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

Eurovision World Order banner

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

Eurovision costumes

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

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

920059_636x978

Conchita Wurst performing at the Eurovision in 2014.

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

dana-international-performance

Dana International.

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

EBU broadcasting Eurovision area

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

SWEDEN-ENTERTAINMENT-EUROVISION-DRESS-REHEARSAL

Justin Timberlake performing at the Eurovision, 2016.

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

dami-im-Lee Lin Chin

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

Dami Im & friends @ Eurovision 2016

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

eurovision come together

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

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

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

Eurovision eye stage

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

http://www.eurovision.tv/page/news?id=how_will_eurovision_2015_stage_look_like_see_it_for_yourself

 

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REFERENCE LINKS:

https://www.queerty.com/dont-get-gay-obsession-eurovision-watch-video-20160516

http://www.huffingtonpost.co.uk/2016/04/20/eurovision-song-contest-2015-gay-culture_n_7374166.html

http://www.france24.com/en/20150522-eurovision-gay-friendly-song-contest-lgbt-conchita-wurst

http://www.outnowconsulting.com/latest-updates/press-centre/how-gay-is-eurovision

https://www.facebook.com/events/973308499384716/

http://pink-pages.co.in/culture/music-dance/eurovision-song-contest-the-gayest-event-in-the-world/

http://conchitawurst.com/index.php?id=3

https://en.wikipedia.org/wiki/Conchita_Wurst

http://www.pinknews.co.uk/2015/03/31/dana-international-and-conchita-wurst-make-eurovision-history/

http://danainternational1.com/bio.html

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

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

https://concordiaabchao.wordpress.com/2014/05/11/eurovision-song-contest-occult-agenda/

http://www.eurovision.tv/page/history

http://www.eurovision.tv/page/history/by-year/contest?event=273

http://www.ebu.ch/about

http://www.eurovision.tv/page/history/the-story

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

http://www.ebu.ch/about/members/admission

http://www.ebu.ch/files/live/sites/ebu/files/About/EBU_Directory/EBU-Active-Members.pdf

http://www.ebu.ch/files/live/sites/ebu/files/About/EBU_Directory/EBU-Associate-Members.pdf

http://www.ebu.ch/about/members?type=associate

http://www.ebu.ch/about/members?type=approved

http://www.ebu.ch/files/live/sites/ebu/files/About/EBU_Directory/EBU-Approved-Participants.pdf

http://www.ebu.ch/about/members?type=active

http://www.theguardian.com/tv-and-radio/2016/may/12/how-eurovision-finally-cracked-america-justin-timberlake

http://www.telegraph.co.uk/tv/2016/05/14/why-is-justin-timberlake-at-eurovision-and-what-will-he-perform/

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

http://www.eurovision.tv/page/history/by-year/contest?event=2113

http://www.eurovision.tv/page/news?id=eurovision_song_contest_concept_to_be_developed_in_asia

http://www.dailymail.co.uk/news/article-3590652/Eurovision-rolls-Stockholm-year-s-love-hate-kitsch-fest-scheduled-watched-s.html

https://en.wikipedia.org/wiki/Dami_Im

http://www.webcitation.org/6Kb5slFIj

http://www.sbs.com.au/programs/eurovision/article/2016/04/29/australias-eurovision-2016-jury-and-spokesperson-revealed

https://en.wikipedia.org/wiki/Lee_Lin_Chin

http://www.portrait.gov.au/portraits/2010.16/lee-lin-chin

http://www.dailymail.co.uk/news/article-3590850/Britain-sweeps-board-Eurovision-virtually-songs-English.html

https://www.whitehouse.gov/the-press-office/2016/04/25/remarks-president-obama-address-people-europe

http://www.eurovision.tv/page/news?id=nearly_200_million_people_watch_eurovision_2015

 

 

 

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

CinemaSymbolismCover

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:

http://robertwsullivaniv.com/

‘Cinema Symbolism’ (and ‘The Royal Arch of Enoch’) is available to buy from the following page on Robert’s site:
http://robertwsullivaniv.com/buy-the-book/

 

‘Conspiro Media’ is picking up more ‘Good Vibrations’…

Earlier in 2013, the DJ, author, and lecturer, Mark Devlin contacted ‘Conspiro Media’ to ask me – Matt Sergiou – if I’d be at all interested in appearing as a guest on his highly popular ‘Good Vibrations’ pod-casts. This eventually resulted in a two-part interview.

Mark Devlin

Mark Devlin

In the first instalment, I looked back at the life and times of Pink Floyd and the stories of Syd Barrett’s apparent descent into madness and the possibility he might’ve been a victim of MK ULTRA / Mind-Control as well as Roger Waters’ recent very public stand against Zionism. I also turned my attention to the suspicious goings-on at Laurel Canyon, the LA neighbourhood where well-known music-stars of the so-called late ‘60s ‘counter-culture’ era originated from – and many of whom hailed from backgrounds in the military and/or intelligence services.

If you haven’t yet heard this interview (which was posted here earlier this year), you can catch up with it in the link below:

https://conspiromedia.wordpress.com/2013/10/16/conspiro-media-is-picking-up-good-vibrations/

And now, here’s the second instalment of the pod-cast in which I talk about the 28-year relationship between Jazz legend, Thelonius Monk and Pannonica Rothschild, the heiress of the Illuminati banking dynasty who effectively turned her back on it and a life of luxury and glamour to be at his side.

Thelonius Monk and Pannonica Rothschild

Thelonius Monk and Pannonica Rothschild

We also bring this saga right up to date to examine the details behind her great-niece, Kate, whose marriage to Ben Goldsmith – the son of wealthy financier, Sir James Goldsmith – hit the rocks amidst reports she was romantically involved with American rapper, Jay Electronica who she represents in the UK through her company, ’Roundtable Records.’ I explored this in a 2012 article titled, ‘The Rothschilds’ Musical Legacy – Part One: The Same Old Song.’ You can read that here:

https://conspiromedia.wordpress.com/2012/07/31/as-kate-rothschilds-relationship-with-an-american-rapper-reportedly-intensifies-conspiro-media-presents-the-first-of-a-two-part-feature-on-the-notorious-familys-influence-on-music-over-the-la/

During the interview (which was recorded in October 2013), I talk about some of the new information I’ve uncovered since that article was published, most notably information that challenges Jay’s claims that he comes from the rough side of the tracks.

Kate Rothschild and Jay Electronica

Kate Rothschild and Jay Electronica

There are also questions surrounding Jay’s music and who actually wrote it. Furthermore, I go into the reasons why there hasn’t been a follow-up to my 2012 article… yet!

Listen to it here:

https://soundcloud.com/mark-devlin/good-vibrations-podcast-vol-26

Good Vibrations 2

Don’t forget, you can hear Mark Devlin – the UK’s leading speaker on the dark, malevolent workings of the music-industry – every Saturday night on David Icke’s new channel, ‘The People’s Voice,’ where he showcases some of the more socially and spiritually-conscious Hip Hop, R&B, and Reggae tracks:

http://www.thepeoplesvoice.tv/the-sound-of-freedom

*** Incidentally, here’s wishing you a Happy 2014! Thanks for all your support over the last year!

To mark the 50th anniversary of ‘Doctor Who’ in 2013, author and lecturer, Andy Thomas joined presenter, alex:g to discuss the show’s anti-authoritarian message and socially aware storylines.

DoctorWho50thAnn

How many people in the UK in the late 1980s would’ve guessed that the BBC sci-fi series ’Doctor Who’ would be captivating TV audiences three decades later, and with all the media fanfare and celebration that surrounded it in 2013, its 50th anniversary year?… Not many for sure. After all, the long-running show was brought to a halt in 1989 following reports of falling ratings, and amid accusations it had become irrelevant and almost ridiculous. “There was a pantomime aspect to ’Doctor Who,’” says Andrew Cartmel the programme’s script-editor between 1987-‘89. The low-budget special-effects and studio-sets were also a source of criticism. Michael Grade, who was the BBC’s Director of Programmes in 1986, said in 2002, “I thought it was pathetic, I mean I’d seen ‘Star Wars’ and I’d seen ‘Close Encounters,’ and ‘E.T.’ and then I had to watch these cardboard things… clonking across the floor trying to scare kids, you know, you just sit and laugh at it.” He also admitted, “I actually hate sci-fi to begin with. I’m not a sci-fi fan.” Sylvestor McCoy, the actor who was playing the part of the Doctor when the series was pulled in 1989, said recently, “it was obvious that those upstairs… they wanted rid of it.” With the exception of a TV-movie in 1996, the Time Lord was absent from our screens until the show’s revival in 2005.

First broadcast on November 23rd 1963 on BBC TV (a day after JFK‘s murder incidentally), ‘Doctor Who’ had been devised earlier that same year. One of the show’s principle creators, Sydney Newman reportedly said it “was really the culmination of almost all my interests in life. I wanted to reflect contemporary society; I was curious about the outer-space stuff. Up to the age of forty, I don’t think there was a science fiction book I hadn’t read. I love them because they’re a marvellous way – a safe way – of saying nasty things about our own society.” Another Doctor – but of an Earth-bound variety this time by the name of Matthew Ashton – is the author of the 2012 article, ‘The Politics of Doctor Who.’ He’s also a lecturer at the UK’s Nottingham Trent University specialising in the areas of both British and American politics as well as media politics. Speaking on BBC TV last month, he said the show, “like every good science-fiction book or film… can reflect contemporary issues. And like a lot of good TV, it works on two levels; firstly… a level for the kids to understand – monsters, adventures – but then kind of more jokes, satire, metaphors for the grown-ups watching.” A case in point perhaps: the Daleks. When asked in a 1978 interview who these death-hungry armour-encased genetic mutations were based on, their creator, the writer Terry Nation replied, “I suppose you could say the Nazis. The one recurring dream I have – once or twice a year it comes to me – is that I’m driving a car very quickly and the windscreen is a bit murky. The sun comes onto it and it becomes totally opaque. I’m still hurtling forwards at incredible speed and there’s nothing I can see or do and I can’t stop the car. That’s my recurring nightmare and it’s very simply solved by psychologists who say you’re heading for your future. You don’t know what your future is. However much you plead with somebody to save you from this situation, everybody you turn to turns out to be one of ‘them.’ And there’s nobody left – you are the lone guy. The Daleks are all of ‘them’ and they represent for so many people so many different things, but they all see ‘them’ as government, as officialdom, as that unhearing, unthinking, blanked-out face of authority that will destroy you because it wants to destroy you. I believe in that now.” The anti-authoritarian message in the show itself, suggests researcher, lecturer, and author, Andy Thomas, has been an inspiration for many in the so-dubbed ’Alternative community.’ He says, “the reality is, I think for a lot of people… people who are sort of interested in Truth issues and getting more to what’s going on – I think a lot of people were very inspired by this programme – because growing up, I mean, you had a character here in whatever guise who was trying to uncover the Truth – who was fighting control agendas.” The Doctor, he continues, “always champions humanity.”

THE NEW DOCTOR... Actor, Peter Capaldi took on the role of the 12th Doctor in the Christmas Day 2013 TV special.

THE NEW DOCTOR… Actor, Peter Capaldi took on the role of the 12th Doctor in the Christmas Day 2013 TV special.

You can hear more of Andy’s views about the show in the video below which is taken from his November 2013 guest-spot on ‘Doom Watch,’ the weekly current-affairs programme with an Alternative twist that’s broadcast simultaneously on the local radio-station, ‘Peterborough FM’ and in-vision on the ’UK Column’ website every Friday between 6pm-8pm. It’s hosted by alex:g who’ll be no stranger to those who remember ‘Edge Media TV’ (‘Sky’ channel: 200) where he presented ‘On the Edge’ and ‘Behind the Sofa,’ the DVD/blu-ray review show that was no doubt titled after the expression first used by the mainstream media back in the day to describe the actions of a frightened child watching ‘Doctor Who.’ Actually – judging by his CV – it’s probably safe to assume that he’s partial to a bit of sci-fi (to put it mildly). For example, he’s interviewed a number of the genre’s biggest names including, Gareth Thomas (‘Blake’s 7’), Ed Bishop (‘UFO’), Sylvia Anderson (‘Thunderbirds’), Dirk Benedict (‘Battlestar Galactica’), Claudia Christian (‘Babylon 5’), and William Shatner and Patrick Stewart (’Star Trek‘). He’s also been a regular fixture at the ‘Cult TV Festival’ weekender.

In the specially edited clip below, he makes reference to ’The Green Death,’ ’The Claws of Axos,’ and ’Invasion of the Dinosaurs,’ three stories from the show’s eighth, tenth, and eleventh seasons respectively and broadcast between 1971 and 1974. These imagined a world where then-British Liberal Party leader, Jeremy Thorpe and Labour high-flyer, Shirley Williams were both Prime Minister (a feat neither of them achieved in real life). They all starred Jon Pertwee in the role of the third Doctor who’d been exiled to Earth by the Time Lords and where he grudgingly joined forces with ‘UNIT’ (‘United Nations Intelligence Taskforce’). In the following clip, alex also reads excerpts from Matthew Ashton’s 2012 article – and which you can see for yourself in its entirety here:

http://www.politics.co.uk/comment-analysis/2012/08/31/the-politics-of-doctor-who

Also…

Find out more about alex:g (and ‘Doom Watch’) here…

http://www.alexg.com/

http://www.doomwatch.com/news.php

… and Andy Thomas here…

http://www.truthagenda.org/

The interview below was first broadcast on November 22nd 2013 – the day before the special 50th anniversary episode of ‘Doctor Who’ was aired…

 

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REFERENCE LINKS:

http://en.wikipedia.org/wiki/Doctor_Who

http://www.dailymotion.com/video/x15dhq4_doctor-who-trials-and-tribulations_shortfilms

http://www.youtube.com/watch?v=MOGFZ4JUXN0

http://www.youtube.com/watch?v=XyXQX0P52MU

http://news.bbc.co.uk/1/hi/entertainment/3591987.stm

http://www.bbc.co.uk/news/entertainment-arts-22628483

http://www.bbc.co.uk/doctorwho/classic/episodeguide/unearthlychild/detail.shtml

http://www.youtube.com/watch?v=xudQu-TALVw

https://drwhointerviews.wordpress.com/tag/sydney-newman/

http://www.bbc.co.uk/news/uk-politics-25039600

http://drmatthewashton.com/about/

http://www.bbc.co.uk/doctorwho/s4/characters/daleks

http://thejohnfleming.wordpress.com/2011/11/29/tv-writer-terry-nation-talks-about-creating-the-daleks-and-about-his-insecurities-and-nightmares/

http://www.bbc.co.uk/doctorwho/classic/episodeguide/partypolitics.shtml

http://en.wikipedia.org/wiki/Behind_the_sofa

Artist, Gavan Kearney talks to ‘Red Ice Radio’ about the corrosion of culture.

RIR-131206_big

Musician, painter, and writer, Gavan Kearney dropped in to ‘Red Ice Radio’ recently to discuss the corrosive state of today’s culture, a culture that celebrates nihilism and narcissism. It also, he believes, discards age-old wisdom separating the young from the elderly and, as a result, all the invaluable life experiences they could bestow. Instead, youths are manipulated into joining the “entirely manufactured” ‘teenage rebellion,’ a construct promoted by the Powers That Be, and that identifies a ‘rebel’ by what clothes they wear and what music they listen to. In the interview below (and released earlier this month), Gavan notes that many never break out of this “rebellion by the rules” and hold on well into their 30s, 40s, and 50s.

Born in Cork, Ireland, Gavan’s interest in drawing and painting began at an early age but, as he grew up, he became increasingly suspicious of the media attention and critical plaudits being showered on Modern/Contemporary Art having never met anyone himself who genuinely liked any of it. “Who is actually behind this,” he would ask, and who is benefiting from what is actually an assault on beauty?Gavan Kearney During the ‘Red Ice’ interview he delves into some of the possible answers, acknowledging the notorious ‘Frankfurt School’ in the process. As far as Gavan is concerned, it’s an attack on craftsmanship, talent, diversity, and freedom of expression. Much of this was brought home to him during his time at art college where, he claims, there was no choice but to accept the Contemporary/Conceptual form if you didn’t want to risk being left “very much outside of the loop.“ Anything that deviated from it or pre-dated it – especially of a spiritual and/or mythological nature – was rejected.

Gavan's 'Our Summer.' Oil on canvas - 2012.

Gavan’s ‘Our Summer.’ Oil on canvas – 2012.

Gavan moved to London in the early ‘90s where he formed and played in various bands. Although not necessarily hostile to the Pop-music medium, he is aware that much of it today is “dark” and “ugly.” He briefly touches on this during the interview suggesting that the best way to fight against performers such as Lady Gaga who actively push ‘Illuminati’ symbolism and ritualism in their work is by switching them off and ignoring them. Since completing a degree in Fine Arts / Sonic Arts, he’s maintained a recording-career of his own. Operating under the moniker, Sand Snowman, he’s currently involved in a project with long-term musical/life partner, Moonswift. Below, is the track, ‘Transfigured Forest’ from his 2011 album, ‘Vanished Chapters’…

As well as playing music, Gavan has written about it. Below, his article about John Lennon and available on ‘Nine Points Magazine,’ a website dedicated to the ‘Enneagram.’ Taken from the Greek word, ἐννέα (‘ennea,’ meaning ‘nine‘) and, γράμμα (‘gramma,’ meaning something ‘written’ or ‘drawn’), and with its roots having been dated back thousands of years, it refers to a circle inscribed by nine points which is used as a symbol to arrange and depict principal personality archetypes (or energies); 1 – The Reformer, 2 – The Helper, 3 – The Achiever, 4 – The Individualist, 5 – The Investigator, 6 – The Loyalist, 7 – The Enthusiast, 8 – The Challenger, 9 – The Peacemaker. These one-word descriptors can be expanded into further sets of traits. In his article, Gavan writes, “Lennon himself was a mass of contradictions; a man of peace with an infamous violent streak who was involved in several high profile aggressive episodes, who sang ‘imagine no possessions’ to accompanying footage of himself strolling through his vast Surrey mansion, and a man who castigated authorities and yet spent his life searching for an ideology or father figure to believe in. These traits reveal Lennon as an Enneagram type Six (The Partisan, The Loyalist, The Questioner).” Read more here:

http://ninepointsmagazine.org/john-lennon-an-enneagram-profile-by-gavan-kearney/

And here’s one he’s written about David Bowie:

http://ninepointsmagazine.org/136/

And below, his interview on ‘Red Ice Radio’ (first posted on the site, December 6th 2013) along with extra relevant Info and links:

http://www.redicecreations.com/radio/2013/12/RIR-131206.php

In response to the recent news that Monty Python are to reform next year, ‘Conspiro Media’ has trawled through their back-catalogue for sketches about corrupt police, sexually-depraved bankers, dodgy judiciary, phoney religions, Freemasons, Zionism, and a lot more…

Monty Python conspiro banner

When news first began to surface last month that the surviving members of Monty Python were going to announce plans for a live reunion show, a number of articles appeared on the internet in response listing some of the best loved moments from the legendary comedy-team’s TV shows and movies. Well… ‘Conspiro Media’ is about to do the same – but – with an Alternative twist. Instead of acknowledging their most popular sketches or film-scenes, the emphasis here is on the ones that poked a stick at the so-called ‘Establishment’ and the people who operated within that system of rule which, of course, is still going strong today. It seems that almost no one or nothing was considered out of bounds. It didn’t matter if you were in the police, the armed forces, the judiciary, the health service, the aristocracy, politics, banking, education or a religious organisation, as far as Monty Python was concerned, you were potentially within its sights. However, as you’ll discover later on in this article, there were instances when the ribbing just got way too close to the bone for some and resulted in censorship.

BACK IN THE DAY - The Pythons pictured in 1969. From left to right (front); Terry Jones, John Cleese, Michael Palin.. From left to right (back); Graham Chapman, Eric Idle, Terry Gilliam.

BACK IN THE DAY – The Pythons pictured in 1969. From left to right (front); Terry Jones, John Cleese, Michael Palin.. From left to right (back); Graham Chapman, Eric Idle, Terry Gilliam.

Their anarchic brand of humour was inspired and shaped in part by the legendary comedy revue, ‘Beyond the Fringe’ which was written and performed by Peter Cook, Dudley Moore, Alan Bennett, and Jonathan Miller. It took the West End and Broadway by storm during the first half of the 1960s and is often regarded to have ushered in the British satire boom of that decade. Python, Eric Idle went to see it when it was playing in London. In an interview some years back he said, “I remember just rolling around screaming with laughter like I never laughed before. It was just so great. It was a life-changing experience. Totally changed my life. I’d no idea you could be that funny. I’d no idea you could laugh at the Prime Ministers, or the Queen, or the Royal Family – everything I secretly hated was being laughed and mocked at. And there they were on stage doing this so wittily and funnily. Just changed my life. I wanted to be funny at that point.”

Beyond the Fringe... From left to right; Alan Bennett, Peter Cook, Dudley Moore, Jonathan Miller.

Beyond the Fringe… From left to right; Alan Bennett, Peter Cook, Dudley Moore, Jonathan Miller.

Hot on the heels of ‘Beyond the Fringe’ came the BBC TV satirical comedy-show, ‘That Was the Week That Was.‘ First screened in 1962, this short-lived but influential series hosted by a young David Frost, not only lampooned politicians, religions, the police, and the British monarchy, but cast a critical eye over a number of highly volatile social/cultural issues through a mixture of sketches, songs, debates and discussions. The scriptwriting team included, Dennis Potter, John Betjeman, Johnny Speight, Keith Waterhouse (the author of ‘Billy Liar‘), Peter Cook, and, a newcomer at the time by the name of John Cleese. He believes the show “was an extraordinary event – I mean, people now can’t realise how epoch-shattering it was in that very deferential culture that still existed in England.” In the following clip from the series, one of the regular cast-members, Millicent Martin (perhaps best known for her role as Daphne’s mother in the hit comedy, ‘Frasier’) sings a lullaby inspired by a government report that claims the number of babies born illegitimate in London has gone up from one in ten to one in eight. She croons, “don’t you weep my little baby ‘cos you haven’t got a dad. Go to sleep my little baby, things aren’t really quite so bad. There’s no reason any longer why you ought to feel so blue. The world is full of bastards just like you.” This is followed by a sketch sending up former Junior Admiralty Minister, Thomas Galbraith. Back in 1962, he was fighting off rumours of an affair with his one-time Personal Secretary, William John Vassall who’d been jailed earlier that year after he was blackmailed into spying for the Soviet Union because of his homosexuality (which was illegal in Britain then). Speculation as to the exact nature of their relationship was further fuelled by the Press after ‘unusually affectionate’ letters written by the high-ranking politician to the KGB asset and dating back to the 1950s were made public. Incidentally, apologies for the poor-quality sound of the clip (… works better with headphones – and it‘s worth the effort)…

In 1966, future Pythons, Eric Idle, Michael Palin, and Graham Chapman worked together as writers on David Frost’s satirical show, ‘The Frost Report’ along with John Cleese who also appeared in front of the camera as a member of the regular cast with Ronnie Barker and Ronnie Corbett, who later became of course, ‘The Two Ronnies.’ The sketch below, is perhaps the most recognised of all from the series…

Monty Python made their debut on October 5th 1969 on BBC TV, and, over the space of the next fourteen years, carved out their place in cultural history racking up a total of four television series (plus two German specials), and four movies as well as numerous albums and books. Their style of humour has affectionately been labelled, “crazy,” “silly,” and “surreal.” And quite rightly so, but beneath all that, there’s often a point being made, a message being conveyed, a perspective on life’s idiosyncrasies, absurdities, and injustices being shared. In 2011, Michael Palin opined, “silliness is terribly important, we all take ourselves terribly seriously, and you’ve got to see the absurdity in the human race.” It’s, he said, “a form of benign anarchy… silly people generally enjoy life and see through it.” Eric Idle meanwhile, has reportedly stated, “comedy’s job is to be against things, not for them. Monty Python was firmly apolitical, though anti-authoritarian in flavour. In the years in which it flourished, it was no longer possible to take any Party seriously. Thus, the Python attack is fixed on all authority figures… even those in charge of the BBC.” It could be argued that the Pythons, and indeed the members of Beyond the Fringe, were perhaps better qualified than many in the public eye to take pot-shots at, as Idle has purportedly described, “teachers, policemen” and those closer to the Pyramid of Power such as, “judges, minor royalties, politicians” and “army officers” given that they too had dipped their toes into this elitist environment to some degree during their formative years. For example, with the exception of Terry Gilliam, all of them had either studied at Oxford or Cambridge University, and Peter Cook had even toyed with the idea of pursuing a career in the Foreign Office. Fellow Fringe member, Jonathan Miller was actually a trained medical doctor when their revue was enjoying success apparently, as was Python, Graham Chapman who qualified in medicine in 1962, and later, in his role as secretary of the St. Bartholomew‘s Hospital students union in London, had tea with the Queen Mother when she came to open a new biochemistry block there. In 1963, former public-schoolboy, John Cleese was all set to begin working with City law firm, ’Freshfields,’ solicitors to the Bank of England, but then received an offer to write for the BBC. A lecturer at Cambridge recalls, “oh! John was an admirable, excellent lawyer. And I’m bound to say, it’s a loss to the legal profession that he didn’t qualify as a lawyer. And I can just see him at the bar – which he never joined. And one can equally see him being elevated to judicial office. Which he never aspired to.” Michael Palin’s father (the son of a doctor) had studied at Cambridge too, and his mother was the daughter of the High Sheriff of Oxfordshire. So… it might be worth keeping all the above in mind when checking out the sketches and film-clips below. Ask yourself (if you haven’t already…) how much of the material was actually based on some kind of firsthand experience? How close to the Actual Truth were Monty Python taking us?

Monty-Python

  • ‘The Architects Sketch’                                                                                               In this sketch first broadcast in October 1970, John Cleese plays the role of an angry architect who accuses a pair of businessmen of being freemasons after they reject his design of a new block of flats. Instead, they opt for a structurally dangerous alternative pitched by a rival (Eric Idle) who then proceeds to thank them with an extremely peculiar handshake. At this point, Cleese’s character looks at us and says, “it opens doors – I’m telling you!” There’s suggestions the sketch is based on the tragic events that befell ‘Ronan Point,’ a 22-storey London high-rise purportedly named after Harry Louis Ronan, a local official. In May 1968, just two months after the block had been built, four people were killed when it partly collapsed from a gas explosion. A public inquiry into the disaster was launched not long after. One of those to submit evidence was architect, Sam Webb who’d inspected the scene of the devastation for himself. He’s been quoted as saying, “I knew we were going to find bad workmanship – what surprised me was the sheer scale of it.” According to the official findings, the tragedy was quite literally ignited when a resident, 56-year-old Ivy Hodge, struck a match to light her cooker. The ensuing blast blew out pre-fabricated concrete panels causing the building to fall. Actually, there’s a possible reference made to this in the sketch when architect Idle’s scaled-down model of a high-rise catches fire during his sales-pitch. Then, a caption of the word, ‘SATIRE’ briefly appears across the screen. Webb claims “the only thing“ that was holding Ronan Point together as a structure “was the action of gravity. It was like a house of cards. Move one and they all fall.” For example, “any wall or column must safely transfer its load to the foundations and the ground otherwise it will collapse. The explosive force from the gas explosion didn’t kill the woman in the flat. She got up off the floor and walked out. It wasn’t a big explosion. If it had been she would have been killed because her lungs would have blown up and burst.” Webb also believes that the British Civil Service “altered” the findings of the inquiry’s report in order to hide damning evidence.
THE DAMAGE... Ronan Point post-explosion.

THE DAMAGE… Ronan Point post-explosion.

Ronan Point underwent repairs and subsequently remained standing until 1986 when it was demolished along with eight other tower-blocks. Interestingly, all nine were situated on the East London residential development, ‘Freemasons Estate.’

Following the sketch is a segment titled, ‘How to Recognise a Mason’…

  • ‘Merchant Banker’                                                                                                 Sadly, the following sketch is as pertinent today as it was back in November 1972 when it was first aired. John Cleese plays the part of an unscrupulous merchant banker struggling to understand the concept of charity…
  • ‘A Lesson In Anarcho-Syndicalist Commune Living’                                              … or sometimes referred to as ‘Constitutional Peasant,’ the following clip is taken from the comedy-group’s second movie which parodies the exploits of King Arthur and his Knights of the Round Table. Released in 1975, ‘Monty Python and the Holy Grail’ was made on a shoestring budget of approximately £229,000 – a relative pittance in the world of film-making, even back then. A number of fans and admirers helped finance it, including the Rock bands, Pink Floyd, and Led Zeppelin.

Monty Python and the Holy Grail

In the scene below, we see King Arthur (played by Graham Chapman) being sidetracked during his epic quest to find the elusive Holy Grail by a mud-infested peasant (Michael Palin) who launches into a long-winded politically-charged rant about “the working class” and what it’s like to be part of “an anarcho-syndicalist commune.” Commenting on this clip quite recently, John Cleese recalled, “there was a lot of this kind of angry, political crap around in England in the late sixties, and particularly in the seventies. It was rife. Lots and lots of Left-wing groups which splintered every two weeks.” His patience pushed to the very limit, King Arthur can stand no more of the peasant’s ramblings and proceeds to manhandle him. “Help! Help! I‘m being repressed,“ Palin’s character cries as onlookers gather round. “Did you see him repressing me?“ he asks them. Cleese has compared this moment in the scene to what was going on in the 1970s too. “That was being shouted out a lot at the time by extremely angry Leftist revolutionaries who actually would go home to quite comfortable houses and have quite decent dinners after the demonstration” he’s said. Be that as it may, the peasant makes some valid points, exclaiming that “we‘re living in a dictatorship. A self-perpetuating autocracy.” He also accuses King Arthur of attaining his regal status “by exploiting the workers – by hanging on to outdated imperialist dogma which perpetuates the economic and social differences in our society.“ Sounds about right.

  • ‘Blackmail’                                                                                                             Taken from their first movie, ‘And Now for Something Completely Different,’ this sketch stars Michael Palin as the slimy host of a quiz-show which attempts to blackmail its viewers by showing pictures or film of them engaging in compromising acts of a sexual nature. It’s worth noting for the reference made to a “Mr. S. of Bromsgrove… a freemason and a Conservative MP” who potentially faces “possible criminal proceedings” unless he coughs up £3,000 to stop his full name being revealed as well as “the name of the three other people involved,“ and “the youth organisation to which they belong.” Given the revelations made in recent years courtesy of the Alternative media with regards to paedophilia, politics and secret societies, one might perhaps wonder whether this sketch from 1971 was, in fact, an early subliminal warning?…

Which brings us rather neatly onto…

  • ‘Euro Sex Maniacs’                                                                                                     Who would’ve thought it? The sketch below which refers to sex-crazed bigwigs in the ‘International Monetary Fund’ pulling their pants down “to get into bed with young girls,” was first broadcast in 1972 – 39 years before Frenchman, Dominique Strauss-Kahn resigned from his position as IMF head following his arrest for the attempted rape of a hotel maid in New York. The one-time hot favourite to become France’s President denied the accusations, although he did describe his liaison with her as “inappropriate,” and “an error.” The charges against him were eventually dropped. However, there was more…
Strauss-Kahn walking out of a New York police station in cuffs in 2011 after being arrested for allegedly sexually  attacking a hotel maid.

Strauss-Kahn walking out of a New York police station in cuffs in 2011 after being arrested for allegedly sexually attacking a hotel maid.

At around this time, Paris prosecutors investigated allegations he’d sexually assaulted French author and journalist, Tristane Banon back in 2001 when she was in her early twenties. She first made the claims in 2007 during a TV discussion show. Likening him to a “rutting chimpanzee,” she said he unhooked her bra and tried to unzip her jeans. Strauss-Kahn, who dismissed her version of events, reportedly told police during an interview that he’d tried to take her in his arms to kiss her but pulled back when she rejected him. Although the investigation against him was eventually dropped, prosecutors in France acknowledged there were “facts that could qualify as sexual aggression” but that no legal action could be brought as this lesser charge has a statute of limitations of three years. In 2012, a French inquiry into yet another alleged incident was scrapped after the key witness, a young Belgian woman, withdrew her statement that linked the former IMF boss to a possible gang-rape in Washington. And there’s more; he’s currently awaiting trial on charges of pimping in connection with an alleged prostitution-ring at a hotel in France where sex parties were said to have been held. Although Strauss-Kahn has acknowledged attending, he says he was unaware that the women who participated were prostitutes.
In the sketch, which is played-out in the style of a spoof TV-news/current affairs item, our intrepid reporter (John Cleese) asks, “why are so many of these top financial experts so keen to get into bed with young girls? What exactly is it that makes them want to go to bed with these people and do these apparently irrational things to them?”

  • ‘Eric Njorl Court Scene (Njorl’s Saga – part III)’                                                     This clip features the bandaged figure of Eric Njorl. He’s a character that recurs throughout an episode from the third series of the comedy-team’s BBC TV show, ‘Monty Python’s Flying Circus’ in which an Icelandic television saga fails to gain momentum (in typically surreal, silly and hilarious fashion). Forget this – it’s largely irrelevant here – and focus on the action around him instead. Cop brutality and questionable behaviour by the judiciary is the norm in this courtroom-based sketch which also stars Michael Palin as the comically-violent police constable, Pan Am.
  • ‘Police Raid’                                                                                                                   The following sketch first screened in November ‘69, focuses on yet another corrupt cop (played by police constable’s son, Graham Chapman) as he attempts to plant illicit substances in the apartment of a supposedly famous actor by the name of Sandy Camp (Eric Idle). Some believe this skit is based on the exploits of real-life Drug Squad officer, Norman Clement Pilcher who, in the late 1960s, busted a number of British Rock/Pop stars including Eric Clapton, and members of The Rolling Stones and The Beatles. John Lennon reportedly said of him, “he went round and bust every Pop star he could get his hands on, and he got famous. Some of the Pop stars had dope in their house and some of them didn’t.“ He raided the legendary musician’s London flat in October ’68 and arrested him after traces of cannabis resin were found. “That thing was set up,” he was quoted as saying. “The Daily Express was there before the cops came. In fact, Don Short (a journalist) had told us, ’they’re coming to get you,’ three weeks before.” Interestingly, years later, the newspaper/website, ’The Guardian’ published an article highlighting information given to it under the ‘Freedom of Information Act’ and showing “Pilcher came under strong pressure from the then-Home Secretary, James Callaghan after the raid on the… flat. In his report, hand-delivered to the Home Secretary, Pilcher tried to explain why it had taken seven police officers and two dogs to raid Lennon’s flat, and how it was that the Press managed to arrive on the scene within minutes of the drug-bust.” Lennon said of the raid, “believe me, I’d cleaned the house out because Jimi Hendrix had lived there before in the apartment, and I’m not stupid. I went through the whole damn house.” In 1973, Pilcher was jailed for four years as a result of his corrupt practices in the Drug Squad.
  • ‘Crackpot Religions Ltd’                                                                                     There’s no point in describing the following sketch. The title does that satisfactorily enough. It doesn’t need any further explanation. However, do make sure to watch out for the highly suggestive cartoon at the end courtesy of resident Python animator, Terry Gilliam…

Of course, as you’re no doubt aware, when Monty Python tackled the subject of religion in their follow-up movie to the ‘Holy Grail,’ all hell (pardon the pun) broke loose. ‘Life of Brian’ is the story of a young Jewish man (played by Graham Chapman) who is born in a stable in Nazareth on the same day as Jesus and who is later crucified. It’s all thanks to his involvement in the ’People’s Front of Judea’ (‘PFJ’), a movement fighting against Roman occupation, that he ends up on the cross in the first place, but not before he stumbles through a series of hilarious misadventures as he struggles to stay in front of Pontius Pilate’s guards who’re giving chase not far behind. In a bid to avoid capture, he blends himself into the hustle and bustle of a public plaza, pretending to be part of a line-up of would-be prophets and mystics haranguing the passing crowds. Out of his depth but desperate not to blow his cover, he witters on clumsily and nonsensically about anything of a vaguely religious nature that pops into his head and unintentionally attracts a small but intrigued audience in the process. When he then proceeds to leave the scene having shaken off Pilate’s guards, he realises – much to his annoyance – that a group of people have started following him around, hanging off his every word, and proclaiming him to be “the Messiah.”

The idea for the film came about, according to Michael Palin, “when we were going round the world doing premieres for the ‘Holy Grail’ and we had a lot of time to spare in airports and cafes and restaurants, and we got to thinking about a new film, and what particular area we might go in – and we were still keen to do a historical film… and I think it was Eric who came up with this title out of the blue called, ‘Jesus Christ – Lust for Glory,’ and I must admit that when we started talking about it, we actually explored the idea of doing a comedy-film about Jesus… but, the more that we read about Jesus and the background to his life, it was quite obvious that there was very little to ridicule in Jesus’ life and therefore we were sort of onto a loser. The characters we like to portray in ‘Python’ are failures, and dim or idiotic… sort of incapable in one way or another. Jesus was a straight, direct man making very good sense, and so we decided that it would be very, sort of very shallow film just about Jesus, so we got Brian in.” In fact, Jesus only appears in the movie for (approximately) just under a minute. It was released in 1979 to worldwide protest and condemnation from Christian groups and various church and religious leaders who branded it “blasphemous.“ It was banned in Singapore, and South Africa, as well as in Norway for a year, and in Ireland for a total of eight. In Scotland, Glasgow officials finally granted it a licence for screening in 2009. The city was one of over 30 local UK authorities that had imposed restrictions on it. In the US meanwhile, as Terry Jones recalls, “it was banned in quite a few southern States.” He also remembers “a lot of protests there,” claiming that “several nuns used to parade outside a theatre in New York with placards, telling people they’d be doomed if they went to see the film.” Talking about the controversy in a 2007 interview, Terry Gilliam declared, “this is what makes me crazy, is this ability to just close – say, ‘no. Don’t even look at that. Don’t even think about it.’ But, it’s a way of keeping people ignorant, under control, and not thinking, and I think that ‘Python’ – one of the things I thought that we were all pretty proud of is trying to make people think.” The ill-will and animosity that was directed against Monty Python and their movie was of such intensity that each member of the comedy-team was told to make a will. “They had no idea whether someone would take a shot at them or not,” said one insider.

The fact that the movie was made in the first place is quite something in itself, and it‘s largely due to ex-Beatle, George Harrison who put up all the money himself after the original investor, ’EMI’ pulled out just before filming was due to start over concerns the script-content was “sacrilegious.” Sensing that the movie might wind them up in court on blasphemy charges, the Pythons sought the advice of top defence lawyer, Sir John Mortimer prior to its release. “They came to see me and I saw the film which I thought riotously funny,” he said in 2007. However, there is a scene which he regarded “rather dangerous.” It’s the one where Brian is approached by the ex-leper (Palin) who starts complaining about the “bloody do-gooder” Jesus for healing him and thus depriving him of his livelihood as a beggar. In a 2011 interview, Terry Jones did go as far as to say the movie was “heretical because it criticised the structure of the church and the way it interpreted the Gospels,” but didn’t accept the view that it was “blasphemous.” As far as John Cleese was concerned, what it also wasn’t was an “attempt to say, ‘you should not believe in Christ,’” it was merely warning people “to take a critical view” first. Speaking during the height of the controversy back in 1979, he said, “find out about it. Don’t just believe because… somebody in the pulpit says something. Question it. Work it out for yourself.” In short, “make up your own mind about things and don’t do what people tell you.” There’s a scene in the movie which conveys this message with particularly memorable effect; Brian, having managed to escape from the growing mob of followers who refuse to believe him when he tells them he’s not the Messiah, takes Judith, the only female member of the PFJ, back to the seclusion of his house where they make love. The adoring horde however isn’t far behind him, and, the next morning when he opens the curtains, he sees an enormous crowd of people waiting desperately for him to address them. None too happy with the sudden influx of unwelcome visitors at the door, his mother, Mandy (Terry Jones), confronts them…

Of course, there’s probably very little need in pointing out that the sheep-like mentality of Brian’s followers in the above clip, and his attempt to break them out of it will resonate with many of you reading this for one reason or another. It’s a scene that can be applied well beyond the context in which it is set, symbolising as it does (whether intentionally or not on the part of the Pythons) the thought-control that’s all too pervasive around us in the modern-day courtesy of governments, political organisations, think-tanks, the media, the education system, and indeed religious institutions. Michael Palin is of the view the movie itself is “about authority and about the way people blindly follow… what other people tell them to do.” So, hilarious as the above clip is of Brian struggling to wake-up his flock of followers, his message is far from a joke; Yes – we are all individuals, and we do have to work it out for ourselves. Only you can bring about the change you want in your life. We cannot rely on others to seek the solutions for us. Speaking in 2007, Palin said, “people are always looking for leaders, or they’re looking for a hero somewhere or someone they can follow – whether it’s a sportsman, or it’s a politician, or it’s a Pop group, or some religious fundamentalist – always looking for someone like that, and so, a lot of it’s about gullibility and about the lengths people will go to sort of be led – give up their own sort of powers of reason to somebody else’s.” Commenting on the movie shortly after its release in 1979, he said, “I think that what we’ve chosen to do is what we’ve always done in ‘Python’… we have taken a certain group of people which are generally sort of England in the present day and put them into a historical context. I think that’s what we’ve done with this film. It’s about the people who live in – anyone who lives and makes up our society today.” In other words, the movie addresses issues that would’ve been as relevant to people in 1970s Britain as they were to those living 3,000 or so years earlier. Scenes in the film dealing with crucifixion are a case in point. Palin said, “people were crucified… as common criminals – it was just a form of capital punishment employed by the Romans who’re regarded as a highly civilised people. But it was capital punishment. And in the film we examine attitudes to capital punishment. As far as I know… the majority of people – we’re constantly told – are in favour of capital punishment. It just seems we haven’t come that far…” A number of surveys released in recent years (if they’re to be believed) would suggest that support for the death penalty is almost certainly a “majority” today, regardless of whether it was or wasn’t over three decades ago when Palin made the observation. A 2009 poll conducted by ‘Harris Interactive’ concluded that 54% of people in the UK were in favour. Another, carried out by ‘Angus Reid’ in the wake of the London riots of 2011, found that 65% backed re-introduction. In May 2013, just four days on from the reported killing of Lee Rigby by so-called ‘Muslim extremists,’ researchers, ’Survation’ stated that 63% would endorse it for convicted terrorists. The very same pollster in 2011 showed 53% in approval. Furthermore, when asked which methods should be used, 66% of those questioned in the survey said lethal injection, 12% hanging, 5% electric-chair, 4% firing-squad, and 4% gas-chamber. In the clip below, Roman guard, Nisus Wettus (played by Palin) spares a moment whilst supervising a queue of men destined for crucifixion to ponder on what a “senseless waste of human life” it all is. One of those lined-up incidentally is Brian who attempts to escape the cross by trading on his mother’s claim that the father he’s never met is a centurion. If there’s any one scene in the movie to back-up Michael’s declaration that the Pythons were examining attitudes to capital punishment, then this perhaps is it…

Another topic relevant to 1970s British society that’s addressed within the context of the movie (with the exception of religion of course) is Left-wing politics. John Cleese spoke about this at length during his commentary for the 2008 DVD re-release of the film stating that the ‘People’s Front of Judea’ was the Pythons’ vehicle to make “fun of… the extraordinary proliferation of… political Parties – all of them very, very small on the far Left in Britain at that time. The biggest of the Parties was known as the ‘Socialist Workers Party,’ but there were an enormous number of them and they were all Leninist or Trotskyite or they sort of were Maoist or they were Leninist/Maoist or they were Maoist/Trotskyite and they all had these extraordinarily precise labels and they all fought with each other and hated each other – it seemed to everyone else – much more than they actually hated the Parties on the Right. You would think being on the Left there would’ve been a kind of coalition… but no, they hated each other – much more strongly than the real opposition because it was so necessary for them to be doctrinally pure.” The scene below illustrates his point. It takes place in the Roman coliseum in Jerusalem where, true to Pythonesque form, we see Brian earning a living as a Biblical-era equivalent of a fast-food vendor at a sports-venue selling such snacks as wolf-nipple chips, wrens’ livers, jaguars’ earlobes, and otters’ noses to audiences watching the games. Whilst peddling these tid-bits, he comes across the principle members of the PFJ played by Idle, Cleese, Palin, and actress, Sue Jones-Davies who takes on the role of Judith…

The above clip, says Terry Gilliam, represents “England at the time we were doing it – the unions and the different Left-wing factions… they spent their whole time nit-picking about terminology and titles at the expense of actually getting out and doing anything.” Michael Palin recalls “there were just an awful lot of liberation groups around in the ‘70s, everyone was setting up a group somewhere… and they’d all be run very sort of bureaucratically and with a lot of sort of motions being passed… and of course the feminist movement was just beginning to sort of make a mark, and some of it was very confused… all these great ideas for changing the world – basically it’s all stymied, it’s all reduced, it’s all swamped by this minutia of procedure, but everyone being very earnest.” The clip below sums all this up…

The ‘Life of Brian,’ said Cleese in 1979, is partly “about closed systems of thought whether they’re political or theological, or religious – whatever. Systems by which whatever evidence is given to the person, he merely adapts it, fits it into his ideology. You show the same event to a Marxist and a Catholic for example, they both of them find they both have explanations of it. I mean, once… you‘ve actually got an idea that is whirring round so fast that no other light or contrary evidence can come in, then I think it‘s very dangerous.”

Terry Gilliam as the Blood and Thunder prophet in the 'Life of Brian.' (CLICK TO ENLARGE).

Terry Gilliam as the Blood and Thunder prophet in the ‘Life of Brian.’ (CLICK TO ENLARGE).

Commenting on the movie in 2011, he said it was “an attack on how people hold religious beliefs, an attack on what I would call intolerance and narrow mindedness.” He added, “I’m personally fascinated by religion and spirituality and sometimes think spirituality is a bit of a threat to religion because the organised churches are so into power and influence and indeed wealth.” This is a point which he spoke about in much greater detail a few years earlier in 2008 saying, “here’s what I think in a single sentence: I think that the real religion is about the understanding that if we can only still our egos for a few seconds, we might have a chance of experiencing something that is divine in nature. But in order to do that, we have to slice away at our egos and try to get them down to a manageable size, and then still work some practiced light meditation. So real religion is about reducing our egos, whereas all the churches are interested in is egotistical activities, like getting as many members and raising as much money and becoming as important and high-profile and influential as possible. All of which are egotistical attitudes. So how can you have an egotistical organisation trying to teach a non-egotistical ideal? It makes no sense, unless you regard religion as crowd control. What I think most organised religion (is) – simply crowd control.” Terry Jones meanwhile has said on more than one occasion that the Pythons would “think twice” about making the ‘Life of Brian’ in this day and age because “free speech is really under attack at the moment, you know, in a very devious way.” Furthermore, when asked in 2011 if the comedy-group would ever reunite to create a similarly satirical film about Muslims, he replied, “probably not – looking at Salman Rushdie. I suppose people would be frightened. I think it’s whipped up by the arms industry. I read an in-house magazine called Weapons Today before the Gulf War and the editorial was headlined, ‘Thank God for Saddam’ and went on to say that since perestroika we have an enemy no one can complain about. So in future we look for Islam to replace Communism. I thought they were joking – the Crusades were 1,000 years ago – but of course that’s what’s happening now.” However, it would appear that Eric Idle isn‘t as cautious as Jones suggests. When asked during an interview a few years ago if comedy should poke fun at thorny issues such as terrorism, he replied, “oh. You must. Oh, I think the whole point about humour is that it’s the closest to us. I think it describes our humanity and that, er, there’s nothing must be barred from comedy… anybody who tries to bar a subject, you have to look very closely at who’s doing the barring – and for very good reasons. I mean, the first thing Hitler did was to get rid of the comedians. It’s one of the first signs of countries going towards Fascism as they start curtailing freedom of speech and what subjects should be talked about. Why would you not ridicule terrorists? Why should they escape ridicule?” How would he go about this? Well, “eeerrm… a suicide-bomb lesson. I mean, you have a school of suicide-bombers. In fact, we did it in the ‘Life of Brian’ but we cut it out.” Yes they did. He’s referring to a deleted scene he wrote which undoubtedly would’ve caused a controversy all of its own had it of been left in the final cut, given that it was centred around Otto, a Zionist with an Adolf Hitleresque moustache who leads the widely-hated suicide-squad, the ‘Judean People‘s Front.’ Their logo, which they wear on their helmets, is a Star of David with a small line attached to each point to resemble a swastika (designed by Gilliam). Although rubbed from the film, the clip is available to watch either on ‘YouTube,’ or in the ‘special features’ section of the movie’s 2008 DVD/blu-ray re-release package. You can see it here too – directly below in fact. In the scene, Otto (played by Idle, who’s Jewish, incidentally) approaches Brian and asks him if he’s seen “the leader.” Then, after introducing himself, he launches into a rant, exclaiming, “oh, I grow so impatient, you know. To see the leader that has been promised our people for centuries. The leader who will save Israel by ridding it of the scum of non-Jewish people, making it pure, no foreigners, no gypsies, no riff-raff.” He then proudly shows off his “thoroughly-trained suicide-squad” who “can commit suicide within twenty seconds.” The scene is preceded by a deleted segment from the clip featured here earlier of Brian addressing the crowds at his house. He bolts from there, escaping the followers and hangers-on who’ve invited themselves in, and sits alone outside…

Idle has said the scene, “was about rampant nationalism and how dangerous that is to all of us in any society… Otto’s like a proto-type Fascist really… he wants to purify his religion and get rid of the foreigners. This is terribly contentious ‘cos it’s sort of suggesting that in extremes, Zionism can be compared to Nazism.” It was, however, “ultimately cut because I did feel it was holding up the narrative flow at a crucial point of the film while we were all moving with Brian towards the climax of him being arrested and crucified. In an odd way, Otto was an intrusion… when Otto came in it was introducing a whole new character and what was this about? You know, it was coming from leftfield and it wasn’t adding. It was puzzling… we’d always have… lots of previews and so Otto wasn’t just cut out of the blue, it was cut because watching previews and feeling the audience shift… you can feel when you’re watching with an audience when they get restless and when they start shifting and nodding off. You can sense that when you watch a film with an audience, and it was always coming back to us at around that point – no matter what we put in there – things were starting to nod… and that’s why we made some cuts, because… cutting lets you drive through to the end quicker, and they can see which way we’re going and the plot is building and that made it work better I think.” Speaking about the Otto scene during the commentary for the 2008 DVD/blu-ray re-release of the movie, Terry Gilliam noted that “we did make a lot of choices that tried to maintain the narrative at the expense of sketches – like the Otto scene is one of those which is a wonderful scene, but it came too late in the film to introduce new characters…. always the problem is when you’re making a film – you know – over ninety-minutes, somewhere in the middle of a comedy-film it just – nothing works. And so we trimmed it down and decided – tried to keep the narrative moving.” However, “I’m never certain whether we were right or wrong, to be honest.” Indeed, in the 2007 UK TV-documentary, ‘The Secret Life of Brian,’ he says, “I’m still not convinced cutting it out was the right thing ‘cos I think that scene’s really important. It’s right on the edge. Again, you’re saying things you’re not supposed to say. This time, not about Christians, but about Jews ‘n’ Israel. Important stuff to say because it’s sort of cutting through the hypocrisy.” Terry Jones took a similar viewpoint when discussing the movie during the 2008 DVD/blu-ray commentary, saying, “I regretted cutting it out but it did seem that the film worked better without it.” John Cleese has also said “it was a good scene,” but “was not as funny as all that, so I was certainly in favour of losing it.” He also noted that “it was… saying something that I think might have offended a lot of people although I can’t remember what it was.” Michael Palin states in his published memoirs that the Otto scene for him was, “a magnificent creation – a Jewish Hitler… who wants more Lebensraum for the Jews” and recalls it was still being considered for inclusion in the final cut just four months before its release when it was see-sawing ”between condemnation and popularity” at private viewings. Remnants of Otto do survive in the film of course. He appears as if from nowhere along with his suicide-squad towards the end during the crucifixion scene. Cleese believes “it’s a weakness of the scene you haven’t seen these people before but this is what happens on filming sometimes, and I think it would’ve been a mistake to have put the earlier scene in.” And, “so, that’s what it was,” Idle has said. “It’s hard, tough comedy and it makes… a very strong point. But in the end, you know, you say, ’well, do we really wanna offend all these people who’re gonna misunderstand what the point is? Is that really our target in this movie?’ And it isn’t really, and the movie’s target is really about Christianity and its sects and its followers and its ability to go to war over peace. Which is the great irony, you know? So, that’s the Otto story.” Well… not quite. Take note of the chopped dialogue at the 39-to-40 second mark in the above clip. That’s where a section of Otto’s rant is missing. He should be seen and heard saying, “time that we Jews racially purified ourselves,” and, “we need more living room. We must move into the traditionally Jewish areas of Samaria.” Brian then asks him, “what about the Samaritans?” He replies, “well, we can put them in little camps. And after Samaria we must move into Jordan and create a great Jewish State that will last a thousand years.” However, you can hear (but not see) the deleted clip in its entirety – with no cuts – on Monty Python’s audio-CD of the movie released in 2006, along with two versions of ‘Otto’s Song,’ a number that conjures up images of the Third Reich in all its goose-stepping glory…

On the face of it, it would certainly appear (and sound) as though the controversial Otto film-clip has been tampered with. A deletion within a deletion as it were. But why and by whom? If anyone reading this has any information that might shed some light on this, then do please share it here, because ‘Conspiro Media’ has so far failed to find a definitive answer. In the meantime, let’s assume for the sake of argument that the scene was chopped without the Pythons’ knowledge and/or consent – after all, the legendary comedy-team mightn’t have been at all keen to include the segment in the finished movie, but they did make it available in full on the audio-CD, leading one to conclude perhaps that they had no particular interest or justification in removing sections from the film-clip on the DVD version. Take note also that the screenplay – with chopped scene included in its entirety – was apparently published commercially alongside the release of the film back in ‘79 in a two-volume paperback set titled, ‘Monty Python The Life of Brian / Montypythonscrapbook‘ – or otherwise referred to as, ‘Monty Python‘s The Life of Brian (of Nazareth)’ and/or, ‘Montypythonscrapbookofbrianofnazareth.’ Below are some purported scans from these publications, one of which even lists Otto in the credits…

Otto book scans

Scan apparently from page 5 of Monty Python 'Brian Scrapbook' showing Otto in credits.

Scan apparently from page 5 of Monty Python ‘Brian Scrapbook’ showing Otto in credits.

book covers scans

Read more here:

http://notmytribe.com/2009/zionists-censor-life-of-brian-final-cut-812015.html

So. If we work on the assumption that the Pythons weren’t to blame in any shape or form for chopping out the dialogue in the deleted scene about moving “into Jordan,“ creating “a great Jewish State,” and putting Samaritans “in little camps,” then that surely means the focus of suspicion should be on the movie-industry big-wigs instead, right? As Robert Hewison, Oxford University friend of Michael Palin’s, and author of the book, ‘Monty Python: The Case Against’ has suggested, Otto “was a problem character because of course this is not the sort of character that would appeal to an American film distributor where the Jewish lobby is very strong.” Indeed… and the plot thickens. The deleted (and crudely censored) scene was first made publicly available in 1997 on laserdisc. According to ‘Wikipedia’ (not the most reliable of sources, granted, but when there’s nowhere else to look, you can’t be picky), “an unknown amount of raw footage was destroyed in 1998 by the company that bought ‘Handmade Films,’” the studio that George Harrison formed in order to finance the movie. “However,” it adds, “a number of them (of varying quality) were shown the following year on the ’Paramount Comedy Channel’ in the UK; it has not been disclosed how these scenes were saved or where they came from; possibly the source was the… laserdisc.” In 2011, Terry Jones said “the film was sold on to various companies and then to the ‘Royal Bank of Scotland’ who threw it away. Another black mark for them. We should sue.” It is all rather odd, isn’t it? “Destroyed”? Thrown away? What’s going on?

In 1983, Monty Python released their next movie, ‘The Meaning of Life,’ a selection of sketches loosely structured around Man’s journey from birth to death taking in topics including religion, sex, war, and corporate greed along the way. Weighty stuff indeed, but nowhere near as controversial as ‘Brian.’ It could’ve been though. John Cleese recalls, “Graham and I wrote a thing about a mad ayatollah, and it was not included, and I thought it was a mistake that it was not included, but it probably explains why I’m still here, because there would’ve been a fatwa on Graham and me, without any doubt, and probably the whole group. And it was all about him fulminating against all the sins of western civilisation, like toilet paper. And there was a scene where the mad ayatollah’s men had caught some British, uh, adventurers of the… sort of 1880s, you know. And there was a very funny scene when they were all gonna be tortured to death. And the regimental sergeant major went up to the colonel and asked for permission to panic. The colonel refused them permission, and he said, ‘can we panic just a little, sir? Just a couple of minutes, sir. I think it would, uh, raise the men’s spirits.’ And I just thought that was very funny stuff. I think they were really good ideas.”

After ‘The Meaning of Life’ in 1983, the Pythons went their separate ways and didn’t work together again for almost six years. When they did re-form in 1989 for a tribute-special hosted by Hollywood actor and comedian, Steve Martin, their appearance was unfortunately all too fleeting. Sadly, it also turned out to be Graham Chapman’s last performance with the group. He died of cancer a day before it was broadcast. He was 48. The remaining members have reunited twice; once in 1998 for a one-off live chat show-style comedy stage-event in in the US in which they looked back over their career, then a year later when they wrote and filmed some new material for a BBC 30th anniversary TV special, although Eric Idle’s contribution was noticeably minimal only appearing with the Pythons in one sketch for a total of fifteen-seconds and via video-link from America with the other four members playing their parts in a studio elsewhere. That means, next year’s live reunion (which has been extended from one to ten dates at London’s ’O2 Arena’) will be the first time all of them have performed in the same room together for 16 years. monty_python_2757869bThe shows will mostly be made up of old classics along with a sprinkling of never-before-seen material too. Officially unveiling the plans at a Press conference last month, the Pythons were asked by a journalist from the American ‘NBC News’ network if they’d consider some gigs in the US in 2014 as well. No doubt referencing that country’s recent financial woes, Eric Idle replied, “if you’re still open by then,“ thus demonstrating that at least one of the legendary comedy-troupe hasn’t lost his bite – So, if they do indeed showcase any new material next year as hinted, don’t be surprised if some of it is taking a critical, but silly-natured swipe at the so-called ’Establishment’ of today.

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http://www.youtube.com/watch?v=P2EWV3syvJM

http://www.sacred-texts.com/neu/mphg/mphg.htm

http://www.nytimes.com/2011/08/24/nyregion/charges-against-strauss-kahn-dismissed.html?_r=1&

http://www.bbc.co.uk/news/world-europe-14963176

http://online.wsj.com/news/articles/SB10001424052748703509104576331623409445148

http://abcnews.go.com/US/page?id=13640476

http://www.webcitation.org/6IjSkp9Rk

http://www.telegraph.co.uk/finance/dominique-strauss-kahn/8517179/Dominique-Strauss-Kahn-acted-like-chimpanzee-on-heat-woman-claims.html

http://www.youtube.com/watch?v=UVd1eyFvTmk

http://www.youtube.com/watch?v=bmtAqee4fLw

http://www.telegraph.co.uk/finance/dominique-strauss-kahn/8826975/Strauss-Kahn-I-tried-to-take-Tristan-Banon-in-my-arms.html

http://www.theguardian.com/world/2013/jul/26/dominique-strauss-kahn-trial-pimping

http://edition.cnn.com/2012/10/02/world/europe/france-strauss-kahn/index.html

http://www.huffingtonpost.com/2013/07/26/dominique-strauss-kahn-tried_n_3658576.html

http://www.youtube.com/watch?v=S7VdS6SVhxA

http://www.youtube.com/watch?v=owqRrKndqzw

http://www.bbc.co.uk/news/uk-11613059

http://www.beatlesbible.com/1968/10/18/john-lennon-and-yoko-ono-are-arrested-for-drugs-possession/

http://books.google.co.uk/books?id=gSFYYKbtDCsC&pg=PA73&lpg=PA73&dq=norman+pilcher+monty+python&source=bl&ots=4EtyrSrKCd&sig=ZF2_jS8ReAyPvx31RRluqmh9t-k&hl=en&sa=X&ei=MlaeUsrwK4v07Ab5z4GgAQ&ved=0CDkQ6AEwAg#v=onepage&q=norman%20pilcher%20monty%20python&f=false

http://www.theguardian.com/uk/2005/aug/01/thebeatles.freedomofinformation

http://en.wikipedia.org/wiki/Norman_Pilcher

http://beforeitsnews.com/environment/2012/05/perverting-the-course-of-justice-2139094.html

http://www.independent.co.uk/arts-entertainment/films/features/banned-the-most-controversial-films-1768299.html?action=gallery&ino=4

http://www.telegraph.co.uk/culture/8818328/Life-of-Brian-facts-and-figures.html

http://www.theguardian.com/theguardian/2013/aug/30/monty-python-life-of-brian-blasphemy-1979

http://www.scotsman.com/news/scotland/top-stories/new-lease-of-life-for-brian-as-glasgow-ends-film-ban-after-29-years-1-758329

http://news.bbc.co.uk/1/hi/scotland/glasgow_and_west/8126490.stm

http://web.archive.org/web/20070327153944/http://www.wnbc.com/entertainment/3316054/detail.html

http://www.youtube.com/watch?v=9s4ahqaF9Ls

http://www.youtube.com/watch?v=14HPYBUFs6k

http://www.youtube.com/watch?v=CeKWVuye1YE

http://www.radiotimes.com/news/2011-10-19/terry-jones-comedy-should-have-no-taboo-areas

http://classicshowbiz.blogspot.com/2008/09/dick-cavett-show-with-guest-john-cleese.html

http://www.clickliverpool.com/clocked/celeb-stories/1213020-john-cleese-condemns-church-teachings-in-liverpool-interview.html

http://www.avclub.com/article/john-cleese-14197

http://www.youtube.com/watch?v=AfYJccXRN-Q

http://www.express.co.uk/news/uk/266843/65-say-Bring-back-hanging

http://www.dailyrecord.co.uk/news/uk-world-news/new-poll-shows-63-per-1913255

http://metro.co.uk/2009/10/04/half-of-us-back-death-penalty-455614/

http://www.dailymail.co.uk/news/article-2023306/More-half-Britons-want-return-death-penalty-reveals-shock-poll.html

http://www.youtube.com/watch?v=bubdQyVFZsg

http://bryanappleyard.com/eric-idle-and-spamalot/

‘Diaries 1969 – 1979’ – Michael Palin.

‘The Story of Brian’ documentary from ‘Monty Python’s Life of Brian Immaculate Edition’ DVD – 2008

DVD commentary from ‘Monty Python’s Life of Brian Immaculate Edition’ DVD – 2008.

http://www.amazon.com/Monty-Pythons-Life-Brian-Immaculate/dp/B000VE439Y

http://www.amazon.com/Monty-Pythons-Life-Brian-Immaculate/dp/B000VECAC6

http://www.amazon.com/Monty-Pythons-Life-Brian-Immaculate/dp/B000VECAC6

http://www.imdb.com/title/tt0079470/

http://www.dailyllama.com/spam/books/python.html

http://livedash.ark.com/transcript/sports_challenge/34/ESPNCL/Monday_January_4_2010/131277/

http://www.digitalspy.co.uk/showbiz/news/a532589/monty-python-30-years-of-near-reunions-from-the-comedy-troupe.html

http://books.google.co.uk/books?id=RS0FAgAAQBAJ&pg=PA198&lpg=PA198&dq=eric+idle+bbc+python+night&source=bl&ots=KhbM3NgeTg&sig=Hkz-dP5BBLJoqeilL_S3I0A-MJw&hl=en&sa=X&ei=ZZW3UqDlKZPX7AaxvoHoCQ&redir_esc=y#v=onepage&q=eric%20idle%20bbc%20python%20night&f=false

http://www.eskimo.com/~rkj/weekly/aa121399a.htm

http://www.telegraph.co.uk/culture/comedy/comedy-news/10472486/Monty-Python-reunion-five-further-dates-added.html

http://www.youtube.com/watch?v=61SEpQ3eCMM

‘Conspiro Media’ is picking up ‘Good Vibrations’…

This site has always sought to incorporate the work of others within the so-called ’Alternative community’ who, to varying degrees, have investigated the conspiratorial and/or esoteric/occult elements within music, movies, TV and other forms of entertainment. In past posts – via ‘ConspiroTV’ – we’ve had the pleasure of hearing the views of respected experts and authors such as veteran symbologist and Beatles ‘insider,’ Robert Richard Hieronimus Ph.D., and also, Neil Sanders, perhaps the UK‘s foremost researcher in the history of Mind-Control/MK ULTRA and mass-media manipulation. We’ve also been keen to feature items exclusive to other sites such as ‘Red Ice Radio’ host Henrik Palmgren’s interviews with Hollywood actress, Sean Young about her ‘awakening,’ and writer and film-maker, Jay Weidner on his famed occult interpretations of Stanley Kubrick‘s work. Furthermore, when it‘s sister-site, ‘Radio 3Fourteen’ produced a show made up entirely of socially and cosmically conscious contemporary music acts, we added it as a link here. Actually, in all honesty, this blog hasn’t dedicated anywhere near enough attention on some of the lesser-known but talented artists out there making these kinds of tracks. This is something that we’ll (that is, I’ll) have to address in future. However, there is one website in particular that does focus on this. It’s run by veteran club/radio DJ, author and journalist, Mark Devlin. markdevlin Since 2010, when he first began to question the nature of reality, consciousness, and the ’3D world’ around him, Mark has built up a reputation as one of the prominent figures actively shining a light on the dark, twisted machinations of the music-industry. His insights are especially unique (as well as valuable) when considering his background; Predominantly specialising in his love of R&B, Reggae, Soul, Funk, Disco, Soulful House, and Hip Hop (by “Hip Hop” I mean Real Hip Hop as opposed to the crap available in the mainstream), he’s ripped up the decks in over forty countries and hosted numerous radio-shows (far too many to note here). In November, he’ll be bringing his brand of socially-conscious and uplifting flavas to David Icke’s new channel, ‘The People’s Voice’ hosting a once-weekly programme. In a career spanning almost a quarter of a century, he’s also contributed to leading music magazines/portals including the legendary ‘Blues & Soul,’ and ‘Black Sheep Mag’ which he’s managing editor of. Seeking to explore beyond the confines of the mainstream however, he first appeared on ‘SoundCloud’ last year with his ‘Good Vibrations’ pod-casts, many of which delve into the music-industry ‘conspiracy.’ Drawing from his contacts inside the business, he’s interviewed DJs, film-makers, and producers about their own perspectives on this ongoing global Agenda as well as its effects on humanity. Obviously, he’s chatted with musicians too and, as noted earlier, showcased their tracks, offering the listener a refreshing Alternative to the moronic, mind-controlling banality churned out by the mass-media. Some of his guests have included:

STEVE WILKS:
Hailing from Bristol but now residing in Paris, Steve turned his back on a business-based career in the UK for a life making music across the channel. artworks-000031347233-q2qv7p-t200x200During his chat with Mark, he casts a critical eye over Jay-Z, Michael Jackson, and Oprah Winfrey. He also has some particularly strong words to direct against Snoop Dogg A.K.A. Snoop Lion. This leads him onto the subject of Jamaican culture/Rastafarianism and his perception of God. You can also hear his song, ‘Living with the Devil’ which takes aim at the so-called “elites” such as the Rothschilds and the Rockefellers who he refers to in his interview.

IMANI HEKIMA:
Influenced by Reggae and Ska at a young age, UK-based singer, songwriter, and piano-player, Imani Hekima first made his mark as a musician during the 1980s in, Spectre, a band that supported Aswad, and Lee ‘Scratch’ Perry during it‘s time.artworks-000025408596-r8zu9m-t200x200 In his chat with Mark, he gives us his take on the current sorry state of the music-scene and the lack of uplifting songs available. Now established as a solo artist, he also shares his thoughts on some tracks he‘s written and recorded; ‘Just Beneath the Skin’ addresses the projected micro-chipping agenda, ‘Nothing’s What It Seems’ deals with false-flag events and was penned directly after one such incident, namely, 7/7, and ‘Robots Rebellion’ takes its inspiration from the likewise titled David Icke book from 1994.

M-1:
Mark chats to the rapper who forms one half of, Dead Prez, the politically/socially-charged Hip Hop duo who’ve never been afraid to tell it like it really is since first breaking through in the 1990s. artworks-000019603794-31ziz0-t200x200M-1 discusses some of the ingredients that go in to creating such conscious music and what he aims to deliver now and in the future. With regards to acts that neglect to address the really important issues in life, he asks, “are you an artist or” a “drone” churning out “elevator music” to “pacify the audiences with?“ However, he also points out that “there’s money to be made from revolutionary music” citing Public Enemy and Bob Marley as two notable examples.

NESHA:
artworks-000017667075-pfgtcx-t200x200First making a name for herself with the R&B/Garage floor-filler, ’What’s It Gonna Be’ at the turn of the millennium, singer, Nesha later went on to become a presenter on the BBC’s radio-station, 1-Xtra. However, she eventually parted company with the corporation somewhat disillusioned with what she witnessed sensing that there was “an agenda” at play. She talks to Mark about what went on there as well as sharing her interesting and perceptive views on the malevolent music-industry today and its effect on audiences.

LONG LASTIN’:
Kit Glover A.K.A. Long Lastin’ joins Mark for two pod-cast chats. The veteran Hip Hop producer shares his unique insights on the music-industry’s dark side and also on matters of a more spiritual, esoteric, and uplifting nature. Born in London, the son of hippy parents, his father was the photographer for the book, ‘The Holy Blood and the Holy Grail.’ In fact he remembers the authors visiting his childhood home and writing some of it there.artworks-000058985249-cmagdg-t200x200 Initially making a name for himself as far back as the early-to-mid-‘80s as a professional break-dancer, Long Lastin’ later turned his hand to production and was almost instantly sought after by the major players in the music biz. However, disillusioned with what he witnessed upon entering this world, he pretty much turned his back on it from day one. Now recording independently, he talks about his forthcoming album which’ll concentrate on subjects such as HAARP as well as ancient alien theories. The aim?… to alert the less aware of us in society to important but suppressed knowledge and areas of research.

MEL BELL-GREY:
Musician and film-maker, Mel Bell-Grey pulls no punches, taking on a vast range of subjects during his pod-chat with Mark.artworks-000051377878-wqcfg0-t200x200 Hailing from Tottenham in North London, he suffered both physical and mental abuse at the hands of his strictly Christian parents. Although he grew up in a household where money most certainly wasn’t in easy supply, it shocked him in later years to discover that his mother’s father was the Deputy Prime Minister of Jamaica. During the pod-cast, he also lets rip on matters of a global/social nature, such as the subjugation of Black people, and the suppression of their culture and history, as well as his personal firsthand take on the harsh realities of London city life. Naturally, the subject of music also pops up; He talks about his early years mingling and rubbing shoulders with industry bigwigs and witnessing with his own eyes the corrupt nature of the business which inevitably caused him to turn his back on it and go independent. Now based in Hawaii, you can find out more about his music at, ‘Meledelicious.com.’ He also helps to run the film/video production-house, ‘EyesWideOpen.com’.

MC DOUBLE L & DJ STORM A.K.A. STORMSKI:
Both DJ Storm and Double L noticed early on in their lives that something wasn’t quite right with the world.artworks-000028924202-l6kokv-t200x200 Indeed, during the ‘90s, Stormski launched a magazine also available on the internet titled, ‘Hidden Agenda.’ During the interview, they discuss many subjects connected to the music conspiracy, including the use of occult symbols in Pop videos and concerts, MK’ed artists, and Jay-Z’s negative impact on Hip Hop. From a firsthand perspective, they bemoan the decline of club culture claiming that DJs are now forced to pander to the demands of brainwashed crowds who won’t open themselves up to any exciting new music that isn’t linked to the mainstream. They also address the attitudes of sceptics towards those of us who question everything.

MARCELLO ASSINI & JUSTIN WISEUP:
Justin Wiseup, and Hip Hop artist turned writer/researcher, Marcello Assini talk to Mark about all manner of things connected to life, human consciousness, and reality itself. Channelling, meditation, spirituality, ancient wisdom, crop circles, UFOs, ETs, occult rituals, and Predictive Programming are just some of the topics discussed. They also advise us on how we can take control of our lives for the better, and their message is simple: Don’t fall prey to fear, be yourself, like yourself and follow your passion (without harming others of course).

LENON HONOR:
American researcher, author, film-maker, and musician, Lenon Honor is the man who alerted us to ‘Rain Man,’ the demonic entity which has manifested itself in a number of R&B/Rap tracks and videos over the years. Indeed, although he investigates many facets of ‘the conspiracy’ from geo-politics, to Mind-Control, and environmental issues (to name a few) he’s perhaps particularly known for his occult interpretations of various topics linked to music and movies.artworks-000043236899-103ruz-t200x200 He joins Mark for two separate pod-casts. In the first, he hones in on Beyonce’s ‘Single Ladies (Put a Ring on It)’ song and video which he claims actually deals with trans-humanism and has nothing to do with marriage as most listeners assume. This leads on to the subject of auto-tune and the increased dependency on digitisation instead of live instruments as well as the ‘robot-isation’ of art and humanity as a whole. He also provides a unique insight into how music as a form has been hijacked, and manipulated as a tool of control. The second pod-cast is almost entirely dedicated to his analysis of Kanye West’s latest album, ‘Yeezus.’

JOHN GIBBONS:
Based in Ireland, John Gibbons is a club/radio DJ, music producer and also the man behind the highly rated ‘Alchemy Radio’ which covers all manner of Alternative views and suppressed subject areas.artworks-000047893691-bn39kc-t200x200 He chats with Mark about EDM, the newly-coined term for Electronic Dance Music, it‘s possible role in the agenda and whether many of it‘s biggest names (i.e. Calvin Harris, David Guetta, Skrillex, e.t.c.) are involved in some shape or form. Hailing from a family background with connections to politics, he also talks about his early life, the events that led to his awakening, and the attitudes of nay-sayers and sceptics who look upon Truth-seekers as nothing more than ‘loony conspiracy theorists.’

As well as music, ‘Good Vibrations’ also plays host to a number of high-profile researchers, authors, and public speakers who investigate other areas within the wider Agenda including Ian R. Crane, Chris Spivey, Fritz Springmeier, Max Igan, Sonia Barrett, Andy Thomas, Ben Emelyn-Jones of HPANWO (‘Hospital Porters Against the New World Order‘), and David Icke who talks to Mark in two pod-casts, one of which in fact, is dedicated to his own take on the music business.

If you do decide to check out Mark’s ‘Good Vibrations,’ you’ll notice that his latest guest is Matt Sergiou A.K.A. ‘Conspiro Media’…. in other words… me! In the first of a two-part pod-cast, I talk about the notorious California neighbourhood known as Laurel Canyon where a staggering number of the musical heroes of the so-called 1960s ‘counter-culture’ movement hailed from. Tellingly, almost all were born into families with links to the CIA, or the US Military Industrial Complex, and there are some sinister connections with the grisly Manson Family murders of 1969 too. I also take a closer look at some of the esoteric elements of Pink Floyd and their music over the decades, including the strange business of front-man Syd Barrett’s apparent descent into madness and the possibility that he might have been the victim of MK ULTRA/Mind-Control.

Listen to the pod-cast here:

Good Vibrations2

I’ve also written an article to accompany the pod-cast which sheds further light on Syd Barrett’s state of mind and possible links to MK ULTRA:

http://conspirarextra.weebly.com/syd-barrett—ultra-diamond.html

If you’d like to hear more of what Mark himself has to say about the machinations of the music-industry, then be sure to listen to some of the radio-shows he’s guested on. You can check out recordings of these on his ‘SoundCloud’ site. He’ll also be appearing at a number of events over the coming weeks and months where he’ll be addressing this huge topic; The first date is at ‘Truth Juice Birmingham’ on Tuesday October 22nd, followed by a talk in Manchester for ‘Wake Up Promotions’ on November 6th, and finally, ‘Truth Juice Liverpool’ on Wednesday December 2nd. For more details, please follow the links below:

http://djmarkdevlin.blogspot.co.uk/2013/10/mark-devlin-public-talks-on-illuminati.html

http://www.truthjuice.co.uk/?p=5841

In the meantime, here’s a talk Mark gave some months back at ‘Changing Times’ in West Sussex: