintings, but later when Picasso read about an acclaimed exhibit of 22 new pieces of his, he flew there in a rage, only to discover the pieces were all forgeries. Kodar took Picasso to her grandfather, the forger, who defended his work with pride while Picasso angrily demanded the paintings back. This dialogue is presented by Welles and Kodar re-enacting the parts of the grandfather and Picasso respectively. Welles then confesses that he had promised everything in the “next hour” was true, and that hour had already passed. He admits the entire story of Kodar, her grandfather, and Picasso was made up. He apologizes, quotes Picasso’s statement that art is a lie that makes us see the truth, and bids the audience good night.
— https://en.wikipedia.org/wiki/F_for_Fake
HELLO FRIENDS HERE IS THE F for FAKE 1973 FULL MOVIE. IF YOU WANT TO DOWNLOAD IT THEN COMMENT BELOW, AND I'LL POST THE LINK, DON'T FORGET TO SUBSCRIBE AND LIKE :) for watch more 2014 movies make a thumbs up & subscribe ^_^ Leave comment to request a movie.
Exclusive: never before seen High Definition air-to-air footage of a USAF B-2 stealth bomber. Designed and built by Northrop Grumman.

The aerospace industry developed along with the film industry. The two are more at one than most realize. The Mythic Silver Screen Newsreel persona Howard Hughes truly exemplifies this reality.


As early flight gave way to world wide (post WW2) travel, the wizards behind the scenes were developing film special effects technology. Film is a recreation or facsimile of reality anyway. Photo manipulation is as old as photography itself. Companies like Boeing and Lockheed Martin would go on to develop 3d CGI technology. So we have a clear history of special effects being developed along side air travel. It seems that some of the technology sold to the public as real is not so. The atom bomb and NASA are fine examples of long standing hoaxes or con jobs. They are the artifacts and institutions that support the neo-religion known as science. This particular cult view began to be promoted by the Helio-centrists shortly after the legendary discovery and early colonization of the “New World”. This was the start of the “New World Order”. As it turns out there looks like there is clear evidence that a lot of the so-called military equipment is also as fantastic as atom bombs. Planes cannot fly upside down, despite apologetics to the contrary. Down is not up. We have been so conditioned by the multimedia system that many of us do not see the situation for what it is.

There is a good reason Walt Disney teamed up with an ex SS-Nazi,to sell the public of the world on ‘space’. They were both Hollywood talent. The Nazi rocket program was as fake as its descendant, NASA. That supposed program was clearly inspired by the work of Fritz Lang.

The mass public has been conditioned by the endless repeats of old newsreel memes, that such fantasies are real. As it turns out, jetpacks and a lot of the ‘Top Gun’ style military hardware is nothing but Hollywood mirage. It looks like high speed spy planes and all the rest are nothing but Hollywood smoke and mirror. There's no evidence a jet has ever flown faster than the Concorde.

The military at its higher levels is more Hollywood than most understand. The Military Industrial Entertainment Complex™ is very real.

Control with the aid of the lever is somewhat rough; for finer control the pilot uses a handle on the left lever. This handle governs the tips of the jet nozzles. The tips (jetavators) are spring-opposed and can with the aid of the flexible thrusts be slanted forward or back. The pilot inclines the handle forward or back and slants both nozzle tips at the same time to fly straight. If pilot must turn, he turns handle, to slant the nozzles in opposite directions, one forward, another back, turning the pilot and the pack around its axis. By the combination of different motions of lever handles the pilot can fly any way, even sideways, to turn, rotate on the spot, etc.

The pilot can control his rocket pack’s flight differently, by changing the center of gravity of his body. For example, if we bend the legs and raise them to the stomach, the center of gravity will move forwards, and pack will be inclined and it will also fly forward. Such a control of pack, with the aid of the body, is considered incorrect and is characteristic of novices. Most experienced pilot Bill Suitor asserts that during the flight it is necessary to hold legs together and straight, and to control flight by the pack’s levers and handles. This is the only way to learn to competently pilot the pack and to confidently carry out complex aerial maneuvers.
— https://en.wikipedia.org/wiki/Bell_Rocket_Belt#Piloting

https://en.wikipedia.org/wiki/Bell_Rocket_Belt#Piloting

Ballistic Physics Show us The Problem-
The Jetpack would only provide an upward thrust against gravity.

If our thought experiment continues and we project the cannonball horizontally in the presence of gravity, then the cannonball would maintain the same horizontal motion as before - a constant horizontal velocity. Furthermore, the force of gravity will act upon the cannonball to cause the same vertical motion as before - a downward acceleration. The cannonball falls the same amount of distance as it did when it was merely dropped from rest (refer to diagram below). However, the presence of gravity does not affect the horizontal motion of the projectile. The force of gravity acts downward and is unable to alter the horizontal motion. There must be a horizontal force to cause a horizontal acceleration. (And we know that there is only a vertical force acting upon projectiles.) The vertical force acts perpendicular to the horizontal motion and will not affect it since perpendicular components of motion are independent of each other. Thus, the projectile travels with a constant horizontal velocity and a downward vertical acceleration.
— http://www.physicsclassroom.com/class/vectors/Lesson-2/Characteristics-of-a-Projectile-s-Trajectory

http://www.physicsclassroom.com/class/vectors/Lesson-2/Characteristics-of-a-Projectile-s-Trajectory

How can the jet pack allow for forward motion?

This is absurd. The man would fall to the Earth.

He cannot fly sideways. It is physically impossible.

This is a fine example of magical reasoning and cartoon physics.

The forward thrust is independent of gravity.

This is easily proven with basic ballistic physics.

Altering his center of gravity is meaningless as he will still fall towards the Earth.

"Former US President Eisenhower warned in 1961 of the power of the Military Industrial Complex shortly before that confection of influence peddling, political opportunism and inter-locking commercial interests led the US into Vietnam. Now there is a new force in the land, the military-entertainment complex evident in the close co-operation – and sharing – of ideas and resources: between computer games producers and the military, particularly on pre-training prospective candidates for the US armed forces; between Hollywood producers and the US government on language and concepts post September 11, 2001; and between the military’s propaganda machine and the entertainment industry’s thirst for manufactured and timely “reality” that precludes the possibility of the critical representation of the real.

The flexibility of the military-entertainment complex is evident in the interchange of personnel between both wings, from military to entertainment (Coffee, 1995 : 30; Pollack, 1997: 1) or a virtual-reality expert from Disney’s Imagineering group joining the National Security Agency (Peter Huck, 2003). In the carefully plotted production of the second Gulf War, it seems that the military has turned to the entertainment industry to respond to Baudrilliard’s critique of the first Gulf War:

…the war, along with the fake and presumptive warriors, generals, experts and television presenters… watches itself in a mirror: am I pretty enough, am I operational enough, am I spectacular enough, am I sophisticated enough to make an entry onto the historical stage? … this uncertainty invades our screens like a real oil slick, in the image of that blind sea bird stranded on a beach in the Gulf, which will remain the symbol-image of what we all are in front of our screens, in front of that sticky and unintelligible event. (Baudrilliard, 1995: 31)

From the attention-grabbing intro of fireworks over Baghdad, through the chase scenes of tanks racing across the desert, with the sub-plot of Saving Private Jessica to the toppling of Saddam’s statue, this time the story was seamless. Each moment designed for prime time, each plot point subtly inter-woven into one unstoppable meta-narrative. Resistance is futile, you can’t stop the music. At least until the President declares the war is over and the real war begins between an occupying army and a fanatical guerrilla opposition indistinguishable from the population. It took about six months to move the full circle. The simulations that began as theories about reality for planning and training purposes took on the form of reality in the heat of battle only to be revealed to be inaccurate as either reality or simulation in the harsh light of peace. Private Jessica’s own disavowal of the military’s mythology is a case in point: the military continues to claim she was raped while Jessica denies it.

The military uses of entertainment and entertainment’s uses of the military have a long history that precedes their well-orchestrated double act in the recent troubles. It is useful to consider how their purposes came to be so closely integrated, not only to appreciate the actual course of recent history (as opposed to the big concept story lines of good vs. evil that occupy the front pages and TV news breaks). But also to understand the possibilities for countering the growing power of the military-entertainment complex."

SOURCE ARTICLE BELOW:

http://one.fibreculturejournal.org/fcj-004-the-military-entertainment-complex-a-new-facet-of-information-warfare

Why can’t the soldier use his flame thrower like a jet-pack?
Why doesn’t the huge and visible flame (heated gas) create a pressure that would push the solider back.
It’s because this is all we’d expect. Jet-packs are fake.

When jet packs were first revealed in 1961, they quickly captured the public's imagination. Its design hasn't varied much since it debuted, but one man is looking to change that. From: INCREDIBLE FLYING JETPACKS http://bit.ly/1Tm4prR
During WWI, camera technology simply hadn’t progressed to a point where it was possible to take an accurate photograph of dogfighting. Meanwhile, the public was rabidly curious about the new kind of warfare. The appearance of “Mrs. Gladys Maud Cockburne-Lange” and her trove of photographs neatly bridged this gap, and she had no trouble selling the images to newspapers, galleries, and publishers.

In his work on photographic hoaxes, investigator Joe Nickell writes that some had questioned Mrs. Cockburne-Lange’s authenticity over the years, wondering why the aircraft appeared to have clean and shiny wheels (given runway conditions at the time), how the pilot had managed to take pictures of British planes if the camera was attached to the machine gun mechanism, and why the widow refused to be contacted in person.
But it wasn’t until 1984 that the pictures were definitively shown to be fake, when the Smithsonian received a donation of materials from Wesley David Archer, an American pilot who had served with the RFC and then became a special-effects technician in Hollywood.

Curator Karl S. Schneide, of the Air and Space Museum, and Peter M. Grosz, an aviation expert, jointly investigated the materials, which included original versions of these photographs in which the wires holding up the model airplanes had yet to be airbrushed out. The two discovered that “Gladys Maud Cockburne-Lange” was actually Betty Archer, wife of Wesley. Fallen on hard times during the Depression, the couple had conceived this hoax as a moneymaking venture.
— http://www.slate.com/blogs/the_vault/2013/07/31/faked_photos_combat_scenes_from_wwi_were_staged_using_models.html

http://www.smithsonianmag.com/history/the-early-history-of-faking-war-on-film-133838317/?no-ist

YOU WILL BELIEVE ANY LIE - DOES THE MAN REALLY FLY?

Please watch the clip below, is this anything but wire work? It looks like the man is attached to a crane and some post-production work was done in the darkroom to remove the cable. There are photo above, and some below, from an article about this mythic jetpack, that show a cable was used for 'practice'.  

Here's my favorite Rocket Belt Pilot, Bill Suitor, flying one of the original Bell Aerospace Rocket Belts. This is a film shot at a Raceway park in England. The Bell Aerospace Rocket Belt team was there to demonstrate the flying belt and flew down the track against a Race Car.
Can you see the wires?
Yes. Most flying companies use “aircraft cable,” at either 5/32″, 1/8″, 3/32″ or 5/64″ thickness, depending on the type of system and expected loads. These cables are very thin and in many cases can have a very low profile. Extremely thin wires are possible (such as those used by popular magicians), but can be very expensive due to the work involved in the system assembly. The two main factors regarding visibility of flying wires are background and lighting. If the scenic designer and lighting designer work closely with the flying director, the wires will be far less visible. For example, if you fly a performer in front of a white cyc with heavy side lighting, the wires will be highly visible, however, a darker background with a vertical orientation (such as curtains or wallpaper) and 45 degree front lighting will go a long way toward hiding the wires. Hall Associates Flying Effects does have a lighting consultant on staff to answer your questions.
— http://www.flyingfx.com/faqs/

http://www.flyingfx.com/faqs/

"GENERATIONS LOST IN SPACE"

Please watch what is supposed to be real footage of the mythic "jetpack", Does any of it look believable to you in light of what we know the Military Industrial Entertainment Complex™ is capable of.

Below are a few videos showing how this special effect is easily achieved. These special effect techniques are older than you might think. The article index is the place to look for more information about Hollywood Special effects and the aeronautical industry.

This mythic jet pack ended up being used for entertainment and propaganda purpose and nothing more. Below a clip from the 1960's pre "Moon Landing" Event television show 'Lost in Space'. This show was more popular than Star Trek, at the time. The outer space themes has long been one promoted by Hollywood and the University system for hundreds of years, of course. The early so -called 'scientists' like Kepler were the originators of the genre known as Science Fiction in the first place. In fact as it turns out the work of such luminaries as Newton, Kepler, Copernicus, Galileo and the rest turns out to be little more than literal fantasy, the stuff of imagination only. Again, read through the article index, if you are unfamiliar with these concepts.

Bell Aeronautics engineered the helicopter. But as we know now, the aeronautics industry is also responsible for developing modeling and film techniques that would eventually lead to the CGI 3d animation we are so used to seeing on all sorts of screens today.

Lost In Space used music by Bernard Herrmann for the Rocket Belt - in episode of the 1st season. The music is from Beneath the 12 Mile Reef) This footage is the same stock-footage of John Robinson flying, but taken from the final episode "Junkyard in Space"

UHOH It's Magic!

David Copperfield has performed a levitation illusion in several magic shows since 1992 in which he appears to fly on stage for several minutes, while surrounded by audience members. The flight is notable for its graceful motion and unencumbered appearance. The illusion was included in Copperfield’s CBS TV special The Magic of David Copperfield XIV: Flying—Live The Dream (1992), and has been repeated several times during Copperfield’s live tours around the world. The method was created by John Gaughan.[1][2][3][4] An essential contribution to make fluid movements was given by his assistant, dancer and choreographer Joanie Spina.

Method -
John Gaughan described how the trick works in US Patent #5,354,238.[1][2] According to the patent, the performer is supported by two fan-shaped arrays of fine wires that remain invisible to the viewing audience.[6] The wires are about 1⁄4 mm thick, and support about 10 kg each; the arrays contain more than enough wires to support the performer’s weight. The wire arrays are mounted at the hips, near the human center of mass, to a harness worn under the clothing. This creates a balance point facilitating a wide range of movements while suspended. The wires are attached to a complex computer-controlled rig above the stage that maintains the tension in each wire, and keeps each array of wires perpendicular to the audience’s line of sight so that the wires never overlap one another, which might allow the audience to see them.

During the later phases of the performance, two hoops are used simultaneously, which aids the deception as the hoops do not come into contact with the wires. Instead, each ring is brought flush to the wires before being twisted under Copperfield. In the glass box demonstration, the top of the box is threaded between the two sets of wires in a vertical position, before being rotated 90 degrees and lowered into place. The wires remain in place while the performer is in the glass box, passing through crevices between the lid and the sides. Since the box limits movement and he is only able to rotate on one axis, he stays side-on to the front of the audience while in the box. When flying with a volunteer, he holds her in front of him, and she does not come into contact with the set-up.
— https://en.wikipedia.org/wiki/David_Copperfield%27s_flying_illusion
The aerial choreographer, Paul Rubin, creates flying sequences for the stage from start to finish. During a rehearsal of an original production titled Joseph, Rubin shows the equipment used. He also talks about his background as a magician/illusionist, and the highlights of his experience working on "Peter Pan" with Cathy Rigby, "Wicked", and "Curtains" with David Hyde Pierce.

It's All An Act: The Art of The Long Con - The Jesuit Magic Man! David Copperfield -

At age 18, Copperfield enrolled at New York City’s Jesuit based school Fordham University. However, three weeks into his freshman year he left Fordham to play the lead role of the musical The Magic Man in Chicago. It was on this occasion that he adopted the stage name “David Copperfield”, taken from the famous Charles Dickens novel because he liked the sound of it. Copperfield sang, danced and created most of the original illusions used in the show. The Magic Man became the longest running musical in Chicago’s history.[24][25]

At age 19, he was headlining at the Pagoda Hotel in Honolulu, Hawaii for several months.[18]

Copperfield’s career in television began in earnest when he was discovered by Joseph Cates, a producer of Broadway shows and television specials.[26] Cates produced a magic special in 1977 for ABC called “The Magic of ABC” hosted by Copperfield,[19] as well as several of “The Magic of David Copperfield” specials on CBS between 1978 and 2001.[26] There have been 17 Copperfield TV specials and 2 documentaries between September 7, 1977, and April 3, 2001.

Copperfield also played the character of “The Magician” in the 1980s horror film Terror Train and an uncredited appearance in the 1994’s film Prêt-à-Porter. Most of his media appearances have been through television specials and guest spots on television programs. His illusions have included the disappearance of a seven-ton Learjet (1981), the vanishing and reappearance of the Statue of Liberty (1983), levitating over the Grand Canyon (1984), walking through the Great Wall of China (1986), escaping from Alcatraz prison (1987), the disappearance of a 70-ton Orient Express dining car (1991) and Flying on stage for several minutes (1992).
— https://en.wikipedia.org/wiki/David_Copperfield_(illusionist)

https://en.wikipedia.org/wiki/David_Copperfield_(illusionist)

Back To The Beginning - Does This Look Like Anything But Early Harness Work?

Between dark room photographic techniques (the original & literal photoshop) and mechanical rigging, the footage below is easily explained without resorting to magical thinking and nonsensical physics. These techniques date back well over a hundred years to the early days of film. The article index has many article that explore this subject. We are supposed to believe that this contraption would be maneuverable. And that presupposes the jetpack would actually produce workable thrust in the first place. This is doubtful. 

How is The Jet Pack Able To Move Itself Forward?

Where is the inevitable exhaust?

The jet pack cannot provide both an upward thrust and a forward one at the same time.

more at http://scitech.quickfound.net/aviation_news_and_search.html The Bell Rocket Belt is flown in several demonstrations during the Summer of 1961 in this compilation of footage. Venues include Fort Eustis Virginia, and the Pentagon courtyard. Public domain film from the US National Archives, slightly cropped to remove uneven edges, with the aspect ratio corrected, and mild video noise reduction applied.

F FOR FAKE!

John Huston’s Fake Documentaries Of World War II
By Nolan Moore on Monday, October 19, 2015

If you’re a fan of classic films, then you’re probably a fan of John Huston. He’s the guy behind movies like The Maltese Falcon, and during World War II, he directed several memorable war documentaries. Only as it turns out, a few of Huston’s war docs were actually fakes.

These directors were charged with the chronicling the war on film and producing propaganda flicks to inspire both the troops and the folks back home. Serving in the Signal Corps, Capra produced the Why We Fight films, a seven-episode series that explained why America was at war with Hitler. As head of the photographic unit for the Office of Strategic Services, John Ford captured the intense fighting at the Battle of Midway, and George Stevens (director of Giant, Shane, and A Place in the Sun) was on hand to capture the horrors of the Dachau concentration camp.

As for Huston, he’s probably best remembered for Let There Be Light, a documentary following a group of veterans suffering from PTSD. Unfortunately, the film was confiscated by military brass who thought it would demoralize audiences. They locked it up for over 30 years.

Of course, this wasn’t Huston’s only contribution to the war effort. Prior to Let There Be Light, he directed The Battle of San Pietro, a film depicting an American advance on the titular Italian town. The film was unflinching in its portrayal of real warfare, complete with corpses and body bags. There was even a fair amount of shaky cam going on. After all, there were bullets flying everywhere, and the film crew was forced to take cover from enemy fire . . . right?

Well, no, not really. Huston and his film crew didn’t show up in Pietro until the fighting was over, so instead of filming real-life combat, Huston recreated the entire battle with the help of the US Army. Huston was given actual soldiers and actual weapons to recreate the scene, and military officials even forked over classified documents describing what had happened during the fighting. As for all that bumping up and down, Huston knew he could make the footage appear more realistic if he added a bit of shaky cam. Basically, The Battle of San Pietro was one elaborate fake.

Of course, Average Joe citizen didn’t know that. When audiences (both civilian and military) sat down to watch The Battle of San Pietro, there was a title card at the end of the film that read, “For the purpose of continuity, a few of these scenes were shot before and after the actual battle.” So technically, perhaps the War Department wasn’t lying when they sent the film to theaters, but they were definitely telling half-truths.

It gets even worse when you realize this wasn’t the first time Huston totally faked a battle scene.

Before working on The Battle of San Pietro, Huston contributed to a propaganda film called Tunisian Victory, a documentary about the Allied success in North Africa. Originally, the film contained real war scenes, but unfortunately, the ship carrying the film sunk before it could reach the US.

That made things kind of awkward when President Roosevelt asked to see the footage. Unwilling to admit they’d lost the film, Frank Capra ordered John Huston to recreate the North African battle scenes. Instead of shooting in Tunisia, Huston filmed the aerial scenes in Florida and the infantry scenes out in the Mojave Desert, complete with fake tanks made out of wire frames with a canvas thrown on top.

Admittedly, Huston was pretty embarrassed of Tunisian Victory and later described the film as “so transparently false that I hated to have anything to do with it.” However, he never admitted San Pietro was a fraud. (In fairness, faking documentary footage has been going on ever since Robert J. Flaherty directed Nanook of the North.)

Even modern-day films like Catfish and Exit Through the Gift Shop have been accused of being less than truthful, but perhaps the John Huston hoax hurts worse because we expect more from our World War II heroes.
— http://knowledgenuts.com/2015/10/19/john-hustons-fake-documentaries-of-world-war-ii/
ZFX brought the action home for this one - we hosted actor combatants and certified teachers from the Society of American Fight Directors at our facility for a high-impact workshop including lots of fast flying effects combined with stage combat.
Subscribe to HBO: http://itsh.bo/10qIqsj Check out the John Adams Visual Effects feature.
JD puts me up in the air with wires for the first time!

Don't Believe What You See On A Screen - Special Effects Are As Old As Film Itself - See Article Index For More - The Simplest Magic Trick It To Fake It With Film or Video. We are so conditioned to view highly edited video with voice over narration, we do not question  the narration. We do not question whether it is true or not.

Do you think this is real? Where is the camera if it is? How can the camera be in another airplane and not have camera shake? This is an early example of a really well crafted film effect. This is the result of a stage magician and illusionist making use of the new media of moving film. Still photography has a long history of darkroom fakery, of course. But we can see the appeal of the moving image and why an illusionist would enter the film business.

The Grim Game è un film muto del 1919 diretto da Irvin Willat e interpretato da Harry Houdini. Prodotto dalla Paramount Pictures (con il nome Famous Players-Lasky Corporation) e distribuito il 12 ottobre 1919, il film offre l'occasione di assistere alle esibizioni del mago Houdini. L'incidente aereo non era stato preventivato in fase di sceneggiatura.
Filmography
Merveilleux Exploits du Célébre Houdini à Paris—Cinema Lux (1909)—playing himself
The Master Mystery—Octagon Films (1918)—playing Quentin Locke
The Grim Game—Famous Players-Lasky/Paramount Pictures (1919)—playing Harvey Handford
Terror Island—Famous Players Lasky/Paramount (1920)—playing Harry Harper
The Man from Beyond—Houdini Picture Corporation (1922)—playing Howard Hillary
Haldane of the Secret Service—Houdini Picture Corporation/FBO (1922)—playing Heath Haldane
— https://en.wikipedia.org/wiki/Harry_Houdini#Filmography
He also served as President of the Society of American Magicians (aka S.A.M.) from 1917 until his death in 1926. Founded on May 10, 1902, in the back room of Martinka’s magic shop in New York, the Society expanded under the leadership of Harry Houdini during his term as National President from 1917 to 1926. Houdini was magic’s greatest visionary. He sought to create a large, unified national network of professional and amateur magicians. Wherever he traveled, Houdini gave a lengthy formal address to the local magic club, made speeches, and usually threw a banquet for the members at his own expense. He said “The Magicians Clubs as a rule are small: they are weak...but if we were amalgamated into one big body the society would be stronger, and it would mean making the small clubs powerful and worth while. Members would find a welcome wherever they happened to be and, conversely, the safeguard of a city-to-city hotline to track exposers and other undesirables.”

For most of 1916, while on his vaudeville tour, Houdini, at his own expense, had been recruiting local magic clubs to join the S.A.M. in an effort to revitalize what he felt was a weak organization. Houdini persuaded groups in Buffalo, Detroit, Pittsburgh, and Kansas City to join. As had happened in London, Houdini persuaded magicians to join. The Buffalo club joined as the first branch, (later assembly) of the Society. Chicago Assembly No. 3 was, as the name implies, the third regional club to be established by the S.A.M., whose assemblies now number in the hundreds. In 1917, he signed Assembly Number Three’s charter into existence, and that charter and this club continue to provide Chicago magicians with a connection to each other and to their past. Houdini dined with, addressed, and got pledges from similar clubs in Detroit, Rochester, Pittsburgh, Kansas City, Cincinnati and elsewhere. This was the biggest movement ever in the history of magic. In places where no clubs existed, he rounded up individual magicians, introduced them to each other, and urged them into the fold.

By the end of 1916, magicians’ clubs in San Francisco and other cities that Houdini had not visited were offering to become assemblies. He had created the richest and longest-surviving organization of magicians in the world. It now embraces almost 6,000 dues-paying members and almost 300 assemblies worldwide. In July 1926, Houdini was elected for the ninth successive time President of the Society of American Magicians. Every other president has only served for one year. He also was President of the Magicians’ Club of London.[37]

In the final years of his life (1925/26), Houdini launched his own full-evening show, which he billed as “Three Shows in One: Magic, Escapes, and Fraud Mediums Exposed”.[
— https://en.wikipedia.org/wiki/Harry_Houdini

The Magic Hat Rabbit Hole Trick - Revealed: A Sort of Secret Society Forms - Sons of SAM

Founded on May 10, 1902 in the back room of Martinka’s magic shop in New York, the Society expanded under the leadership of Harry Houdini during his term as National President from 1917-1926. Houdini sought to create a large, unified national network of professional and amateur magicians. Wherever he traveled, Houdini would give a lengthy formal address to the local magic club, making speeches, and usually threw a banquet for the members at his own expense.

For most of 1916, while on his vaudeville tour, Houdini, at his own expense, had been recruiting local magic clubs to join the SAM in an effort to revitalize what he felt was a weak organization. Houdini persuaded groups in Buffalo, Detroit, Pittsburgh, and Kansas City to join. As had happened in London, Houdini persuaded magicians to join. The Buffalo club joined as the first branch, (later assembly) of the Society. Chicago Assembly No. 3 was, as the name implies, the third regional club to be established by the S.A.M., whose assemblies now number in the hundreds. In 1917, he signed Assembly Number Three’s charter, and that charter and this club continue to provide Chicago magicians with a connection to each other and to their past. Houdini dined with, addressed, and got pledges from similar clubs in Detroit, Rochester, Pittsburgh, Kansas City, Cincinnati and elsewhere. This was the biggest movement ever in the history of magic. In places where no clubs existed, he rounded up individual magicians, introduced them to each other, and urged them into the fold. By the end of 1916, magicians’ clubs in San Francisco and other cities that Houdini had not visited were offering to become assemblies. He had created the richest and longest surviving organization of magicians in the world.

The SAM now embraces over 5,000 members and almost 300 assemblies worldwide. In July, 1926, Houdini was elected for the ninth successive time President of the Society of American Magicians. Every other president has only served for one year. He also was President of the Magicians’ Club of London.[3]
Society of American Magicians Hall of Fame and Magic Museum, Los Angeles, CA[4][5] closed temporarily due to fire, contamination, and resultant litigation. After its disastrous fire, the museum’s artifacts went on exhibit at the Whittier Museum for six months beginning in September 2012.[6]
The organization pays tribute to Harry Houdini, with a broken wand ceremony on the anniversary of his death (by the Jewish calendar)[7] at his grave in Machpelah Cemetery in Ridgewood, Queens, New York City.
— https://en.wikipedia.org/wiki/Society_of_American_Magicians#History
Many people thought Hoverboards and Hoverbikes were still decades away, but these recent creations go far beyond what anyone expected......

"Special Projects:
The Martinka brothers also built the special effects for number of shows, including the classic 1939 film production of "The Wizard of Oz"."

New York City Stage Magic Moves West - Somewhere Over The Rainbow - The Secret Masons Who Made Oz - Real!

The business was founded as Martinka & Company in 1877, by two brothers: Francis and Antonio Martinka. It is claimed to be the oldest continuously operating magic shop in the United States.[1]

The back of their New York City store housed a workshop where the company was soon building magic illusions and props for virtually all the famous magicians of the day.

In 1902, the Society of American Magicians was founded in Martinka’s backroom. And, early on the Martinka magic shop became a hang-out and gathering spot where both famous and unknown, professional and amateur magicians alike could socialize, swap stories and share insights. Over the decades of its almost 150-year-old existence, generations of magic enthusiasts have congregated there.

Customers of the past included Alexander Herrmann, Harry Kellar, Howard Thurston and Houdini. And in more recent times, Woody Allen, Penn & Teller, David Copperfield and David Blaine, among others, have visited the shop.

The New York Times[1] once described the shop while owned by the Flosso’s as, “a messy Aladdin’s cave of magical marvels from trick cards and ropes to a live lion that one owner, the magician Carter the Great, kept in the back room. It was [like] a fraternity house where a visiting European magician . . . and a curious teenager from Queens might rub elbows, ideas, and magic wands.[2]

Special Projects
The Martinka brothers also built the special effects for number of shows, including the classic 1939 film production of “The Wizard of Oz”.

The Back Room
Martinka’s “Back Room” contained magical treasures dating back to the 1800s along with other secret items that were reserved for a select few. Being invited into the back room by Flosso was said by some to be a rite of passage in the world of magic.

Owners
The business has had a string of famous previous owners including Charles Joseph Carter The Great (1917), Harry Houdini (1919), Al Flosso the “Coney Island Fakir” (1939), and his son, Jackie Flosso. Today, the firm is run by Ted Bogusta and operates a brick and mortar shop with a mini museum, as well as an online magic auction. The company continues to purchase magic collections and libraries, which are used to supply magicians and collectors throughout the world with vintage and modern magic and memorabilia.

In 2004, the Martinka shop and museum relocated from NYC to Midland Park, New Jersey. The company has also now resumed the manufacture of magic tricks, illusions and props.
— https://en.wikipedia.org/wiki/Martinka

The Great Carter - Stage Illusionist - Masons Do Magic! Masons & Stage Magicians One And The Same

A native of San Francisco, California, Carter began his career as a journalist and lawyer. As time passed, he grew an interest in magic. Due to stiff competition from the number of magic acts on the American stages at the time, Carter opted to pursue his career abroad, where he achieved his greatest fame. Among the highlights of Carter’s stage performances during his career were the classic “sawing a woman in half” illusion (an elaborate surgical-themed version with “nurses” in attendance), making a live elephant disappear and “cheating the gallows”, where a shrouded Carter would vanish, just as he dropped at the end of a hangman’s noose.

Carter’s first theatrical experience occurred at the Herzog’s museum and Pat Harris’ Masonic Temple in Baltimore at the age of 10, where he appeared as “Master Charles Carter the Original Boy Magician”.

Carter purchased the famous Martinka Magic Palace in 1917, a time when he was unable to continue his world touring magic show. The story goes that he kept his lion, Monty in the back room of the shop and when it would roar, the startled customers would run for the door.

Carter’s home in San Francisco was rented by the Sumitomo Bank of California in the 1980s-90s and used as a residence for the Bank’s President. Carter used to put on shows in the basement and people still discover occult references in the stained glass windows. The house is in the Seacliff District of San Francisco near the Pacific Ocean. It is sometimes mistakenly referred to as the “Houdini Mansion”. It is now used as a foreign consulate.

Following Charles Carter’s death from a heart attack in 1936, his son Larry Carter took over as Carter the Great.

A variety of vintage posters, advertising his shows, are on display at the House on the Rock in Wisconsin.
A highly fictionalized account of his life can be found in Carter Beats the Devil (ISBN 0-7868-8632-3) by Glen David Gold.
— https://en.wikipedia.org/wiki/Charles_Joseph_Carter

"Carter purchased the famous Martinka Magic Palace in 1917, a time when he was unable to continue his world touring magic show. The story goes that he kept his lion, Monty in the back room of the shop and when it would roar, the startled customers would run for the door."

https://en.wikipedia.org/wiki/Charles_Joseph_Carter

"Jackie appeared on all black-and-white MGM films from 1928-1956 (replacing Slats), as well as the sepia-tinted opening credits of The Wizard of Oz (1939)."

CARTOONS ARE MOVING COMIC STRIPS - THE STUFF OF YELLOW JOURNALISM  THIS IS HOW YOU GET PEOPLE TO ACCEPT THE ABSURD AS PHYSICALLY POSSIBLE

Jackie, trained by Mel Koontz, was the second lion used for the MGM logo. He was the first MGM lion to roar, which was first heard via a gramophone record during MGM’s first sound production, White Shadows in the South Seas (1928). There were three very different recordings used for Jackie’s roar between 1928- c.1934. In the early years that this logo was used (1928–c.1933), there was a slightly extended version wherein, after roaring, the lion looked off to the right and returned his gaze to the front several seconds later. Jackie appeared on all black-and-white MGM films from 1928-1956 (replacing Slats), as well as the sepia-tinted opening credits of The Wizard of Oz (1939). He also appeared before MGM’s black-and-white cartoons, such as the Flip the Frog and Willie Whopper series produced for MGM by the short-lived Ub Iwerks Studio, as well as the Captain and the Kids cartoons produced by MGM in 1938 and 1939. A colorized variation of the logo can be found on the colorized version of Babes in Toyland (1934), also known as March of the Wooden Soldiers; an animated version (done via rotoscope) appeared on the 1939 Captain and the Kids cartoon Petunia Natural Park. Jackie died on February 26, 1952. He would later make a comeback at the beginning of the film Hearts of the West (1975).
— https://en.wikipedia.org/wiki/Leo_the_Lion_(MGM)#Jackie_.281928.E2.80.931956.29

https://en.wikipedia.org/wiki/Leo_the_Lion_(MGM)#Jackie_.281928.E2.80.931956.29

"...MANUFACTURE OF MAGIC TRICK, ILLUSIONS AND PROPS."

MORE CARTOONISH REASONING

The Committee on Public Information, also known as the CPI or the Creel Committee, was an independent agency of the government of the United States created to influence U.S. public opinion regarding American participation in World War I. Over just 26 months, from April 14, 1917, to June 30, 1919, it used every medium available to create enthusiasm for the war effort and enlist public support against foreign attempts to undercut America’s war aims. It primarily used propaganda techniques to accomplish these goals.

One early incident demonstrated the dangers of embroidering the truth. The CPI fed newspapers the story that ships escorting the First Division to Europe sank several German submarines, a story discredited when newsmen interviewed the ships’ officers in England. Republican Senator Boies Penrose of Pennsylvania called for an investigation and The New York Times called the CPI “the Committee on Public Misinformation.”[20] The incident turned the once compliant news publishing industry into skeptics.

Early in 1918, the CPI made a premature announcement that “the first American built battle planes are today en route to the front in France,” but newspapers learned that the accompanying pictures were fake, there was only one plane, and it was still being tested.

At other times, though the CPI could control in large measure what newspapers printed, its exaggerations were challenged and mocked in Congressional hearings.[23] The Committee’s overall tone also changed with time, shifting from its original belief in the power of facts to mobilization based on hate, like the slogan “Stop the Hun!” on posters showing a U.S. soldier taking hold of a German soldier in the act of terrorizing a mother and child, all in support of war bond sales.
— https://en.wikipedia.org/wiki/Committee_on_Public_Information

WITH EYES WIDE SHUT YOU OVERLOOK THE OBVIOUS

The Real Meaning of The Wizard of OZ and Rainbow Film References:

Harry Houdini was am illusionist who went into film. A Secret Society of Stage Magicians go West and basically start the special effects business. Houdini himself was part of the Secret Society of Magicians. The links with the masons are obvious. We can now appreciate the joke. These NASA guys are stage magicians. It has less to do with the secret societies and more to do with the history of film effects and Hollywood.

Live Action Yellow Journalism & Photographing Cartoon Physics - We Can See How Effective This Technique of Yellow Journalism Really is, People Have Been Conditioned to Believe photographic cartoons and Hollywood special effect stage magic physics are real.

COMPARE SOMETHING YOU CAN DEMONSTRATE YOURSELF AND SOMETHING THAT IS SPECIAL EFFECT

- The Real Rocket VS The JetPack

Summer hand craft! This is for those ones, who has already done with the barbecue and sun loungers on the beach! I suggest you cool idea for entertainment in the open air - a hand made Water rocket with a plastic bottle!

Rockets & Explosives Are Not Suitable For Travel - Does the way this jetpack is supposed to work really make sense to you?

All existing rocket packs are based on the construction of the “Bell Rocket Belt” pack, developed in 1960-1969 by Wendell Moore.

Moore’s pack has two major parts:

Rigid glass-plastic corset (8), strapped to the pilot (10). The corset has a tubular metallic frame on the back, on which are fixed three gas cylinders: two with liquid hydrogen peroxide (6), and one with compressed nitrogen (7). When the pilot is on the ground, the corset distributes the weight of the pack to the pilot’s back.

The rocket engine, able to move on a ball and socket joint (9) in the upper part of the corset. The rocket engine consists of a gas generator (1) and two pipes (2) rigidly connected with it, which end with jet nozzles with controlled tips (3). The engine is rigidly connected to two levers, which are passed under the pilot’s hands. Using these levers the pilot inclines the engine forward or back and to the sides. On the right lever is the thrust control throttle (5), connected via a cable to the regulator valve (4) to supply fuel to the engine. On the left lever is the steering handle, which moves the tips of the jet nozzles, allowing the pilot to control his yaw.

Operating principle of rocket engine

The whole construction is simple and reliable; except for the regulator valve and steerable nozzles, the rocket engine has no moving parts.

The figure at right shows the engine, hydrogen peroxide cylinders and compressed nitrogen cylinder (pressure c. 40 atm or 4 MPa).

The pilot turns the engine thrust control handle, opening the regulator valve (3).

Compressed nitrogen (1) displaces liquid hydrogen peroxide (2), which is piped to the gas generator (4).

There it contacts the catalyst (thin silver plates, covered with a layer of samarium nitrate) and decomposes.

The resulting hot high-pressure mixture of steam and oxygen gas enters two pipes, which emerge from the gas generator.

These pipes are covered with a layer of insulation to reduce heat loss.

Then the hot gases enter the jet nozzles (De Laval nozzles), where they are first constricted, then allowed to expand, thereby accelerating them to supersonic speed and creating reactive thrust.

Piloting[edit]

The pack has two levers, rigidly connected to the engine installation. Pressing on these levers, the pilot deflects the nozzles back, and the pack flies forward. Accordingly, raising this lever makes the pack move back. It is possible to lean the engine installation to the sides (because of the ball and socket joint) to fly sideways.

Control with the aid of the lever is somewhat rough; for finer control the pilot uses a handle on the left lever. This handle governs the tips of the jet nozzles. The tips (jetavators) are spring-opposed and can with the aid of the flexible thrusts be slanted forward or back. The pilot inclines the handle forward or back and slants both nozzle tips at the same time to fly straight. If pilot must turn, he turns handle, to slant the nozzles in opposite directions, one forward, another back, turning the pilot and the pack around its axis. By the combination of different motions of lever handles the pilot can fly any way, even sideways, to turn, rotate on the spot, etc.

The pilot can control his rocket pack’s flight differently, by changing the center of gravity of his body. For example, if we bend the legs and raise them to the stomach, the center of gravity will move forwards, and pack will be inclined and it will also fly forward. Such a control of pack, with the aid of the body, is considered incorrect and is characteristic of novices. Most experienced pilot Bill Suitor asserts that during the flight it is necessary to hold legs together and straight, and to control flight by the pack’s levers and handles. This is the only way to learn to competently pilot the pack and to confidently carry out complex aerial maneuvers.

The throttle handle is on the right lever. In the closed position it completely shuts the fuel regulator valve, stopping fuel from reaching the engine. Turning the handle counterclockwise, the pilot increases the engine thrust.

During servicing of the pack with compressed nitrogen the handle is held in the closed position with a shear pin for safety. The pilot’s timer is on the same handle. Since the pack has fuel for only for 21 seconds of flight, it is critical to know when the pack will run out of fuel, so that the pilot can safely land before his tanks are empty.
Before the flight the timer is set for 21 seconds. When the pilot turns the handle for the takeoff, the timer begins counting and will give second-by-second signals to a buzzer in the pilot’s helmet. In 15 seconds the signal becomes continuous, telling the pilot that it is time to land.
— https://en.wikipedia.org/wiki/Bell_Rocket_Belt

Plato's Cave & Cartoon Physics

Comic strips Become Comic books Which Become Cartoons (whether drawn or photographic) on the Silver Screen and then on to Television (& now the internet) all the same modus operand - "The Medium is The Massage" indeed.

Frank Luther Mott defines yellow journalism in terms of five characteristics:

• Scare headlines in huge print, often of minor news

• Lavish use of pictures, or imaginary drawings

• Use of faked interviews, misleading headlines, pseudoscience, and a parade of false learning from so-called experts

• Emphasis on full-color Sunday supplements, usually with comic strips

• Dramatic sympathy with the “underdog” against the system.
— https://en.wikipedia.org/wiki/Yellow_journalism

"One Bell Rocket Belt is on display at the Smithsonian Institution’s, National Air and Space Museum annex, the Steven F. Udvar-Hazy Center, located near Dulles Airport. Another resides at the State University of New York at Buffalo’s Department of Industrial and Systems Engineering. It has been used in presentations at Disneyland and at the 1984 Summer Olympics and 1996 Summer Olympics opening ceremonies. It has also been seen in movies and on television. This type of rocket belt was used in the 1965 James Bond film Thunderball. It also made an appearance in the Lost in Space television series as well as the 1976 CBS Saturday morning children’s live action TV show “Ark II”."

Highly Edited Special Effect Footage Below - This is Project MK Ultra - The Art of The Long Con

Today's jetpack on display. This demonstration is obviously highly edited and logically better explained as nothing but Hollywood magic. The underlying physical principles are not sound. This jetpack hoax would seem to be the inspiration for other hoaxes like the Red Bull Flying Squirrel Suit Boys, or the Red Bull Upside Down Flying Helicopter.  ( a subject for a future article)

There are many traditional darkroom techniques and modern computer compositing techniques that allow for the crafting of these kinds of fantastic images. Hollywood magic is as old as cinema as the articles on this blog have detailed. The pub;lic cannot discern publicity stunt fiction from real world fact. Most people ignore the mass media in much the same way fish ignore the water that they need to exist and that is always present around them.  

Exclusive video of the world's only real JetPack flown in New York around the Statue of Liberty. Website: http://jetpackaviation.com/ Facebook: https://www.facebook.com/jetpackaviation Twitter: https://twitter.com/jetpackaviation Instagram: https://instagram.com/jetpackaviation Be on the lookout for the JetPack documentary Own The Sky. Facebook: https://www.facebook.com/owntheskymovie Twitter: https://twitter.com/owntheskymovie Instagram: https://instagram.com/owntheskymovie/

BIRDMEN - More Highly Edited Hollywood Special Effect Footage Below- YouTube is Home To This Very Sort of Propaganda

Youtube seems to exist to promote nonsense like "Flat Earth", Space-X and of course, the nonsensical and cartoonish 'Top Gun' physics of the mythic magical, super fast, super agile, gravity defying jet fighters. Highly edited footage and plenty of positive and shallow comments promote the illusion that the United States Air Force is capable of Luke Skywalker like - Death Star destroying feats.

The guys that worked on the original Star Wars films used World War Two era model kits to craft their illusions on the studio back lot.

The bird man footage below is nonsense. Someone should have told the Wright Brothers it was this easy. Does the contraption below look like something that could really enable human being to fly? Demonstrable balletic physics clearly shows that an object will fall toward the Earth in the same amount of time, whether it was fired from a gun or not. In other words the forward thrusts independent of the downward pull of gravity. The restricted wingspan shown below, would not allow human sized beings to defy gravity. These wings are too small relative to the body size to create lift. All that could happen is the men would fall towards the Earth with some forward thrust added.

The publics supposed to believe that the United States ( and other countries ) possesses unbelievable fantastic power. Atomic energy and weaponry are a hoax. And so are jetpacks and flying men. This kind of propaganda relies on a very dumbed down and ignorant public. The public must not think as individuals, the public is meant think as a mass. We in the mass public are supposed to be specialized in whatever specific field we belong. We are not supposed to be like the Renaissance Men or polymaths. We are supposed to be conditioned to accept the appeal of both the authority and the ignorance of the mass.

Modern video communication is set up to allow for the easy distribution of propaganda for the purpose of manipulating public behavior. This is the true purpose of the military. It is a lot less about defense and a lot more about literal mind control. The military is proud of its tradition of embracing the fine art of deception.

This is Not Real

Birdman Fly over Dubai Sky Flying like a bird is always human's dream. And the dream comes true. Join Jetman Yves Rossy and . We mark a new milestone in the chapter of human flight. Join Jetman Yves Rossy and his protege, Jetman Vince Reffet as they explore the limits in the city of .

The Cartoon Man Would Plummet To His Death - His Jet Pack is Fake, But Gravity is Very Real.

There is not enough Wingspan to Allow for Lift.

A Cartoon Stuntman

Swiss Jetman Yves Rossy attempting to fly across the Grand Canyon hits a Snag.
Yves Rossy (born 27 August 1959) is a Swiss military-trained pilot and an aviation enthusiast. He is known as the inventor of a series of experimental individual jet packs, the latest using carbon-fiber wings for flight. Often referred to as “Jetman”, Rossy has sometimes tested and presented new versions of his jet packs in high-profile events staged around the world.

Rossy was born in the Swiss canton of Neuchâtel in 1959. He served as a fighter pilot in the Swiss Air Force, where he flew Dassault Mirage IIIs, Northrop F-5 Tiger IIs, and Hawker Hunters. He piloted Boeing 747s for Swissair, and later for Swiss International Air Lines.

Rossy developed and built a wing-suit system comprising a backpack equipped with semi-rigid aeroplane-type carbon-fiber wings—with a span of about 2.4 metres (7.9 ft)—powered by four Jet-Cat P200 jet engines, modified from large kerosene-fueled model aircraft engines. This has led to him being referred to in the press by various monikers, such as The Airman, Rocketman, Fusionman, and—most commonly—Jetman.

Developmental flights

Rossy’s jet-powered wing
Since 2007, Rossy has conducted some of his flight tests from a private airfield, Skydive Empuriabrava, in Empuriabrava (Girona, Costa Brava), Spain.[3]

In 2008, Rossy made a flight over the Alps Mountain Range, reaching a top speed of 304 kilometres per hour (189 mph), and an average speed of 200 kilometres per hour (120 mph).

Leaping from a helicopter at an altitude of 8,200 feet (2,500 meters) over Calais, France, Rossy crossed the English Channel with a single jet-powered wing strapped on his back, wearing only a helmet and a flight suit for protection, on 26 September 2008. Reaching speeds of over 125 miles per hour (200 km/hr), he made the 22-mile (35-km) flight to England in 13 minutes, completing it with a series of celebratory loops.

In November 2009, Rossy attempted a crossing of the Strait of Gibraltar, hoping to be the first person to fly between two continents using a “Jet pack”. He leapt from a small plane about 1,950 m (6,500 ft) above Tangier in Morocco and headed in the direction of Atlanterra, Spain. The flight was expected to take about a quarter of an hour. Strong winds and cloud banks forced Rossy to ditch into the sea just three miles from the Spanish coast, where his support helicopter picked him up ten minutes later, unhurt. The Spanish Coast Guard retrieved the jetpack, which was equipped with a parachute and float.

On 5 November 2010, Rossy flew a new version of his jet-powered flight system and successfully performed two aerial loops before landing via parachute. He had launched from a hot air balloon piloted by Brian Jones at 2,400 meters (7,900 feet).

On 7 May 2011, Rossy reportedly flew above the Grand Canyon in Arizona. The United States Federal Aviation Administration (FAA) had classified his flight system as an aircraft. When it finally granted him a license, the FAA waived the normal 25 to 40 hours of flight testing time, and Rossy acted quickly to complete his flight. Reporters, who had been waiting nearby since the cancellation of the original scheduled flight—on the day before—were not informed. There were, therefore, no independent witnesses to document his flight.

Latest media and event appearances

Rossy was featured on an episode of Stan Lee’s Superhumans.[13] He has appeared on the BBC’s Top Gear, where he raced Richard Hammond and Toni Gardemeister.
Rossy was a main attraction at the 2013 Experimental Aircraft Association AirVenture Fly-In, America’s largest fly-in.

October 2015 sustained flight.

On 13 October 2015, Rossy and Vince Reffet, wearing jetpacks, deployed from a helicopter flying at 5,500 feet (1,676 meters) and flew in a choreographed demonstration with an Emirates Airbus A380 cruising at an altitude of 4,000 feet (1,219 meters) over Dubai.[16][17] The flights were documented by the use of helmet-mounted cameras and third-party videos released in early November 2015. The videos show the pair soaring and diving around the airliner, flying in formation with it for about ten minutes.[18]

A television program “City in the Sky, part 2”[19] about how airliner flights are run, showed at its start Yves Rossy and Vince Reffet flying in Rossy-type jetpacks, to show some principles of how airliners fly. It said that before being allowed to jetpack-fly in Britain, he had to get himself registered as an aeroplane; but he was exempted from the seat-belt rule. It showed him being lifted to flying height on the outside of a helicopter. He had to fall a distance to build up enough air speed for his airfoils to work.
— https://en.wikipedia.org/wiki/Yves_Rossy

Today: A Desktop Software Solution

Compositing is easier today, with computer software, but the underlying principles are the same as the older photographic darkroom techniques.

DOWNLOAD PROJECT FILES FROM OUR BLOG AT: http://www.VideoFort.com In this tutorial VideoFort Don teaches you how to fly using After Effects. Start out by filming your actor jumping into the air, then running out of frame as soon as you land. A tripod is necessary so that frame jumps don't occur when editing your final shot.
Website: http://jetpackaviation.com/ Facebook: https://www.facebook.com/jetpackaviation Twitter: https://twitter.com/jetpackaviation Instagram: https://instagram.com/jetpackaviation

The supposed "practice" harness set up. Does this make sense as anything but the art of apologetics? This is a cover for the obvious fact that this so-called jetpack is nothing but Hollywood art. The clothes line like setup does not relate to how the jetpack is supposed to maneuver does it? Read how the jetpack is supposed to work and compare to the "practice" photographs. The hook and pulley system would not emulate the thrust of the jetpack. This man would simply slide along the 'clothes line' would he not? The actual effect looks more like a crane was used. or some other kind of rigging that works along this lines.

http://newatlas.com/jetpack-aviation-new-york-flight/40286/pictures

BELOW - The Art of Apologetics: This Video Has To Be Fake.

These Men Would Have Put A Passengerr Jet In Danger. Wouldn't This Be a Problem?

This video was supposed to be have posted to explain how this is a real and actual stunt and not a fakeHollywood production.

How does this show that this isn't just Hollywood Special Effects? This is nothing but a publicity stunt. The jetpack would never fly. The men would have fallen to their potential deaths. These jetpacks are obviously not aeronautically designed. Forward thrust alone does not mean flight as ballistic physics clearly shows. This is advertisement for the Emirates Airline. It is very deceptive propaganda and nothing more. This highly edited video is meaningless as science. If this was real and something went wrong, these aircraft could have crashed into the city of Dubai and (potentially) into buildings, no? Who in their right mind would think filming this kind of stunt for real is a good idea at all, even if the tech was something that wasn't just fantasy. 

Learn how the Emirates Airbus A380 and Jetman Dubai flew together in a breathtaking formation flight over Dubai to make aviation history, in this exclusive behind the scenes video. http://bit.ly/Hello_Jetman #HelloJetman
The Emirates A380 and Jetman Dubai team recently took to the skies of Dubai for an extraordinary formation flight which showcases just how far aviation has come. The formations were conducted over the Palm Jumeirah and Dubai skyline with Burj Khalifa in the background.

While the formation flight looked effortless on film, painstaking planning and meticulous collaboration with an intense focus on safety drove all efforts.

The carefully choreographed aerial showcase involved the world’s largest passenger aircraft flying at 4,000 feet in two holding patterns. The A380 aircraft was then joined by the Jetman Dubai duo, experienced pilots and operators of the smallest jet propelled wing, who were deployed from a helicopter that hovered above the aircraft at 5,500 feet. The duo conducted formations on both sides of the aircraft and joined to one side thereafter before breaking away.
— http://www.snopes.com/jetman-dubai-viral-video/

http://www.snopes.com/jetman-dubai-viral-video/

A History of Flying Men

Does any of this really make sense as anything but a publicity stunt? Here the stunt is used to promote the idea that the Military Industrial Entertainment Complex™ can perform magical and fantastic feats. The public has been seeing such imagery for as long as there has been a visual moving medium. The public treats special effect Hollywood material as the real thing. In fact the footage most take for real is actual "reel magic". Early footage was faked and this established the illusion that such technology was real. As real aeronautical engineering developed, the same companies were also developing Hollywood film techniques and miniature work. Models are very important to the design process of course. These companies would also have been well aware of things like radio control.

Bell Aerosystems began development of a rocket pack which it called the “Bell Rocket Belt” or “man-rocket” for the US Army in the mid 1950s. It was demonstrated in 1961 but 5 gallons of hydrogen peroxide as fuel for 21 seconds of flight time did not impress the army and development was cancelled. This concept was revived in the 1990s and today these packs can provide powerful, manageable thrust. This rocket belt’s propulsion works with superheated water vapour. A gas cylinder contains nitrogen gas, and two cylinders containing highly concentrated hydrogen peroxide. The nitrogen presses the hydrogen peroxide onto a catalyst, which decomposes the hydrogen peroxide into a mixture of superheated steam and oxygen with a temperature of about 740 °C. This was led by two insulated curved tubes to two nozzles where it blasted out, supplying the propulsion. The pilot can vector the thrust by altering the direction of the nozzles through hand-operated controls. To protect from resulting burns the pilot had to wear insulating clothes.

The Bell Rocket Belt was successful and popular but was limited in its potential uses to the Army due to limited fuel storage. As a result, the Army turned its attention to missile development, and the Rocket Belt project was discontinued.

One Bell Rocket Belt is on display at the Smithsonian Institution’s, National Air and Space Museum annex, the Steven F. Udvar-Hazy Center, located near Dulles Airport. Another resides at the State University of New York at Buffalo’s Department of Industrial and Systems Engineering. It has been used in presentations at Disneyland and at the 1984 Summer Olympics and 1996 Summer Olympics opening ceremonies. It has also been seen in movies and on television. This type of rocket belt was used in the 1965 James Bond film Thunderball. It also made an appearance in the Lost in Space television series as well as the 1976 CBS Saturday morning children’s live action TV show “Ark II”.

DEVELOPMENT

Wendell F. Moore began working on a rocket pack as early as 1953 (possibly, after learning about Thomas Moore’s work) while working as an engineer at Bell Aerosystems. Experiments began in the mid-1950s. Developing the engine did not present difficulties — the application of hydrogen peroxide was well developed by missilemen. The main problem was achieving stable and steady flight; for this, a reliable and convenient control system had to be developed.

In 1959 the U.S. Army contracted Aerojet General to conduct feasibility studies on a Rocket Belt and contracted Bell Aerosystems to develop a Small Rocket Lift Device (SRLD). The experimental rig, which worked on compressed nitrogen, was prepared. Its steel tubing frame allowed a tester to be attached to the rig. Two hinged nozzles were set on the frame. Nitrogen at 35 atmospheres (3.5 MPa) was supplied to the nozzles by flexible hoses. An engineer-operator on the ground regulated the supply of nitrogen through a valve. Additionally, the tester regulated the thrust using levers under his shoulders. The tester inclined the nozzles forward and backward, trying to reach stable hovering at a limited height. A safety tether was attached from below, so that the rig and tester could not fly too high.

Testing

The first tests showed that the human body was a very unstable platform. Testing found the best arrangement for the jet nozzles relative to the center of gravity of both the pilot and pack that allowed for directional control. Wendell Moore and other members of his group participated in the test flights. These first flights were just sharp leaps, but proved the concept and persuaded the military to fund development. The Bell company was awarded a contract to develop, flight test, and demonstrate a practical SRLD.

A rocket motor with a thrust of 280 pounds-force (1.25 kN or 127 kgf) was chosen. The pack with its fuel weighed 125 lb (57 kg). The pack had a fiberglass frame contoured to fit the operator’s body, secured with straps, and cylinders of fuel and nitrogen were attached to the frame. The motor was fastened using a hinged assembly that was controlled by levers under the shoulders while thrust was controlled through a regulator assembly connected to a throttle handle on the right lever of the device. The handle on the left lever governed the slant of the (jetavators) nozzles. Tests of the pack began toward the end of 1960 and were performed in a large hangar with a safety tether. Wendell Moore completed the first 20 tethered takeoffs while making incremental improvements.

On 17 February 1961, the pack veered sharply, reaching the end of the safety tether, which then broke, causing Moore to fall approximately 2.5 meters, breaking his kneecap. He could no longer fly. Engineer Harold Graham took over as test pilot and testing resumed on 1 March. He then carried out 36 more tethered tests which enabled them to achieve stable control of the pack.

On 20 April 1961 (the week after Yuri Gagarin’s flight), on a vacant spot near the Niagara Falls airport, the first free flight of a rocket pack was performed. Harold Graham reached an height of approximately 4 feet (1.2 meters), and then flew smoothly forward at a speed of approximately 10 km/h for a distance of 108 feet (less than 35 meters) and then landed. The flight lasted 13 seconds

In subsequent flights Graham learned how to control the pack and perform more complex maneuvers: flying in a circle and turning on a spot. He flew over streams and cars, ten-meter hills, and between trees. From April through May 1961 Graham carried out 28 additional flights. Wendell Moore worked to achieve reliability from the pack and confident piloting from Graham in preparation of presenting the rocket pack to the public. In the course of testing maximums of duration and distance were achieved: duration 21 seconds; range 120 m; height 10 m; speed, 55 km/h.

Demonstrations

On 8 June 1962, the pack was publicly demonstrated for the first time before several hundred officers at the Fort Eustis military base. Other public demonstrations then followed, including the famous flight in the Pentagon courtyard. On that day Harold Graham flew before 3000 members of the military department, who observed with enthusiasm.

On 11 October 1961, (according to other data, 12 October) the pack was demonstrated personally to President John F. Kennedy in the course of experimental maneuvers on the military base Fort Bragg. Graham took off from an amphibious LST, flew over a strip of water, and landed in front of the President.
Harold Graham and a support crew travelled to many cities in the USA. They visited Canada, Mexico, Argentina, Germany, and France, as well as other countries. Each time they successfully demonstrated the rocket pack in action before the public. However, the army was disappointed. The maximum duration of flight of the rocket pack was 21 seconds, with a range of only 120 m. A large contingent of service personnel needed to accompany the rocket pack. During flight 5 U.S. gallons (19 liters) of hydrogen peroxide was expended. In the opinion of the military, the “Bell Rocket Belt” was more a spectacular toy than an effective means of transport. The army spent $150,000 on the Bell Aerosystems contract. Bell spent an additional $50,000. The army refused any further expenditure on the SRLD program, and the contract was cancelled.
— https://en.wikipedia.org/wiki/Bell_Rocket_Belt
The resulting hot high-pressure mixture of steam and oxygen gas enters two pipes, which emerge from the gas generator.

These pipes are covered with a layer of insulation to reduce heat loss.

Then the hot gases enter the jet nozzles (De Laval nozzles), where they are first constricted, then allowed to expand, thereby accelerating them to supersonic speed and creating reactive thrust.
— https://en.wikipedia.org/wiki/Bell_Rocket_Belt#Operating_principle

https://en.wikipedia.org/wiki/Bell_Rocket_Belt#Operating_principle

Augmented Reality is Not New - It Used To Be Called Film, TV, Radio, Print and Word of Mouth Hearsay

Radio Control Fakery - Even Model Planes Can't Fly Upside Down

How does the camera follow along with the plane? The camera can zoom, but how does it fly along with the plane when the plane is performing its stunts? The plane is supposed to be flying up high in the air. The perspective does not change as it should. The camera can somehow fly up and keep its perspective in relative position as the plane tumbles and rolls. At about 5:13 in the clip below please notice the clouds in the background and how they seem to move. This would mean the camera had to have been flying, no?

Giant 1/3 Scale RC YAK 11

The aileron's in the footage above and in a lot of the jet fighter footage I have seen, never show the ailerons moving.

How can these airplanes and jets bank and roll when the ailerons never move? 

Please keep this in mind when viewing any of the fighter jet and even radio control footage. Of course even if the ailerons or the rudderare shown moving, we can still be looking at a model and Hollywood special effect job.

But if we see that the ailerons and other such flaps are not moving, we have a problem that cannot be ignored.

How can this Jet Perform This Feat? Notice How The Ailerons Cannot Be Responsible For This Stunt

Do you see the aileron's move in these clips? How can this fighter jet be performing this maneuver without any physical means to do so? How can we not think this is nothing but Hollywood magic?

The Impossible Visualized: "Fly Into The Danger Zone"

Please Notice That There Is No Motion Blur Due To The Plane’s (or Jet’s) High Speed In Any of The Footage, Even The Old Footage.
Perhaps modern footage could be captured with high speed film or video, but the older footage should exhibit motion blur. Move your hand fast in front of your face or look at a fan and you will see motion blur.
This would indicate that what we are seeing is smaller in size and not moving that fast and the result of Hollywood Special Effect Film technique.

'Rudder' Me This - How Can This Not Be Fake?

One way to understand control surfaces is to build yourself a paper plane and experiment. First, build yourself a basic paper plane and make sure it flies in a straight line. Then cut or rip the back of the wings to make some ailerons. Tilt them up and down and see what effect they have in different positions. Tilt one up and one down and see what difference that makes. Then try making a new plane with one wing bigger than the other (or heavier, by adding paperclips). The way to make a paper plane steer is to get one wing to generate more lift than the other—and you can do this in all kinds of different ways!
— http://www.explainthatstuff.com/howplaneswork.html

http://www.explainthatstuff.com/howplaneswork.html

Please Notice The Camera Moves with This High Speed Craft  and Please Notice How The Ailerons and Rudder Do Not Move

Hit me up on Facebook http://www.facebook.com/Xrm150 or follow me on Google+ http://plus.google.com/+Xrm150! This is the F-16 Fighting Falcon demo from the 2009 Sun N Fun Flyin! I must say the F-16 puts on the most aggressive demos...followed close by the F-15. That one engine sure does put out alot of noise!

The Aileron

An aileron (French for ‘little wing’) is a hinged flight control surface usually forming part of the trailing edge of each wing of a fixed-wing aircraft. Ailerons are used in pairs to control the aircraft in roll (or movement around the aircraft’s longitudinal axis), which normally results in a change in flight path due to the tilting of the lift vector. Movement around this axis is called ‘rolling’ or ‘banking’.

The aileron was first patented by the British scientist and inventor Matthew Piers Watt Boulton in 1868, based on his 1864 paper On Aërial Locomotion. Even though there was extensive prior art in the 19th century for the aileron and its functional analog, wing warping, in 1906 the United States granted an expansive patent to the Wright Brothers of Dayton, Ohio for the invention of a system of aerodynamic control that manipulated an airplane’s control surfaces. Considerable litigation ensued within the United States over the legal issues of lateral roll control, until World War I which compelled the U.S. Government to legislate a legal resolution.
— https://en.wikipedia.org/wiki/Aileron

The Rudder

On an aircraft, the rudder is a directional control surface along with the rudder-like elevator (usually attached to horizontal tail structure, if not a slab elevator ) and ailerons (attached to the wings) that control pitch and roll, respectively. The rudder is usually attached to the fin (or vertical stabilizer) which allows the pilot to control yaw about the vertical axis, i.e. change the horizontal direction in which the nose is pointing. The rudder’s direction in aircraft since the “Golden Age” of flight between the two World Wars into the 21st century has been manipulated with the movement of a pair of counter-moving foot pedals by the pilot, while during the pre-1919 era rudder control was most often operated with by a center-pivoted, solid “rudder bar” which usually had pedal and/or stirrup-like hardware on its ends to allow the pilot’s feet to stay close to the ends of the bar’s rear surface.

In practice, both aileron and rudder control input are used together to turn an aircraft, the ailerons imparting roll, the rudder imparting yaw, and also compensating for a phenomenon called adverse yaw. A rudder alone will turn a conventional fixed-wing aircraft, but much more slowly than if ailerons are also used in conjunction. Use of rudder and ailerons together produces co-ordinated turns, in which the longitudinal axis of the aircraft is in line with the arc of the turn, neither slipping (under-ruddered), nor skidding (over-ruddered). Improperly ruddered turns at low speed can precipitate a spin which can be dangerous at low altitudes.

Sometimes pilots may intentionally operate the rudder and ailerons in opposite directions in a maneuver called a slip. This may be done to overcome crosswinds and keep the fuselage in line with the runway, or to more rapidly lose altitude by increasing drag, or both. The pilots of Air Canada Flight 143 used a similar technique to land the plane as it was too high above the glideslope.
— https://en.wikipedia.org/wiki/Rudder#Aircraft_rudders
Pilot Training Playlist: http://www.youtube.com/playlist?list=PLCA6387BA013F9A4D more at http://scitech.quickfound.net/aviation_news_and_search.html The barrel roll aerobatic maneuver is demonstrated on a US Navy SNJ trainer aircraft (aka North American T-6 Texan or Harvard). 8th in a series of 9 pilot training films. US Navy Training Film MN-7398-H Public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.

Yellow Journalism Warning!

Joseph Campbell defines yellow press newspapers as having daily multi-column front-page headlines covering a variety of topics, such as sports and scandal, using bold layouts (with large illustrations and perhaps color), heavy reliance on unnamed sources, and unabashed self-promotion. The term was extensively used to describe certain major New York City newspapers around 1900 as they battled for circulation.[3]

Frank Luther Mott defines yellow journalism in terms of five characteristics:[4]

scare headlines in huge print, often of minor news
lavish use of pictures, or imaginary drawings
use of faked interviews, misleading headlines, pseudoscience, and a parade of false learning from so-called experts
emphasis on full-color Sunday supplements, usually with comic strips
dramatic sympathy with the “underdog” against the system.
— https://en.wikipedia.org/wiki/Yellow_journalism
Daniel John Maloney (circa 1879 – July 18, 1905) was an American pioneering aviator and test pilot who made the first high-altitude flights by man using a Montgomery glider in 1905.

A native of the Mission district in San Francisco, California, Daniel Maloney started his career in aviation by making parachute jumps and trapeze stunts from tethered hot-air balloons in the 1890s at Glen Park, San Francisco and Idora Park in Oakland. For these events he would often adopt the name “Professor Lascelles” or “Jerome Lesalles” although he was never formally trained as a professor. Many of the parachute jumps occurred at heights of 500–800 feet above the ground. By 1904 he became a full-time aerial exhibitionist.

Maloney was hired by John J. Montgomery in early 1905 to serve as an aeronaut for a tandem-wing glider design called the Montgomery Aeroplane. In February 1905, Maloney was trained by Montgomery on the workings of the glider at Aptos, California through a series of unmanned ballasted test flights, with the goal of launching the glider at high altitudes after ascending under a hot-air balloon. On March 16, 1905, this method was attempted for the first time with Maloney as pilot from Leonard’s Ranch at La Selva near Aptos. After a first failed launch attempt, on a second attempt Maloney was carried aloft in the glider under the balloon, released at an estimated 800 feet, and glided back under full control to a landing in a nearby apple orchard without damage. On March 17, 1905 a second flight, Maloney released at an estimated 3,000 feet above ground, and controlled the glider through a set of pre-defined turns at 45 degree bank angles back to the launch location with a successful landing. On March 20, 1905, Maloney was once again launched in the glider under the balloon, released at 3,000 feet above ground, and repeated the performance of March 17 with a flight of 18 minutes duration. These experiments of March 1905 were made in a private setting, with Montgomery increasing the Maloney’s control authority over the aircraft on each subsequent flight.

With each flight Maloney was able to control the glider through wing warping and a controllable elevator, and landed lightly on his feet.

On April 29, 1905, Maloney repeated these performances through a public exhibition at Santa Clara College as Montgomery’s aeronaut. By this time the glider had been re-christened as The Santa Clara in honor of the college. With a large crowd and members of the local press on hand, Maloney released at an estimated 4,000 feet above ground level, and glided in full control for roughly 20 minutes to a perfect landing a predetermined location.

This flight was the first public exhibition of a controlled heavier-than-air flying machine in the United States. Maloney and Montgomery made repeated demonstrations of the glider at various locations in the Bay area in the spring of 1905 with varying degrees of success owing to the complicated nature of hoisting the balloon aloft with a glider tethered beneath.

On July 18, 1905 Maloney and Montgomery repeated their demonstration at Santa Clara College. However, during the ascension a rope from the balloon struck the glider and damaged the rear cabane. Upon release from the balloon at altitude, and after making a few circles under complete control, Maloney dove the aircraft to increase speed and pulled up.

The glider suffered structural failure and plummeted to the Earth. Daniel Maloney died as a result of the injuries suffered during this crash. It remains unknown if Maloney was aware of the damage to the glider prior to release or did not think that the damage was severe enough to cause a structural failure.

Maloney was buried at the nearby Santa Clara Mission Cemetery.
— https://en.wikipedia.org/wiki/Daniel_J._Maloney

https://en.wikipedia.org/wiki/Daniel_J._Maloney

An Early History of Barrel Rolls

Pilot Training Playlist: http://www.youtube.com/playlist?list=PLCA6387BA013F9A4D more at http://scitech.quickfound.net/aviation_news_and_search.html The wingover roll aerobatic maneuver is demonstrated on a US Navy SNJ trainer aircraft (aka North American T-6 Texan or Harvard). 7th in a series of 9 pilot training films. US Navy Training Film MN-7398-G Public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
Pilot Training Playlist: http://www.youtube.com/playlist?list=PLCA6387BA013F9A4D more at http://scitech.quickfound.net/aviation_news_and_search.html The barrel roll aerobatic maneuver is demonstrated on a US Navy SNJ trainer aircraft (aka North American T-6 Texan or Harvard). 8th in a series of 9 pilot training films. US Navy Training Film MN-7398-H Public domain film from the US Navy, slightly cropped to remove uneven edges, with the aspect ratio corrected, and one-pass brightness-contrast-color correction & mild video noise reduction applied.
Website: http://wyatt277.weebly.com/ **Remember TO LIKE, The best way to get in contact with me is through my Twitter page or direct messaging me on Youtube!** *Please note: I do own this content
Swedish fighter jet J35J Draken simulator, with integrated G-suit and instruments. At Novel Air Sweden (novelair.com) Skiplist: 5:50 intercept of MD-80 7:09 hard turn between two antennas 7:43 free flying 10:10 loop 11:00 9 g! 13:10 my home 16:20 prepairing to land at Arlanda airport 18:20 on final

A Simulation - Above

READ THIS FIRST. This video was taken October 29, 2010 during my flight simulator experience at the Flight Experience in Singapore. It's a 30-minute flight from Manila to Clark. This video only includes the important scenes throughout the flight. :) Any questions, hit me up in the comments section.

YOU Will BELIEVE A MAN CAN FLY

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Good, Thankless Effects: “Stealth”

The first in the FXRant series, “Good, Thankless Effects.”

”Stealth” (2005), directed by Mr. Cohen, is a ridiculously bad movie. The plotting, story and characters are as childish as a Chuck Norris action flick from the ‘80’s. Its central theme, the struggle between humanity and robotics, is as old as science fiction itself, and this garbage-film adds nothing to the mythology of this classic theme. But there are some really good visual effects in the picture, and with a bit of directorial restraint, the film could have easily been something unforgettable.

The most successful visual effects shots from “Stealth” are those of the futuristic stealth bombers landing, taxi’ing, and taking off from seabound aircraft carriers.

For all intents and purposes, these shots look and feel completely photoreal. There are no tip offs or visual cues to lead the audience to believe that these shots are anything other than natural, in-camera work. For all we know, the filmmakers got their hands on some amazing new military planes, and is cooperating with the military on the making of the movie. Of course, the reality is that these futuristic jets don’t exist in the real world.

Completely realistic CG planes are nothing new; however, what makes these aircraft carrier shots in “Stealth” special is that the background photography is extremely naturalistic. The camera moves effortlessly around the planes; the shots don’t ‘feel’ like effects shots, since the camera moves are part of the film. Even the shots of the fighters taking off and landing have pleasant camera choreography. Probably the single biggest advancement in the quality and plausibility of visual effects shots in the digital age is the relative simplicity of camera matchmoving complicated live-action camera moves. The ability to recover the precise placement and pan/tilt information from the film camera has allowed visual effects shots to graduate away from lockoffs and stilted motion control moves. Now, it’s completely normal for a visual effects film, even one with hundreds or even thousands of shots, to not have a single true lockoff or motion control setup.

Going 100% virtual with the environment frees filmmakers of these limitations. With a purely CG world, you can move your camera anywhere you want— fly around canyons, fly through clouds, create the exact valley necessary to support your animation. etc. Unfortunately, because we can move the camera however we want, it places a heavy responsibility for the virtual cameraperson to fly plausible flight paths and to create animation and choreography that is believable.

And this is where “Stealth” stumbles. 100% synthetic environments, no matter how brilliantly rendered or art-directed, can seem small and wrong with bad camera choreography and animation. With each scene, Mr. Cohen raises the stakes, and the velocity, and the visual effects just can’t keep up. Cameras whip and tumble around the planes in acrobatic paths, so implausible they make the virtual cinematography for “Spider-Man” and “Van Helsing” look serene. The ridiculousness-meter continues to rise as the film progresses, with staggering implausibility, dopey character choices, and just plain darn childish storytelling.
— http://fxrant.blogspot.com/2007/10/good-thankless-effects-stealth.html
Dr. Strangelove movie clips: https://www.youtube.com/playlist?list=PLZbXA4lyCtqofD2-h3xInLvQuYcFUHvTB BUY THE MOVIE: http://amzn.to/sfVV1y Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr CLIP DESCRIPTION: When Kong (Slim Pickens) tries to fix the bomb door, he accidentally opens it and ends up riding it all the way down.
http://AviationExplorer.com - NEWLY EDITED VERSION As part of the Dash 80s demonstration program, Bill Allen invited representatives of the Aircraft Industries Association and International Air Transport Association to the Seattle's 1955 Seafair and Gold Cup Hydroplane Races held on Lake Washington on August 6, 1955.

Helicopters fly like this, not planes.

Champion radio controlled aircraft pilot Frazer Briggs shows off his skills with an extreme aerobatics performance at the Flair 2011 aviation expo at Te Kowhai Airfield near Hamilton, New Zealand. Flair: http://www.nzflair.co.nz -- http://www.aviationfilm.com Copyright © 2011 Historical Aviation Film Unit This video material may not be reproduced in any form (except as an embedded video on any other website), without the written permission of the Historical Aviation Film Unit.

Dr. Strangelove & Barrel Rolls - Stanley Kubrik Resurfaces!

I should have known it, but I didn't expect this to lead to Stanley Kubrik. Considering the obvious history of clear connections between the Military Industrial Complex and Hollywood, these film references come across as inside jokes.

The sort of joke that would lead people to grin with duping delight. 

https://en.wikipedia.org/wiki/Stanley_Kubrick

ALVIN M. JOHNSON

Johnston is best known for performing a barnstormer-style barrel roll maneuver with Boeing’s pioneering 367-80 jet in a demonstration flight over Lake Washington outside Seattle, on August 7, 1955.[6] The maneuver was caught on film and was frequently shown on the Discovery Wings cable channel in a three-minute short as part of the Touched by History series, while the channel still aired. Called before the then-president of Boeing, Bill Allen, for rolling the airplane, Johnston was asked what he thought he was doing, and responded with “I was selling airplanes”. He kept his position as a test pilot, and did not get in legal trouble for his actions. Along with his cowboy style of dress, such maverick behavior is said to have inspired the creation of Dr. Strangelove’s Maj. T.J. “King” Kong character, who, in rodeo style, rode a balky nuclear weapon to its target.
— https://en.wikipedia.org/wiki/Alvin_M._Johnston
http://www.dynamicartsgallery.com/ Airliner Art... Each Aircraft drawing are painstakingly researched and meticulously digitally created and painted allowing accuracy and detail. I can produce commissions for customized airline livery prints, so if you would like an artist's impression of your favourite aircraft in in any proposed colour or livery design you will be offered a first class service.

Space Odyssey:  Outer Space Only Exists On The Silver Screen

Stanley Kubrick (/ˈkuːbrɪk/; July 26, 1928 – March 7, 1999) was an American film director, screenwriter, producer, cinematographer, editor, and photographer. Part of the New Hollywood film-making wave, he is frequently cited as one of the greatest and most influential directors in cinematic history. His films, which are typically adaptations of novels or short stories, cover a wide range of genres, and are noted for their realism, dark humor, unique cinematography, extensive set designs, and evocative use of music.

Kubrick grew up in the Bronx in New York City, and attended William Howard Taft High School from 1941 to 1945. Although he only received average grades, Kubrick displayed a keen interest in literature, photography, and film from a young age, and taught himself all aspects of film production and directing after graduating from high school. After working as a photographer for Look magazine in the late 1940s and early 1950s, he began making short films on a shoestring budget, and made his first major Hollywood film, The Killing, for United Artists in 1956. This was followed by two collaborations with Kirk Douglas, the war picture Paths of Glory (1957) and the historical epic Spartacus (1960). His reputation as a filmmaker in Hollywood grew, and he was approached by Marlon Brando to film what would become One-Eyed Jacks (1961), though Brando eventually decided to direct it himself. Creative differences arising from his work with Douglas and the film studios, a dislike of Hollywood, and a growing concern about crime in America prompted Kubrick to move to the United Kingdom in 1961, where he spent most of the remainder of his life and career. His home at Childwickbury Manor in Hertfordshire, which he shared with his wife Christiane, became his workplace, where he did his writing, research, editing, and management of production details. This allowed him to have almost complete artistic control over his films, but with the rare advantage of having financial support from major Hollywood studios. His first British productions were two films with Peter Sellers, Lolita (1962) and Dr. Strangelove (1964).

Kubrick is noted for his attention to detail and skillful use of music. A demanding perfectionist, he assumed control over most aspects of the filmmaking process, from direction and writing to editing, and took painstaking care with researching his films and staging scenes, working in close coordination with his actors and other collaborators. He often asked for several dozen retakes of the same scene in a movie, which resulted in many conflicts with his casts. Despite the resulting notoriety among actors, many of Kubrick’s films broke new ground in cinematography. The scientific realism and innovative special effects of 2001: A Space Odyssey (1968) were without precedent in the history of cinema, and the film earned him his only personal Oscar, for Best Visual Effects. Steven Spielberg has referred to the film as his generation’s “big bang”, and it is often included in polls of the greatest films ever made. For the 18th-century period film Barry Lyndon (1975), Kubrick obtained lenses developed by Zeiss for NASA, to film scenes under natural candlelight. With The Shining (1980), he became one of the first directors to make use of a Steadicam for stabilized and fluid tracking shots.

During the production of Paths of Glory in Munich in early 1957, Kubrick met and romanced the German actress Christiane Harlan, who played a small though memorable role in the film. Kubrick married Harlan in 1958, and the couple remained together 40 years, until his death in 1999. Besides his stepdaughter, they had two daughters together: Anya Renata (April 6, 1959 – July 7, 2009) and Vivian Vanessa (born August 5, 1960).[266] In 1959 they settled into a home at 316 South Camden Drive in Beverly Hills with Harlan’s daughter, Katherina, aged six.[267] They also lived in New York, during which time Christiane studied art at the Art Students League of New York, later becoming an independent artist.[268] The couple moved to the United Kingdom in 1961 to make Lolita, and Kubrick hired Peter Sellers to star in his next film, Dr. Strangelove, Sellers was unable to leave the UK, so Kubrick made Britain his permanent home thereafter. The move was quite convenient to Kubrick, since he shunned the Hollywood system and its publicity machine, and he and Christiane had become alarmed with the increase in violence in New York.[269]


Kubrick’s Childwickbury Manor in Hertfordshire, England

In 1965 the Kubricks bought Abbots Mead on Barnet Lane, just south of the Elstree/Borehamwood studio complex in England. Kubrick worked almost exclusively from this home for 14 years where, with some exceptions, he researched, invented special effects techniques, designed ultra-low light lenses for specially modified cameras, pre-produced, edited, post-produced, advertised, distributed and carefully managed all aspects of four of his films. In 1978, Kubrick moved into Childwickbury Manor in Hertfordshire, a mainly 18th century stately home, which was once owned by a wealthy racehorse owner, about 30 mi (50 km) north of London and a 10-minute drive from his previous home at Abbotts Mead. His new home became a workplace for Kubrick and his wife, “a perfect family factory” as Christiane called it,[270] and Kubrick converted the stables into extra production rooms besides ones within the home that he used for editing and storage.During the production of Paths of Glory in Munich in early 1957, Kubrick met and romanced the German actress Christiane Harlan, who played a small though memorable role in the film. Kubrick married Harlan in 1958, and the couple remained together 40 years, until his death in 1999. Besides his stepdaughter, they had two daughters together: Anya Renata (April 6, 1959 – July 7, 2009) and Vivian Vanessa (born August 5, 1960).[266] In 1959 they settled into a home at 316 South Camden Drive in Beverly Hills with Harlan’s daughter, Katherina, aged six.[267] They also lived in New York, during which time Christiane studied art at the Art Students League of New York, later becoming an independent artist.[268] The couple moved to the United Kingdom in 1961 to make Lolita, and Kubrick hired Peter Sellers to star in his next film, Dr. Strangelove, Sellers was unable to leave the UK, so Kubrick made Britain his permanent home thereafter. The move was quite convenient to Kubrick, since he shunned the Hollywood system and its publicity machine, and he and Christiane had become alarmed with the increase in violence in New York.[269]


Kubrick’s Childwickbury Manor in Hertfordshire, England
In 1965 the Kubricks bought Abbots Mead on Barnet Lane, just south of the Elstree/Borehamwood studio complex in England. Kubrick worked almost exclusively from this home for 14 years where, with some exceptions, he researched, invented special effects techniques, designed ultra-low light lenses for specially modified cameras, pre-produced, edited, post-produced, advertised, distributed and carefully managed all aspects of four of his films. In 1978, Kubrick moved into Childwickbury Manor in Hertfordshire, a mainly 18th century stately home, which was once owned by a wealthy racehorse owner, about 30 mi (50 km) north of London and a 10-minute drive from his previous home at Abbotts Mead. His new home became a workplace for Kubrick and his wife, “a perfect family factory” as Christiane called it,[270] and Kubrick converted the stables into extra production rooms besides ones within the home that he used for editing and storage.
— https://en.wikipedia.org/wiki/Stanley_Kubrick
Christiane Susanne Kubrick (née Harlan; born 10 May 1932) is a German actress, dancer, painter and singer. She was born into a theatrical family, and was the wife of filmmaker Stanley Kubrick from 1958 until his death in 1999.

Her brother Jan Harlan was executive producer for all of Stanley Kubrick’s films from Barry Lyndon (1975) onwards, as well as, following Kubrick’s death, director of the documentary Stanley Kubrick: A Life in Pictures, in which she took full part.[3] Stanley Kubrick had considered making a film about their uncle, Veit Harlan, the German filmmaker who made the antisemitic Jud Süß (1940).[4] The two siblings are very active in preservation, exhibit production and publishing related to Stanley Kubrick’s life and work, including the Taschen mega-book The Stanley Kubrick Archives and the touring major museum exhibit.

"Stanley Kubrick Had Considered Making A Film About Their Uncle, Veit Harlan, The German Filmmaker Who Made The Antisemitic Jud Süß (1940)"

A FAMILY OF PROPAGANDISTS?

Veit Harlan (22 September 1899 – 13 April 1964) was a German film director and actor.

Harlan was born in Berlin. After studying under Max Reinhardt, he first appeared on the stage in 1915 and, after World War I, worked in the Berlin stage. In 1922 he married Jewish actress and cabaret singer Dora Gerson; the couple divorced in 1924. Gerson later died at Auschwitz with her family. In 1929, he married Hilde Körber, having three children with her before divorcing her for political reasons related to the influence of National Socialism. One of their children, Thomas Harlan, became a writer and director in his own right. Afterwards, he married the Swedish actress Kristina Söderbaum, for whom he wrote several tragic roles which included some very dramatic suicide scenes, further increasing their popularity with the German cinema audience.

Nazi era
Film critic David Thomson asserts that Harlan, having just started directing in 1935, was only able to attract Goebbels’ attention because so much directorial talent had emigrated from Germany after the Nazis had taken power. By 1937, Joseph Goebbels had appointed Harlan as one of his leading propaganda directors. His most notorious film was Jud Süß (1940), which was made for anti-Semitic propaganda purposes in Germany and Austria. In 1943 it received UFA’s highest awards. Karsten Witte, the film critic, provided a fitting appellation for Harlan calling him “the baroque fascist”. Harlan made the Reich’s loudest, most colorful and expensive films.

Postwar
After the war Harlan was charged with participating in the anti-Semitic movement and aiding the Nazis. But he successfully defended himself by arguing that the Nazis controlled his work and that he should not be held personally responsible for its content. In 1949, Harlan was charged with crimes against humanity for his role as director of Jud Süß. The Hamburg Criminal Chamber of the Regional Court (Schwurgericht) acquitted Harlan of the charges; however, the court of the British occupation zone nullified the acquittal.

In 1951, Harlan sued for an injunction against Hamburg politician Erich Lüth for publicly calling for a boycott of Unsterbliche Geliebte (Immortal Beloved). The District Court in Hamburg granted Harlan’s suit and ordered that Lüth forbear from making such public appeals. However, the lower court decision was ultimately overturned in 1958 by the Federal Constitutional Court because it infringed on Lüth’s right to freedom of expression. This was a landmark decision because it clarified the importance of the constitutional civil rights in disputes between individuals.

Harlan made a total of nine films between 1950 and 1958, dying in 1964 while on vacation in Capri.[4]

Family
Veit Harlan’s son Thomas (1929-2010), an author and film director, created a semi-documentary film called Wundkanal (Wound Passage), in which his father, played by a convicted mass murderer, is forced to undergo a series of brutal interrogations into his war crimes.[5] Thomas Harlan’s final publication, issued posthumously, Veit, was a memoir in the form of a letter to his father, continuing the investigation into Veit Harlan’s complicity in the Nazi regime.[6]

In 1958, Veit Harlan’s niece, Christiane Susanne Harlan, married filmmaker Stanley Kubrick, who was Jewish. She is credited by her stage name “Susanne Christian” in Kubrick’s Paths of Glory (1957). They remained married until Stanley Kubrick’s death in 1999.

Susanne Körber, one of his daughters from his second wife Hilde Körber, converted to Judaism and married the son of Holocaust victims.[7] She committed suicide in 1989.[7]

Documentaries[edit]
In 2001, Horst Königstein made a film titled Jud Suss - Ein Film als Verbrechen? (Jud Suss - A Film As a Crime?).

The documentary Harlan – In the Shadow of Jew Süss (2008) by Felix Moeller explores Harlan’s motivations and the post-war reaction of his children and grandchildren to his notoriety.
— https://en.wikipedia.org/wiki/Veit_Harlan

https://en.wikipedia.org/wiki/Stanley_Kubrick

https://en.wikipedia.org/wiki/Christiane_Kubrick

https://en.wikipedia.org/wiki/Veit_Harlan

Creating Propaganda To Divide & Conquer With an Old Canard- Religions Are All Fake By Definition - Religion Is Used By The Royals To Control You

Hey Jude

Jud Süß (pronounced [juːd sys], “Süss the Jew”) is a 1940 Nazi propaganda film produced by Terra Filmkunst at the behest of Joseph Goebbels, and considered one of the most antisemitic films of all time.

The movie was directed by Veit Harlan, who wrote the screenplay with Eberhard Wolfgang Möller and Ludwig Metzger. The leading roles were played by Ferdinand Marian and Harlan’s wife Kristina Söderbaum; Werner Krauss and Heinrich George played key supporting roles.

The film has been characterized as “one of the most notorious and successful pieces of antisemitic film propaganda produced in Nazi Germany.”

It was a great success in Germany, with some 20 million viewers. Although the film’s budget of 2 million Reichsmarks was considered high for films of that era, the box office receipts of 6.5 million Reichsmarks made it a financial success. Heinrich Himmler urged members of the SS and police to watch the movie.

After the war, some of the leading cast members were brought to trial as part of the denazification process. They generally defended their participation in the film on the grounds that they had only done so under duress. Despite significant evidence to support their arguments, Susan Tegel, author of Nazis and the Cinema,[5] characterizes their postwar attempts to distance themselves from the film as “crass and self-serving”. However, she concedes that their motives for accepting the roles seem to have been more driven by opportunistic ambition than by antisemitism.[6] Veit Harlan was the only major movie director of the Third Reich to stand trial for “crimes against humanity”. After three trials, Harlan was given a light sentence because he convinced the courts that the antisemitic content of the film had been dictated by Goebbels and that Harlan had worked to moderate the antisemitism. Eventually, Harlan was reinstated as a citizen of the Federal Republic of Germany and went on to make nine more films. He remained a controversial figure and the target of protests.

Together with Die Rothschilds and Der ewige Jude, both released in 1940, the film remains one of the most frequently discussed examples of the use of film to further the Nazi antisemitic agenda. In 2010, two documentary films were released that explore the history and impact of this movie.
— https://en.wikipedia.org/wiki/Jud_Süß_(1940_film)

Yoda - Yod- Jod- Iod- Juda - Judah- Yodah- Jedi - All The Same Word - Interchangeable Vowels - J = I = Y
A duping delightful dictionary deception - A Jedi Mind Trick Indeed!
Religions are fictions created by artisans like the Masons and the Hollywood Stage Magicians. It’s not about the specific religion. It’s about joining the traveling road show that would grow into the Military Industrial Entertainment Complex™

Yodh (also spelled Yud, Yod, Jod, or Jodh) is the tenth letter of the Semitic abjads, including Phoenician Yōd Phoenician yodh.svg, Hebrew Yōd י, Aramaic Yodh Yod.svg, Syriac Yōḏ ܚ, and Arabic Yāʾ ي (in abjadi order, 28th in modern order). Its sound value is /j/ in all languages for which it is used; in many languages, it also serves as a long vowel, representing /iː/.
The Phoenician letter gave rise to the Greek Iota (Ι),[1] Latin I, J, Cyrillic І, Й, Coptic iauda (Ⲓ) and Gothic eis Gothic letter eis.svg.
— https://en.wikipedia.org/wiki/Yodh
The letter ‘J’ originated as a swash letter i, used for the letter ‘i’ at the end of Roman numerals when following another ‘i’, as in ‘xxiij’ instead of ‘xxiii’ for the Roman numeral representing 23. A distinctive usage emerged in Middle High German.[3] Gian Giorgio Trissino (1478–1550) was the first to explicitly distinguish I and J as representing separate sounds, in his Ɛpistola del Trissino de le lettere nuωvamente aggiunte ne la lingua italiana (“Trissino’s epistle about the letters recently added in the Italian language”) of 1524.[4] Originally, ‘I’ and ‘J’ were different shapes for the same letter, both equally representing /i/, /iː/, and /j/; but Romance languages developed new sounds (from former /j/ and /ɡ/) that came to be represented as ‘I’ and ‘J’; therefore, English J, acquired from the French J, has a sound value quite different from /j/ (which represents the initial sound in the English word “yet”).
— https://en.wikipedia.org/wiki/J
In Latin, Y was named I graeca, since the classical Greek sound /y/, similar to modern German ü or French u, was not a native sound for Latin speakers, and the letter was initially only used to spell foreign words. This history has led to the standard modern names of the letter in Romance languages, — in Galician i grego, in Catalan i grega, in French and Romanian i grec — all meaning “Greek I”. The names igrek in Polish and i gờ-rét in Vietnamese are both phonetic borrowings of the French name. In Dutch, both Griekse ij and i-grec are used. In Spanish, Y is also called i griega; however, in the twentieth century the shorter name ye was proposed and was officially recognized as its name in 2010 by the Real Academia Española, although its original name is still accepted.[3] The original Greek name υ ψιλον (upsilon) has also been adapted into several modern languages: in German, for example, it is called Ypsilon, and in Italian the name is ipsilon or i greca. In Portuguese, both names are used (ípsilon and i grego).[4]

Old English borrowed Latin Y to write the native Old English sound /y/ (previously written with the rune yr ᚣ). The name of the letter may be related to ‘ui’ (or ‘vi’) in various medieval languages;[citation needed] in Middle English it was ‘wi’ /wiː/,[citation needed] which through the Great Vowel Shift became the Modern English ‘wy’ /waɪ/.
— https://en.wikipedia.org/wiki/Y
The old English letters “i” and “j”
In the Elizabethan alphabet the old English letters “i” and “j” were used as the same letter.

The old English letters “j” and “i”
The “j” was usually used as the capital form of the letter “i” in the Elizabethan alphabet
— http://www.elizabethan-era.org.uk/old-english-letters.htm

http://www.starwars.com/news/from-world-war-to-star-wars-dogfights

Motion Controlled Cameras Enable Hollywood Magicians To Weave Visual Multi Pass Repeatable Illusions

Learn the secrets behind the Star Wars saga's many innovative visual effects, from the Death Star's detailed interiors to the towering AT-AT walkers. This vintage featurette opens by detailing the chess game played between Chewbacca and C-3PO in Star Wars: Episode IV A New Hope.
Traditional And Digital FX Combine To Make Summer Movie Magic
Cyber superheroes swinging over city streets, computer-crafted aliens waging a war of the worlds—digital special effects (FX) create cool and convincing movie magic. But not every jaw-dropping effect comes out of a computer. Traditional FX tricks like miniatures, machines, makeup and stunts are behind some of this summer’s wildest scenes.

By Ron Magid
Aug 18, 2005
STEALTH

”I’m addicted to visual speed,” says Rob Cohen, whose previous adrenaline rushes came from directing The Fast and the Furious and XXX. His latest film, Stealth, stars Josh Lucas as a fighter pilot who, fearing that unmanned aircraft will render human pilots obsolete, refuses to send one to destroy a terrorist stronghold in densely populated downtown Rangoon. (The city’s stand-in for the film is Bangkok.) Instead, Lucas’s character takes on the mission himself, piloting a hypersonic AFG Talon jet—a fictional, supersleek stealth fighter constructed of graphite, fiber, ceramic and metal.

The terrorists are holed up in a building capped with a 14-ft.-thick, steel-reinforced roof. The only way to penetrate it is with a high-speed impact. So the pilot unleashes the Talon’s rear pulse-detonation engines—based on a real-life experimental NASA program—then divebombs the structure, dropping a fictional truncheon bomb traveling at hypersonic velocity and pulling up just before the blast. The scene demanded one of the most sophisticated miniature effects ever attempted. “I’m a pilot myself,” visual effects supervisor Joel Hynek says, “and Rob is a speed nut, so we were both having a good time on these shots.”...
— http://www.popularmechanics.com/culture/movies/a284/1691946/

http://www.popularmechanics.com/culture/movies/a284/1691946/

 ROLLING BARRELS OVER GRAVITY FALLS

Yellow Journalism?

The barrel roll was originally called a “side somersault.” It was first performed in 1905 by Daniel Maloney. He was flying a glider owned by John Joseph Montgomery during an exhibition show, which was lifted by balloon and then released. During this particular show, Maloney did a very hard turn, causing the wings to warp, performing the maneuver quite by accident, but was quickly followed by his companion flyer, David Wilke, who did two barrel rolls in a row; one to the left and the other to the right.[6]
Outside of aerobatic competition, the Boeing 367-80 and Concorde prototype were barrel rolled during testing. The Boeing 367-80 was rolled twice by Tex Johnston in an unauthorized maneuver while demonstrating the aircraft to the International Air Transport Association over Lake Washington, Seattle. Concorde was rolled multiple times by her test pilots, including Jean Franchi and Brian Walpole.[7] Avro test pilot Roly Falk rolled the Avro Vulcan during a display at the 1955 Farnborough airshow, gaining height during the maneuver.
— https://en.wikipedia.org/wiki/Barrel_roll#History

1905 Glider with floats propelled by an outboard of Gabriel Voisin

Do Not Believe Down is Up

Revelation of the Method: The Twin Banking Towers or Channels. Theaters & Film Sets of World War Two.

One in the Pacific by Hollywood, California. One in the Atlantic by Britain.

"Hollywood and the United Kingdom are connected via the American industry's use of British source material, an exchange of talent, and Hollywood's financial investment in British facilities and productions. The American studios have had their own bases in the UK in the past, such as MGM-British, and Warner Bros.owned shares in British distributor Warner-Pathé, once part of the Associated British Pictures Corporation."

Cinema of the United Kingdom - Wikipedia, the free encyclopedia

Hollywood and the United Kingdom - Wikipedia, the free encyclopedia

"The United Kingdom has had a significant film industry for over a century. While film production reached an all-time high in 1936,[6] the "golden age" of British cinema is usually thought to have occurred in the 1940s, during which the directors David Lean,[7] Michael Powell, (with Emeric Pressburger)[8] and Carol Reed[9] produced their most highly acclaimed work. Many British actors have achieved international fame and critical success, including Maggie SmithMichael Caine,[10] Sean Connery[11] and Kate Winslet.[12] Some of the films with the largest ever box office returns have been made in the United Kingdom, including the second and third highest-grossing film series (Harry Potterand James Bond).[13]

The identity of the British industry, and its relationship with Hollywood, has been the subject of debate. The history of film production in Britain has often been affected by attempts to compete with the American industry. The career of the producer Alexander Korda was marked by this objective, the Rank Organisation attempted to do so in the 1940s, and Goldcrest in the 1980s. Numerous British-born directors, including Alfred Hitchcock and Ridley Scott,[14]and performers, such as Charlie Chaplin[15] and Cary Grant, have achieved success primarily through their work in the United States."

Both used as ‘theaters” of war. Both nearby the capitals of the film industry. London and Hollywood. Both were obviously used as sets for the fake footage everyone watched in theater chains as ’news’ back then and what we see on all the screens we can watch now.

The Channel Islands- Used For Location Filming for Fake War Footage of the Pacific “Theater” of War? There’s a good chance this is exactly the case.

The United States Navy controls San Nicolas Island and San Clemente Island, and has installations elsewhere in the chain. During World War II all of southern California’s Channel Islands were put under military control, including the civilian-populated Santa Catalina where tourism was halted and established residents needed permits to travel to and from the mainland.[11] San Miguel Island was used as a bombing range[12] and Santa Barbara Island as an early warning outpost under the presumed threat of a Japanese attack on California.[13] San Clemente Island was used to train the Navy's first amphibious force to prepare for Pacific combat against the Japanese in World War II.[14] San Nicolas Island has been used since 1957 as a launch pad for research rockets. San Nicolas was considered out of eight possible locations as the site of the Trinity nuclear test.[15] Santa Rosa Island was used in 1952 as a base for the USAF 669th AC&W Squadron and they operated two Distant Early Warning FPS-10 radars from the hilltops there. In 1955 another FPS-3 search radar was added, and in 1956, a GPS-3 search radar was installed. A new MPS-14 long-range height-finder radar was installed in 1958. The base was shut down in March 1963, when the 669th was moved to Vandenberg AFB In Lompoc, California. The islands still house US Navy SEALs training facilities and continues to use the Naval Auxiliary Landing Field located on San Clemente Island.”

https://en.wikipedia.org/wiki/Channel_Islands_of_California

The Channel Islands- Used For Location Filming for Fake War Footage of the Atlantic “Theater” of War? There’s a good chance this is exactly the case.

"The Channel Islands (NormanÎles d'la MancheFrenchÎles Anglo-Normandes or Îles de la Manche[note 1]) are an archipelago in the English Channel, off the French coast of Normandy. They include two Crown dependencies: the Bailiwick of Jersey, consisting of Jersey, the largest of the islands; and the Bailiwick of Guernsey, consisting of GuernseyAlderneySark and some smaller islands. They are considered the remnants of the Duchy of Normandy, and although they are not part of the United Kingdom,[1] it is responsible for the defence and international relations of the islands."

"The islands were the only part of the British Commonwealth to be occupied by the German Army during World War II.

The British Government demilitarised the islands in June 1940 and the Lieutenant-Governors were withdrawn on 21 June, leaving the insular administrations to continue government as best they could under impending military occupation.[12]

Before German troops landed, between 30 June and 4 July 1940, evacuation took place (many young men had already left to join the Allied armed forces): 6,600 out of 50,000 left Jersey while 17,000 out of 42,000 left Guernsey.[13] Thousands of children were evacuated with their schools to England and Scotland.

The population of Sark largely remained where they were;[12] but in Alderney, the entire population, save for six persons, left. In Alderney, the occupying Germans built four camps in which over 700 people out of a total worker population of about 6,000 died. Due to the destruction of documents, it is impossible to state how many forced workers died in the other islands.[12] Alderney had the only Nazi concentration camps on British soil.[14][15]

The Royal Navy blockaded the islands from time to time, particularly following the Invasion of Normandy in June 1944. There was considerable hunger and privation during the five years of German occupation, particularly in the final months when the population was close to starvation. Intense negotiations resulted in some humanitarian aid being sent via the Red Cross, leading to the arrival of Red Cross parcels in the supply ship SS Vega in December 1944.

The German occupation of 1940–45 was harsh: over 2,000 Islanders were deported by the Germans,[12] some Jews were sent to concentration campsPartisanresistance and retribution, accusations of collaboration, and slave labour also occurred. Many Spaniards, initially refugees from the Spanish Civil War, were brought to the islands to build fortifications.[16][17] Later, Russians and Central Europeans[who?] continued the work.[17] Many land mines were laid, with 65,718 land mines laid in Jersey alone.[18]

There was no resistance movement in the Channel Islands on the scale of that in mainland France. This has been ascribed to a range of factors including the physical separation of the Islands, the density of troops (up to one German for every two Islanders), the small size of the Islands precluding any hiding places for resistance groups, and the absence of the Gestapo from the occupying forces. Moreover, much of the population of military age had joined the British Army already.

The end of the occupation came after VE-Day on 8 May 1945, Jersey and Guernsey being liberated on 9 May. The German garrison in Alderney were left until 16 May, and it was one of the last of the Nazi German remnants to surrender.[19] The first evacuees returned on the first sailing from Great Britain on 23 June,[12] but the people of Alderney were unable to start returning until December 1945. Many of the evacuees who returned home had difficulty reconnecting with their families after five years of separation."

https://en.wikipedia.org/wiki/Channel_Islands

Cinema of the United States - Wikipedia, the free encyclopedia

Some Flocks of Fighter Jets & UFOs Might Just Be Radio Controlled Blimps or other such "drones".

 

Radio controlled flying “drones” are real enough. But a lot of it is also fake. Here is what appears to be an example of such fakery:

“Lady Gaga’s Super Bowl halftime show had no special guests — unless you count the drones.

Intel Drones supplied Lady Gaga and the NFL with a show-stopping show-starter — 300 Shooting Star drones painting the night sky in a pre-recorded segment in Houston, as she sang “God Bless America.” The closing scene with the Pepsi logo also was those same pre-recorded drones.

For The Win spoke to two of Intel Drones’ top people — general manager Natalie Cheung, who was on the ground in Houston running things, and vice president of business Anil Nanduri, who organized the collaboration — about the show and the future of drones in entertainment.

Let Cheung and Nanduri answer all your questions now that you’ve seen their work in action.

So how did this happen?

Intel filmed the drone shoot over several days, with the main shoot — the one we saw — done on Jan. 30. There were reports of low-flying helicopters as part of security in Houston, but that was only part of the story. The top-secret drone usage was the other.

“We were on site for nine days, so we got the proper waivers to fly in Class C airspace up to 700 feet,” Cheung said. “We got the waivers to do this at night with multiple drones per pilot through the FAA. We were testing out our drones, tweaking our animations throughout this whole process, and we filmed for one night, and it was perfect.”  

 

More than likely the helicopters were used to shoot background footage that was then "sweetened" with computer generated drone imagery. This would make a lot more sense than actually trying to achieve the effect for real. 

 

Yes, those were drones at Lady Gaga's Super Bowl 51 halftime showftw.usatoday.com