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


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

MD & Freeman

Freeman & Mark Devlin

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


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

Paisley Park Studio Complex Pyramids

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

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

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

Listen to the pod-cast here:

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

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

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


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


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

replay march 2015 banner reversed

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

All is not lost though.

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

‘Anaesthetist’ (lyrics)



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

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

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

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

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

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

Step the f**k back!


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

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

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

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

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

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


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


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



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

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

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

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

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

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

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

sol album cover eskmo

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

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

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

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

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

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

Get it all. You deserve it, Kendrick.

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

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

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

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

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

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

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

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

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

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

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

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

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

Here’s some excerpts:

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

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

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

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

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

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

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

Matt Bellamy

Matt Bellamy

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

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

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

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

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

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

drones cover matt bellamy

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

muse patty hearst


You can read the article here:

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

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

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

Bellamy Tweeted this on the same day:

muse psychopaths2

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

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

Read it all here:

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

muse psychopaths


The link to the above article:

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

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

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

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

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

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

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

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

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


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

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

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

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

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


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

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

——————————————————————————————————————- REFERENCE LINKS:,drones_1633.


‘Q’ Magazine. May 2015 issue – pg: 10

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


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

Robert's new book.

Robert’s new book.

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

* This interview was recorded on August 12th 2014*


You can find out more about Robert at his website:

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


Symbologist Robert Richard Hieronimus Ph.D. talks to ‘Conspiro Media’ about The Beatles’ animated movie ‘Yellow Submarine’ from an esoteric perspective.

To mark last month’s release of The Beatles’ 1968 animated movie ‘Yellow Submarine’ on DVD and Blu-ray, ‘Conspiro Media’ grabbed the opportunity to chat with artist, author, researcher and radio-host Robert Richard Hieronimus Ph.D. His 2002 book, ‘Inside the Yellow Submarine: The Making of The Beatles Animated Classic,’ has been dubbed, “an indispensable companion to the movie.” It not only features exclusive interviews with all the principle creators of the film and an intricate account of the details behind the making of it, but also a unique analysis of the esoteric, symbolic aspects within the movie itself. In fact, the occult archetypes that Hieronimus believes are bubbling beneath the Yellow Submarine’s waters are what initially sparked his interest in the movie. Given his life-long devotion and interest in symbols and ancient knowledge it should hardly come as a surprise either. In 1969, he founded the ‘AUM,’ America’s first state-approved school of esoteric studies which granted certificates in the occult sciences, mystic arts and religious metaphysics. In 1981, he received his Ph.D. for the doctoral thesis, ‘An Historic Analysis of the reverse of the American Great Seal and It’s Relationship to the Ideology of Humanistic Psychology.’ Furthermore, his research on the Great Seal of the United States has been used in the speeches, literature and libraries of the White House, the US State Department and the Department of Interior. A member of “a number of secret societies,” his expert knowledge and understanding of symbols and the occult has led to regular TV appearances in a number of documentaries and/or news-shows on the BBC, the Discovery Channel, the History Channel, the SyFy Channel and FoxNews (to name a few). He’s also an artist, having established a long career as a muralist and painter. His occult and symbolic murals include a 2,700 square-foot work known as ‘Apocalypse,’ which was completed during 1968-1969 at the John Hopkins University in Baltimore, Maryland. Another of his works, the ’Historic Views of Baltimore 1752-1857,’ is now housed in Maryland’s War Memorial Building.

Apocalypse (1968 – 1969)

Speaking exclusively to ‘Conspiro Media’ last month, Hieronimus talked about the impact the ‘Yellow Submarine’ movie had on him after first watching it back in 1968. He said, “when I started to see all of the symbols in the film… I thought to myself, ‘these Beatles are brilliant! They are Multi-Levelled, they’re Multi-Consciousness, and it seems to me whoever it was… that thought up this movie was multiple genius!’”

The film tells the story of The Beatles’ efforts to rescue an underwater world known as ‘Pepperland’ from the music-hating Blue Meanies who’ve invaded it and transformed it from a colourful, beautiful paradise of happiness into a grey, barren, depressing wasteland. A sailor by the name of ‘Old Fred’ manages to escape in a yellow submarine which is perched on top of a Mayan/Aztec-like pyramid after he‘s called on by the mayor of Pepperland to get help. He travels to Liverpool where he successfully persuades John, Paul, George and Ringo to join him. They board the submarine and embark on a surreal journey which takes them through the Sea of Time, the Sea of Science, the Sea of Monsters, the Sea of Nothing, the Foothills of the Headlands, the Sea of Holes and the Sea of Green before finally arriving in Pepperland. They eventually win over the Blue Meanies with a combination of music, positivity and Love.

In an article on his website, Hieronimus explores some of the symbols in the film and any possible hidden meanings:

The very title of the film can be seen to represent the act of creation, or creativity. Throughout history Yellow has been used to symbolize the sun, fire, spirit or mental activity. It represents an active, outer-directed, centrifugal force, or masculine energy, expansion. Submarine could be considered a symbol for matter or the body. It is necessarily linked to the symbol of water, which throughout history has been considered representational of lunar or feminine energy. It is a passive, intuitive, centripetal force. The submarine is also something that dwells within, hidden and internal rather than external and obvious. By combining the two words “Yellow” and “Submarine”, one can see a pairing of opposites or a balance between spirit and body, sun and moon, or a uniting of male and female, which is an obvious symbol for the act of creation that produces a unity or oneness.

BEATLES AND BEETLES                                                                                            There is an ancient Egyptian beetle-headed god, named Khepera, who represented the rising or morning sun. To the Egyptians, the beetle or scarab was an all important symbol of profound meaning.

Egyptian beetle-headed god, named Khepera

Khepera was among the original creation gods in Egyptian mythology, and like the rising sun with which he is identified, he was said to be self-created, born of his own substance. The scarab was held as a symbol of resurrection and fertility as beetles were believed to be the incarnation of Khepera. Beetle amulets were worn to attract the power of this god and secure his protection. Khepera is also shown as the “generator” god with a beetle-head seated in the phantom or “spirit” boat, like the “Sunboat of Ra”, the Egyptian Sun God. Many other deities also had their “spirit” boats. Note the parallel between The Beatles afloat in a “Yellow Submarine” and the creator god Khepera with a beetle-head seated in a “spirit” or Sun boat. There is no reason to believe that whoever came up with the name “The Beatles” was consciously intending to link their name with the Egyptian god of rebirth, but conscious or not, they chose a name which reflected what they were to accomplish – the act of creation. Later in life, John Lennon is reported to have become interested in world mythologies and especially in Egyptian magic. He may have begun to realise that symbols carry psychic energy even when they have not been consciously selected. Some might say synchronicity (meaningful coincidences) played a role in the naming of the most revered rock and roll group in history. Like attracts like.

THE HERO’S JOURNEY: SEPARATION, INITIATION AND RETURN                            The storyline of Yellow Submarine lends itself easily to a comparison of what Joseph Campbell referred to as the “Monomyth” or the Hero’s Journey. There are three stages to the Monomyth that are used to describe the evolution of the hero: separation, initiation and return. During separation, Campbell explains that the individual rejects the social order and retreats inward or regresses. He reassesses his beliefs and moves toward the centre of his being. The second stage of initiation marks a clarification of his difficulties and an encounter with dark and terrifying forces. The candidate is victorious over them and feels fulfilled, harmonised, and whole. In the third stage of return, the hero is reborn into the physical world and applies the knowledge he has gained to the world he lives in. He rejects his self-serving and self-centring tendencies and shares his “treasure”, or new awareness, with the rest of society. The hero has become self-actualized, and he dedicates himself to a task outside of himself, serving society.

THE YELLOW SUBMARINE FOLLOWS THE HERO’S JOURNEY                 Separation: The Yellow Submarine with Fred aboard leaves Pepperland (from a pyramid-like launch-pad) in search of help.

‘Old Fred’

They travel to Liverpool, which can be translated as “the pool of life”, where they are joined by four more heroes and they embark for Pepperland, completing the separation stage.

Initiation: The now five heroes must pass through the seas of illusion, symbolising the selfish desire worlds of sensations, passions, instincts and the beast within. In Nowhere Land they encounter the Boob who fixes the engine and joins the team, bringing the number of heroes up to six, suggesting a reference to humanities sixth sense.

‘The Boob’ fixes the Yellow Submarine’s engine as Paul looks on…

It is the balance of energies and its six member crew that allow the Yellow Submarine to travel safely through the seas of illusion and escape from the vengeance of the Blue Meanies.

Return:  The Sub returns and brings music and love back to Pepperland, where the heroes transform their enemies into friends. They share their new awareness with the rest of society by combining music with the words: “All you need is love.” Ageless wisdom teachings and creation mythologies from all around the world describe how life was formed in the universe through a cosmic sea. The Yellow Submarine can be seen as a vehicle that travels through the ethers of these waters. It achieves its goal by one person going out in the Sub into the world of matter, leaving the beleaguered paradise, the utopia of Pepperland, and going into the physical world, obtaining help (The Beatles and The Boob), then returning to share the wisdom gained by the experience that “all you need is love” and music. While not the conscious intention of its Co-Creators or Lennon and McCartney, it could be why this film appeals so strongly to so many of us.

You can read the article in it’s entirety here:

As the closing paragraph of the above article suggests, Hieronimus isn’t wholly convinced that The Beatles played an active role in implanting occult symbols or hidden meanings into the film. He told ‘Conspiro Media,’ “the truth was, they had nothing to do with it. All they did was create four songs because they were required to – to put in the film. They were never really interested in this film until they got to see some of the final work and then they fell in love with it. And then they wanted to be involved, but it was just too late to put their real stamp on it from that standpoint.”

What about the movie’s producer, Al Brodax or director, George Dunning? Can they offer any explanation for some of the movie’s most intriguing images, such as the Mayan/Aztec-type pyramid with it’s Yellow Submarine capstone? Or what about the team of writers and animators? Did they consciously set out to create a film with hidden meanings and esoteric imagery? Well… apparently not. All the key crew members have maintained there was no deliberate attempt to implant hidden allegorical themes within the movie. ‘Yellow Submarine’ art designer Heinz Edelmann told Robert Hieronimus during interviews for his landmark ‘Submarine‘ book, “I knew that part of my subconscious would go into these things, but I chose to disregard that. I simply did not want to know what’s happening. I mean, otherwise, I couldn’t have done the work. I simply chose not to know what subconscious influences and things went into the work.” Animation director Bob Balser told Hieronimus, “many times it’s very interesting when somebody does something, and they have somebody else look at it, and freely see or analyse it. I know that a lot of little kids look at ‘Yellow Submarine’ and just love it. It works on so many levels… it was a synergy between all of these creative people coming together. It’s something I never really thought about until this moment…” But what about the movie’s animation director, Jack Stokes? What was he suggesting when he told Hieronimus, “I don’t think there’s any different (meanings). There are one or two little types, I suppose you might say, in there…“ Was he implying that there may indeed have been a few conscious attempts to include hidden sub-texts within the movie? He continued, “it’s kind of an adventure story. I mean, the first part was basically a travelogue, and the second part was an adventure story. If you would like to think about ‘Lord of the Rings‘, or something of this sort, it’s really, basically, the same thing.” Interestingly, it’s been widely reported that The Beatles were so keen to appear in a movie version of Tolkien’s classic tale sometime during the late 1960s, that they approached Stanley Kubrick. It’s said Lennon was a big fan of ‘2001: A Space Odyssey’ which was released in April 1968, just three months before ‘Yellow Submarine,’ and met with the movie’s legendary director who ultimately dismissed the idea as “un-filmable.” Hieronimus – in the main – doesn’t believe that the team behind the making of the ‘Yellow Submarine’ were consciously attempting to communicate an esoteric message via the use of occult symbology. In a 2008 article for ‘Octopus’s Garden’ magazine he wrote, “is it unfair to interpret symbolic meaning in The Beatles ‘Yellow Submarine’ film when most of the co-creators swear there was no time for such deep thinking? Perhaps. And yet, interpret we always seem to do with the Beatles, as if we can’t help it. It is my contention that a force greater than those who co-created ‘Yellow Submarine‘, greater even than the Beatles, was at work on this project.”

Of course, it’s no secret that The Beatles were interested in esoteric subject matter. The song ‘Tomorrow Never Knows’ from their ‘Revolver’ album was inspired by the Timothy Leary book ‘The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead,’ and George Harrison wrote ‘The Inner Light’ after reading passages from the Chinese classic text ‘Tao Te Ching.’

Interestingly, the furore surrounding John Lennon’s remarks in a 1966 magazine interview that the Beatles were “more popular” than Jesus Christ was partly inspired by a book he was reading at the time by Hugh J. Schonfield titled, ‘The Passover Plot’ which claims that Jesus faked his own death on the cross and his subsequent resurrection in order to become King of the Jews on Earth. It’s widely known that Lennon was a voracious reader with an interest in a wide variety of subjects including ancient history, religion and the occult. During the 1970s, he also explored numerology with his wife Yoko Ono and visited the pyramids of Egypt.

It’s generally assumed that the Beatles were first introduced to these concepts by the well-to-do intellectuals they befriended during the mid-1960s such as author and former art gallery owner, Barry Miles. However, there’s strong evidence to suggest their fascination with ancient mysteries and the occult goes back much further, back to their days in Liverpool when they were still struggling, penniless young musicians barely out of school and when the word “Beatles” was yet to be uttered. How or where did these working-class provincial lads acquire such knowledge at such a young age, and how does this connect (if at all) to the occult symbolism in the ‘Yellow Submarine‘ movie? The details surrounding this intriguing and overlooked episode in the Beatles’ story is discussed in the ’Conspiro Media’ interview with Robert Hieronimus as well as some of the occult symbols hiding in plain sight within the film. He also talks about his long and often rocky dealings with The Beatles’ company, ’Apple,’ and the friendly and fruitful relationships he’s forged over the years with some of the Beatles’ trusted inner circle including the bands’ long-time PR man Derek Taylor and famed record producer Sir George Martin (who contributed the introduction to Robert’s celebrated ‘Yellow Submarine’ book). He relives the night when he successfully assembled together most of the original crew members of the movie for a 30th anniversary reunion TV special at the BBC’s legendary Maida Vale Studios, and he also talks about the “genius” of ‘Yellow Submarine’ art designer Heinz Edelmann who died in 2009. However, the interview begins with memories of his early days as an album-cover and poster designer with ‘Elektra Records’ when he shared his knowledge of occult symbols with some of the biggest names in Rock music history, including Jimi Hendrix.

Incidentally!… Listen out for some exclusive never-before-heard news related to the Beatles at the end of the interview!

** The interview was recorded on June 26th 2012

Don’t forget, you can check out Robert’s weekly radio show every Sunday at 8PM – 10PM EST at his website,