Promise: Your attention span can be increased by reading to this story.
This story was developed by the A21 coalition in association with Woman's Day magazine and the ITT Corporation.
The brain is a complicated quantum device that is connected to other quantum devices using subspace communications that are not accessible from our membrane. Bart Masterson existed in most variations of the 20th-century Earth experience.
His life is a candle by which we can read the truth of our existence and improve our attention span. Your attention span consists of the linear arc of mean power distribution from the cortex divided by the entanglement state of the neuron function.
The attention span is topological in its nature. A hill, a valley, and a bowl are all instances of symbolism. One can sit quietly, constricting one's lower chakra. This will increase your attention. The span is an extent, stretch, reach, or spread between two limits.
This is the nature of human existence. For reasons concealed by Earth's Moon, the creators utilized an American celebrity of the 20th century as a focus nexus for the coherence of subspace transmission by means of articulated expression. This spreads like a virus, like life.
Bart Masterson was that articulated expression.
Bart Masterson was Hollywood's go-to western hero throughout the 1950s, starring in such blockbusters as "It Never Rains Cabbage," "The Fire Called Them," "It Touched Me," and the comedy western "3 Ways to the Booby Hatch." He was the ubiquitous lawman gone rogue with a heart of gold in most of his films and just as often could be counted on to be a showrunner with his electric charisma, his Amazonian-like good looks, his jungle dancing, and his mysterious card tricks that lit the screen on fire in an age where computer-enhanced images were only a dream.
Bart had an unusually long attention span, and he often competed in feats of mental strength, which were performed during stage tours of North America where he wowed audiences by remembering numbers of unfathomable complexity and length. It was during one of these shows that he infamously beheaded a girl in a card trick gone wrong.
It was 1947, and the young girl had come on stage to assist Bart in the "Spades-a-Plenty" trick when an accident with the explosive charges hidden in the deck occurred. The young girl's head was blown clean off, and Bart had to get a pardon from the governor to leave Alabama.
Ever one for going deep into character, he killed a man in 1952 with a six-shooter while preparing for a role. The man was a taxi driver who had bumped into his leg while he crossed the street in Manhattan. Bart shot him in the face three times and urinated on his pants.
Charges were dropped as it was proven that the driver was, in fact, an illegal alien, and Bart Masterson was deep in character development. Bart maintained that the alien in question was sent by Control-Control to limit the growth of our nation and prevent the beacon of time from becoming a reality.
No one knew what to make of this, but he managed to spin it into something good with his Beacon-of-Time alarm clock infomercials. The special clock that he called the Beacon of Time made use of a lightbulb attached to the alarm circuit and had the ability to wake a person with light.
The alarm clock is credited with the economic success of the United States following the Second World War. Millions were sold by his sponsored TV and radio programs, and the circuitry inside the device also delivered other communications from Control-Control in the form of subsonic sound patterns.
His psychic abilities are credited to his father's choice of Lucky Strike toasted tobacco and a series of mysterious abductions during the conception period. After spending a year with an unidentified Indian tribe in the West, he came back four inches taller and filled with a vision for the future. He called it the Final Solution solution, cryptically telling the foreign press that the state of Alaska and its native people were problematic to Earth joining the federation of planets.
He preached a message of universal love, but he truly hated the state of Alaska. Bart could recite hours of inspirational poetry that he claimed came to him at the behest of his extraterrestrial friends and associates. It was his wish and dream that his life would become a candle, meaning "Welcome," to our space friends. I believe that with the events of his eventual death, he achieved this wish. His life became a lens that held to focus our collective attention spans.
He came to prominence during his 1944 portrayal of Bart Masters in "Six-Gun Gorilla at Far Point Station." He was attracted to the role because of the similarity of his name and the lead human character's name, an event that he claimed legitimized his desire to be an actor and seemed to be Mother Fate offering her big fat tit to him once again.
It should be noted that Bart was a tireless advocate of breastfeeding, and these activities consumed much of his free time during this period. Bart believed that God was speaking to men through women's breasts, and he fought hard for acceptance of the idea that breast milk was the fountain of truth.
His landmark film was the 1955 Fotzenberg directed "They Came for Our Women." It was the first major western to directly address the burgeoning UFO phenomenon. Bart played Conwright McCoy, the likable town sheriff who dispensed justice with kind-hearted enthusiasm.
Conwright McCoy was just as likely to holster a small guitar as he was a gun. The town became troubled when young virginal girls started to break their legs unexpectedly after unidentified flying objects and strange-looking craft were seen over their school. The girls' chests were expanding while they recovered from the alien leg syndrome. Transmissions from their chests to the town's menfolk were causing societal trouble and marital strife.
The film is not without controversy; some schools in Montana refused to show it because of the extended use of alien sexuality and spiritual blackface during Sheriff McCoy's dream sequences. Fotzenberg pointed out that the highly sexualized aliens were portrayed exactly as they appeared to Bart and that any controversy is evidence of the failings of the human mind more than a lack of accurate portrayal. "If we had told you the full truth about Bart's visions, you truly would have shat a brick. You people could not handle a real attention span," he said.
The director is quick to defend, stating, "It is not up to us; Bart was communicating with some powerful forces at that time. Whatever he came up with is surely approved by higher forces than those of Earthmen." The director held no ill will, yet he never directed another western. Fotzenberg moved on to a series of Disney live-action educational films and had a surprising late-career comeback working as a royal ascended assistant to Otto Preminger on "Skidoo" in 1968.
Gathered in the town square, mothers, fathers, and uncles of the afflicted gathered to demand justice. Bart won the Academy Award for General Excellence that year. It was the first time American audiences experienced a hero cowboy who fought with music as much as brawn. The movie takes off in earnest after discovering that the young girls are not what they seem.
This becomes evident as they hang around the saloon and do business with the menfolk. During these exploits under a full blue moon, cracks appeared in their skin, and the audience noticed the girls were wearing costumes.
They are simian cyborgs in disguise, sent to teach the menfolk a lesson about how nature and roles develop over time. The lovemaking causes crystals to appear in the town square, each topping the other, making a crystal totem, which, unknown to the townsfolk, is a phallic beacon inviting the second stage of the invasion.
A secondary story focuses on the town librarian and her unending sadness caused by her short attention span after receiving a magical pocket computer from the space folk that offered nearly endless yet inane entertainment. It was called the "dopamine mirror circuit" and looked like a modern iPhone.
The scene on Boulder Rock, where the mothership is conducting a duel of light and sound with the brave sheriff, is one of cinema's most unfathomable touchstones. The scene remains just as odd and electric today, taking up the better part of two reels and featuring, rare for the '50s, full-frontal nudity and hypnotic visual patterns and music. The director credited the entire last half of the movie as coming directly from the mind of Bart Masterson, and it is said that no one can remember what happened or how that portion of the film was created.
In the initial town square scene, the juxtaposition of carrots and human legs snapping becomes an intoxicating blend of realism and the absurd. Later analysis indicates the use of binaural beats present in all foley effects, and many papers have been written over the fact that every sound heard is part of a carefully constructed musical weapon designed to deliver messages directly into the subconscious of the viewer.
"We just showed up with the cast, lights, and film, and Bart pretty much held court," said legendary director Aden Fotzenberg. "I tried to fight it for the first six months of filming, but by that point, we were so over budget and had so little to show for it that I just kind of threw in the towel and told Bart to go for it. To this day, I can't really explain what happened out there, but the truth is on film. I've been a believer ever since."
Go for it he did. Under Bart's leadership, the crew worked more or less day and night, finishing the film two weeks later. Fotzenberg and the rest of the cast call the event the Desert Miracle and audiences fall into a quiet trance while watching, their attention spans being entirely consumed by what they are witnessing.
Bart's career was riding high after "They Came for Our Women," and marketing deals made him a very rich man. He was the official spokesperson for the Cali-Fame line of men's clothing and regularly appeared on the Jack Benny program pitching his Rinsoline brand of detergent and soap, which he created after consulting the Nordic Space Brothers of Venusia who resided under his ranch in New Mexico.
1955's "They Came for Our Women" is a unique film that watches the audience as much as the audience watches it. It is one of the few examples of the Return Gaze of the screen, where the meaning of that statement is palpably felt and absorbed mentally by the audience.
Watching TCFOW, one immediately can sense the fourth look penetrating their inner gland. It's like a third eye opens inside your pituitary gland and can see the darkness for what it really is: a total lack of light inside of the brain. Thankfully, the feeling subsides after one averts their gaze and gathers their wits.
That articulation of images brings us, the viewer, and our activity, be it popcorn or self-pleasure, into the position of being destabilized and put at risk. When the scopic drive is brought into focus, the viewer becomes the object of that look. The early scenes with Bart playing guitar to the diseased and criminal orphan gang put us directly in the position of being a judge and juror of our own internalized hate and fear, as we both want to watch Bart dispose of the problematic gang. At the same time, we also want justice for the mistreated orphans.
From their perspective, the bacteria in our guts are most responsible for our desire to hear him sing again. The sound activates our internal glands via sonic exposure to its unique rhythms, secreting a honey-like mana in our intestines. This establishes a com-link with the other world. Audiences are left in a stone-solid stupor and remain monk-like and motionless; their attention spans frozen like solid light.
Bart abruptly left the acting world after this film, never returning.
He returned to some notoriety after his film career when he turned his mind, work, and considerable fortune from his children's cereal empire into a place for like-minded people to ascend to the second state of light.
This was done via AMWAY speaking engagements and local mall appearances where he played songs from his movies and sold Attention Span Pep Pills, which could give anyone Bart's famous thousand-yard stare while also fighting lumbago, distress of the throat, restless leg syndrome, among other afflictions.
After that, in the 1990s, there were a few returns to the small screen, most consisting of his financial manipulations of the Beanie Baby market on televised shopping programs, where he used his time to talk up the Beanie Baby bubble as well as to proselytize for converts to come to visit or live in his energy garden down in the swampland of Florida. Bart had divided up thousands of acres of Florida desert into a unique blend of UFO cult, Ponzi scheme, and wellness center devoted to what he called touch therapy.
He considers the film "They Came for Our Women" to be a feminist masterpiece, and he hopes that it can also be viewed in schools to stop bullying and put an end to all racial disadvantages suffered by anyone, anytime, anyplace, anywhere, anyhow. Bart was famous for saying that if his films helped even one person, then that proved he was a genius.
It is a film that is a must-view for anyone interested in the power of visual entertainment. It has a charm and a hammer-to-head immediacy that is lacking from other movies. Perhaps that is why Bart Masterson never made another film. There is no way audiences could ever develop the attention spans needed for additional films.
The mind is like a train set, and that film and my life are the end of the line, the last piece of track found half chewed up by a dog or covered in mysterious goo.
His final words to close family and friends were delivered from the side of his deathbed in 2004, which was affixed to the basket of a hot air balloon. The basket was designed to hang over 50 feet below the lifting envelope, which allowed the whole structure to be lit aflame, giving him the Viking burial in the sky of Earth that he desired.
It is not known if this was a suicide attempt or not because many have faith that Bart's visions were sacrosanct and that if he did indeed take off alive, he must have sensed his impending death psychically and likely would have died anyway.
He lifted off and was set to blaze with a mixture of thermite, compressed napalm, and Greek fire of his own design. Things quickly went sideways due to a foul wind from the east.
The unfortunate wind conditions meant that this whole conflagration was doomed to crash an hour after launch. The pyre was still burning bright when it crashed into the Taylor Complex in Alaska, burning more than 6.38 million acres of land and destroying the last of the Pinquat culture that called the Alaskan wilderness home.
Bart would have been pleased. You should now cover your eyes and lift your arms above your head. Feel the energy flow through your body. Perhaps Bart's greatest gift to the world has yet to be delivered. You are the vessel, and your actions in future will deliver the final revelation of his life.
As a side note, listening to this story has increased your attention span to three times its previous duration. In appreciation of this gift, we ask that you share Bart’s life story with others.
