True Stolen History Part 3 Mystery Of The World's Fairs And Real Origin Of The World

True Stolen History Part 3 Mystery Of The World's Fairs And Real Origin Of The WorldShow more

True Stolen History Part 1 Lifting The Veil Of Deception And Real Origin Of The World: https://rumble.com/v2u0rpa-true-stolen-history-part-1-lifting-the-veil-of-deception-and-real-origin-of.html

True Stolen History Part 2 The Destruction Old World And Real Origin Of The World: https://rumble.com/v2u0ruk-true-stolen-history-part-2-the-destruction-old-world-and-real-origin-of-the.html

True Stolen History Part 3 Mystery Of The World's Fairs And Real Origin Of The World: https://rumble.com/v2u0rye-true-stolen-history-part-3-mystery-of-the-worlds-fairs-and-real-origin-of-t.html

True Stolen History Part 4 Post-Reset War 19th Century And Real Origin Of The World: https://rumble.com/v2u0s7e-true-stolen-history-part-4-post-reset-war-19th-century-and-real-origin-of-t.html

The official version of human history is a construct of lies. Our we in a state of collective amnesia. Let's free ourselves from the artificial matrix that has been imposed on us. Stolen History's documentarians begin their 4-Part Series with an introductory overview that challenges the entire historical narrative as we've been told. Mystery of the World's Fairs​. Did a world-wide Reset begin just after a world-wide calamity (c.1811-1819)? Did it jump-starting a decision by the Elites on their timing to unveil old tech and knowledge, and to ratchet up the "Industrial Revolution" as well as release it at coincidental World Fairs & "Exhibitions"?
The Mystery of the World's Fairs​
Introduction​
In the previous part, "The Destruction of the Old World", we explained how social conditions changed abruptly as a result of a cataclysmic event (be it a natural disaster or a war, or both) loosely between the early 18th and late 19th century - this event is also known as the Reset. The Industrial Revolution was one of the most obvious consequences of this Reset. After the disappearance of the old world, a power vacuum arose that was exploited by a small power elite to disempower the old kingdoms. They divided the world among themselves through imperialism and the establishment of modern nation states.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

No effort was spared for the world's fairs, enormous amounts of work went into creating complex statues, ornaments, columns, parks, buildings, and even the world's largest organs. No expenses were spared in the making of these massive structures. Made of plaster and linen or hemp fibers, they were only intended to last for the duration of the Expo. However the attention to detail was so great that purely visually there seemed to be no difference between the Expo buildings and the classical splendor-buildings of antiquity. The purpose of the World's Fairs was to make the supposedly "new" technologies discovered during the Industrial Revolution palatable to the masses, to create new markets. In the end, most of the buildings were torn down, with only meadows or empty parks remaining.
Funding​
Quite a few Fairs were enormous monetary losses. This is astonishing in that the initial motivation for the exhibitions supposedly came from the industrialists themselves. The investment deficits could indicate that the Fairs had a hidden agenda that was not profit-oriented.

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

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

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

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

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

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

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

Professor van Noppen of Columbia University noted that

Thomas Edison was also full of enthusiasm:

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

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

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

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

But the official story goes like this:

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

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

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

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

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

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

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

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

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

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

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

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

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

A civil engineer remarked about the Crystal Palace:

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

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

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

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

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

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

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

Incidentally, there has never been an official investigation into this incident, and the fire is still considered unsolved to this day.
Chicago World's Fair, USA, 1893​
On May 1, 1893, the city of Chicago held the "World's Colombian Exposition" to celebrate the "discovery" of America by Columbus 400 years earlier. In fact, the World's Columbian Exposition in Chicago was to be the largest to date. 70,000 exhibitors from 46 nations were present - 25,000 of them from the USA alone - to present their technical achievements, marking the beginning of a new era. Not only a film projector, the first dishwasher, a fully electric kitchen, an elevated train with electric drive and a rolling footbridge could be marvelled at, but also the amusement park with fairground stalls, circus performances, artificial ice rinks and an 80-meter-high Ferris wheel attracted numerous visitors.

The organizers of the fair

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

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

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

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

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

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

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

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

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

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

The following photo purportedly shows the construction of the "Administration Building"

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

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

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

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

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

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

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

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

Significantly, in the same year that the Chicago Expo was being planned, the new University of Chicago was founded, considered one of the most important private American university foundations of the era, generously supported by oil magnate John D. Rockefeller. And this very university bears in its coat of arms a griffin burning in a fire, in which one could also recognize a symbol for the destruction of the old world empire. Some symbols, such as the double-headed eagle, the mythological griffin, the quadriga (i.e. four-horse), and the lion, we encounter again and again in the context of the old world.
Louisiana Purchase Exposition St. Louis, USA , 1904​
The Louisiana Purchase Expo, also known as the St. Louis World's Fair, was twice the size of the Chicago Expo and consisted of more than 1,500 buildings connected by roads and trails over a length of 121 km. Only two buildings are said to have been solidly and permanently built, while all others were demolished immediately after the Expo. The whole thing was financed with more than 15 million US dollars, at a time when St. Louis was in economic distress and its citizens were plagued by corruption, poverty and disease. The planning of the Expo itself was also overshadowed by several cases of corruption.

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

On the official Expo website we can read:

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

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

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

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

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

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

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

This defies all economic logic and only makes sense if there was a secret agreement between the city and the industrialists - they had to erase all traces of the Expo, against any natural economic impulse of these entrepreneurs who always strive to maximize profits. The story we are being served up is almost perfect - but on closer inspection we see that it has been reversed. Thus, pictures of the demolition were probably simply declared to be shots of the construction process - and the photos of the empty site after the demolition are now sold to us as photos taken before the construction. The digitized archive photos are in all likelihood a mixture of authentic, real new buildings, demolition photos, and manipulated photo collages.
Panama-California Exposition San Diego, USA, 1915​
President Theodore Roosevelt, speaking to visitors outside the Exposition's Organ Pavilion on July 27, 1915, said:

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

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

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

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

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

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

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

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

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

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

Specifically about the House of Charm, which now houses the Art Museum, we read:

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

Politician George W. Marston wrote in 1922:

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

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

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

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

world’s fair, large international exhibition of a wide variety of industrial, scientific, and cultural items that are on display at a specific site for a period of time, ranging usually from three to six months. World’s fairs include exhibits from a significant number of countries and often have an entertainment zone in which visitors can enjoy rides, exotic attractions, and food and beverages. Since the mid-19th century more than 100 world’s fairs have been held in more than 20 countries throughout the world. Generally speaking, these events are called world’s fairs in the United States, international (or universal) expositions in continental Europe and Asia, and exhibitions in Great Britain. The term expo has also been applied to many expositions in various locations.

World’s fairs are governed and regulated by the Bureau International des Expositions (BIE), a Paris-based organization established in 1928. Its objective is to bring order to exposition scheduling and to make clear the rights and responsibilities of the host city and participants. The original convention that established the BIE and set up guidelines for expositions has been revised a number of times, but as of the early 21st century a large exposition, termed a “registered exhibition,” could be held once every five years, and one smaller exposition, called a “recognized exhibition,” could be held during the interval.

Early national exhibitions
The English national fairs of the 18th century, which combined trade shows with carnival-like public entertainment, were among the forerunners of the modern world’s fair. In addition, the Society for the Arts (later called the Royal Society for the Arts and, subsequently, the RSA), established in London in 1754, produced a series of competitive art shows that included industrial arts—various technological innovations ranging from spinning wheels to cider presses.

In the late 18th and early 19th centuries, the French began hosting industrial exhibitions. These came under the authority of the national government, whose aim was to assist French manufacturers in competing against the British in the international marketplace. The British, confident that their products were superior, never emulated this idea. Instead, the mechanics’ institutes in Great Britain began sponsoring exhibitions in the 1830s. These institutes were created to bring scientific education to craftsmen and factory workers, and their exhibitions displayed tools and other labour-saving mechanical devices that were based on the latest scientific inventions. The exhibitions of the mechanics’ institutes also featured entertainment and exotic displays, such as so-called “genuine historical relics” of sometimes dubious authenticity, as well as fine arts shows that mingled works by local and national artists.

The Great Exhibition and its legacy: the golden age of fairs The era of the modern world’s fair began with Britain’s Great Exhibition (formally, the Great Exhibition of the Works of Industry of All Nations; often called the Crystal Palace Exhibition), held in London’s Hyde Park in 1851. It came about through the efforts of Queen Victoria’s husband, Prince Albert—who, because of his Continental background, had a special understanding of the potential value of an exhibition showcasing Britain to an international audience—and through Parliament’s adoption of free trade, which, it was hoped, would lead to more sales of British goods abroad. A royal commission chaired by Prince Albert planned the exhibition and held a competition for a building design. Ultimately, however, the commission rejected all the entries submitted and instead chose a design by Joseph Paxton, a greenhouse builder. Paxton’s iron-and-glass structure, dubbed the Crystal Palace, delighted the public and doubtless contributed to the success of the exhibition.

The exhibits on display at the Crystal Palace included scientific and technological marvels from many different countries as well as works of art and craftsmanship. Some six million people attended the exhibition, which earned a substantial profit. (A fund that was created with the profits still provides fellowships to British students in fields such as engineering and industrial design.)

The legacy of the Crystal Palace was immense. Its critical and financial success ensured that world’s fairs would continue to be held. The period between 1880 and World War I was a golden age of fairs, with more than 40 international expositions held in locations as varied as Australia (Melbourne, Victoria, 1888; and Hobart, Tasmania, 1894–95), Guatemala (Guatemala City, 1897), and Hanoi (1902–03; then located in French Indochina, now the capital of Vietnam).

In the United States, fairs were inspired by the experience of those who attended and participated in the early fairs in Europe. Although mechanics’ institutes existed in the United States in the 19th century, their occasional exhibitions do not appear to have had much influence on the planners of the earliest American international expositions. One of the very first of these followed in the footsteps of the Great Exhibition. The Exhibition of the Industry of All Nations, more commonly known as the New York Crystal Palace Exhibition, was held in 1853–54 in an iron-and-glass structure in Bryant Park. It showcased the same types of displays as its London counterpart but also included an especially impressive sculpture collection. Despite the fair’s promise, however, attendance never measured up to expectations, and it ended with a substantial monetary loss. It would be more than 20 years before another exposition was held in the United States.

Not to be outdone by London’s Crystal Palace, fair organizers in Paris held the first in a long series of international expositions in 1855. The exposition occupied a larger space and included exhibits from more countries than the Crystal Palace, and it presented several new features, such as reduced admission prices on Sundays and a separate fine arts pavilion that contained some 5,000 works by artists from 29 countries. Although it lost money, the 1855 Paris exposition left such a positive legacy that the government sponsored subsequent expositions in 1867, 1878, 1889, and 1900, each attracting a larger attendance than the previous one.

By the 1870s the international exposition movement had become sufficiently well established that the planners of the centennial commemoration of America’s Declaration of Independence concluded that a world’s fair would be the most appropriate type of celebration. Consequently, the U.S. Centennial Exhibition was held in Philadelphia in 1876. Its critical success and attendance of just under 10 million were enough to offset a large financial loss, and it inspired a rush of world’s fairs in the United States, especially in the South, over the next 40 years.

The Philadelphia centennial exhibition was particularly noteworthy in showing off the products of the early Industrial Revolution in America. Fairgoers were amazed by the 700-ton Corliss engine, the largest steam engine ever built, and by new inventions such as the telephone, the typewriter, and the mechanical calculator. In addition, the exposition hosted the first international art exhibition in the United States and was the first to spread exhibits out over several large, topically designated pavilions, a practice that soon became standard. Some 24 states erected their own pavilions as well, an idea repeated at many later fairs.

Although there were many important expositions in the last decades of the 19th century, the World’s Columbian Exposition in Chicago in 1893 was arguably the most significant world’s fair in U.S. history and one of the most important in the history of world expositions. Coming soon after the spectacular 1889 exposition in Paris, where the Eiffel Tower was the main attraction, the World’s Columbian Exposition, in the minds of its organizers, had to be bigger and more important than its Parisian predecessor. Chicago’s managers never found a signature structure to surpass the Eiffel Tower (although the Ferris wheel did make its debut at the Chicago fair), but they did create an exposition whose architecture shaped the country’s style for the next 25 years and whose exhibits were more impressive than anything seen before. Moreover, the exposition introduced the concept of the midway, a lively entertainment zone, a feature that soon became a staple of virtually all future expositions.

The World’s Columbian Exposition marked the peak of the golden age of fairs. It was more spectacular than anything that had preceded it, and, with the possible exception of the great Exposition Universelle (Paris, 1900), no later exposition matched its splendour or its influence. Still, a major international exposition was held almost annually somewhere in the world between 1893 and 1916, when World War I brought a temporary end to the movement. Some, like St. Louis (1904) and San Francisco (1915), were large and showy. Others, like the Jamestown Exhibition—held in Norfolk, Virginia (1907), for the 300th anniversary of the Jamestown Colony—were smaller and marked important historical anniversaries. Still others, like London’s Franco-British Exhibition (1908), signified bilateral friendship. In addition, some smaller countries hosted expositions to mark their emergence onto the international scene, such as the Belgian expositions in Liège (1905) and Brussels (1910).

The world’s fairs held in the United States during this golden era tended to have characteristic differences from those held in Europe. U.S. participation in European fairs was privately managed. The absence of government involvement carried over to the organization of expositions in the United States, where federal aid was confined to U.S. government pavilions and exhibits. European fairs were, to a far larger extent, government enterprises. Another difference was that American fairs much more readily included entertainment venues in the form of rides, exotic attractions, and, by the 1890s, so-called foreign or native “villages” that showed fairgoers the way of life of groups from Africa, Asia, and the South Pacific islands, who were generally presented as belonging to, in the parlance of the time, “primitive” societies. By the first decade of the 20th century, fairs in Europe also had adopted these types of entertainment attractions.

Modernism and Cold War rivalries After World War I, fairs never regained the cultural status they had enjoyed before the war. Fewer were held, and many of them were not artistically or commercially successful. With improved transportation and communication networks, fairs had less to offer people who could now see movies or hear radio programs about foreign lands or even travel relatively easily to visit them firsthand. Nonetheless, there were expositions worthy of note during this time. The Exposition Internationale des Arts Décoratifs et Industriels Modernes, held in Paris in 1925, made the architectural and design style known as Art Deco highly popular for the next 15 years. The British Empire Exhibition in Wembley (1924–25), the Exposition Coloniale Internationale in Paris (1931), and the Exposition Universelle et Internationale in Brussels (1935) showcased the overseas empires of these three countries at a time when rumblings of independence were just beginning to be heard from their colonies.

Two American expositions of the 1930s deserve special mention. The Century of Progress Exposition in Chicago (1933–34) and the New York World’s Fair (1939–40) were both exciting examples of Art Deco architecture and fairs designed to take fairgoers’ minds off the Great Depression by suggesting the wonderful future that awaited them once the hard times were over. While the hopefulness of the New York World’s Fair was cut short by the outbreak of World War II in Europe, the iconic Trylon and Perisphere structures from that fair remain fixtures in popular culture that are associated with happier times.

As the Cold War grew out of the devastation of World War II in Europe and the Pacific, world’s fairs became staging grounds for displays of U.S.-Soviet rivalry. At the expositions in Brussels (1958) and Montreal (1967), the main focus of attention was on the comparison between the pavilions of the rival countries, and critics and politicians analyzed them endlessly. Although the Soviet Union did not participate in the 1962 Century 21 Exposition in Seattle, that exposition’s emphasis on science and space exploration had overtones of Cold War competition.

The largest exposition of this era was the New York World’s Fair of 1964–65, which adopted “Peace through understanding” as its theme. While one might have expected there to be a strong Cold War atmosphere at that fair, this was not the case. The BIE had refused to sanction the fair because of the organizers’ refusal to follow its guidelines. Thus, official foreign participation was limited to newly independent Asian and African countries, while other countries were represented by private commercial interests.

By 1970, the year of the Japan World Exposition at Ōsaka, some of the tension of the Cold War had moderated. Both the United States and the Soviet Union touted their space programs in their pavilions, but the real focus of the exposition was on the host country and its remarkable recovery just 25 years after the end of World War II. The exposition, which attracted a then-record number of visitors—more than 60 million—was clear evidence that Japan had regained its place among the world’s leading nations.

Later years Fairs since 1970 have tended to enlighten visitors about a particular theme, often environmental in nature, rather than celebrate a historical anniversary or a colonial empire. Many were smaller fairs held in smaller cities: Spokane, Washington, U.S. (1974), with a general environmental theme; Okinawa, Japan (1975–76), on the oceans; Knoxville, Tennessee, U.S. (1982), on international energy issues; New Orleans (1984), on rivers; Tsukuba, Japan (1985), on housing; Vancouver, British Columbia, Canada (1986), on transportation and communications (and also in celebration of the city’s centennial); Brisbane, Queensland, Australia (1988), on leisure; Taejŏn (Daejeon), South Korea (1993), on sustainable development; and Lisbon (1998), also on oceans. There were few departures from the issue-oriented theme. The expositions of 1992 in Genoa, Italy, and Seville, Spain, commemorated the 500th anniversary of Christopher Columbus’s first voyage to America. The fair in Hannover, Germany, in 2000 marked the end of the 20th century, but a set of ideas known as the Hannover Principles, first promulgated in 1992 by the architectural firm of William McDonough in preparation for the exposition, argued that future expositions should focus on the realistic presentation of contemporary social and environmental problems and their possible solutions.

While fairs became less frequent in the 21st century because of the increasing costs of staging them and because the BIE was imposing tighter regulations, there were two significant events in the first decade of the century. In Japan, Aichi prefecture hosted an exposition near the city of Nagoya in 2005, and five years later Shanghai produced China’s first major exposition. The Aichi fair, which billed itself as a “green exposition,” concentrated on preserving natural areas in and around its site and in reusing or recycling as many of its structural elements as possible. Expo Shanghai 2010, held in one of the world’s largest cities, quite naturally chose the theme “Better city, better life” and, with a reported 73 million visitors, easily broke Ōsaka’s attendance record. Subsequent expositions—in 2012 (Yŏsu, South Korea), on the importance of the world’s oceans and coastlines; in 2015 (Milan), on food and resource consumption; and in 2017 (Astana, Kazakhstan), on the future of energy—were all relative successes but came nowhere near the attendance numbers of Expo Shanghai.

Although some critics have denounced world’s fairs as extravagant and irrelevant in the world of the early 21st century, others have asserted that, by moving away from the old theme of “technological utopianism” and toward a focus on social and environmental issues as suggested by the Hannover Principles, fairs can continue to be worthwhile for visitors as well as for host cities and countries.

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

In any case, industrialists seem to have been the stewards of the "new" technologies, and most of today's major entrepreneurs were shaped in one way or another by the transfer of technology from the World's Fairs. Emil Rathenau, for example, founded AEG in response to the technical achievements he observed at the World's Fairs in Paris, Vienna and Philadelphia.
Purpose of the World Exhibitions​
If it is true that many of the buildings at the World's Fairs already existed and were only renovated, then the destruction of these buildings is one of the largest cover-ups in recent history. Also, this would be further proof that pretty much all countries were already controlled by the cabal 100 years ago, and modern politics was intended from the beginning as a means to infiltrate and control cultures. The systematic destruction of knowledge and the theft of cultural goods and property by the church continued seamlessly with the advent of more contemporary nation states. With the help of a central monetary system imposed on us, state-legitimized robbery is still the main cause of the transfer of wealth and possessions into the hands of a few.

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

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

Of course, some of the buildings at the fair grounds were indeed cheaply constructed and temporary in nature. For example, in this photo of the Lousiana Purchase Expo, you can clearly see that some of the plaster is peeling off and the interior, consisting of wood, is exposed

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

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

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

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

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

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

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