Overview – A History of Media Through the Ages

Much has been written and much has been said by a large number of intelligent, inspiring researchers and authors about the secret back-room machinations (both alleged and factual) taking place within the worlds of geo-politics, science, religion, health and global banking and business. Others have tried to warn us about our slow, unconscious goose-step towards a ‘Big Brother’ Orwellian future through the increased use of CCTV cameras, airport scanners, security guards and microchip implants. A number of other brave individuals have attempted to highlight the injustices experienced by those at the receiving end of the Social Welfare system, and, as some look to the skies, they say they can see them being polluted by chemical-filled trails left behind by passing planes. Look beyond those dirty skies and many will insist there are planets inhabited by “intelligent” beings that have visited our Earth, an Earth that has been subjected to human-activated quakes, tornadoes and tsunamis through the use of HAARP.

To the untrained eye, all the above scenarios appear to be disconnected strands within the rich fabric of life, when in fact, according to a growing number of researchers and scholars, they are all actually cogs in the same wheel of a vehicle that is moving us towards a New World Order of controlled slavery, loneliness and fear.

Those who’ve sought to investigate these claims and conspiracies have reported that our world is being controlled and determined by an invisible elite who belong to secret societies (mostly of the Freemasonic variety) and who adhere to esoteric knowledge and practise in dark, murderous Satanic rituals.

As the number of people agreeing with these claims grows by the day, so does the amount of so-called “alternative media” available on the internet. There are countless blogs, forums and websites on offer, all dedicated to exposing the alleged conspiracies taking place across the globe on a daily basis. Most of these sites deal with the “disconnected strands” outlined above earlier, but very few have focused on another vital thread that forms part of this One World tapestry… entertainment, and, in particular – music and movies.

To many, the very concept of giving subject-matter such as “entertainment” equal website-billing alongside wars, bombings and protests is close to an insult. However, there is increasing evidence and information on offer to suggest that, far from being a trivial side-issue, the role of Entertainment in the global conspiracy is significant and powerful. It’s been claimed that our minds, thoughts and emotions have been deliberately manipulated and controlled in a variety of ways and for a variety of reasons through the applied use of music, movies, theatre, radio and TV.

One of the most notable names involved in the study of how the human brain reacts to images and messages delivered via the television is Herbert E. Krugman. From 1967 to his retirement in 1983, Krugman was manager of corporate public opinion research at the ‘General Electric Company‘. He was also president of the ‘American Association for Public Opinion Research‘, of the ‘Division of Consumer Psychology of the American Psychological Association‘, and of the ‘Market Research Council of New York.’ He was also a director of the ‘Advertising Research Foundation’ and chairman of the ‘Research Policy Committee of the Association of National Advertisers.’ In his document titled, ‘Brainwave Measures of Media Involvement,’ Krugman claimed that,

It was William James who came to the rescue. This turn of the century Harvard psychologist had been the primary American exponent of the study of conscious experience. As a student of the process of attention, he is still acknowledged as master by contemporary scholars.                                                                                           

James defined two types of attention: voluntary and involuntary, and he noted that voluntary attention cannot be continuous; it is a continual returning of the attention to it’s object when it wanders away. He said, “Voluntary attention is always derived; we never make an effort to attend an object except for the sake of some remote interest which the effort will serve and there is no such thing as voluntary attention sustained for more than a few seconds at a time. What is called ‘sustained voluntary attention’ is a repetition of successive efforts which bring back the topic to mind. No one can possibly attend continuosly to an object that does not change.”                     

James’ distinction between voluntary and involuntary attention means that much of thinking, learning, and reading represents a sequence of successive efforts to attend, while much of the viewing of life around us – films, TV, and other changing stimuli – are far less likely to require effort. In other words, the change, the switching, or the rhythmic process goes on inside man when he is working at the job of attention, or it goes on outside man and inside (e.g.) the moving film as it relieves man of that work.

Many researchers claim television has the ability to implant subliminal messages into our minds…. perhaps that is where the term, “TV Programme“ originally derives from?

In fact, Krugman himself describes television as, “a communication medium that may effortlessly transmit into storage huge quantities of information not thought about at the time of exposure, but much of it capable of later activation.”

In another paper, ‘Passive Learning from Television’, Krugman states,

The most special quality of passive learning (through television) is, by definition, an absence of aroused resistance to what is learned ; resistance is exciting and a corollary, therefore, of active learning. This means that passively learned material has an important “advantage” which some have also associated with so-called subliminal perception, extrasensory perception, or hypnotism. This advantage, however, is not a property of the stimulus, but of the respondent; i.e. he can learn passively so long as the material is acceptable to him, without conflict.

One of the prime ways in which the human mind can be passively influenced, is via Alpha-waves, which are electromagnetic oscillations that predominantly originate from part of the human brain known as, the occipital lobe. This acts as the visual processing centre. Krugman concludes that,

“It is possible that the relaxed and successful character of passive learning can be enhanced by the artificial induction of Alpha rhythm, this with the aid of a flickering light. For example, if a person wants to give up smoking and welcomes suggestion on this problem, then he may respond more successfully if the suggestion is made during Alpha-induced condition. E. L. Hartley and Dr. Mali Thaineua, of the Ministry of Health of Thailand, have conducted a number of such experiments while both were at the East-West Centre in Hawaii.                                               

The time may come when the mass media may create special programs to help people modify certain attitudes or behaviour. For early education there may be an opportunity to accept the fact that children fidget in class, and that this interference with their attention is not to be blamed on parents, teachers, or the child. Mild drugging of these children, or training in relaxation through Alpha driving, may be dramatically helpful to their educational achievement.”

Of course, many believe TV companies across the world are already adopting the “special programs” that Krugman suggests and, in fact, have been doing so for many decades in an attempt to control and manipulate the minds of the mass-population.

The aims of such manipulative processes are varied. For example, not only can we be ‘hypnotised’ into accepting subliminal messages and outside-sourced suggestions, but, through the use of artificial Alpha-rhythms, we can experience effects similar to those given out by tranquilisers, thus sedating us from actively engaging ourselves in day-to-day life. An example of this is put forward in the 2005 book, ‘Remotely Controlled – How Television is Damaging Our Lives’ in which the author, Dr. Aric Sigman includes a quote by David Roddan, the then General Secretary of the UK’s Prison Governors’ Association in which he states that television is, “the best control mechanism you can think of. You know what the British are like; shove them in front of the television and you won’t hear a peep out of them.”

Over the years, a number of eminent doctors, experts and psychologists have stepped forward to highlight the harm that television inflicts upon the population. Following a ten-year study, speech and language therapist, Dr Sally Ward, from the ‘Speech, Language and Hearing Centre’ in London claimed that background noise from TV or radio confuses infants, and, in response, they learn to ignore all noise and then they ignore speech. She also believes that the Attention Deficit Disorder known as ADHD is not a chemical problem, but an environmental one. She says, “it’s very peculiar that at the onset of children’s television it (ADHD) got a lot more prevalent, and at the onset of children’s videos it got a lot more prevalent.” Dr. Ward also argues that children learn to speak from their parents but that parents don’t play or talk enough with their children when the TV is switched on.

As many parents will admit, television is a useful tool in pacifying a noisy, badly behaved child. However, it also serves to provide a similar distraction for adults. Billions of people escape the stresses and strains of everyday life by watching TV, and, whilst many will (understandably) argue that there is nothing inherently wrong with this, there are those who insist that television also acts as a welcome tool for Governments and world-leaders, providing the Powers That Be with the necessary diversion in order to go about their nefarious activities without any risk of being noticed, questioned or investigated by the wider population. In fact, if history is to be believed, then we can be in no doubt that these methods are not an exclusive creation of modern-day man. Back in the days of the Roman Empire such techniques were labelled, “Bread and Circuses” by the poet Juvenal who believed the Roman populace had effectively given up it’s birthright of political involvement and personal freedoms and subconsciously handed all it’s power over to the elite forces who sought total dominance over them. Juvenal lamented over the ease in which this was deployed, most notably in a plan devised by politicians in 140 BC to win the votes of the poor by giving out cheap food and entertainment. He believed that the Roman politicians had won public approval through satisfying the population’s shallow requirements instead of having to justify their policies and public service record….

“… Already long ago, from when we sold our vote to no man, the People have abdicated our duties; for the People who once upon a time handed out military command, high civil office, legions — everything, now restrains itself and anxiously hopes for just two things: bread and circuses.”

– Juvenal, Satire 10.77–81 –

Miriam Kolar of Stanford University’s ‘Centre for Computer Research and Acoustics’ believes ancient cultures used sound-effects as entertainment, religion and a form of political control. Studying the 3,000 year-old Chavin culture in Peru, Kolar and her colleagues discovered a maze of underground tunnels, drains and hallways with different acoustic environments. She believes these structures were temples designed specifically to control the minds of worshipers through the use of eerie sound-effects and light shows. The mazes also include air ducts that use sunlight to produce distorted shadows of the people walking in them. Giant marine shells were found in the maze in 2001 which researchers believe were used to create ‘creepy’ sound.

The effect of Sound on humans has been studied for thousands of years, for example, the Tibetans have always promoted the idea that both sound and nature are vibrations that can heal the mind and body. This view has since been embraced by many in the scientific community who agree certain frequencies (vibrations) can repel and even destroy disease, most notably through the use of radio-waves.

“Everything in life is vibration.”
– Albert Einstein

Another proponent of sound-healing is Sir Peter Guy Manners, M.D. who gave up practising conventional medicine in exchange for what he perceived to be the wonders of ‘Bioresonance Therapy,’ a form of treatment that uses sound to transform diseased tissue into its healthy counterpart. Sir Manners has famously claimed that researchers in Germany, “took the DNA of a 17-year-old boy, recorded its sound frequencies, and saved them. The boy was accidentally killed, but the scientists still had his DNA frequency patterns. Later, the DNA frequencies of the 17-year-old were transmitted into the body of a man in his late thirties. And the man almost became the young boy. His skin became youthful, he became slim, his hair went back to its natural colour. Today he’s in his forties and he still looks like a much younger man.”

Through the study of visible sound and vibration (otherwise known as “Cymatics”), many notable researchers have discovered that patterns of maximum or minimum displacement are made visible through the use of vibration. One of the earliest known champions of this was the Italian physicist, mathematician, asrtonomer and philosopher,  Galileo Galilei. In 1632 he wrote…

“As I was scraping a brass plate with a sharp iron chisel in order to remove some spots from it and was running the chisel rather rapidly over it, I once or twice, during many strokes, heard the plate emit a rather strong and clear whistling sound: on looking at the plate more carefully, I noticed a long row of fine streaks parallel and equidistant from one another. Scraping with the chisel over and over again, I noticed that it was only when the plate emitted this hissing noise that any marks were left upon it; when the scraping was not accompanied by this sibilant note there was not the least trace of such marks.”

In 1967, physician and researcher, Hans Jenny, placed sand, water and iron filings on metal surfaces and demonstrated that shapes and motion-patterns appeared when the surface was vibrated. One of the most fascinating discoveries he made was that the vowels of Hebrew and Sanskrit, when toned into his surfaces, formed the actual patterns of the letters themselves. Modern languages didn’t have this effect. All of which leads to the speculation that there may be some truth in the concept of a ”sacred language” – an actual, physical reason why the recitation of sacred mantras and texts may possess real healing properties.

However… that which can heal can also harm.

Researcher Steven Jacobson specialises in the study of Mind-Control and how it has been used by the mass-media on an unsuspecting general public. He claims that music and sound play a vital role in this. He says, “fast music will speed up the nervous system while slow music will slow it down. Sounds vibrate in different parts of the body. Low tones will vibrate in the higher portions and on into the head. Much of today’s popular Rock music is built around a heavy bass pattern louder than the melody. These low-frequency vibrations reverberate in the lower parts of the body so that the music ‘feels’ good. These loud, low-frequency vibrations and the driving beat of most rock music affect the pituitary gland, which controls male and female responses. The repeating sound pattern induces the hypnotic state of mind that is similar to day dreaming, thus clearing the mind of all thought so that the message can be implanted in the unconscious without resistance.”

“‘You can hypnotize people with music, and when you get them at their weakest point, you can preach into their subconscious whatever you want to say.”
– Jimi Hendrix

Former self-confessed Government Mind-Control victim turned researcher Stewart Swerdlow claims troupes of musicians would tour the length and breadth of America personally implanting subliminal suggestions into peoples’ minds. In a 2010 radio interview Swerdlow claimed that, “back in the forties and fifties they used Country & Western singers, initially because that was the most popular music of the time and people listened to it and they could put subliminal messages in there for a wide range of the population, plus a lot of these Country & Western singers would be roadies and they’d go travel from place to place with their caravans and wherever they would go they could pass on messages, they could trigger people, they could imprint. They became a very convenient way of spreading mind-control. Now, these days, mind-control and programming can be subliminally imprinted in the music on all the CDs that come out, on all of the radio shows that come out, they can just automatically put it in there across the board, it doesn‘t matter what style of music it is.”

It’s claimed there are a number of techniques that have been used to implant subliminal messages in music. Perhaps the most commonly known is a method known as, “back-masking,” in which a message is recorded backward onto a piece of music that is meant to be played forward. The first musicians of note to feature backward tape-loops in their songs were The Beatles on the 1966 track, ‘Rain’, although it wasn’t strictly “subliminal.” According to their record producer, Sir George Martin, the band had been experimenting in the studio when he suggested it might be interesting to take a small part of John Lennon’s vocals from the first verse of the song, reverse them and then insert them at the song’s end. The Beatles were pleased with the result and decided to leave it on the finished version.

Unlike Lennon’s back-masked verse on ‘Rain,’ the Rock group, Judas Priest were accused of using the technique secretly in order to embed messages of a dark nature. The accusation culminated in a high profile U.S. civil action instigated by the parents of two young men who believed the band’s music induced their sons to form a suicide pact in December 1985. It was alleged that 20-year-old James Vance and 18-year-old Raymond Belknap had been drinking beer, smoking marijuana and listening to Judas Priest music for a number of hours before making their way to a local playground where they decided to end their lives with the aid of a 12-gauge shotgun. Belknap placed the gun under his chin and fired, killing himself instantly. Vance tried the same method but survived. According to lawyers representing the young mens’ parents, the pair had been drawn to take their own lives by a subliminal piece of back-masking they’d heard on the Judas Priest song, ‘Better By You, Better Than Me’ that called on them to “do it.” The Rock group denied the allegations and the presiding judge agreed, dismissing the month-long case in August 1990. James Vance’s face was left horribly disfigured by the suicide attempt and plastic surgeons had to work hard in order to restore his ability to eat and breathe. In a letter to his best friend’s mother in 1986, Vance wrote, “I believe that alcohol and heavy metal music, such as Judas Priest, led us or even ‘mesmerized’ us into believing that the answer to ‘life was death’.”

Depressed and addicted to pain medications that were given to him after the shooting, Vance died in 1988 in a San Francisco psychiatric unit from drug-use and complications brought about by his numerous surgeries.

Many researchers claim subliminal messages are specifically designed to bypass the conscious part of the human mind and aim straight for the subconscious. This is the area of the brain that not only stores memories, but readily – and unknowingly – accepts any information without question. Critics argue that hidden ‘suggestions’ (or “stimuli”) are back-masked in order to prevent the conscious part of the brain from processing them effectively. As the campaign against back-masking grew in the United States during the late 1970s, many social psychologists and parents’ groups adopted this widely held theory as one of their main arguments in calling for a nationwide ban of back-masking in music.

One of the biggest targets in the campaigners’ sights was the Rock band Led Zeppelin. Some accused the group of cooperating with Satanic organisations in order to place hidden subliminal messages in their music. In a U.S. TV programme broadcast in 1982, it was alleged that when a part of Zeppelin’s classic song, ‘Stairway to Heaven’ was played backwards, it was purported to feature the line, “Here’s to my sweet Satan” and “I sing because I live with Satan.” The band’s record company ‘Swan Song’ denied the allegations at the time. In a 1983 magazine interview, lead singer Robert Plant addressed the issue saying, “to me it’s very sad, because ‘Stairway to Heaven’ was written with every best intention, and as far as reversing tapes and putting messages on the end, that’s not my idea of making music.”

Led Zeppelin

Plant and his band-mates are well acquainted with such claims. For years, the legendary group’s supposed involvement in Black Magic and Satanism has been the subject of speculation, the evidence of which is said can be seen in the artwork of their album covers and heard in the lyrics of such songs as ‘House of the Holy,’ which directly refer to “Satan.” They’ve also been accused of practising occult rituals during their stage shows in front of thousands of unsuspecting fans who fail to recognise the hidden meanings contained within the live performances.

This suspicion is no doubt further fuelled by the band’s guitarist Jimmy Page and his well documented admiration for occultist Aleister Crowley, the man credited as being “the Father” of the backward message that Rock bands are said to have adopted with relish. Also known as “reverse speech,” Crowley wrote in his book, ‘Magick‘:

“First Method. Let the Exempt Adept first train himself to think backwards by external means, as set forth here following…

(“a”) Let him learn to write backwards, with either hand.
(“b”) Let him learn to walk backwards.
(“c”) Let him constantly watch, if convenient, cinematograph films, and listen to phonograph records, reversed, and let him so accustom himself to these that they appear natural, and appreciable as a whole.
(“d”) Let him practise speaking backwards; thus for “I am He” let him say, “Eh ma I”.
(“e”) Let him learn to read backwards. In this it is difficult to avoid cheating one’s self, as an expert reader sees a sentence at a glance. Let his disciple read aloud to him backwards, slowly at first, then more quickly.”

Crowley was born into wealth and privilege as Edward Alexander Crowley in Warwickshire, England in 1875. His father was a devout Christian who spent much of his time as a travelling preacher for the ’Exclusive Brethren,’ a conservative faction of a denomination known as, ’The Plymouth Brethren.’

Despite (or perhaps, because) of his religious upbringing, Crowley grew increasingly sceptical about Christianity, repeatedly challenging his teachers during religious studies by pointing out inconsistencies in the Bible.

It was whilst studying at Trinity College, Cambridge that Crowley claims he experienced his first significant mystical experience. This inspired him to study the subjects of occultism, mysticism, alchemy and magick. A year after leaving Trinity, Crowley was initiated into the occult society known as the ‘Hermetic Order of the Golden Dawn‘ by one of his friend‘s acquaintances, and then a short time later into the ‘Outer Order of the Golden Dawn.’ It was during this period that Crowley moved into his own luxury flat in London where he prepared two different rooms, one for the practise of White Magic and the other for Black Magic.

It was during a trip to Egypt with his first wife Rose in 1904 that his life took a significant turn. Whilst staying in Cairo, Crowley heard a disembodied voice talking to him, claiming that it was coming from a being known as Aiwass that purported to be a messenger from the ancient Egyptian god Horus. Crowley wrote down everything the voice told him over the course of the next three days, and subsequently titled it Liber AL vel Legis or ‘The Book of the Law.’ The god’s commands explained that a new aeon for mankind had begun, and that Crowley would serve as its prophet. As a supreme moral law, it declared, “Do what thou wilt shall be the whole of the law,” and that people should learn to live in tune with their “True Will.”

Some time later, Crowley, founded a new magical order, the ‘A.A.’ (the ‘Argenteum Astrum’ or the ‘Silver Star‘) and a new religion, ‘Thelema.’

Crowley died on 1st December 1947 at the age of 72. The cause of death is unknown, although some believe it was due to a respiratory infection. He had also become addicted to heroin after being prescribed morphine for his asthma and bronchitis many years earlier. He and his doctor died within 24 hours of each other. Some claim that Crowley had put a curse on his physician because he had refused to continue his opiate prescription.

Aleister Crowley

Crowley’s controversial life continues to spark outrage and debate to this day. Many vehemently maintain he was a Satanist, a claim further fuelled by a nickname given to him by his mother when he was a child… ’The Great Beast’.  In numerical terms the number of ‘the beast’ in Christian mythology is, 666. Crowley is said to have been astounded upon discovering this ’coincidence’ during his trip to Egypt in the early 1900s and regarded it as a sign from the gods.

His fiercest critics have directed much of their attention towards the many books he penned during his lifetime. In ‘The Book of Law’ he writes, “the Beast 666 adviseth that all children shall be accustomed from infancy to witness every type of sexual act, as also the process of birth, lest falsehood fog, and mystery stupefy, their minds … Politeness has forbidden any direct reference to the subject of sex to secure no happier result than to allow Sigmund Freud and others to prove that our every thought, speech, and gesture, conscious or unconscious, is an indirect reference!”  In ‘Book Four’ he states, “It would be unwise to condemn as irrational the practice of devouring the heart and liver of an adversary while yet warm. For the highest spiritual working one must choose that victim which contains the greatest and purest force; a male child of perfect innocence and high intelligence is the most satisfactory.”

Jimmy Page once proclaimed Crowley, “a misunderstood genius of the 20th Century” stating that, “his whole thing was liberation of the person, of the entity, and that restrictions would foul you up, lead to frustration which leads to violence, crime, mental breakdown, depending on what sort of makeup you have underneath.” Page’s strong interest in Crowley led to him purchasing Boleskine House, the Scottish estate where the occultist lived from 1899 to 1913. The legendary Rock star owned the property from the early 1970s until the early ‘90s, although some sources claim he spent no more than a total of six weeks in the house during that time. He also possessed a number of Crowley’s clothing and manuscripts.

Jimmy Page standing outside Bloeskine House

Page’s fascination with the occult did not stop exclusively (and literally) at Crowley’s door, though. In the early ‘70s, he bought an occult bookshop and publishing house, ‘The Equinox Booksellers and Publishers’ in Kensington High Street, London.

The Led Zeppelin guitarist was by no means the only Rock performer to publicly express admiration for ‘The Great Beast.’ When The Beatles were piecing together the artwork for their historic ‘Sgt. Pepper’ album, they decided to feature a collage of well known people on the front cover whom they regarded as heroes. Situated between Sri Yukteswar Giri and Mae West was none other than Crowley. Released in June 1967, it was six months short of hitting record stores on the twentieth anniversary of his death. Some have theorised that the opening line of the title track is a reference to this, most notably in the line where Paul McCartney screams out, “it was twenty years ago today Sgt. Pepper taught a band to play.” According to ancient Indian knowledge, pepper is an occult medicine used to treat asthma, a condition that not only affected Crowley, but was said to have finally killed him.

A close-up of Crowley from the ‘Sgt. Pepper’ cover

Crowley’s influence on the 1960s music-scene was strong, and it was given further potency by some of his admirers such as occult filmmaker, actor and author, Kenneth Anger who was a follower of Crowley’s ‘Thelema’ religion. Born Kenneth Wilbur Anglemeyer in 1927, he has since become one of the most influential independent filmmakers in cinema history earning respect from such legendary directors as Martin Scorsese and David Lynch. Described as “”one of America’s first openly gay filmmakers,” Anger’s movies concentrate on themes of surrealism, homoeroticism and the occult. His fascination with occultism began whilst at high school when he read the works of Crowley and 19th century occultist Eliphas Levi.

The psychedelic ‘Hippy’ ideologies that permeated strongly within and throughout the music-scene of the mid 1960s were beneficial for people with alternative viewpoints and philosophies such as Anger who, by this time, had been making films for three decades (his first short film was made in 1937 when he was aged just ten). On travelling to London during this period, he found he could command the attention of those who belonged to the Rock music aristocracy of the time such as, the Rolling Stones.

According to official accounts, his London visit took place in 1968, but this has been disputed by Tony Sanchez, author of the book ‘Up and Down with the Rolling Stones.’ He claims Anger was already actively engaged with the band during 1966-1967 and, in particular, singer Mick Jagger, guitarist Keith Richards, and their respective girlfriends of the time, Marianne Faithfull and Anita Pallenburg. According to Sanchez’s book, all four of them “listened spellbound as Anger turned them on to Crowley’s powers and ideas.”

Sanchez’s claims seem to correspond with the artistic direction the Rolling Stones were taking during this period. Although first shooting to fame as an R&B and Blues-based band, the ever-changing flow of styles and genres during the mid 1960s forced the group to ditch their musical roots and explore the growing influence of psychedelia, culminating with the release of the 1967 album, ’Their Satanic Majesties Request.’ If Sanchez’s claims are genuine and accurate, it would not be unreasonable to conclude that the album was directly influenced by Kenneth Anger and his promotion of Crowley’s ideas.

In 1969 Jagger provided the music for Anger’s 11-minute film, ‘Invocation of My Demon Brother.’ Much of the footage was taken from ’Lucifer Rising’, a discarded project that finally saw release in 1980 and which explored many of the Thelemic ideas that Anger was dedicated to. In fact, Aleister Crowley’s associate Gerald Yorke was credited as the film’s consultant.

Kenneth Anger

Although ‘Invocation of My Demon Brother’ features a controversial scene in which a Satanic funeral ceremony is performed for a pet cat, it’s perhaps the intriguing cast-list that should provoke a greater cause for concern and attention. The role of Rainbow Brother is played by Harvey Bialy, a molecular biologist who became an outspoken AIDS denialist and member of the controversial and heavily criticized South African AIDS Advisory Panel in 2000 convened by then President Thabo Mbeki. Playing the part of His Satanic Majesty in the 11-minute short is writer, occultist and musician, Anton LaVey.

Born Howard Stanton Levey in 1930, his parents supported his musical ambitions from an early age encouraging him in his quest to master a number of instruments, his favourite being keyboards, most notably the pipe organ and calliope.

LaVey dropped out of High School in his junior year and eventually began earning a living as a professional musician playing in bawdy bars and rundown nightclubs. On Sundays, he would play the organ at churches and revivalist meetings where he would often see the same people who had frequented the lewd venues he had been performing in the night before. He later claimed that this only enhanced his already long-standing cynicism towards religion and he accused church-going Christians of employing double moral standards.

He studied the histories of Paganism, Witchcraft and Demonology and was particularly drawn to the works of Aleister Crowley, although he was later left somewhat disillusioned with a number of Thelemites whom he met claiming they were less “wicked” and more “spiritual” than he expected.

His encyclopaedic knowledge of the occult eventually led to regular Friday night lectures at one of the nightclubs where he worked in San Francisco. He soon gained a notable following and later described his growing legion of admirers as the “Magic Circle.” It’s widely claimed that it was a member of this “circle” that approached LaVey and suggested he start a new religion. Spurred on by this, LaVey declared the founding of the ‘Church of Satan’ on April 30th 1966, and proclaimed 1966 as “the year One” – the first year of the Age of Satan.

Anton LaVey

LaVey soon became a national celebrity appearing on prime-time U.S. TV talk-shows, and in newspapers and magazines such as ‘TIME’ and ‘Newsweek.’ As his profile grew, so did his following and he was soon rubbing shoulders with some of Hollywood’s best known stars including the actress and sex-symbol, Jayne Mansfield. According to her long-time friend and biographer, May Mann, the blonde movie-star first met LaVey when she paid a visit to his home in San Francisco in 1966 where Mansfield claimed that, “Mr. LaVey took me into another room to show me the black-magic charms from the devil, and he presented me with one. He said I was now the high priestess of his church.”

Mansfield later dismissed her links with LaVey as of little relevance and even claimed that he was smitten with her. In a 1967 interview she said, “he had fallen in love with me and wanted to join my life with his. It was a laugh.” However, LaVey offers a differing perspective claiming that, “Jayne was very proud of the fact that if she liked something enough, she would commit it to memory. At the time, The Satanic Bible was still in monograph form, and Jayne had poured over those pages until she knew most of it by heart.” Additionally, May Mann claims that the actress pursued religious cults and was fascinated with Satanism and the occult.

Some claim her death in 1967 was the result of a curse that LaVey had placed on Mansfield’s lover, Sam Brody following an argument. Both of them were killed when their car crashed into the rear of a tractor-trailer that had slowed because of a truck spraying mosquito fogger.

Anton LaVey and Jayne Mansfield

Another high-profile Hollywood figure who befriended LaVey was the legendary performer, Sammy Davis Jr. In an excerpt from a newspaper advance that was to be included in his 1980 memoir titled, ‘Hollywood in a Suitcase’, but later edited out of the final edition, Davis states, “it was a short lived interest, but I still have many friends in the ‘Church of Satan’… I say this to only show that however bizarre the subject I don’t pass judgment until I have found out everything I can about it. People who can put up an interesting case will often find that I’m a willing convert.” In his biography, ‘Why Me?’, he writes that, “evil fascinated me. I felt it lying in wait for me. And I wanted to taste it. I was ready to accept the wildness, the rolling in the gutter, and having to get up the next morning and wash myself clean.” However, Sammy’s fascination with LaVey and his church began to wear thin “one morning after a ‘coven’ that wasn’t all fun and games.”

LaVey and Sammy Davis Jr.

Davis’s interest in the Satanic themes and philosophies promoted by LaVey appear to have been an influence on his screen-career, epitomised by his lead role in the 1973 pilot episode of a U.S. TV sitcom titled ‘Poor Devil,’ in which he plays the part of a luckless coal-shovelling demon in the pits of Hell. Co-stars included Christopher Lee as Lucifer, ‘Batman’ actor Adam West and Jack Klugman (best known for his role in the hit show ’Quincy’). Michael Aquino, a high-ranking ‘Church of Satan’ member, was said to have been so excited after watching the TV show that he wrote a letter to LaVey hailing it as a, “magnificent commercial for the church.” As it turned out, the sitcom never made it past the first episode and was shelved by TV bosses, perhaps due to a backlash by various U.S. religious groups after it‘s initial screening.

Davis was first introduced to LaVey in 1968 when he was invited to a party by a group of young actors who belonged to the ‘Church of Satan.’ Sammy recalls that the get-together “was in a large old house in the hills and they were all wearing hoods and masks. They had a naked girl stretched out and chained to a red-velvet-covered altar chair… I’d read enough about it to know they weren’t Satanists, they were bullshit artists and they found an exotic way they could ball each other and have an orgy. And get stoned. It was all fun and games and dungeons and dragons and debauchery and as long as the chick was happy and wasn’t really going to get anything sharper than a dildo stuck in her, I wasn’t going to walk away from it.” He also claims that one of the hooded leaders of the ritualistic mock sacrifice at the house that night was none other than Jay Sebring, a well known hairstylist of celebrities including Jim Morrison, Warren Beatty and Steve McQueen. Famed for his jet-setting playboy lifestyle, Sebring was romantically involved with actress Sharon Tate for a couple of years after meeting her at a nightclub in 1964. She later left him for film director Roman Polanski who she married in 1968. Despite this, Sebring remained friends with her and also established a warm relationship with her new husband. This close bond was gruesomely broken in August 1969 when both Tate and Sebring were murdered by Charles Manson’s ‘Family’ in her rented Los Angeles home. Polanski was out of the country at the time filming in London. In his autobiography, Davis claims that Sebring had always been “a little weird” and also recalled the time when the playboy hairstylist unsuccessfully tried to entice him over to view his specially built dungeon and his collection of torture weapons. Commenting on the Manson-inspired Tate murder, Davis writes, “L.A., the slaughter of her, Jay Sebring… and others I use to run with. Everyone there had at one time or another been into Satanism or, like myself, had dabbled around the edges of it for sexual kicks. Hanging Sharon upside down to torture and kill her was highly ritualistic… it had the markings of the occult… That was our crowd. I knew had I been in L.A. and there was a party at Sharon’s I’d have been there. But something had saved me.”

Charles Manson proved to be a significant inspiration for a particular young, ambitious musician by the name of Brian Hugh Warner who would later be criticised for singing anti-religious lyrics whilst fusing the genres of Industrial Metal with Industrial Rock, Hard Rock, and Glam Rock with an underlying conceptual ideology that drew from controversial subjects and well known figures including the ‘Anti-Christ‘, Aleister Crowley and Adolf Hitler. In interviews, he would make no secret of his lifelong admiration of occultists such as Anton LaVey who he once described as, “the one I can relate to the most. One of my favourite books of his is ‘The Devil‘s Notebook‘. I like what he has to say about society. I also like Nietzsche and Crowley. These guys have always been pointed out as being wrong and evil. I would encourage anyone to read LaVey. I like an idea that he alludes to, the great Satanic Unconsciousness. That everyone is really a Satanist. They just haven’t realized it yet.” Contributing the foreword of LaVey’s book ‘Satan Speaks!’ a year after his death in 1998, he wrote: “Anton LaVey was the most righteous man I’ve ever known. Thank you for your support and inspiration.” His dedication to LaVey eventually led to an honorary priesthood in the Church of Satan. In a 2007 interview the current High Priest of the Church, Peter H. Gilmore said, “when his first album came out the two of us met on a panel that we were doing about racism in music. Nobody knew who Brian Warner was at that point, and he came up to me and gave me a CD and he was all in costume. But he said ‘I heard about you and I wanted to meet you,’ so we moved aside and talked for a little while and I learned he really did understand Satanism. I told Anton LaVey that this guy was pretty smart and this gimmick is going to do well; it’s clever. He’s using this serial killer and Hollywood star combination, and he’s a smart guy and creating his own persona that is probably going to be successful. It took off immediately, and when he was out on tour in California he asked if he could meet Anton LaVey and he was impressed.”

By juxtaposing the surname of Hollywood star Marilyn Monroe with that of killer Charles Manson’s, Brian Hugh Warner’s “persona” became known to all as: Marilyn Manson.

A number of well known musicians and bands have been influenced by Charles Manson in one shape or form, for example, when the members of an unknown British group decided to change their name during the late 1990s, they finally opted for “Kasabian” after ‘Family‘ member, Linda Kasabian. Just a few years earlier, Nine Inch Nails musician, Trent Reznor moved into 10050 Cielo Drive, the Los Angeles residence where Tate and Sebring had been brutally murdered just a few decades earlier. He built a studio inside the property naming it, ‘Pig’, in reference to the fact that one of the ‘Family’ had written this word in Tate’s blood on the front door of the house. Reznor decided to leave the property just a few years later stating that, “there was too much history in that house for me to handle,” although he did take the front-door with him and later installed it in his new recording studio in New Orleans.

Charles Manson

Trent Reznor and ‘The Artist Formerly Known As’ Brian Hugh Warner weren’t even born when Manson first shot to infamy in the wake of the Tate/LaBianca murders in 1969. They represent a generation of performers that have only experienced the legacy of that grisly era. However, as will become apparent very shortly, a number of significant musicians of the late 1960s were influenced by Manson too, and they also knew him personally. In fact, one particular case in point is perhaps made all the more intriguing because it happens to provide yet another connection linking back to the cast-list of Kenneth Anger’s ‘Invocation…’ movie. Appearing in the role of Lucifer is Bobby Beausoleil. His alleged homosexual relationship with Anger eventually ended acrimoniously due to a dispute over money. Following their split, Beausoleil travelled to California where he became friends with Manson and his ‘Family’ some months before their involvement in the ‘Tate/LaBianca Murders’ in which seven people were brutally slain over a two-day period. The killings began on August 8th 1969 when Manson ordered four of his ‘Family’ members to raid the house where Sharon Tate was living. Once inside, they not only murdered the actress and her former boyfriend, Sebring, but two others who were present at the time of the break-in. The following night, members of the ‘Family’ resumed their killing spree raiding the luxury residence of supermarket magnate Leno LaBianca and his wife Rosemary. The murdered couple‘s blood was used to smear the words, “Death to Pigs” and “Rise” on the walls of their home, and the refrigerator door was marked with the inscription, “Healter Skelter.”

It’s said the killings were linked to predictions that Manson had been sharing for many months with his ‘Family’ members in which he envisaged an apocalyptic racial war taking place between blacks and whites. He dubbed this nightmare scenario, ‘Helter Skelter’ after The Beatles song taken from their self-titled double album of 1968 which was later nicknamed, ‘The White Album’ (due to the plain white packaging of the record-cover). Manson claimed almost every track on the album was connected to his prophecy and that The Beatles themselves knew this and were sending coded meanings to the ‘Family’ through the songs.

Manson was found guilty of conspiracy to commit the Tate/LaBianca killings, which were carried out by members of the ‘Family’ at his instruction. Originally sentenced to death, this was later reduced to life imprisonment after the death penalty in the U.S. State where he was tried had been abolished. Manson was also later found guilty for his involvement in the murder of music teacher Gary Hinman, which was carried out on his orders by three ‘Family’ members, one of whom included Bobby Beausoleil.

The exact circumstances surrounding the killing are fraught with contradictions. Beausoleil claims he murdered Hinman following a failed drug transaction that also involved the motorcycle gang known as ‘Straight Satans.’ This was disputed by fellow ‘Family’ member Susan Atkins, who accompanied Beausoleil to Hinman’s home on the night of his killing. Before joining Manson’s family, Atkins had struggled to make ends meet taking any job she could, including one as a topless go-go dancer in a San Francisco club for a Satanic revue being staged by Anton LaVey.

Beausoleil was eventually found guilty of Gary Hinman’s murder and sentenced to life imprisonment. It was whilst in incarceration that he later composed and recorded the soundtrack for the revised ‘Lucifer Rising’ project after Kenneth Anger accused his first choice, Jimmy Page, of not delivering enough music for the film despite a three year wait. However, Page does appear in the movie, in which he is seen gazing at a portrait of Aleister Crowley.

As a teenager during the mid 1960s, Beausoleil played for a number of groups in and around L.A. and it was during this period that he became a guitarist for Arthur Lee’s Folk/Rock band, The Grass Roots, which later changed its name to Love. Beausoleil claims the change of moniker was influenced by his nickname, “Cupid.” It’s also been claimed (but never officially confirmed) that Beausoleil also provided backing-vocals for Frank Zappa’s legendary 1966 album, ‘Freak Out!’

Bobby Beausoleil

According to Beausoleil, it was a mutual love of music that eventually led to his friendship with Manson. In a rare interview he said, “everybody always wants to know how I got together with Manson. It was through our music. He plays some, too.”

Manson learned to play the guitar during the mid 1960s whilst he was serving a ten-year prison sentence for violating the terms of a probation-order that had been placed on him by a Los Angeles court after he was arrested for cashing in a forged U.S. Treasury Cheque.

His eventual release from prison in 1967 coincided with the growing ‘Hippy’ movement that was blossoming, most notably in San Francisco’s Haight Ashbury district. According to mainstream accounts, it was here that Manson began to talk publicly about his philosophies with anyone that would listen (much of it based on Scientology, which he’d studied during his time in prison). In the same year, Manson and his growing group of followers and admirers (later to be given the name, ‘The Family’) travelled across the United States in an old school bus.

By 1968, Manson had befriended Beach Boy drummer Dennis Wilson. There are differing versions about how the two first met. According to official accounts, Dennis first came to meet Manson after picking up two hitchhiking women who just happened to be ‘Family‘ members. He drove them to his luxury Los Angeles home in the Pacific Palisades area and then made his way to a recording session. On his return from the studio, he first set eyes on Manson who he saw emerging from his house. Initially fearing for his safety, Wilson asked the stranger whether he was intending to hurt him. Manson assured him he had no such intentions and then led him into the house where Wilson discovered twelve strangers, mostly women.

This version of events has been disputed by Nuel Emmons co-author of the book, ‘Manson in His Own Words.’ In it he writes, “Manson first met Wilson at a friend’s San Francisco house where Manson had gone to obtain marijuana. The Beach Boy supposedly gave Manson his Sunset Boulevard address and invited him to stop by when he would be in Los Angeles. Over the next few months, as their number doubled, the ‘Family’ members who had made themselves part of Wilson’s Sunset Boulevard household cost him approximately $100,000. This included a large medical bill for treatment of their gonorrhea and $21,000 for the accidental destruction of his uninsured car, which they borrowed. Wilson would sing and talk with Manson, whose women were treated as servants to them both. As Wilson became increasingly aware of Manson’s volatile nature and growing tendency to violence, he finally made a break from the friendship by simply moving out of the house, and leaving Manson there.” Eventually, Manson and his ‘Family’ were asked to leave by Wilson’s manager.

Dennis Wilson

Following the Tate/LaBianca murders, the Beach Boy rarely spoke about his brief relationship with the wayward ex-con turned notorious criminal, once stating in an interview that he would never talk about him again for “as long as I live.” Wilson died in 1983 and undoubtedly took many untold secrets from that controversial era in his life with him. However, there are some details in the public domain, such as the supportive role he appeared to play in showcasing Manson’s song-writing talent. For example, in an interview for a British music magazine published in May 1969, Wilson informs journalist Keith Altham that, “Charlie Manson… is another friend of mine who says he is God and the devil! He sings, plays and writes poetry and may be another artist for Brother Records (the Beach Boys’ label).” In fact, Wilson arranged for Manson to attend studio sessions during their short-lived friendship, and a number of his songs are said to have been recorded including, ‘Cease to Exist,’ which was later given a re-working by Dennis and included on the Beach Boys’ 1969 album, ‘20/20’ under the title, ‘Never Learn Not to Love.’ Wilson also arranged for Manson to audition for Neil Young who was looking for musicians to join a band he was forming at the time. Speaking to journalist Nick Kent, Young recalls that Manson was, “great. He was unreal. He was really, really good. Scary; Put him in a band that was as free as he was… see, that was the problem right there… But he was never gonna get that band, because there was something about him that stopped anybody from being around him too long…I was always thinking, ‘What’s he gonna do next? I’d better get out this guy’s way before he explodes.’ So I did.”

Through Wilson, Manson was introduced to a number of other significant figures in the entertainment industry including record producer and singer Terry Melcher, who was also the son of Doris Day. At the time, Melcher was living in the house that would later be occupied by Roman Polanski and Sharon Tate, and where she would ultimately meet her death at the hands of ‘The Family.’ The house itself was owned by Rudi Altobelli, a well known Hollywood mogul who managed the careers of such movie stars as Henry Fonda and Katherine Hepburn.

The attorney who prosecuted Manson in the Tate/LaBianca murder trial claims that specific mind-control techniques were applied to induce the killings. In his 1974 book, ‘Helter Skelter,’ Vincent Bugliosi states that, “in June of 1960, Charles Manson was sent to prison for forgery, mail theft, and pimping. There, he became involved with a cult called Scientology. The highest level of awareness in Scientology is called ‘theta clear.’ Manson claims to have reached ‘theta’ clear while in prison. He supposedly achieved this through many ‘auditing sessions,’ the method that Scientologists use to teach awareness, taught by his cell mate, Lanier Rayner. They (‘The Family’) were willing to risk death and imprisonment to satisfy this man. Undoubtedly, he picked up from his ‘auditing’ sessions in prison some knowledge of mind control, as well as some techniques which he later put to use programming his followers.”

With the exception of one or two notable examples, much of what had been discussed or written about mind-control – and how it was said to have been used by the military, intelligence services, successive governments and a number of other well established institutions – had remained a fringe issue for decades largely studied by enthusiasts. This all changed in 1975 when it was brought to widespread attention by U.S. Congress through investigations by the ‘United States Senate Select Committee to Study Governmental Operations with Respect to Intelligence Activities’ (otherwise known as, ‘The Church Committee’). A Senate Hearing in 1977 examined the details of a congressional report which documented the C.I.A.’s principal involvement in mind experiments on humans (sometimes without their knowledge) as part of a long-running project to control human behaviour through the use of chemical, biological and psychological methods. One of the members of the Senate Committee examining the allegations included Senator Ted Kennedy, who said,

The Deputy Director of the C.I.A. revealed that over thirty universities and institutions were involved in an “extensive testing and experimentation” program which included covert drug tests on unwitting citizens “at all social levels, high and low, native Americans and foreign.” Several of these tests involved the administration of LSD to “unwitting subjects in social situations.”

In 1994, The U.S. General Accounting Office issued a report that documented the studies of numerous national security agencies. It stated that “working with the C.I.A.” between 1940 and 1974, “the Department of Defense gave hallucinogenic drugs to thousands of ‘volunteer’ soldiers in the 1950s and 1960s. In addition to LSD, the Army also tested quinuclidinyl benzilate, a hallucinogen code-named BZ. Many of these tests were conducted under the so-called ‘MK-ULTRA’ program, established to counter perceived Soviet and Chinese advances in brainwashing techniques. Between 1953 and 1964, the program consisted of 149 projects involving drug testing and other studies on unwitting human subjects…”

Many of the origins surrounding MK-ULTRA reach back to the 1930s and ‘40s when Hitler’s Nazi regime began conducting live experiments on inmates at concentration camps at Auschwitz and Dachau. The victims were subjected to electro-shock, trauma-bonding, hypnosis and a variety of drugs. Following the end of World War II, many of the top Nazi scientists who pioneered these techniques were brought over to the United States under the guise of ‘Operation Paperclip,’ a secret program which was used to recruit Nazi experts from all fields of science. The aim of this covert operation (which was directed by the Office of Strategic Services – later to be re-named, the C.I.A.) was to deny German scientific knowledge and expertise to the U.S.S.R. and the U.K. (as well as Germany). Backed by then-President Truman, ‘Operation Paperclip’ gave birth to many initiatives and organisations, including NASA (which was headed by Nazi rocket scientist and decorated war hero, Wernher von Braun).

According to official accounts, MK-ULTRA began in April 1953 under the orders of C.I.A. director Allen Dulles. With the ‘Cold War’ gaining pace between America and Russia, U.S. authorities were keen to use this mind-control technique on captured Russian spies and prisoners of war during interrogation.

Any chance of finding out the full, unadulterated facts surrounding MK-ULTRA, and how it was administered by the U.S. authorities have been severely hampered due to a decision made in 1973 by then C.I.A. head Richard Helms, who ordered all files regarding this project to be destroyed. Only 20,000 documents survived this purge after they were incorrectly stored in a financial record building.

Helms’s efforts to block the public from finding out the full facts has led to much speculation about what really went on and whether it still continues to this day, despite the C.I.A.‘s claim that all MK-ULTRA type programs have long since been abandoned. It has also strenuously denied continuous allegations that it has used it’s mind-control programs to create robot-like assassins, as depicted in the 1962 movie, ‘The Manchurian Candidate’ starring Frank Sinatra, Janet Leigh and Angela Lansbury. The film tells the story of U.S. Staff Sergeant Raymond Shaw (played by Laurence Harvey) who is captured by the Soviets and taken to Manchuria in Communist China during the Korean War and held in captivity. There, his brain is programmed against his knowledge to take on the role of an unwitting assassin who’ll be left with no recollection of his actions after the event, and whose orders can be triggered by the sight of a Queen of Diamonds playing-card. Shaw returns to the United States after the war’s end and is awarded the Medal of Honour following a recommendation by his platoon-commander, Captain Bennett Marco (played by Sinatra). Raymond’s mother, Eleanor Iselin (played by Lansbury) is not only the wife of Senator and vice-Presidential candidate, John Yerkes Iselin, but a secret Communist agent working covertly through her husband to secure martial law in America. She intends on achieving this by arranging for the assassination of his running-mate, Benjamin K. Arthur, which would make him instant successor by default, as well as providing him with the necessary ‘boost’ required to become President of the United States. Raymond has been selected to carry out the assassination, although he is unaware of this, as he is of his mother’s Communism and her role as his “operator” responsible for controlling him ahead of his designated mission.

The movie was released in October 1962 at the height of the Cuban Missile Crisis and almost exactly a year before the assassination of John F. Kennedy. A rumour that still persists to this day is that Kennedy friend and supporter, Frank Sinatra decided to remove ‘The Manchurian Candidate’ from distribution following the shooting, and that this explains why the film was not widely seen on TV or in cinemas until it’s release on video-cassette in the late 1980s. Those who were closely involved in the making of the movie have denied the rumours claiming that it’s relative absence from screens was mostly due to legal and financial issues and not connected in any way to the death of John F. Kennedy.

According to the film’s director, John Frankenheimer, Sinatra flew over to Kennedy’s home during the pre-production period on ‘The Manchurian Candidate’ as there were concerns the President wouldn’t like the movie because of it’s subject matter. As it turned out, Frankenheimer claimed that Kennedy not only welcomed the news, but also confessed his love for the book the film was based on.

Only two years earlier, Frankenheimer had refused offers from Kennedy’s publicity team to work on his Presidential campaign. It was a decision he later regretted which is why he willingly volunteered his film-making expertise for the campaign to make John F. Kennedy’s younger brother, Robert, President in 1968. According to Frankenheimer, the two of them became very close friends and virtually inseparable for the 102 days they spent together campaigning. In a 1998 interview, Frankenheimer recalled the fateful night he drove Kennedy to the Ambassador Hotel in Los Angeles to hear the results of the Democratic nomination for President of the United States, and where he ultimately met his death at the hands of an assassin. Frankenheimer says that he was originally scheduled to attend the event with Kennedy but, “at the last moment, it was decided that having a film director up on stage with him wasn’t the image they wanted, so we had a friend named Paul Schrade, who was about my size and complexion, take my place. And he was one of the three people shot in the kitchen. Bobby said ‘As soon as I say ‘On to Chicago,’ get the car and have it waiting around back by the kitchen.’ So I got the car and pulled up and the cops started pounding on the car yelling ‘Move it! Move it!’ Then this woman came running out of the side entrance screaming ‘Kennedy’s been shot! Kennedy’s been shot!’ The cops were pounding on the car now yelling for us to move, so I pulled away, then I flipped on the radio, when the news came over: ‘Senator Robert Kennedy, his brother in law Steven Smith and film director John Frankenheimer have been shot in the pantry of the Ambassador Hotel.’ They thought Paul Schrade was me.”

Given Kennedy’s association with Frankenheimer, it is somewhat ironic that his assassin, Sirhan Sirhan, was examined by a psychologist and hypnosis expert who concluded that he was a ‘Manchurian Candidate.’ Dr. Eduard Simson-Kallas spent a total of 35 hours with the convicted killer after he was sent to San Quentin Prison in 1969. He was convinced that Sirhan had been programmed and had no memory of taking part in the assassination or the aftermath. This theory was supported by his legal team who unsuccessfully campaigned for his release on parole in 2011 claiming that Sirhan had no recollection of the shooting or the events surrounding it, except for the memory of a mysterious girl in a polka-dot dress. According to official federal documents, Sirhan mentioned the female in interviews whilst under hypnosis recalling that, “I was fascinated with her looks …. She never said much. It was very erotic. I was consumed by her. She was a seductress with an unspoken unavailability.” He said she led him to the pantry where she “pinched” him on the shoulder just before he fired his gun then spun him around to see people coming through the pantry door. He said, “then I was on the target range … a flashback to the shooting range … I didn’t know that I had a gun.”

Sirhan Sirhan

Another hypnotist who publicly stated his belief that Sirhan was a victim of mind-control was William Joseph Bryant, who was famed for inducing a confession from the notorious serial killer, the ‘Boston Strangler.’ He also claimed to have been a technical adviser during the making of the ‘Manchurian Candidate’ movie. This has never been verified, but, if true, lends more weight to the theory that the film was not all based on fiction.

Barely twenty years before the movie’s release, a Canadian/American psychologist by the name of George H. Esterbrooks wrote a book titled, ‘Hypnotism.‘ Esterbrooks was a leading authority of hypnotism during the 1940s and a hypno-programmer of U.S. government agents during World War II. In his book he states, “I can hypnotise a man – without his knowledge or consent – into committing treason against the United States. Given the right combination of hypnotist and subject, hypnosis can be a lethal weapon. The key to creating an effective spy or assassin rests in splitting a man’s personality, or creating multi-personality, with the aid of hypnotism…. This is not science fiction. …I have done it.”

Robert Kennedy isn’t the only prominent figure thought by many researchers and authors to have been killed by a suspected ’Manchurian Candidate’…

John Lennon is another.

The former Beatle was shot dead in December 1980 as he walked towards the entrance of his home in New York. A 25-year-old man by the name of Mark David Chapman was arrested shortly afterwards and charged with his murder.

Mark David Chapman’s mug-shot

Could it be that John Lennon was shot and killed by a mind-controlled assassin on behalf of the U.S. government and the intelligence services? Some of those who believe this to be the case have turned towards clues in Chapman’s early years.

Researchers, former self-confessed mind-control victims and secret-service ‘whistle-blowers’ claim that many of those who are ’programmed’ are done so during childhood because their minds are still undeveloped and, as a result, easier to manipulate.

A number of former mind-control victims who have come forward publicly in recent years to document their recollections share many common themes with each other, one of which is a childhood of physical, sexual and mental abuse. There also appears to be a noticeable (but not conclusive) link with children being raised within military families. Both factors apply to Chapman’s childhood.

Born in Fort Worth, Texas in May 1950, Chapman claims he and his mother “lived in fear” of his physically abusive father who was also a staff sergeant in the U.S. Air Force. He told psychiatrists, “I’d wake up hearing my mother screaming my name, and it just scared the fire out of me, and I’d run in there and make him go away. Sometimes I think I actually pushed him away.”

In the 1990s, a Presidential Advisory Committee on Human Radiation Experiments heard accounts from people who claimed they were victims of government mind-control programs. One of the witnesses who appeared before the committee in 1995 to give testimony was Claudia Mullen. Her accounts of continual physical and mental abuse as a child were by no means unique …

“Between the years 1957 and 1984 I became a pawn in the government’s game. Its ultimate goal was mind control and to create the perfect spy, all through the use of chemicals, radiation, drugs, hypnosis, electric shock, isolation in tubs of water, sleep deprivation, brainwashing, verbal, physical, emotional and sexual abuse. I was exploited unwittingly for nearly three decades of my life and the only explanations given to me were “that the end justifies the means” and “I was serving my country in their bold effort to fight communism”. I can only summarize my circumstances by saying they took an already abused seven year old child and compounded my suffering beyond belief.”

Another witness who appeared at the same committee hearing was Chris deNicola….

“… born July 1952… I was a subject in radiation, as well as mind control and drug experiments performed by a man I knew as Dr. Greene. My parents were divorced around 1966 and Donald Richard Ebner, my natural father, was involved with Dr. Greene in the experiments. I was a subject in 1966 to 1976. Dr. Greene performed radiation experiments on me in 1970 focusing on my neck, throat and chest. 1972 focusing on my chest, and focusing on my uterus in 1975. Each time I became dizzy, nauseous and threw up. All these experiments were performed on me in conjunction with mind control techniques and drugs in Tucson, Arizona. Dr. Greene was using me mostly as a mind control subject from 1966 to 1973. His objective was to gain control of my mind and train me to be a spy assassin. The first significant memory took place at Kansas City University in 1966. Don Ebner took me there by plane when my mom was out of town. I was in what looked like a laboratory and there seemed to be other children. I was strapped down, naked, spread-eagled on a table on my back. Dr. Greene had electrodes on my body, including my head. He used what looked like an overhead projector and repeatedly said he was burning different images into my brain while a red light flashed aimed at my forehead. In between each sequence, he used electroshock on my body and told me to go deeper and deeper, deeper. While repeating each image, would go deeper into my brain and I would do whatever he told me to do. I felt drugged because he had given me a shot before he started the procedure. When it was over, he gave me another shot. The next thing I remember I was with my grandparents again in Tucson, Arizona. I was four years old.

The rest of the experiments took place in Tucson, Arizona out in the desert. I was taught how to pick locks, be secretive, use my photographic memory and a technique to withhold information by repeating numbers to myself. Dr. Greene moved on to wanting me to kill dolls that looked like real children. I stabbed a doll with a spear once after being severely traumatized, but the next time I refused. He used many pain induction techniques, but as I got older, I resisted more and more.

Because of my rebellion and growing lack of co-operation, they gave up on me as a spy assassin. Consequently during the last two years, 1974-76, Dr. Greene used various mind control techniques to reverse the spy assassin messages, to self destruct and death messages. His purpose? He wanted me dead, and I struggled to stay alive all of my adult life. I believe it is by the grace of God that I am still alive. These horrible experiments have profoundly affected my life. I developed Multiple Personality Disorder because Dr. Greene’s goal was to split my mind into as many parts as possible so he could control me totally. He failed, but I have to endure years of constant physical, mental and emotional pain even to this day. I have been in therapy consistently for twelve years, and it wasn’t until I found my current therapist two and a half years ago, who had knowledge of the mind control experiments, that I have finally been able to make real progress and begin to heal.”

When deNicola was asked by one of the committee members whether her parents were aware of what was happening to her at the time, she replied:

“It was my father who was involved with Dr. Greene. My mother was not aware because they were divorced when I was four years old, before that … separated. However, when these memories did surface, and I began to tell her about them, there was no question in her mind that he was capable. He had been in the military, in the Air Force. He had access to meet Dr. Greene, so in answer to your question, it was my father. He groomed me from the very beginning, started sexually abusing me from the very beginning, and it was just something that he wanted to do and he was closely involved with Dr. Greene, but my Mom had no knowledge. The only thing she knew was that she wanted to get away from him. She didn’t know why. She just knew she had to get away from him because of my reaction to him.”

Claudia Mullen (left), and Chris deNicola (far right), speaking at the Presidential Advisory Committee on Human Radiation Experiments

Alan W. Scheflin was a Professor of Law at Santa Clara University and a recognised judicial expert on legal ethics, memory, suggestion, hypnosis, and mind-control. In March 1995, he wrote a letter to the committee to lend his support to the testimony made by Claudia Mullen. In it, he states that, “I have been studying these secret programs since 1975 and it is my conclusion that there are at minimum hundreds, and most likely thousands, of American citizens who could benefit from learning that they were used as experimental guinea pigs in government research projects. Claudia’s therapist has been kind enough to send me, with her patient’s informed consent, some of the pertinent records reflecting Claudia’s memories of her experiences as an unwitting subject in these experiments. I have been able to confirm that some of the information Claudia has provided is absolutely true and could not have been derived from any published source. l am persuaded that Claudia is proof that secret government mind-control experimentation is on-going and vastly more expansive than government authorities are willing to admit. I know that many of the stories that will be told by witnesses will sound unbelievable. Please do not dismiss these out of hand. I learned the hard way that, although there is much disinformation about mind-control experiments, there is also much truth in the least likely stories.”

A detailed insight into why trauma and abuse were an important factor in the rearing of children in mind-control programs was documented by alleged victim Carol Rutz. She began piecing together the broken memories of her childhood via C.I.A. documents she acquired under the Freedom of Information Act in 1999. In the preface of her 2001 book, ‘A Nation Betrayed’, she writes:

I found solid proof of my memories – proof that was in the government vaults of the nearly 18,000 pages of declassified documents from the Bluebird/Artichoke and MK-ULTRA programs. The document states, “the data used in the study will be obtained from special groups such as psychotics, children and mediums. . .” The document continues, “learning studies will be instituted in which the subject will be rewarded or punished for his overall performance and reinforced in various ways – by being told whether he was right, by being told what the target was, with electric shock etc.” The proposal then goes on to say, “In other cases drugs and psychological tricks will be used to modify his attitudes. The experimenters will be particularly interested in dissociative states, from the abaissement de niveau mental, to multiple personality in so-called mediums; and an attempt will be made to induce a number of states of this kind, using hypnosis.”

As a survivor of C.I.A. programs ‘Bluebird/Artichoke’ and MK-ULTRA, I began my intense search to document some of the mind-control experiments that I was made part of, starting at the tender age of four. Through a series of F.O.I.A. requests to various departments of the government, I have amassed an incredible amount of material that validates my personal experiences. The C.I.A. bought my services from my grandfather in 1952. Over the next twelve years, I was tested, trained, and used in various ways. Electroshock, drugs, hypnosis, sensory deprivation, and other types of trauma were used to make me compliant and split my personality. The “Manchurian Candidate”, where a programmed alter or personality is created to respond to a post-hypnotic trigger then perform an act and not remember it later, was just one of the operational uses of the mind control scenario by the C.I.A.

In recounting some of the incidents that happened to me as part of these experiments, I ask that you remember that I have attempted to be as accurate as possible. Some of these events were remembered during flashbacks and abreactions. During an abreaction, a person feels just like they are reliving the event; accompanied by all the sensory stimulation and original emotional responses. Abreaction is common in soldiers who are having posttraumatic stress syndrome, where they actually feel they are back on the battlefield.

The brain is somewhat like a phonograph record, it records the original happening. With Dissociative Identity Disorder, amnesia is created for the traumatic incident to save the young child’s sanity. When the amnesiac barriers are removed, it is like putting the needle back on the track of the record where the original memory is stored.

In my case, post-hypnotic suggestions were used after programming sessions, which also created an amnesiac barrier. When the wall to these memories was broken down and the events relived, I would document them in bits and pieces by journaling, drawing and painting. Some of the things I remembered seemed bizarre, and I oftentimes questioned my own sanity. Only after all the pieces of one memory would come together, would I finally get a true picture of exactly what had been done. This is also when I truly began to heal.

In a 2005 interview, Rutz explained why victims were abused and how their minds were manipulated as a result…

When one is creating an ‘alter’ (personality), generally that alter comes back for the same type of situation. “Little girl” … that is the alter the C.I.A. chose and used for me. All they had to do was to mention the word “little girl” and I would immediately dissociate into that compliant alter who had been abused. If I was 10-years-old and “little girl” was called out, I would become 4 years old again. I would become “little girl” and act as if I was a totally different person.

They had so many different ways to use a child. They used children in more ways than one. I was used at one point in time, when I was probably around 10, to tempt men. I would be behind a two-way mirror with a man that they were setting up. Then they would take pictures and use them to blackmail whatever person they had into doing what they wanted. Some of them were involved in the C.I.A. But I don’t believe that everyone in the CIA knew what was going on. It is documented that part of this was kept to the knowledge of two or three people in the C.I.A.

Dissociative Identity Disorder used to be called M.P.D. – multiple personality disorder. What happens is that when a child is abused – usually under the age of 6 – so horrifically that their mind cannot contain what has happened to them, they dissociate that event. It becomes locked away in a memory, and a child is able to go on and only remember part of their life. They remember the part that takes them through the day to day living. But they are totally dependent on their abuser.

My abuse started at a very young age in the form of incest with my father and my grandfather. There was generational ritual abuse involved that started at the age of two and a half. These things are what made me become dissociative. As time went on, I saw my cousin drowned. I saw such horrible events that I could not retain my sanity. That is why I became dissociative and lost my memory of these events. I honestly believe that someone in the CIA knew about the pornographic material my grandfather was producing. I believe they used that as a weapon to blackmail him and to gain my services.”

Countless movies and books are said to have been used as tools by the intelligence services to reinforce programming on those at the receiving end of mind-control procedures. Self confessed victim, Cisco Wheeler (real name, Linda Johnson) says people such as herself were programmed to operate within the storylines of fairy tales and movies because, “ even if you haven’t had the trauma-based mind-control, you are still in a world of make believe because you are conditioned to a world of make believe through the fairy tales. There isn’t any reality here, but the mind always wants to go back where it is safe. When someone like myself… start telling you things about ritual abuse and satanic holidays and yes, they do this, and they do a,b,c and d, the mind goes ‘Uh, uh. I am going to shut down, you just hit a block here, I don’t want to hear it.’ To hear it means that everything you have been told in your life all of a sudden is a lie. These things do happen. We are programmed within the story lines of fairy tales, etc. and that helps us.”

One of the most well known and frequently used movies by ‘programmers’ is, ‘The Wizard of Oz’ starring Judy Garland. According to Wheeler’s book, ’Total Mind Controlled Slave’ (co-written with researcher, Fritz Springmeier) the movie is “a base programming put in when the child is very young.” In a radio interview broadcast in 2000, Springmeier said, “most of the personalities that are created within a mind-controlled slave, do not live in reality. They live in a fictional world. They work off scripts. For instance if I was going to have a particular personality pick up drugs, they may hypnotically see the person handing them the bag of drugs as The White Rabbit (from ‘Alice in the Looking Glass’) and they might see the bag as some treats or something. They live in a totally fictional world and since these personalities only hold the body at isolated points in time, they don’t have any cohesive life in which to challenge the hypnotic programming script they have been given. They live their entire lives in trance. These scripts are very important to use to control the personalities that live in their fictional world.”

Wheeler’s and Springmeier’s book lists a variety of scenes from ‘The Wizard of Oz’ movie that are said to have been used on mind-control slaves for programming purposes. For example, Wheeler and Springmeier state that:

Dorothy is looking for a place where there is no trouble which is a place “over the rainbow.” To escape pain, alters go over the rainbow. The theme song of the movie goes, “Somewhere over the Rainbow…there’s a land where the dreams that you dare to dream really come true.” These lyrics are a method to hypnotically confuse the brain to perceive that the ‘over the Rainbow experience’ (which is usually horrible abuse) is a ‘dream‘.

The dissociative mind is only too happy to call the trauma a dream, which is lived as a reality for a moment, but is nevertheless recorded by the mind as a fantasy. The term for this is crypto-amnesia, which means the process where the proper functioning of memory is hypnotically messed up. The slave’s internal world becomes ‘reality’ and the external real world becomes the Land of Oz which is perceived as make. (Mind-Control) slaves are taught to “follow the yellow brick road.” No matter what fearful things lie ahead, the slave must follow the Yellow Brick Road which is set out before them by their master. For some slaves used as track stars, their Yellow Brick Road was the track they had to run. The Yellow Brick Road is the runway in which alters were trained to fly off from to exit their internal world and take the body. The Yellow Brick Road also pertains to the assignment that an alter is given. To follow the Yellow Brick Road is to go down the road that has been assigned by command. The Flowers used in the movie, are also used in the programming. The witch uses poppy flowers to put the lion and Dorothy to sleep. Opium and cocaine are used to tranquilize slaves. An alter of a slave will get trancey when they enter the poppy field. (Heroin and cocaine come from poppies.) In the film, Dorothy says, “What is happening? I’m so sleepy.’” She and the lion get sleepy for no apparent reason very quickly. (Mind-Control) slaves do the same thing. Waking up with snow in the movie is nothing less than an allusion to cocaine which is a common substance given to slaves to help make them dependent. Dorothy states at one point in the movie that she “doesn’t remember.” She then follows this up with “I guess it doesn’t matter.” Slaves are threatened with fire, like the Scarecrow. They also see people dismembered like the Scarecrow was dismembered. For them it is not an idle threat. The front alters also have hearts full of pain like Scarecrow. Winged monkeys are able to watch in the movies somewhat as spy satellites. Winged monkeys are used in the programming to create a fear of always being watched. “Click your heel together and be there in a snap” is both in the movie and in the programming cues. Military slave models are especially taught to click their heels together. The programming that is related to the Tin Man produces a slave which is described as A WELL OILED MACHINE by the handlers. U.S. Sen. Allen Simpson, one of the perpetrators of the… (Mind-Control) Program, referred to the Tin Man programming when he told a slave, THESE ARE BUT EMPTY SHELLS OF THE LIFE THEY WERE ONCE POSSESSED. LIKE YOU ARE–EMPTY AND VOID OF LIFE.

The ‘Wizard of Oz’ played a big role in the life of John Lennon’s assassin. Following his arrest, Mark Chapman told psychiatrists that he identified with the Dorothy character in the story, but, perhaps more telling was the scene awaiting investigating officers who searched the New York hotel room where he was staying prior to the murder. According to the 1989 book, ‘The Murder of John Lennon’ written by British barrister, Fenton Bresler, “Mark did a strange thing: he set up, on a bureau in his room, a display of his most treasured possessions … They were designed to show the police the ‘real’ Mark when, as he anticipated, they later entered the room after he had accomplished the murder … there was a movie-still from ‘The Wizard of Oz’ showing the young Judy Garland as Dorothy wiping away the Cowardly Lion’s tears with ‘To Dorothy’ written on it in Mark’s own handwriting.”

This wasn’t the only fictional character that Chapman claimed an identification with during psychiatric assessments in the aftermath of the murder. The other prime figure looming large in Chapman’s psyche was that of disaffected teenager Holden Caulfield, who was the main protagonist in J.D. Salinger’s 1951 novel, ‘The Catcher in the Rye.’ The best-selling book charts the story of Caulfield who packs his bags and makes his way to New York City after being expelled from his school for poor academic performance. Written entirely in first person, the book describes Holden’s experiences and thoughts over the few days he takes for himself before finally returning home.

It’s been widely reported that Chapman was first introduced to the book at the age of 16 by his friend Michael McFarland who recommended he read it, and that it was at that point his obsessive fascination with Caulfield began. This claim has been disputed by a number of researchers who argue that no other person from Chapman’s early life (with the exception of McFarland) have ever recalled – or noticed – his reported fascination with the book‘s leading character.

Indeed, there appear to be a number of contradictions in the Mark David Chapman story, especially when comparing recollections of those who knew him personally with the majority of mainstream media depictions of him.

Perhaps one of the most well known is that Chapman was a “crazed Beatles/Lennon fan.” However, this does not correspond with the findings of many researchers and authors who claim that the majority of those who knew Chapman intimately never recall him ever talking about Lennon or The Beatles or having ever seen any of their music in his personal record collection. In his book, ‘John Lennon – Life, Times and Assassination,’ author Phil Strongman writes that, until the weekend before the killing: “Chapman, the supposed Lennon ‘obsessive’ and ‘fan of fans‘, did not own one Lennon single, book or album. Not one.”

There’s also a degree of contention surrounding the widely held and much reported view that Chapman killed the legendary musician in order to achieve fame and notoriety, as was argued in the courts by prosecutors in the days and weeks following the murder. Although Chapman himself claims there were a number of reasons why he chose to take Lennon‘s life, ranging from resentment of the former Beatle‘s fame, to schizophrenia (which he claims he is now cured of ), he does also appear to have played an occasional part in perpetuating this image of him as an attention-seeking murderer. For example, when he spoke to TV host Larry King on CNN in 2000, he claimed he “struck out“ at Lennon because he wanted to “become somebody.” At his ill-fated parole hearing in the same year he said, “I felt like nothing, and I felt if I shot him, I would become something, which is not true at all.” However, he also appears to have contradicted himself on a number of occasions. This is evident in a ‘People Magazine’ article he gave his support to titled, ‘In the Shadows Waited a Killer’ and first published in February 1987. It was written by author and journalist, James R. Gaines, who is often described as “the first reporter to interview Chapman at length.” In it he writes, “Mark Chapman would have you know that he has not consented to address the public since the night he shot John Lennon, Dec. 8, 1980. Until now he has given no interviews except to attorneys, ministers or mental-health professionals, nor has he allowed his picture to be taken. This is important to him because he insists – prosecutors’ arguments to the contrary – that he did not kill John Lennon in order to become famous.“ Gaines later adds, “the prosecution planned to say that Mark Chapman killed John Lennon to become famous, to wrap himself in the glory of his victim… why, then, would it have taken him years to give an interview… ?”

Additionally, Fenton Bresler states, “in 1987 he (Chapman) spent many hours with Kevin Sim, a British television documentary producer, although finally he would not let him use on camera any of the material: when the film, ‘The Man Who Shot John Lennon’ screened in Britain and the United States in early 1988, Sim had to be content merely with Mark’s voice on the soundtrack talking to police and psychiatrists on old recordings made while he was awaiting trial. In fact, in a letter to David C. Moore, a long-standing friend, in April 1988 Mark wrote that the only thing he did not like about the television documentary was it’s final interview with a woman in which she said he was a seeker after publicity: ‘That is nonsense. I turn away 30 to 40 invitations from the media a year. I have never given an interview. I am not a seeker after publicity.’”

Aside from questions and apparent contradictions surrounding the claim that Chapman killed Lennon for fame, is there anything significant or tangible that can be drawn instead from his reported fascination with Holden Caulfield, ‘The Catcher in the Rye,’ and John Lennon? How – if at all – did a fictional book, it’s principal character, and a legendary Pop star merge together and control his thoughts and actions in the weeks leading up to the murder (and beyond)?

In his 1987 ‘People Magazine’ article, James R. Gaines writes that Chapman came home from the library one day in 1980 with a book titled, ’John Lennon, One Day at a Time.’ After reading it, he developed a deep resentment towards Lennon’s lifestyle. His wife, Gloria told Gaines, “he would get angry, saying that Lennon was a bastard. He was angry that Lennon would preach love and peace but yet have millions.” He began to label the former Beatle a “phoney”, a term widely used by Holden Caulfield in ‘The Catcher in the Rye’ which, according to Chapman’s wife, was another book that he had brought home from one of his regular library visits during 1980. Chapman himself states that, “I brought the Lennon book home, into this ‘The Catcher in the Rye’ milieu where my mindset is Holden Caulfield and anti-phoniness.” According to Gaines, Chapman’s fascination with Salinger’s anti-hero had reached such an intensity that he told his wife he was thinking of changing his name to Holden Caulfield, to which she replied, “Well, who am I going to be then? Mrs. Holden Caulfield?” Other accounts recall a letter he sent to a friend on September 20th by the name of Lynda Irish, in which he stated, “I’m going nuts”, and signed it ‘The Catcher in the Rye.’

On October 23rd 1980, Chapman walked out on his security-guard job and signed himself out for the last time, not in his own name, but as ’John Lennon’ and then crossed it out almost as quickly as he had written it. Four days later he bought a gun and then, sometime between October 27th and 30th, flew to New York where Lennon had set up home since moving from England in 1971.

Author Phil Strongman writes that, “‘Catcher in the Rye’ was part of Chapman’s hypnotic programming, a trigger that could be fired at him by a few simple keywords (via) a cassette tape message, telex or telegram or even a mere telephone call.” In short, it was the unsuspecting instrument that would play the central part in the murder of John Lennon.

Unfortunately for Chapman, his attempts to buy bullets for his empty gun were curtailed by New York local firearm legislation, which made it impossible for anyone without a New York City gun permit to buy live ammunition across the counter. Chapman eventually bypassed this dilemma by capitalising on the influence of his old college friend, Dana Reeves, who’d become a sheriff’s officer in Georgia. When Reeves was questioned by the Georgia Bureau of Investigation about this shortly after Lennon’s murder, he claimed that Chapman had told him he needed the bullets as defence against New York muggers.

Now fully armed, Chapman returned to New York, but depression soon set in. James R. Gaines claims this was because, “he began having second thoughts about his deadly mission.” Chapman’s wife recalls he telephoned her and said that, “he was very, very depressed… He said he had made a mistake in coming to New York, then got very mysterious and said that he could have done it if he had seen him, but that my love saved him, stopped him from doing it. He said…he had gone to New York to kill John Lennon. He had bought a gun in Hawaii and got the bullets in Atlanta.” Had Chapman already made an attempt to confront Lennon? Is this what he meant when his wife says that, “he could have done it if he had seen him”? If Fenton Bresler’s claims are to be taken into account, then the answer to that would be, yes. In his book, he writes that Chapman made two visits to the voluptuous Dakota apartment building where Lennon lived with his wife Yoko and their five-year-old son Sean. He writes, “on the morning of 10th November 1980, Mark joined the normal small group of tourists and fans hanging outside The Dakota. He was there most of that day and returned the next, but there was no sign of Lennon or Yoko. Finally, he summoned up the courage to ask Jose Perdomo, the senior doorman, where they were. ‘They are out of town,’ replied Perdomo… it was enough to throw Mark into deep depression. What was he going to do? He had no idea when the Lennons would return. Had he come all this way for nothing? He flew back home to Honolulu (his home) – throwing away, as he later told Dr. A. Louis McGarry, a prosecution psychiatrist, his copy of ‘Catcher in the Rye’.” Is this significant? If the book was indeed his ‘trigger’, was his decision to dispose of it a conscious attempt to take back control of his mind? Had he somehow managed to break himself away from his programming long enough to realise the book was influencing his murderous intentions? According to Bresler, Chapman’s ex-pastor, the Rev. Charles McGowan visited him in prison shortly after the murder. “I would say he was very lucid, very rational,” McGowan later told a journalist. “He had a clear memory of everything he had done. And he said, ‘Although I understand what I’ve done, I do not understand why I did it’. He said it was a struggle and that he went through a torment for the last two or three months. He said, ‘I just gave in. It was almost as if I was on some kind of special mission that I could not avoid.'”

Chapman’s decision to go back home to Hawaii did little to help lift him out of his depression. Bresler writes, “within less than a week of his return from New York, he was right back to where he had been in the summer of 1977: telephoning a local mental health clinic for help.”

As Bresler’s comments clearly show, Chapman had been through a period of emotional turmoil some years earlier, during which time he‘d contemplated killing himself before eventually picking up a telephone and contacting a suicide hotline for support and advice. They suggested he approach Waikiki Mental Health Clinic, which he did, and it was there he underwent counselling sessions with psychiatric social worker, Anne Jones (incidentally, this name is a pseudonym she adopted for her interviews with Bresler). It wasn’t long after this that Chapman did indeed attempt suicide by connecting a vacuum cleaner hose to his car exhaust pipe and leading it inside the vehicle. However, the hose melted in the exhaust pipe and the attempt failed. When he told his psychiatric social worker about this, he was instantly admitted to Castle Memorial Hospital in Kailua. According to Bresler, the staff at the hospital “diagnosed him as suffering from severe depressive neurosis”… otherwise known as, Dysthymia, which, according to the American Psychiatric Association’s ‘Diagnostic and Statistical Manual of Mental Disorders,’ is a mood disorder and a type of mild depression.

Chapman made such good progress during his stay at Castle Memorial, that he was released within two weeks.

Bresler writes that, in the aftermath of Lennon’s murder, staff at the hospital gave the then New York County Assistant District Attorney, Allen Sullivan, their diagnosis of Chapman‘s mental health, stating that they “did not find him to be psychotic – i.e., labouring under a mental illness.” Bresler claims that the information passed on to Sullivan by the staff at Castle Memorial that day was “never made public to anyone else.”

Anne Jones says she couldn’t understand why Chapman didn’t contact her in 1980 at the Waikiki Mental Health Clinic when his depression was beginning to overwhelm him again. She says, “why didn’t he call me, if he thought so highly of me? I was shocked at that because I feel that if he was really seeking help, he would have called me.” Instead, he sought assistance from the Makiki Clinic, which referred him to the Catholic Social Services after it refused to see him.

Janice Wolf was a journalist working at the ‘Honolulu Advertiser’ during November and December 1980 before moving on in later years to become administrative director of Hawaii‘s state courts. A story she’d written about Chapman‘s efforts to seek help from the mental health system a month before Lennon‘s murder was published in the ‘Advertiser‘ just days after the former Beatle‘s death. In 1987, she spoke to Bresler about some of the details she’d uncovered during her research for the newspaper-piece, including her talks with staff of the Catholic Social Services whose executive director informed Wolf that Chapman was “concerned about his unemployment and the slight depression he was in.” However, although experiencing a certain degree of stress, the executive director said Mark was also, “coherent and mentally alert.” Wolf claims a social worker spoke to Chapman on the telephone and offered him an appointment for that very day, but that he, “backed off and said it was not that urgent.” An appointment was arranged for the following week, but he failed to turn up. In his book, Bresler claims Wolf “had another nugget of information about this period that is intriguing and possibly significant. She told me that, when she was working on the story, she had received information from a professional source, whose reliability she had been unable to confirm, that in the months prior to the murder, Mark had been having private sessions with a local psychiatrist (she gave me his name) who had given him the remarkable advice: ‘Act out your fantasies!’” Bresler continues, “ is this a proper thing for a psychiatrist to tell his patient – or had Mark’s ‘controller’ called in extra help?” If true, the time-line given by Wolf and Bresler regarding Chapman’s meetings with the mystery psychiatrist would also appear to tie-in with his sudden interest – and burgeoning obsession – with John Lennon and Holden Caulfield.

In her ’People’ magazine interview for James R. Gaines, Mark’s wife, Gloria claims her husband was making efforts to deal with his emotional problems. She recalls him telling her that he was going back to New York in order to find a career. She says, “he sounded very mature and calm and sane when he said all of this. He told me he’d be gone for just a few weeks and when he got back everything would be great.” However, Bresler disputes this and provides evidence in his book to show that Chapman had no intention of returning to New York…

According to official accounts, Chapman flew out of Honolulu on December 5th, changed planes en route at Chicago and then finally landed in New York on December 6th. Bresler vehemently challenges this version of events, claiming that Chapman departed from Hawaii on December 2nd, landed in Chicago, and then remained there for three days before making his way to New York. Bresler’s theory is bolstered by Louis L. Souza who was, at the time of Lennon’s death, captain of the Honolulu police. According to Bresler, Souza, “carried out the local follow-up investigation after the murder for the New York authorities. He told me that he had established beyond doubt that, on November 28th 1980, Mark bought a United Airlines ‘special fare’ ticket number 24-65607-252 for $459.86 for a return flight out of Honolulu… the ‘ultimate location’ was not New York but Chicago. For Mark did not buy on November 28th 1980 a ticket for United Airlines Flight 2 at 6.10pm on Friday 5th December for New York connecting Flight 904 out of Chicago on the Saturday morning. He bought a return ticket for United Airlines Flight 2 at 6.10pm on Tuesday 2nd December for Chicago with a return flight from Chicago at 11.20am on Thursday 18th December – and that was all. It was purely and simply a visit to Chicago. I later called him (Souza) … on the telephone specifically to see if he had checked out with United Airlines at the time that the ticket had, in fact, been used by Mark on December 2nd and he said that the airline had confirmed that to him when he was preparing his report. Unfortunately, none of this can be confirmed now by the airline because… all records and tickets are destroyed after two years.” However, Bresler claims a clue to the ticket mystery was intriguingly left on top of Chapman’s bureau in the hotel room he stayed at the night before Lennon’s murder. Along with the movie-still of Dorothy and the Cowardly Lion (and an assortment of other treasured possessions) sat a photocopy of his Honolulu-Chicago-Honolulu return air ticket. Bresler says, “it is a remarkable document for it is in every aspect the same United Airlines return ticket that Captain Souza told me about, the same number (24-65607-252), the same date of issue (November 28th 1980), the same return date from Chicago to Honolulu (December 18th) but not an outward departure date of December 2nd. The date inexorably up at one is 5th December! This document does not make any kind of sense. Allen Sullivan, in his cross examination of Dr Daniel Schwartz on Mark’s sentencing day pitting the prosecution’s case to him for his detailed comments, made great play of the fact Mark ‘pre-arranged, made reservations and booked all the way through to New York by a variety of airlines to go through at a cheaper rate’. With all respect to Sullivan, that is nonsense, for I hold a photocopy of Mark’s baggage claim check that he also left out in his hotel room. It is a United Airlines tag and it says: ‘Destination LGA, Flight 904. To ORD Flight 2.’ Translated from airline jargon, that means that Mark’s luggage first went on from Honolulu on United Airlines Flight 2 to Chicago’s O’Hare Airport and then direct through to La Guardia Airport on United Airlines Flight 904. In other words, it is, in effect, saying that Mark did what the prosecution said he did: he flew straight from New York from Honolulu by way of a connecting flight at Chicago. But both flights were United Airlines flights, so Sullivan’s point about making reservations on different airlines ‘to go through at a cheaper rate’ simply does not stand up. Furthermore, if Mark really was trying to keep his expenses down then, as Robert Morgan at United Airlines headquarters confirms, it would have been stupid for him to buy a Special Fare rate ticket to Chicago and then some kind of United Airlines ticket on to New York. Said Morgan in May 1988, ‘it can be cheaper to take out a Special Fare return ticket than a full fare one-way ticket, if you do not intend to return to your original point of departure. A Special Fare return fare can, after all, cost less than a full one-way ticket. If Chapman when he bought his ticket in Honolulu intended going on right through to New York, it would have been cheaper for him to have bought a Special Fare or some other discount fare right through to his farthest destination, New York.’ Indeed, a travel agent in Honolulu confirmed to me: ‘It would have been cheaper to fly return to New York with a stop-over at Chicago than buy a return – or single – fare to New York.’”

Bresler also points out that, “anyone who has ever booked air travel to several onward destinations will know, your batch of tickets will give each one all the destinations, with the airline staff merely peeling off the ticket applicable to their section of the journey. My photocopy of United Airlines ticket number 24-65607-252 only has Honolulu and Chicago on it. There is no mention whatsoever of New York.”

Bresler was left in no doubt that Chapman only decided to buy a ticket for New York whilst he was in Chicago. He also concludes that someone “doctored” the Honolulu-Chicago-Honolulu ticket that was left out in his hotel room. Furthermore, he offers the possibility that it might have been placed there by police with a little help from C.I.A. operatives “any time after” Chapman had left the room and made his way to shoot Lennon.

Bresler claims he attempted, and ultimately failed, in encouraging any assistance from the New York district attorneys’ office in his bid to finally shine a light of clarity on Chapman’s movements between December 2nd and 5th. For example, when he contacted Allen Sullivan asking him if he would check his office files to confirm exactly when Chapman left Honolulu, he “point-blank refused” claiming that he was “not prepared” to undertake all the work that would be needed to sort his way through “four drawers full of papers.”

Bresler then approached Gerald McKelvey, special assistant to the New York County District Attorney and requested a copy of a 16-page chronology of Chapman’s movements that Sullivan had told the courts his office staff had compiled during investigations leading up to his sentencing hearing. McKelvey responded to Bresler’s request in writing stating that he was “sorry” to inform him that “it appears the 16-page chronology cannot be located in our files.”

Yet another point of contention that has arisen from Chapman’s travels between December 2nd and 5th is Bresler’s view that he flew to Chicago with his grandmother.

Author Jack Jones interviewed Chapman over a period of six years and finally published the results in his book, ’Let Me Take You Down, Inside The Mind of Mark David Chapman, The Man Who Shot John Lennon.’ He disputes Bresler’s theory claiming that, “Chapman has no relatives living in the Chicago area. That particular grandmother lives in Massachusetts. The other one lives in Connecticut. Chapman escorted his grandmother back.” However, this does not correspond with local newspaper reports published in the aftermath of Lennon’s death. For example, on December 10th, ‘The Honolulu Advertiser’ states that “Mrs Chapman…. was in seclusion yesterday at the home of a friend. Her initial concern was for Mark’s grandmother, who had been visiting the island recently from her Chicago home.” On the same day, the newspaper, ‘Atlanta Constitution’ wrote, “Chapman was supposed to be visiting his grandmother in Chicago before going to New York.” Furthermore, Chapman’s former psychiatric social worker, Anne Jones told Bresler that Mark talked about a grandmother that lived in “the mid-west” of America – a region more geographically aligned to Chicago, not Massachusetts. Bresler writes that he unsuccessfully attempted to trace her within the Chicago region over a six-month period despite receiving no help from the Chapman family and without even knowing her full name and whether she was a maternal or paternal grandmother.

If Chapman did indeed remain in Chicago for three days, then the question is, what was he doing there? Did he stay with his mystery grandmother? Bresler’s conclusion is unequivocal. He writes that Chapman “was intending to use his return ticket for December 18th. But something happened to him in Chicago. Someone got hold of him. Someone got him back on course. Someone put murder yet again powerfully and dominatingly into his mind. He had left Honolulu as Mark Chapman. He flew out of Chicago to New York as Holden Caulfield.”

On arriving in New York on December 6th, Chapman checked-in to the Y.M.C.A. just off Central Park West and then set off for the Dakota and waited for Lennon with a number of fans who regularly stood outside the apartment building. He remained there for some time, but, eventually left after Lennon failed to materialise.

The next day, he checked-out of his room at the Y.M.C.A. claiming that he was bothered by two homosexuals across the hall from him who were, “talking about hairy chests and things like that, and I just, God, wanted to go over there and blow them all away. I said, don’t do it. So I checked out.”

He moved to midtown Manhattan and checked-in to the Sheraton Centre Hotel where he laid out a number of his possessions on a bureau in his room in a way that he hoped would provide police with a motive for the crime he was planning to commit. Along with his air-ticket and movie-still of Judy Garland and the Cowardly Lion sat his pocket-Bible (inscribed “Holden Caulfield” and with the “Gospel According to John” amended to read “John Lennon”), his passport, a picture of himself, a photograph of his ’65 Chevy and a music cassette – not of his supposed “idol” John Lennon and/or The Beatles – but a Todd Rundgren album. As Gloria later told author Jack Jones, “the musical artist that had the greatest influence on Mark wasn’t John Lennon. It was Todd Rundgren. Mark often told me that he believed Rundgren was a true musical genius. He has had at least two complete Rundgren collections at separate times… (but) he got very depressed listening to the music. He said it depressed him to hear music that good.” Mark’s childhood friend Mark McManus recalls that, “Mark totally worshipped Todd Rundgren. He knew every word to every song. He even knew the parts when they overdub and there’s two voice lines going on at once. It was incredible.” Speaking from his prison cell, Chapman told Jack Jones that, “right between the chambers of your heart is how Rundgren’s music is to me. I cannot overestimate the depth of what his music meant to me.”

So, what is the relevance of the Rundgren album that Chapman ceremoniously displayed on top of his hotel room bureau? And how did it link into Lennon’s death, especially with regards to Chapman’s later claim that he left it in his hotel room, “as a statement.”? There have also claims been made via reputable news-sources that Chapman was wearing a Todd Rundgren T-shirt on the day he shot Lennon and that he was convinced that Rundrgen had sent him “signals.” There are also interesting similarities between Chapman’s apparent resentment of Lennon’s “phoniness” and a (Caulfield-esque?) letter that Rundgren sent to the music magazine ‘Melody Maker’ in 1974 in which he attacked Lennon:

“John Lennon ain’t no revolutionary. He’s a f——- idiot, man. Shouting about revolution and acting like an a__. It just makes people feel uncomfortable.

All he really wants to do is get attention for himself, and if revolution gets him that attention, he’ll get attention through revolution.

He’s an important figure, sure. But so was Richard Nixon. Nixon was just like another generation’s John Lennon. Someone who represented all sorts of ideals, but was out for himself underneath it all.”

The brief but public attack on Lennon came just over a year after the release of Rundgren’s album, ‘A Wizard, a True Star’ which features the track, ‘Rock & Roll Pussy.’ The song refers to celebrity-figures who talk about revolution, but never participate in it themselves. Although no specific person is mentioned by name in the lyrics, lines such as, “jump into bed” were perceived by many to be a barbed criticism of John and Yoko‘s Bed-ins in 1969 for peace. Commenting on the song in 2009, Rundgren said, “one can say that John Lennon was guilty possibly of some of the finger-pointing that the song evinces, but it’s mostly the whole idea of talk versus action and not specific to any one person.”

Todd Rundgren

Mark Chapman left his hotel room for the very last time on December 8th 1980 with a gun in his pocket and a copy of John Lennon’s new album, ‘Double Fantasy’ in his grasp, although there was one notable item missing from his person, and that was a copy of ‘Catcher in the Rye,’ which he proceeded to buy from a book-store whilst making his way to the Dakota. Chapman wrote the words: “To Holden Caulfield from Holden Caulfield” and: “This is my statement” on the book’s cover.

Chapman waited at the front of the Dakota for the ex-Beatle to appear whiling away the time chatting with the ever present group of fans standing outside. Then, at around 5pm, his month-long campaign to meet John Lennon finally became a reality when he appeared before his eyes, coming out of the building’s entrance on his way to a recording session. At last, Chapman found himself in close proximity to the legendary musician, but instead of reaching for his gun, he held out his ’Double Fantasy’ album and asked Lennon to sign it for him, which he did, inscribing the words, “John Lennon 1980” on the front-cover. One of the people waiting outside the Dakota that day with Chapman just happened to have a camera in his possession and proceeded to take a photograph of this.

Lennon then left for the recording studio, and Chapman remained outside the Dakota waiting for his return.

Almost five hours later, a limousine pulled up outside the luxury apartment building. What happened next is unclear, as there have been a number of differing accounts given by the few witnesses who were there and the subsequent newspaper/TV reports, books, and magazine articles describing the scene. However, most tend to share the observation that Yoko Ono was the first to step out of the vehicle followed by Lennon who trailed just a few yards behind her as she made herself towards the Dakota. This version contradicts the rare claim made by Ray Coleman in his book, ‘Lennon, The Definitive Biography’ which states that “John walked ahead” of Ono. Be that as it may, what is generally accepted is that four bullets hit Lennon’s back and, according to a summary of the autopsy report published in the ‘New York Times‘ on December 10th 1980, ended up in the left side of his upper body. Furthermore, his death certificate officially states: “Multiple gunshot wounds of left shoulder and chest; Left lung and left subclavian artery; External and internal haemorrhage. Shock.” Attempts to obtain a full copy of the report have apparently met with little success. One person who tried to access it was Salvador Astucia, author of ’Rethinking Lennon’s Assassination.’ He claims his request was “denied” in a letter sent to him in 2003 by the ‘Director of Public Affairs at the Office of the Chief Medical Examiner,’ who stated that it was “not open for public inspection,” thus perhaps not only helping to perpetuate the differing accounts about what happened that night, but also fuelling the suspicions of those such as Astucia who strongly feel that certain clues point towards the possibility that Chapman was being assisted by a mystery gunman hiding nearby (possibly an F.B.I. operative).

Police arrived at the scene of the shooting within minutes and apprehended Chapman. Lennon was lying on the ground covered in blood. Instead of wasting valuable time waiting for an ambulance, police lifted Lennon up and carried him towards a squad car and placed him inside. He was then driven to New York’s Roosevelt Hospital where he was pronounced dead on arrival in the emergency room.

As news of Lennon’s death spread, a crowd of people began to gather outside the Dakota. Fenton Bresler writes that, “according to one estimate… 5,000 people” turned up to pay their respects. By this point, Chapman had been formally arrested and placed in a police precinct detention cell. He was initially questioned by Lieutenant Arthur O’Connor, commanding officer of the detectives at the twentieth precinct of the New York police. O’Connor told Bresler that, “it’s possible Mark could have been used by somebody. I saw him the night of the murder. I studied him intensely. He looked as if he could have been programmed. That was the way he looked and that was the way he talked. It could have been drugs – and, no we did not test for drugs! It was not standard procedure. But looking back, he could have been either drugged or programmed – or a combination of both.” Further clues that appear to correspond with O’Connor’s suspicions of possible mind-control come from Chapman himself. During a TV interview in 1988 he said, “I looked at him (Lennon). He walked past me and then I heard my head said, ’Do it, do it, do it,’ over and over again, saying, ’Do it, do it, do it, do it,’ like that. I pulled the gun out of my pocket, I handed over to my left hand, I don’t remember drawing the bead or whatever you call it. And I just pulled the trigger steady.” He repeated this account to TV interviewer Larry King in 2000 also adding that after shooting Lennon, “it was like the film strip broke. I fell in upon myself. I like went into a state of shock. I stood there with the gun hanging limply down at my right side.” Furthermore, instead of running away, Chapman claims he took his copy of ‘The Catcher in the Rye’ out of his pocket and began reading it, waiting for the police to arrive. As O’Connor later told Bresler, “as far as you are trying to build up some kind of conspiracy, I would support you in that line…. if the (assassin) wanted to get away with it, he could have got away with it. There was the subway right on the corner and no one around to stop him.”

In January 1981, Chapman’s lawyer, Jonathan Marks, entered a plea of ‘Not Guilty by Reason of Insanity.’ The judge assigned nine doctors to undertake psychiatric examinations in order to determine Chapman’s mental state, one of whom (working for the defence) just happened to be Dr. Bernard Diamond, the psychiatrist who examined Sirhan Sirhan. Another notable doctor who was asked to assess Chapman was Milton Kline, who according to author John Marks (no relation to Chapman’s lawyer) was, “a New York psychologist and former president of the American Society for Clinical and Experimental Hypnosis.” In his book ‘The Search for the Manchurian Candidate’, Marks writes that Kline also “served as an unpaid consultant on C.I.A. hypnosis research.” When commenting on whether a Manchurian Candidate could be created, Marks quotes Kline as saying, “It cannot be done by everyone. It cannot be done consistently, but it can be done.” Bresler writes that Chapman’s lawyer, Jonathan Marks, “had used Kline’s hypnotic skills very effectively to help secure the acquittal of an earlier client, who had allegedly inflicted severe injuries on a young girl music student by pushing her in front of a subway train. The attorney told reporters that he had not yet made up his mind whether Kline would try to hypnotise Mark. In fact, Kline retired early from the case because of a dispute with the prosecution over his precise medical qualifications and later served four months in a prison in Florida on a related perjury charge.” If Kline had been given the chance to hypnotise Chapman, what would he have discovered?

The nine doctors eventually came back with their results; six were of the clinical opinion that Chapman was psychotic and three that his delusions fell short of the necessary criteria for psychosis; in short, he was competent enough to stand trial and the date for it’s commencement was set for June 22nd 1981. But it was not to be… Chapman was hearing “voices” in his head again. He telephoned his lawyer on June 8th to tell him that God had visited him in his cell and told him to plead ‘Guilty.‘ Louis McGarry was one of the psychiatrists who examined Chapman during this time for the prosecution. In his final report he described the “God” incident as merely “an internal dialogue between Mr. Chapman and his religious conscience and lacked the characteristics of a genuine hallucination.” Bresler puts forward the possibility that Chapman’s change of heart could easily have been instigated by a “controller,” thanks to America’s prison rules at the time which Bresler states allowed Chapman “open contact with the outside world” including the luxury of being able to make “outgoing telephone calls” (which researchers claim is a tried and trusted way of feeding through and activating ‘triggers’ in the minds of those under some form of control). Marks told the court that he opposed Chapman’s change of plea, but the judge presiding over the case refused any further assessments stating that Chapman had made the decision of his own free will, and declared him competent to plead guilty.

The sentencing hearing took place on August 24th. When Chapman was asked by the court if he had anything to say, he went on to read a passage from ‘The Catcher in the Rye.’ He was eventually sentenced to 20 years to life in prison.

Three months after Lennon’s death, the then newly elected American President, Ronald Reagan survived an assassination attempt. Just like Mark Chapman before him, the gunman, 24-year-old John Hinckley, Jr., did not attempt to flee and was arrested at the scene of the shooting.

Much was made of Hinckley’s reported fascination with Hollywood actress Jodie Foster who he began to stalk after watching the movie ‘Taxi Driver’ in which she stars alongside Robert De Niro, who plays the part of Travis Bickle, a man involved in a plot to assassinate a Presidential candidate. Hinckley later stated that his attempt on Reagan’s life was a “love offering” for Foster.

Jodie Foster in ‘Taxi Driver’

Perhaps not as widely reported as the Foster connection, was Hinckley’s association with ‘The Catcher in the Rye.’ According to law professor and author Doug Linder, the book was found in his Washington hotel room following the shooting, as was a calendar of John Lennon. In fact, Linder goes on to state that, “Hinckley seriously contemplated killing himself in front of the Dakota, at the exact spot where Lennon had been shot. On New Year’s Eve of 1980, Hinckley recorded a deeply disturbing monologue…. He spoke this to his tape recorder:

“John Lennon is dead. The world is over. Forget it. It’s just gonna be insanity, if I even make it through the first few days. . . . I still regret having to go on with 1981 … I don’t know why people wanna live.

John Lennon is dead. . . . I still think-I still think about Jodie all the time. That’s all I think about really. That, and John Lennon’s death. They were sorta binded together. . . “

The links between Hinckley and Chapman appear to go even further still…

Two days after the attempt on Reagan’s life, the ‘Houston Post’ reported that Hinckley’s family enjoyed very close ties to George H.W. Bush who was then Vice-President. According to the following report in the ‘Associated Press,’ Hinckley’s elder brother Scott and Bush’s son Neil were scheduled to meet for a dinner appointment the day after the shooting:

The family of the man charged with trying to assassinate President Reagan is acquainted with the family of Vice-President George Bush and had made large contributions to his political campaign … Scott Hinckley, brother of John W. Hinckley, Jr., was to have dined tonight in Denver at the home of Neil Bush, one of the Vice-President’s sons … The Houston Post said it was unable to reach Scott Hinckley, vice-president of his father’s Denver-based firm, Vanderbilt Energy Corporation, for comment. Neil lived in

Lubbock, Texas, throughout much of 1978, where John Hinckley lived from 1974 through 1980… Sharon Bush, Neil’s wife, said Scott Hinckley was coming to their house as a date of a girl friend of hers. “I don’t even know the brother. From what I know and I’ve heard, they (the Hinckleys) are a very nice family and have given a lot of money to the Bush campaign. I understand he was just the renegade brother in the family. They must feel awful,” she said. 

Is it mere coincidence that the man who stood to take over the reigns of the Whitehouse in the event that something happened to President Reagan was also on very friendly terms with the family of the man who tried to kill him, and that their respective families should schedule a dinner engagement to take place a day after the assassination attempt? There are a number of researchers who have expressed their suspicions, further fuelled by the fact that Bush was director of the C.I.A. between 1976 and 1977. Is it possible that a man who once enjoyed direct access to one of the world’s most notorious covert agencies with a well-documented background in assassinations and mind-control programs had a hand in the gunning down of a President, and how – if at all – does this all connect to the murder of John Lennon?

Common Ground: John Hinckley Jr (left), and Chapman in a picture taken of him in Attica State Prison in 1987

The apparent link between the Hinckley family and Mark David Chapman has been made by numerous researchers who point towards their association with the charity organisation, ‘World Vision.’ According to researcher, Mark R. Elsis, John Hinckley Jr’s father was president of the board of ’World Vision’ which:

“… had a hand in the movement of the Cubans into the United States and other refugees of revolutionary regimes.

World Vision was able to recruit out of these mercenary populations, people who could be politically turned to their intelligence purposes. World Vision served as a penetration force — not as visible as the military actually going in or the C.I.A. going in – but going in as missionaries and working among the people.

They were paid by the C.I.A. for a long time during the Vietnam War and went into South East Asia — Cambodia and Laos. Throughout Vietnam they were given U.S. military equipment to use.

World Vision… ran the refugee camp in Sabra-Shatilla where the fascist Phalange was allowed in to kill the Palestinians. They ran the Cuban and Thai refugee camps in the United States. The assassin — who eventually shot John Lennon — worked at the Thai refugee camps out in Arkansas that World Vision operated there. They ran these camps brutally, forcing people into political education against Castro, refusing to feed people, beating people — by many reports — and bringing in Alpha 66 and Omega 7 people (the worst of the killing teams — or murder squads — of the anti-Castro Cubans in the United States) to run the camps in Florida, Fort Chaffee in Arkansas and other places where the Cuban exiles were. These people came in and there were eventually riots in the Cuban refugee camps against their treatment there. And the eventual assassin of John Lennon just happened to work there.”

Chapman’s alleged connections to the C.I.A. via ‘World Vision’ are said to have been instigated by his association with the Y.M.C.A, which he joined when he was 14-years-old at his father’s behest. According to Fenton Bresler, it wasn’t until he was 20 that he finally decided to dedicate his life to the organisation, initially as a counsellor at childrens’ summer camps held at his local branch in South De Kalb where his rapport with youngsters and his growing popularity soon earned him the affectionate nickname, “Nemo.”

Philip Agee was a C.I.A. case officer who resigned from the intelligence agency in disillusionment in 1968 following 11 years of service. He later shared some of his experiences in the 1975 book, ‘Inside the Company: C.I.A. Diary,’ which, according to Bresler, names “the Y.M.C.A. in a list of organisations used by the agency and, as an ex-Latin American operator, specifies the ‘Y’s’ office in Quito, the capital of Ecuador, as being a contact base for agents and potential agents.” Bresler also states that, “Agee’s disclosures on the most intimate workings of the C.I.A. are not to be dismissed as just one more sensationalist, allegedly ‘tell-all’ kind of book. In it’s 600 pages, he named several hundred C.I.A. officers and informants besides identifying scores of cover organisations and laying bare the agency’s relationships with governments and companies. The authorities took his revelations very seriously indeed…. said one review written by an ex-C.I.A. official, ‘the book will affect the C.I.A. as a severe body blow does any living organisation. A considerable number of C.I.A. personnel must be diverted from their normal duties to undertake the meticulous and time-consuming task of repairing the damage done to it’s Latin American programme.’ In January 1981, the US Supreme Court ruled that, by his efforts, Agee had forfeited the right to hold a US passport: those efforts included blowing the cover on the C.I.A. (and) Y.M.C.A. link.”

Bresler also questions Chapman’s decision to take on an assignment in Beirut for the Y.M.C.A. via a non-profit programme called, ‘ICCP/Abroad’. The then-director of the Y.M.C.A. camp in South De Kalb where Mark worked as a counsellor was his long-time friend and mentor, Tony Adams. He says it was “beyond” his comprehension why he chose war-torn Beirut. Nevertheless, Chapman landed there in May/June 1975, but only remained for a month due to the escalating violence and bloodshed in the region. Bresler puts forward the possibility that his trip – whether intentional or otherwise – had opened him up to the realities of “whizzing bullets, bombs” and “gunfire”… in short, “Lennon’s future killer had been ‘blooded’.”

According to Chapman’s own accounts, he was employed as an Area Coordinator at the aforementioned Fort Chaffee resettlement centre just two weeks after returning from his brief visit to Beirut that summer. His work there was completed in December after most of the camp’s refugees had been found new homes in the U.S.

Unfortunately, there is very little in the way of documented information regarding Chapman’s time in the Y.M.C.A. Bresler writes in his book that, “Andrea Hinding, a helpful and dedicated archivist with the Y.M.C.A. central archives at the University of Michigan, says that she would have expected to find some record of all his time on the pay-roll in her archives but, despite the most diligent searches, she has drawn a blank.”

Mark Chapman pictured at the Y.M.C.A. in 1975

The theory put forward by Bresler and a number of his contemporaries, that John Lennon was assassinated by a mind-controlled gunman working under the direct orders of the C.I.A. and/or F.B.I., is difficult for some to accept given that, on the face of it, such a scenario seems ’far-fetched’ and not far removed from the realms of Hollywood fantasy. However, as documented here earlier, there is sufficient enough evidence and testimony available in the public domain, and from a significant number of reliable, informed and knowledgeable sources, to illustrate that, either such programs exist, or are – at the very least – entirely possible and not within the confines of pure fiction.

Perhaps the next question then to ask is: Why John Lennon? What possible threat could a Rock-star pose to the U.S. government that it would want him dead? John’s son, Sean, who was five years old when his father was gunned down, has offered an answer that has been echoed by numerous researchers and authors. He told ‘New Yorker’ magazine in 1998 that his father, “was a counterculture revolutionary… (he) was dangerous to the government. If he had said, ‘Bomb the White House tomorrow,’ there would have been 10,000 people who would have done it. These pacifist revolutionaries are historically killed by the government. Anybody who thinks that Mark Chapman was just some crazy guy who killed my dad for his personal interests, is insane. Or very naive. Or hasn’t thought about it clearly. It was in the best interests of the United States to have my dad killed. Definitely.”

Sean’s comments were published just months after the release of official documents under the Freedom of Information Act which proved beyond a reasonable doubt that his father was being monitored by the F.B.I. during the 1970s.

History professor, Jon Wiener spent 14 years fighting to gain access to the secret files, a legal battle that ultimately went all the way to the Supreme Court before the F.B.I. finally agreed to hand them over, claiming it had wanted to keep them from public view due to “national security“ issues. Weiner claims that Lennon’s problems with the F.B.I. began around the time of his involvement with American radical political activists such as Abbie Hoffman and Jerry Rubin. During a TV interview in 2010, Weiner claimed that Lennon had developed an idea with Hoffman and Rubin to headline a concert tour of the U.S. during 1972 that would coincide with the Presidential elections. Weiner says that then-President Richard Nixon, “was preparing to run for re-election. The war in Vietnam had reached a peak. It was clear that this was going to be a big issue in ’72. The concert tour that Lennon was planning would have been quite a big deal… what Lennon had in mind was something different. He wanted to combine Rock music with radical politics and use the tour to urge young people to register to vote – 1972 was the first year that 18-year-olds were given the right to vote, so that was going to be an important project – and vote against the war, and that meant voting against Nixon. Nixon got wind of this plan and promptly began deportation proceedings against Lennon to try to get him out of the country to prevent this tour from ever happening.”

According to a February 1972 memo, Republican Senator and Nixon supporter, Strom Thurmond suggested that “deportation would be a strategic counter-measure” against Lennon. A month later, the United States ‘Immigration and Naturalization Service’ began formal proceedings to have him deported, arguing that his 1968 conviction for cannabis possession in London had made him ineligible for admission to the U.S. This prompted a three-year court battle as Lennon fought to remain in the country.

Weiner also adds that, “the F.B.I. continued to worry throughout the summer of 1972 that Lennon was going to participate in demonstrations outside the Republican National Convention, so they sent word down to the Miami F.B.I. to, quote, ‘arrest Lennon, if at all possible, on possession of narcotics charges,’ which they said would make him more immediately deportable. This seems to me to be an effort to set Lennon up for a drug bust, since the F.B.I. doesn’t enforce possession of narcotics charges; this is a state and local matter. So it’s clearly, you know, an abuse of power.”

John Lennon and Yoko Ono at an anti-Vietnam War rally in New York’s Bryant Park on April 22nd 1972. An estimated 30,000 people attended the event.

Although the planned U.S. nationwide tour never materialised, Lennon and his supporters managed to stage at least one concert. Weiner says, “it was in Ann Arbor, Michigan, in December ’71. It was the ‘Free John Sinclair’ concert. John Sinclair was a local movement activist and leader who had been sentenced to ten years in the Michigan state prison for possession of two joints of marijuana. It was a big national issue in 1971, and Lennon headlined a fantastic show that involved political activists. The first thing that happened was that John Sinclair got out of prison two days later on appeal. It was quite an amazing victory that nobody had really expected. When I got the John Lennon F.B.I. file, the first stuff in there is a report from an undercover agent who was one of the 15,000 people at Chrysler Arena that night. He wrote down every word John Lennon said… he sent those to J. Edgar Hoover. They were promptly classified as confidential and kept secret for the next twelve years… this got the Nixon administration concerned that there really might be some potential here to affect the election.”

John Lennon’s political and ideological activism initially began in June 1968, when he and Yoko planted two acorns in the grounds of Coventry Cathedral to represent peace, as part of the National Sculpture Exhibition. In July, The Beatles recorded the Lennon-penned song, ‘Revolution’, which was released on the B-side of their hit single, ‘Hey Jude’ a month later. It was inspired by the mass protests that had erupted across much of the world during 1968, all seemingly spontaneous and unrelated to each other and encompassing a wide range of issues and concerns including civil liberties, feminism, nuclear weapons, and government oppression. Earlier that year in May, what began as a wave of student demonstrations in France eventually grew into a tsunami of mass discontent when an estimated 11 million workers downed their tools and took part in a wildcat strike which brought the country to a standstill. As the situation intensified and protests turned into riots, many within the French government genuinely believed the country was on the verge of civil war. Over in the U.S. the assassination of black civil rights leader Martin Luther King only helped to fan the flames of anger and resentment already simmering within the African-American population, and led to riots across the U.S. including Washington D.C., New York, Chicago and Kentucky. In May 1969, a student rally at University of California, Berkeley erupted into a full-scale riot as thousands of protestors clashed with police officers dressed in full riot gear and armed with tear gas canisters and shotguns. Student, James Rector was fatally wounded during the clashes when a “00” Buckshot was fired at him by county sheriff’s deputies positioned on the roof of a building. However, perhaps the most prevailing issue of the time was the highly controversial Vietnam war, which was becoming increasingly unpopular with the American public who could see no end in sight to a conflict which had cost the lives of thousands of U.S. soldiers. Active opposition to the war began gaining momentum in November 1965 when an estimated 30,000 people attended a rally in Washington D.C. By 1969, such gatherings were more commonplace, not only in the United States, but also in other countries around the world, although some of these protests descended into riots and violence as demonstrators clashed with the police and/or army.

Instead of taking to the streets to make their point known, the then recently married John and Yoko decided to utilise the publicity generated by their nuptials to stage a honeymoon with a difference. Just five days after tying the knot, the Lennons moved into the Amsterdam Hilton Hotel for a week-long media-friendly ‘Bed-In for Peace.’ For six days, the couple courted the world’s press from the comfort of their hotel bed where they campaigned for an end to all wars. Three months later, the couple staged yet another week-long ‘Bed-In,’ this time at the Queen Elizabeth Hotel in Montreal, Canada. Recording equipment was installed in the room during their stay so that Lennon could consign a new song he had written to tape titled, ‘Give Peace A Chance.’ It not only became a Top Ten hit (his first as a solo artist), but a popular anthem for anti-war protestors during the late 60s and early 70s. An estimated half a million people sang the song outside the Whitehouse during the Vietnam Moratorium Day demonstration in October 1969.

‘Bed-In’ for peace, 1969

Before leaving Britain for the U.S. in 1971, John Lennon lent his name and support to a steady stream of causes that he deemed worthy of attention including a campaign to prove the innocence of James Hanratty, a British man hanged in 1962 for murder. He also befriended Tariq Ali, the leader of the ‘International Marxist Group’ and editor of newspaper, ‘Red Mole.‘ Ali was also the inspiration for Lennon’s 1971 hit single, ‘Power to the People.‘ During a 2010 interview Ali recalls that, “the events in Derry on Bloody Sunday angered (Lennon) greatly and he subsequently suggested that he wished to march on the next Troops Out demonstration on Ireland, and did so, together with Yoko Ono, wearing Red Mole T-shirts and holding the paper high. Its headline was: ‘For the IRA, Against British Imperialism’.”

In September 1971, Lennon pitched his powers against notorious Elitist and then-New York Governor Nelson Rockefeller who was at the time dealing with a prisoners’ uprising at Attica Correctional Facility. The rebellion was instigated in part by the death of prisoner George Jackson who had been shot dead by corrections officers in San Quentin Prison. Over 2,000 inmates seized control of Attica for four days, taking 33 staff members hostage. According to Weiner the prisoners, “had a whole list of demands, most of which were completely reasonable: decent health care, religious freedom for Muslims, alternatives to pork in the diet, uncensored reading materials. The prison administration agreed to virtually all of the demands, but then one horrible morning, 1,400 New York state troopers stormed the prison. They killed 32 prisoners and ten guards and injured something like 80 more. This was, you know, a complete outrage, and the next month, December 1971, there was a protest meeting and a benefit concert for the families of the prisoners who had been killed in the uprising. That was held at the Apollo Theatre in Harlem. And John Lennon went, because this, you know, disturbed him. He hated what had happened at Attica.”

In June 1972, Lennon released ‘Some Time in New York City,’ an album of songs almost entirely dedicated to highlighting radical and controversial causes and issues such as feminism (’Woman is the Nigger of the World‘) and the continuing troubles in Northern Ireland (’Sunday Bloody Sunday’, ’The Luck of the Irish’). He also penned a song dedicated to the Attica uprising (‘Attica State’) and a tribute to Black Panther member and activist, Angela Davis (‘Angela’).

The artwork on the album’s sleeve also proved controversial, most notably for a fake photo that shows Mao Tse Tung and President Nixon dancing naked together.

(Click to enlarge)

Even though the former Beatle could not prove he was being monitored by the intelligence services, he did state publicly on a number of occasions that he believed he was being followed. In an interview with ’Hit Parader’ magazine during the mid 70s, he said, “we knew we were being wiretapped. But how do you prove that? There was a helluva lot of guys coming in to fix the phones… and there were two guys outside who kept following me around in a car… this is long before Watergate… and people just thought, ‘Oh crazy Lennon. Whose gonna bother following him? What an egomaniac.’ But we had been associated with Jerry Rubin and John Sinclair and little rallies, and were seen around those people. It really was like a mini-Watergate.” In a 1972 interview with comedian and writer, Paul Krassner, Lennon dramatically said, “listen, if anything happens to Yoko and me, it was not an accident.”

By mid 1973 it looked increasingly apparent that Lennon was publicly distancing himself from any association with the radical issues that had been such a dominating presence in his life for the previous four years. In July of 1973, he was back in the studio recording a new album of songs that, with the exception of ‘Bring on the Lucie (Freda Peeple),’ seemed to draw little inspiration both ideologically or lyrically from topics connected to politics, peace, or radical causes. There is evidence to show that this change in direction is a result of the increasingly intensive battle he was involved in at the time against the U.S. government and its bid to deport him. Lennon hired the expert lawyer Leon Wildes to defend his corner. According to Philip Norman’s book ‘John Lennon, The Life,’ “it was essential that John cut a less controversial public figure than heretofore.” Speaking to Norman for his book, Wildes claims he told Lennon that, “he should confine himself to general statements of principle.” Norman adds that Lennon‘s, “commitment to the anti-war lobby remained as strong as ever. On April 22nd 1972, he and Yoko attended a National Peace Rally in New York’s Duffy Square, leading the crowds in the sine qua non chorus of ‘Give Peace a Chance.’ A month later, they added their names to supporters of a candlelight vigil in Washington D.C., along with those of actor Eli Wallach, playwright Arthur Miller and novelist William Styron. But there were no more overtly political appearances like the John Sinclair Freedom Rally. On Wildes’s advice, the film Yoko had made of that event, ‘Ten for Two,’ was shelved indefinitely.” In a 1975 interview for ‘Rolling Stone’ magazine, Lennon said, “there’s no denying it. In ’72, it was really gettin’ to me. Not only was I physically having to appear in court cases, it just seemed like a toothache that wouldn’t go away… there was a period where I just couldn’t function, you know? I was so paranoid from them tappin’ the phone and followin’ me. How could I prove that they were tappin’ me phone? There was a period when I was hangin’ out with a group called Elephant’s Memory. And I was ready to go on the road for pure fun. I didn’t want to go on the road for money. That was the time when I was standing up in the Apollo with a guitar at the Attica relatives’ benefit or ending up on the stage at the John Sinclair rally. I felt like going on the road and playing music. And whatever excuse – charity or whatever – would have done me. But they kept pullin’ me back into court! I had the group hangin’ ’round, but I finally had to say, ‘Hey, you better get on with your lives.’ Now, the last thing on earth I want to do is perform. That’s a direct result of the immigration thing. I learn things I didn’t know anything about. I didn’t know about Strom Thurmond. I had no idea – I mean I knew something was going on, but I didn’t have any names. I’m just left in the position of just what am I supposed to do? There doesn’t seem to be anything I can do about it. It’s just… bloody crazy. I’m even nervous about commenting on politics. They’ve got me that jumpy these days.”

If it was an aim of the authorities to entangle Lennon in a time-consuming, stressful and intimidating deportation battle in order to prevent him from fully engaging himself in campaigns that highlighted the injustices of the U.S. government, then it would appear to have worked beautifully.

However, despite the insurmountable odds stacked against him, Lennon finally won his immigration fight in 1975 and was eventually given a much-prized Green Card, which automatically certified him as a fully fledged permanent U.S. resident. The result came just months after Lennon’s nemesis, Richard Nixon had been forced out of the Whitehouse following his resignation in the wake of the ‘Watergate’ scandal. His successor and former vice-President, Gerald Ford, appeared to show little interest in continuing the deportation campaign against the ex-Beatle.

Lennon was at a crossroads in his life. Not only had he been freed from his ongoing immigration battle, but the pressure of having to record music too. In 1976, the EMI contract he had signed at the beginning of his recording career with The Beatles had expired. He did not renew it. Instead, he turned his back on the music industry and stepped away from public view.

He eventually returned to the limelight in 1980 with ‘Double Fantasy’, his first studio album since ‘Rock ‘n’ Roll’ in 1975. The time-period separating these two recorded works was marked by change and uncertainty within the American political landscape and, according to a number of researchers, was also a direct influence on the life of John Lennon, possibly providing clues as to the identity of those behind his killing. Indeed, on closer inspection, it would appear that particular episodes in the remaining five years of Lennon’s life ran in parallel with decisive moments in U.S. politics. For example, when the former Beatle initially began his self-imposed hiatus in 1975, Gerald Ford was in the Whitehouse. However, within a year of Lennon’s retreat from public life, Ford also withdrew into the background after his defeat at the hands of Democrat Jimmy Carter in the 1976 Presidential elections. In his article, ‘Who Authorized the Assassination of John Lennon?‘, researcher Mark R. Elsis states that the Republican Party’s exit from government also appeared to mark the end of the secret surveillance on Lennon. He writes, “the forces that tried desperately to neutralize John Lennon for at least seven years lost power in November of 1976. The Lennon’s government dossier ends in that year.” John and Yoko’s attendance at Carter’s inaugural party in early 1977 suggests that the couple were happy to be seen openly celebrating the Democrats’ victory against “those (Republican) forces.” However, according to Elsis, those very same “forces” staged a successful comeback in 1980 thanks to Republican Ronald Reagan’s victory over Jimmy Carter in the U.S. Presidential elections that November – just two weeks before Lennon formally launched his very own comeback with the release of ’Double Fantasy.’ Reagan’s running-mate in the election (and his subsequent Vice-President) was Hinckley family friend, George H.W. Bush, who just so happened to be director of the C.I.A. during the final year of Ford’s tenure at the Whitehouse (when Lennon’s reported “government dossier” was still open). In 1981, Reagan’s campaign manager during the 1980 election, William Casey, became C.I.A. head.

Some researchers argue it was the timing of Lennon’s comeback that ultimately cost him his life. For example, author Fenton Bresler writes, “Lennon, the politically most active Rock star of his generation, was shot dead outside his home by a killer who was merely a tool, a human gun used and controlled by others to destroy a uniquely powerful radical figure who was likely to prove a rallying point for mass opposition to the policies soon to be implemented, both at home and abroad, by the new United States government headed by Ronald Reagan. There is no evidence whatsoever that Mr Reagan knew or had anything to do with such a deadly scheme; but it is an undoubted fact that… everyone knew he had the most determinedly reactionary programme of an American leader for many years.”

Was Lennon planning to pick up where he left off in 1972? Was he poised to take on the role of Pop Radical once again? After all, he was no longer forced to keep silent by the threat of deportation, and, recollections made by Yoko since John’s death to author and researcher, Jon Wiener, appear to suggest that he was indeed heading back in this direction, and all seemingly sparked by a call for help from one of Ono’s cousins.

In late November 1980, Shinya Ono was an L.A.-based union shop-steward representing striking workers at the ‘Japan Foods Corporation,’ a subsidiary of the Japanese multinational ‘Kikkoman.’ He contacted the Lennons and persuaded them to make a public statement addressed to the striking workers, which they did:

“We are with you in spirit.… In this beautiful country where democracy is the very foundation of its constitution, it is sad that we have to still fight for equal rights and equal pay for the citizens. Boycott it must be, if it is the only way to bring justice and restore the dignity of the constitution for the sake of all citizens of the US and their children.

“Peace and love, John Lennon and Yoko Ono. New York City, December, 1980.”

In his 1984 book, ‘Come Together – John Lennon in His Time,’ Wiener writes, “John and Yoko asked Shinya whether there were any plans for a big rally or march. ‘If so,’ they told him, ‘we’ll come out to help, and bring the kid.’ The plans were made for a march and rally in San Francisco the week of December 8th, and John, Yoko, and Sean got their plane tickets. ’John was very happy to do this,’ Yoko explained later, ‘because John had a son who was half Oriental. So he was envisioning carrying Sean at the march and rally.’ The Los Angeles strikers planned a rally to coincide with the one in San Francisco and asked for a statement addressed to them that they could read at theirs. John and Yoko made arrangements to call Nobu Kurasako, one of the strikers, with their new statement on December 8th. He waited at home all day.”

Lennon’s famous outspokenness was as prevalent as ever in the various radio and magazine interviews he undertook in the months and days leading up to his death, perhaps making any potential (or alleged) conspirator slightly uncomfortable in the process. Speaking to David Sheff of ‘Playboy’ magazine in September 1980, he said, “we must always remember to thank the C.I.A. and the Army for L.S.D. That’s what people forget. Everything is the opposite of what it is, isn’t it…? So get out the bottle, boy – and relax. They invented L.S.D. to control people and what they did was give us freedom. Sometimes it works in mysterious ways its wonders to perform.” It’s possible Lennon was referring to claims that the 1960s ‘Flower Power’ era was actually a contrived and covert C.I.A. operation to corrupt and destabilise an entire generation through the mass distribution of L.S.D., helped along by such “gurus” as alleged CIA agent (and psychiatric professor at Harvard University), Timothy Leary, who called on his Hippy followers to, “turn on, tune in and drop out,” and Ken Kesey, who took part in MK-ULTRA/L.S.D. experiments for the C.I.A. and later became known for his book and subsequent Hollywood hit, ’One Flew Over the Cuckoo’s Nest.’ A number of researchers believe Rock stars of the time, such as The Beatles, The Rolling Stones, and The Grateful Dead were willing participators in the conspiracy. Were Lennon’s ‘Playboy’ comments perhaps some form of veiled confession?

The idea that Government, the military and intelligence agencies command any significant influence over the entertainment industry is not as far-fetched as it may seem. After all, it’s a widely known fact those within the Halls of Power during World War II encouraged movie producers, directors, and writers to create propaganda films that would both bolster the image of their respective nations and armed forces, whilst also boosting the morale of cinema-going civilians and servicemen alike. In America, this was implemented through the government’s ’Office of War Information’ which worked closely with Hollywood studios, most notably, ’Disney,’ which constructed four separate divisions to deal with specific areas (’Navy’, ’Air Force’, Treasury’ and ’Propaganda’).

In Great Britain, a similar effort was adopted by the Ministry of Information via the ‘Crown Film Unit.’ What is perhaps less well known is that this relationship is as strong as ever (if not, stronger). In his book, ‘Operation Hollywood: How the Pentagon Shapes and Censors the Movies,’ author and journalist, David L. Robb reports that Hollywood producers and directors have altered plots and storylines of movies in line with Pentagon directives in exchange for substantial financial and technical help. Robb claims there are “thousands of pages” of Hollywood/Pentagon documents reaching back to the 1950s, clearly showing military involvement in the making of movies and TV shows. Speaking at a live presentation in Hollywood in May 2004, he said, “just about ten miles down the road… there’s a big tall office building, and on the 11th floor is an entire floor housing the army, navy, air-force, marine corp. and coastguard film offices where it’s staffed with people who do nothing but look at movie scripts and television scripts, and with their little green pencils and marking, taking things out and putting things in, and if you want the military’s airplanes and ships and helicopters and tanks, you have to do what they say… and then, they assign a ‘minder’ to be on the set at all times to make sure that you shot the sequence, the military sequence exactly as you agreed to do it. The military’s not the only one that has film offices. The State Department has a film office, the C.I.A. has a film office, they all try to influence the images that you see in motion pictures and television shows. But the military’s the only one that has leverage. They have the tanks, the planes, the guns, the locations, the personnel, the ‘stuff’. The C.I.A., all they have is a symbol on the floor that they’ll let you come in and shoot that, but otherwise, they don’t have anything to bribe film-makers with. There’s one top army major, David Georgei, who’s been an army minder on numerous films, said that, ‘if they don’t do what I say, I just take my toys and go home’… they can shut down a film’s production, it can cost them millions of dollars, it can be a big mess.”

Robb claims the Pentagon’s influence on movie-making has seriously affected a number of films based on historical events, replacing accurate facts with less truthful interpretations more sympathetic and supportive of the military’s image. In his book, Robb offers up the movie docu-drama, ‘Thirteen Days’ as one of many examples. The film, released in 2000 and starring Kevin Costner, charts the events surrounding the 1962 Cuban Missile Crisis from the perspective of the U.S. political leadership, and, most notably, President John F. Kennedy and his brother, Robert, who was Attorney General at the time. Robb states the Pentagon was not pleased with the movie’s portrayal of Air Force General Curtis LeMay, describing it as “bellicose” and called for it to be changed. Producer Peter Almond refused, and the film went on without Pentagon assistance. Commenting on his experiences in Robb’s book, Almond says, “there’s a kind of devil’s brew. The problem … with these big-scale projects that involve military assets is that we’re kind of dependent on them for comparatively inexpensive use of the assets in making our stories. So they have us kind of over a barrel.”

Phil Strub, the civilian in charge of the Pentagon’s Film Liaison Office, appears to support Almond’s view that an element of mutual understanding exists between Hollywood and the military, but dismisses claims made by Robb and others that the Pentagon is actively involved in censoring content and obfuscating certain information from reaching mass public awareness, such as embarrassing and shameful moments in American history. He says, “Hollywood wants something from us… We negotiate and if they don’t like our suggestions, they make the film without us.” However, in a 2004 interview, he was candid enough to reveal that the Pentagon’s involvement in movies is, “an opportunity to increase the public’s awareness of what the military does and as a by-product of that a chance to increase recruitment and retention of troops.” This is echoed by Robb, who claims the Pentagon’s promotion of military life through movies and TV is designed to attract the attention of all age groups and a variety of social backgrounds. Robb says, “the military even targets children. They’ve re-written and censored episodes of ‘Lassie,’ ‘The Mickey Mouse Club’… I’ve got documents on ‘The Mickey Mouse Club’ and ‘Lassie’ that they changed them to make the military more attractive to children. A good example of this targeting of children occurred in 1980 during the making of ‘The Right Stuff,’ a great movie about the early days of the space-race. The original script had, was filled with vulgarity and cussing and foul language and an air-force colonel who was the head of the Public Affairs Office of the Air Force’s Los Angeles office wrote a letter to the film’s producer expressing his concern that unless the film’s producers cleaned up the language, it would receive an R rating meaning that no one under 17 would be admitted unless accompanied by a parent. He wrote in a document…, ‘the obscene language used seems to guarantee an R rating. If distributed as an R, it cuts down on the teenage audience, which is a prime one to the military services when recruiting bills are considered.’ So… the producers needed their ‘stuff’, so they cut the language and it got a PG rating and lots of kids got to see the movie. For people who’re too old to be recruited – people like me… they have a term… called, ‘Influencers.’ They try to influence us so that we will influence… our nephews, our sons and daughters…. They also try to influence Congress… one of the chief minders for the Army Film Office, told me that they target these films to Congress because Congressmen, he says, go to movies too. When they see positive images of the military, they’re more likely to spend $500 billion a year to fund the military.”

In 2004, Robb claimed hundreds of films went through the military’s approval process from the 1950s onwards, “leaving the Pentagon’s cutting-room floor a graveyard of cut scenes and dialogue and entire movies… have not been made because they couldn’t get military co-operation.” He also expressed his own personal fears, implying that the Pentagon’s relationship with Hollywood writers and directors resulted in a suppression of free speech and an infringement of the First Amendment. Robb appeared to be left in no doubt that, “the military likes to control information and the images,” adding that, “the control of News is very disturbing because we expect to get News that is not censored by the military, but I think it’s equally troubling when the military is controlling art, and I believe that film and television is art, even though some of it is bad art, it’s still art, and when the military’s controlling art, and the viewers don’t even know that they’re being manipulated, it’s very disturbing.”

The relationship between Hollywood and the Pentagon continues to this day. For example, according to the official website of the ‘United States Air Force Entertainment Liaison Office,’ recently supported movie projects have included ‘Iron Man 2,’ ‘Transformers’, ‘Terminator Salvation’ and the TV show, ‘Stargate Universe.’ Meanwhile, a link provided on the website opens up to show contact addresses and phone numbers for public affairs and “entertainment liaison/media” offices in the Pentagon, army, navy, and marine corps that offer, “information regarding U.S. military assistance in producing feature motion pictures, television shows, documentaries, music videos, commercial advertisements, CD-ROM games, and other audiovisual programs.”

In December 2010, a U.S. State Department cable dated from October 2007 was leaked to the press detailing government efforts to form a working partnership with the Bollywood film industry in order to deliver “an anti-terrorism message” to Muslims living in the U.K. According to the cable sent by the U.S. Embassy in London, “Bollywood actors and executives agreed to work with the U.S. government to promote anti-extremist messages through third party actors and were excited about the idea of possibly partnering with Hollywood as well.” The idea was discussed with Farah Pandith during her visit to the UK in 2007 when she was serving in the role of senior advisor to the U.S. assistant secretary of state for European and Eurasian Affairs. Pandith was reported to have spent time during her tour in discussions with civil society experts, members of the Muslim community and “a cross section of the South Asian community working in film.”

Although there is ample evidence to show that the movie industry and Government have enjoyed a long, successful era of co-operation, there have also been moments of turbulence. In 1938, the investigative committee of the United States House of Representatives formed the House Committee on Un-American Activities (H.U.A.C). In that same year, it published a report stating that Communism was pervasive in Hollywood. This view was one echoed by Walt Disney who, in 1941, publicly proclaimed that “Communist agitation” was the main cause of a strike at his studios by animators and cartoonists. He also went on to co-found the ‘Motion Picture Alliance for the Preservation of American Ideals’ (M.P.A.), an organisation which waged public war against Communism and Fascism in movies. The high-profile membership included, Clark Gable, Gary Cooper, Cecil B. DeMille, and John Wayne.

Anti-Communist sentiment in the U.S. reached a peak in the years following the end of World War II as America and Russia jostled for prominence on the world stage in their new roles as “Super Powers.” Meanwhile, the H.U.A.C. was as busy as ever investigating alleged Communist activities in Hollywood. In 1947, a small group of screenwriters, producers, and directors nicknamed the “Hollywood Ten” were charged with contempt of congress by the H.U.A.C. after they refused to answer questions before the committee, citing their First Amendment rights to freedom of speech. In 1950, they were each sentenced to a year in prison, although one of the ten, director Edward Dmytryk, was released early after making the decision to testify again. He appeared before the committee in April 1951 where he answered all the questions put before him, claiming that he’d been pressured to include Communist propaganda in his films by three of the Hollywood Ten. He also spoke of his own Communist past. His testimony damaged several court cases that some of the remaining nine had filed, and following their eventual release from prison, a number of them experienced years of difficulty finding work in the American film and TV industry, their names having been effectively blacklisted by studio bosses. As a result, some were forced to take on a pseudonym or the name of a friend so that they could continue to write for Hollywood without fear of discovery or reprisal.

As investigations into alleged Communist activities continued, so did the blacklisting of actors, directors, producers and screenwriters. Some of those subjected to scrutiny included members of The Committee for the First Amendment (C.F.A.), which was an action group in support of the Hollywood Ten and mainly comprised of famous figures from the movie industry including, Henry Fonda, Gene Kelly, John Huston, Judy Garland, Groucho Marx, Frank Sinatra, William Wyler, and Katherine Hepburn. The C.F.A. was investigated by the H.U.A.C. which led to a number of it’s members being quizzed before the committee, such as screen legend, Edward G. Robinson (who later cleared his name after revealing the identities of a number of Hollywood based Communist sympathisers), lyricist, Ida Gershwin, and John Garfield, an actor who refused to name Communist Party members or followers, testifying that he knew none in the film industry. He was subsequently blacklisted and barred from future employment as an actor by Hollywood studio bosses for the remainder of his career. Some claim his early death from a heart attack at the age of 39 was brought on by the stress of his blacklisting.

Movie actors, Lauren Bacall and Humphrey Bogart leading the charge against Hollywood censorship at a special meeting in Washington D.C.

One of the most active members of the C.F.A. was Humphrey Bogart, but, the negative publicity generated from his involvement eventually led to him writing an article for the March 1948 edition of ‘Photoplay’ under the title of, ‘I’m No Communist’ in which he distanced himself from the Hollywood Ten claiming that, “the ten men cited for contempt by the House Un-American Activities Committee were not defended by us.” He also noted that he was unaware a number of the Hollywood Ten were in fact Communists. Interestingly, Bogart had been interviewed, and eventually cleared by the H.U.A.C., back in 1941 following the confession of John L. Leech, a former Communist Party member who made a private confession to then-H.U.A.C. head, Martin Dies, Jr. in which he named a number of Communist supporters working in the movie industry, including Bogart. The secret testimony made it to the press and the legendary actor was named alongside a number of other well known figures including James Cagney.

The anti-Communist drive significantly altered the life of British-born Charlie Chaplin who had been a resident of the United States from 1914 to 1953. Accusations of “un-American activities” and pro-Communist sentiments were thrown at the actor and director who was effectively blacklisted as a result. He was also being monitored by the F.B.I., and when he decided to visit London for the premiere of his movie, ‘Limelight’ in 1952, the agency’s head, J. Edgar Hoover negotiated with the ‘Immigration and Naturalization Service’ to revoke his re-entry permit. Chaplin decided not to fight this decision and spent the remainder of his life living in Switzerland, although he did briefly return to the U.S. in 1972 to receive an honorary Oscar. By this time, the blacklist drive had long lost it’s momentum and many powerful, influential players within the Hollywood system had turned their backs on it, once again hiring screenwriters, actors, composers, and musical directors that had previously been left out in the cold. Despite years of effort, it appears that little, if any solid evidence was ever found to prove that Hollywood was actively involved in secretly disseminating Communist propaganda in it‘s movies and TV shows.

Some within the Hollywood system refused to fall victim to the H.U.A.C’.s fading power choosing instead to continue their anti-Communism campaign independently. One such figure was Myron C. Fagan, an American writer, producer and director for film and theatre who claimed he was approached by author and journalist, John T. Flynn in 1945 and shown confidential documents of secret meetings held at the Yalta conference in the dying days of World War II between President Franklin D. Roosevelt, and General Secretary Joseph Stalin, and which sketched out a plot to hand over the Balkans, Eastern Europe and Berlin to Russia. Fagan later wrote about these startling claims in the plays, ‘Red Rainbow’ and ‘Thieves Paradise,’ the latter also telling the story of how the U.S. and Russia created the United Nations as a Communist front for a New World Order.

Fagan later withdrew from movie and theatre production and dedicated more of his time and energy to speaking out and campaigning against Communism. In 1967 and 1968, he elaborated on the themes explored in ‘Thieves Paradise’ with a triple LP spoken word recording titled, ‘The Illuminati and the Council on Foreign Relations,’ in which he warns his listeners about a secret plot to bring about a One World dictatorship. Featured below are excerpts from the recording, in which he describes how this nefarious and “Satanic” plan was instigated by the powerful Rothschild banking family back in the 1700s when they enlisted a Catholic priest by the name of Adam Weishaupt to form the notorious ‘Illuminati’:

That was the day, May 1, 1776, that Weishaupt completed his plan and officially organised the Illuminati to put the plan into execution. That plan required the destruction of all existing governments and religions. That objective was to be reached by dividing the masses of people, whom he Weishaupt, termed: “goyism” or human cattle into opposing camps in ever increasing numbers on political, social, economic, and other issues – the very conditions we have in our country today.

The opposing sides were then to be armed and incidents provided which would cause them to fight and weaken themselves and gradually destroy national governments and religious institutions. Again I say, the very conditions in the world today.

He then established Lodges of the Grand Orient; Masonic Lodges to be their secret headquarters… in all of this he was acting under orders from the House of Rothschild. The main features of the Weishaupt plan of operation required his Illuminati to do the following things to help them to accomplish their purpose:

Use monetary and sex bribery to obtain control of men already in high places in the various of levels of all governments and other fields of endeavour. Once influential persons had fallen for the lies, deceits, and temptations of the Illuminati they were to be held in bondage by application of political and other forms of blackmail, threats of financial ruin, public exposure, and fiscal harm, even death to themselves and loved members of their families.

Naturally, the Rothschilds financed that operation and every war since then, beginning with the French Revolution, has been promoted by the Illuminati operating under various names and guises. I say under various names and guises because after the Illuminati was exposed and became notorious, Weishaupt and his co-conspirators began to operate under various other names.

One branch of the Rothschild family had financed Napoleon; another branch of the Rothschilds financed Britain, Germany, and the other nations in the Napoleonic wars.

Immediately after the Napoleonic wars, the Illuminati assumed that all the nations were so destitute and so weary of wars that they’d be glad for any solution, so the Rothschild stooges set up what they called the Congress of Vienna and at that meeting they tried to create the first League of Nations, their first attempted one-world government, on the theory that all the crowned heads of European governments were so deeply in debt to them that they would willingly or unwillingly serve as their stooges.

But the Czar of Russia caught the stench of the plot and completely torpedoed it. The enraged Nathan Rothschild, then the head of the dynasty, vowed that some day he or his descendants would destroy the Czar and his entire family, and his descendants did accomplish that very threat in 1917.

At this point, bear in mind that the Illuminati was not set up to operate on a short-range basis. Normally a conspirator of any type enters into a conspiracy with the expectation of achieving his objective during his own lifetime. But that was not the case with the Illuminati. True, they hoped to accomplish their objective during their lifetime, but paraphrasing “The show must go on,” the Illuminati operates on the very long-range basis. Whether it will take scores of years or even centuries, they have dedicated their descendants to keep the pot boiling until they hope the conspiracy is achieved.

Illuminati and the faculties of colleges and universities were to cultivate students possessing exceptional mental ability belonging to well-bred families with international leanings and recommend them for special training in internationalism. Such training was to be provided by granting scholarships to those selected by the Illuminatists.

That disastrous rebuff at the Congress of Vienna created by the Czar of Russia, Alexander I, did not by any means destroy the Illuminati conspiracy. It merely forced them to adopt a new strategy realizing that the one-world idea was, for the moment, killed. The Rothschilds decided that to keep the plot alive they would have to do it by heightening their control of the money system of the European nations.

Earlier; by a ruse the outcome of the Battle of Waterloo had been falsified, Rothschild had spread a story that Napoleon had one bad battle which precipitated a terrific panic on the stock market in England. All stocks had plummeted down to practically zero and Nathan Rothschild bought all the stocks for virtually a penny on its dollar values.

That gave him complete control of the economy of Britain and virtually of all Europe. So immediately after that Congress in Vienna had boomeranged; Rothschild had forced Britain to set up a new “Bank of England” which he had absolute control exactly, as later through Jacob Schiff; he engineered our own “Federal Reserve Act” which gave the House of Rothschild a secret control of the economy in the United States. But now for a moment; let’s dwell on the activities of the Illuminati in the United States.

Myron C. Fagan

In the early 1850’s; the Illuminati held a secret meeting in New York which was addressed by a British Illuminist named Wright. Those in attendance were told that the Illuminati was organizing to unite the Nihilist and Atheist groups with all other subversive groups into an international group to be known as Communists. That was when the word: “Communist” first came into being and it was intended to be the supreme weapon and scare word to terrify the whole world and drive the terrorized peoples into the Illuminati one-world scheme.

This scheme: “Communism,” was to be used to enable the Illuminati to foment future wars and revolutions. Clinton Roosevelt, a direct ancestor of Franklin Roosevelt; Horace Greeley; and Charles Dana; foremost newspaper publishers of that time were appointed to head a committee to raise funds for the new venture. Of course, most of the funds were provided by the Rothschilds and this fund was used to finance Karl Marx and Engels when they wrote ‘Das Kaptial’ and the ‘Communist Manifesto’ in Soho, England. And this clearly reveals that Communism is not a so-called ideology, but a secret weapon; a bogy man word to serve the purpose of the Illuminati.

Weishaupt died in 1830; but prior to his death, he prepared a revised version of the age-old conspiracy, the Illuminati, which under various aliases was to organize, finance, direct, and control all international organisations and groups by working their agents into executive positions at the top.

In addition, while Karl Marx was writing the ‘Communist Manifesto’ under the director of one group of Illuminists, Professor Karl Ritter of Frankfurt University was writing the antithesis under the direction of another group.

The idea was that those who direct the overall conspiracy could use the differences in those two so-called ideologies to enable them to divide larger and larger members of the human race into opposing camps so that they could be armed and then brainwashed into fighting and destroying each other. And particularly, to destroy all political and religious institutions.

The work Ritter started was continued after his death and completed by the German so-called philosopher Freidrich Wilhelm Nietzache who founded Nietzscheanism. This Nietzecheanism was later developed into Fascism and then into Nazism and was used to foment World War I and II.

Shortly after the (U.S.) Civil War; a young immigrant, who called himself Jacob H. Schiff, arrived in New York. Jacob was a young man with a mission for the House of Rothschild. Jacob was the son of a Rabbi who was born in one of the Rothschild’s houses in Frankfurt, Germany.

I will not go deeply into his background. The important point was that Rothschild recognized in him not only a potential money wizard; but more important, he also saw the latent Machiavellian qualities in Jacob that could, as it did, make him an invaluable functionary in the great one-world conspiracy.

After a comparatively brief training period in the Rothschild’s London Bank; Jacob left for America with instructions to buy into a banking house which was to be the springboard to acquire control of the money system of the United States.

So even before the outbreak of World War I, the conspirators had a plan in the making to carry out Nathan Rothschild’s vow of 1814 to destroy the Czar and also murder all possible royal heirs to the throne and it would have to be done before the close of the war. The Russian Bolsheviks were to be their instruments in this particular plot. From the turn of the century; the chiefs of the Bolsheviks were Nicolai Lenin, Leon Trotsky, and later Joseph Stalin.

Of course, those were not their true family names. Prior to the outbreak; Switzerland became their haven. Trotsky’s headquarters was on the lower East Side in New York; largely the habitat of Russian-Jewish refugees. Both Lenin and Trotsky were similarly bewhiskered and unkempt. In those days, that was the badge of Bolshevism. Both lived well yet neither had a regular occupation.

Neither had any visible means of support, yet both always had plenty of money. All those mysteries were solved in 1917. Right from the outset of the war; strange and mysterious goings on were taking place in New York. Night after night; Trotsky darted furtively in and out of Jacob Schiff’s palace mansion and in the dead of those same nights there were a gathering of hoodlums of New York’s lower East Side. All of them Russian refugees at Trotsky’s headquarters and all were going through some mysterious sort of training process that was all shrouded in mystery. Nobody talked; although it did leak out that Schiff was financing all of Trotsky’s activities.

Then suddenly Trotsky vanished and so did approximately 300 of his trained hoodlums. Actually they were on the high seas in a Schiff-chartered ship bound for a rendezvous with Lenin and his gang in Switzerland. And also on that ship was $20,000,000 in gold; the $20,000,000 was provided to finance the Bolsheviks takeover of Russia.

Now my chief objective is to establish beyond even a remote doubt that Communism, so-called, is an integral part of the Illuminati great conspiracy for the enslavement of the entire world. That communism, so-called, is merely their weapon and bogy man word to terrify the peoples of the whole world and that the conquest of Russia and the creation of communism was, in great part, organized by Schiff and the other international bankers right in our own city of New York.

A fantastic story? Yes. Some might even refuse to believe it. Well; for the benefit of any doubting Thomas I will prove it by reminding that just a few years ago Charlie Knickerbocker, a Hearst newspaper columnist, published an interview with John Schiff, grandson of Jacob, in which young Schiff confirmed the entire story and named the figure old Jacob contributed, $20,000,000.

If anybody still has even a remote doubt that the entire menace of communism was created by the masterminds of the great conspiracy right in our own city of New York; I will cite the following historical fact: All records show that when Lenin and Trotsky engineered the capture of Russia; they operated as heads of the Bolsheviks party. Now “Bolshevism” is a purely Russian word.

The masterminds realized that Bolshevism could never be sold as an ideology to any but the Russian people. So in April 1918; Jacob Schiff dispatched Colonel House to Moscow with orders to Lenin, Trotsky, and Stalin to change the name of their regime to the Communist Party and to adopt the Karl Marx “Manifesto” as the constitution of the Communist Party. Lenin, Trotsky, and Stalin obeyed; and in that year of 1918 was when the Communist party and the menace of Communism came into being. All this is confirmed in Webster’s Collegiate Dictionary, Fifth Edition.

In short; Communism was created by the Capitalists. Thus; until November 11, 1918, the entire fiendish plan of the conspirators worked perfectly. All the great nations, including the United States, were war-weary, devastated, and mourning their dead. Peace was the great universal desire. Thus when it was proposed by Wilson to set up a “League of Nations” to ensure peace; all the great nations, with no Russian Czar to stand in their way, jumped on that bandwagon without even stopping to read the fine print in that insurance policy.

That is; all but one: the United States, the very one that Schiff and his co-conspirators least expected would balk and that was their one fatal mistake in that early plot. You see; when Schiff planted Woodrow Wilson in the White House; the conspirators assumed that they had the United States in the proverbial bag.

In short; Schiff was kept so busy… that he completely overlooked the supreme job of acquiring complete control of our mass communications media. That oversight was a direct cause for Wilson’s failure to lure the United States into the “League of Nations” because when Wilson decided to go to the people to overcome the opposition of the Lodge-controlled Senate; despite his established, but phoney reputation as a great humanitarian, he found himself faced by a solidly united people and by a loyal press whose only ideology was “Americanism” and the American way of life.

Of course that debacle was a terrible disappointment to the masterminds of the Illuminati conspiracy; but they were not discouraged. As I have previously stressed, this enemy never quits; they simply decided to reorganize and try from scratch again. By this time Schiff was very old and slow. He knew it. He knew that the conspiracy needed a new younger and more active leadership.

So on his orders; Colonel House and Bernard Barouk organized and set up what they called the “Council on Foreign Relations;” the new name under which the Illuminati would continue to function in the United States.

Now there were many jobs the new C.F.R. had to accomplish. They required much help.

Simultaneously; the Rothschilds set up similar C.F.R.-like control groups in England, France, Germany, and other Nations to control world conditions and cooperate with the C.F.R. to bring about another world war. But the C.F.R.’s first and foremost job was to get complete control of our mass communications media.

The control of the press was assigned to Rockefeller. Thus; Henry Luce was financed to set up a number of national magazines, among them ‘Life,’ ‘Time,’ ‘Fortune,’ and others… They also financed a man named Sam Newhouse to buy up and build a chain of newspapers all over the country. And the late Eugene Myer, one of the founders of C.F.R., bought the ‘Washington Post,’ ‘Newsweek,’ the ‘Weekly magazine,’ and other publications.

To the Lehmans, Goldman-Sachs, Kuhn-Loebs, and the Warburgs; the C.F.R. assigned the job of getting control of the motion picture industry, Hollywood, radio, and television; and believe me they succeeded.

If you wonder about all the smut, sex, pornography, and mixed marriage films you see in your movie theatre and on your television set (all of which is demoralising our youth); you now have the answer.

Now to refresh your memory, let’s go back for a moment. Wilson’s flop had torpedoed all chances of transforming that League of Nations into what the conspirators had hope for, a one-world government housing. So the Jacob Schiff plot had to be done all over again and they organized the C.F.R. to do it.

But, as was the case with the Schiff plot; the climax and the creation of a new housing for their one world government required another world war. A war that would be even more horrible and more devastating than the first world war in order to get the people of the world to again clamour for peace and a means to end all wars. But the C.F.R. realized that the aftermath of World War II would have to be more carefully planned so that there would be no escape from the new one-world trap – another “League of Nations” that would emerge from the new war. The trap we now know as the “United Nations” and they hit upon a perfect strategy to ensure that no one escaped. Here is how they did it.

In 1943, in the midst of the war, they prepared the framework for the United Nations and it was handed over to Roosevelt and our State Department…

Then to fix our parenthood; New York City was to become the nursery for the monstrosity. After that we could hardly walk out on our own baby now could we? Anyway; that’s how the conspirators figured it would work and so far it has. The liberal Rockefeller donated the land for the United Nations’ building.

The United Nations’ charter was written by Alger Hess, and other C.F.R. stooges. A phoney, so-called, U.N. conference was set up in San Francisco in 1945. All the, so-called, representatives of 50-odd Nations gathered there and promptly signed the Charter and the despicable traitor, Alger Hess, flew to Washington with it; elatedly submitted it to our Senate, and the Senate (elected by our people to safeguard our security) signed the Charter without so much as reading it. The question is: “How many of our Senators were even then traitorous stooges of the C.F.R.?” Anyway; it was thus that the people accepted the “United Nations” as a “holy of holies.”

In the final phases of the conspiracy; the one-world government will consist of the king-dictator; the head of the United Nations, the C.F.R., and a few billionaires, economists, and scientists who have proved their devotion to the great conspiracy. All others are to be integrated into a vast conglomeration of mongrolised humanity; actually slaves.

As far-fetched as Fagan’s account of recent world history might appear, it is a viewpoint which has been shared in whole or in part (and in some cases, corroborated) by a number of significant and prominent figures. Writing in the ‘Illustrated Sunday Herald‘ in February 1920, Winston Churchill states, “from the days of Spartacus-Weishaupt to those of Karl Marx, and down to Trotsky (Russia), Bela Kun (Hungary), Rosa Luxembourg (Germany), and Emma Goldman (United States)… this worldwide conspiracy for the overthrow of civilisation and for the reconstitution of society on the basis of arrested development, of envious malevolence, and impossible equality, has been steadily growing. It has been the mainspring of every subversive movement during the 19th century; and now at last this band of extraordinary personalities from the underworld of the great cities of Europe and America have gripped the Russian people by the hair of their heads and have become practically the undisputed masters of that enormous empire.” In 1798, U.S. President George Washington wrote, “it was not my intention to doubt that, the Doctrines of the Illuminati, and principles of Jacobinism had not spread in the United States. On the contrary, no one is more truly satisfied of this fact than I am.” Furthermore, some of the names linked to the C.F.R. conspiracy in Fagan’s recordings have been corroborated by closely connected sources. For example, in his 1968 book, ‘My Exploited Father-in-Law,’ Franklin D. Roosevelt’s son-in-law, Curtis B. Dall writes, “for a long time I felt that F.D.R. had developed many thoughts and ideas that were his own to benefit this country, the United States. But, he didn’t. Most of his thoughts, his political ammunition, as it were, were carefully manufactured for him in advanced by the Council on Foreign Relations-One World Money group. Brilliantly, with great gusto, like a fine piece of artillery, he exploded that prepared ‘ammunition’ in the middle of an unsuspecting target, the American people, and thus paid off and returned his internationalist political support.” However, of all the names pinpointed in Fagan‘s analysis, it is perhaps that of the multi-millionaire Rockefeller family which is the most revealing. Instead of denying the age-old allegations, John Rockefeller, sr. has gone on the record to confirm them. In his 2002 book, ‘Memoirs,’ he acknowledges that, “for more than a century ideological extremists at either end of the political spectrum have seized upon well-publicised incidents such as my encounter with Castro to attack the Rockefeller family for the inordinate influence they claim we wield over American political and economic institutions.” He then continues, “some even believe we are part of a secret cabal working against the best interests of the United States, characterising my family and me as ‘internationalists’ and of conspiring with others around the world to build a more integrated global political and economic structure – one world, if you will. If that’s the charge, I stand guilty, and I am proud of it.”

Fagan leaves little room for doubt in his recordings as to how this long-term, monumental conspiracy has been kept a secret from the mass population…

“The reason for this unawareness of the frightening danger to… the entire free world is simple. The masterminds behind this great conspiracy have absolute control of all of our mass communications media, especially television, the radio, the press, and Hollywood.”

It’s claimed these “masterminds” hide clues of their deceit in plain sight via the use of symbols and logos in music-videos, album-sleeves, and countless Hollywood movies.

Below, are just a few typical examples (although there are many more)…


Perhaps the most commonly recognised symbol of all, it is one of many that hark back to the days of ancient Egypt, an era and a culture that those in the Hidden Halls of Power are said to treat with the utmost reverence.

One particular pyramid depiction has attracted more attention than others when subjects linked to the Illuminati, secret societies and world domination are discussed, namely, the Great Seal of the United States…

The project to create the Great Seal was launched on July 4th 1776, the very same day independence from Great Britain was declared by a convention of delegates from the Second Continental Congress of the 13 North American colonies, which was the governing body of the United States during the American Revolution. The purpose for the Seal was to provide this new-born nation with an official symbol of sovereignty to sign and authenticate international treaties and transactions.

First publicly used in 1782, the double-sided seal displays two separate symbols for each side respectively. The obverse side is adorned with the depiction of an eagle clutching an olive branch in one talon and spears in another and is widely used to authenticate certain documents by the U.S. federal government such as passports and driving licences. It can also be seen in military insignia and various flags.

The pyramid appears on the reverse-side and was principally designed by lawyer, scholar and artist, William Barton – although his work was initially inspired by author (and fellow countryman) Francis Hopkinson who also helped design the American flag and was one of the signers of the Declaration of Independence. Final work on the pyramid was undertaken by Charles Thomson who was then Secretary of the Continental Congress.

Despite keeping faithful to the general theme of Barton’s pyramid design, Thomson did make some small, but perhaps, significant changes. He omitted two mottos that Barton had added for inclusion and replaced them with his own selection instead. Barton’s, “Deo Favente” (“God Favouring”) and “Perennis” (“Everlasting”) were left off the final design in favour of Thomson’s, “Annuit Cœptis” (Latin translation for, “”He approves / has approved / of the undertakings”), and, “Novus Ordo Seclorum” (“New Order of the Ages”). This latter phrase has attracted the most attention from researchers who state it can also be interpreted as, “New WORLD Order of the Ages,” and is in fact a declaration of intent, all concealed from the untrained, uninitiated eye through the use of symbols (such as the aforementioned pyramid).

The pyramid logo and it’s mottos can also be seen on the back of the one dollar bill.

It’s also made it’s way into popular culture, as indeed has the pyramid concept itself….

Here’s Madonna from the video of her 1985 hit, ‘Into the Groove’…

As can be seen in the Madonna picture (and the U.S. Seal logo), the capstone at the tip of the pyramid is disconnected from it’s base and accompanied by the ‘Eye of Providence,’ although many others have dubbed it the “all seeing eye.” According to Charles Thomson, the eye “over (the pyramid) & the motto allude to the many signal interpositions of providence in favour of the American cause. The date underneath is that of the Declaration of Independence and the words under it signify the beginning of the new American Era, which commences from that date.”

Many researchers have questioned the official version of events behind the creation of the Seal, maintaining that the real story is to be found within the symbols it displays, most notably with regards to the Freemasonic ‘Eye Of Providence’ which, it’s claimed, indicates that secret societies played a sinister and influential role in the founding of the United States. However, while it’s acknowledged that Freemasons have indeed adopted this particular symbol as part of their standard iconography, there is little in the way of hard, physical evidence to confirm that this emblem was always Freemasonic and a direct influence on the seal’s creators. Furthermore, the ‘Eye’ does not actually appear in any known published Masonic documentation until 1797 – a full fifteen years after the seal’s first outing. There is also insufficient evidence to conclusively prove that all those involved in the seal’s inception were Freemasons, with the exception of Benjamin Franklin, a well-known founding father of the United States.

An early Masonic version of the Eye of Providence.
This symbol has also been interpreted as representing the eye of God watching over humankind and has also been used by Christianity and Buddhism.

Whilst many Freemasons have vehemently denied allegations that their organisation is inextricably linked to the origins of the U.S. seal, others within the fraternity have appeared in public to state quite the opposite.

Canadian author, mystic, and renowned 33rd Degree Mason, Manly Palmer Hall states in his book, ‘The Secret Teachings of All Ages‘ that, “not only were many of the founders of the United States Government Masons, but they received aid from a secret and august body existing in Europe, which helped them to establish this country (U.S.A.) for a peculiar and particular purpose known only to the initiated few. The Great Seal is the signature of this exalted body – unseen and for the most part unknown – and the unfinished pyramid upon its reverse side is a trestle-board setting forth symbolically the task to the accomplishment of which the United States Government was dedicated from the day of its inception.”

In the same book, Hall explains why the pyramid is so greatly revered by its admirers stating that, “The Mysteries taught that the divine energies from the gods descended upon the top of the Pyramid, which was likened to an inverted tree with its branches below and its roots at the apex. From this inverted tree the divine wisdom is disseminated by streaming down the diverging sides and radiating throughout the world.” He then uses the Great Pyramid of Giza as an example to describe the symbolic importance of a missing capstone. He writes, “there is a curious tendency among builders of great religious edifices to leave their creations unfinished, thereby signifying that God is alone complete. The capstone – if it existed – was itself a miniature pyramid, the apex of which again would be capped by a smaller block of similar shape, and on ad infinitum. The capstone therefore is the epitome of the entire structure. Thus, the Pyramid may be likened to the universe and the capstone to man, the spirit the capstone of the mind, and God – the epitome of the whole – the capstone of the spirit. As a rough and unfinished block, man is taken from the quarry and by secret culture the Mysteries gradually transform into a trued and perfect pyramidal capstone. The temple is complete only when the initiate himself becomes the living apex through which the divine power is focused into the diverging structure below.”

Bird’s-eye view of the Great Pyramid with it’s missing capstone (similar to the U.S. Seal).

He later continues, “through the mystic passageways and chambers of the Great Pyramid passed the illuminated of antiquity. They entered its portals as men, they came forth as gods. It was the place of the ‘second birth,’ the ‘womb of the Mysteries,’ and wisdom dwelt in it as God dwells in the hearts of men.”

Hall also spoke about the powerful, meditative effects of the pyramids and how they could affect the human body and soul:

“For it was believed and taught that in Egypt as early or earlier than Pythagoras of Samo – that is the 6th century B.C. – the Egyptians represented their deities by symmetrical geometric solids, and that in the temples, the five perfect solids were used to represent the principle deities – that each of them with a different shape, a different proportion and a different arrangement represented one of the deities and that most important of all, the contemplation of these forms has meaning – that the contemplation of the symmetric solids could heal disease, could expand consciousness, could relieve the mind of distress, and could calm the emotions. Each of these forms then, was in a sense, therapeutic, because perfect harmony is always therapeutic.

If music as harmony can improve health, then we may say that the harmonic solids are a form of music captured in material-like metal, stone, or crystals and have the same effect as music, colour, or any other therapeutic factor. Form and shape exercise a spiritual authority over the individual.”

Three album covers from the band Earth, Wind & Fire.

Clockwise from top-left: Lady Gaga in her ‘Born This Way’ video; Abba album, ‘Voulez Vous’; Def Leppard album, ‘Hysteria’; The Glastonbury Festival ‘Pyramid Stage’; Lindsay Lohan commercial; Daft Punk live on stage.

Clockwise from top-left: Marilyn Manson MTV-special; Rihanna’s ‘Umbrella’ video; The Police album, ‘Zenyatta Mondatta’; ‘Nickelodeon TV’ ident; Artwork for Tinie Tempah’s ‘Disc-overy’ album; Gary Numan’s ‘The Pleasure Principal’ album

In this photo-still from the 1979 movie, ‘Being There,’ the eye and capstone are firmly connected to the pyramid:

The film stars Freemason Peter Sellers as “Chance,” a gardener who – due to various misunderstandings – is mistakenly thought to be a rich and powerful businessman. As a result, he is subsequently courted by High Society and even the President of the United States for his simple but wise philosophies on life, all based on horticulture.

In recent years, the U.S. Rapper, Jay-Z has adopted the ‘Hand-Pyramid’ pose…

And now, a variation on the theme…

‘The Eye and the (Hand) Pyramid’ (featuring wife, Beyonce):


THEY’VE GOT THEIR ‘EYE’ ON YOU… Clockwise from top-left: The Black Eyed Peas; Michael Jackson; Justin Bieber; Coldplay; Drake.

THEY’VE STILL GOT THEIR ‘EYE’ ON YOU… Clockwise from top-left: Peter Gabriel; Lionel Richie; Natalia Kills; Willow Smith; The Game; Marina & The Diamonds; Celine Dion.

In her video for the song, ‘Judas,’ Lady Gaga (no stranger to accusations of displaying suggestive symbols in her work) offers the viewer an alternative interpretation of the ‘Eye’ theme, which yet again appears to draw influence from ancient Egypt:

Her eye makeup has been styled in a way that looks almost identical to this…

Horus was a deity born to the Egyptian goddess, Isis. The ‘eye’ depiction is an ancient symbol of protection and a solar deity known in it’s native language as, “wedjat.” It was said that Horus was born of the sky and that his right eye represented the sun and his left, the moon.

Look familiar?…. Robbie Williams’ official logo:

Another deity worth acknowledging, if only for it’s significant impact on mainstream culture, has been represented in a variety of shapes, forms and guises within the mass-media…


The name “Baphomet” is said to have first been used in the 11th and 12th century as a corruption of the word, “Mahomet” (the Latinisation of “Muhammad”), although many other theories as to it‘s origins also persist. Originally an imagined Pagan deity created by Christians, Baphomet became the subject of attention in the 14th century during the Roman Catholic Inquistion when the medieval order of the Knights Templar were arrested and tortured by King Philip IV of France. Whilst under interrogation, some of them confessed that they had participated in the worship of a “heathen” idol, usually consisting of a severed head and known as Baphomet.

The picture above was drawn in 1854 by French occultist and magician, Eliphas Levi who referred to it as “The Sabbatic Goat” and, most notably, the “Baphomet of Mendes,” a description which provided yet more symbolic connections to Egypt due to it’s similarities with themes explored by ancient Greek historian, Herodotus thousands of years earlier. He wrote of Djedet, an ancient Egyptian city known in Greek as, Mendes and in ancient Egyptian as, Per-Banebdjedet in honour of the ram deity of the same name. Herodotus described how this Mendesian God was represented with the head, legs, and fleece of a goat – thus drawing parallels with Levi’s illustration of Baphomet.

His picture clearly depicts an androgynous figure complete with over-emphasised breasts, which Levi describes as representative of “humanity.” It also has one male arm and one female arm, both of which form the hand-sign of occultism and point to the sky and/or below, in what Levi writes is a sign to express “the perfect harmony of mercy with justice.” He adds, “the beast’s head expresses the horror of the sinner, whose materially acting, solely responsible part has to bear the punishment exclusively; because the soul is insensitive according to its nature and can only suffer when it materializes.”

Displayed on Baphomet’s head is a pentagram, an old symbol stretching back thousands of years and of particular interest to Levis, who is said to have been the first person to publicly state that a pentagram or five-pointed star with one point down and two points up represents evil, while a pentagram with one point up and two points down represents good.

Eliphas Levi’s Pentagram

Man inscribed in a pentagram, from Heinrich Cornelius Agrippa’s ‘De occulta philosophia libri tres.’

Spot the difference?… (top picture) The ‘Church of Satan’ logo, and pictured directly below it, the logo for the ‘Order of the Eastern Star,’ a fraternal organisation associated with Freemasonry. Both employ a point-down pentagram as their symbol.

Initiated as a Freemason in 1861, Levi told an audience of fellow members during his acceptance speech that he had joined the organisation to, “bring to you your lost traditions, the exact knowledge of your signs and symbols, and consequently to show you the goal for which your association was constituted.”

Levi’s version of Baphomet was sharply influenced by the symbolism of Tarot cards, thus fuelling claims that it is a Satanic icon with evil intent. He writes…

“We recur once more to that terrible number fifteen, symbolized in the Tarot by a monster throned upon an altar, mitered and horned, having a woman’s breasts and the generative organs of a man – a chimera, a malformed sphinx, a systhesis of deformities. Below this figure we read a frank and simple inscription – the Devil. Yes, we confront here that phantom of all terrors, the dragon of all theogonies, the Ahriman of the Persians, the Typhon of the Egyptians, the Python of the Greeks, the old serpent of the Hebrews, the fantastic monster, the nightmare, the Croquemitaine, the gargoyle, the great beast of the Middle Ages, and – worse than all of these – the Baphomet of the Templars, the bearded idol of the alchemist, the obscene deity of Mendes, the goat of the Sabbath.”

Card number 15, Tarot of Marseilles: “Le Diable” (“The Devil”).

In his self-penned autobiography ‘Confessions,’ Aleister Crowley claims that Baphomet was the inspiration behind the motto for his ’Ordo Templi Orientis’ organisation. In ‘Magic (Book 4)‘ he offers the reader his own perception of Levi‘s notorious figure…

“The Devil does not exist. It is a false name invented by the Black Brothers to imply a Unity in their ignorant muddle of dispersions. A devil who had unity would be a God… ‘The Devil’ is, historically, the God of any people that one personally dislikes… This serpent, SATAN, is not the enemy of Man, but He who made Gods of our race, knowing Good and Evil; He bade ‘Know Thyself!’ and taught Initiation. He is ‘The Devil’ of the Book of Thoth, and His emblem is BAPHOMET, the Androgyne who is the hieroglyph of arcane perfection… He is therefore Life, and Love. But moreover his letter is ayin, the Eye, so that he is Light; and his Zodiacal image is Capricornus, that leaping goat whose attribute is Liberty.”

Clockwise from top-left: Artwork for the Rolling Stones’ album, ‘Goats Head Soup’; Scarlett Johansson on the cover of music-magazine, ‘N.M.E.’; The cover of The Killers’ album, ‘Sam’s Town’; Lady Gaga appearing on a TV chat show; Paul McCartney’s ‘Ram’ album cover.

Yet another way in which “Satanic” symbolism is said to be displayed in public is through the use of a specific hand-signal…

The Sign of the Horns

This is said to be the universally accepted symbol for the Devil’s horns (by extending the index and little fingers while holding the middle and ring fingers down with the thumb). There are those who claim it must not be confused with the hand-sign for “love” (similar to the ‘sign of the horns’ but without the presence of the thumb over the middle and ring fingers). It has also been adopted by U.S. sports-teams and their fans, most notably in baseball where it is used by players as a form of signalling during games.The use of this sign in Popular music was said to have originated in the 1970s with the rise of Heavy Rock acts such as Black Sabbath. Speaking during a radio interview in 2001, former member Ronnie James Dio talked about adopting the hand-sign sometime after joining the band in 1979…

“I used it so much and all the time and it had become my trademark until the Britney Spears audience decided to do it as well. But it was…I was in Sabbath at the time. It was a symbol that I thought was reflective of what that band was supposed to be all about. It’s NOT the devil’s sign like we’re here with the devil. It’s an Italian thing I got from my Grandmother called the ‘Malocchio‘. It’s to ward off the Evil Eye or to give the Evil Eye, depending on which way you do it. It’s just a symbol but it had magical incantations and attitudes to it and I felt it worked very well with Sabbath. So I became very noted for it and then everybody else started to pick up on it and away it went.”

Ronnie James Dio in action

Dio also appears to downplay his contribution to the hand-sign’s subsequent widespread use in popular culture insisting that, “I would never say I take credit for being the first to do it. I doubt very much if I would be the first one who ever did that. That’s like saying I invented the wheel, I’m sure someone did that at some other point. I think you’d have to say that I made it fashionable.”

Indeed, the first known artist (to date) to have been depicted using this signal is John Lennon, albeit in animated form for the back and front cover to The Beatles’ 1969 ‘Yellow Submarine’ soundtrack album which shows him making the sign behind Paul McCartney’s head…

Some additional ‘Yellow Submarine’ related photographs have appeared on the internet in recent years originating from 1968. These show the real-life Beatles instead of their animated counterparts apparently making “Satanic” hand-signals to the camera…

McCartney’s hand-signal (similar to the sign for “okay”) is said to be symbolising the so-called “number of The Beast” by using a thumb and two fingers to form a ’six’ whilst also keeping three fingers straight to emphasise it’s special meaning as a trio (666).

Sign of the Horns… Clockwise from top-left: Jessie J; Quentin Tarantino; Pink; Artwork for Ozzy Osbourne’s live-festival album, ‘OzzFest’; Britney Spears promoting the TV show, ‘Glee’; Drake.

As well as symbolic references that hark back to distant centuries past and ancient cultures, there are others that allude to more recent episodes in history. One notable example is the way in which the MK-ULTRA agenda has been covertly implanted within a never-ending stream of films, TV shows, Pop videos, and celebrity magazines/photo-shoots, all disguised behind a seemingly disconnected collection of props, mascots and allegories that refer to teddy bears, cats, dolls, mirrors, rainbows, and…


The relevance of the butterfly is said to originate from an alleged MK-ULTRA Mind Control operation that went under the name of ‘Project Monarch.’ In his book, ‘The Illuminati Formula Used to Create an Undetectable Total Mind Controlled Slave’ (co-written with former Mind Control victim, Cisco Wheeler), researcher, Fritz Springmeier claims that, “one of the primary reasons that the Monarch mind-control programming was named Monarch programming was because of the Monarch butterfly. The Monarch butterfly learns where it was born (its roots) and it passes this knowledge via genetics on to its offspring (from generation to generation). This was one of the key animals that tipped scientists off, that knowledge can be passed genetically.”

The Monarch Butterfly

He continues, “the Monarch program is based upon Illuminati and Nazi goals to create a Master Race in part through genetics. If knowledge can be passed genetically (which it is), then it is important that parents be found that can pass the correct knowledge onto those victims selected for the Monarch mind-control.”

Art imitates life?… Artist, Suzanne Anker’s ‘M.R.I. Butterfly’ (2008). Fifteen seemingly unspecified and identical brain scans are arranged in a grid. At the centre of each frame is an image of a butterfly, on each of which Anker superimposes a different reproduction of a Rorschach-test-type inkblot.

Featured above… A trio of Butterfly motifs as modelled by Britney Spears, who has become a central focus for researchers seeking out evidence of mind-control in the world of entertainment. Her erratic behaviour, controversial escapades and very public mental health issues in recent years are said to be classic symptoms of a programmed “slave” heading for melt-down as decades of physical and psychological torture begin to take their toll. Her former stint as a member of TV’s ‘Mickey Mouse Club’ has also been noted due to allegations that ‘Disney’ was/is actively involved with the C.I.A. and MK-ULTRA. There has also been speculation over the exact nature of the relationship she experienced with her parents whilst growing up as it appears to have been affected by violence and trauma, a common trait shared by many families with a mind-controlled child. Much of the blame in that respect has been directed towards her father, Jamie, a “reformed alcoholic,” whose drinking was said to have been the cause of many arguments in the Spears household. In her book, ‘Through the Storm,’ Britney’s mother, Lynne writes, “I’m almost positive staying with Jamie was not the right thing to do for the kids. Our children saw far too many knock-down, drag-out fights.” According to Jamie‘s brother, William Spears, “a few times, Britney called saying, ‘They are fighting again, please come and get me’. It was rough – and the sad thing is it became normal.” In an interview for a 2008 newspaper article, he recalled how, “once I was over at their house and Jamie walked in drunk and called Lynne a name. She was in the kitchen drinking water and just grabbed the glass, walked into the lounge and hit him right between the eyes with it.” He also recalls another episode when “Jamie was drunk at a barbecue and he tried to drive off with Britney in the car. She was no more than five years old. I tried to stop him, so I reached in to grab the keys out of the ignition and he punched me. We got into it right there by the car, fighting in front of her. Britney was jumping up and down, crying. Lynne had to run out to get her inside.”

Britney hits the headlines in 2007 after shaving off her hair and attacking paparazzi with an umbrella.

In his book, Fritz Springmeier describes how children are sold, bribed, tricked or kidnapped into the Monarch Program and “placed in hospitals in captive abusive conditions. Near death experiences such as drowning have become an art with these abusers. Trained dogs, monkeys and other animals are used to further traumatize the victims.” Psychologist and campaigner, Ellen P. Lacter Ph.D. writes in her publication, ‘The Relationship Between Mind Control Programming and Ritual Abuse,’ that, “trauma-based mind-control programming can be defined as systematic torture that blocks the victim’s capacity for conscious processing (through pain, terror, drugs, illusion, sensory deprivation, sensory over-stimulation, oxygen deprivation, cold, heat, spinning, brain stimulation, and often, near-death).”

Springmeier states, “due to the severe trauma induced through E.C.T. (Electro Shock Therapy), sexual abuse and other methods, the mind splits off into alternate personalities from the core. Formerly referred to as ‘Multiple Personality Disorder‘, it is presently recognized as ‘Dissociative Identity Disorder’ and is the basis for Monarch programming. The basis for the success of the Monarch mind-control programming is that different personalities or personality parts called alters can be created who do not know each other, but who can take the body at different times. The amnesia walls that are built by traumas, form a protective shield of secrecy that protects the abusers from being found out, and prevents the front personalities who hold the body much of the time to know how their System of alters is being used. Electroshock is used to create the dissociation from trauma during the programming, and later it is used to remove memories after the slave has carried out a mission, or to instil fear and obedience in a reluctant slave. Many splits in the mind are not developed into full blown personalities. Some are simply fragments which are given a single job assignment. Generally, a System will have about half a dozen alters which frequently take the body and hundreds of alters which only occasionally take the body. A non-multiple’s brain delegates responsibility to parts of his brain yet retains control over the process. His mind will shift from one ego state to another, & still retain its identity. In contrast, the multiple’s brain also delegates responsibility and shifts from one ego state to another, BUT doesn’t retain a cohesive selfhood or self-identity.”

In 2008, Britney Spears once again hit the news (and ‘YouTube’) after she began adopting a new British accent. According to a 2008 article from People.com, Britney…

has been videotaped numerous times trading her Louisiana twang for U.K. inflections. Even when angry, the accent appears. On an L.A. shopping trip to Macy’s on January 13th, she screamed at the paparazzi, ‘Get out of my G—— face!’ – in a British accent.

 “When someone has dissociative identity disorder (formerly known as multiple personality disorder) each identity is split off from the other,” says L.A. psychologist Renee A. Cohen. “Each identity would have its own name, memories, behavioural traits and emotional characteristics.” Cohen says the critical question is: “When Britney uses the British accent, or appears to take on another identity, does she know she’s Britney Spears?”

A U.K. ‘Daily Mail’ news-item dated January 2008 offered similar accounts, reporting that “friends of Britney Spears” claimed she was “suffering from a multiple personality disorder” and that “when Britney ‘returns’ from one of her episodes, she has no recollection of what she did or said during the time as her assumed personality.” The article also noted that, “Britney has been heard talking to photographers in an English drawl since hooking up with (British) photographer Adnan Ghalib. It’s been claimed the mother of two (also) became the ‘British Girl’ when she failed to give her deposition in her child custody battle with her ex Fevin Federline. She showed up at court four hours late, screaming: ‘Move back. I’m scared. Stop it. Let me get in the car, please.‘”

Other articles in the British media also referred to claims that Spears had adopted the English accent during her stay at the Cedars-Sinai Medical Centre in Los Angeles in early 2008.

2008… Britney tied to a stretcher with soft restraints and loaded into an ambulance in order to be taken to Cedars Sinai Medical Centre for “mental evaluation.” Police had arrived at her home and noted she was “under the influence of an “unknown substance.”

Monarch Programming is generally understood to operate on half a dozen or so differing brainwave levels (“EEGs“), each of which identifies a victim’s particular function. For example, the “BETA” level (‘Awake’/‘Normal alert consciousness’) is where inhibitions and moral convictions are stripped away and replaced with sadistic, primitive instincts. This level is referred to as “sexual programming” and is where the S&M sex-kittens are prevalent. The “DELTA” level (‘Deep, dreamless sleep’) is known as “killer programming” and was said to have been originally developed for special agents and elite soldiers. Former mind-control victim, Kathleen Sullivan recalls that she “was used pretty extensively in a Delta state with military personnel or under the orders of military personnel. In that state I was absolutely, completely loyal to whoever my ‘superior’ was. They had a number of sub-codes that would activate different parts of that Delta system. Beta for me – another word that they used a lot, a code name, was ‘Barbie‘. Let’s just say one person who is a politician heavily involved in this stuff, had even told me that Klaus Barbie was the one who originated that name which later became Beta. What that involved was that all the personalities who were used for what I knew as ‘sexual servicing’ of other individuals – I was used both as a child and as an adult in those alter states, and I had more than one. In those alter states I would not resist, I had no anger, I was an absolute sexual slave and I would do whatever I was told to do.”

THE NICKI MINAJ ‘BARBIE’ DOLL… In 2011, toy company ‘Mattel’ showcased their new Nicki Minaj ‘Barbie’ doll. The R&B/Rap star (who was already known as “Barbie” to many of her fans), is another entertainer constantly scrutinised for her symbolic videos, stage performances and eye-catching outfits.

Fellow R&B star Mariah Carey (appearing as her alter-ego, “Mimi”) and Minaj in doll form and encased in a butterfly adorned box for the ‘Up Out My Face’ music-video.

Hello, Dollies… Britney Spears (left), Jessie J (top), and Avril Lavigne (bottom).

Pop group, The Sugababes pose as incomplete mannequins.

Fritz Springmeier:

“When a person is undergoing trauma induced by electroshock, a feeling of light-headedness is evidenced; as if one is floating or fluttering like a butterfly. There is also a symbolic representation pertaining to the transformation or metamorphosis of this beautiful insect: from a caterpillar to a cocoon (dormancy, inactivity), to a butterfly (new creation) which will return to its point of origin. Such is the migratory pattern that makes this species unique”…

Clockwise from top-left: Beyonce; Uma Thurman; Paramore; Clémence Poésy; Hannah Montana (A.K.A. Miley Cyrus).

Are the stars pictured above aware of what they’re taking part in? Do they acknowledge or recognise the alleged symbolic and occult relevance of posing alongside butterflies, dolls, all-seeing eyes or pyramids? Are they willing participators, or are they slaves? It’s perhaps fair to conclude, based on what has been discovered by researchers so far, that some are indeed enthusiastic participators, although – as Springmeier writes – it would seem that others are blindly obeying the instructions of their mind-control handlers. He states, “the programmers try to get their victims to subscribe to philosophies and ideas that will make it hard for them to rebel against their controllers. This is what is termed indoctrination. Ways of thinking are incorporated by the slave via handlers, programmers, and the cult they belong to. Everyone tries in their own way to make sense of life. This is a natural brain function, so that the human mind can understand how to deal with the future. The mind takes raw data, and then applies some type of logic, and comes to conclusions. Once accepted these conclusions can be as hard as nails, and they will defy any attempt to change them, even in the light of new evidence. If the Programmer is smart enough, he can get an alter to logically believe anything. Once the belief is embedded, it will remain there tenaciously. In the Illuminati, ‘great’ masters and adepts teach ‘hidden mysteries.’ The slave feels the authority that emanates from this teacher with special gifts and abilities. The slave is hardly in a position to question the teachings being given from on high. Circular reasoning, lies, and other tricks are used to convince the person that the occult world is true.”

If that indeed is the case, it still fails to provide any decisive answers as to why those in control behind the scenes are keen to share their secrets in the public gaze, albeit in symbolic form. What’s the point? Aren’t they compromising themselves and their agenda? Aren’t they at risk of being caught?… Why do this?

In order to begin finding possible answers to these questions, there are some key factors that need to be taken into consideration, the most important of which is perhaps to always remember that the symbols paraded in front of all of us are subconsciously perceived, but consciously not seen. The so-called “true” meanings behind the references are unknown to the majority of us and therefore automatically filtered out by the brain as insignificant and meaningless. This view is elaborated on further by artist, teacher, author, and leading authority on occult symbolism, Robert Richard Hieronimus, Ph.D. whose research on the Great Seal of America has been used in U.S. Government speeches and stored in the libraries of the White House, State Department, and Department of Interior. An acknowledged pioneer in the ‘New Paradigm’ movement since the 1970s and sometimes dubbed a “co-mason,” Hieronimus says, “with symbols there are always multiple levels. Symbols reveal, and they conceal, and that’s why they’re used and that’s why they’re so important. They reveal to those who have eyes to see and ears to hear and they conceal from those who do not have the eyes to see or ears to hear. “ Interestingly (as a side-note), in earlier years, Hieronimus made his career from designing record-covers and music posters during which time he shared his occult knowledge with fellow enthusiasts, Janis Joplin, The Doors, and Jimi Hendrix, all of whom he toured with.

Any one wishing to gain an insight into why occult logos and motifs are displayed in public, should also perhaps take into account the invisible influence that these symbols are said to possess, and which affect us emotionally and mentally. In his book, ‘How Satan Turned America Against God,‘ historian and theologian, Dr William P. Grady writes, “occultists believe that symbols are given a supernatural power at their creation. It is also believed that this power increases to whatever degree the non-initiated remain ignorant of the sign’s true meaning. According to the book ‘Magic Symbols’ by Fredrick Goodman, an occultic symbol is defined as, ‘…an image which hides an inner meaning. This meaning is usually cunningly hidden behind a form…’” Researcher, author and historian, Michael Tsarion has spent most of his life studying the occult and it’s links to the Illuminati and secret societies. Speaking at a lecture in 2003 he told his audience, “I work with the tarot and divination, which is the archive of knowledge – the Gnostic core of the Great Book of Symbolism. The Greater Book of Symbolism, the tarot, these are the main chapters – any one who wants to get symbol literate – because Joseph Campbell, Carl Jung have gone blue in the face asking us to get symbol literate – they’ve become aware of how symbols are used because they take the soul up. By being aware of how symbols work, and art, and imagination, we evolve spiritually. But that which can also help you evolve, can also help you devolve, can also help you be enslaved. So, the tarot and these great ancient Gnostic canon – truths – that were laid down by our forefathers were done mostly in symbols – the richness of symbolisms… In the occult tradition it is essential that people become familiar with the role of symbolism, and numbers and vibrations and so on.” Tsarion described the use of symbols in popular culture a “psychic dictatorship” which he said also consists “of words… colours, rhythms, light, movement, and mudras (which means hand-positions, gestures) which have been used for aeons as means of spiritualisation, used by cults, infused with mysticism,” and which he claimed, “are now being used on us for quite an opposite agenda: to drag us down into the pits of our own miasma, our own hells. Not only do we have those divisions, but we’ve got a very, very important tripartite division that these media sorcerers use on us. It is the simple division between the three types of intelligence that we have. Most people only think in terms of mental intelligence…? No. We should know that there is also body intelligence. Your body is an intelligent, vibrant, living thing – completely self contained intelligence there cellularly. The mind, of course, we’re familiar with – overstated in our culture to an unbelievable degree, but there’s the heart – the intelligence of the heart, and they know how to send signals and coded messages to each of those kinds of intelligence. When you think they’re talking to one, actually they’re talking to another and visa versa, so it’s kinda hard to track it. It takes symbol literacy to know what they’re doing; Who is the enemy? What tools are they using?”

32nd Degree Freemason, Foster Bailey writes in his book, ‘The Spirit of Freemasonry,’ that “a symbol is an outer and visible sign on earth of an inner and spiritual reality. A symbol is a precipitation or appearance on earth of that which is rooted in an inner cause. It is an outer effect of an inner livingness. A symbol veils or hides a secret and is that which veils certain mysterious forces. These energies when released can have a potent effect.”

Foster was the husband of the influential neo-Theosophical occultist Alice Bailey. She first rose to prominence during the early 1900s and is now regarded as one of the founders of the New Age movement, which some of her detractors argue, hides a dark, “Satanic” doctrine from it’s millions of followers, and which will form the blueprint for a supreme global religion in the event of a New World Order. These fears have been reinforced somewhat by an organisation that Alice and her husband formed in the early 1920s. Known as the, ’Lucis Trust,’ it housed the ‘Lucifer Publishing Company,’ although it was later re-dubbed, the ‘Lucis Publishing Company.’ According to the ‘Lucis Trust’s’ official website, the use of the name “Lucifer” in this particular context should not be misconstrued as Satan or The Devil. They claim that, “both ‘Lucifer’ and ‘Lucis’ come from the same word root, lucis being the Latin generative case meaning of light. The Baileys’ reasons for choosing the original name are not known to us, but we can only surmise that they… sought to elicit a deeper understanding of the sacrifice made by Lucifer. Alice and Foster Bailey were serious students and teachers of Theosophy, a spiritual tradition which views Lucifer as one of the solar Angels, those advanced Beings Who Theosophy says descended (thus ‘the fall‘) from Venus to our planet eons ago to bring the principle of mind to what was then animal-man. In the theosophical perspective, the descent of these solar Angels was not a fall into sin or disgrace but rather an act of great sacrifice, as is suggested in the name ‘Lucifer’ which means light-bearer.” Statements such as this have done little to dampen the flame of suspicion, no doubt further fuelled by the ‘Lucis Trust’s’ creation, ‘The World Goodwill’ which works closely with the United Nations as a non-governmental organisation. The Trust’s website states that ’The World Goodwill’ seeks “to help establish right human relations and solve humanity’s problems through the constructive power of goodwill,” and that “there is no group so likely to ensure that humanity achieves this most difficult goal as the men and women of goodwill. Provided they can overcome inertia they are in a key position, requiring only courage to express goodwill and to initiate action to prepare for the new world order.” Considering what the phrase “New World Order” conjures up in the minds of many, is it any wonder that the U.N. is constantly accused of links to the Illuminati, and Alice and Foster Bailey’s true intentions are questioned by countless researchers, authors and historians?

The relationship that exists between the United Nations, and the Baileys’ ’Lucis Trust’ illustrates how an organisation dealing in international law, security, economic development, and social progress operates in tandem with esoteric and occult ideals. Veteran journalist and author, William F. Jasper has covered first-hand many of the major U.N. conferences, including the 1992 ‘Earth Summit’ in Rio de Janeiro, the 1998 Rome summit for an International Criminal Court, and the September 2000 U.N. Millennium Summit in New York. In his 1992 book, ‘Global Tyranny… Step by Step: The United Nations and the Emerging New World Order,’ he claims the U.N., “is steadily becoming the centre of a syncretic new world religion, a weird and diabolical convergence of New Age mysticism, pantheism, aboriginal animism, atheism, Communism, Socialism, Luciferian occultism, apostate Christianity, Islam, Taoism, Buddhism, and Hinduism.”

Whether or not you or I choose to believe in the occult ideologies adopted by the United Nations, or in Foster Bailey’s assertion that symbols veil certain “mysterious forces,” is, to some extent, immaterial. What should be of greater concern is the fact that powerful, influential entities such as the U.N. do subscribe to these beliefs and are shaping world events accordingly without our knowledge or consent.

As has been documented here on a number of occasions, many of the esoteric philosophies that are said to permeate within the Halls of Power hark back thousands of years to the halcyon days of the Egyptian, Greek and Roman empires. Their legacy and influence live on today in company logos, national flags and emblems, architecture, law-making, business, banking, and (of course) the entertainment industry and/or what is commonly referred to as “the Mass Media.” Interestingly, researcher Michael Tsarion has provided an intriguing example of how long-gone empires and cultures of old are actually the true originators of this well-worn term. He speaks of, “Medes… a place in the Middle East not far from where Libya is, now called, ‘Media,’ and in Media were the sorcerers and the astrologers. Not necessarily negative people, but a tribe, a very adept cult from the ancient world who specialised in the use of talismans, amulets, mantras, and sorcery, and the kings of the world knew that if battle hadn’t worked, or if legal means hadn’t worked to get rid of an enemy, or you didn’t want to be known that you were getting rid of your enemy, you simply called on The Medes… and you bring the representative of The Media in to your court and he’ll take care of the problem… he’s gonna put the spell on your enemy, the hex, because they know how to do it. We still have, you see, the sorcerers and the voodoo and the witch-doctory… we still have it, only it’s now techno-shamanism, it’s the silicone sorcerers, it’s the ivory tower witchdoctors, and they’re still very busy at what they’re doing.”

Was Tsarion referring to ‘The Magi,’ a hereditary caste of Median priests/astrologers regarded in some quarters as followers of the prophet Zoroaster, dubbed the “inventor” of magic and astrology? Interestingly, the word “magic” is inspired by the word “Magi” which in itself is from the Greek “magos” (“magian” / “magician”), translated in the New Testament as, “sorcerer.” It’s believed some of the Magi played a significant role in the Median royal court as advisers, soothsayers, and interpreters of omens and dreams. Greek philosopher Heraclitus meanwhile, denounced them for their “impious” rites and rituals and Aleister Crowley later adopted the name, “magus” (the noun of “magi”) as a title to designate the highest attainable grade of magic in his occult order ‘AA’.

Whether it be the way in which the 3,000 year old Chavin culture of Peru constructed sound and lightshows to command the psyche of the populace, or the claims of researcher, Steve Jacobson that music has the ability to speed up or slow down the nervous system in the human body, no one need subscribe to a belief in magic in order to understand the power of sound and vision and how it can effectively ‘posses’ an individual‘s emotions and behaviour. In fact, none of us need look too far for further evidence of this. For example, consider for one moment the overwhelming sense of joy or tingle up the spine you or I might occasionally experience when listening to one of our favourite songs. Indeed, some of us might have even been inclined to throw all inhibitions to the wind at times and hit the dance-floor (much to the amusement of others perhaps!). In the most extreme of circumstances, these emotions can manifest themselves as hysteria, obsession, and frenzy. Any one seeking evidence of this need only look at the way young teenage girls behave at Pop concerts. Most of us will have seen the vintage clips of performers such as The Beatles, Bay City Rollers, and David Cassidy (to name a few) performing in front of screaming, crying, hyperventilating females who only hours before were, to all intents and purposes, normal, calm youngsters. For decades, psychologists and social commentators have discussed this phenomenon but never reached a decisive conclusion. Many have attributed it to pre-pubescent sexual desires, although a 2003 article in ’Youth Studies Australia’ journal concluded that it is an expression of “defiance, celebration and excitement.” Perhaps… but what exactly are the odds of each and every screaming girl in any one chosen auditorium experiencing exactly the same emotion spontaneously?

When one particular newspaper reported on the mass fan hysteria being experienced at a concert by 1950s Pop star, Johnnie Ray it enquired whether the singer was “a mass hypnotist.” Additionally, a doctor who was asked to attend and assess the event found that the girls were “rapt, flushed and entranced.” When author Alan Hanson interviewed a number of Elvis fans in 2008 for his website ‘Elvis History Blog’ and enquired what made them feel the need to scream when they saw the singer perform live on stage during the late 1950s, most of them couldn’t offer an explanation.

Perhaps Cyril Scott has the answer?

Scott was a British composer who rose to prominence during the early part of the 20th century. Such was his reputation that he was dubbed the “Father of British Modern Music.” His works included symphonies and other orchestral pieces, choral compositions, chamber music, and a very large number of songs and works for solo piano. Scott was also an occultist and prolific author who wrote about the magical powers that he believed music possessed. In his book, ‘Music: Its Secret Influence Throughout the Ages,’ he wrote, “after the dissemination of Jazz, which was definitely ‘put through’ by the Dark Forces, a very marked decline in sexual morals became noticeable. Whereas at one time women were content with decorous flirtation, a vast number of them are now constantly preoccupied with the search for erotic adventures, and have thus turned sexual passion into a species of hobby. Now, it is just this over-emphasis of the sex-nature, this wrong attitude towards it, for which Jazz music has been responsible. The orgi­­astic element about its syncopated rhythm, entirely devoid of any more exalted musical content, produced a hyper-excitement of the nerves and loosened the powers of self-control. It gave rise to a false exhilaration, a fictitious endurance, an insatiability resulting in a deleterious moral and physical reaction. Whereas the old-fashioned melodious dance-music inspired the gentler sentiments, Jazz, with its array of harsh, ear splitting percussion-instruments in­­flamed, intoxicated and brutalized, thus causes a set-back in Man’s nature towards the instincts of his racial childhood. For Jazz-music at its height very closely resembled the music of primitive savages.” Scott elaborated further some years later stating that, “the latest cumulative effects of Jazz is rock ’n roll and those hysterical and unruly hero-worshipping exhibitions on the part of female teenagers aroused by the good looks and performances of some male crooner. In addition, the vulgar elements in Jazz combined with its other ones have had such vulgarising effects, that we now have the misfortune to live in a vulgar and blatant age.”

Cyril Scott

Scott also wrote about the influence which he believed music had, not only in shaping the morals of a society, but the very political system that it exists within. He states, “the prevalent notion holds that styles of music are merely the outcome and expression of civilizations and national feelings – that is to say that the civilization comes first, and its characteristic species of music afterwards. But an examination of history proves the truth to be exactly the reverse: an innovation in musical style has invariably been followed by an innovation in politics and morals. And what is more . . . the decline of music in (Egypt and Greece) was followed by the complete decline of the Egyptian and Grecian civilizations themselves.”

Throughout history, The Arts has played it’s role in shaping society. Countless musicians, actors and writers over the ages have questioned and challenged unpopular governments, social injustices, and out-dated ideologies.

Art is a representation and expression of our inner selves and it has the ability to communicate a positive message; to inspire, to educate, even to heal and provide therapy. Above all, though… it can be fun. As a result – and despite all that has been documented here – ‘ConspiroMedia’ does not take the view that music, movies and other forms of entertainment should be shunned or ignored. Far from deterring readers here from enjoying the fruits of what’s on offer in the mass media, this website/blog is merely an attempt at reminding us that all is not what it seems in the entertainment industry and that a degree of discernment should always be applied.

The primary purpose of gathering together so much information here, is to provide users of this site with a brief history of mass entertainment/media and it’s role in the Grand Deception. It’s less of an ‘article’ and more of a reference point for anyone not so familiar with the New World Order plan. Hopefully, readers can turn to this section when or if they are looking for further background information on an article in another part of the site which refers to certain established aspects within the conspiracy that they are not necessarily familiar with, such as mind-control, Satanism, or occult symbols and logos in Pop-videos. However, ‘ConspiroMedia’ sincerely hopes everyone will take some enjoyment and enlightenment from what has been included here, whether new to the subject or well seasoned.

Many months of research have been invested in collating this material together (almost a year in fact), and due care has been taken to ensure that the information chosen for inclusion is as accurate, credible and relevant as possible.

Although there is much here to read, it is nothing but the tip of the iceberg and further research by the reader is required in order to gain a fuller, more comprehensive understanding. Additionally, many subjects worthy of note within the entertainment/conspiracy genre have been excluded purely for the fact there are so many, they’d require a further few hundred pages above what is already here in order to acknowledge them with the clarity and attention they deserve. These include (to name but a few), ‘Predictive Programming,’ ‘The Revelation of the Method,’ the ‘27 Club,’ the controversial deaths of Jimi Hendrix, Tupac, Jim Morrison, Brian Jones (and many, many others), the Jay-Z Illuminati/Freemason debate, the Stanley Kubrick enigma, Edward Bernays, the history of Protest Music and politics in Pop, and the confessions of “former Illuminatist” and music executive John Todd.

It’s hoped that the information included here will not only prove useful for anyone seeking to expand their knowledge and understanding of the mass-media and its complicity in the Global Conspiracy, but also in illustrating its power, importance and significance in the overall agenda. In many respects, its strength and potential is underestimated, purely for the fact that it has the ability to affect us (and damage us) in a way which remains largely unnoticed by those of us at the receiving end. For example, unlike the bullet of a gun, you’re not likely to feel its impact or even acknowledge you‘ve been hit at all. It’s this invisible force that has been used over thousands of years to distract us, to mislead us and as such, warrants our attention and concern.


Matt. (2011).

4 thoughts on “Overview – A History of Media Through the Ages

  1. You have spent a year compiling, I have spent the afternoon reading it. And I must say you have some talking points. Your neutrality in all this is most admirable, Admiral. Steering the Fleet to brighter days, mehopes! Thank you very much for this enlightening ‘leave-behind’. A trail with breadcrumbs, in a forest filled with hungry ghosts to get you lost, at great cost.

    • Hello Mark! Well, well! Thanks very, very much for your kind words my friend!
      I’m glad you noted a touch of neutrality in my article. Although I have little doubt whatsoever that there is indeed a big-scale conspiracy to dumb us down, poison our minds and extract freedoms away from us – when it comes to communicating information on how this is all being played out, I’d much rather present all the facts, the claims, and the allegations that are available and then leave the reader to make his/her mind up for themselves. Although ‘Conspiro Media’ is (technically speaking), a “blog,” I don’t want to flood it too much with my own personal opinions. I suppose I’m more of a ‘reporter’. Just researching the data, sifting through it and presenting it here. Yeah, sure… I do have opinions (so, so many), and I do have theories (ditto), and I do often feature them in my articles – but – when all’s said and done, I’d rather leave it up to you to form your own opinions (the last thing I want to do is to dictate – sort of goes against what we‘re fighting against). So… I report and shine the spotlight on others when or if the need arises.
      And, yeah!… I do – as you point out – leave behind a trail of info in this “forest“, a lot of it based on knowledge I’ve picked up over a number of years of studying this grand deception. As I’m sure you’ll agree, Mark… This “forest” is full of man-traps… misinfo, disinfo and all kinds of other dangers, and we’re all learning something new almost daily! It’s a never-ending journey in a forest of knowledge. I’m glad you’re joining me on it. There’s plenty of articles to come in 2013 (currently writing one at the moment, and another two in the pipeline directly after that).
      Thanks again, Captain (can’t say it enough)! I look forward to your support in future. I really appreciate it! It makes all the work worthwhile!
      I’ll certainly do my utmost to enlighten when or where I can!

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