I perceive Hitler, Himmler, Eva Braun and others as warrior gangsters of the ancient and modern world.
I don't see Dietrich as an old soul, but perceive he has left his mark upon the ancient world, especially. There were indications that I would be able to find him in Victorian England and remembered he looked a little like the author William Makepeace Thackeray.







English novelist, only son of Richmond and Anne Thackeray (whose maiden name was Becher), was born at Calcutta on the 18th of July 1811. "He came to school young", Venables wrote, "a pretty, gentle, and rather timid boy." This accords with the fact that all through Thackeray's writings the student may find traces of the sensitiveness which often belongs to the creative mind, and which, in the boy who does not understand its meaning and its possible power, is apt to assume the guise of a shrinking disposition. To this very matter Venables tersely referred in a later passage of the letter quoted by Trollope: "When I knew him better, in later years, I thought I could recognize the sensitive nature which he had as a boy."

In February 1829 Thackeray went to Trinity College, Cambridge, and in that year contributed some engaging lines on "Timbuctoo", the subject for the Prize Poem (the prize for which was won in that year by Tennyson), to a little paper called The Snob, a title which Thackeray afterwards utilized in the famous Book of Snobs. The first stanza has become tolerably well known, but is worth quoting as an early instance of the direct comic force afterwards employed by the author in verse and prose burlesques:

In Africa -- a quarter of the world --
Men's skins are black; their hair is crisp and curled;
And somewhere there, unknown to public view,
A mighty city lies, called Timbuctoo.

One other passage at least in The Snob, in the form of a skit on a paragraph of fashionable intelligence, seems to bear traces of Thackeray's handiwork. At Cambridge, James Spedding, Monckton Milnes (Lord Houghton), Edward FitzGerald, W. H. Thompson (afterwards Master of Trinity), and others who made their mark in later life, were among his friends. In 1830 he left Cambridge without taking a degree, and went to Weimar and to Paris. His visit to Weimar bore fruit in the keen sketches of life at a small German court which appear in Fitz-Boodle's Confessions and in Vanity Fair. In George Henry Lewes's Life of Goethe is a letter containing Thackeray's impressions of the German poet. On his return to England in 1831 he entered the Middle Temple. He did not care to pursue the study of the law, but he found in his experience of the Temple the material for some capital scenes in Pendennis. In 1832 he came of age, and inherited a sum which, according to Trollope, "seems to have amounted to about five hundred a year." The money was soon lost -- some in an Indian bank, some at play and some in two newspapers, The National Standard (with a long sub-title) and The Constitutional. In Lovel the Widower these two papers are indicated under one name as The Museum, in connection with which our friends Honeyman and Sherrick of The Newcomes are briefly brought in. Thackeray's adventures and losses at play were utilized in his literary work on three occasions, in "A Caution to Travellers" (The Paris Sketch-Book), in the first of the Deuceace narrations (The Memoirs of Mr. C. J. Yellowplush), and in Pendennis in a story (wherein Deuceace reappears) told to Captain Strong by "Colonel Altamont." As to Deuceace, Sir Theodore Martin has related how once in the playrooms at Spa Thackeray called his attention to a certain man and said presently, "That was the original of my Deuceace."

In 1834 or at the end of 1833 Thackeray established himself in Paris in order to study art seriously. He had, like Clive in The Newcomes, shown talent as a caricaturist from his early boyhood. His gift proved of great value to him in illustrating much of his own literary work in a fashion which, despite all incorrectness of draughtsmanship, conveyed vivid suggestions that could not have been so well given by anyone but himself. Perhaps his pencil was at its best technically in such fantastic work as is found constantly in the initial letters which he frequently used for chapters in his various kinds of work, and in those drawings made for the amusement of some child friends which were the origin of The Rose and the Ring.

In 1836 Thackeray married Isabella, daughter of Colonel Matthew Shawe. There were three daughters born of the marriage, one dying in infancy. The eldest daughter, Anne Isabella (b. 1837), married in 1877 Mr. Richmond Ritchie, of the India Office, who in 1907 was created a K.C.B. She inherited literary talent from her father and wrote several charming works of fiction, notably Miss Angel (1875), and subsequently edited Thackeray's works and published some volumes of criticism and reminiscences. The younger daughter, Harriet Marian (b. 1840), married (Sir) Leslie Stephen in 1867 and died in 1875. Thackeray's own family life was early broken, for Mrs. Thackeray, to quote Trollope, "became ill and her mind failed her", in 1840, and he "became as it were a widower to the end of his days"; Mrs. Thackeray did not die until 1892.

In 1837 Thackeray came to London, worked at various kinds of journalism, and became a regular contributor to Fraser's Magazine. In this in 1841 appeared The History of Mr. Samuel Titmarsh and the Great Hoggarty Diamond, a work filled with instances of the wit, humor, satire, pathos, which found a more ordered if not a fresher expression in his later and longer works. For freshness, indeed, and for a fine perception which enables the author to perform among other feats that of keeping up throughout the story the curious simplicity of its supposed narrator's character, The Great Hoggarty Diamond can scarcely be surpassed. The characters, from Lady Drum, Lady Fanny Rakes, Lady Jane and Edmund Preston, to Brough, Mrs. and Miss Brough, Mrs. Roundhand, Gus Hoskins, and, by no means least, Samuel Titmarsh's aunt, Mrs. Hoggarty, with her store of "Rosolio", are full of life; the book is crammed with honest fun; and for pure pathos, the death of the child, and the meeting of the husband and wife over the empty cradle, stands, if not alone in its own line, at least in the company of very few such scenes in English fiction. The Great Hoggarty Diamond, oddly enough, met with the fate that afterwards befell one of Charles James Lever's best stories which appeared in a periodical week by week -- it had to be cut short at the bidding of the editor. In 1840 came out The Paris Sketch-Book, much of which had been written and published at an earlier date. The book contains among other things some curious divagations in criticism, along with some really fine critical work, and a very powerful sketch called "A Gambler's Death." In 1838 Thackeray had begun, in Fraser, The Yellowplush Papers, with their strange touches of humor, satire, tragedy (in one scene, the closing one of the history of Mr. Deuceace), and their sublimation of fantastic bad spelling (M'Arony for macaroni is one of the typical touches of this); and this was followed by Catherine, a strong story, and too disagreeable perhaps for its purpose, founded closely on the actual career of a criminal named Catherine Hayes, and intended to counteract the then growing practice of making ruffians and harlots prominent characters in fiction. Now, when Pendennis was coming out in serial form (1850), Miss Catherine Hayes, a singer of Irish birth and a famous prima donna (Sims Reeves described her as "the sweetest Lucia [di Lammermoor] he had ever sung with") was much before the public. A reflective passage in a number of Pendennis referred indignantly and scornfully to Catherine Hayes, the criminal of old time, coupling her name with that of a then recently notorious murderer. It would appear that Thackeray had for the moment, oddly enough, omitted to think of Miss Catherine Hayes, the justly famed soprano, while certain Irish folk were obviously ignorant or oblivious of the history of Catherine Hayes the murderess. Anyhow, there was a great outcry in the Irish press, and Thackeray was beset by private letters of indignation from enthusiastic compatriots of the prima donna. In deference to susceptibilities innocently outraged Thackeray afterwards suppressed the passage which had given offense.



However, working with superficial facial similarities is mostly an unsatisfactory business. Thackeray has too much hair and a much smaller nose than Dietrich's.







Thackeray's connection to Jay Leno can be found somewhere in the Akashic Records.








For me, Dietrich's aura seems to resonate at the same frequency as Attila the Hun's.

How should we picture the appearance of Attila the Hun? Priskos was a contemporary who travelled to the main encampment of the Huns as an envoy of the Eastern Roman Empire. There he made the acquaintance of Attila the Hun in person. Unfortunately, only fragments of his testimony have survived. Luckily, in the sixth century ce the Ostrogothic historian Jordanes could still consult the writings of Priskos (among others) to give us a description of Attila the Hun. Jordanes describes him as a small but broad man, with a large head, small eyes, a partly grey, thin beard, a flat nose, and tanned skin. In addition, Priskos himself reports that Attila's dress was comparatively moderate. What these clothes looked like can only be derived from images of Scythians, because contemporary images of Huns don't exist (anymore). Contemporary writers frequently denote the Huns with “Scythians”, mainly because the Huns inhabited the former Scythian area, but maybe also because they resembled the Scythians. It's assumable that, as far as culture and appearance are concerned, the Scythians and Huns didn't differ that much. The appearance of the Scythians (who called themselves Skoloti; among the Persians also known as Saka; among the Greeks as Skuthai) is clearly represented on a Greek comb, two Greek–Scythian vessels, and a Greek–Scythian plaque. If we may rely on these images, Attila the Hun wore comfortable, long trousers, soft riding boots, a shirt with long sleeves that was closed crosswise at the front, a girdle, and a conic cap. The shirt and the trousers had been decorated with regular, geometric patterns. Attila the Hun could arm himself, like the Scythians, with bow and arrows in a quiver that was attached to his girdle, a short sword, a shield, and a throwing spear. Finally, he must have worn long hair and a long beard, similar to the Scythian fashion.








What do you think of Hitler and Himmler's strange occult ideas? (they also had strange ideas about their past lives). They had great respect for the Norse gods and goddesses.
What is their connection to the Valkyrie in your opinion?
In your past life did you share any of the occult and pagan ideas of the gangsters running everything?

I've had some strange and uncomfortable experiences with people at my Reiki center who are apparently connected to this period of German History. No doubt they have sought me out because of my own karmic links with this soul group. I believe I met Hitler, but I died in 1932 just as he was coming into power.

Of the 'unusual perceptual experiences' reported by Hitler, he acknowledged that he heard voices like those which inspired Joan of Arc: they told him to rescue the Fatherland from the Jews. He also claimed that he had a vision of Wotan, the old German war god, pointing to the East above the heads of the cheering Viennese crowds at the time of Austrian Anschluss.

Drawn by Theodor Seuss Geisel

Henry the Fowler

And Heinrich Himmler was a real nut about "spiritual" matters. Peter Padfield notes that from late 1923 to early 1924, Heinrich Himmler's reading included books on spiritualism, second sight, astrology, telepathy, and the like. Heinrich Himmler fancied himself the reincarnation of an ancient Bavarian king, King Heinrich, returned to life to fulfill a grand destiny.

Fascinated by tales of King Arthur and his knights, Himmler's "Camelot" for his own knightly Order was the castle of Wewelsberg near Paderborn in Westphalia. Having acquired it in 1934, Himmler had massive reconstruction work done (paid for by his company "The Society for the Protection and Maintenance of German Cultural Monuments") -- the labour came, of course, from the concentration camps.

The focal point of the castle was a huge round oak table with seating for twelve of his senior Gruppenfuhrers:

"They sat in high-backed chairs made out of pigskin, on each of which was a silver disk on which the selected 'knight' had his name engraved. Here the chiefs of the SS were compelled to sit in the company of their Grand Master [Himmler] for hours of contemplation and meditation ... Each 'knight' had his own quarters in the castle..."[Graber]

Beneath this room was a crypt containing pedestals where should one of the "knights" die an urn containing his ashes [Graber] or his coat of arms [Padfield] would be burnt. Vents in the ceiling would allow those in the main hall to see the smoke rise or "the spirit ascend into a type of Valhalla".

Himmler's own private rooms in the castle were dedicated to the tenth-century Saxon King Heinrich the first (also known as Henry the Fowler) decked out in period fashion. According to Himmler's masseur, Himmler believed he was the reincarnation of the king, although Padfield notes that this sits uneasily with Himmler's ideas of life after death (by physical transmission of blood in the clan). Himmler shared his Christian name with the king, and may have felt he was an honorary member of a royal clan. His father had been tutor to Prince Heinrich of Bavaria, and the young Himmler was not only named for him but was the Prince's godson.[Padfield] Whatever the case, at midnight each July 2nd (the anniversary of the Saxon king's death) he would apparently commune in silence with King Heinrich.

Dr. Seuss

Theodor Seuss Geisel (March 2, 1904 – September 24, 1991), better known by his pen name, Dr. Seuss, was a famous American writer and cartoonist. Best known for his children's books such as The Cat in the Hat, Green Eggs and Ham, How the Grinch Stole Christmas and other classics, his books have become staples for many children and their parents. Seuss' trademark was his rhyming text and outlandish creatures. He also wrote under the pen names Theo. LeSieg and Rosetta Stone.

As World War II began, Dr. Seuss turned to political cartoons, drawing over 400 in two years as editorial cartoonist for the left-wing New York City daily newspaper, PM. Dr. Seuss's political cartoons opposed the viciousness of Hitler and Mussolini and were highly critical of isolationists, most notably Charles Lindbergh, who opposed American entry into the war. Some cartoons depicted all Japanese Americans as latent traitors or fifth-columnists, while at the same time other cartoons deplored the racism at home against Jews and blacks that harmed the war effort. His cartoons were strongly supportive of President Roosevelt's conduct of the war, combining the usual exhortations to ration and contribute to the war effort with frequent attacks on Congress (especially the Republican Party), parts of the press (such as the New York Daily News and Chicago Tribune), and others for criticism of Roosevelt, criticism of aid to the Soviet Union, investigation of suspected Communists, and other offenses that he depicted as leading to disunity and helping the Nazis, intentionally or inadvertently. In 1942, Dr. Seuss turned his energies to direct support of the U.S. war effort. First, he worked drawing posters for the Treasury Department and the War Production Board. Then, in 1943, he joined the Army and was commander of the Animation Dept of the First Motion Picture Unit of the United States Army Air Forces, where he wrote films that included "Your Job in Germany," a 1945 propaganda film about peace in Europe after World War II, "Design for Death," a study of Japanese culture that won the Academy Award for Best Documentary in 1947, and the Private Snafu series of adult army training films. While in the Army, he was awarded the Legion of Merit. Dr. Seuss's non-military films from around this time were also well-received; Gerald McBoing-Boing won the Academy Award for Best Short Subject (Animated) in 1950.

Despite his numerous awards, Dr. Seuss never won the Caldecott Medal nor the Newbery. Three of his titles were chosen as Caldecott runners-up (now referred to as Caldecott Honor books): McElligot's Pool (1947), Bartholomew and the Oobleck (1949), and If I Ran the Zoo (1950).

After the war, Dr. Seuss and his wife moved to La Jolla, California. Returning to children's books, he wrote what many consider to be his finest works, including such favorites as If I Ran the Zoo, (1950), Scrambled Eggs Super! (1953), On Beyond Zebra! (1955), If I Ran the Circus (1956), and How the Grinch Stole Christmas! (1957).

At the same time, an important development occurred that influenced much of Seuss's later work. In May 1954, Life magazine published a report on illiteracy among school children, which concluded that children were not learning to read because their books were boring. Accordingly, Seuss's publisher made up a list of 400 words he felt were important and asked Dr. Seuss to cut the list to 250 words and write a book using only those words. Nine months later, Seuss, using 220 of the words given to him, completed The Cat in the Hat. This book was a tour de force—it retained the drawing style, verse rhythms, and all the imaginative power of Seuss's earlier works, but because of its simplified vocabulary could be read by beginning readers. A rumor exists, that in 1960, Bennett Cerf bet Dr. Seuss $50 that he couldn't write an entire book using only fifty words. The result was supposedly Green Eggs and Ham. The additional rumor that Cerf never paid Seuss the $50 has never been proven and is most likely untrue. These books achieved significant international success and remain very popular.

Dr. Seuss went on to write many other children's books, both in his new simplified-vocabulary manner (sold as "Beginner Books") and in his older, more elaborate style. In 1982 Dr. Seuss wrote "Hunches in Bunches". The Beginner Books were not easy for Seuss, and reportedly he labored for months crafting them.

At various times Seuss also wrote books for adults that used the same style of verse and pictures: The Seven Lady Godivas; Oh, The Places You'll Go!; and his final book You're Only Old Once, a satire of hospitals and the geriatric lifestyle.

During a very difficult illness, Dr. Seuss' wife, Helen Palmer Geisel, committed suicide on October 23, 1967. Seuss married Audrey Stone Dimond on June 21, 1968. Seuss himself died, following several years of illness, in La Jolla, California on September 24, 1991.

In 2002 the Dr. Seuss National Memorial Sculpture Garden opened in his birthplace of Springfield, Massachusetts; it features sculptures of Dr. Seuss and of many of his characters.

Dr Seuss seems to have a past life connection with Alexander Pope (Did you see the DaVinci Code?)

Pope had been fascinated by Homer since childhood. In 1713, he announced his plans to publish a translation of Homer's Iliad. The work would be available by subscription, with one volume appearing every year over the course of six years. Pope secured a revolutionary deal with the publisher Bernard Lintot, which brought him two hundred guineas a volume. The commercial success of his translation made Pope the first English poet who could live off the sales of his work alone, "indebted to no prince or peer alive", as he put it. His translation of the Iliad duly appeared between 1715 and 1720. It was later acclaimed by Samuel Johnson as "a performance which no age or nation could hope to equal". The classical scholar Richard Bentley, less fulsomely, wrote: "It is a pretty poem, Mr. Pope, but you must not call it Homer." The money he made allowed Pope to move to a villa at Twickenham in 1719, where he would create a famous grotto and gardens (destroyed by bombing in World War Two). Encouraged by the very favourable reception of the Iliad, Pope translated the Odyssey. The translation appeared in 1725–1726, but this time, confronted with the arduousness of the task, he enlisted the help of William Broome and Elijah Fenton. Pope attempted to conceal the extent of the collaboration (he himself translated only twelve books, Broome eight and Fenton four), but the secret leaked out. It did some damage to Pope's reputation for a time, but not to his profits. In this period Pope also brought out an edition of Shakespeare, which silently "regularised" his metre and rewrote his verse in several places. Lewis Theobald and other scholars attacked Pope's edition, incurring Pope's wrath and inspiring the first version of his satire The Dunciad (1728), the first of the moral and satiric poems of his last period.

John Gay

Around 1711, Pope made friends with the Tory writers, John Gay, Jonathan Swift and John Arbuthnot, as well as the Whigs, Joseph Addison and Richard Steele.

John Gay (30 June 1685 - 4 December 1732) was an English poet and dramatist. He is best remembered for The Beggar's Opera (1728), set to music by Johann Christoph Pepusch. The characters, including Captain Macheath and Polly Peachum, became household names.

The Beggar's Opera is a ballad opera, a satiric play using some of the conventions of opera, but without the recitative. It is one of the watershed plays in Augustan drama. The airs in the play are set to popular broadsheet ballads, opera arias, church hymns, and folk tunes of the time. It was written in 1728 by John Gay, and the music was probably arranged by Johann Christoph Pepusch (the overture, based on two of the songs in Act II is written by him and so it is assumed that the bass lines of the airs are by him, although there is actually no evidence that this is true). The play took aim at the passionate interest of the upper classes in Italian opera, and simultaneously set out to lampoon the notable Whig statesman Robert Walpole and the notorious criminals Jonathan Wild and Jack Sheppard.

Johann Christoph Pepusch

Johann Christoph Pepusch (1667- July 20, 1752) was a German composer. At age 14, he was appointed to the Prussian court. About 1700, he settled in England. Although he is best known for his arrangement of the music for The Beggar's Opera (1728) - to the libretto of John Gay, he composed many other works including stage and church music as well as a number of concertos and trio sonatas for oboe, violin and basso continuo.

Akashic Records

If you check the Akashic Records we are back with Dwight D. Eisenhower.
The demonstration of soul group connections gives greater validity to individual past life readings in my opinion. Although many people quite rightly choose to remain sceptical.

John Gay

John Gay was born in Barnstaple, England and was educated at the town's grammar school. On leaving school he was apprenticed to a silk mercer in London, but being weary, according to Samuel Johnson, "of either the restraint or the servility of his occupation," he soon returned to Barnstaple, where he spent some time with his uncle, the Rev. John Hanmer, the Nonconformist minister of the town. He then returned to London.

The dedication of his Rural Sports (1713) to Alexander Pope was the beginning of a lasting friendship. In 1714, Gay wrote The Shepherd's Week, a series of six pastorals drawn from English rustic life. Pope had urged him to undertake this task in order to ridicule the Arcadian pastorals of Ambrose Philips, who had been praised by The Guardian (1713), to the neglect of Pope's claims as the first pastoral writer of the age and the true English Theocritus. Gay's pastorals completely achieved this goal, but his ludicrous pictures of the English country lads and their loves were found to be entertaining on their own account.

Gay had just been appointed secretary to the British ambassador to the court of Hanover through the influence of Jonathan Swift when the death of Queen Anne three months later put an end to all his hopes of official employment.

In 1715, probably with some help from Pope, he produced What d'ye call it?, a dramatic skit on contemporary tragedy, with special reference to Thomas Otway's Venice Preserved. It left the public so ignorant of its real meaning that Lewis Theobald and Benjamin Griffin published a Complete Key to what d'ye call it to explain it. In 1716 appeared his Trivia, or the Art of Walking the Streets of London, a poem in three books, for which he acknowledged having received several hints from Swift. It contains graphic and humorous descriptions of the London of that period. In January 1717 he produced the comedy of Three Hours after Marriage, which was grossly indecent without being amusing, and was a complete failure. He had assistance from Pope and John Arbuthnot, but they allowed it to be assumed that Gay was the sole author.

Gay had numerous patrons, and in 1720 he published Poems on Several Occasions by subscription, taking in £1000 or more. In that year James Craggs, the secretary of state, presented him with some South Sea stock. Gay, disregarding the advice of Pope and other of his friends, invested all of his money in South Sea stock, and, holding on to the end of the South Sea Bubble, he lost everything. The shock is said to have made him dangerously ill. His friends did not fail him at this juncture. He had patrons in William Pulteney, afterwards earl of Bath, in the third earl of Burlington, who constantly entertained him at Chiswick or at Burlington House, and in the third earl of Queensberry. He was a frequent visitor with Pope, and received unvarying kindness from William Congreve and Arbuthnot. In 1727 he wrote for Prince William, afterwards duke of Cumberland, his famous Fifty-one Fables in Verse, for which he naturally hoped to gain some preferment, although he has much to say in them of the servility of courtiers and the vanity of court honours. He was offered the situation of gentleman-usher to the Princess Louisa, who was still a child. He refused this offer, which all his friends seem to have regarded, for no very obvious reason, as an indignity. He had never rendered any special services to the court.

He certainly did nothing to conciliate the favour of the government by his next production, The Beggar's Opera, a lyrical drama produced on the January 29, 1728 by John Rich, in which Sir Robert Walpole was caricatured. This famous piece, which was said to have made "Rich gay and Gay rich," was an innovation in many respects. The satire of the play has a double allegory. The characters of Peachum and Macheath represent the famous highwayman and gangster Jonathan Wild and the cockney housebreaker Jack Sheppard. At the same time, Jonathan Wild was understood to represent Robert Walpole, whose government had been tolerant of Wild's thievery and the South Sea directors' escape from punishment. Under cover of the thieves and highwaymen who figured in it was disguised a satire on society, for Gay made it plain that in describing the moral code of his characters he had in mind the corruptions of the governing class. Part of the success of the Beggar's Opera may have been due to the acting of Lavinia Fenton, afterwards duchess of Bolton, in the part of Polly Peachum. The play ran for sixty-two nights. Swift is said to have suggested the subject, and Pope and Arbuthnot were constantly consulted while the work was in progress, but Gay must be regarded as the sole author.

He wrote a sequel, Polly, relating the adventures of Polly Peachum in the West Indies; its production was forbidden by the Lord Chamberlain, no doubt through the influence of Walpole. This act of "oppression" caused no loss to Gay. It proved an excellent advertisement for Polly, which was published by subscription in 1729, and brought its author several thousand pounds. The Duchess of Queensberry was dismissed from court for enlisting subscribers in the palace. The Duke of Queensberry gave Gay a home, and the duchess continued her affectionate patronage until Gay's death, which took place on December 4, 1732. He was buried in Westminster Abbey. The epitaph on his tomb is by Pope, and is followed by Gay's own mocking couplet:

Life is a jest, and all things show it,
I thought so once, and now I know it.



So how does John Gay fit into my story?

Douglas MacArthur

John Gay became Douglas MacArthur.

Douglas MacArthur (January 26, 1880 – April 5, 1964) was an American general and Medal of Honor recipient, who was Supreme Commander of Allied forces in the Southwest Pacific Area during World War II. He lost the Philippines, but led the defense of Australia, and the recapture of New Guinea, the Philippines, and Borneo. He was poised to command the invasion of Japan in November 1945 but was instead instructed to accept their surrender on September 2, 1945. MacArthur oversaw the occupation of Japan from 1945 to 1951 and is credited for making far-ranging democratic changes in that country. He led United Nations forces defending South Korea in 1950-51 against North Korea's attempt to unify Korea. MacArthur was relieved of command by President Harry S Truman in April 1951 for public disagreements with Truman's policies.

MacArthur fought in three major wars (World War I, World War II, Korean War) and rose to the rank of General of the Army. MacArthur remains one of the most controversial figures in American history. While greatly admired by many for what they consider his strategic and tactical brilliance, MacArthur was also considered by many to have had questionable military judgment, and is criticized by many for his actions in command, and especially his challenge to US President Truman in 1951.

Why?

Why did these military minded people team up in a past life to write a ballad opera about notorious criminals?
The answer lies in the Akashic Records and the past lives of Jack Sheppard.
Sheppard was in many previous lives a great military man. Dwight D. Eisenhower and Douglas MacArthur served many lifetimes under his command. Jack is now trying to be a healer and a teacher and a more responsible citizen. His views are not always popular, but please remember he's coming into this life with his own unique perspective, just like the rest of us. It's sometimes a struggle to make sense of it all.