1960s London; The ‘swinging’ era and the counter-culture discussed…

Please feel free to click on the links below. They’ll take you to a conversation that was recorded whilst I was a guest on ‘Good Vibrations,’ the long-running series of podcasts hosted by the UK’s most prominent speaker on matters pertaining to the conspiratorial and occult in music, Mark Devlin.
I’ll leave him to explain the rest from here:

The counter-culture scene of the 1960s, sponsored by those nice folks in Langley, Virginia, is a much-told story of recent years. The dubious background detail of the Human Be-In, LSD, Timothy Leary, Ken Kesey, Stewart Brand, the Grateful Dead, the birth of Feminism, Jim Morrison and his dad and many other aspects of this scene, have been pored over by many researchers.

A story far less told, however, concerns what was playing out on the other side of the Atlantic during these very same times. London had a counter-culture scene all of its own. It was less steeped in psychedelic Rock than in the avant-garde art scene, along with the Carnaby Street / ‘Swinging Sixties’ fad that helped to usher it all in. The fingerprints of the social engineers were present every step of the way.

Today’s guest is Matt Sergiou, proprietor of the Conspiro Media and Occult Beatles blog sites. He returns to walk us through some of his extensive research into this London scene, to which The Beatles and The Rolling Stones were intrinsically connected. In particular, we dissect one of Matt’s mammoth articles anchored around the notorious Christine Keeler/ Profumo scandal of 1963, to which the Beatles have some curious links. Along the way the chat encompasses, (among many others,) the Kray Twins, Jimmy Savile, Joe Meek, Jimmy Page, Syd Barrett, Jane and Peter Asher, the Tavistock Institute and Cambridge University.

There’s a lot to this one, so the chat has been split into two parts, for ease of digestibility…

(*Recorded in April 2018)…


Christine Keeler. Scandal from A Small World.

Christine Keeler. Scandal from A Small World banner


— Matt. ‘Conspiro Media’ :

Before I began putting together the article that’s linked below about The Beatles and possible links to Christine Keeler (who, in 1963, was the showgirl and “prostitute” whose liaisons with a top-ranking British politician and Soviet military man helped bring about a Cold War-era scandal), I had no idea whether I’d find anything.

As it happens, I ended up finding a lot more than I’d expected.

The scandal is often credited with helping to bring forth what would become the ‘swinging Sixties,’ the age of the mini-skirt, the pill, and, sexual permissiveness. This eventually led later in the decade to the so-called ‘hippie’ era when things got even looser. The Beatles, of course, were at the centre of all of it.

Over the last year, I’ve dedicated much if not all of my research-time into reading a pile of books (and watching a number of films and documentaries) about the counter-cultural scene of 1960s London in order to see if it has any credible parallels to what author David McGowan claims was going on in the US within the Laurel Canyon scene. This is one of the main reasons why – clearly – my activity on ‘Conspiro Media’ has in recent times been, to put it bluntly, non-existent.

It’s still too early in the day for me to even to dare to reach any conclusions with regards to what I’ve discovered so far in my research into the counter-cultural scene in London in the 1960s. This research is a work in progress and I estimate it’ll take me a number of years to sift through. I’m even prepared for the eventuality that I won’t find anything of any particular note, but, given that London – and, to some degree, Britain as a whole – was integral to the success of the counter-cultural vibe of the mid-to-late Sixties across much of the world, I figure there must similarities to what was happening in the US. By that, I mean most of the key figures within the London scene – similar to in Laurel Canyon – would have been connected to the intel services, the military, so-called ‘elite’ bloodline families, politics, and the criminal underworld. Furthermore, in the US, Stanford University is a name that features in these lines of inquiry. In Britain, it would have been – I’d surmise – Cambridge University along with the Tavistock Institute and Clinic, and the London School of Economics (to name but a few).

As a result of this current research, I’ve launched a Conspiro Media ‘FaceBook’ page. As well as acting a link-source for any future articles from my other site, ‘The Occult Beatles,’ its purpose is to act as a ‘post-as-I-find-it’ page on what I hope to keep on discovering in future about the counter-culture scene of 1960s London. By doing this, I’ll not only be sharing information with fellow FaceBook users but encouraging any one reading any future posts on the page to add anything they may know themselves in order to help me to discover even more. Yes, it’s a work in progress, but an interactive one as well (I hope).

In the article below, you’ll get to read quite a bit about an individual by the name of Michael X a.k.a. Michael de Freitas a.k.a. Michael Abdul Malik. His connection to the Christine Keeler scandal comes through an individual by the name of Peter Rachman, the so-called ‘slum landlord’ of London. Michael is said to have been his ‘henchman.’ It just so happens also that Michael was a key mover and shaker within the counter-cultural scene in London.

I won’t, here, go into too many of the details of what I’ve posted about Michael in my article as it’s quite large in length. It’s best you read it in the article in full. However, to summarise, Trinidad-born Michael was a pimp, property-dealer, and “a thug” who, during sometime in the latter part of the Sixties, marketed himself as Britain’s answer to Malcolm X, hence the name, Michael X. He opened a ‘cultural centre’ in North London called the ‘Black House.’ This received a lot of PR and financial support from none other than John Lennon. The Black House soon fell into disrepute when Michael and a number of his associates were put on trial for the so-called ‘slave collar affair.’ It was alleged that he and his associates had forced a Jewish businessman to wear a slave collar around his neck and then extorted him for money. Michael fled the country during the trial after his bail was paid for him – it’s said – by Lennon. Michael returned to Trinidad where he opened another ‘cultural centre.’ Then, not long after this, he was arrested after two freshly-buried dead bodies were found on the grounds of the building. He was charged with murder and hanged in 1975. As pointed out earlier, this is just a summary of what’s in the article. There’s more to read about him if you go take a look.

What I don’t go into in the article (because it’s not relevant to it) is the fact that Michael – through his role as a key player in London’s counter-culture – helped in the formation and the day-to-day running of the London Free School. I don’t yet know enough details about the school and what it was formed for as such, but from what I’ve so far discovered, it was something akin to a community-centre that also offered free education to people who lived nearby (mostly, ethnic minorities). It was inspired by schools similar in nature that were operating within the counter-cultural communities of America. In fact, the idea for the Free School came from an Englishman by the name of John ‘Hoppy’ Hopkins who’d seen these schools in the US for himself and then returned to London and helped in the formation of the London equivalent. Hoppy was – to some degree – the British equivalent of Timothy Leary in that he was a rallying, flag-waving figure for the counter-culture in London. Educated at Cambridge University, prior to joining the counter-cultural scene, he’d been, of all things, a nuclear physicist before becoming a photographer for the print-media taking photos of the Pop-stars of the day, including The Beatles. From there, he eventually got involved in the counter-culture of London from its very earliest days, even before a ‘counter-culture’ actually existed as such. Michael X provided the building where the Free School was based, and money to keep the school running was partly funded by live-music events, often with the headline band being The Pink Floyd. This was during their pre-fame days when they were regarded as the house-band for the burgeoning counter-cultural scene in London. It’s perhaps no surprise that The Floyd were chosen as the band to play the benefit gigs seeing as another key figure at the Free School was The Floyd’s then-manager, Peter Jenner, a former lecturer at the London School of Economics and the son of a Labour MP.
Michael X was also involved with the ‘International Times’ (I.T.), Europe’s first ‘underground’ newspaper, partly founded by Hoppy and Paul McCartney’s old friend, Barry Miles (he too is mentioned in the article). As well as this, Michael X was responsible for organising the protest (riot) that took place outside the offices of British tabloid the ‘News of the World’ following its hit-pieces on The Rolling Stones’ infamous drug-busts of 1967. Without too much effort here, can you see just how many links there is already between the counter-culture in London and a number of what I’d consider to be potential red-flags such as the LSE, Cambridge University, and, a former nuclear physicist? There’s more I have to learn and discover about all of the above, but I’ve enough there to cause me to think that it’s worth pursuing further. And that’s what I’ll be doing… Any contributions in helping this along is most welcome. Please do join me on FaceBook to keep updated and involved.



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:


Mark’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:


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?
























In discussion: The ‘Paul Is Dead’ theory…

Paul McCartney split

Back in June this year, Mark Devlin – the UK’s leading speaker on the occult/conspiratorial elements within the entertainment industry – published a pod-cast in which he chats with prominent researcher, Tina Foster of ‘Plastic Macca,‘ the blog which looks into evidence of Paul McCartney’s alleged ‘death’ in 1966. There’s also contributions during the conversation from ’Conspiro Media’ – or, in other words – me; Matt Sergiou.

If you choose to take a listen to the pod-cast (available below), you’ll hear Tina talking us through many of the ‘clues’ alluding to this decades-old theory and that are said to be found in occult form on Beatles and solo McCartney album and single covers, and more blatantly in sound via backwards messages on songs. She also cites a number of physical differences between the ‘real’ Paul and the ‘impostor’ Paul (A.K.A. ‘Faul’) that she says can be seen when comparing photographs and footage prior to 1966 and after, when he was said to have been replaced. She highlights the research of two Italians, Francesco Gavazzeni and known forensic pathologist, Gabriella Carlesi who together have studied the facial features of the pre and post-’death’ McCartney and concluded that there is indeed a definite difference between the two that cannot be dismissed. Then there’s the apparent anomalies surrounding the long-contested paternity battle between the former Beatle and a German woman who claims she gave birth to their daughter in the early 1960s. In 1984, Erika Hubers alleged that a blood-sample taken from McCartney for examination in a court-case that she launched against him at the time to prove he was the father was not in fact McCartney’s but an impostor’s. Indeed, during the pod-cast, Tina talks about the use of decoys and doubles in the ‘Paul Is Dead’ (‘P.I.D.‘) conspiracy. She also revisits the comments made in 2007 by Heather Mills who told the world’s media that she’d discovered a ‘terrible secret’ about Paul her then soon-to-be ex-husband.
The circumstances surrounding the ‘death’ of McCartney in ‘66 are discussed during the pod-cast too. Tina doesn’t subscribe to the widely-cited claim that the music-legend died as a result of a car accident. She’s of the view that he was ‘bumped-off’ by the Powers That Be and then replaced by a more NWO-friendly version, one perhaps that wouldn’t question the globalist agenda to corrupt the world’s youth, most notably in the promotion of widespread drug-use during the late 1960s.

Personally, I’ve remained largely sceptical of P.I.D. However, my mind is open and in no way dismissive towards the theory in principle. As I say during the pod-cast; although there isn’t enough evidence on offer to convince me that Paul is most definitely dead, I do feel there’s plenty of signs to indicate that “something untoward” is going on (… smoke, but not necessarily a fire as such). I expressed my thoughts on this (to some extent) in the closing paragraphs of an article on ’Conspiro Media’ back in May 2012:


During the pod-cast, I raise some questions that I and possibly others who’re sceptical towards P.I.D. have posed over the years, such as; how is it that not one member of the ‘original’ Paul’s family back in Liverpool have ever come out publicly to expose the fraud? Surely someone in the McCartney clan has noted the change in appearance, if not in personality? Actually, Tina, Mark and I are in agreement when it comes to the ex-Beatle’s behaviour in recent years, behaviour that’s resulted in him becoming a shoulder-rubber with the so-called ‘elites’ in politics and royalty, and – so it would appear – an advocate of their dark agenda also. The pod-cast ends with us speculating as to whether the secret to this decades-old mystery will ever be revealed, or will it remain a theory that goes with everyone to their graves?

You can check out Tina’s ‘Plastic Macca blog’ here:


You might also be interested to learn that Mark will be talking about the dark, occult machinations of the music-industry at the live event, ‘Cornwall Awake!’ on Saturday November 22nd 2014:

Cornwall Awake! 2014

The author of a new book about movie symbolism chats to ‘Conspiro Media.’


A new book examining the occult motifs contained within popular films such as ‘The Wizard of Oz,’ and ‘Fight Club,’ as well as in the ‘Lord of the Rings’ series and the ‘Back to the Future’ trilogy is now available, and ‘Conspiro Media’ has interviewed the author for an up-close-and-personal perspective.
Why is James Bond’s numerical designation, ‘007’? Where does the name ‘Luke Skywalker’ come from? What’s the deadly bunny rabbit in Monty Python’s ’Holy Grail’ film representative of?… These are just some of the questions that are discussed with Robert W. Sullivan IV, the man behind, ‘Cinema Symbolism: A Guide to Esoteric Imagery in Popular Movies.’
Born and currently based in the US State of Maryland, 43-year-old Sullivan is a lawyer, jurist, historian, theologian, and antiquarian. In 1997, he joined Amicable-St. John’s Lodge #25, Baltimore, and, in 1999, became a 32nd degree Scottish Rite Mason (‘Valley of Baltimore, Orient of Maryland’). His first published work was 2012’s ‘The Royal Arch of Enoch: The Impact of Masonic Ritual, Philosophy, and Symbolism.’ This book – in his own words – “presents a real-life ‘Da Vinci Code / National Treasure’ mystery which, until the publication of this book, was previously unknown to history and historians in both the East and West.” The result of over twenty years of research, it “documents an undiscovered historical anomaly: How a high-degree Masonic ritual – developed in France in the mid-1700s – included elements of the ‘Book of Enoch’ (AKA I Enoch) which was considered lost until Freemason and traveller, James Bruce returned to Europe with copies from Ethiopia in 1773. This high-degree ritual titled, ‘The Royal Arch of Enoch,’ documents the recovery of the ‘lost word of a Master Mason,’ the Name of God.” It “also documents the symbolic restoration of the sun as the premier icon in all of Freemasonry.” Allegories pertaining to the sun are, as you might expect, at the core of ‘Cinema Symbolism.’ Sullivan talks about this during the ‘Conspiro Media’ interview, detailing the overarching solar motifs that are the inspiration for many of our best-loved and known movie characters and plotlines. They’re referencing ancient legends and myths associated with, what he describes in his new book as, “the idolatrous worship of the solar great father.” This inevitably leads us into the realm of astrotheology where the story of Jesus is revealed to be a metaphor symbolising the journey of the sun as it makes its way through each house of the zodiac from a northern hemisphere perspective beginning at the Spring/vernal equinox point (March 20th/21st) when its power and influence on the Earth starts to strengthen. Sullivan writes in his introduction, “the adoration and worship of the sun is the sign of Pisces in Christianity. For example, Jesus walks on water and washes feet since Pisces is a water sign that rules the feet. Jesus has also 12 Apostles who are the 12 houses of the zodiac anthropomorphised. Within occult Christianity, Jesus is the ‘sun of God’ who is dead and buried at the winter solstice (December 20th-22nd) only to be resurrected at the vernal equinox culminating with the ‘Easter’ celebration of the sun emerging from the three-month tomb of winter announcing longer days and warmer weather.” In movies, Sullivan tells ‘Conspiro Media,’ the sun is Neo from ‘The Matrix’ and Chance the gardener in the Oscar-winning 1979 film ‘Being There’ with Peter Sellers (to name but only two). Then there’s the counter-balance of the moon – the “lunar great mother.” This can be seen in the Princess Leia character in 1977’s ‘Star Wars,’ a heroine-figure who wears white robes “personifying the moon’s nocturnal brilliance.”

Robert's new book.

Robert’s new book.

‘Cinema Symbolism,’ also delves into movies that are immersed in iconography linked to numerology, the Tarot, alchemy, Freemasonry, and the doctrines of Gnosticism (which is a word taken from the ancient Greek, γνωστικός; ’gnostigos’ / ’learned’ from ’gnosis’; ’knowledge’). As Sullivan states in his book-intro, “Gnostic ideas influenced many ancient religions which teach that gnosis – variously interpreted as knowledge, enlightenment, salvation, emancipation or oneness with God – may be reached by practising philanthropy to the point of personal poverty, sexual abstinence and diligently searching for wisdom by helping others.”
In the ‘Conspiro Media’ interview (available directly below), Robert gives us his take on a number of films including ‘Black Swan’ and ‘The Omen’ and ‘Matrix’ trilogies, as well as the aforementioned ‘Star Wars‘ and James Bond series, ‘Being There,‘ and ‘Holy Grail.‘ In fact, he talks at some length about the Monty Python comedy-team and the very strong likelihood that they were (and are) very ‘switched-in’ to occult ideas, as was 007 creator, Ian Fleming incidentally.
He also talks about Bram Stoker’s Dracula in relation to Theosophy and Helena Blavatsky, the influence of occultists Aleister Crowley and John Dee in the world of entertainment, and the oft-asked question – that being; why exactly do top directors, producers, and screenwriters blanket their movies in occult symbolism?…

* This interview was recorded on August 12th 2014*


You can find out more about Robert at his website:


‘Cinema Symbolism’ (and ‘The Royal Arch of Enoch’) is available to buy from the following page on Robert’s site: