Journey

Immediately after discovering the plot, Senator Vandenberg and the others called a press conference with virtually all newspaper correspondents in Washington, heads of the Associated Press, and others, and after revealing the entire story, Vandenberg wanted them to “Front Page” the entire act of treason, but the answer was an emphatic “no”; they wouldn’t dare even admit they’d seen the films or heard the recordings; “it would be the end of their careers.”

Vandenberg then called in the heads of NBC, ABC, CBS and other broadcasting channels and asked them to reveal the story on the air. He got the same response. The radio people pointed out that the Federal Communications Commission was controlled by the Roosevelt administration and the CFR, who could and would cancel their licenses if they uttered one word about that Yalta treason plot.

Getting nowhere, Vandenberg came up with the idea to reveal it on film, so he and other members of Congress flew to Hollywood, but they were turned down by all of them: Harry M. Warner, the head of Warner Brothers, Louis V. Mayer, MGM, and other Hollywood producers.

When they ran out of ideas, they decided to find someone who could do a legitimate play, calling out the entire treasonous plot, naming names, including the United Nations and CFR, and so on, which would serve the same purpose as a film, albeit without the instantaneous nationwide sensation. They knew that if they named names, there would be libel law suits from some of the perpetrators, and they counted on that because at least then the press would have to report on it. ^{(15) Red Stars Over Hollywood https://archive.org/details/RedStarsOverHollywood}

In being put forward by his friend John to the Senator as someone who would write the play for them, he pointed out that:

“…naming Roosevelt, Hopkins, and Alger Hess, who was then being hailed as the hero founder of the great “United Nations to ensure Peace” would expose me to libel suits but before I could say “…and wreck my career”, Vandenberg interrupted with “that’s exactly what I hope will happen-such libel suits could not be ignored by the press, it would automatically reveal the entire great conspiracy, and torpedo the United Nations as the proposed housing for their “one world government.”

“I recognized the truth of Vandenberg’s statement, and I knew that I would be provided with plenty of defence against libel suits because truth cannot be considered libellous, nevertheless, the idea of writing such a play stunned me.”

“Having already been told how all the Hollywood moguls and Broadway producers viewed the entire matter, I was faced with the hardest decision of my entire life that would not only effect my career (potentially blacklisting me from Hollywood and Broadway), but two other people’s futures were at stake—my wife and son; no more lush salaries from the film industry, royalties, or luxuries; and my son’s assured career on Broadway could be affected.”

When he explained what he’d been asked to do to his family, they were supportive and both agreed that loyalty to God and country came first, so he wrote the first play, “Red Rainbow,” within a couple of weeks. But when he went to arrange for a cast and theatre, he found out just how infiltrated the industry was: The masterminds had gotten there first.

He was greatly surprised when the first man he approached, Lee Shubert (who owned and controlled most of the theatres in New York and throughout the nation), with whom he’d had close business relationships in the past, having booked all his previous plays with him, had already received warnings via letters and telegrams that if he permitted Red Rainbow or “any anti-communist play” to be staged in one of his theatres, that all of his theatres would be “stench-bound.”

When he contacted other theatre owners, even those he knew to be loyal Americans, they had all been similarly intimidated, and, like Schubert, urged him to forget Red Rainbow.

Disappointed but undeterred, he decided he would get an off-Broadway rental theatre and began lining up a cast. Another roadblock. All of them had been threatened that their appearance in “Red Rainbow” would mean the end of their careers.

At the same time, two prominent newspaper dramatic critics, told him that they would be forced to tear Red Rainbow to shreds in their reviews and warned that if he persisted in producing it, it would end his career.

This woke him up to the terrifyingly complete control they had over legitimate theatre, and all doors on Broadway seemed to be closed, but he was stubborn and determined, and he decided to take the play to Hollywood because he had hundreds of friend-stars and top actors who had already appeared in his plays and films, and he felt confident that Hollywood would save the day.

He hadn’t yet learned that the Actors Equity Association (the actors union) had warned all members to avoid Red Rainbow like the plague.

“…which goes to show how naïve I was at that time, how little I knew of the red conspiracy in the entertainment world, and how little I knew of the overall great conspiracy to destroy the sovereignty of our nation, because the moment I mentioned Red Rainbow in Hollywood, the very same things that happened on Broadway were duplicated in Hollywood—only more so: every theatre owner and every actor trembled with fear at the very mention of Red Rainbow.

On top of that, some of my closest friends in the industry confidentially informed me that I had been “tried in absentee by the Hollywood moguls” (some of whom I had considered my very good friends), and the verdict was that if I persisted in my efforts to produce Red Rainbow, I would be a “dead duck on every lot in Hollywood.”

Realizing he was stonewalled, he decided to forget about Red Rainbow but did not give up his determination to expose the treason, so he wrote a new play doing the same kind of exposing but making it more covert.

The new play “Thieves Paradise” was about the domestic problems of a family living in Bulgaria, which was a distinctly humorous story. The first two acts sounded like some of his earlier comedies, and he carefully spread the word that it was just that type of play, so there were no roadblocks to renting a theatre or getting a cast. The third act was devoted to the exposition, so he was careful not to show anyone who could roadblock it the entire manuscript, and the actors were carefully chosen as zealously loyal to America.

After the first week of rehearsals, all the actors were being harassed by anonymous phone calls threatening them and their families with dire consequences—even assassination—unless they pulled out of the play.

A few days before the opening performance, someone tried to run the star, Michael Whalen, off a cliff.

Infuriated, Fagan announced that on the opening night, he would deliver a curtain speech and reveal 100 of the stars, writers, and directors—the backbone of the entire “red conspiracy” in Hollywood.

That statement was brought to the attention of Jimmy Fidler, a prominent radio commentator in Hollywood, who devoted his entire Sunday night broadcast to it.

Until that night, 99% of the public had no idea their idols had been so involved in his treasonous conspiracy, so the shock when he named the great celebrities, including Charlie Chaplin, Lucille Ball, Humphrey Bogart, Marlon Brando, Betty Davis, Kirk Douglas, Henry Fonda, Catherine Hepburn, Gene Kelly, Gregory Peck, Frank Sinatra, and others, rocked everyone.

His speech made the front pages and was aired by radio commentators across the country (all blasting him as a liar), but it activated Congressman Parnell Thomas, then Chairman of the House Committee on Un-American Activities, who flew to Hollywood to question him as he had recently held a preliminary hearing in Los Angeles, where he heard evidence that gave him grounds to call for a thorough investigation and was also being vilified in the media, as well as threatened that if he went ahead with the hearings that they would destroy him politically (which they did).

His story of trying to get the word out to the public is just as revealing and interesting as the conspiracy itself, and it also demonstrates the importance of owning and controlling the media; it shows how we must understand just how infiltrated the media, the government, and all of the world’s top corporations are if we are ever going to get to the truth.

I’ll stop taking notes here because I’m short on time, but I highly recommend listening to his “Red Stars Over Hollywood” audio for the rest of the story on how infiltrated the media is—it’s so interesting and explains so much of the past 4 years more completely, especially knowing this recording was released in 1968—over five decades ago! And he discovered how infiltrated it was in 1945—77 years ago! Imagine how much more controlled it is now!