(autocorrect is evil typo disclaimer)
1795, in specific sense of "government intimidation during the Reign of Terror in France" (March 1793-July 1794), from French terrorisme, from Latin terror (see terror).
If the basis of a popular government in peacetime is virtue, its basis in a time of revolution is virtue and terror -- virtue, without which terror would be barbaric; and terror, without which virtue would be impotent. [Robespierre, speech in French National Convention, 1794]
General sense of "systematic use of terror as a policy" is first recorded in English 1798 (in reference to the Irish Rebellion of that year). At one time, a word for a certain kind of mass-destruction terrorism was dynamitism (1883); and during World War I frightfulness(translating German Schrecklichkeit) was used in Britain for "deliberate policy of terrorizing enemy non-combatants."
It Takes The Village To Keep Us Scared:
GOVERNMENTS, HOLLYWOOD, THE NEWS & THE TALK SHOWS ARE THE REAL TERRORISTS!
Hollywood loves to churn out NASA based space movies and World War Two films on endless repeat and spin cycle.
Sometimes allegory manages to penetrate the media noise machine filter. Such allegory can be hard to spot until one has more experience with the obvious disconnect the Governments and News Media have with demonstrable reality. Most if not all of the media that the mainstream (and even the alternative) media commissions is for propaganda purposes. The recent Disney special effects laden, film product, "Star Wars: Rogue One" is based on (spoilers) the premise that the architect of the Death Star, (that most feared WMD in the Hollywood Universe), was really a regular family guy, who worked from the inside to put a flaw into the works so one day Luke Skywalker could "let go and use..the Force". The employed artist does at times manage to slip in clues and hints, here and there.
Air Traffic Control Calling: Houston We Have A Problem in White Sands
Under the guise of developing Cold War era "defense" systems, the U.S. Government and its Monopoly Bell Labs would actually engineer the foundation for the modern mass air travel transportation system and the global communications systems of today. This was not and never was about any sort of so-called "missile defense". This was (and still ) is all about keeping us as scared as possible so we continue to pay our taxes like good little wage slaves. We are the Human Resource and have been managed like this for centuries.
Please watch this video, this is pure fear based propaganda programming:
The claim made in the video above is that the (small, as in hard to hit target) atomic warhead can travel 4 miles a second, which is an unimaginable 14,400 mph! We have to accept the Military (known for Military deception) at their (absurd) word. The fastest craft we could have flown on would have been the Concorde and the velocity we would have traveled at would have been around 700 mph, many many times slower.
"The amount of rocket fuel required to slow the vehicle would be nearly equal to the amount used to accelerate it initially, and it is thus highly impractical to use retro rockets for the entire Earth re-entry procedure. While the high temperature generated at the surface of the heat shield is due to adiabatic compression, the vehicle's kinetic energy is ultimately lost to gas friction (viscosity) after the vehicle has passed by. Other smaller energy losses include black body radiation directly from the hot gasses and chemical reactions between ionized gasses."
NIKE ZEUS: DESIGNED TO PROTECT THE US FROM THE COLD WAR THREAT
Please notice how highly edited this video is. Notice too how reliant this presentation is on the air of authority of the Military, the official narrator and of course the fallacious call to “patriotism”. Nothing like Cold War propaganda. Further please notice how the presentation never shows a full rocket launch. Everything we are seeing is highly edited. The longer shots that do seem to show real rocketry, show much smaller and more realistic rockets that clearly do not travel that far at all. In fact the footage shows the rockets arcing back down towards the Earth before cutting away. The quick edits, the lack of one single and clear shot of a rocket launch, and the use of cartoons should be huge warning signs!
What looks like convincing footage only shows us much smaller rockets that travel at believable but not fanatic speeds, that soon arc back down towards the Earth. The larger rocketry of NASA mythology is nothing but Hollywood production work. Some of the footage shown in the presentation above is clearly Hollywood model work. Huge rockets are nonsense.
NIKE ZEUS: NAAHH! Cancel it. Don't Need it. Focus on computer graphics and communications systems instead.
A MODEL ROCKET
NIKE X = Wage Slaves Work for R&D
The Cold War acts a cover for the further development of technology that was being developed during the managed World War Two event. The Cold War is simply the television sequel to the film theater presented World War Two, The Cold War, unlike WWII was designed for the age of television and the atomized and mesmerized TV dinner tray family. The big wooden color TV set would become the focal point of human consciousness and the public would always be an audience member as long as their eyes were glued to the almighty TV screen. Today we take high definition video for granted but back in the 20th century, a noisy and low quality image was the best we could hope for. The fact that the quality was so poor means it would also be easier to trick the audience into believing what they were shown on these news fangled screens, especially when they were told what to think by the trusted journalist, politician and voice over narrator person The development of all the technology would simply lead to the social media and digital television world of today. There was no threat. Bell Labs was Government run and a monopoly. It was tax funded. This is where our parents and grandparents hard earned wages went. Get it the scam yet? We should all have iPhones and unlimited data plans and all the rest, for free! We paid for it, and continue to pay for it, to this day.
The Cold War was a cover to get the tax payers to foot the bill for developing things like computers, while being fear propagandized by the Government and News.
Radio Control Guided Missile As Depicted Are A Myth
If the Military can radio control missiles, why do we have no radio control model rockets to play with? We can order radio controlled drones on amazon.com after all. A real radio controlled missile would look like an actual aircraft with wings and proper steering mechanisms. We can also order things like radio controlled airplanes online, so we know these things are real and work. All the "satellite" based radar and other antenna are obviously needed for air traffic control and communications. Transportation and communications systems have always been banker (caste) founded and managed, like the rest of society.
Joint Theater Level Simulation
"The Joint Theater Level Simulation (JTLS®) is used to simulate joint, combined, and coalition civil-military operations at the operational level. Used for civil/military simulations and humanitarian assistance/disaster relief (HA/DR) scenarios, JTLS is an interactive, computer-assisted simulation that models multi-sided air, ground, and naval resources with logistical Special Operation Forces (SOF) and intelligence support. The primary purpose of JTLS is to create a realistic environment in which agency staff can operate as they would within a real-world or operational situation. A training audience conducts a scenario or event to practice their ability to coordinate various staff functions."
Please check this out: It is revealing.
The Right Stuff: A Role Model for Hollywood Fakery
"For the scene in which Mr. Yeager seeks to fly an NF-104 jet to an altitude record, for instance, an F-104 from the West German Air Force is filmed taking off and climbing higher and higher. But when it malfunctions, going into a flat spin that no pilot would risk, Mr. Gutierrez went to his bag of tricks. On a hilltop near San Francisco, he erected a cross-bow catapult and with it shot at least 50 model F-104's into the sky. Insecticide foggers and an old camouflage fogger from a World War II PT boat generated the illusion of cumulus clouds through which the models flew. Several cameras caught the little models in various stages of their spinning plunges back toward the ground. Moments from hundreds of these takes were pieced together."
The New World Order Is the Old World Order: Nothing Changes Empire gets rebranded as International Enterprise
The World is Managed by an Elite Banker Caste. The USSR, the UK, the USA, China and all the rest of the so-called "super powers" are just franchises and do not work for us, we work for them. This is why we have Nation States in the first place. Each acts like the spooky bogeyman so the other Nation's populace can truly believe they need the protection of the "homeland" Government. It's the oldest racket and trick in the book and one we have been long subjected to. The world is a lot safer and better off than the Governments and banking interests and Royalty, need or want you to know. The Military might of the world is also a lot weaker and a lot more the result of childish reasoning and cartoon physics than anything we should really be concerned with. What we should worry about is the real weapon of Government, the mass media noise machine and all the minions that inhabit it.
HISTORY ALTERING BANKERS MANAGE THE GLOBE
AT THE DAWN OF THE NEWSREEL AGE OF MASS PUBLIC MIND CONTROL:
Howard Hughes Faked Aircraft Footage a Long Time Ago: Want To Bet They Got Better At it & Used This Technology to Create World War Two and Subsequent War Footage?
"Crashing a Zeppelin for Fun
by DICK COLE
who gives you a look behind the scenes of the most spectacular air thriller ever made.
Jealously guarded secrets of the amazing Zeppelin crash in “Hell’s Angels” now revealed to Dick Cole by Howard Hughes, the producer of this spectacular movie.
“Wasn’t it marvelous! How in the world did they ever take it?”
Such exclamations and questions are heard on every side as a teeming crowd pours forth from a theater after seeing “Hell’s Angels” -—the outstanding aerial war picture of the day. And it is little wonder! For several hours the spectators have been soaring 10,000 feet above the earth in a huge, wartime Zeppelin, or they have been sky-riding in a giant bombing plane.
As on a magic carpet, the spectators are carried from the Zeppelin just before a heroic, Allied pilot—his machine-gun jammed—dives his plane into the gas bags of the airship. The aerial juggernaut comes hurtling out of the skies, a huge, flaming hulk; crashes to the earth with a deafening roar—-a twisted mass of glowing wreckage.
This is but one of the breath-taking scenes from “Hell’s Angels.” Again the puzzling question: “How in the world did they take it?”
Of course, anyone’s ordinary reasoning power tells one that it was not a full-size, man-carrying Zeppelin that fell from out the skies. But, to believe so, is no more erratic than to believe the know-it-all, wise guy, who tells you in tones of belittlement: “Huh! It was just faked! I know! That was just a toy balloon that they used.”
Both beliefs are wrong. It was done by scale model photography. This is not comparable at all to the crude miniature stuff that is injected from time to time in pictures, and which often changes a tragic situation into a comic farce. Nor are scale models employed solely to keep down production cost. The primary purpose is to put across a scene with greater realism and finer photographic values. The use of scale models should not imply belittlement.
In producing “Hell’s Angels,” it was entirely within the range of the pocket-book of the producer, Howard Hughes, to buy and to wreck a full-size Zeppelin. But, even so, the film record would not be comparable with that recorded with the use of the scale model. In the latter case, the entire set was under the complete control of the director; the set was lighted to give the best photographic values; close-up shots of the Zeppelin falling in flames and its ultimate crash to the earth were taken with precision; all of which would have been impossible if a full-size airship were used, to say nothing of the hazard to life and property.
To produce the Zeppelin scenes, Mr. Hughes gathered about him a staff of the cleverest technicians in the United States. A model Zeppelin was built—an exact replica of a German, wartime dirigible. This was built to a scale of one foot equals one inch. So the model was approximately 60 feet long and 6 feet in diameter. Quite a sizeable “miniature”! Even the framework followed closely the true Zeppelin design.
The huge dirigible hangar at Arcadia—-adjacent to Los Angeles—was leased from the government, and in this building all the scenes of the Zeppelin were shot. Lights giving millions of candle-power were installed. Miniature sets were laid out on the floor to give suitable back-ground for vertical shots of the “Zep.” Chemical apparatus was installed to create clouds. A steel cable was stretched from one corner post to the middle of the opposite wall. The Zeppelin was suspended from a trolley which traveled on the cable. It could move along the cable about four times its length. Other cables permitted the Zeppelin to be raised or lowered at the will of an operator at an electric winch. Runways—or balconies—completely around the inside walls of the hangar, were vantage points for the numerous cameras. In addition, portable, parallel platforms could be moved anywhere on the floor. A cat-walk near the roof of the hangar was utilized for vertical shots.
In presenting the picture on the screen, the Zeppelin makes its first spectacular appearance emerging from a fleecy, cumulus cloud. The clouds are seen to roll back as the nose of the airship pushes through. This is a close-up shot, and so real that it seems the Zeppelin must leave the screen and soar into the auditorium of the theater.
How was it done? The Zeppelin is at the end of the cable farthest from the camera. Immediately in front of the airship a dense cloud of “liquid smoke” is released. This is the chemical used for laying down a smoke screen or for “sky-writing.” This gas remains as a gaseous mass for some time before diffusing into the air. The Zeppelin is slowly drawn through this “smoke.” Vivid lighting effects reproduce the smoke as a cumulus cloud.
Next, the spectator is permitted to ride in the “Zep” and see its inside workings; the skeleton framework; the gas bag; the power gondolas.
The motors are running—real motors. One sees the rocker-arms rock, and hears the clicking tappets. On the model Zeppelin, the propellers are turned with quarter H.P. motors. The interior sets of the Zeppelin were built full size.
The “Zep” cruises on its way. London is its objective. A member of the crew is lowered thousands of feet in a gondola suspended by a slender cable to get their bearings. The object is to drop bombs on Trafalgar Square. The observer revolts at bombing a sleeping city. He telephones misinformation to the Zeppelin, and the bombs drop and explode harmlessly in a lake. But the Allied flyers are aroused. They take to the air in their fighting planes to battle the Zeppelin. A terrific aerial battle rages. The “Zep” fights off all planes — but one. This one climbs high above the Zeppelin. The pilot’s machine-gun jams. In heroic desperation, he dives his plane into the vitals of the Zeppelin. The giant dirigible buckles up with a broken back and bursts into flames.
How was it done? Part of this scene is a sample of exceptionally clever double exposure. A drawing explains. First, a miniature airplane is swung from a wire against a flat black back-ground. This is shot with a high-speed camera—about ten times normal. When reproduced at normal speed, this would represent a full-sized plane in the distance taking a power dive of several thousand feet.
The undeveloped negative of the miniature plane is rewound into the camera magazine, and a shot of the Zeppelin, moving slowly, is recorded on the same film. The composite picture is shown in the enlarged frame. The moment the airplane hits the Zeppelin the film is “cut,” and the sequence of the picture is resumed when the Zeppelin is fired.
During part of the heroic dive toward the Zeppelin, seemingly the spectator is riding in the plane. This illusion was created in the hangar. The Zeppelin was suspended about half way between the roof and the floor, and the camera-man was lowered toward it. A miniature, pictorial set on the floor gave a suitable back-ground; the high-speed camera did the rest.
Now comes the big, breath-taking scene— the fall of the flaming Zeppelin. To make sure of suitable film, fourteen cameras shot the scene.
The covering of the gas bag is sprayed with kerosene. Everything is ready. Comes the director’s cry: “Camera!” A special prop in the “in’ards” of the “Zep” is jerked out. The dirigible sags in the middle, and then bursts into flames. All the cameras are in action. The man at the electric winch slowly lowers the flaming hulk. It passes into and out of the range of the cameras. When the flaming wreck is about eight feet from the floor, it is dropped with a crash. To make the falling act very vivid, a pair of cameras are in a pit in the floor covered with plate glass, and shoot the vertical fall. And the fall of a burning Zeppelin from the skies is a celluloid record. In the cutting room, the best of the shots are compiled into the finished film which the spectator sees on the screen.
Be it said that all those in the hangar during the “fire” were not sorry when it was all over. The camera-men up on the cat-walk had no occasion to take a Turkish bath for six months.
“Hell’s Angels” is an outstanding example of the far-reaching possibilities of the model technician’s art. Because a real Zeppelin was not used, and the crew not incinerated in the fire, should not detract the spectator’s interest in the picture. In the wild and wooly “westerners,” one knows that the Indians are not really shot off their mustangs. But if they tumble off and “bite the dust” in realistic fashion, the spectators howl their delight.
For realism, “Hell’s Angels” stands out alone in its class."