Historic Clinical Trial at Hopkins: Mistletoe to become Standard Cancer Treatment Protocol in U.S.
Other Countries Using Mistletoe Therapy Now
Mistletoe (Iscador or Iscar)
When Dr. Zohara Hieronimus, D.H.L. founded the Ruscombe Mansion Community Health Center in 1984, her goal was to create one location where many options for complementary or holistic services would be available. The first professional she recruited was Dr. Peter Hinderberger, M.D., a physician who practices homeopathy and anthroposophic medicine.
Born and raised in Switzerland where he attended medical school, Dr. Hinderberger has studied internationally including professional courses in homeopathy from the National Center for Homeopathy, and under master homeopaths George Vithoulkas and Jacques Imbrecht.
Zohara has been proud of Dr. Hinderberger for 30 years because he is an exceptional healer, but she has never been as proud of him as she is today thanks to his involvement in this historical trial on a botanical cancer treatment.
Dr. Hinderberger has used mistletoe in his practice successfully for over three decades as an integral part of standard cancer treatment protocol. Mistletoe (Iscador or Iscar) is one of the most widely studied complementary and alternative medicine therapies in people with cancer in Europe. In certain European countries, preparations made from mistletoe are among the most prescribed drugs for patients with cancer.
But in the United States, no pharmaceutical company will fund the clinical trials necessary to allow oncologists to offer it to their patients as “standard of care”. That is because mistletoe is a botanical that cannot be patented, and there is no huge profit to be made for them to fund this study.
So into this breach steps one of Dr. Hinderberger’s extraordinary patients. After being diagnosed with stage 4 cancer and a bleak prognosis, she is now free of cancer thanks to her lifestyle changes and mistletoe. These results sparked the interest of her oncologist at Johns Hopkins Hospital, and led to his decision to do a trial on mistletoe.
This is a Phase 1 trial for six to nine months to evaluate the safety, identify any side effects on a small group of patients, and serve as an intro study for further mistletoe trials. This study will cost approximately $300,000. Remember, because mistletoe is a natural substance and there is not a patent possibility, pharmaceutical companies will not fund this trial. All funding will come through philanthropic and private donations.
It is truly historic that none of the funds will come from Big Pharma, and that Johns Hopkins, one of the top ranked medical research facilities in the world, is doing a study on a botanical substance for cancer. This in itself is absolutely remarkable, but just as remarkable is that this is patient-driven, not initiated by the manufacturer, nor a researcher, or by Big Pharma, or an article in the New England Journal of Medicine. This is funded by a grass roots organization, not the government, but by us, YOU and ME!
You can be a proud and active partner of this historic event with a donation specifically for this trial. The link is www.BelieveBig.org/ClinicalTrial.html.
Scroll down to DONATE!
The Mistletoe Clinical Trial has the potential to change the way cancer is thought of and treated in the United States. It is time for mistletoe to be an integral part of a standard cancer treatment protocol in the U.S.
Dr. Bob Speaks at 100th Birthday Celebration Honoring Leon Day
Well, we had a GREAT time at the Leon Day 100th Birthday party on Saturday, October 29, at the Babe Ruth Museum. You can see part of Dr. Bob’s speech in the link below. Thanks to the hard work of Michelle Freeman and her group of friends and family that pulled this off, we were able to honor our old friend, the Negro League legend, Leon Day, who finally made it into the National Baseball Hall of Fame in 1995, just six days before he died. Thank you to the Baltimore Sun, and especially to Dan Rodricks for his column and podcast, and to Mary McCauley for her terrific article in the Baltimore Sun, and to Karl Merton Ferron for his very touching video included as part of that article online. Thanks to them we had close to a hundred people turn out and enjoy birthday cake and baseball stories and snacks and participate in our silent auction and sales table where we raised even more money for the West Baltimore youth baseball leagues. Keeping alive the integrity and grit and resilience of the old Negro Baseball Leagues and inspiring that sportsmanship in a new generation. More information at LeonDayFoundation.org. We highly recommend you support this worthy foundation.
A Personal Appeal from Dr. Bob Hieronimus: “Have You Seen This Bus?”
Woodstock, 1969. Ricky Peters and Trudy Morgul atop the bus “Light” painted by Bob Hieronimus. Associated Press.
I’m trying to find someone who remembers what may have happened to the original VW bus I painted called “Light” and later nicknamed the “Woodstock Bus” after it became famous. I know it sounds hard to believe, but I do not remember to whom I sold it or possibly gave it away to circa November 1972. At the time it was a rusting relic that was not recognized as a historic icon yet. After my musician friend Bob Grimm, the original owner of this bus, drove it back from the Woodstock festival, he later left it with me when he went to England to pursue his musical career. The Woodstock Bus then became a community van, used by all the members of the Savitria community and AUM Esoteric Study Center running around town. In the end, it was literally falling apart. Many engines were installed, transmissions repaired, the floor rusted out and it was dangerous to drive. About this time period, mostly what I remember is trying to keep the AUM Esoteric Study Center afloat. Also, this was just one of several VW busses I painted in this era, and as I read through my journals, it’s hard to know which VW bus I’m talking about sometimes.
If you know anyone who was connected with the Savitria community or the early days of AUM, would you ask them to contact me please if they have any memories of this bus? Ultimately we want to discover to whom I ultimately sold it or gave it away to and where it ended up. We are talking to a couple of film crews who are creating 50th anniversary documentaries about Woodstock, and they want to try to find the original Woodstock Bus or even just a piece of it – a fender or a hubcap would do! You can email me directly at bob@21stcenturyradio.com if you have ideas. Thanks.
For those of you not yet familiar with the Woodstock Bus “Light,” here is an excerpt from the passage describing it in the David and Cee Eccles book, Traveling with the VW Bus and Camper, published by Abbeville Press. “Not only was the ‘Light’ Bus by Bob Hieronimus one of the first VW buses to be painted in the ‘psychedelic sixties’ style, its Woodstock heritage adds to its importance and influence on the future. It is not just another ‘hippie bus,’ but a work of art in its own right, which captures the mood and aspirations of a generation searching for its own identity and place in the universal scheme of things. The bus may have passed into legend, but its legacy as inspiration for new generations of VW bus owners lives on.”
Racing historian Mike Finney returns to 21st Century Radio on WCBM 680 AM to preview Maryland’s upcoming race season. Sunday evening, March 24th, 2013 from 8-9 PM with host Dr. Bob Hieronimus, Finney will review the Steeplechase Races at Elkridge-Harford Hunt Point to Point (4/6/13), My Lady’s Manor (4/13/13), Maryland Grand National (4/20/13), and the Maryland Hunt Cup (4/27/13).
We’ll also reveal the truth behind the legend of the black American jockey Isaac Murphy (1861-1896). Murphy was the first American jockey elected to Racing’s Hall of Fame in Saratoga Springs, New York, and only one of two black jockeys (Willie Simms is the other) to have received this honor. Throughout his career, Murphy rode 628 winners in his 1,412 mounts, including the three Kentucky Derby winners, four American Derby winners, and five Latonia Derby winners. Murphy has the best winning average in history to date with better than 34 percent. His career came to an end in 1895 after he began struggling with his weight and alleged bouts of drinking. Mike Finney has uncovered some new twists on this story that he will share with our listeners.
Michael H.S. Finney is a Maryland racing historian and sporting art dealer specializing in equine art and attire. (Visit their beautiful new location for Yoicks! in the Stevenson Village) He began his polo career at the Bostwick’s Village Farms Club in New York and went on to reside with Hector Barrantes in Argentina before playing for White Birch Farm. Finney has also served as an instructor, announcer and referee at the Myopia Polo Club in Boston and as a consultant on polo art for Polo Magazine.
Join us on 21st Century Radio with Dr. Bob Hieronimus on March 24, 2013 from 8-9 PM to hear all about it. Listen live on the air on WCBM 680 AM on the dial or over the Internet at wcbm.com. Check back later in the week at 21stCenturyRadio.com to listen to the archived show available for free.
The Secret Life of Lady Liberty at Mitchell Courthouse December 1, 2016
On Thursday, December 1, 2016, Robert Hieronimus, Ph.D. and Laura E. Cortner will be coming to the Library for a visual presentation centering on their new book The Secret Life of Lady Liberty: Goddess in the New World. They will examine the symbolism of Lady Liberty, tracing her lineage all the way back to the Neolithic Earth Mother, Mary Magdalene, Minerva, Joan of Arc, the Indian “Queen” and the Revolutionary generation’s Indian “Princess.” Join us for a fascinating topic and presenters for what should be a fascinating evening.
Dr. Robert Hieronimus, Ph.D. is an internationally known historian, visual artist, and radio host. He has appeared on History, Discovery, BBC, and National Geographic and hosted 21st Century Radio on WCBM in Baltimore since 1988. Laura E. Cortner is an honors graduate of Goucher College and has co-authored previous titles with Dr. Hieronimus including Founding Fathers, Secret Societies and United Symbolism of America.
Place: Mitchell Courthouse – 100 North Calvert Street – Main Reading Room of the Bar Library (Room 618, Mitchell Courthouse).
Time: 5:00 p.m., Thursday, December 1, 2016, with a wine & cheese reception immediately following.
Invitees: Members of the Library Company of the Baltimore Bar and their guests, judges, employees of Baltimore City and its courts, courthouse employees, government lawyers, public interest lawyers, law librarians, law and college faculty and students. For all others there is a $20.00 charge which will be waived upon subscribing to a Bar Library membership.
Lady Liberty and Public Art
at Baltimore’s Mitchell Courthouse
The Secret Life of Lady Liberty came to one of the most beautiful historic libraries in Baltimore on December 1, 2016. Co-authors Robert R. Hieronimus, Ph.D., and Laura E. Cortner presented a visual tour of their new book exploring the symbolism of the Goddess Lady Liberty, revealing why everyone claims the Statue of Liberty as one of “us,” but most forget that she is GOD in female form.
Nearly 40 years ago today, Dr. Hieronimus was the commissioned artist hired to restore the American history murals inside the Mitchell Courthouse, like “The Surrender at Yorktown,” above.
As the female half of our national conscience, the Statue of Liberty is all about finding balance. Her history as a goddess can inspire us to find our mission in life and activate it.
The talk went over what the authors discovered while researching the history of the Statue of Liberty, and why she is an energizing symbol for activism. The Statue of Liberty is a unifying Symbol — just look at the current crop of political cartoons showing her at odds with, or violated by, president-elect Trump. Hollywood has discovered the emotional impact on viewers when they show her being destroyed in the multiple disaster films of the last decade. Most people on the planet associate the Statue of Liberty with the self-identity of Americans. We identify with her as both our “Mom” and “one of Us.” The Secret Life of Lady Liberty argues that learning to see the Statue of Liberty as a powerful depiction of divinity in female form can energize America toward a more compassionate future.
In the 1970s, Dr. Bob was appointed by then-Mayor William Donald Schaefer restore the beautiful murals at the Mitchell Courthouse. Leading a crew of assistants, and then working solo for several more months after the budget ran out, he restored them to their original splendor. They cleaned every square centimeter of every mural, dealing with delays, bureaucracy, and damage to the artwork until completion.
Click to enlarge:
Several legal luminaries attended the presentation. Above, from left to right: Chief Judge of the Circuit Court for Baltimore City Alfred Nance; Judge Wanda Keyes Heard; and George W. Liebmann, president of Liebmann and Shively, P.A.
Experience Hendrix 2010 at the Hippodrome in Baltimore
Photos by Stuart Zolotorow and Hieronimus & Co.
Side of an equipment case backstage before the November 11, 2010 Experience Hendrix concert in Baltimore revisiting the music and inspiration of Jimi Hendrix with an all-star line up.
Stuart Zolotorow photographing Janie Hendrix and Dr. Bob in front of the Little Help From Our Friends mural in South East Baltimore.
Dr. Bob and Janie visit the mural for Hampden’s two Congressional Medal of Honor recipients: Lt. Ricketts (U.S.Navy) and Pvt. Sheridan (U.S.Army).
Dr. Bob Hieronimus and Janie Hendrix (sister of Jimi Hendrix) in front of the We The People Biodiesel Artcar outside the Hippodrome before the concert.
Dr. Bob Hieronimus in front of the Experience Hendrix tourbus in front of the Hippodrome in Baltimore, Maryland.
Brad Whitford (of Aerosmith) in front of the tourbus. He played extended dates with the Experience Hendrix tour.
Chris Layton (drummer for Double Trouble) checking out the We The People artcar.
The Experience Hendrix tour bus and We The People artcar outside of the Hippodrome before the concert.
Dr. Bob and Billy Cox, who first met Jimi Hendrix in the U.S. Army in the 1960’s, and re-united musically with Jimi in 1969, when Hendrix called on Cox to play bass in the Band of Gypsys.
Dr. Bob and Billy Cox hanging outside by We The People artcar before the show.
Dr. Bob charms Billy Cox’s wife Brenda who’s always got Billy’s back!
Dr. Bob and Dori Armor, Sr. Director of Booking the Hippodrome Theatre.
Bassist Doug Wimbish (of Living Colour and Jungle Funk) with Dr. Bob sharing their appreciation for the Negro League Baseball.
Stuart Zolotorow checking out the guitars backstage.
Dr. Bob holds the setlist for the Baltimore performance of Experieince Hendrix backstage before the show.
Ernie Isley & Billy Cox onstage at the Hippodrome in Baltimore.
Dr. Bob Hieronimus watching from the side of the stage.
Johnny Lang and the Experience Hendrix band.
Noah Hunt and Kenny Wayne Shepherd onstage at Experience Hendrix.
The crowded atrium of the Hippodrome at the Experience Hendrix show.
This article is based on the contribution we made to the book by Dr. Marie Jones 2013: The End of Days or a New Beginning: Envisioning the World After the Events of 2012 (New Page Books, 2008). It is based on a 1969 mural of Bob Hieronimus’s called “The Apocalypse.”
When asked to contribute to this book, I knew immediately where I would focus. Over 40 years ago, in late 1965, I began to be plagued by horrifying dreams and visions of future calamities on this planet, and I found that the only way I could master them was to express them in my artwork. My magnum opus along these lines was the 2,700 square foot mural I completed at the Johns Hopkins University student union building in 1969. Still extant today, it covers an entire room, four walls, ceiling, and stairwell with the overarching theme that history is cyclical and not linear. Civilizations have repeatedly risen and died through cosmic, natural, and man-made cataclysms. I called this mural “The Apocalypse.”
My interpretation of Apocalypse, however, is not the end of the world, as many assume by its title or by misinterpreting its symbolism. What I attempted to depict was the evolution of our physical world through scores of symbols and mythologies. The main wall shown here is focused on America. Like much of my work during this time period, it was hailed by art critics (who called it “a work of genius,” “prophetic,” and me, “one of the country’s best muralists”), while at the same time it was verbally abused and even physically attacked by some members of the establishment and many of the fundamentalist Christian sects. It was partially destroyed when near completion in December of 1968 by a disturbed student, who, ironically, did not disagree with its message. As a Christian fundamentalist he believed a type of world-wide destruction was prophesied in the Bible, but he feared the message was too strong for most of his fellow Americans to see, and that it should be kept secret for the few. I spent the next two months repairing the damage.
I also went to court to testify in defense of this student and even agreed to help supervise him in order to keep him from being institutionalized. No stranger to confusing emotions over world-shattering visions, I could empathize with his rage, and after getting to know him realized we shared a lot more commonalities than differences. I was also quite used to my artwork inspiring this kind of defensive reaction in the public, particularly among people who have vested interests in the status quo. My dreams were showing me the death of America, and I was wrenched night after night with the sight of millions of bodies floating lifelessly in rivers of mud, some face up, some face down. It was not until I began to express my concerns in a series of paintings and constructions that I was able to control these visions.
The first creation resulting from these visions was a 12-foot long sculpture construction of the American eagle lying in a coffin on wheels. I called this piece “The American Express.” Covering the American flag that draped the coffin were medals and logos of corporate giants like Coca-Cola, General Motors, Chiquita Banana and play money. Always intensely patriotic and a lover of America’s symbols, I didn’t like the message portrayed by this construction, but I was being pushed to awaken others to the realization that America had lost its way, and even its very reason for being. Whenever it was shown on display at Johns Hopkins or other universities and galleries in the spring of 1967, it followed a familiar pattern of inspiring rave reviews from the art world, along with threats and abuse from the administration. This time even the Maryland Attorney General’s office was involved and there was some talk of locking me up for desecrating American symbols. Forty years later, America has changed a great deal. We are no longer respected around the world as the dominant world leader or power, a position we forfeited most recently with the invasion of Iraq. Despite this loss of our reputation world-wide, the number of fundamentalist-conspiratorialists in this country continues to grow, and these are the people who are insulted by any interpretation of American symbolism that differs from their own. In the past several decades, we have also voted in leaders who have allowed the corporations to control our media. This status has led to an ever stronger worship of materialism and the military industrial complex. Meanwhile, the giant that is China rises.
Fortunately, we continue to evolve. As we speed toward the apocalypse predicted by the Mayan calendar in 2012, the new age sciences have begun to provide a new basis for the science of spiritual transformation. The notion that 2012 marks the end of a cycle also means that the year 2013 marks the beginning of a new one. In the future, universal consciousness will bring enlightenment, and all humans will share the secrets of clairvoyance, telepathy, remote viewing, interspecies communication with extraterrestrials, spiritual and non-physical beings. The knowledge and understanding of life after death will lead to a huge awakening and an openness to unconditional love and universal spirituality. A return to balance with the feminine side of consciousness where intuition is the guide will lead us to planetary transformations, the development of free energy systems, and a host of achievements that will lead to sustainability of the planet. We will realize that we are all Earth people and co-creators of our future, and will begin this process by visualizing and engaging in healing activities in every sphere of our being.
Many new paradigm thinkers have given us great hope regarding the huge shifts predicted for 2012. Though I personally believe we cannot escape widespread planetary weather crises that will result in great loss of life, we can diminish the impact by increasing the number of people who are conscious of their roles as co-creators of our future. Other writers have emphasized that the 2012 time period presages great shifts leading to a new phase of galactic evolution and its relationship with the UFO phenomenon (José Argüelles); the global dawning of the wisdom age (Peter Russell); becoming a world-wide family and possibly part of a greater family in the cosmos (Gregg Braden); learning to use our breathing as a spiritual link to our divine selves (John Major Jenkins); projecting new images into space to bring about healing and develop a coherent idea for an effective transition to the new world (John L. Peterson); huge surges in remote viewing, telepathy, clairvoyance, and interspecies communication leading to universal spirituality (Karl Maret); and a reminder that those who fear Armageddon may create their own private doomsday (Gill Edwards).
Understanding that great shifts are part of humanity’s history on this planet can help us transform the fear for the future into hope. That’s where I was at the end of August 1968 after spending a summer in New York City meeting backstage to discuss these ideas with Elektra Records recording artists. I had decided to decline the invitation to design album covers for the likes of Hendrix, Joplin, and Buckley (the proffered salary was abysmal, but I also felt urgently that I was wasting my time), and instead accept the commission from the Chaplain’s Office to paint the mural for the Johns Hopkins University. Dr. Chester Wickwire had long been a supporter of my work and vision, defending me through the “American Express” brouhaha, and he wanted to give me complete freedom to express myself with the new mural. The design encompassed humankind’s evolution from a hermaphrodite in the lost continents of Lemuria and Atlantis, through the advanced civilizations of ancient India, Egypt, and the Middle East and continuing on to the rising landmasses in the Atlantic, Pacific and Indian Oceans. It also included extraterrestrial craft overseeing our planet’s evolution from the beginning.
Details from The Apocalypse a 2,700-square-foot mural painted by Dr. Bob Hieronimus in 1968, still on view today at the Johns Hopkins University in Baltimore, Maryland.
The main wall seen here which focuses on the United States is the most relevant to the years around 2012. Measuring 32’ x 9’ (288 square feet), it reflects only about 10% of the entire mural. The story on this wall begins with the astrological sign Scorpio being monitored by a UFO mothership and three of its disc craft. A key to Scorpio is “desire,” and it is used here to symbolize our soul’s struggle to make itself known in the physical and desire worlds, which will lead to rebirth and regeneration. This is symbolized by Scorpio’s three-tiered image: the scorpion, the serpent and the eagle reflecting physical, psychic and spiritual regeneration. The stage is set for America to become the seed for planetary evolution.
At the opposite end of the wall is the winged being Aquarius pouring from its urn the energies of altruism and brotherhood, giving birth to planetary consciousness and harmony. Aquarius is also overseen by a fleet of seven UFOs in a V formation monitoring our planet’s evolution towards one people, one planet. The drama that unfolds between these two figures is the struggle from unconsciousness, to consciousness, to superconsciousness, and America is key to this struggle. This is shown along the top of the wall through a series of flags evolving from Great Britain’s flag, to America’s first flag of 1776, to America’s 13 star flag, to the Confederate flag, to the 50 star flag (the last three mostly blocked by the eagle), followed by the flag of the Soviet Union (to show how the two former enemies could work together), and finally a new “nation” flag made up of the 13 red and white stripes with a canton containing the ancient symbol of the hex-alpha, a six-pointed star with a circle and point in the center. This represents a flag of planetary consciousness.
Beneath these banners we see the American eagle is sinking in the flood tides, being weighed down by corrupting forces of the corporate, fascistic and oligargical powers bent on speedy profits at the cost of American liberties and the planet’s very life force. Some of those forces are identified on the body of the sinking eagle, though a black and white reproduction of this detail makes them virtually invisible. We have General Motors standing for the petroleum-based energy systems, Coca-Cola representing the reduction of food to a non-nutritional diet and agribusiness, Chiquita or the United Fruit Company epitomizing the sale of other nations’ illegal drugs to fund America’s black budget operations, and the dollar sign to symbolize America’s 70 trillion dollar debt leading to our enslavement. In this picture, the American eagle is rent asunder because it has worshipped the material world and ignored the spiritual dimension. It is surrounded by natural cataclysms expedited by its domination of nature for profit. Geological and weather changes are shown with fire and water engulfing the Statue of Liberty and the Golden Gate Bridge (barely discernable in this photo, in front of Lady Liberty). Also engulfed in these radical transformations is the Russian bear in front of the eagle, predicting the dissolution of the Soviet Union. Both the Russian bear and American eagle are confronted by a long green dragon-serpent representing China. As the potential threat to both superpowers, the dragon of China is composed of inverted (hidden destiny) five pointed stars, the symbol for Saturn (karma) and the number 666 (considered numerologically 6+6+6 = 18 = 1+8=9, the number of initiation).
Above the dying eagle there rises a transformed eagle in purple with silver and gold vibrations. This rebirth continues onto the ceiling where the transformation is completed in the form of the legendary phoenix that regenerates itself from its own ashes. On the ceiling we also see Poseidon/Neptune holding in his right hand a lost spiritual temple of Atlantis, which has been regained to preserve the spiritual sciences and assist the rebirth of our planet.
As one cycle is completed, a new cycle begins on the spiral of evolution. The outcome of these massive political, economic, geologic, and geographical changes is devastating to individual nations, but will serve to unite the planetary republic and pave the way for a more lasting peace. Human beings will realize we are not just physical beings, and that we all contain an immortal component that can lead us to universal wisdom, the oneness of beings, the oneness of all living things. The Apocalypse means a rebirth of spirit eventuating in planetary beings.
Reprinted, with permission of the publisher, from 2013: THE END OF DAYS OR A NEW BEGINNING (c) 2008 Marie D. Jones. Published by New Page Books a division of Career Press, Franklin Lakes, NJ. 800-227-3371. All rights reserved.
Dr. Bob visits the Keeper of the Great Seal of the U.S.A. in Washington D.C.
Soon after the publication of Dr. Bob Hieronimus’s book, The United Symbolism of America, he enjoyed a private tour of the actual Great Seal press and the comprehensive and beautiful exhibit on the history of the Seal. Invited by Senior Curator, U.S. Diplomacy Center Dr. Priscilla Linn, to view the exhibit called “Celebrating the 225th Anniversary of the Great Seal of the United States: Past, Present and Future,” Dr. Bob was also specially treated to a demonstration of the Great Seal in action. Sharon Hardy, Chief of the Office of Presidential Appointments, Bureau of Human Resources, demonstrated the Seal press with an actual Presidential document, which she made official by imprinting on it the Great Seal of the United States. Ms. Hardy is the official custodian of the Great Seal, and each year, she and her staff imprint seals for between 2,000-3,000 documents, including presidential commissions, diplomatic envelopes, and treaties.
The U.S. has never cut
a die for the reverse, but its image appears
on the back of the one dollar bill.
Sorry conspiracy theorists!
The traveling exhibit “Celebrating the 225th Anniversary of the Great Seal” curated by Dr. Linn shows in exquisite detail the dry and historical veracity of the origins of these arcane designs and why they were really chosen by the Founding Fathers. It is a waste of time to try to connect these symbols to a Devil-worshipping secret society bent on world domination. That’s not to say selfish and greedy powerful men do not meet in secret and try to manipulate world events to their advantage – they do. But trying to use our national symbols to prove the existence of such a group is based on urban legends, lies, mistranslations, and has its origins in the anti-Communist propaganda of the 1930s. Go ahead and attack the secret cabals all you want, just leave our national symbols out of it.
Curator Dr. Priscilla Linn, Dr. Bob Hieronimus, and Sharon Hardy (Keeper of the Seal) pose in front of both seals.
Hieronimus and Linn appreciating the antique seal artifacts at her exhibit, “Celebrating the 225th Anniversary of the Great Seal of the United States: Past, Present and Future.”
Hieronimus and Linn examine the display on the front or “eagle” side of the Great Seal of the United States.
Close-ups of the actual Great Seal press. There is an official die cut for only the obverse of our two-sided national seal. The reverse does not have an official die press and is not used to authenticate official documents.
Sharon Hardy, the official custodian and protector of the Great Seal, displays the newly imprinted presidential proclamation.
Close-up of the newly pressed seal.
Dr. Hieronimus and Sharon Hardy examine the new pressing. Notice the bar that looks like a dumbbell over their heads. This is spun downwards to screw the seal impression onto the document inserted underneath. This particular mechanism has been in use since 1903.
Zohara has been proud of Dr. Hinderberger for 30 years because he is an exceptional healer, but she has never been as proud of him as she is today thanks to his involvement in this historical trial on a botanical cancer treatment. 
So into this breach steps one of Dr. Hinderberger’s extraordinary patients. After being diagnosed with stage 4 cancer and a bleak prognosis, she is now free of cancer thanks to her lifestyle changes and mistletoe. These results sparked the interest of her oncologist at Johns Hopkins Hospital, and led to his decision to do a trial on mistletoe.
2013: After the Apocalypse
The first creation resulting from these visions was a 12-foot long sculpture construction of the American eagle lying in a coffin on wheels. I called this piece “The American Express.” Covering the American flag that draped the coffin were medals and logos of corporate giants like Coca-Cola, General Motors, Chiquita Banana and play money. Always intensely patriotic and a lover of America’s symbols, I didn’t like the message portrayed by this construction, but I was being pushed to awaken others to the realization that America had lost its way, and even its very reason for being. Whenever it was shown on display at Johns Hopkins or other universities and galleries in the spring of 1967, it followed a familiar pattern of inspiring rave reviews from the art world, along with threats and abuse from the administration. This time even the Maryland Attorney General’s office was involved and there was some talk of locking me up for desecrating American symbols. Forty years later, America has changed a great deal. We are no longer respected around the world as the dominant world leader or power, a position we forfeited most recently with the invasion of Iraq. Despite this loss of our reputation world-wide, the number of fundamentalist-conspiratorialists in this country continues to grow, and these are the people who are insulted by any interpretation of American symbolism that differs from their own. In the past several decades, we have also voted in leaders who have allowed the corporations to control our media. This status has led to an ever stronger worship of materialism and the military industrial complex. Meanwhile, the giant that is China rises. 
