Time for a ‘Conspiro Media’ update…

Hello there…

As you may or may not know, this website is currently undergoing a transition of sorts, which is one of the main reasons why there’s been a serious lack of fresh material posted here in the recent past.

Here’s what’s going on, in case you’re not aware… Very shortly, there’ll be a new, updated, ‘re-furbed’ version of ‘Conspiro Media’ appearing online and it’s hoped it’ll deliver a more expansive and up-to-the-minute experience for you. If you’re interested to know the whys and the wherefores to this, then you can’t do much better than to take a look at the following link. All is explained here:


In the meantime, you might be pleased to know that there’s now a Conspiro Media spin-off site online called, ‘The Occult Beatles.’ The title speaks for itself, so there’s really no need for any details here. If this takes your fancy, then click on the link below to see more of it…


Please keep tuned to Conspiro Media as there’ll be one or two articles to come before the revamp. For example, this year marks the fiftieth anniversary of the release of The Beach Boys’ classic album, ‘Pet Sounds,’ and Brian Wilson, the band’s one-time chief member, has just had his memoirs published in which he goes into some detail about the mental and physical trauma he suffered at the hands of his father, Murry as well as the hypnotic-like control he fell under when he was placed in the care of the psychiatrist ‘handler,’ Eugene Landy in the 1970s and ‘80s when his state of mind really took a dive – most possibly because of LSD. Was he yet another victim of MK ULTRA and the alleged CIA plot during the 1960s to bring about social upheaval through the distribution of psychedelic drugs and the so-called ‘counter-culture’? To mark the album’s anniversary and the book’s release, Conspiro Media will investigate in a particularly lengthy and informative article.

Thank you for your patience, but not long to go now.



Since its formation in Europe over sixty years ago, the ‘Eurovision Song Contest’ has increasingly gone global, prompting ‘Conspiro Media’ to take a look beneath the event’s glam, extravagant exterior and ask: Is it being used to push the NWO agenda?…

Eurovision World Order banner

The annual kitsch & Camp-fest that is the ‘Eurovision Song Contest’ reached its deciding climax just a few days ago (Saturday May 14th) in Stockholm, Sweden and, as per usual, it was as glitteringly garish and head-scratchingly ridiculous when it came to choice of stage-costumes for some of the acts participating. Here’s some examples from over the years…

Eurovision costumes

The songs up for contest (if you can call them, “songs,” with a straight face) are – in the overwhelming majority – so bad and so lacking in any originality that they often pale into insignificance next to the more interesting, albeit bafflingly outlandish costumes on display as well as the (unintentionally) comical dance-routines and stage-props.
If you’re unfamiliar with this annual competition and the – erm – ‘music’ it serves up, then here’s a very brief, not altogether comprehensive (but concise enough) description… It’s modern, mainstream Pop at its most vapid. Think Justin Bieber or Leona Lewis and then degrade them both by 10 (actually – more). This’ll give you an idea of how awful it all is. Perhaps worse than that, most of the songs have often sounded so dated, especially if you’re used to listening on a regular/daily basis to what’s on offer by way of America and Britain, the trailblazers in popular music. It’s like turning on your loud-speakers and travelling back a couple of decades or more to the tunes that, not only you, but time itself would like to forget. For example, remember that achingly-terrible hit single, ‘Looking for Freedom’ by one-time ‘Baywatch’ and ‘Knight Rider’ actor, David Hasslehoff? It’s not actually a Eurovision number and ‘The Hoff’ has never participated in the contest either, but, as far as ‘Conspiro Media’ is concerned, both the song and its star would fit in to the event like the proverbial hand in the glove. Here he is performing it live on the Berlin Wall back in 1989…

Is it any wonder – given all this cheesy, campy pomp – that the Eurovision has become a favourite within the so-called ‘LGBT’ community, where culture-trash of the most glamorous and garish variety is not only laughed at, but championed and enjoyed? Perhaps this is why, in 2014, the Austrian singer and drag-queen, Conchita Wurst (A.K.A. Thomas Neuwirth) was given the platform to shine on the contest, ultimately winning it?…


Conchita Wurst performing at the Eurovision in 2014.

Years earlier, in 1998, the singer, Dana International made history of sorts, becoming the first ever transgender person to be crowned Eurovision winner. Some might say all this is a canny, commercially-savvy move by the organisers of the contest to woo the lucrative gay audience. Others – most notably with an ‘Alternative’ view – have suggested that there’s a much more malevolent plan at play. For example, some commentators believe this is a push on behalf of the so-called ‘global elites’ to promote and effectively normalise amongst the masses the idea of men becoming women and vice versa, thus bringing about the destruction of humanity. The title of Conchita’s winning song, ‘Rise Like A Phoenix’ has, not surprisingly, been open to suspicion too, given its dark occult connotations.


Dana International.

Dana International was the Israeli entry in the competition, which in itself has been a cause for question. After all, what’s a country from the Middle East doing in a Euro-vision event that was first held back in 1956 after the public-service media alliance and non-profit organisation, the ‘EBU’ (‘European Broadcasting Union’) decided to create a TV-show that could be transmitted simultaneously in all the nations it represented? Well, according to a page on the contest’s official website, this is why:

EBU broadcasting Eurovision area

Okay… so that’s that then. The above graphic also explains why Turkey regularly participates in the contest. Fair enough.
But!… Wait a minute…
Why has Australia been welcomed into the competition in the last couple of years? It’s certainly not highlighted in the graphic, which would leave one to assume – would it not – that it isn’t eligible for participation? Working on the possibility that the above map is, for whatever reason, inaccurate, ‘Conspiro Media’ went looking elsewhere for information that could perhaps conclude once and for all if this country in particular was adhering to the requirements for entry, one of which is that it must be what’s described as an “active member” of the EBU. Well, according to PDFs on the organisation’s official website, the answer to this, it seems, would be, no. A document dated, 9.3.2016 and listing all 73 members (56 countries) of the European Broadcasting Union, makes absolutely no reference to Australia. It does hold what’s described as an “associate membership of the EBU,” but, “it is important to note that associate membership does not grant access to the Eurovision system.” Mmmm… Are we missing something here? It makes no difference if we are, as it happens because the issue here isn’t whether or not any one country must honour these rules set out by the EBU in order to gain eligibility for the Eurovision contest, but whether there’s a suspicious, secret agenda behind what, arguably, was regarded in past decades as a quintessentially European competition becoming, in more recent times, increasingly global, taking in not only Australia but, this site is predicting, America as well. The all too obvious tell-tale sign of this was there to be seen and heard during Saturday night’s live contest when Justin Timberlake appeared mid-way to perform live. This would, undoubtedly, have shocked millions of viewers; a US Pop-star – especially one of his stature on the music-world stage – taking part in a show that has had no previous links of significance to the United States. As far as ‘Conspiro Media’ is aware, this is a first. It was also, perhaps, an orchestrated, introductory step towards the future involvement of the Americans? “No I don’t think so,” Eurovision executive supervisor, Jon Ola Sand reportedly told the UK-based newspaper/website, ’The Guardian’ when asked about the USA’s possible participation as a contestant in, say, 2017. Oh. But wait! He then went on to be quoted as stating that “this could change.” Aha.


Justin Timberlake performing at the Eurovision, 2016.

The first Eurovision Song Contest final consisted of just seven competing countries, those being: Belgium, France, Germany, Italy, Luxembourg, the Netherlands and Switzerland. In 2016 the total was 26, including, as noted, some non-European entrants. Jon Ola Sand has reportedly dismissed any suggestion that the event will eventually grow into what’s described in The Guardian piece as, “Worldvision.” But, hey. Who knows? “This could change” too, right? There’s already talk of an EBU-backed ‘Asiavision’ equivalent coming our way, and in co-operation with the Australian, ‘SBS’ (‘Special Broadcasting Service’). Incidentally – and call this cynical if you like – but, is that the reason why the grand finalist competing in this year’s contest on behalf of that country ‘just happened to be’ the Korean-born singer/song-writer, Dami Im? Furthermore, the spokesperson appearing live-by-satellite in Sydney for the Aussie judges during the event that evening in Stockholm was the Special Broadcasting Service’s network-TV presenter, Lee Lin Chin who hails from Indonesia (with Chinese parents).

dami-im-Lee Lin Chin

Left: Dami Im performing at Eurovision, 2016 / Right: Lee Lin Chin / Below: Dami Im and friends during the judging phase of the final.

Dami Im & friends @ Eurovision 2016

So, who’s to say then that, in the space of a few years, ‘Asiavision’ won’t eventually merge with its ‘Euro’ counterpart before becoming a global model, much in the same way that researchers such as David Icke have warned us of the European Union and its eventual and inevitable integration into a One World Government by means of small, slow, unnoticeable, incremental steps – a devious process famously dubbed the ‘Totalitarian Tiptoe’? A hugely-popular event such as the Eurovision could, in its own modest but significant way, help realise the globalists’ dream through the use of NWO-friendly propaganda of both an overt and subliminal kind. There were certainly one or two moments during Saturday’s contest that raised the eyebrows in this regard, for example, there’s this…

eurovision come together

‘Come Together’ for what? For an end to individuality? For the eradication of countless national cultures, customs and ways of living? For the homogenisation of us all into one bland, compliant global Race with one government, one religion, and, perhaps, one language? You would have been hard-pressed to identify what country each of the acts on Saturday’s Eurovision were representing if you didn’t pay attention to the screen-captions or the voice-over announcers – and that’s mainly because all but one of the entrants reportedly sang in English! Veteran broadcaster and music-pundit, Paul Gambaccini, is quoted as saying that this “shows the evolution of what it is like to be European. When the Eurovision Song Contest began, almost everyone sang in their native language and now everybody knows English. It is just reflecting the times.”

This article is mostly based on a hunch after viewing certain scenes from Saturday’s competition, but there isn‘t much in the way of strong evidence to back any of it up, just one or two classic tell-tale signs for you to take a look at and consider. Some of what you’ve read here (if not all of it) might have come across as ridiculous to you – even if you do lean towards an Alternative view. No surprise, really. There is something almost comical in the idea of the much-mocked Eurovision Song Contest playing an invaluable role in manipulating the minds of the masses for the good of a One World Order. But, when you’re aware of what has actually been carried out in the past by the media on behalf of governments and the Military/Intelligence/Industrial complex, it’s perhaps not so preposterous a thought? The event was jokingly referred to by, of all people, President Obama during a visit to Germany last month. Joshing aside though, he did mention it, albeit very briefly, for a purpose, right in the middle of a speech promoting the European Union project in fact. He said, “with strength and resolve and the power of our ideals, and a belief in a unified Europe, we didn’t simply end the Cold War – freedom won. Germany was reunited. You welcomed new democracies into an even ‘ever closer union.’ You may argue over whose football clubs are better, vote for different singers on Eurovision. (Laughter). But your accomplishment – more than 500 million people speaking 24 languages in 28 countries, 19 with a common currency, in one European Union – remains one of the greatest political and economic achievements of modern times.” According to the contest’s official website, nearly 200 million people watched 2015’s grand final. That’s a hell of a lot of people, and a hell of a lot of minds ripe for manipulation! So, if you do in future find yourself for whatever reason exposed to a TV showing this event, seriously consider the possibility (if you haven’t already) that beneath that garish, side-splittingly amusing layer of cheese, there’s something going on with the Eurovision Song Contest that is by no means a laughing matter.

Gonna sign off here with an edited screen-cap of a page from the Eurovision’s own website from last year…

Eurovision eye stage

Take a look at the page in its unedited form here:














awiderbridge.org: Transgender singers are not alien to Israelis / Dana International

YouTube: Eurovision: Europe has gone Mad (Illuminati) SHARE!






http://www.eurovision.tv/page/about/which-countries-can-take-part#Where do they have to be?










Is the USA being lined up to compete at the Eurovision Song Contest?















The enigma of Prince; An in-depth pod-cast discussion on the esoteric aspects of the music-star’s life and career, as well as his anti-establishment views, and his untimely passing…


Not long after the sad passing of Rock/Pop legend, Prince last week, I (that is, me – Matt Sergiou) received an e-mail from Mark Devlin, the DJ/presenter and premier public-speaker on all manner of subjects linked to the dark, occult workings of the music-industry. He asked me if I’d be at all interested in guesting on a hastily-arranged volume of his ‘Good Vibrations’ series of pod-casts, in response to the news of the famous musician’s departure. Accepting his kind offer, we eventually hooked-up via the wonders of ‘Skype’ not long later on April 25th – just four days after reports first broke of Prince’s exit. Joining us in what’s actually a three-way conversation and trade-of-thoughts is none other than well-renowned, veteran researcher, Freeman. He gives us his unique take on the music-star’s life and passing based on his famed knowledge of the occult and arcane. For example, he notes the esoteric and ritualistic significance of purple, a colour that’s synonymous with the musician thanks in large part, of course, to ‘Purple Rain,’ the album and movie that catapulted him into Pop superstardom in 1984. Is this relevant? Well – yes, it certainly could be when you take into account what’s discussed in the pod-cast with regards to the ‘Typhonian Trilogy,’ a series of books by Kenneth Grant, the now-deceased but former high-ranking figure within the ‘O.T.O.’ (‘Ordo Templi Orientis’), the occult order which was once spearheaded by perhaps its most infamous of members, Aleister Crowley, a man who – as you’ll no doubt be aware – was an influence on a number of famous music-stars including, most notably, Led Zeppelin’s Jimmy Page, and the very-recently departed David Bowie.

MD & Freeman

Freeman & Mark Devlin

In Freeman’s words, “Typhon is the Lord of the Abyss. He is Leviathan, he is all those things inside the Bible – of what lives in the abyss… In the abyss are the fallen angels, the excrement… and Typhon.” If you’re interested to learn how this might connect in some relevant form to the passing of Prince – the oft dubbed, ‘Purple One,’ do please listen to the pod-cast. You most probably won’t be surprised to discover upon doing so that the subject of Typhon and Grant’s trilogies are mentioned in the same breath as – in the words of Freeman again – “blood sacrifice” and “high profile rituals.” This, of course, helps lend fuel to the possibility that the musician was the victim of a dark, ritualistic, sacrificial killing. This scenario is made all the more potent by the fact that his death was announced on the day of the Queen of England’s 90th birthday, which was, interestingly enough, apparently marked by tributes of a purple-coloured nature. We discuss this briefly in the pod-cast and also acknowledge that all of this has occurred during a time in the year where we were leading up to the much-dreaded festival of Beltane when, Freeman says, there’s “the blood sacrifice of the beast.” Furthermore, and as noted by countless researchers of an ‘Alternative’ nature over the years, he reminds us that “when we look to the dates… this April 19th to April 20th, 21st era in time-zone, there are so many seeming ritual sacrifices.”
With this in mind, it’s worth noting at this point that there’s mention during the pod-cast of the apparent contradictions in what we’re being told in the mainstream media with regards to the cause of Prince’s death and how he’s generally perceived to have lived his life. After all, as both Freeman and Mark point out, we’ve been led to believe over the years that the music-star was a health-conscious vegan, a non-drug user, a Jehovah’s Witness, and, I‘d like to add here, a tee-totaller apparently. But this doesn’t tally with the MSM’s reporting of his death which has so far presented us with a constantly-changing version of events, most of which have strongly suggested that he was battling illness or some form of issues connected to prescribed medication. Initially, and as Mark points out in the pod-cast with – I suspect – a tongue a little in cheek, we were told by the mainstream that “he just happened to collapse in an elevator after having the flu at the age of 57.” Since recording this pod-cast, the flu stories have been superseded by reports that he was a victim of AIDS no less. Of course, it’s still way too early in the day to be forming definite conclusions as to what may have contributed to Prince’s passing – indeed, as is the case throughout history when we look at the deaths of high-profile, famous individuals – we might never truly know. Be that as it may though, the MSM, with its dizzying and thus-far ever-escalating array of claims and reports will – as a result – have done little to dampen the suspicions of those of us who’re questioning the mainstream version of events and who are leaning toward the possibility that foul-play might very well have been the cause. Whether Prince met with a grisly, violent end in keeping with the occult, sacrificial practises that Freeman outlines, and/or if it was an evil, cynical manoeuvre on behalf of the corporate ‘Powers That Be’ to somehow claw back ownership of the musician’s lucrative master-tapes which he’d seized control of in 2014, is anyone’s guess at this stage. It’s no secret that he’d been involved in a monumental dispute with his former record company, ‘Warner Bros.,’ a spat which gained him a significant degree of infamy when, in the 1990s, he appeared in public with the word, ‘slave’ inscribed on his face and also changed his name to, Love Symbol Album (otherwise referred to as, ‘Symbol’). All of this is discussed during the pod-cast, as is his very vocal and very candid views on the nasty machinations of the music-industry.


The Love Symbol Album moniker is elaborated on in the pod-cast at some length, actually. We get the ‘Freeman perspective’ on the possible occult connotations attached to ‘the symbol’ which, in fact, was one of many alter-egos adopted by Prince during his illustrious career. I get into some of the details of this, putting forward the suggestion that what we might be dealing with here is yet another case in a long line of music-artists suffering from the effects of MK ULTRA/trauma-based mind-control. There’s certainly data available that hints at this. But then again, there’s also the possibility that these multiple personas were – in Mark’s words – “some kind of demonic possession”?

Paisley Park Studio Complex Pyramids

As discussed in the pod-cast, glass pyramids on the roof of Prince’s Paisley Park studio-complex. Notice the one with the cap-stone? The musician is known to have expressed an interest in Egyptian history.

During the pod-cast, we also focus very briefly on the days directly leading up to the news breaking of Prince’s death, when there were highly suggestive indications from him and his camp that they/he somehow knew what was coming. Yet another intriguing puzzle there. What we can be sure of is this though: He was a one-of-a-kind. I mean – just one example – how many Pop superstars do you recall who have openly discussed the issue of chemtrails? Here’s the musician in an interview from a few years back (from 2011, if I’m not mistaken?)…

In the three-way pod-cast, which was originally released online on April 26th, we also raise the issue of 9/11, given that it has specific relevance to Prince. Plus, Freeman waxes lyrical on the thematic, occultic parallels that can be drawn from other high-profile artists such as Katy Perry, and Madonna – the last-surviving of the four ultimate music superstars of the 1980s.

Listen to the pod-cast here:

Here’s some relevant links that might be of interest to you?… First off, you can check out Freeman’s work here:



You can listen to Mark’s ‘Good Vibrations’ series in full here:

He’s also just recently released a new book entitled ‘Musical Truth.’ He’s currently embarking on a tour to support this.


You can find out more about Mark’s latest activities – and details of his book – at his blog:


The months-long spell of inactivity that’s befallen ‘Conspiro Media’ is about to end, and there are new horizons ahead…


If you’re a regular visitor to ‘Conspiro Media,’ you’ll perhaps be aware of the proposed plans for a radical revamp of the site in order to expand its ability to encompass a wider variety of articles and items and finally (at last) in order for it to provide regular, round-the-clock bulletins and analysis on developments that might be of interest to those of us who keep a keen eye (and ear) on the occult/conspiratorial elements within the world of music, movies, TV and other forms of art/entertainment…

It’s been a long time coming, but it can now be revealed that this ambitious proposal has at last entered the early stages of actual reality!

In January this year, the wheels were finally set in motion following a lengthy search during 2015 to locate a keen and able web-designer who’d be interested in taking on the task of reconstructing the site.

Actually, the effort and time involved in seeking-out a suitable web ‘techie’ is one of the main reasons behind the lack of freshly-posted material here for nearly a year – although it must be noted that there are a couple of almost-completed articles to come soon, and if you’re a regular reader here, it’ll perhaps come as no surprise to you to learn that they’ll be as lengthy and as detailed as most that have come before.

The ideas fuelling this move towards a revamp can be traced back to 2011 and before ‘Conspiro Media’ first appeared online in June of that year. In fact, the original concept was for the creation of a website far grander in scale than the one that has transpired, consisting of four main components:

1) A constantly updated News Headlines page (with added blog commentary and analysis from time to time).

2) A section showcasing singers, rappers, musicians and remixers/producers of an Alternative nature who communicate a meaningful message (and who might not necessarily be widely-known).

3) A regular(ish) smattering of lengthy, in-depth articles.

4) A YouTube channel featuring exclusive interviews with researchers, authors and others relevant to those of us seeking more information on the dark, arcane, symbol-ridden, plot-scheming (yet not always altogether negative) elements that are (and always have been) present in entertainment/media/The Arts.

As its turned out, the last two ingredients in this ambitious wish-list have been achieved, but the first two havent. So, not the desired result of course, but by no means due to accident or disaster. Faced back in 2011 with the uphill challenge of building a large-scale website from scratch with absolutely no prior knowledge or experience about how to achieve this, and mindful of the sheer amount of days, weeks and months that would pile up on the way to attaining this goal as a consequence, it was decided to go ahead with something less elaborate first. After all, why hold back on sharing information – any information – that might be of value and/or relevance, however small or understated? Best to engage in a minimal form rather than not at all, take each day as it comes and assess all progress regularly – test the waters as it were ahead of any plans to expand as desired. And thats exactly whats been happening. However, it was hoped in the early days of the site that, despite its physical limitations, ‘Conspiro Media’ would provide readers with at least a modest stream of regular, topical items. That hasn’t come to pass of course and the reason for that is largely due to the time and effort spent preparing almost all of the lengthy and detailed articles posted here. Each one of these will have come as a result of anywhere between a week to six month’s-worth of work. Most of this is spent on painstaking research (fact-finding, reference-hunting, cross-checking), and also – to a lesser extent – on the collating and arranging of all the relevant and useful data into a readable-enough format once it’s been collected – and all in a genuine bid to deliver the most reliable, accurate and significant information possible. Obviously, a top priority whilst preparing such a lengthy article is to get it completed and published as soon as can be. In order to achieve this, one must apply a single-minded approach, and ultimately, at the cost of reporting on any breaking news-items and topics occurring in the meantime that might be relevant to this site.

In theory, an expansion of ‘Conspiro Media’ towards a multi-level platform that’s partly independent of the one-dimensional constraints of the so-called ‘blog-roll’ format it currently resides within @ ‘Wordpress.com,’ will allow for the continuation of the lengthy, extensively researched posts that are months in the making, but will no longer stifle the general flow of the site into the bargain. In other words, there’ll be enough space and freedom available to offer readers something new and topical on an almost daily basis – such as was first envisaged back in 2011. The idea is, whilst you’re waiting up to six months for the next article of epically-long proportions to appear, you can occupy yourself in at least one or two other sections of the site where there’ll almost certainly be fresh, regularly updated content.

It’s still too early to predict when the new, expanded version of ‘Conspiro Media’ will materialise, although it’s a fairly safe bet it’ll be at some point this year. In the meantime, do please keep checking back here because, as noted earlier, there are two almost-completed articles on the way (one focusing on troubled Beach Boy Brian Wilson, the other on the CIA’s documented role in the world of popular music), and at least a couple of podcast-style interviews that have been pencilled-in for future recording. Also, work will resume soon on the final instalment of the three-part Rolling Stones retrospective, the first of which was published here in 2013.

Part 1 & 2 are available to read below:



If you have any questions or comments regarding the revamp plans, or indeed any ‘techie’ advice (most welcome that would be!), don’t hesitate to get in touch. Ditto if you’re a singer, rapper, musician, or producer/remixer/DJ who has something meaningful you’d like to share in the proposed music-section of the new upcoming incarnation of the site. Make contact via the ‘comments’ tab (the speech-bubble at the top of this post) or by e-mail (contact, me – Matt Sergiou – at conspiromail@gmail.com).

Don’t forget: To ensure that you’re kept up to speed with the latest goings-on here, please do feel free to subscribe for e-mail updates.

That’s it for now, and thanks for your time… I hope I can deliver you the goods as soon as can be – and, more importantly, to your liking with full effect.



‘Conspiro Media’ reviews some of the more meaningful and conscious-minded music-releases from last month in a new, regular feature…

replay march 2015 banner reversed

There can be no denying, surely, that we live in an era that’s in short supply of music-artists with mass fame, influence and appeal who communicate anything meaningful in the tracks they release.

All is not lost though.

There is material available out there that calls out social injustices, highlights corruption and conspiracy, delves into the positive (instead of the regularly-pushed darker) aspects of the esoteric and the arcane, and celebrates our universe and its wonders. Thing is, to find all this, you often have to look for yourself because it’s not usually at the forefront of the mainstream media’s priority-list. As a response to this, ‘Conspiro Media’ will, beginning with this March 2015 review, be delivering regular posts on the latest releases it has come across that do explore these topics and themes. First up in this maiden instalment, is ‘Anaesthetist’ by Enter Shikari, one of those rare contemporary ‘Top 40’ bands that’s happy, in the words of member, Rou Reynolds, to be described as “socially conscious.” This track, he‘s said, is about the “slow move into privatisation” of the UK’s publicly-funded National Health Service (NHS). “I think free healthcare’s just so important – taking care of the vulnerable in society… it’s just something we wanted to write about. To attack those that put profit over people,” he stated in an interview for ‘Kerrang! Radio’ in January this year. In March came reports that the NHS had agreed the biggest ever privatisation deal which will see eleven profit-driven firms carry out heart and joint surgery and other types of operations as well as scans, X-rays and other diagnostic tests, apparently in a bid to tackle a backlog of patients waiting for treatment. Christina McAnea, the Head of Health of ‘Unison,’ one of the UK’s largest trade unions, was quoted as saying, “there wouldn’t be such a… backlog if ministers had properly invested in the NHS. Instead, they’ve starved it of funds, and demoralised staff.“ Furthermore, “we now have companies with terrible track-records being given money to provide essential services.” This is no doubt in reference to news that some of the companies chosen for the deal have in the past been pulled-over due to issues regarding their poor quality of treatment in hospitals and old-people’s homes. In May last year for example, one of those aforementioned firms, ‘Vanguard Health Solutions,’ had its contract to carry out cataract-operations in the English county of Somerset cancelled following “complications“ with patients under its care. An investigation and subsequent report on its performance, released in October 2014, concluded that of the 62 of those who underwent surgery that year, two suffered burns, at least six, loss of iris pigment, and a minimum of four were left with microscopic metallic fragments in the eye. Three required further surgical treatment. Commenting on the latest private-contract awards – which are said to total almost £800 million, eclipsing 2012‘s privatisation-agreement worth £500 million, which saw ‘Virgin Care‘ given the go-ahead to provide community services in a section of the UK until 2017 – Professor Sue Richards, Co-Chair of the campaign-group, ‘Keep Our NHS Public,’ was quoted as saying, “we have warned against creeping privatisation, but now the pace is quickening to a gallop.” She went on, “the Government is putting its own ideological commitment to the market and to the vested interests of the private health-care industry ahead of patients’ needs.” Enter Shikari’s Rou Reynolds told news-site ‘The Huffington Post,’ in January this year, “we seemed to have reached a stage of such capitalistic fervour, that we believe it acceptable to punish people for ill health. enter shikari logoBy charging for healthcare we act as if illness is nothing but one’s own problem, but what is the purpose and advantage of ‘civilisation’ if it is not helping the most vulnerable within society? The lottery of birth can offer us a wealth of bad luck when it comes to our health and the safety-nets are being pulled-in as the desire to boost profit overtakes the desire to help people.” Some of these sentiments are touched-upon in the lyrics of Enter Shikari’s ‘Anaesthetist.’ Initially released in January, the track was re-launched in March stripped of its original Rock form by production/remix duo, Koven, who’ve given it a Drum & Bass re-working.

‘Anaesthetist’ (lyrics)



Doctor, fetch the anaesthetist (Anaesthetist)
Fetch the anaesthetist
So when I go under the knife I believe in this
Fetch the anaesthetist (Anaesthetist)
Fetch the anaesthetist
So when I go under the knife I believe!

You f****n’ spanner!
Just a cog in the industrial complex!
You shed your blood for the conflicted
You parasite!
You’re playin’ God and you don’t care who it affects!
You suck the blood of the afflicted
You suck the blood of the afflicted

Illness is not an indulgence which you should pay for
Nor is it a crime for which you should be punished
For this conviction I would endanger my health, shut it! (Oi!) 
(Just consume, crave riches and lust for fame)
No, you won’t see us participatin’ in that game
Keep your twisted take on success
‘Cause all I really want is what’s beating in your chest

Doctor, fetch the anaesthetist (Anaesthetist)
Fetch the anaesthetist
So when I go under the knife I believe in this
Fetch the anaesthetist (Anaesthetist)
Fetch the anaesthetist
So when I go under the knife I believe!

We drink to your health!
But just to inform, this round’s on you!
And every day you roll the dice
We drink to your health!
We capitalise on your condition!
Bad luck, you pay the price
Bad luck, you pay the price

Fetch the anaesthetist (Anaesthetist)
Fetch the anaesthetist
So when I go under the knife I believe in this
You sold us short!
You will not profit off our health

Step the f**k back!


Below, the video to the original version. “It’s basically set in a almost-abandoned hospital, but they’re still sort of trying to… keep it going and it’s basically got so bad that even the doctor’s sick,” Enter Shikari’s guitarist, Rory Clewlow has explained. Indeed. It begins with shots of the said doctor (an anaesthetist) coughing-up blood as he’s walking along a street. Not long after this, we see an A&E waiting-room almost packed-out to capacity with, in the words of the promo’s director, Mike Tyler, “lots of ill and angry people who’re complaining about the fact they’ve got to wait because the NHS has gone to s**t.” Later on, Rou makes it to the hospital and ends up on an operating-table under the watch of the sick anaesthetist. The video ends with a quotation from Aneurin Bevan, the Welsh politician who’s credited with spearheading the establishment of the National Health Service in the 1940s.

Next up in this review is Lupe Fiasco the famous rapper who, in the past, has waxed lyrical against the bombing of Gaza, and issues ranging from the false-flag that was 9/11, the so-called ‘War on Terror,’ and – in his own words – “the crooked banks around the world.” Reportedly an out-take from his 2012 album, ‘Food & Liquor II: The Great American Rap Album Pt. 1,’ the track, ‘Atomic Misphilosphy’ went public in mid-March. It decries war and accuses those who wage it of “falsely” giving “themselves the title of Masters of the Universe and gatekeepers of morality.” It weaves from one historical reference to another throughout, mostly related to nuclear weapons and their horrific effects – for example, there’s a name-check to “Colonel Tibbets,“ the US-pilot of the ‘Enola Gay,’ the aircraft that dropped the atomic bomb on the Japanese city of Hiroshima in 1945. Towards the end of the track, Lupe raps, “nuclear stockpile’s America’s second largest, the world’s most destructive and the world’s most heartless. Under the auspices that war will be rendered harmless and everlasting peace will be in reach if we just bomb s**t.”

‘Atomic Misphilosophy’ (lyrics)
War gives value to life by showing it can be taken away
And in a perverted way, those who wage war delude themselves into thinking they create life
Or at least make it meaningful
Thus, using that as a basis for grandiose notions of supremacy
Falsely giving themselves the title of masters of the universe
And gatekeepers of morality

[Verse 1:]
Peace trials and living power pleasure over pain
Geiger counters check amounts of radiation in the rain
Biochemical nuke, gas masks and rubber boots
Inhale your last gasp without a Hazmat suit
Terrible, unbearable miracle of the modern scientific
Arms race, chase for the horrific
Manhattan project, man cancelling concept
Catastrophic bomb, a fabric-shattering context
A little boy falling from a metal bird
Followed by a fat man who left behind a leveled earth
Imbalanced challenge to survival of the whole piece
Have seeked to staff the whole planet with their own peeps
A zone beeps of contaminated contents
Atomically activated, saturated beyond its
Limits, to live within its boundaries with conscience
To cancer cells, I’m not totally unresponsive

Cause in future’s shock, there where everything’s storied
I don’t feel like there’s anything for me
I hope they put this out
Cause in future’s shock, there where everything’s storied
I don’t feel like there’s anything for me
I hope they figure out
This atomic misphilosophy

[Verse 2:]
Uninhabitable avenues, third wars in southern latitudes
Mutually assured that it all happens to
International violence leaves us black and blue
Blast us back into the past if attack ensues
A pack-approved tactic fully practiced
On the evil of the axis back in World War Two
The melted lunchbox of a disintegrated girl
Dogs on fighters, mosquitoes, flies and squirrels
Men, women and children have their bones cooked to ash
And their shadows burning to the ground from the flash
And if they didn’t pass what’s the future, Hibakusha?
You say you need a job, but they won’t give it to ya
In the era where they said the greatest evil was that white man
From the reich land, but this was coming from the same people
Who thought that Jim Crow was all ‘ight then’
Same thing that kept Colonel Tibbets on his flight plan


[Verse 3:]
Nuclear stockpile’s America’s second largest
The world’s most destructive and the world’s most heartless
Under the auspices that war will be rendered harmless
And everlasting peace will be in reach if we just bomb shit
Technologically fanatic racial socio-
Economic faux-intellectual fucking nonsense
Dripping with political interludes, typical of a system
Stark raving mad and operating unconscious
Now how do we proceed?
Knowing through the man’s fatalism
And probably you’ll never leave
A disease trying to cure its own symptoms with disease
Creating an epidemic just to see if it can be
Genuine mistrust of everything but us
Based on artificial evidence, but mostly racists at the crux
Let’s pray they throw ’em all out
And I hope I don’t see you
Through the foggy field of vision in the fall out


Moving on now to something of a lighter nature – quite literally, actually. In early-March came the release of the album, ’Sol’ by US-based music-producer and composer, Eskmo (real name, Brendan Angelides). It is, so states his official website, “an emotive, thought-provoking narrative regarding the sun.” Part of the inspiration for it came to him, he claims, from his experiences during a visit to Egypt in December 2012, where he played live by the Pyramids. In a recent interview published in the Los Angeles Arts-inspired website, ’LA Canvas,’ he said he “went to Egypt… for the December solstice, to the Mayan calendar date, December 21st 2012… I went down to the Nile for four days, and we just stopped at temples every morning. It was a huge experience for sure. I couldn’t say exactly how I took that and directly applied it to the music, but I know it absolutely worked its way in there.”



Discussing the album with ‘DazedDigital.com,’ Eskmo pointed out that “originally when I started writing the album, I specifically wanted to write an album that sounded like the sun.” From that idea came the track, ‘The Light of One Thousand Furnaces,’ and the title-cut, ‘Sol.’ He told ‘LA Canvas,’ “I was basically picturing – there’s a track on the album, ‘Sol,’ the name of the album too – the light of 100 furnaces. The feel for me, one is like the sun baking like it would be. The other is ‘The Light of One Thousand Furnaces’ and it’s kind of like a solar flare, some expansive thing”…

“For the sun, I wanted to get this beaming, big feeling,” Eskmo told DazedDigital. “The sun is a drum – I specifically was inspired by this idea, that our whole entire existence on the planet seems like a huge thing, but imagine zooming out and seeing our sun is just a singular drum-hit. For us it seems like it’s going on forever, but imagine, if you were to zoom way out, the sun just seems like a little blip of energy, and it happens that our whole lives are based around that one blip of energy. I tried to convey that through big, saturated tones.”
From the album, here‘s ‘The Sun Is A Drum.’ Vocals on this, as well as on other assorted tracks on ‘Sol,‘ all courtesy of Eskmo:

Here’s a question for you… Have you ever heard the sound of snow… actual snow – the white stuff that falls from the sky? Well, it’s on the ‘Sol’ album apparently. Eskmo, who in the past has said one of his biggest influences is “environment. Just environments in general – city, nature, rooms – the way people interact, the way sounds interact,” has told DazedDigital that he “was recording fire and snow” in the US ski-resort, Aspen for ‘Feed Fire,’ a track from his new release…

In an interview some years back for the entertainment website, ‘AV Club,‘ Eskmo said the ideal result after looking for and recording environmental sounds out in the field was for “anything that creates an environment. Any field-recording that brings you to a vivid environment.” It’s “the most effective,“ he stated. As an example, he cited the ’90s track ’Chocolate Jesus’ by veteran singer/musician, Tom Waits. “You can hear a rooster in the background, and that really puts you in a place”:

For the ‘Sol’ album-track ‘Blue & Grey,’ Eskmo recorded water in California. “‘Blue & Grey’, that’s about the blue heron,” he told LA Canvas. “That’s me literally singing about a blue heron”:

The album’s theme, he’s said, was shaped by personal events that unfolded during the writing process. He told LA Canvas, “I had a relationship end, I had my biological father die, I had just normal life stuff happen. But I also had amazing things happening too. So, okay, I’m writing the album, then some other songs would come, and it’d be like, ‘oh, wow,‘ that’s like a heartbreak song and that’s very authentically what happened, and I’m just expressing that. Then… ‘Blue and Grey’… I’m sampling water… So for me, I’m trying to write this song but I don’t know why this other stuff is coming up. The emotions and different things, where I got to, when I sat back and looked at all the different stuff – I realised that I had originally set out to write the song, but then I ended up writing about relationships, and for me that ended up being the moon. So for me it almost felt like the sun was the initial inspiration for it, and then just… naturally flowed from coming out of my relationship, the moon, with the female person in my life… So it’s very much like this idea of a human-being experiencing the power, the feeling of the sun, and the wateriness of the moon,” and – he told DazedDigital – “the Earth being the human side of it.”

The front-cover artwork of the album – which you will have seen in the above ‘YouTube’ video-screens – is courtesy of English sculptor, Kate MccGuire. She specialises in the medium of feathers. Eskmo has said, “this album… I was making a mood-board, a ‘Pinterest’ board for tons of stuff I was finding online. I kept coming back to this particular person’s art. She does feather-art. I was also looking at rings of the sun, from NASA and that kind of stuff. For some reason, I just kept coming back to her work. It just felt so right. The idea of combining feathers, birds and the sun and have it feel organic yet having it look kind of alien in a way – for me it just kind of all fits together. Some people thought it was the bottom of a mushroom. Or an eyeball”…

sol album cover eskmo

March also saw the release of ‘On & On,’ a House-music track by DJ/producer, Wolfex. It’s a hook-driven, feel-good shout-out to weekend club-life, expressed vocally through the talents of guest-singer, Dana. Most of the lyrical emphasis though is provided on the mic by fellow contributor, Swayze, a London-based MC who’s normally to be heard delivering rhymes of a heavier nature. This new cut – for him – is an enjoyable, but temporary diversion from chem-trails, microchips, and greedy bankers and corporates – just some of the subjects and themes within the NWO plan that he’s rapped against since first beginning his musical journey just a few short years ago. In actual fact, he talked a bit about this with ‘Conspiro Media’ – or, to be exact – with me, Matt Sergiou, during a conversation last week, which was specially-recorded for this review (and which you can watch below). He also spoke about his ‘Corporate Jaws’ EP and other jams he’s set-down, his experiences performing live and the response of audiences to his ‘Alternative’ lyrics, the creative process he undergoes to attain these rhymes in the first place, his Hip Hop influences, and, also, his personal take on David Icke’s highly controversial ‘People’s Voice’ channel which he briefly came into close contact with, appearing in an episode of its music-show, ’The Banned.’
This conversation was recorded on April 9th 2015…

Check out the links directly below if you want to see and hear more from Swayze, a seriously-talented poet with a vocal-delivery that flows easy like fluid, and yet remains firm, focused.
Spread the word:




Okay… another rapper. This time, it’s the turn of Kendrick Lamar who, last month, released – in his own words – his “second album on a mainstream commercial level” – that being, ‘To Pimp A Butterfly.’ It is, in a way, a concept-album, and, when listened to in its whole, quite like nothing else you’ll come across within today’s so-called ‘Hip Hop / Urban’ genre. kendrick lamarUnlike many of his contemporaries, he doesn’t regularly spit lyrics in homage to bling, bucks and booty, even though he’s apparently in a position to do so if he wished, given that he’s a platinum-selling, chart-breaking, Grammy Award-winning artist of widespread acclaim and repute. Instead, he opens up on the pitfalls, not the highs that come with fame and wealth. For example, on the track ‘Wesley’s Theory’ – a title, incidentally, inspired by Wesley Snipes, the Hollywood actor who was jailed a few years back for not filing tax-returns – Lamar raps:

What you want you? A house or a car? Forty acres and a mule, a piano, a guitar? Anything, see, my name is Uncle Sam on your dollar.

Don’t have receipts? (Oh man, that’s fine) Pay me later, wear those gators.

I can see the borrow in you. I can see the dollar in you.

Get it all. You deserve it, Kendrick.

But remember, you ain’t pass economics in school
And everything you buy, taxes will deny.
I’ll Wesley Snipe your ass before you’re thirty-five.

Lamar recently said ‘Wesley’s Theory’ is “about something that we weren’t taught in school – where we get this money. I spent all my time in school and escaping prison and escaping The System, so you mean to tell me the moment I become successful… I get some money and I don’t know how to manage my money, that you’re going to throw me back in jail? For taxes? Nobody prepared us for this.”

It would appear, once studying the album in its entirety, that Lamar’s relationship with fame has, at times, left him feeling powerless, in a state of intense depression (bordering on the suicidal it seems), and wracked with self-loathing. This is typified by the track, ‘U.‘ In a recent interview, he said it “was one of the hardest songs I had to write. There’s some very dark moments in there. All my insecurities and selfishness and letdowns.” In it, there’s a line reportedly lamenting the pregnancy of his teenage sister, a pregnancy that might not have occurred if he had been around perhaps. He raps (to himself):

… you ain’t s**t I’m convinced your talent’s nothin’ special.
What can I blame him for, nigga I can name several.
Situation had stopped with your little sister bakin’ a baby inside
Just a teenager, where’s your antennas.
What’s your intentions where is the influence you speak of.
You preached in front of 100,000 but never reached her.
I f****n’ tell you, you f****n’ failure you ain’t no leader.

Listening to this track, one might get the sense that Kendrick has experienced intense feelings of guilt for the success he’s achieved as a music-artist, especially because it’s resulted in him moving out of Compton, the notoriously-tough city in California where he grew up with little money and, in his later years, where he and his homies were up to no good running from cops, or getting shot at – and at least on one occasion, fatally. It’s as though he feels he’s abandoned his roots, turned his back on his past. In the second main-verse for example, he beats-up on himself for failing to be there for a friend, reportedly someone from his old neighbourhood, following a shooting:

Where was your presence, where was your support that you pretend?
You ain’t no brother, you ain’t no disciple, you ain’t no friend.
A friend never leave Compton for profit or leave his best friend.
Little brother, you promised you’d watch him before they shot him.
Where was your antennas, on the road, bottles and bitches.

The last line in the passage above might be implying that Kendrick has at one time or another succumbed to the hedonistic temptations bestowed upon popular music-artists? Recently, he said, “we all have temptations, you know? We fall victim to it every day. It’s a tough thing to deal with. Me, I’m just fortunate enough to translate them temptations through record.” Just how far the lure has reached is perhaps best-illustrated on the track, ‘For Sale?’ in which the rapper can be heard conversing with or making references to “Lucy.” Apparently – as you might have guessed already – this is actually, Lucifer. From the track:

Lucy gone fill your pockets.
Lucy gone move your mama out of Compton.
Inside the gi-gantic mansion like I promised.
Lucy just want you trust and loyalty.
Avoiding me?
It’s not so easy, I’m at these functions accordingly.
Kendrick, Lucy don’t slack a minute.
Lucy work harder.
Lucy gone call you even when Lucy know you love your father.

The track ends with a passage that’s repeated a number of times throughout the album:

I remembered you was conflicted.
Misusing your influence, sometimes I did the same.
Abusing my power, full of resentment.
Resentment that turned into a deep depression.
Found myself screamin’ in the hotel-room.
I didn’t wanna self-destruct.
The evils of Lucy was all around me
So I went runnin’ for answers
Until I came home.

Kendrick recently told music-channel, ‘MTV’ that ‘Lucy’ is about him “coming to a realisation of the evils rather than acting like it’s not going around… My thoughts are happening right in front of my face. I gotta present ‘em.” But for all the darkness, angst and negativity that’s prevalent on this album, there’s an equal measure of positivity to go along with it too. According to Lamar, “the overall theme, for me personally, for this album is really, leadership. How can I use it? For better or for worse? Money… celebrity – how can I use it? How can I pimp it? Can I pimp it negatively, or can I pimp it in a positive way? Positive for me is showing what I go through, showing what I’ve been through… and saying I still love myself at the end of the day.” Lamar repeatedly states “I love myself” during the hooks in the track, ‘I,’ which is inspired, he’s said, from a conversation with friends in Compton about the perils of the city. “The reason why a lot of the turmoil in the city is simple the fact because we don’t have self-love… and it comes from within. A lot of cats that go to jail, you know, being in these homes, these foster-homes… they never had that love within themselves… “

It was the turmoil he claims to have witnessed in South Africa during a recent visit that, he states, was a “turning-point” in deciding the direction of the album. “When I went to Africa and I got to see other people’s problems, you know, their struggle… Going out there really inspired – I wrote a lot of records off the album just by visiting South Africa and being able to move around like I did. And that was the moment I knew, ‘okay. I can either pimp this situation, or I can fall victim to it.’” One of the tracks inspired by the struggles and “problems” he says he witnessed during his trip was, ’How Much A Dollar Cost?’ It is, he‘s stated, “a true story. Where was I? Johannesburg, and, erm, I always flirted with the idea – just my imagination – rolling past people that were – that we consider bums or homeless – and saying to myself, ’what if that was the moment, you know, this is not a human form, but this is a mortal form of an angel testing your integrity to actually stop – not just give ’em money, but talk to ’em.’ You know what I’m saying? I’m looking at this guy on the side, you know… and I’m just ignoring him because, from where I come from, these are just pan-handlers… ‘I know what you’re gonna do with the money – you’re gonna smoke it off, you’re gonna get some Crack or whatever – even if… how much you tell me that you wanna do this one, I know what you’re gonna do so I’m not engaging in it.’ But, the moment I actually engaged with him, he said, ‘God bless you. This is your calling.’ And it blew my mind. Like, really tripped me out. Making me think – these are moments in my life deeper than just handing somebody a dollar. These are actually moments of integrity – being able to actually talk to somebody. Me talking to him was simply a thank you from God, you know what I‘m saying? And I felt God speaking through him to get at me, you know? And it was a real trip and I tend to always bottle these ideas in because I wanna share them with the world. And that’s how you get a record like ’How Much A Dollar Cost?’”

There’s a number of seriously big-name guests on the album. Dr. Dre and George Clinton – the Funkmeister himself – feature on ‘Wesley’s Theory.’ Veteran Soul pioneer, Ronald Isley can be heard on ‘How Much A Dollar Cost?,’ and there’s an appearance from Snoop Dogg too. But, as illustrious as these guys might be deemed by music-fans the world over, it’s perhaps fair to conclude that, were there to be a list drawn-up for who should receive top-attention billing on this release, all these men would be eclipsed by Tupac Shakur. Yes, that’s right… Tupac – the iconic rapper who was shot and killed (or not, if we‘re to believe the theories out there) in 1996. But it’s not the fact that his voice has been lent to the album that’s of interest here – after all – it wouldn’t be the first time his vocal talents have emanated from ’beyond the grave’ (as it were) on various releases. It’s how they’ve been used that’s the clincher. You see, his appearance with Lamar on the cut, ‘Mortal Man’ isn’t quite what the unsuspecting listener might expect. For one thing, there isn’t what’s commonly described as ’a duet’ happening between the two on it. Well, certainly not in the same way as we get on ‘Ghetto Heaven,‘ Shakur’s 2005 No.1 hit with – of all people – Elton John. No, this isn’t your usual remix-job. For starters, Tupac isn’t rapping on the track. He’s talking, in conversation with, well, Lamar. It’s as though one of them has travelled through time, met with the other and sat down for a chat. Or so it might sound if you were to let your imagination fly? kendrick tupacActually, the long-departed legend’s voice has been lifted from an audio-recording of him speaking to a radio-host in 1994. The decades-old (nigh on historic some would say) Q&A-session has been administered on ‘Mortal Man’ in such a way as to give the impression that it’s Kendrick that’s interviewing Tupac. This album-cut is relevant to this review because, as has been noted by Lamar, “the answers that Pac is giving are answers for today.”

Here’s some excerpts:

“I always wanted to ask you about a certain situa-, about a metaphor actually. You spoke on ‘the ground.’ What you mean ‘bout that, what the ground represent?”

“The ground is gonna open up and swallow the evil. That’s how I see it, my word is bond. I see and the ground is the symbol for the poor people, the poor people is gonna open up this whole world and swallow up the rich people. ‘Cause the rich people gonna be so fat, they gonna be so appetising, you know what I’m saying, wealthy, appetising. The poor gonna be so poor and hungry, you know what I’m saying it’s gonna be like… there might be some cannibalism out this mutha, they might eat the rich.”

“Aight well, how long you think it take before niggas be like, we fighting a war, I’m fighting a war I can’t win and I wanna lay it all down.”

“In this country a Black man only have like five years we can exhibit maximum strength, and that’s right now while you a teenager, while you still strong or while you still wanna lift weights, while you still wanna shoot back. Cause once you turn thirty, it’s like they take the heart and soul out of a man, out of a Black man in this country. And you don’t wanna fight no more. And if you don’t believe me you can look around, you don’t see no loud mouth 30-year old muthaf****s.”

You can listen to this exchange in its entirety – along with the track, ’Mortal Man’ – below:

Kendrick has said the title of his new album is him wanting “to show the brightness of life and the word, ‘pimp’ has so much aggression, and that represents several things. For me, it represents using my celebrity for good – you know what I mean? Another reason is not being pimped by the industry through my celebrity…so, it gets even deeper than that for me, I could be talking all day about it but…” Well, please allow ‘Conspiro Media’ to elaborate on this then, if only briefly? What the rapper is doing is grabbing ownership of the word ‘pimp’ and tearing it away from its association with, as he says, “aggression,” thus, turning a negative into a positive. Maybe the ‘butterfly’ in the title is another version of this, there to symbolise transformation of the most beautiful kind, in this case a crawling caterpillar morphing into a thing of magnificence? Of course, as a form of symbolism, the butterfly takes on a dark shape too. It hasn’t escaped the attention of ‘Conspiro Media’ that what we’re possibly looking at here is evidence of a music-artist under the spell of Mind Kontrol. Take, for example, the picture below of Lamar who, incidentally, has talked in the past about how he once fell “into a deep sleep and” saw “a vision of Tupac talking to” him. Published in an April 2015 edition of the UK magazine, ‘New Musical Express’ (’NME’), this illustration is, to put it mildly, rather provocative…

kendrick lamar to pimp a butterfly nme Any questions regarding Kendrick Lamar’s possible Mind Kontrol are best left explored some other time though – this is, after all, a review, not a lengthy expose. The main focus here is on new music-content that says something meaningful and/or positive to us regardless of who’s singing it, rapping it, strumming it or banging it. Still, there was a degree of trepidation over the inclusion of the next recording-act, given that its reputation as the unofficial band of the so-called ‘Truth Movement’ was severely jeopardised – if not destroyed – following a succession of events back in 2012 that drew suspicion, the worst of which was when the lead-singer changed his stance on 9/11 dismissing an earlier statement in which he called it “an inside job.” If you haven’t guessed already, the group being referred to is, Muse. In 2006, its front-man, Matt Bellamy told ‘Kerrang!’ magazine, “9/11 is clearly an inside job, there’s massive evidence that suggests it was allowed to happen, or even worse, deliberately made to happen. I’ve been playing with the fear of talking about some of this stuff because there’ll obviously be a backlash, but I feel strongly about it that I’ve got to say it.” But, in a 2012 interview he said, “I don’t believe that any more, although there are lots of questions to be answered.” Bellamy, who in the years prior to this, had penned a track titled, ‘MK Ultra,’ had named one of his albums, ‘HAARP,’ and had spoken out publicly in the mainstream about a number of issues mostly confined within the fringes, such as the looming micro-chipping agenda, added, “I still read about political history, the influence of corporations and the military but I make sure I’m reading from credible sources. I think my political views are a bit more nuanced now.”

Matt Bellamy

Matt Bellamy

In an interview for the newspaper/website, ‘The Guardian‘ published a week or so after this, he said, “I was getting very drawn into obscure conspiracy theories. As time’s moved on I’ve become far more rational and empirical and I’ve managed to focus on slightly more realistic, tangible things.” A day after this came the release of the Muse album, ‘The 2nd Law.‘ Although some of the tracks deal with issues of a geo-political nature such as ‘Explorers’ (a sad lament over the handing over of countries’ lands and resources to corporations), ‘Supremacy’ (a grandiose mini-epic that directs its energy against the cruel Powers That Be), and the vitriolic ‘Animals’ (a cut that proves Bellamy has lost none of his lyrical bite, as he sings out against the greedy bankers: “kill yourself… come on and do us all a favour”), it’s absent of material related to suppressed, fringe topics, as explored on previous recordings. Presumably inspired by Matt‘s “nuanced” views, how would this apparent change in direction impact on the band’s musical message in future? Would there be any room for so-called “obscure conspiracy theories” any more? These are some of the questions ‘Conspiro Media’ asked back in November 2012 in the closing paragraphs of a lengthy Muse retrospective that traces the group’s history from the release of its debut album, ‘Showbiz‘ in 1999 through to ‘The 2nd Law.’ You can read it here:


As you’ll notice if you read the above article, these questions were left unanswered because – in the view of ‘Conspiro Media’ – it was still too early to conclude one way or another. Perhaps the next album would shed more light on this? Well, there’s not long to wait now. In June 2015 comes the release of ‘Drones,‘ the band’s next collection of tracks. Two taster-cuts were unleashed throughout March, both as singles. The second of the pair to emerge was, ‘Dead Inside.’ Bellamy has told music-magazine, ‘Q,’ that it’s a song about “a relationship ending and a person becoming dead inside themselves.” It’s “where the story of the album begins, where the protagonist loses hope,” he states on the Muse official website and ‘YouTube‘ channel. The album finds the aforementioned protagonist – in Matt’s own words – going “on a journey throughout.” Speaking recently on BBC Radio1 about the underlying narrative of ‘Drones,’ he said, “the first song is… a pretty jaded song where a person loses hope and – kind of – therefore becomes vulnerable to, kind of, the darker forces which happen on the next few songs.”
Released on March 23rd on the band’s ‘YouTube’ page, here’s the official lyric-video to ‘Dead Inside‘…

One of “the darker forces” that the protagonist of the album becomes vulnerable to is “military brainwashing,” said Bellamy in his BBC interview. This theme is explored in the official lyric-video to the riff-heavy Rocker, ’Psycho,’ the other of the two taster-tracks released last month by Muse. Not long into the beginning of the promo, a US Army drill-instructor appears right up close to the screen shouting out, “if you do not do what you are told to do when you’re told to do it, you will be punished! Do you understand?!” He points and jabs his finger towards our direction in a threatening manner. His eyes – aggressive, full of rage – are looking into ours, staring at us. Or are they, because we then see the mouth of a subordinate crying back, “aye, sir!” As the song begins to start-up in the background, the drill-instructor yells, “your ass belongs to me now!!” To which the reply – once again – is, “aye, sir!!” The backbeat of the track thumps-in and Muse comes into shot for the first time, largely blacked-out from view, only definable by the band-members’ body-shapes and the instruments they’re playing. They remain this way for most of the video. Meanwhile, behind them, footage of marching soldiers, rolling tanks, explosions, and various other moving-images of a war-like nature supply the backdrop. We also see and hear from the drill-instructor again during the promo. Bellamy sings, “come to me now. I could use someone like you. Someone who’ll kill on my command and asks no questions. Your mind is just a program and I’m the virus. I’m changing the station. I’ll improve the thresholds. I’ll turn you into a super-drone. And you will kill on my command. I’m gonna make you a f*****g psycho!”

The album’s narrative “just gets darker and darker” after ‘Psycho,’ Bellamy told Australian radio-station, ‘Triple j’ recently. “You got songs like, ‘Mercy.’ ‘The Handler’ is really dark – that’s kind of – and the theme is like battling the dark forces of other people trying to control your mind and trying to make you do stuff you don’t wanna do. And then eventually it gets to songs like ‘Defector’ and ‘Revolt,’ where, basically, the person starts to fight back at the Powers That Be, and then… that’s… the positive side of the album. And then ‘Aftermath’ is kinda the re-discovery of love again, you know?” The penultimate track, ‘The Globalist,’ he told BBC Radio1, “is just like a crazy, mental ten-minute Prog nightmare which is about the rise and fall of a dictator… and the end of the world and World War III.”
Below, the track-listing for the forthcoming album, which includes a cut intriguingly titled, ‘[JFK]’…

1) Dead Inside
2) [Drill Sergeant]
3) Psycho
4) Mercy
5) Reapers
6) The Handler
7) [JFK]
8) Defector
9) Revolt
10) Aftermath
11) The Globalist
12) Drones

“The drone thing – I was reading a lot about drones and what they’re all about,” Matt said recently. “To me, they’re like a modern metaphor for what it is to lose empathy and to start to not really care much about what’s going on around you and what’s going on around the world, you know? And I think that through modern technology, and obviously through drone warfare in particular, it is possible to actually do quite horrific things by remote-control at a great distance without actually feeling any of the consequences or even feeling responsible in some way, you know? And the next step in drones is gonna be autonomous drones which actually make kill decisions themselves, there’ll be no humans involved, you know? So I think we’re right on that edge right now where we’re kind of… taking the step into losing empathy, and I think the album is basically exploring that journey.”

drones cover matt bellamy

Back in February and early March, the forthcoming release of the track, ‘Psycho’ was being plugged by Bellamy on ‘Twitter’ along with some added – and intriguing – web-links, perhaps providing us with clues as to some of the inspiration behind the ‘Drones’ album. The first ‘Tweet’ takes us to the site, ‘HowStuffWorks.com’ and a lengthy article on brainwashing techniques through history – albeit a mainstream-media version. However, it does briefly note the CIA’s MK ULTRA drug experiments during the 1950s stating that “drug experimentation by the CIA was officially cancelled by Congress in the 1970s, although some claim it still happens under the radar.”

muse patty hearst


You can read the article here:


The woman in the Twitter picture – in case you don’t know – is Patty Hearst, American heiress of the Hearst publishing family. From the above article:

Hearst became famous in the early 1970s after she was kidnapped by the Symbionese Liberation Army (the ‘SLA,’ which some deem a “political cult”) and ended up joining the group. Hearst reports that she was locked in a dark closet for several days after her kidnapping and was kept hungry, tired, brutalised and afraid of her life while SLA members bombarded her with their anti-capitalist political ideology. Within two months of her kidnapping, Patty had changed her name, issued a statement in which she referred to her family as the “pig-Hearsts” and appeared on a security-tape robbing a bank with her kidnappers.

Patty Hearst stood trial for bank-robbery in 1976… The Defence claimed that Hearst was brainwashed by the SLA and would not have committed the crime otherwise. In her mental state, she could not tell right from wrong. Hearst was found guilty and sentenced to seven years in prison. She only served two — in 1979, President Carter commuted her sentence.

Bellamy Tweeted this on the same day:

muse psychopaths2

The Tweet’s web-link goes to the site, ’GlobalResearch.ca’ and a 2014 article titled, ’Masters of Manipulation: Psychopaths Rule the World.’ Although its sub-heading informs us that it’s “a case-study” of President Obama and former military and CIA chief, David Petraeus, its scope is wide-ranging. It begins:

Psychopaths dominate the halls of power in both the United States and throughout the world. The current economic, political, military and legal system breeds psychopaths, rewarding psychopathic behaviour and punishing those with conscience and integrity. Psychopaths will naturally be drawn to and converge at the apex of the power-pyramid as much from their own drive for ambitious power as the hierarchical system that both requires and reinforces those who can comfortably operate without conscience, guilt or any genuine level of empathy toward others.

Read it all here:


On March 2nd, Bellamy Tweeted yet another link to another article about psychopaths in power. It’s from The Huffington Post and titled, ‘Are Politicians Psychopaths?’ The author of the piece, David Freeman, who’s Senior Science Editor at the website, thinks the answer to that question is, ‘yes,’ it seems. For advice on the subject, he “reached out to Dr. Martha Stout,” he states. She’s “a clinical psychologist who was long affiliated with Harvard Medical School,” and “the author of ‘The Sociopath Next Door’ and other popular books on emotional disorders.” Apparently, she’s warm to the idea of political candidates being asked to prove their psychological fitness before their names go on the ballot, along with releasing their tax-returns and medical records. Freeman states, “though psychopaths can apparently fool even skilled psychiatrists… Dr. Stout maintains that standardised psychological tests… might be able to help to tip voters off to candidates who exhibit worrisome personality-traits.”

muse psychopaths


The link to the above article:


It’s still too early in the day, perhaps, to draw conclusions on what’s in store in terms of an overall musical message with the soon-to-be-released Muse album, but, what with titles such as ‘Drones,’ ‘The Globalist,’ ‘[JFK]’ – and all these references to ‘brainwashing’ – it’s looking exceedingly likely that this is going to be – in one way or another – something of a noticeable shift away from the more conventional themes and issues covered on ‘The 2nd Law’ and back towards an area of subject-matter that helped win the band the support of the so-called ’Alternative community’ back in the day, before their reputation was placed under scrutiny by Bellamy’s 9/11 comments, leading to accusations that he and the group had perhaps been ’got at’ by their music-industry masters, or were shills, traitors, or sell-outs ( – in the view of ’Conspiro Media,’ the jury is still out on this one).

Briefly now, a nod to Metalcore group, While She Sleeps, winner of the ‘Kerrang!’ magazine ’Best British Newcomer’ award in 2012. The five-piece’s second album, ‘Brainwashed,’ was released in March. Sean Long, one of the guitarists in the band, said recently, while-she-sleeps“there’s been a real shift lately across the globe where people just want to find their own path through life. It’s really inspiring. People are so used to hearing and doing certain things that they think that it’s the truth and the right thing to do. They think that the Powers That Be have their best interests at heart, when it’s really the exact opposite. The Powers That Be don’t have any consideration for the future of the masses, and by extension, the masses learn not to have any consideration for their fellow man. ‘Brainwashed’ is about stepping back and seeing the world for how it really is, rather than how you’re told it is and conditioned to believe. People watch an ad on TV, and then the next thing they know, they’re in the store buying the stupid thing and they don’t need it. If I could sum-up the message of ‘Brainwashed,’ it’s that people should listen to themselves, and not allow themselves to be controlled by the media and the corporations.” Here’s the title-track:

‘Brainwashed’ (lyrics)
This is the resistance movement
A new life for the executed
The blackusted soul recruitment, brainwashed
Turn it off, turn it off, turn it off

We’re spilling our guts, we’re spitting out blood
Who’s first in the river?
Stop struggling, struggling
You’ll only sink further in
They’re throwing you in a lifeline, down to hell

They’ll sing mislead, mislead, drain us of our
Differences keep the freedom of life
Under the gun they’ll take our rights
We’ll take them back again

This is a death race, just another world trait of a broken system
It’s like the blind lead the bund to the wrong decisions
Possessed by the pace of life, we’ll burn a living
They’re running out of plots to burn
The casualties, out of sight, out of mind

Mislead, mislead, drain us of our differences
Keep the freedom of life under the gun
They’ll take our rights, we’ll take them back again

We won’t fail, we’ll find a way
We won’t fail, we’ll fucking find a way

Tell us how to think, tell us what we need
Tell us how to live, show us who to be
Another product of the system
Turn it off, turn it off, turn it off
We’re being brainwashed


Another track from the album worth inspecting, perhaps, is…

‘New World Torture’ (lyrics)
We are the underground
They know nothing of our sound.
We are the underground
They know nothing of our sound.
This one’s for the pigs at the top
You know nothing of us
You know nothing of us
We’re in the gutter singing
We wont give up
With our fingers crossed
Baptised in blood.
Sick of watching with our mouths sewn shut.
Raise the flag, sound alarms.
Look at the state of me, you, us.
Are you skeptic?
Born and bred, negative?
Are you dead set suffering?
Giving up?
Are you spoon fed?
Coughing up the ignorance?
Are you brain dead?
Loathing, pulling at teeth?
Kill or cure.
This is new world torture.
Kill or cure.
This is new world torture.
If we have to kill the living to live
Prescribe plague and clean our slates with disease
(We wont follow)
They’ll lead us straight to the grave.
(There’s no sorrow)
Convinced the answer’s in the dust and debris.
This is new world torture.
We’re fighting fighting with fighting
Our unity is divided.
This is the system declining on us.
Put a nail in my coffin and light it up.
Our condition is critical.

We’re fighting fighting with fighting
Our unity is divided.
This is the system declining on us.
Put a nail in my coffin and light it up.
Our condition is critical.

If we have to kill the living to live
Prescribe plague and clean our slates with disease
(We wont follow)
They’ll lead us straight to the grave.
(There’s no sorrow)
Convinced the answer’s in the dust and debris.

If we have to kill the living to live
Prescribe plague and clean our slates with disease
(We wont follow)
They’ll lead us straight to the grave.
(There’s no sorrow)
Convinced the answer’s in the dust and debris.
Seamless as it was,
Before the winter came.
The trenches will shelter our young.
While we ration, others save.
We came paired for the worst
Frantic, out of luck.
Chosen by our tragedies,
To make the best of us.
To make the best of us.


More about the ‘Brainwashed’ album (and other While She Sleeps releases) here, at the band’s website:


Well, that’s it for now. There’ll be another review at some stage later this year – although when that’ll happen exactly is solely reliant on when there’ll be enough releases available to warrant it. And please… if you yourself are a musician, singer, rapper or DJ/producer involved in creating meaningful, enlightening sounds, and who’d like to share your soon-to-be-unleashed material with ‘Conspiro Media,’ don’t hesitate to get in touch either by adding your details here via the ’leave a reply’ link at the bottom of this post, or by e-mail, to me – Matt Sergiou – at: conspiromail@gmail.com

——————————————————————————————————————- REFERENCE LINKS:



http://www.theguardian.com/society/2015/mar/12/nhs-agrees-largest-ever-privatisation-deal-to-tackle-backlog http://rt.com/uk/240029-nhs-privatisation-agreement-largest/
































http://en.wikipedia.org/wiki/To_Pimp_a_Butterfly http://hypetrak.com/2015/03/listen-to-the-tupac-interview-featured-on-kendrick-lamars-to-pimp-a-butterfly/


https://www.youtube.com/watch?v=vkedvCA8330&t=10m0s http://www.gq.com/moty/2013/kendrick-lamar-men-of-the-year-rapper?currentPage=2



http://muse.mu/music-video/music/74.htm http://muse.mu/music-video/music/72.htm

http://muse.mu/news.htm https://www.youtube.com/watch?v=w4NJafuctHM

‘Q’ Magazine. May 2015 issue – pg: 10

https://soundcloud.com/triple_j/matt-bellamy-muse-dead-inside-is-about-losing-the-idea-of-love https://twitter.com/MattBellamy/status/571814756853551104

http://vigilantcitizen.com/latestnews/muses-matt-bellamy-says-he-no-longer-thinks-911-was-an-inside-job/ http://www.davidicke.com/forum/showthread.php?t=237978


http://en.wikipedia.org/wiki/While_She_Sleeps http://heavymag.com.au/while-she-sleeps-we-dont-want-to-all-die-at-thirty-and-its-way-too-easy-to-do/



Here’s a review of events from 2014 and a look ahead at what’s in store for ‘Conspiro Media’ in 2015 and beyond…

2015 Out with the Old In with the New

The initial idea that led to the formation of Conspiro Media was – in all honesty – much grander than what has transpired since the very first article was posted back in June 2011. The original concept was for the creation of a website brimming with topical content, a website complete with; 1) a constantly updated News Headlines page (with added blog commentary and analysis from time to time), 2) a section showcasing singers, rappers, musicians and remixers/producers of an Alternative nature who communicate a meaningful message (and who might not necessarily be widely-known), 3) a regular(ish) smattering of lengthy, in-depth articles, and 4) a YouTube channel featuring exclusive interviews with researchers, authors and others relevant to those of us seeking more information on the dark, arcane, symbol-ridden, plot-scheming (yet not always altogether negative) elements that are (and always have been) present in entertainment/media/The Arts. As its turned out, the last two ingredients in this ambitious wish-list have been achieved, but the first two havent. So, not the desired result of course, but by no means due to accident or disaster. Faced with the uphill challenge of building a large-scale website from scratch with absolutely no prior knowledge or experience on to how to achieve this, and mindful of the sheer amount of days, weeks and months that would pile up on the way to attaining this goal as a consequence, it was decided to go ahead with something less elaborate first. After all, why hold back on sharing information – any information that might be of value and/or relevance, however small or understated – just for the sake of a big idea that might not even materialise until a year (or more) down the line (if at all)? Best to engage modestly rather than never. Take each day as it comes and assess all progress regularly – test the waters, as it were ahead of any plans to expand as desired. And thats exactly whats been happening, and now, here we are with 2015 ahead of us, a period in time when folk make resolutions for the future and reflect on whats occurred in the previous twelve months Therefore, with all this in mind, its also time to issue an announcement here – and that is:

Conspiro Media is all set to begin its steps towards achieving that desired Grand Plan.

This is largely due to necessity.                                                                                               Why so? Well, one only need take a look back at the seemingly relentless stream of events that occurred during 2014 that were (are) worthy of note and that this site shouldve reacted to but couldnt and didnt; For starters, there were all those celebrity deaths, most of which were officially deemed as non-suspicious but that were met with doubt and even outright accusations of foul-play by the more Alternative-minded of us. It all began in February when Oscar-winning actor, Philip Seymour Hoffman was found dead in his Manhattan apartment due to a drug-fuelled accident. In August, comedy legend and film-star, Robin Williams was a victim of suicide, and earlier in April, O.T.O.-follower Peaches Geldof died of – in the words of the inquest-report – an unintentional heroin overdose. There was no indication that any third party was present or involved, it stated. Her death, however, came just months after shed Tweeted some provocative comments, observations and revelations with regards to Ian Watkins, the paedophile Rock-musician who was jailed in late-2013 for a string of child sex-offences including the attempted rape of a baby. Had she revealed too much? And what about the constant air of suspicion that hangs around her father, Sir Bob Geldof who, incidentally, faced something of a critical mauling from cynics in the closing weeks of last year in relation to his Band Aid 30 project? peaches geldof-His ex-wife (and Peaches mother), Paula Yates, died in September 2000 of an accidental overdose, 34 months after the suicide of the man shed left him for, 80s/90s Pop sensation, Michael Hutchence. In a police-statement following the INXS stars death, she branded the Boomtown Rats front-man evil, and claimed he had intimidated her by bragging that he was above the law. As numerous onlookers and commentators have opined, a significant number of people closely connected to this sainted individual have ended up dead before their time, and from ugly circumstances. 2014 also saw the passing of TV-host and comedian, Joan Rivers whilst reportedly undergoing minor throat-surgery at a Manhattan outpatient clinic. Interestingly, two months after she died there came accounts of a federal investigation that concluded shed lost her life due to the mistakes of doctors. This has no doubt fuelled suspicions that she was ultimately silenced for calling Barack Obama gay and his wife, Michelle a transgender (we all know) just weeks earlier when approached by an on-the-street reporter. Did the veteran celebrity, like Peaches Geldof before her, pay the ultimate price for her candidness?

The issue of Hollywood paedophilia garnered notable mainstream-media attention towards the end of 2014. This was when the US documentary, An Open Secret was revealed to the public for the first, and, – when considering the apparent content contained within it – possibly last time. Directed by Oscar-nominee Amy Berg, its said to incorporate the testimonies of several ex-child performers including one by the name of Evan H. He gives his account of his abuse at the hands of his then-manager, Marty Weiss who, at a pre-trial hearing in 2012, pleaded no contest to two felony-counts of oral-copulation with a child under the age of 14.

Amy Berg

Amy Berg

Of the few who say theyve seen the documentary, theres focus, so they claim, also placed on Hollywood talent-agents, Michael Harrah (whos apparently caught on a secret tape-recording admitting to making advances on a minor) and Bob Villard who once represented a young Leonardo DiCaprio. According to reports, this individual was among nine people indicted by a federal grand jury in 1987 on charges of transporting child-pornography. In 2001, he was sentenced to three years probation after searches of his home uncovered thousands of photographs of boys in skimpy bathing-suits posing in sexually suggestive positions. He pleaded no contest, as he is also said to have done in 2005 when he was handed an eight-year prison-term for committing a lewd act on a 13-year-old male who sought him out as an acting-coach. Perhaps the best-known of all the individuals placed under the spotlight of suspicion in the documentary is X-Men director, Bryan Singer whose name is linked to Marc Collins-Rector founder of the now-defunct web-TV company, Digital Entertainment Network and who, in 2004, reportedly pleaded guilty in a US District Court to transporting minors across State lines for the purpose of sex. He was notorious in Hollywood – so its said – for his pool-parties where young teenage boys mingled with powerful and successful entertainment/media-men. These get-togethers were referred to in a lawsuit filed against Singer in 2014 by a former male child-model. He claimed the director sexually-abused him at the California estate where these drink and drug-fuelled gatherings took place and then did the same to him in Hawaii in 1999 when he was 17. The allegations were denied, and in August last year, it was announced that the case had been dropped.

Bryan Singer

Bryan Singer

The move to dismiss was, said the accuser, Michael Egan III, little to do with the strength of (Singers) defence, but rather, it is a consequence of the current circumstances regarding my case, my lack of legal counsel, and my inability to proceed in this matter acting on my own behalf. Amy Berg has reportedly said he was the victim of a faulty lawyer and had made a poor decision regarding not only this particular sexual-abuse suit but three others which hed aimed – but then also withdrew – against seasoned TV-heads, David Neuman and Garth Ancier, and Broadway producer and former Disney employee, Gary Goddard.

And as if all this wasn t enough

In December 2014, Stephen Collins, the American screen-actor perhaps best-known to millions for his clean-cut roles in countless television-shows such as the long-running 7th Heaven (in which he played the part of a church-minister, incidentally), admitted publicly to molesting and/or exposing himself over the years to a total of three young girls all aged somewhere between eleven and thirteen. His confession to the US magazine/website, People came just months after an audio-tape was leaked to the media in which he was said to be heard discussing these incidents. It was recorded during a confidential marriage-therapy session in 2012 with his estranged wife, actress, Faye Grant and without – he claims – his knowledge or consent.

Stephen Collins

Stephen Collins

As it happens, 2014 was something of a year for abuse allegations either made by or against the celebrity set. The rape-accusations surrounding veteran comedian and TV-actor, Bill Cosby attracted the most attention, and still do. But there were other notables. For example, sometime during the end of last year, the broadcaster, Howard Stern asked Pop-star, Lady Gaga whether shed been raped by a record-producer at some point in her life. She answered the question with few specifics but did seem to imply nevertheless that – yes – she had been, when she was nineteen, by a man who was twenty years older than her. Shes reportedly denied claims that the as yet unnamed individual was none other than Dr. Luke, the 41-year-old songwriter and music-producer. He himself reacted to the accusations by launching a lawsuit for defamation against prominent criminal-attorney-to-the-stars, Mark Geragos who – so were led to understand – sent a number of strongly-suggestive Tweets (most of which, its said, have since been deleted) that alleged the Pop hit-maker was the rapist in question. I said it because its true, the lawyer told entertainment-news website TMZ after the Twitter posts were pounced on by the media. Furthermore, he revealed his intention to call in Lady Gaga to give evidence for one of his clients, fellow Pop-star, Kesha, who in October 2014 filed a lawsuit for sexual-assault and battery against Dr. Luke. According to her legal complaint, the music-producer, whos credited with playing a prominent role in her career from the beginning, has sexually, physically, verbally and emotionally abused her for the past ten years in order to destroy her self-confidence, self-image, and self-worth so that he could maintain complete control over her life and career. Theres also references to her stint in rehab in January to March last year. The continuous and ongoing years of sexually, physical, verbal and emotional abuse and harassment at the hands of Dr. Luke took their toll, it states. She was forced to seek emergency medical help. Dr. Lukes abuse had caused her to suffer from Bulimia Nervosa, an eating disorder Doctors at the facility told her and her family that the blood pressure and sodium levels were similar to levels found in patients following a heart attack or stroke. She suffered from psychological effects caused by Dr. Lukes abuse, including severe depression, post-traumatic stress, social isolation, and panic attacks. The psychological effects of the repeated abuse suffered were continuous and ongoing…” Sexual abuse, physical abuse, emotional abuse, trauma well-worn words when describing the horrors experienced by an alleged Mind-Kontrolled Pop-puppet. She announced a change of identity of sorts after checking out of rehab; she reverted back to her birth-name, dropping the $ symbol for the letter s. Sources close to the celebrity were reported as saying the reason for this was because she was looking for a fresh start and the previous moniker reminded her of her old self. Make of that what you will. And likewise with regards to another star of sound and screen, Amanda Bynes. According to reports in October last year, she was admitted to a California hospital on an involuntary psychiatric-hold after posting a series of allegations against her father on Twitter, accusing him of physically, verbally and sexually abusing her. She then backtracked on these accusations shortly afterwards, Tweeting, my dad never did any of those things. The microchip in my brain made me say those things but hes the one that ordered them to microchip me. Strong stuff but perhaps not surprising when considering her back-story. Its one thats rife with details that you might collectively term, MK clues. For example, Bynes had been on the receiving-end of an involuntary psychiatric-hold prior to 2014. It happened in July of the previous year after she was involved in a series of often reckless and sometimes bizarre occurrences that included a drug-arrest, a number of motor-related episodes (for example, she was charged for two alleged hit-and-run incidents, although these were later dropped), and finally, a small fire that she was accused of starting in front of a strangers house in California and which was said to be the reason for her enforced hospitalisation after police were called. According to reports, a witness at the scene says they saw Bynes lying down near the driveway of the property with her left trouser-leg ablaze and exclaiming that her dog had been burned by the flames. There were also accounts that the animal in question was soaked in gasoline. During her spell on psychiatric-hold, TMZ stated that it had received information from sources that doctors had concluded the star was suffering from schizophrenic tendencies theres a good Amanda and a bad Amanda. The website reported that the star almost mimics an exorcism when talking about the bad Amanda, pulling at her body as if to remove the demon, and even biting herself. Furthermore, when hospital-staff quizzed her about the fire during a lucid spell when she was kind, quiet and nice her personality changed radically. She got frustrated and then shut down. Her fragile mental state was reportedly recognised by the courts which, as a result, accepted her parents request for temporary control of her personal affairs including her estate worth somewhere between three to over five million dollars. Once again, following her 2014 hospitalisation, they were granted conservatorship. This most recent move was slammed by Amanda on her release in October. She Tweeted, I am more than capable of handling my personal life and finances and I am enraged. Most interestingly of all, she then not only accused her mother and father of stealing money from her, but for doing so with the participation of an extremely notorious individual, an individual who she also held partly responsible for having her hospitalised, none other than Sam Lutfi. He was Britney Spearss so-called manager during her suspected MK meltdown back in 2007-2008 when she was, like Bynes years later, involved in a series of occasionally peculiar incidents that saw her shaving off all her hair, and attacking paparazzi with an umbrella before being put on – wait for it – psychiatric-hold. The Baby One More Time stars parents reportedly blamed him for his involvement in their daughters mental decline and slapped a restraining-order on him, stating, Mr. Lufti essentially moved into Britneys home and purported to take control of her life, home and finances. He also drugged Britney. Lufti – whos also been linked to other suspected MK-puppets including Paris Hilton and Lindsay Lohan – denied the accusations. Byness parents meanwhile are said to have rejected their daughters accusations that this so-called svengali was in any way plotting in league with them.

From top-left to right: Dr. Luke and Kesha pictured in 2011; Sam Lutfi and Britney Spears; Amanda Bynes circa 2013; Lady Gaga

Clockwise from top-left: Dr. Luke and Kesha pictured in 2011; Sam Lutfi and Britney Spears; Amanda Bynes circa 2013; Lady Gaga

As far as Conspiro Media can ascertain, 28-year-old Bynes is currently involved in a legal battle to win back control of her estate and personal affairs. A future article examining these events – as well as one focusing on the controversy surrounding Kesha, Lady Gaga and Dr. Luke – is most certainly being considered for inclusion on this site as is a feature on the role of the CIA in music. This will be in response to claims late last year that a firm based in Washington DC that works for the US Government-backed USAID (United States Agency for International Development) had secretly infiltrated Cubas underground Hip Hop movement for more than two years, recruiting unwitting rappers in a covert plot to spark youth unrest in Cuba and bring about regime-change in that country. The news-agency, Associated Press reported in 2014 that it had obtained documents, thousands of pages of contracts, e-mails, preserved chats, budgets, expense-reports, power-points, photographs and passports” directly linking this secret program to ’Creative Associates International, the aforementioned Washington firm. The AP states that “the idea was to use Cuban musicians ‘to break the information blockade’ and build a network of young people seeking ‘social change.’ At first, the Hip Hop operation was run in Cuba by Serbian contractor Rajko Bozic. His project was inspired by the protest concerts of the student movement that helped undermine former Serbian President Slobodan Milosevic in 2000.” In Cuba, Bozic “homed in swiftly on Los Aldeanos, a Hip Hop group frustrated by official pressure and widely respected by Cuban youth for its hard-hitting lyrics. Creative used a Panama front-company and a bank in Lichtenstein to hide the money-trail from Cuba, where thousands of dollars went to fund a TV-programme starring Los Aldeanos. It would be distributed on DVDs to circumvent Cuba’s censors.” The forthcoming ‘Conspiro Media’ article will provide a recap of all the allegations put forward by the AP (for what you’ve read here thus far is just the tip of the proverbial iceberg) as well as taking a closer look at the notorious histories of both Creative Associates International and USAID, an agency that – according to its website – “works to end extreme global poverty and enable resilient, democratic societies to realise their potential.” It claims to go about this through a variety of efforts that – on the face of it – might appear innocent enough to the casual observer; It “invests in… providing life-saving assistance in the wake of disaster, investing in agriculture, health-systems.” It ‘believes in’ “promoting free, peaceful, and self-reliant societies with effective, legitimate governments.” However, since its formation in 1961 under the watch of President John F. Kennedy, it’s been accused of meddling covertly in overseas affairs whether it be by influencing foreign elections and revolutions, or by supporting and/or administering torture and death. Mark Weisbrot, an American economist and founder of the think-tank, ’The Centre for Economic and Policy Research,’ is quoted as saying, “in a number of countries, including Venezuela and Bolivia, USAID is acting more as an agency involved in covert action, like the CIA, than as an aid or development agency.” In an April 2014 article, William Blum, former US State Department employee, now author and historian, wrote, “the grandly-named Agency for International Development does not have an honourable history; this can perhaps be captured by a couple of examples: In 1981, the agency’s director, John Gilligan, stated, ‘at one time, many USAID field-offices were infiltrated from top to bottom with CIA people. The idea was to plant operatives in every kind of activity we had overseas, government, volunteer, religious, every kind.’ On June 21st 2012, the Bolivarian Alliance for the Peoples of Our America (ALBA) issued a resolution calling for the immediate expulsion of USAID from their nine-member countries, ‘due to the fact that we consider their presence and actions to constitute an interference which threatens the sovereignty and stability of our nations.’ USAID, the CIA… together or singly, continue to be present at regime-changes, or attempts at same, favourable to Washington, from ‘colour revolutions’ to ‘spring’ uprisings, producing a large measure of chaos and suffering…”

So there you have it… just some events there from 2014, a year that ended with a few notable (and significant) words from Pop’s much-maligned ‘dark priestess,’ Madonna. During a Q&A-session with the music-magazine/website, ‘Rolling Stone,’ she revealed the inspiration behind six new tracks that, she claims, she was forced to rush-release after “unfinished” versions were leaked online without her permission. One of them is titled, ’Illuminati.’ In it, you can hear her state, “it‘s not Jay-Z and Beyonce; It‘s not Nicki or Lil Wayne; It‘s not Oprah and Obama; the Pope and Rihanna; Queen Elizabeth or Kanye. It‘s not pentagrams or witchcraft; It‘s not triangles or stacks of cash; Black magic or Gaga, Gucci or Prada. The all-seeing eye is watching tonight, that‘s what it is; Truth in the Light. Nothing to hide, secrets in sight.” You can check out the lyrics in full here:


“People are always using the word Illuminati but they’re always referencing it in the wrong way,” she opined to ‘Rolling Stone.’ “People often accuse me of being a member of the Illuminati and I think in today’s Pop-culture the Illuminati is perceived as a group of powerful, successful people who are working behind the scenes to control the universe. Not people with consciousness, not people who are enlightened. So people were accusing me of being a member of the Illuminati, and I kept going, wait – so first I had to figure out what that meant. Madonna 2014I know who the real Illuminati are, and I know where the word comes from. The real Illuminati were a group of scientists, artists, philosophers, writers, who came about in what is referred to as the Age of Enlightenment, after the Dark Ages, when there was no writing and no art and no creativity and no spirituality, and life was really at a standstill. And right after that, everything flourished. So we had people like Shakespeare and Leonardo Da Vinci and Michaelangelo and Isaac Newton, and all these great minds and great thinkers, and they were called Illuminati… They were illuminating people. It had nothing to do with money and power. Of course they were powerful, because they influenced people. But their goal was to inspire and enlighten. So when people refer to me as a member of the Illuminati, I always want to say, ’thank you. Thank you for putting me in that category.’ But before I can say ‘thank you,’ I feel like I had to write a song about what I believe the Illuminati to be, and what it isn‘t.” She most certainly wasn’t the only celebrity and oft-alleged ‘Illuminati stooge’ to comment publicly in 2014 on this notorious secret society, and – again – ‘Rolling Stone’ was there to document it. Katy-Perry-Rolling-Stone-Cover-August-2014In one of its summer editions, Popstress, Katy Perry was quoted as saying, “listen, if the Illuminati exist, I would like to be invited! I see all that s**t, and I’m like, ’come on, let me in! I want to be in the club!’ I guess you’ve kind of made it when they think you’re in the Illuminati. But listen, I believe in aliens, so if people want to believe in Illuminati, great.“ She claimed to have “no idea what it is. It sounds crazy. Weird people on the internet that have nothing to do find, like, strange triangles in your hand-motions.”

On the subject of “triangles” and “hand-motions” briefly, movie-actor and comedian, Jim Carrey gave us a new comedic interpretation of – for want of a better term – ‘Illuminati symbolism’ when he appeared on the US TV chat-show, ‘Jimmy Kimmel Live’ last year…

Jim Carrey's Secret Hand Signal5

When Kimmel asked him what the unusual signal meant, Carrey – to laughs from the studio-audience – replied, “you don’t know what that is? Come on, Jimmy. Seriously. The time is up. People are hip to this kind of stuff. I’m here tonight to blow the lid off it, to be the whistleblower. I’m sick and tired of the secrets and the lies. It is the secret symbol of the Illuminati… and it is the ‘all-mocking tongue.’ And I’m sick of it. I want everybody to be in on the joke, man. You know what I mean? For years now, talk-show hosts, people on television, people on sitcoms, have been hired by the Government to throw you off the track – to distract you, to make you laugh… make you happy and docile so you don’t know what’s really going on.” If you haven‘t yet seen it, take a look…

Actually, Carrey’s ’Kimmel’ appearance wasn’t the only occasion during 2014 when he publicly referred to “the Illuminati.” Here he is mentioning it in passing on ’Saturday Night Live’ during a skit parodying television-dating shows…

Judging by the comments left on blogs, forums, and chat-boxes amongst the more ‘Alternative-minded’ of us last year, opinion is divided as to what Carrey was aiming to achieve with these references. Was he mocking so-called ’conspiracy theorists’? Perhaps the intention was to cheapen and damage the credibility of, not only those of us who follow this line of research, but the very idea – the very possibility – that there do exist secret plots to control the masses? Or maybe – just maybe – he actually was whistleblowing, but secretly, through his characteristic brand of comedy?

Whatever the real reason was for Carrey’s public nod to ‘the Illuminati’ during 2014, one thing’s for sure, it’s no longer a subject exclusively discussed and debated on the fringes. As noted in a ‘Conspiro Media’ January 2014 article that reviewed events and happenings of 2013, this recent mainstream-media acknowledgement has been slowly brewing and growing for some time. So, it only stands to reason, there’ll be millions of people out there now who’re aware of this secret society – not from researchers, authors, journalists, and prominent speakers within the ’Truth circuit’ – but from the comments of globally-famous Pop-culture icons. Putting aside any questions or doubts as to what motivated these celebrities to respond to this subject in the way they did, there is of course an opportunity here for those of us with an interest in keeping abreast of the One World Agenda to take advantage of; We should be on hand in the face of this growing mass awareness, to guide and assist those who’ve been led to this point of consciousness by the likes of Carrey, Perry and Madonna and who are largely unfamiliar with the details of any grand (and very real) globalist conspiracy, to point them towards knowledge and information that we (you) believe to be credible and as reliable as possible (should they so ask or seek of course).

It’s appropriate then that ‘Conspiro Media’ is all set to follow-through with its much desired expansion now, because, as it stands, this site currently doesn’t possess the capacity to accommodate the rapid succession of events such as unfolded in 2014 – and hence why there’s been a serious lack of regularly updated material here in general actually (let alone in the last twelve months).

The overarching problem that’s contributed to the site’s shortage of frequent postings is… time. You see, in a genuine bid to deliver the most relevant, reliable and significant information possible, each article that’s available to see here will have been as a result of anywhere between a week to six month’s-worth of work. Most of this is spent on painstaking research (fact-finding, reference-hunting, cross-checking), and also – to a lesser extent – on the collating and arranging of all the relevant and useful data into a readable-enough format once it‘s been collected. Obviously, the priority is to get all this completed and published as soon as is possible. In order to achieve this however, one must apply a single-minded approach, and ultimately, at the cost of reporting on any breaking news-items and topics occurring in the meantime that might be relevant to this site.

The solution to this problem is… space. ‘Conspiro Media’ can – potentially – supply information on the latest news-events of relevance as and when they happen whilst continuing to deliver the usual, familiar heavily-researched articles as well, ideally, by moving away from the confines of the current web-address, ‘wordpress.com,’ to a more expansive location which can accommodate multiple pages of content more satisfactorily. It’s there (so it’s planned) you’ll be able to access a user-friendly menu-board that guides you towards the proposed ‘News Headlines’ area where you’ll be able to check out all the most recent developments, posted in a variety of forms, more often than not taken directly from outside-sourced reports (with the occasional additional commentary from ‘Conspiro Media‘ too) and complete with links straight to the sites they‘re lifted from. Meanwhile, the customary heavier articles will be published and available to read elsewhere in a separately-designated section of their own. All this should (it’s hoped) ensure that there’ll always be something fresh to see whenever you should choose to come and take a look. Also, don’t forget about the inclusion of an area dedicated to showcasing conscious-minded music-artists, so, please, if you’re a singer, rapper, musician, producer/remixer/DJ who has something meaningful to share, do get in touch and pass on your details, either by adding them to the ’comments’ section (via the speech-bubble at the top of this post) or by e-mail (contact, me – Matt Sergiou – at conspiromail@gmail.com).

It should be pointed out that this proposed expansion is currently in the very, very early planning stages. There have been discussions with one or two web-designers as to how this idea can be transformed into a reality, but that‘s as far as it‘s gone to date, so, it’ll be sometime yet before we’ll see the finished result – it could take three months, maybe six, perhaps twelve (the sooner the better, preferably). I sincerely hope you’ll keep checking back for any new articles that’ll be posted here in the meantime though – even if they are somewhat infrequent.

Curse or coincidence?… ‘Conspiro Media’ re-examines the grisly chain of events connected to those involved in the ’70s horror-flick, ‘The Omen’…

The Curse of The Omen - Revisited

It seems only right that ‘Conspiro Media’ should bring some closure to an article published here just over a year ago that’s full of loose-ends but which can now, to an extent, be tied-up thanks to some new information that‘s since come to light. Furthermore, given that it centres around a horror-movie hit, it’s quite fitting that it should be posted so close to Halloween. You might recall it?…
Back in March 2013, this site posted an article based on a series of terrifying incidents that are said to have affected people associated with ‘The Omen,’ the 1976 movie that follows the exploits of Robert Thorn (played by actor, Gregory Peck) a US ambassador to Great Britain who begins to realise that his adopted infant son, Damien, is the anti-Christ after investigating the circumstances behind the gruesome deaths of a priest and a nanny.the omen It’s long been suggested that some of those linked to this big-screen project became the victims of a demonic curse after they were either injured, killed or nearly killed in seemingly bizarre real-life episodes that on one or two occasions mirrored scenes from the film. These were documented in a TV-documentary in 2005 titled, ‘The Curse of The Omen.’ This television-programme, which aired on the UK’s ‘Channel 4,’ has never been screened since (as far as ‘Conspiro Media’ is aware) and wasn’t widely available on the ‘net at the time the March 2013 article was written and posted, meaning that much of the information posted here was based on hazy memories of the original broadcast and a few scraps of data gleaned from various websites. You can read that here:


You might be pleased to know that the TV-documentary has since been posted onto ‘YouTube’ by someone operating under the username, ‘mike halton‘ and that it’s been embedded below for your perusal. Much of what’s documented in the programme does largely correspond with the above article in spite of the lack of information on offer at the time it was being prepared. Additionally, having viewed it again in full after all these years, ‘Conspiro Media’ has now been able to explore some of the claims made in the documentary in a bid to check out their validity. There are sceptics out there after all, who’ve concluded that these horrific incidents were dreamt up by the film-makers for promotional purposes.

*Did a plane originally hired by the film-crew to shoot aerial-shots over London actually crash at the end of the runway and hit a car, resulting in the death of the vehicle’s occupants, none other than the wife and two children of one of the airfield‘s pilots?… 

In the documentary, which features lengthy contributions from most of the movie’s main players including producer, Harvey Bernhard and executive-producer, Mace Neufeld, we’re informed that the plane they’d hired for the aerial-shots was instead rented out to “Chinese businessmen” because they’d offered, so says director, Richard Donner, “a better deal.” The film-makers were told they could take it out at a later date for a “discount.” They agreed. On take-off, a flock of birds apparently flew directly into the engines causing the jet with its Chinese passengers to crash. Six people were killed according to the documentary’s narrator including the wife and children of one of the airfield’s pilots.
‘Conspiro Media’ has located information to verify many of the details behind these claims. According to a website titled, ’International Centre for the History of Crime, Policing and Justice,’ and which is operated in conjunction with the UK’s ‘Open University’ and Robert Bartlett, a former British police Chief Superintendent, a plane (an HS125) “taking off from Dunsfold Airfield struck a car… killing the woman and five girls travelling inside. On a dark, late afternoon in 1975, at about 4 pm November 20th, Sergeant Robert Bartlett… was sent by Control to the A281 Guildford to Horsham Road at the end of the Dunsfold runway, where a plane was reported to have crashed. The plane had hit birds, lapwings, on take-off and came down at the end of the runway. The speed was so fast that there was no time to brake and the plane shot through the perimeter fence across the road hitting a car… there had been five children and an adult in the car, all killed, as the vehicle was crushed and completely destroyed.” According to another witness at the crash-scene, Clive Stanbury, “I was called back from temporary inspector duties… to conduct grid-mark and document the crash-site. I may not have this exactly right but I think the pilot of the crashed aircraft was a friend of a fellow pilot who was the father of two of the children who were killed being passengers in one the two cars (sic) the plane hit…” His claim that the car-victims were connected in some shape or form to the pilot of the plane is echoed by a colleague who’s quoted as stating, “I attended with Chief Constable as his driver. The aircraft careered through a hedge and struck a passing car containing the wife and children of a test-pilot from Dunsfold. All the occupants of the car were killed.” Incidentally, it might interest you to learn that this particular witness-account was made by a man going by the name of John Thorne(!). What’s also strange is that, in the words of the documentary’s narrator, “essential safety equipment” on the plane “had been switched off” on the day of the crash. Footage of what appears to be a TV news-bulletin is shown that seems to corroborate this. “One spokesman told me Dunsfold does have bird-scaring devices,” says a reporter. “But at the time the executive-jet took off, these were not in operation.” It’s at this point that the entire incident takes on a whole new twist – if you investigate it closer still, that is and approach it with an open-mind, irrespective of whether or not you believe the plane was downed by demonic forces. Actually, don’t even think about the ’curse’ for a few seconds and consider the crash from a geo-political perspective instead. You see, if Robert Bartlett and his colleagues are to be believed, the “Chinese businessmen” onboard the plane were actually visiting the UK incommunicado to buy military aircraft. He states, “the Chinese… were passengers on a top-secret mission to consider the purchase of Harrier Jump Jets.” John Thorne concludes, “I do not know if the following contravenes the Official Secrets Act. The aircraft was being demonstrated to members of the Chinese delegation” all of whom survived the crash. “They were all taken to the hospital to get them away the site (sic), where it is said they all gave as their names and addresses as the Chinese equivalent of ’John Smith, 1 High Street, London’” states Bartlett. Assuming the above witness-accounts are true (and who’s to say they’re not), it could be that the ‘switching off’ of the plane‘s “essential safety equipment” was neither accidental nor the work of a demonic hand (well, not strictly speaking any way), but instead instigated by covert forces of a more Earthly nature – namely, Western Intelligence figures out to assassinate members of the Chinese Military Industrial Complex? Note that the crash occurred during a decade in time when the so-called ‘Cold War’ was in full swing.
Of course, sceptics could argue (and most probably have) that the movers and shakers behind ’The Omen’ film were in no way personally involved with either the incident, or the airfield where it occurred, but weaved themselves into it regardless for the purpose of plugging their movie after watching TV news-bulletins reporting on it. That’s quite possible. However, it can also be argued that the circumstances surrounding the nature of the crash are wide open enough for question as it is (as well as highly unusual) – curse or no curse.

* Was a special-effects man on ‘The Omen’ in a real-life car accident that was almost identical to one of the film’s goriest scenes?…

‘The Omen’ is littered with grisly death scenes, but perhaps the most graphic is the one where the character of photographer, Keith Jennings has his head decapitated by a sheet of glass which mysteriously flies off the back of a truck. In the documentary, we’re told that John Richardson, the creator of that stunt, was involved in a road-smash in Holland where he was working on his next movie. He survived but his assistant, Liz Moore, died instantly after the front-wheel of his car came right through it, cutting her in half. Interviewed for the Channel 4 programme, he says, “it was certainly very odd, because it happened on Friday 13th.” Odder still, as he lay there seriously injured, he noticed that “right opposite the point where the accident happened was an old mile-post with nothing but sixes on it… what spooked me even more was when I discovered it was on a road to a place called, ‘Ommen.’” His claims are backed-up in the documentary by George Gibbs, an Oscar-winning special-effects artist who worked on ‘The Omen.’ With regards to the spooky road-sign, he says, “the accident was on the road to a town called, Ommen. And it had ‘66 km’ on the sign.” He knows that, because he “drove back over the place when the accident happened.” But why was he in Holland at the same time as Richardson? Well, no explanation for that is put forward, although, presumably, it’s because both men were working there together on the same film? A quick scan through the movie web-source, ‘IMDb’ would appear to confirm this. The pair were involved in the making of the 1977 war-flick, ‘A Bridge Too Far’ which was partly shot in the Netherlands. Incidentally, a stuntman on ’The Omen’ was seriously injured on the set of this WWII adventure after he jumped off the roof of a building and missed the large air-bags that were positioned to cushion his fall. This is noted in the documentary (and in the earlier ’Conspiro Media’ article).
Of all the grisly and ghastly incidents that occurred before, during and after the making of ‘The Omen,’ the road-crash is perhaps the most compelling, and it appears to be all-true – well, almost. There’s some dispute to a claim made in the documentary by the narrator that the Ommen road-sign actually read: ‘66.6 km.’ It’s been parrotted since on countless websites. However, according to a forum-poster at ’HorrorExpress.com’ who declares himself to be Liz Moore’s son, “there was no 666 crap.” All the other details of the crash though are accurate. “The person in question is my mother Liz Moore,” the message begins. “She was not John Richardson’s assistant, she was one of the designers on ’The Omen’; A special-effects sculptress. She was decapitated, and it was Friday 13th, and she died next the ’A’ sign for Ommen… the facts given by me are correct as they can be.” On the face of it, it would appear that the forum-poster is genuine. If you check out their username – ‘dandickenson’ – you’ll soon discover that there is indeed an individual by that name whose mother was Liz Moore – and, yes – she was a sculptress who worked on a number of movies including, the Stanley Kubrick classics, ‘2001: A Space Odyssey,’ ‘A Clockwork Orange’ and ‘Barry Lyndon.’

Liz Moore @ FaceBook... CLICK TO ENLARGE

Liz Moore @ FaceBook… CLICK TO ENLARGE

She’s also credited for her contribution to ‘Star Wars,’ having modelled the C-3PO suit and the helmet for the Stormtroopers. The website, ’LizMooreSculpts.com,’ meanwhile, states that she died on August 13th 1976 (a Friday) “leaving a son Dan.”

*Was an employee of a safari-park killed by tigers shortly after ’The Omen’ film-crew finished work there?…

If you’ve watched ‘The Omen,’ you’ll no doubt recall the part of the movie where Damien and his adopted mother (played by actress, Lee Remick) are attacked by baboons in a safari-park. According to the Channel 4 documentary, a further two scenes were shot at the same location, one of which was set in a big cats’ enclosure, although it never made the final cut. Assisting the crew was a young man who, Richard Donner says, worked in the lions’ section. The director claims he “was attacked and killed” the very day the film-makers left that section of the complex. Harvey Bernhard states that the 22-year-old victim met his end when he “was in-between two wire fences… Unbeknownst to him, he thought the tiger was on one side.“ However, “the tiger was on top, and when he stuck his head out, the tiger grabbed him by the head, pierced his skull and just killed him.” The documentary gives out the name of the young man said to have been killed that day, although – thanks to the not-so-excellent audio-quality – it’s not exactly clear if the narrator is saying, “Sidney Banford,” or “Bamford.” This is important if we’re looking to verify the film-makers’ claims. What we can ascertain (according to Donner, ’Wikipedia,’ and IMDb), is that the baboon-scene was shot at ‘Windsor Safari-Park’ in the English county of Berkshire. Armed with this knowledge, ‘Conspiro Media’ went digging for more information and it wasn‘t long before it found some…
There’s a message posted on the forum/website, ‘Windsor SafariPark.org’ dating back to 2005 and credited to an individual by the name of John MacLaverty, a “director/producer.” It reads:

Hi there.

I’m currently finishing a documentary on the filming of ‘The Omen’ for Channel 4.

As I’m sure you know, part of the film was shot in Windsor Safari Park in 1975. Shortly after the filming a member of staff (Mr. Syndey Bamford) was killed by a tiger…

As a result, we’re trying to get in touch with Mr. Bamford’s next of kin, to make them aware that the programme will be broadcast later this year. We don’t want to interview them, or upset them, merely to make them aware that we mention the incident in the documentary.

I’ve been unable to track down any contact numbers and wondered if you would be able to point me in the right direction or suggest a way of getting in touch with his family?

Thanks for your help.

You can read the post in full here:


Of course, you will no doubt have noticed that the said victim of the safari-park attack is referred to as ‘Syndey’ in the post. Is this a typing-error? It could well be, because after conducting a search for the name, ‘Sidney Bamford’ in the indexes of the website, ‘UK Archives,‘ ‘Conspiro Media’ located some data that seems to match the details put forward by those involved with the documentary. There in black and white is ‘Sidney Thomas Bamford’ of the town of Bracknell in the county of Berkshire. Year of death: 1975. Year of birth: 1952, which means he was either aged 22 or 23 when he died.

sidney bamford--


Further still, there do appear to be press-cuttings available on the web dating back to that time (November ‘75) reporting on his death. Unfortunately, they’re only accessible on one site (’Newspaper.com’), a site that requires you to part with $79.95 a year or $7.95 a month in subscriptions. That’s a heavy price to pay for the pleasure of reading a small paragraph in an old clipping. (Hey! This blog is run on a shoestring in case you haven’t noticed!) So, instead, here’s a scan of ‘Google-search’ where you can pick out clues of what’s in those old pages. You’ll make out that “the tiger leaped on Sidney Bamford as he patroled (sic) the tiger compound” at “Windsor Safari Park, 21 miles west of London…”…

sidney bamford google

Do note though, there’s at least one discrepancy with regards to the film-makers’ accounts of this incident. In a six-minute featurette enclosed within the collectors’ edition of the DVD re-release of ‘The Omen’ titled, ‘Curse or Coincidence’ (and available to view in the earlier ‘Conspiro Media’ article), Richard Donner says the “young guy” at Windsor Safari Park was killed by lions. He makes no mention of tigers. Why?
It’s not the only point in the featurette where we can detect a differing version of events when compared to accounts made earlier in the Channel 4 documentary. You’ll spot another inconsistency if you check out what those involved with the movie have to say in relation to claims that two commercial airline-flights carrying members of the cast and crew from LA to London in 1975 were struck by lightning, within days of each other. Gregory Peck was on the first, on his way to Britain to begin filming ‘The Omen’ so we’re told – but there’s some conflict as to who was on the second. In ‘Curse or Coincidence,’ Richard Donner tells us it was the movie‘s screenwriter, David Seltzer. In the Channel 4 documentary however, Mace Neufeld says it was him. “On my way over, we went through a tremendous thunderstorm, I mean really shaky,” he claims. “All I know is that it was the roughest five minutes I’ve ever had on a commercial airliner. We were hit by lightning… It was very, very scary.” We’re either being led a merry dance here (for whatever reason), or it could just well be that these incidents did occur, but the exact facts surrounding them have been forgotten by the ageing memories of those involved? For example, according to sources not connected to either the featurette or TV-programme, David Seltzer was indeed a passenger on a London-bound plane that was hit by lightning. In the book, ’Technomage,’ author and occultist, Dirk Bruere notes that some hours after Peck boarded his flight to the UK, “the plane carrying the screenwriter David Seltzer was also hit by lightning.” Some websites claim that all three (actor, screenwriter, and Neufeld) – and even Donner – were subjected to this chain of extraordinary occurrences. Unfortunately, ‘Conspiro Media’ has been unable to locate any information to substantiate these accounts.

As you might be aware, as well as the plane crash, the car-smash, the lightning strikes, the safari-park mauling, and the stunt gone wrong, members of the movie-crew and production-team are also said to have narrowly-missed being killed in an IRA bomb-attack, and yet another road collision. As well as this, Gregory Peck’s son committed suicide shortly before the actor began work on the film.
In the Channel 4 documentary, Mace Neufeld refutes accusations that many of these incidents were created for the means of hyping ‘The Omen’ on its release in June 1976. “There were reports in the newspapers of things that were going on,” he says. “They were actually going on.” Donner concurs, however, in the DVD-featurette, he does also claim that these real-life tragedies and near-misses were capitalised on too. “We had all these things happen,” he states. “Are they ‘omens’… is there something bigger? I say ‘no.‘ It’s just an incredible coincidence. There are those that would like to think about it, that it’s something more, and when the publicity-department at Fox (Studios) got their hands on it, we all said, ‘yes. It’s the omen because we’re selling our movie.’” This version of events conflicts with what Harvey Bernhard has said though. He would have us believe that – as far as he’s concerned – there was indeed a demonic hand influencing the making of the film. “The Devil was at work, and he didn’t want the picture made,” he says in the documentary. Really?… Then how come it was completed – and followed rather swiftly by two sequels? So much for a ‘curse’… Whilst scouting around on the internet, ‘Conspiro Media’ has discovered that this is one of the more popular points of contention with sceptics. Perhaps the producer has an answer for that however? In the Channel 4 programme, he says quite plainly and simply, “when you prevail over evil, it’s a blessing. And we prevailed.” While we’re at it, another common strain of dispute popular among the less-convinced is the fact that some of the incidents that affected the cast and crew occurred after the film hit the cinemas when – presumably – the curse would have lifted… surely? Well, that train of thought doesn’t appear to correspond with the view of pastor, Bob Larson, a broadcaster, author and exorcist who was interviewed for the documentary. He says, “if there was a curse on the production of that movie, and I’m fairly convinced that there was, then that curse is still there. And demons are still following everybody who is involved to this day.” Of course, there’ll be sceptics reading this who’ll refuse to entertain any of these explanations purely because to do so would be to accept that a (for want of a better term) ‘invisible force’ might – or does – exist (whether it‘s ‘the Devil’ or not). And it’s at this point where the debate surrounding this issue (which rages on various internet-forums and websites) hits a dead-end. You either believe to some extent that something of a supernatural nature is a real possibility, or you don’t, and our opinions regarding ‘the curse of The Omen’ hinge on this fundamental point to a large degree. Any one who’s genuinely interested in breaking through this impasse and continuing the dialogue with those of a differing view should perhaps consider suspending any preconceptions they might hold (whether they’re of a sceptical persuasion or not) and then allowing their minds to open to all potentials, however outlandish or unacceptable they might seem. Only then (surely?) can we begin to see a whole instead of a part?