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


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

MD & Freeman

Freeman & Mark Devlin

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


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

Paisley Park Studio Complex Pyramids

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

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


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

Listen to the pod-cast here:


Here’s some relevant links that might be of interest to you?… First off, you can check out Freeman’s work here:
Mark’s also just recently released a new book entitled ‘Musical Truth.’ He’s currently embarking on a tour to support this.


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


Researcher, Neil Sanders talks to ‘Conspiro Media’ about his book, ‘Marketing, Movies and Music.’

Neil Sanders Conspiro Media honest

It’s probably fair to assume that the majority of us who’ve followed the research of Neil Sanders initially became aware of him from his numerous guest-spots on Richard D. Hall’s ‘Rich Planet TV’ show. Since his first appearance on the programme in 2010, he’s firmly established himself in the ‘Alternative’ arena as a popular and respected expert on the subject of Mind Control.
Late last year, he released two books under the umbrella-heading of, ‘Your Thoughts Are Not Your Own – Mind Control, Mass Manipulation and Perception Management.’
Volume 1 examines the various brain-altering experiments and projects carried out by the world’s governments and their agencies. It focuses on MK ULTRA, Manchurian candidates, psychotronic devices, microwave weaponry, synthetic telepathy, LSD, hypnosis, trauma, serial killers, school shootings, and the notorious Tavistock Institute. In the interview below however, Neil talks to ‘Conspiro Media’ about Volume 2, ‘Marketing, Movies and Music’ which, according to the book’s introduction, explores “mass Mind Control and how different aspects of the media, namely advertising, news and entertainment, are used to manipulate perceptions of the world.” Furthermore it looks “at how these seemingly separate entities may in fact be intrinsically linked to aspects of the Military Industrial Complex and broader Mind Control programs. Education, sales and marketing, politics, entertainment, celebrities, drugs and military and intelligence-agency Mind Control programs are far more closely linked than it at first appears.”
During the interview – which was recorded on May 6th 2013 – Neil talks about the corrosive and hypnotic effects of TV and how our identities and perceptions of life have been moulded by the advertising industry. He also discusses Hollywood movie propaganda, the victimisation of famous entertainers who’ve spoken out against The Establishment, MK’ed celebs, manufactured Pop acts, music as a form of protest, musicians’ links to the military, the CIA’s role in the rise and fall of the 1960s Hippie/counter-culture movement and it’s apparent complicity in the promotion of the Gangsta-rap lifestyle and the east coast / west coast rivalry in Hip Hop.

vol 1 2

Check out Neil’s website:

Buy Volumes 1 & 2 of ‘Your Thoughts Are Not Your Own – Mind Control, Mass Manipulation and Perception Management’ from his website or from the following links:



Muse are well and truly back and touring the world in support of their newest album, ‘The 2nd Law.’ But what’s happened to the conspiracy theories? ‘Conspiro Media’ attempts to find out by embarking on a mammoth journey of it’s own…

There are many words that can be used to describe Rock band Muse, but “understated” surely isn’t one of them. Their music – occasionally epic in proportions – often hits the ears like a sonic sledgehammer; loud, grandiose, flamboyant and perhaps just a little ostentatious. Equally, their breath-taking live performances are an eye-popping feast of special-effects, floating props, acrobats and dancers. This no-holds-barred approach is perhaps one of the reasons why they built up a reputation within certain quarters (whether desired or not) as the unofficial champions of the so-called “Truth Movement.” Their song ‘Uprising’ is a testament to this. It’s message of defiance has been adopted by many within the ‘Alternative’ community, including heavyweights such as David Icke and Alex Jones who’ve used it as a soundtrack on which to carry their stark warnings of an impending New World Order. No other major music act before or since has ever tied it’s flag to the mast so openly, for example, album-titles such as ‘HAARP,’ or the song ‘MK Ultra’ leave little to the imagination, and front-man Matt Bellamy has become known for his unconventional views on everything from geo-politics and world finance to religion and ‘Big Brother,’ very often resulting in him being labelled within the mainstream as a ‘nutty conspiracy theorist.’ In 2006 Bellamy told ‘Kerrang!’ magazine, “9/11 is clearly an inside job, there’s massive evidence that suggests that it was allowed to happen, or even worse, deliberately made to happen. I’ve been playing with the fear of talking about some of this stuff because there’ll obviously be a backlash, but I feel strongly about it that I’ve got to say it.” However, in recent times, this reputation has come under question. Earlier this summer it was announced that Muse were to record the official song for the 2012 Olympics, prompting many to question why a band purported to be ‘anti-establishment’ had accepted an offer to represent an event that was the anti-thesis of everything it had claimed to rally against. Then, in September, Bellamy fanned the flames of doubt ever higher after he publicly stated that his earlier “inside job” views regarding 9/11 were mistaken. He told ‘Metro,’ “I don’t believe that any more, although there are lots of questions to be answered. I still read a lot about political history, the influence of corporations and the military but I make sure I’m reading from credible sources. I think my political views are a bit more nuanced now.” This apparent about-turn has been greeted with a mixture of confusion, anger and even betrayal by many on-lookers and commentators as they struggle to understand what is at the root of it all. Has Bellamy refined his views based on a genuine re-appraisal as he claims, or has he been corrupted by the trappings of success? Perhaps he’s been ‘compromised’ in some way? Or maybe – just maybe – he was confirming what some have suspected all along; that he is a False Prophet (mis)leading a number of his loyal supporters towards a dead-end?

His latest 9/11 comments were made prior to the unveiling of the new Muse offering ‘The 2nd Law’ and as a result, motivated ’Conspiro Media’ to prepare this lengthy retrospective. Would the new album continue where past recordings had left off by highlighting the hidden elements at work behind the public facade of world affairs, or were Bellamy’s recent remarks signalling in a new era of self restraint?

When Muse released their first album ‘Showbiz’ in 1999, there were very few hints of the apocalyptic and Orwellian themes that future recordings would explore. At times introspective, songs such as ‘Falling Down’ documented the band’s early days living in the small British seaside town of Teignmouth, Devon. Bellamy once described ’Showbiz’ “a very cathartic, personal album.” The band expanded their musical and lyrical horizons on their follow-up, 2001’s ‘Origin of Symmetry.’ One track in particular, titled ’Micro Cuts,’ points towards the direction the band would pursue on later albums. Matt has reportedly said the song stems from a TV programme he once watched which was “about psychological warfare and how the government could be controlling us using a type of radiation, sending pulses to our brains.” The 2003 album, ‘Absolution’ also marked a turning point, thanks in part to the invasion of Iraq in 2002 by the US, the UK and its’ allies. Bellamy told the ‘NME’ magazine shortly after it‘s release, “it’s not that we’re a political band, but I think it’s impossible to avoid these things. They’ve all come into everyone’s life whether they like it or not. In relation to the album, it’s come across more as a general fear and mistrust of the people in power. It’s about moments of extreme fear, and a fair bit of End of the World talk.” Indeed, according to Muse drummer, Dominic Howard, the Bellamy-written track ‘Apocalypse Please’ is based on a “religious person willing… the end of the world.” This theme is further explored in the video to the song ‘Sing for Absolution’ which begins with snow-laden scenes of a futuristic-looking world where a rocket-ship with Muse on board launches into space. As the craft leaves the atmosphere, it passes an enormous video-screen that reads: “Be prepared… the ice age is coming.” Further on in the journey, the rocket encounters an onslaught of asteroids, and despite Matt’s efforts to steer clear, it hits one, causing the ship to hurtle towards an orange-looking planet that appears to be engulfed in fire. Once crash-landing, the final scene shows the band standing in a desolate wasteland, and there in the distance we can see the lone figure of Big Ben amongst the rubble.

The closing scene of the ‘Sing for Absolution’ video.

The video to ‘Time Is Running Out,’ meanwhile, is reportedly based on the Stanley Kubrick movie ‘Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.’ The action is focused on a round-table in a darkened room that’s surrounded by top-rank military and suited officials, somewhat reminiscent of the iconic ‘War Room’ scenes in the aforementioned 1960s Black-comedy classic satirising the ‘Cold War‘ nuclear scare. As Muse perform their song on top of the table, the military-figures and officials begin to dance, before finally throwing their papers and documents in the air and falling to the floor.

On the left, a scene from the ‘Time is Running out’ video. On the right, ‘Dr. Strangelove.’

It’s worth noting at this point that the final song on the album, ‘Ruled by Secrecy,’ is said to be based on the book, ’Rule by Secrecy: The Hidden History That Connects the Trilateral Commission, the Freemasons, and the Great Pyramids.’ Written by veteran ‘Alternative’ researcher and best-selling author, Jim Marrs, it claims that secret societies have played a pivotal yet hidden role in world events via such organisations and groups as the Council on Foreign Relations, the Trilateral Commission and ‘the Bilderbergers.’ Indeed, Matt’s song features the line, “change in the air, and they’ll hide everywhere, and no one knows who’s in control.” Could this be a reference to hidden forces beyond our recognition who’re manipulating our everyday lives for their own ends? Bellamy referenced the Trilateral Commission a few weeks after the release of ‘Absolution’ during an interview with ‘Rock Sound’ magazine. He said, “there’s definitely a different agenda going on, it’s all f****d isn’t it? There’s a group called the Trilateral Commission, set up in the ‘60s or ‘70s – basically the highest, most powerful people in Europe, USA and East Asia, those who own all the energy resources, media and the spin doctors for the Presidents. None of these people are actually politicians and they decide everything. In my mind there’s no question that that’s who is ruling the world. None of those people were elected in a democratic situation and it’s the same group of people working for whichever President comes in. We vote for their puppet, the government is unchangeable because they’re the people who own pharmaceutical companies, media and oil. They’re so much more powerful than any politician that you can imagine, and politicians have to answer to them before they do anything – they wouldn’t have been allowed into their position unless they’ve been through that Masonic-handshakes-behind-the-scenes thing. Unless you’re in the pocket of the media people you can’t even get any coverage if you want to run for any position in the government, so I’ve got no doubt that that’s the case.” The song is also reported to be a fictional story of a man who loses control and shoots his work-colleagues before returning home to his wife in his blood-stained shirt.
Repress and restrain
Steal the pressure and the pain
Wash the blood off your hands
This time she won’t understand

Change in the air
And they’ll hide everywhere
And no one knows who’s in control

You’re working so hard
And you’re never in charge
Your death creates success
Rebuild and suppress

Change in the air
And they’ll hide everywhere
And no one knows who’s in control
Change in the air
And they’ll hide everywhere
And no one knows who’s in control


The first three Muse studio albums. From left to right; ‘Showbiz,’ ‘Origin of Symmetry,’ and ‘Absolution.’

Bellamy claims the group’s “end of the world talk” on ‘Absolution’ continued during the recording of the 2006 follow-up, ‘Black Holes and Revelations,’ and although Muse repeatedly maintained that they were not a “political band” throughout, some of the newer songs were drawn from world events of the time. Bellamy told ‘Under the Radar’ magazine in 2006, “politics isn’t something that’s always been a part of my life, but in the last few years I’ve just been observing what’s been going on all around us, and it’s quite alarming. In the last few years, I’ve really woken up to the fact that we are actually quite manipulated as the general public by our governments and by the media as well, and particularly the clandestine organisations which run to black budgets in the CIA, FBI, NSA and others.”
Unlike earlier works, a number of the lyrics on ‘Black Holes and Revelations’ were particularly scathing, uncompromising and even threatening in places. On the brooding ‘Take A Bow,’ Matt sings, “you corrupt. And bring corruption to all that you touch. Cast a spell on the country you run. You’ll burn in hell for your sins.” When he was asked in a 2006 magazine interview whether the song was aimed at Tony Blair or George W. Bush, he replied, “you could easily aim it at those types of people. There’s loads of them out there. It’s about the people who are kind of manipulating public opinion to their own means, which isn’t always the best for the people of the country.” He then referred to both leaders’ handling of the Iraq War and it’s aftermath. He said, “there’s obviously a global agenda taking place as well as an agenda to obtain the last bit of oil because all of our economies are absolutely dependent on oil. You can easily say that song is aimed at wishing, ‘wouldn’t it be nice if these people did actually have to pay the consequences?’ They have to pay the consequences for their actions. In ‘Take a Bow,’ you can hear the people who are at the bottom of the pyramid, who haven’t got any power, and they have this feeling of powerlessness, a feeling I have quite often, about some of these events – this sense of, ‘what can I do about this?’ It seems like no one is listening.” He told ‘Uncut’ magazine in the same year, “normally the lyrics are from a first person view, I’ve never really told stories of certain people. This time, it is a bit about struggling with various contrarities of life, but from a different person’s view, not from mine.”
You corrupt
And bring corruption to all that you touch

You’ll behold
And beholden for all that you’ve done

Cast a spell
Cast a spell on the country you run

And risk
You will risk
You will risk all their lives and their souls

And burn
You will burn
You will burn in hell
Yeah, you’ll burn in hell
You’ll burn in hell
You’ll burn in hell for your sins

Oh, our freedom’s consuming itself
What we’ve become
Is contrary to what we want
Take a bow

You bring death
And destruction to all that you touch

You must pay
You must pay for your crimes against the earth

Feed the hex
Feed the hex on the country you love

And beg
You will beg
You will beg for their lives and their souls

Yeah, and burn
You will burn
You will burn in hell
Yeah, you’ll burn in hell
You’ll burn in hell
Yeah, you’ll burn in hell
You’ll burn in hell
Yeah you’ll burn in hell for your sins


The songs, ‘Assassin’ and ‘City of Delusion’ follow a similar theme but are decidedly more hostile…
War is overdue
The time has come for you to shoot your leaders down
Join forces underground
Lose control
And increasing pace
Warped and bewitched
Time to erase
Whatever they say
These people are torn
Wild and bereft
Assassin is born, yeah
Aim, shoot, kill your leaders
Aim, kill them all
Oppose and disagree
Destroy demonocracy
Lose control
And increasing pace
Warped and bewitched
Time to erase
Whatever they say
These people are torn
Wild and bereft
Assassin is born, yeah

Stay away from me
Build a fortress
And shield your beliefs
Touch the divine
As we fall in line

Can I believe
When I don’t trust
All your theories
Turn to dust
I choose to hide
From the all seeing eye

Destroy this City of Delusion
Break these walls down
I will avenge
Justify my reasons
With your blood

You’ll not rest
Settle for less
Until you guzzle
And squander what’s left
Do not deny
That you live and let die

Destroy this City of Delusion
Break these walls down
I will avenge
Justify my reasons
With your blood

Destroy this City of Delusion
Break these walls down
I will avenge
Justify my reasons
With your blood

At just over two minutes, the Iraq War-inspired ‘Soldier’s Poem’ is the shortest track on the album and finds Muse downing their loud instruments temporarily for a softer, quieter approach. Bellamy sings accordingly and delivers a tender vocal performance that compliments the overall song despite it’s underlying message and the pervading sense of cold disillusionment in the lyrics. He told ‘Uncut’ magazine, “I felt sympathy with all the soldiers fighting in the (Iraq) war, but who are never talked about in the media because war is such an anonymous monstrosity. People often forget that soldiers risk their lives and amidst all the political debates their lives come least. To me, it was more interesting to look at the man, or the men, who die in war. It is not really about the political aspect or arguments for or against the war in Iraq. It is written from a soldier’s view.”
Throw it all away
Let’s lose ourselves
‘Cause there’s no one left for us to blame
It’s a shame we’re all dying
And do you think you deserve your freedom

How could you send us so far away from home
When you know damn well that this is wrong
I would still lay down my life for you
And do you think you deserve your freedom

No I don’t think you do
There’s no justice in the world
There’s no justice in the world
And there never was


‘Soldier’s Poem’ is followed by the mid-tempo Rocker, ‘Invincible,’ perhaps the most positive and uplifting song on the entire album. Bellamy claims both songs were originally intended to be “almost” one continuous piece with ‘Invincible’ providing “optimism” in contrast to the overwhelming sense of hopelessness expressed in ‘Soldier’s Poem.’ In 2008, he told ’State’ magazine that ’Invincible’ was exploring, “the more optimistic side, in that if people just knew how much power we really had, we could change anything. Like the Iraq war, for example. A million people protesting is not really enough but maybe five million people, with a few bricks being thrown at Parliament, that probably would change things. I think the optimistic side is coming through, I suppose, through the idea that if people could see what’s happening without being led all the time, then change would be easy to take place.”
Follow through
Make your dreams come true
Don’t give up the fight
You will be alright
‘Cause there’s no one like you in the universe

Don’t be afraid
What your mind conceives
You should make a stand
Stand up for what you believe
And tonight
We can truly say
Together we’re invincible

During the struggle
They will pull us down
But please, please
Let’s use this chance
To turn things around
And tonight
We can truly say
Together we’re invincible

Do it on your own
It makes no difference to me
What you leave behind
What you choose to be
And whatever they say
Your souls unbreakable

During the struggle
They will pull us down
But please, please
Let’s use this chance
To turn things around
And tonight
We can truly say
Together we’re invincible
Together we’re invincible

During the struggle
They will pull us down
Please, please
Let’s use this chance
To turn things around
And tonight
We can truly say
Together we’re invincible
Together we’re invincible


The song, ‘Map of the Problematique’ is a reference to a line in the 1972 book, ‘The Limits to Growth’ which was based on information compiled from a specially designed computer simulation that assessed the interaction between the planet’s population, industrial growth, food production and limits on Earth’s eco-systems. According to it’s estimations, world economic growth could not continue indefinitely due to the limited availability of natural resources. The ambitious project was instigated by the global think-tank, ‘The Club of Rome’ which was formed in 1968 and includes former and current Prime Ministers and Presidents, royalty, economists, professors, scientists, environmentalists, university lecturers, and heads of charities among it’s membership. In summarising the findings of ‘The Limits to Growth,’ the ‘Club of Rome’ official website states that “most scenarios resulted in an ongoing growth of population and the economy until to a turning point around 2030. Only drastic measures for environmental protection proved to be suitable to change this systems behaviour, and only under these circumstances, scenarios could be calculated in which both world population and wealth could remain at a constant level.” Although ’The Limits to Growth’ is updated periodically to cater for unexpected changes in world trends, many critics claim it’s estimations are flawed and unrealistic. For example, although agreeing with the view that continued growth should not continue, Yale University economist, Henry C. Wallich prefers a natural end instead of intervention. He warns that a premature and artificial kerbing of growth would be “consigning billions to permanent poverty.”

A major concern for many within the so-called ‘Alternative movement’ is that ‘The Limits to Growth’ is part of a systematic, secretive plot by the Club of Rome to cull the world’s population in preparation for and in keeping with the aims of building a New World dictatorship in which fewer people will be required to exist. According to a March 1981 article in the news-magazine, ’Executive Intelligence Review,’ there was a planning apparatus during that period “operating outside the control of the White House whose sole purpose” was “to reduce the world’s population by 2 billion people through war, famine, disease and any other means necessary” and was “determining US foreign policy” via “various levels of the government. The targeting agency for the operation is the National Security Council’s Ad Hoc Group on Population Policy. Its policy-planning group is in the U.S. State Department’s Office of Population Affairs (OPA), established in 1975 by Henry Kissinger. This group drafted the Carter administration’s ‘Global 2000’ document, which calls for global population reduction.” It then goes on to quote Thomas Ferguson, the Latin American case-officer for OPA who says, “there is a single theme behind all our work – we must reduce population levels. Either they (governments) do it our way, through nice clean methods or they will get the kind of mess that we have in El Salvador, or in Iran, or in Beirut. Population is a political problem. Once population is out of control it requires authoritarian government, even fascism, to reduce it. The quickest way to reduce population is through famine, like in Africa or through disease like the Black Death.” According to the researcher and author David Allen Rivera, the aforementioned ‘Global 2000’ report “attempted to project global economic trends for the next twenty years, and indicated that the resources of the planet were not sufficient enough to support the expect dramatic increase in the world population. The report called for the population of the US to be reduced by 100 million people by the year 2050.” Rivera then goes on to quote Howard T. Odum a marine biologist and Club of Rome member who publicly stated in 1980 that, “it is necessary that the United States cut its population by two-thirds within the next 50 years.” Rivera continues, “about six months later, the Council on Environmental Quality made recommendations based on the Report, called ‘Global Future: A Time to Act.’ They suggested an aggressive program of population control which included sterilisation, contraception and abortion. In August 1982, the Executive Intelligence Review published a report called ‘Global 2000: Blueprint for Genocide’ which said that the two aforementioned Presidential reports: ‘…are correctly understood as political statements of intent – the intent on the part of such policy centres as the Council on Foreign Relations, the Trilateral Commission, and the International Monetary Fund, to pursue policies that will result not only in the death of the 120 million cited in the reports, but in the death of upwards of two billion people by the year 2000.’ On September 17th 1973, they (the Club of Rome) released a Report called the ‘Regionalised and Adaptive Model of the Global World System’… This revealed the Club’s goal of dividing the world into ten political/economic regions… which would unite the entire world under a single form of government. These regions are: North America, Western Europe, Eastern Europe, Japan, Rest of Developed World, Latin America, Middle East, Rest of Africa, South and Southeast Asia, and China. The same plan was published in a Club of Rome book called ‘Mankind at the Turning Point‘, which said: ‘The solution of these crises can be developed only in a global context with full and explicit recognition of the emerging world system and on a long-term basis. This would necessitate, among other changes, a new world economic order and a global resources allocation system…’” Many researchers and scholars believe the ‘Global Warming/Climate Change’ debate is central to this and is based on calculated lies which are designed to implement a deceptive reduction in the population via various means including social engineering. A chilling example of this resides within the pages of the Club of Rome’s very own literature. In 1993 it published ’The First Global Revolution.’ It states that divided nations need “new enemies” whether “a real one or else one invented for purpose.” It continues, “in searching for a new enemy to unite us, we came up with the idea that pollution, the threat of Global Warming, water shortages, famine and the like would fit the bill… All these dangers are caused by human intervention, and it is only through changed attitudes and behaviour that they can be overcome. The real enemy then, is humanity itself.” In his 1994 article, ‘The Club of Rome and Population Reduction,’ David Allen Rivera lifts a quote from the 1976 book, ‘Ceremony of the Innocent’ by Taylor Caldwell in order to explain the reasoning behind such ideas: “There will be no peace in the tormented world, only a programmed and systematic series of wars and calamities – until the plotters have gained their objective: an exhausted world willing to submit to a planned Marxist economy and total and meek enslavement – in the name of peace.”

It’s unclear whether Bellamy was aware of any of the above claims whilst he was writing and recording ’Map of the Problematique.’ Judging by comments made in the press in 2007 it would appear that if he was, then he was not in agreement with the majority of it, or had modified his initial views following it‘s release. For as odd as it might seem, and despite his support of the generally-accepted ’Alternative’ notion that the World Stage of politics and policy is one big illusion of lies and deception, he made an exception when it came to the Global Warming / Climate Change issue. During an interview with ‘Uncut’ magazine that year, he was asked whether he was concerned about his so-called “Carbon Footprint,” to which he replied, “yes, definitely. It’s something we’re starting to be more and more concerned about. In fact, we’re on the fence about doing this 7/7/7 climate gig that Al Gore is organising… We’ve been asked to play and a few other bands have, but the only way we can get to it, because we’ve got gigs that night, is by private plane. It just seems contradictory.” The Al Gore “gig” he was referring to was of course the star-studded ‘Live Earth’ concert in July 2007 with a line-up that included Madonna, Foo Fighters, Metallica, Genesis and Bon Jovi. Bellamy criticised the apparent hypocrisy of the event on a BBC radio show in April of that year saying, “private jets for Climate Change, not sure about it, that seems to be a bit on edge really.” Muse did not appear.

Dominic Howard, Matt Bellamy and Chris Wolstenholme at an awards ceremony, 2005.

‘Black Holes and Revelations’ was a culmination. A crystallised representation of specific ideas that Matt Bellamy had either explored briefly in songs and in music-videos, or had read about and/or reflected upon in previous years. Politics, war, corruption, environmental issues, and Global Warming all converged into one cohesive message (regardless of whether this was the intention or not). Even his fascination for subjects pertaining to outer-space, the universe, and the possibility of extra-terrestrial life merged comfortably into the general theme of the album. One such song is ‘Exo-Politics,’ a term used to describe the view held by a number of scholars, researchers and scientists that extraterrestrial beings are secretly engaging with Earth’s military, governments and political systems. Alfred Webre is a lawyer and author often dubbed the “Father of Exo-Politics.“ During Jimmy Carter’s term as US President, he worked as the principal investigator of a Whitehouse/Pentagon-backed civilian scientific study of extraterrestrial communication. After years of researching data collected on UFOs as well as the evidence of air-traffic controllers, military and Intelligence, he concludes that many of the unidentified flying objects witnessed across the world over the decades do not originate from this planet. He also believes that Planet Earth exists in a populated and highly organised and evolved inter-planetary, inter-galactic, multi-dimensional universe but that it has been quarantined for aeons by a “Universe Government.” In his book, ’Exo-Politics; A Decade of Contact,’ he writes that “the specific conditions of our planetary isolation are contained in legislative statutes, executive regulations, and judicial case decisions of Universe Government. Our emerging from planetary quarantine is as much dictated by Universe Government, as was our original isolation.“ Webre has suggested that Humanity can help lift this quarantine by introducing an absolute ban on warfare and weapons “in a jurisdiction ruled by the standards of a common Universe Government.” In an interview with ’Uncut’ magazine in 2006, Matt Bellamy said the song ’Exo-Politics’ “is about a trade agreement between the US government and extraterrestrials, about the use of new technologies. Many people believe that a large part of the contemporary techniques came from a different world. I’m not sure about that, but it is certainly interesting.”
Otherworldly themes were also explored in the six-minute epic, ‘Knights of Cydonia.’ Matt told ‘NME’ in 2007 that it was named after “the Cydonia Mensae region of Mars in the planet’s Northern hemisphere. Certain planetologists believe it was once a coastal zone, implying there was water there – and also possibly, life.” Much speculation has been directed towards an image of the region taken by the ‘Viking 1’ orbiter in 1976 because it shows a hill that resembles the shape of a human face complete with what looks like a pair of eyes, a nose and a mouth.

The Cydonia ‘moon face’ photo

The ‘Viking’ team dismissed this at the time as merely an “illusion” formed by “shadows.” Images taken of the formation since have apparently confirmed this. However, a number of researchers believe NASA has been manipulating the pictures in order to deceive the public into accepting it‘s earlier “illusion“ claims. One such person is the well-known American author, Richard C. Hoagland who argues the structure is part of a city of pyramids and mounds arranged in a geometric pattern. Bellamy elaborated on this during an interview with the ‘NME’ in 2006. He said, “where it gets interesting is that there are people out there now who are realising that the whole pyramid area in North Africa, not just the Giza area, is one enormous, very in-depth star map if you look at it from above. They’re trying to lay out some kind of message to someone who’s in the sky. The same layout has been found on Mars, on Cydonia, and someone has linked them all together. And if you look at Washington from above it’s exactly the same as the pyramids, the way they’re laid out. There’s a whole lot of secrecy out there about some of the monuments that are on Earth and also things that might be, which I hope will be, on Cydonia on Mars.”

The pyramids of Giza aligned with the stars.

In 2006, he told ‘Rock Sound’ magazine, “’Knights of Cydonia’ is based on the idea that millions of years ago, there was a complete civilisation that lived there. Then Venus came into the solar system as an enormous comet, sucking all the oceans away from Mars, destroying the civilisation and going into orbit around our sun. But, anyway, Knights of Cydonia is this fantasy that there were a bunch of knights, with phasers or whatever, fighting to the last moments when Venus came by and sucked the oceans away. It’s the idea that there’s something deep down within us, the human spirit if you want to call it that, that cannot be manipulated and is aware of what’s going on and will do everything in its power to fight it.” Muse bassist Chris Wolstenholme told ‘Rip It Up’ magazine in 2007 that the song is “influenced by bands like the Tornados, a lot of late’50s, early ‘60s stuff. That was the original approach to that track.” The Tornados were the first British band to reach Number 1 in the US singles chart, a feat they achieved in 1962 with the instrumental, ‘Telstar,’ which was named after a communications satellite that was launched into orbit that very same year. The quirky outer-space / sci-fi-like sound that dominates throughout the track was accomplished with the aid of an electronic keyboard instrument called a Clavioline, a forerunner to the synthesiser. ‘Telstar’ is of specific interest to Matt because his father, George Bellamy played rhythm guitar in the Tornados. The Muse front-man discussed this during an interview with the ‘LA Times’ in 2007, and in particular, the influence ‘Telstar’ had on ‘Knights of Cydonia.’ He said, “I wanted to do something that was a bit of reference toward that because I never really paid attention to any of that music when I was growing up.”

The Tornados.
Matt’s father, George (far right).

In an interview with ’Jmag’ that same year, Matt credited his father and the Tornados with indirectly shaping the Muse sound claiming that, “dad introduced me to music when I was very young, and played me a lot of ’50s and ’60s records that I probably would never have heard of if it wasn’t for him. I definitely got that more sci-fi… well, not sci-fi, but I guess what people like to call the more ‘spacey’ sound from his band. For the ’50s it did sound very futuristic, and very kind of spacey, so that
element of the band definitely came from him.”

‘Telstar’ was produced by the legendary but notorious hit-maker Joe Meek at his self-built home-studio which was situated in a three-floor flat above a leather-goods store in Holloway Road, North London. The cramped conditions meant that his artists were forced to record in various sections of the building at any given time including the bathroom. Sometimes, they even had to contend with the angry landlady downstairs who’d complain about the noise and bang her ceiling with a broomstick. Nevertheless, some of the biggest hits of the early 1960s were created there, most notably Johnny Leyton’s 1961 UK chart-topper, ’Johnny Remember Me,’ The Honeycombs’ 1964 UK and US smash, ‘Have I The Right?,’ and The Tornados‘ ‘Telstar‘ of course. Matt Bellamy says, “my dad told me loads of stories about working with him. He was a complete psycho. He was really schizoid and really moody, often quite violent with my dad’s band too. Apparently one time he threw a massive tape machine at them while they were running down the stairs, it hit the bass player and knocked him out.”

Joe Meek

The temperamental producer also actively pursued an interest in the occult and regularly held séances. In the 1991 BBC documentary, ‘The Strange Story of Joe Meek,‘ composer Geoff Goddard claims the two of them summoned up the spirit of Buddy Holly, a musician they both had an obsession with. They asked him if ‘Johnny Remember Me’ would be a hit, to which the dead Rock & Roller is said to have replied that it would be a Number 1. The song was written by Goddard, just one of many that he penned for the eccentric Pop pioneer’s stable of Holloway Road artists, including the Tornados. He also played keyboards on ’Telstar.’ Jerry Bloom, the author of ’Black Knight,’ writes that both men were responsible for introducing Ritchie Blackmore to the occult in the 1960s whilst he was a member of Meek’s in-house studio band, The Outlaws. In later years of course, he found fame with the groups Deep Purple and Rainbow, and was repeatedly accused of being a Satanist, thanks to his well-documented, self-proclaimed interest in the paranormal and esotericism. In Dave Thompson’s book, ’Smoke on the Water: The Deep Purple Story,’ Geoff Goddard recalls Blackmore and his wife Margaret attending séances with Meek and claims “the three of them were fascinated by the occult.” It’s also said that Joe developed an obsession with Aleister Crowley and had tried to communicate with the long deceased master of magick. According to Thompson’s book, Margaret “later spoke candidly of Meek’s fears that he was being stalked by the spirit” of Crowley.

Geoff Goddard pictured in 1963.

Goddard believes the producer’s life began to take a turn for the worse when his homosexuality (illegal in the UK at the time) became widespread public knowledge in the wake of his 1963 conviction for “importuning for an immoral purpose.” This humiliating incident occurred at a time when gay men were in danger of falling prey to blackmailers who threatened to expose their secret, criminal lifestyles to their families, work colleagues, and the police. Meek’s recording engineer, Patrick Pink told the BBC in 1991 that Joe “was frightened to face the world after that for quite a long time. He visualised: ‘I’m ruined. This is gonna ruin me. Everybody now is gonna know I’m queer and cut me off.’ Secondly, he was terrified that his family would find out… you know, if his mother ever got wind of this, he would be finished – I think – mentally.” In January 1967, police discovered a suitcase in a field in Suffolk which contained the dissected body of 17-year-old Bernard Oliver who‘d gone missing after leaving his home some days earlier. The teenager, who suffered from learning disabilities, was sexually assaulted before being strangled to death. It’s said Meek feared he would be implicated in the teenager’s murder after hearing that police were planning to interview all known homosexual men in London. Interestingly, a renowned writer who’s researched Meek‘s life, claims the ‘Telstar’ producer was in fact quizzed in connection with the killing. Jake Arnott is the author of the fictional novel, ‘The Long Firm,’ which was later adapted into a BAFTA-winning BBC drama serial. The story is set in the 1960s and centres around a homosexual East-End gangster by the name of Harry Starks. In a 2009 article titled ‘Joe Meek and Me,’ Arnott describes how his story charts the protagonist’s life “against a background of real events and real people” including the infamous Kray Twins. He writes, “the criminalisation of homosexuality created an underworld of suspicion and blackmail. Gay gangsters like Ronnie Kray used this intensely secretive atmosphere to further their own dubious activities and to cultivate friends in high places. So the ’suitcase murder’ became part of it’s story and Joe Meek one of it’s characters.” There have also been claims that Bernard Oliver knew Meek and had briefly worked at his Holloway Road studio, which was based just a couple of miles from the Muswell Hill area of London where Oliver lived right up until his murder. No one has ever been charged in connection with his killing.

Towards the mid-to-late ‘60s, Joe’s run of hit records began to dry up. His failure to move in step with and/or adapt to the continually changing musical trends of the decade is regarded by some commentators to have contributed to the decline in his fortunes. On February 3rd 1967 – the eighth anniversary of Buddy Holly’s death (and less than a month after the discovery of Bernard Oliver’s body) – Joe Meek shot and killed his landlady and then himself with a single-barrelled shotgun during a brief altercation in his flat. The weapon belonged to one of his singers who was also a keen game-hunter, the former Tornados bass-player, Heinz Burt. The musician was actually a lodger at Holloway Road for a brief time but eventually left when his relationship with Meek began to deteriorate. It’s claimed the two were lovers, although Burt’s wife at the time, Della Burke, has denied this publicly.

Heinz Burt.

Speaking to the BBC in 1991, Heinz explained how his gun ended up in Joe’s hands on that fateful day. He said, ““I used to go shooting a lot because of the pressure of working obviously – gigs. I used to travel. I had a break-down shotgun that you broke down into bits, fitted in the case – used to have it in the car… and I’d be travelling and I’d stop off at a farm, knock at a farm door and say, ’would you mind if I do a bit of shooting?’ Because that was my relaxation and I used to go out and shoot a few pigeons and rabbits. And I didn’t like to leave it in the car. So I’d have recording sessions, so I took it out of the car – left the shotgun and the cartridges in the studio. Of course I’d forgot about them. That was after I moved out of there.” A couple of weeks later, Burt claims he stormed out of Meek’s studio after the producer had threatened to end his career in the music business during an argument over royalty payments. Although the singer wasn’t in the building when the shooting occurred, the gun was registered in his name and subsequently led to him being questioned – and cleared – by police.

Heinz had left the Tornados in 1963 to pursue a solo career under Meek’s supervision. In fact, by 1967, none of the original members of the band remained, George Bellamy included. His son, Matt told ’Kerrang!’ in 2006, “in the ‘50s he sold millions of records… and even toured with The Beatles, but he never made any money. The business was pretty dodgy back then. He ended up working as a builder.” The Muse singer’s mother, Marilyn met George in London whilst he was taxi-driving. They later moved to Cambridge where their future Rock-star son and his older brother Paul were born, and then on to Teignmouth. It was there that a 10-year-old Matt wandered downstairs late one evening to discover his father, mother and brother engaging in an activity that would have been very familiar to the likes of George’s former friends and colleagues in London such as Joe Meek, Geoff Goddard and Ritchie Blackmore. According to an article in the 2002 edition of ‘Kerrang!’ Matt saw his family “focused around a Ouija board. Instead of shrieking at her son to get out of the room, Marilyn Bellamy instead chose to sit Matt down and explain what it was his family were doing. She also explained to him that this was nothing to be afraid of, no matter what anyone might think or say.” Eventually, the youngest member of the Bellamy clan was actively taking part in the proceedings and, again, according to ‘Kerrang!’, “was on regular book runs down to the local library, in an attempt to read every text he could on this area of the occult. The intention, he says, was to ‘push’ their mother into becoming a medium, a talent Marilyn Bellamy was beginning to show a propensity toward. ‘It wasn’t that my mum was necessarily reluctant to take that step,’ he says. ‘It’s just that she was reluctant to do it in front of me and my brother. I actually do think that she was very able to do it, it’s just that she could see that me and my brother were becoming unnaturally keen. I mean I was only very young at the time. So she knocked it on the head.’“ Bellamy then went on to say, “my beliefs in the whole thing changed. I now believe that you’re contacting something in your subconscious, which is quite different. Something that you might not have known was already there. That’s probably more realistic than thinking you’re contacting someone who’s already dead. And I do practice that.’“

Matt’s parents divorced when he was still in his early teens, and the youngster turned to the guitar to deal with his father’s sudden exit from the family unit. In a 2006 interview the Muse front-man recalled that, “my dad was a big record collector and there were always guitars and pianos in the house.“ George eventually left Teignmouth and moved to Exeter before finally retiring to Alicante, Spain. The break-up of his marriage occurred just a few short years after the suspicious death of his brother who was a British soldier serving in Northern Ireland. David Bellamy was shot dead outside an RUC station in West Belfast in October 1979. The newspapers at the time reported that he’d been taken down in an IRA ambush, but in 2007 Matt claimed that “no one was ever arrested and IRA involvement was never properly established.” In 2010 he said, “from what I know, he was working undercover, and afterwards it was revealed he was in the SAS. It was very suspicious. He was machine-gunned 80 times. It was a statement. It’s definitely something that had an influence on me. That’s what got me interested in things like false-flag operations. What goes on would shock most people.”

The release of ‘Black Holes and Revelations’ in July 2006 was followed by a series of articles and interviews in the media in which Bellamy expanded further on the themes and ideas that inspired the album. He told ‘Uncut’ magazine, “I’ve always been interested in conspiracy theories. There is much information withheld from the people for sure – including myself – so I’m not saying that I know about them. I’ve read much about it prior to the album production. Some things are just b******s, other things are quite interesting. I like this narrow line. Many songs on the album deal with conspiracy theories or the formation of a world government… Other songs are about control and how the media is purposely influencing and trying to keep us off from the truth. Methods that keep people off from questioning things and issues. Inventions and technologies bottled up in order to being able to use them later in the military. I’m interested in all this, and it influenced the album.” He told ‘Kerrang!’ that same year, “the schooling system we have in the Western world is crazy – you’re taken away from your parents at your most impressionable age and fed a load of bull-sh*t and lies manipulated to make you think that the way we live in the West is stable and moral, when really it’s neither. You come out of school with a one-track mind based on financial success, you’re encouraged to become enslaved to the banking system. In school, I always felt, ‘something’s not right here’ and I’m starting to find out what it is.” He was also sharing it with any one who‘d care to take notice. In August, Matt performed with Muse at the Reading Festival whilst wearing a T-shirt with the words “Terror Storm” scrawled across it. When baffled journalists asked him the meaning behind it, he said, “go to ’Google Video,’ type in ’Terror Storm’ and you’ll find a nice little surprise. It will shed some light on world affairs, put it that way. I’d rather point you in the right direction than preach about it myself.”

Matt in his ‘TerrorStorm’ T-shirt.

He was referring to the controversial documentary, ’TerrorStorm: A History of Government-Sponsored Terrorism,’ produced by well-known American ‘Alternative’ radio-host, Alex Jones. Buoyed by Bellamy’s public support, the broadcaster invited the singer onto his show in September 2006 whilst Muse were preparing to play at a live date in Texas. During the brief telephone exchange, they discussed 9/11 and other alleged false-flag operations, as well as the ongoing tensions between Iran and the West, his uncle’s death, and the reaction of Muse fans to Matt’s outspoken views on world affairs. They also agreed to arrange a date for a future radio-interview in order to expand further on these themes. The planned conversation never took place.

Matt’s media onslaught continued.
In October he told ‘Kerrang!’, “very soon we’ll be encouraged to be micro-chipped, the ID cards are just the first step towards that. These things are already happening and most people are happy to just chill out and not think about it. The differential between the bubble we live in – which is ‘ordinary life’ – and the reality out there is almost as heavy as what is being depicted in a film like ‘The Matrix’. It could make you puke to make that step towards finding out what’s really going on. Most people want to avoid looking into it and those people will point at the stray sheep outside and say ‘he’s crazy’ or ‘he’s psycho’ – even though the evidence is all there to be seen. False-flag operations have been going on time and time again in our history: there was a document called ‘Project for the New American Century’, which was made by neo-Con writers in the ’90s who supplied most of the agenda that (President) Bush is putting into place now, which says clearly, ‘we need a Pearl-Harbour-level event so we have an excuse to invade the Middle East’… Everything that we’re living through is as a result of what happened on 9/11, so it’s fundamental to our history to make sure we know what happened.” When Muse chatted to the ‘NME’ that same year, the magazine published the exchange under the dramatic headline, ‘”Let’s Burn Down the Houses of Parliament!”’ This was lifted directly from comments Matt had made during the interview. He’d said, “we’re born into this bondage, this system. It’s pleasant, it’s a nice world, but put it this way: the vote we all get is useless. The concept of democracy is a f*****g joke. Rock’s supposed to shake things up and say, ‘f**k that, this is s**t, man! Let’s burn down the Houses of Parliament!” Regarding the 9/11 attacks, he said, “there’s never been any hard evidence that ties any of the usual suspects with this. In fact, the evidence they did use was laughable. The plane’s black box that keeps all the information… that melted. But apparently a passport with one of the hijacker’s names flew out of the window and landed on the ground. That’s laughable. I’m not saying that it wasn’t an attack on the United States – it was, there’s no question about that. The question is who was the attack done by and for what reason? I think there’s far more to suggest that a select amount of people who are reaping vast benefits from the (Iraq) war that’s taking place at the moment… they’ve got the means and the motive to try to pull something like that off. We’ve got to be careful we don’t let these people make mugs of us.”

When assessing this particular period in the life and times of Muse, it’s perhaps safe to conclude that it was a welcome burst of music-to-the-ears for so-called ‘Truth Seekers’ (quite literally in fact)? After all, here was a band that was enjoying it’s biggest success to date with ‘Black Holes and Revelations,’ an album which was a Top Ten hit in at least fifteen countries, including America – a territory which has always been a much-prized goal of any band or artist seeking worldwide attention. In short, Muse were in a perfect position to highlight suppressed fringe issues and information to a global, mainstream audience.

‘Black Holes and Revelations.’

So far, Matt Bellamy’s thoughts and theories have taken precedence over those of his fellow band-mates in this ‘Conspiro Media’ article. It’s hardly surprising. Not only is he the principle song-writer and lyricist, but the most outspoken member whose views on world affairs and the Grand Conspiracy are of relevance to this website. In 2006, ‘Alternative Press’ asked bass-player Chris Wolstenholme whether he shared Bellamy’s outlook. He said, “I think that stuff is something that intrigues everyone – feeling like you’re not being told the truth by the government – I don’t think that makes us any different than anyone else.” Drummer, Dominic Howard went a few steps further in 2007 when he told the UK’s ‘Daily Mail,’ “most of Matt’s theories are totally valid. If you watch any of the documentaries about 9/11, you’re left in no doubt that those were controlled explosions and that the whole thing was meticulously planned by the American Government.” In 2009, the ‘NME’ asked Chris whether he was ever inclined to interfere with Matt’s vision, he answered, “with all the lyrics and stuff, me and Dom don’t really get involved. Usually the first time I hear lyrics is when Matt comes in and says, ‘are you ready to do the backing vocals?’ But it’s not really something me and Dom have ever got involved in, ‘cos it’s quite a personal thing and it’s the one thing I feel like no-one else has got the right to comment on. When it comes to guitar parts, bass parts, drum parts, then everyone’s very open to putting forward ideas as to how we should be playing things, but when it comes to lyrics it’s a totally different thing altogether and it’s something I’ve always left Matt to.”

When Muse embarked on a world concert tour in 2006 to support the ’Black Holes and Revelations’ album, they showcased a stage-set design based on the controversial HAARP installation in Alaska. Matt talked about this at some length with the ‘NME.’ He said, “this HAARP thing (which stands for, ’High-frequency Active Auroral Program’), the government are saying it’s for communications with submarines and their own spacecraft, but scientists have said that they’re really trying to tap into the ionosphere, where a lot of weather stuff takes place. Interfere with that and you can manipulate the weather. No-one really knows what it is but modern warfare and modern weapons have moved into this next stage. There’s a big battle going on as to who’ll control the weather.” According to the official HAARP website, the program is a “world-class ionospheric research facility” and consists of “the Ionospheric Research Instrument (IRI), a high-power transmitter facility operating in the High Frequency (HF) range. The IRI will be used to temporarily excite a limited area of the ionosphere for scientific study,” and “a sophisticated suite of scientific (or diagnostic) instruments that will be used to observe the physical processes that occur in the excited region.” It goes on to state that, “scientific instruments installed at the HAARP observatory will be useful for a variety of continuing research efforts which do not involve the use of IRI but are strictly passive. Among these studies include… documentation of the long-term variations in the ozone-layer.” The website then goes on to state that HAARP studies the effects of HF communications systems such as ship-to-shore communications and transoceanic aircraft links which operate by bouncing signals off the ionosphere. One of the project’s aims in this respect, is to “provide the fundamental understanding necessary to enhance the performance of such systems.” The website also claims that it investigates radio signals that operate at much higher frequencies and which pass through the ionosphere, such the space-based GPS navigation system satellites which, of course, are not only used for military purposes, but civilian technology including car ‘sat-navs,’ cell-phones and laptop computers.
Critics of the installation claim it’s being used for malevolent purposes such as the triggering of earthquakes, floods, hurricanes, and power-cuts. One of the leading lights among those supporting this view is author and lecturer, Dr. Nick Begich, the author of the book, ‘Angels Don’t Play This HAARP’ and the eldest son of the late US Alaska congressman, Nick Begich Sr. According to his extensive research, Begich Jnr. claims the installation has the power and potential not only to change and control the weather, but also to jam communications systems on land and in the air, and manipulate and disrupt human mental processes – or in other words, to control the minds of the masses with the aid of ‘pulsed radio-frequency radiation.’ When the European Parliament held hearings in 1998 to probe into HAARP, Begich appeared as an expert witness. Representatives from NATO and the US administration were also invited to attend, but chose not to do so. An official European Parliament document from that period states that, “HAARP can be used for many purposes. Enormous quantities of energy can be controlled by manipulating the electrical characteristics of the atmosphere. If used as a military weapon this can have a devastating impact on an enemy. HAARP can deliver millions of times more energy to a given area than any other conventional transmitter. The energy can also be aimed at a moving target which should constitute a potential anti-missile system. The project would also allow better communications with submarines and manipulation of global weather patterns, but it is also possible to do the reverse, to disrupt communications. By manipulating the ionosphere one could block global communications while transmitting one’s own. Another damaging consequence of HAARP is the occurrence of holes in the ionosphere caused by the powerful radio beams. The ionosphere protects us from incoming cosmic radiation. The hope is that the holes will fill again, but our experience of change in the ozone layer points in the other direction. This means substantial holes in the ionosphere that protects us. HAARP is a project of which the public is almost completely unaware, and this needs to be remedied.” In the European Parliament’s motion for a resolution it stated that it, “considers HAARP by virtue of it’s far-reaching impact on the environment to be a global concern and calls for it’s legal, ecological, and ethical implications to be examined by an independent body before any further research and testing.” It also “requests the Scientific and Technological Options Assessment (STOA) Panel to agree to examine the scientific and technical evidence provided in all existing research findings on HAARP to assess the exact nature and degree of risk that HAARP poses both to the local and global environment and to public health generally.” Despite these efforts, a bid to draw up a Green Paper to investigate the environmental impacts of military activities such as HAARP was dismissed by the European Commission in 1999 on the grounds that the EU lacked the jurisdiction to investigate within an area that was – in it’s own words – “the sole preserve of national authorities.” An article by author and Professor of Economics at University of Ottowa, Michel Chossudovsky, perhaps best encapsulates the fears and concerns of many of HAARP’s critics. He writes, “HAARP could potentially be applied by the US military to selectively modify the climate of an ‘unfriendly nation’ or ‘rogue state’ with a view to destabilising its national economy. Agricultural systems in both developed and developing countries are already in crisis as a result of New World Order policies including market deregulation, commodity dumping, etc. Amply documented, IMF and World Bank ‘economic medicine’ imposed on the Third World and the countries of the former Soviet block has largely contributed to the destabilisation of domestic agriculture. In turn, the provisions of the World Trade Organization (WTO) have supported the interests of a handful of Western agri-biotech conglomerates in their quest to impose genetically modified (GMO) seeds on farmers throughout the World. It is important to understand the linkage between the economic, strategic and military processes of the New World Order. In the above context, climatic manipulations under the HAARP program (whether accidental or deliberate) would inevitably exacerbate these changes by weakening national economies, destroying infrastructure and potentially triggering the bankruptcy of farmers over vast areas. Surely national governments and the United Nations should address the possible consequences of HAARP and other ‘non-lethal weapons’ on climate change.”

On the left, the notorious HAARP installation in Alaska. On the right, Muse with their interpretation.

When Muse released a live CD/DVD of their 2007 concert appearances at the then-newly built Wembley Stadium in London, they titled it, ’HAARP,’ as inspired by the stage-set design which was based on the controversial installation.

Shortly after completing their 27-month world tour in August 2008, Muse re-entered the studio to record a follow-up to the hugely successful ‘Black Holes and Revelations.’ When Matt talked to the ‘NME’ about the new album in 2009, he referenced a number of notable events that were taking place whilst it was being recorded including the global banking and financial crisis (which sadly, continues to this day), and the UK MPs’ expenses scandal which was initially exposed to the public by the British newspaper, ’The Daily Telegraph’ in 2009. An unprecedented number of politicians were forced to resign in the wake of the revelations which concluded that they had misused allowances and expenses which they were entitled to claim. Many of those implicated were then-serving ministers in Gordon Brown’s Labour government. They later stood down from their posts, although the scandal reached across all Party divides and into the House of Lords. Prosecutions followed, and a number of MPs and a Lord were later jailed for false accounting. Among the wide array of accusations that poured into the public domain during this time included details of politicians claiming for businesses and flats of residence that never existed, and others making false expense claims for stationery-bills totalling tens of thousands of pounds as well as home renovations and furniture purchases. Reports also emerged of an MP who used fake tenancy agreements to claim rent for a flat in Westminster that he actually owned. Other notable allegations included those centring around Conservative MP Douglas Hogg who was said to have used tax-payers’ money to meet the cost of a full-time housekeeper, and expenses for work on his stables, the clearing of his moat at his country estate, and even the tuning of his piano. Another Tory MP was reported to have claimed nearly £90,000 for expenses incurred during work on the grounds of his mansion, including rabbit fencing, tree surgery and inspection, and woodland consultants. The then-Home Secretary Jacqui Smith was subjected to notable derision at the time after it transpired that her husband Richard Timney had claimed reimbursement for two pay-per-view pornographic films whilst running her constituency office. Smith later resigned from her cabinet post and apologised for further breaches of expenses rules in relation to parliamentary allowances that she used to pay for the running of a second home. Matt Bellamy told the ‘NME,’ “there’s definitely a feeling of wanting change in England, of how everything’s just going old-fashioned. That was all going off in the making of this album. I think in England itself people are have woken up to the fact that we don’t have a democracy anymore and our parliamentary system is completely out of date and the news media is particularly screwed. Having lived in England for the past five or ten years has been quite an experience because we feel like we are totally powerless; I have noticed it more so than other countries. The whole banking crisis has been very bad in England, and the whole MP thing, and also that we’ve been taken to a war that we don’t agree with on the coat-tails of the USA. There’s a feeling about being English in the past few years of, ‘f*****g hell, we don’t have any control over our lives’. Watching the news has been a major influence on this album. You know, just brainwashing myself with BBC news, and also realising how much brainwashing is actually coming out of that stuff.” Bellamy had regularly spoken out against the role of the media in a number of interviews during this time-period. In 2008 he told ’State’ magazine, “I did an A Level in Media and I think that got me interested in the amount of power the media has. Later in life, you learn to what extent the media is controlled and used by other parties, for other reasons. As soon as anyone becomes aware of that kind of thing, you start to see how the general public tend to sometimes get moved around or manipulated and turned into certain things that are simply for the benefit of some corporation or some government, which is making the media do something that’s for their gain.”

The new Muse album was released in September 2009. Titled, ‘The Resistance,’ it features their anthemic classic, ‘Uprising.’ Matt has reportedly said the song is based on the 2004 book ‘Confessions of an Economic Hit Man’ which documents the experiences of it’s author John Perkins who claims he was employed by a private consultancy firm via the intelligence organisation, the ‘National Security Agency’ (NSA) to help the US cheat under-developed countries out of trillions of dollars by effectively forcing them to accept huge loans that they had little or no chance of ever paying back from institutions such as the World Bank and various aid organisations. Once saddled with this debt, the United States would take over their economies and also force them to acquiesce to their political pressure. Speaking in a US TV interview for the news programme ‘Democracy Now!’ in 2004, Perkins said, “basically what we were trained to do and what our job is to do is to build up the American empire. To bring – to create situations where as many resources as possible flow into this country, to our corporations, and our government, and in fact we’ve been very successful.” Perkins claims that Iraq’s Saddam Hussein was a rare exception because he refused to bow to the pressure. He said, “when the economic hit men fail in this scenario, the next step is what we call the jackals. Jackals are CIA-sanctioned people that come in and try to foment a coup or revolution. If that doesn’t work, they perform assassinations. Or try to. In the case of Iraq, they weren’t able to get through to Saddam Hussein. He had – his bodyguards were too good. He had doubles. They couldn’t get through to him. So the third line of defence, if the economic hit men and the jackals fail, the next line of defence is our young men and women, who are sent in to die and kill, which is what we’ve obviously done in Iraq.”

John Perkins.

Perkins claims he was recruited by the NSA whilst still at business school in the late 1960s. He told ‘Democracy Now!’, “the first real economic hit man was back in the early 1950s, Kermit Roosevelt, the grandson of Teddy, who overthrew the government of Iran, a democratically elected government, Mossadegh’s government… and he was so successful at doing this without any bloodshed – well, there was a little bloodshed, but no military intervention, just spending millions of dollars and replaced Mossadegh with the Shah of Iran. At that point, we understood that this idea of economic hit man was an extremely good one. We didn’t have to worry about the threat of war with Russia when we did it this way. The problem with that was that (President) Roosevelt was a CIA agent. He was a government employee. Had he been caught, we would have been in a lot of trouble. It would have been very embarrassing. So, at that point, the decision was made to use organisations like the CIA and the NSA to recruit potential economic hit men like me and then send us to work for private consulting companies, engineering firms, construction companies, so that if we were caught, there would be no connection with the government.”
Chris Wolstenholme told ‘FHM’ magazine just a month after the release of ‘The Resistance’ album that ‘Uprising’ was “about having a massive mistrust for people in power, whether it be government, or bankers. We’re living in a society where we’re being told to keep quiet, to just accept things as they are.” Matt talked about the song with ’Mojo’ magazine and explained the logic behind the band’s united cries of, “oi!” in the instrumental breaks. He described it as “football-style chanting” which was “meant to be football hooligans chanting in protest at the banking situation.” Although ‘Uprising’ begins by painting a stark, grim picture of a world controlled by an elite which uses every trick and tactic in it’s arsenal to suppress the long-suffering mass population within an existence of lies, corruption, greed and “drugs that keep us all dumbed-down,” it isn’t long before Matt attempts to stir the listener with an emotive, determined call to abandon ill-founded fears and instead embrace a pro-active, defiant bid for emancipation. There’s a positive, and at times, reassuring tone in the song’s message. It’s hardly surprising this song was widely adopted as an unofficial anthem of the Truth Movement.
Paranoia is in bloom,
The PR transmissions will resume,
They’ll try to push drugs that keep us all dumbed-down,
And hope that we will never see the truth around
(So come on)
Another promise, another scene,
Another packaged lie to keep us trapped in greed,
And all the green belts wrapped around our minds,
And endless red tape to keep the truth confined
(So come on)

They will not force us,
They will stop degrading us,
They will not control us,
We will be victorious
(So come on)

Interchanging mind control,
Come let the revolution take it’s toll,
If you could flick a switch and open your third eye,
You’d see that
We should never be afraid to die
(So come on)

Rise up and take the power back,
It’s time the fat cats had a heart attack,
You know that their time’s coming to an end,
We have to unify and watch our flag ascend

They will not force us,
They will stop degrading us,
They will not control us,
We will be victorious
So come on

They will not force us,
They will stop degrading us,
They will not control us,
We will be victorious


Whether one should choose to rebel against his or her malevolent masters with violence and destruction or by my more peaceful methods is an age-old dilemma that never fails to spark debate and Bellamy has boldly explored both sides of that opposing spectrum through his music. Earlier works on the ‘Black Holes’ album such as ‘Assassin,’ with the lyrics, “aim, shoot, kill your leaders,” and the track ’The City of Delusion,’ which finds Matt singing, “break these walls down. Avenge, justify my reasons with your blood” are particularly powerful examples of one extreme, whereas ‘Uprising’ is significantly less hostile in it’s call for a united rejection of the power-elite. During an interview with the ‘NME’ in 2009, Matt talked about these two conflicting perspectives and how they both merged together to influence ‘The Resistance’ album. He said, “I think I’ve put forward the idea in the album that love and peaceful protest is ultimately the best way, but you can’t help thinking that sometimes it’s not enough; there’s a fine line, and I’m treading that fine line. You could bury yourself in the idea of your girlfriend or someone you love and forget about everything else, or you could use it as a method of protesting – in the Gandhi sense that peaceful resistance is the best form of resistance. But then there’s the idea that kicking a few shop windows in helps as well! The album is teetering between all those different versions of resistance.’”

‘The Resistance’ album.

According to Chris Wolstenholme, the theme of love is also explored in the title track of the album and “took a lot of influence from ‘Nineteen Eighty-Four.’ Love is one of the last freedoms we have left, so it’s about using love and sex as an act of political freedom.” Matt also referred to the George Orwell novel during an interview with the ‘NME’ in July 2009 when he was asked if ’The Resistance’ was a concept album. He said, “I think if you had to boil it down to one theme, it would be the idea that there’s some sort of romance taking place in this, call it contemporary England, with all the b******s going on everywhere – you just think to yourself, ‘it’s a bunch of b******s isn’t it?’. So if I was in doubt as to where to go with a certain lyric or song I’d go back to those initial thoughts. Like Orwell’s ‘Nineteen Eighty-Four.’ I read the book when I was at school and I only really took in the political side of it, but I read it again and the romance side moved me – this idea that love was the only place where there was some freedom from all the b******s. The act of love can be a political act in those kind of scenarios, as the one place where the state can’t invade your privacy. That love story touched me more than the overall political meaning of the book. So I’d say that was one of the cornerstones of the album, really, the love story in that book.” The dystopian society that Orwell depicts in his 1949 novel is primarily set in the province of ‘Airstrip One,’ formerly known as England and/or Britain. It belongs to the global super-state of Oceania that’s ruled by a dictatorial government called, ‘The Party’ which enforces it’s control over the general population through mass-censorship, propaganda and an omnipresent surveillance-system of hidden microphones and two-way tele-screens that monitor peoples’ everyday movements at home, at work and in public places. Individualism and independent thinking are deemed as “thought crimes” and the populace is forced by any means necessary to love and be loyal to The Party’s leader, ‘Big Brother.’ Even the act of sex is forbidden within certain sections of society, including married couples, unless it’s to reproduce children who can go on to serve the government. It’s amidst this backdrop that the story’s main protagonist, a downtrodden civil servant by the name of Winston Smith, embarks on an illicit love affair with a young woman named, Julia who’s shielded her sexual promiscuity from the authorities by acting as an outspoken propagandist for The Party. The couple, who are forced to make love in various locations away from the open glare of the dreaded tele-screens, know that the day will inevitably come when they will be found, captured and tortured, but they also believe their love for each other will always survive no matter what the authorities inflict upon them. They both later join ’The Brotherhood,’ an underground resistance movement dedicated to overthrowing Big Brother’s dictatorship only to learn that one of it’s members is actually an agent of The Party’s Thought Police who’s been monitoring Winston’s movements for a number of years. The couple are taken by the authorities and delivered to the Ministry of Love which is responsible for maintaining law and order. There, Winston is subjected to months of psychologically draining interrogation and torture in order to re-condition his mind into accepting The Party‘s doctrines. However, despite the brainwashing, Winston’s love for Julia remains. That is until one night when he is taken from his cell to a torture chamber known as ‘Room 101’ where prisoners are subjected to their own worst phobias. There, his fear of rats is put to the test when a cage-full of them are fitted onto his face. In a desperate bid to save himself from the hungry, ferocious rodents, he begs that they be taken off him and placed on Julia instead thus betraying his love for her. Winston is eventually released back into society after accepting the doctrines of The Party and unexpectedly meets Julia whilst walking in the park one day. She too has had her thoughts processed and reconditioned and appears to have suffered a similar ordeal to Winston’s. Each admits betraying the other, and both agree the feelings they once shared are gone. Winston now loves Big Brother.
Is our secret safe tonight
And are we out of sight
Will our world come tumbling down?
Will they find our hiding place
Is this our last embrace
Or will the world stop caving in?

It could be wrong
Could be wrong
But it should’ve been right
It could be wrong
Could be wrong
To let our hearts ignite
It could be wrong
Could be wrong
Are we digging a hole
It could be wrong
Could be wrong
This is out of control
It could be wrong
Could be wrong
It can never last
It could be wrong
Could be wrong
Must erase it fast
It could be wrong
Could be wrong
But it could’ve been right
It could be wrong could be

Love is our resistance
They’ll keep us apart they wont stop breaking us down
Hold me
Our lips must always be sealed

If we live our life in fear
I’ll wait a thousand years
Just to see you smile again
Kill the prayers for love and peace
You’ll wake the thought police
We can’t hide the truth inside

It could be wrong
Could be wrong
But it should’ve been right
It could be wrong
Could be wrong
To let our hearts ignite
It could be wrong
Could be wrong
Are we digging a hole
It could be wrong
Could be wrong
This is out of control
It could be wrong
Could be wrong
It can never last
It could be wrong
Could be wrong
Must erase it fast
It could be wrong
Could be wrong
But it could’ve been right
It could be wrong could be

Love is our resistance
They’ll keep us apart they wont stop breaking us down
Hold me
Our lips must always be sealed

The night has reached his end
We can’t pretend
We must run
We must run
It’s time to run

Take us away from here
Protect us from further harm


Oceania rules over the territories of Australasia, Southern Africa, and the Western Hemisphere. Most of the world’s remaining countries and regions are divided between two other global super-states; they are, Eastasia (which controls the former Indochina region as well as China, Japan, and Korea), and Eurasia (comprised of Continental Europe and Russia). A perpetual state of war exists among the three, and one is always pitted against the other two at any given time. Allegiances change from time to time but Eurasia and Eastasia never side against Oceania. The circumstances that led to this endless cycle of hostility are thought to have been sparked by a global atomic war although details are vague due to The Party’s success in shrouding significant episodes in world history from Oceania’s general population.
An alternative to the official version of events is secretly available within the pages of what is described in the story as, ‘The Book’ which claims the perpetual war can never be won because each state is equally matched in terms of power, even when two are allied against one. It questions the motives behind the ongoing global conflicts stating that there
is no “material need” for them to occur because each of the three superpowers operate within their own self-contained economies in which production and consumption are geared toward one another. Additionally, each state is so vast it can obtain all the necessary materials it might need from it’s very own boundaries. The real purpose of the perpetual war, it claims, is to destroy these materials and deny the general population a high standard of living in the process, thus preventing the majority of humans from becoming too comfortable, and ultimately, more intelligent. This is achieved by gearing industry towards building weapons instead of producing consumer goods that can boost super-states’ economies and quality of life for all.
‘The Book,’ otherwise known as, ‘The Theory and Practise of Oligarchical Collectivism,’ is said to have been written by the head of The Brotherhood, Emmanuel Goldstein. Deemed Public Enemy Number One by The Party, he is repeatedly demonised by the government in daily two-minute broadcasts which are relayed to the population via the two-way tele-screens. In fact, this is the only instance throughout the novel where Goldstein is actually seen or heard. The remainder of the story only refers to him by name or rumour. Even his whereabouts are a mystery. One claim is that he was once a high-ranking member of The Party who broke away early on in it‘s development and then founded The Brotherhood. The novel even puts forward the notion that Goldstein is nothing more than a fabrication created by The Party itself in order to focus the population’s anger away from Oceania’s government and onto a fictitious enemy instead, which is then used as a justification for the further eradication of civil liberties and a build-up of mass-surveillance. This particular idea has been adopted by a number of scholars and geo-political commentators over the years to draw parallels with real-life global events. For example, author and Professor of International Relations at England’s Keele University, Bulent Gokay, states in the book ’September 2001: War, Terror and Judgement’ that, “Goldstein is the Osama Bin Laden in Orwell’s novel, an extremely elusive person who is never seen, never captured, but believed by the leadership of Oceania to be still alive and hatching his conspiracies: perhaps somewhere beyond the sea, under the protection of his foreign paymasters. Since Goldstein is never captured, the battle against his crimes, treacheries, sabotages must never end.”

George Orwell.

Indeed, given the novel’s references to false-flag operations, mind-control, government sponsored brainwashing, unjustified wars, state-created enemies – and all amidst a backdrop of intrusive tele-surveillance – is it any wonder that there are doubts surrounding the commonly-held view that Orwell’s book was based on fictional scenarios that just happened to materialise by sheer coincidence years later? Was the author in fact using the novel to disclose secret information he’d been privy to as an inside member of a hidden elite?
Orwell (real name, Eric Arthur Blair) has been linked to the British socialist think-tank, the Fabian Society. This organisation been accused of developing social-engineering programs that are then used by governments to change the thoughts and behaviour of the population in preparation for a One World state which would relinquish the rights of the individual in exchange for collectivism. Even it’s own website states that the Society “influences political and public thinking through a wide range of publications and events.” In his article, ‘Secret Organisations and Hidden Agendas,’ author and political lecturer G. Edward Griffin claims the Fabian Society’s goal is to “embed collectivism into society without alarm or serious opposition.” When it was formed by what he describes “an elite group of intellectuals” in London in 1884, he claims it was done so “for the purpose of bringing socialism to the world, not quickly by violent, Marxist-Leninist revolution, but slowly and gradually by propaganda, legislation, and quiet infiltration into government, education, and media. The word ‘socialism’ was not to be emphasised. Instead, they would speak of humanitarian benefits such as welfare, medical care, higher wages, and better working conditions. In this way, they planned to accomplish their objective without bloodshed…” Indeed, this is illustrated in two of the Society’s official emblems, one of which displays a picture of a wolf in sheep’s clothing, and the other, a tortoise with the motto, “when I strike, I strike hard.” Additionally, according to it’s website, the Society “derives it’s name from the Roman General Quintus Fabius, known as ‘Cuncator’ from his strategy of delaying his attacks on the invading Carthaginians until the right moment.”

The Fabian Society logos.

The Fabian Society, so claims it’s site, was instrumental in the creation of the London School of Economics after a bequest of £20,000 was left by a member for “propaganda and other purposes.” It adds that the money was used “to found a research institute to provide proof positive of the collectivist ideal.” The Society also laid many of the foundations that led to the birth of the British Labour Party in 1900 and boasts on it’s site that “every Labour Prime Minister from Ramsay MacDonald to Gordon Brown” was/is a member. Other notable names associated with the society include HG Wells, Oscar Wilde, Virginia Woolf, George Bernard Shaw, and current Labour Shadow Chancellor of the Exchequer (and Bilderberger) Ed Balls.
Why George Orwell chose to title his seminal work, ’Nineteen-Eighty Four’ is a mystery, although many believe it was alluding to the centenary of the Fabian Society’s formation and warning the world what it’s plans were for the future should it succeed. In a letter written after the novel was published, he stated that ’Nineteen-Eighty Four’ “was NOT intended as an attack on Socialism or on the British Labour Party (of which I am a supporter) but as a show-up of the perversions to which a centralised economy is liable and which have already been partly realised in Communism and Fascism. I do not believe that the kind of society I describe necessarily will arrive, but I believe (allowing of course for the fact that the book is a satire) that something resembling it could arrive. I also believe that totalitarian ideas have taken root in the minds of intellectuals everywhere, and I have tried to draw these ideas out to their logical consequences. The scene of the book is laid out in Britain in order to emphasise that the English-speaking races are not innately better and that totalitarianism, if not fought against, could triumph everywhere.”

George Orwell’s influence on the Muse album ’Resistance’ can also be heard on a track that specifically refers to his super-state Eurasia, although it takes equal inspiration from the book ’The Grand Chessboard’ written by US-based political scientist, Zbigniew Brzezinski. Titled, ‘United States of Eurasia,‘ Matt says the song “is kind of a little bit ironic because it starts with the idea of peace and unification and by the time the song gets to the end, it’s become a scary national anthem to a new superpower like, you know… This kind of place with a paradox: wanting unification, wanting peace but also the fear of creating some kind of a new superpower just more powerful than America, you know. The song is definitely influenced by geopolitics. ‘The Grand Chessboard’ is a book which I read around the time of making the songs so that book definitely had an influence on the song.”
Published in 1998, Brzezinski sets out his formula to prevent the combined continents of Europe and Asia from challenging America’s position as the major global power. In order to achieve this, he proposes the US “put in a terminology that harkens back to the more brutal age of ancient empires.” He later explains that the Central Asian nations “are of importance from the standpoint of security and historical ambitions to at least three of their most immediate and more powerful neighbours, namely Russia, Turkey and Iran, with China also signalling an increasing political interest in the region. But the (Central Asian nations) are infinitely more important as a potential economic prize: an enormous concentration of natural gas and oil reserves is located in the region, in addition to important minerals, including gold.” He states that, “America’s primary interest is to help ensure that no single power comes to control this geopolitical space and that the global community has unhindered financial and economic access to it.”
Had these words been written by an academic on the fringes of political science, then it’s likely they would have been ignored and largely forgotten with the passing of time. Brzezinski however, is far from an irrelevance. A notorious and trusted servant of the hidden elite, his long-standing associations with the Council on Foreign Relations, the Bilderberg Group, and the Trilateral Commission (which he co-founded with David Rockefeller) has meant that every word he writes or utters is greeted with a great deal of attention and concern by many of those who make it their business to follow and commentate on the machinations of world affairs. He’s been blamed for effectively creating the Taliban thanks to his secret funding of the Mujaheddin in Afghanistan and Pakistan during the late 1970s when he was President Jimmy Carter’s national security adviser. With the financial backing of the CIA and Britain’s MI6, Brzezinski and his cohorts sought to thwart the Soviet Union’s efforts to successfully invade and/or occupy Afghanistan at the time by promoting radical Islamist and anti-Communist forces in the region. When Brzezinski was asked to comment on these events in an interview during the 1990s, he expressed no regrets for his role in having given arms and advice to individuals and organisations that would later be deemed enemies in the ‘War on Terror.’ He said, “regret what? That secret operation was an excellent idea. It had the effect of drawing the Russians into the Afghan trap and you want me to regret it? The day that the Soviets officially crossed the border, I wrote to President Carter: We now have the opportunity of giving to the USSR it’s Vietnam War. Indeed, for almost ten years, Moscow had to carry on a war unsupportable by the government, a conflict that brought about the demoralisation and finally the break-up of the Soviet empire.” He continued, “what is most important to the history of the world? The Taliban or the collapse of the Soviet empire? Some stirred-up Moslems or the liberation of Central Europe and the end of the Cold War?” When specifically addressing the issue of Europe in ‘The Grand Chessboard,’ Brzezinski writes, “the central issue for America is how to construct a Europe that is based on the Franco-German connection, a Europe that is viable, that remains linked to the United States, and that widens the scope of the cooperative democratic international system on which the effective exercise of American global primacy so much depends. Hence, it is not a matter of making a choice between France and Germany. Without either France or Germany, there will be no Europe.” He continues, “just one glance at the map of the vast Eurasian landmass underlines the geopolitical significance to America of the European bridgehead – as well as it’s geographic modesty. The preservation of that bridgehead and it’s expansion as the springboard for democracy are directly relevant to America’s security.”

Zbigniew Brzezinski.

In his book, Brzezinski reflects on America’s global power during the late 20th century and in doing so, takes the time to acknowledge the role of the entertainment industry and mass-media in assuring it’s position. He writes, “the American global system emphasises the technique of co-optation to a much greater extent than the earlier imperial systems did. It likewise relies heavily on the indirect exercise of influence on dependent foreign elites, while drawing much benefit from the appeal of it’s democratic principles and institutions. All of the foregoing are reinforced by the massive but intangible impact of the American domination of global communications, popular entertainment, and mass culture and by the potentially very tangible clout of America‘s technological edge and global military reach. Cultural domination has been an underappreciated facet of American global power. Whatever one may think of it’s aesthetic values, America’s mass culture exercises a magnetic appeal, especially on the world’s youth. It’s attraction may be derived from the hedonistic quality of the lifestyle it projects, but it’s global appeal is undeniable. American television programmes and films account for about three-fourths of the global market. American popular music is equally dominant.”

In recent years, a number of concerned political commentators have attempted to highlight comparisons between imperialist proposals put forward in Brzezinski’s book and current world events driven by US foreign policy, especially with regards to the Middle East. This has been fuelled further by allegations that he “handpicked,” “mentored,” and “groomed” Barack Obama when he was a student at Columbia University during the 1980s and then later reportedly advised him on foreign affairs during his race to become President, although both camps at the time denied the two had worked closely together in an official capacity. Critics of Obama during the period of his Presidential campaign (when he was being presented as a fresh young antidote to the years of dissatisfaction under the Bush regime), were suspicious of his supposed links to an apparent globalist such as Brzezinski. In 2008, the historian and author Webster Tarpley argued that the then would-be President was actually a greater danger than George W. Bush. He said, “the guy’s a puppet of the worst circles of imperialism… in other words, he’s interested in the same imperialist project carried out in a much more effective and clever way, although ultimately in a more insane way.” Tarpley added, “and then if you look at these people around him, he’s got the Trilateral Commission through Brzezinski, he’s got the Bilderberger-Group through Joseph Nye. Joseph Nye is the North American Director of the Trilateral Commission and a big wheel of the Bilderberger Group. Joseph Nye writes the books about ‘soft power’, because that’s what we’re talking about. They say: We don’t mean military invasion, we need soft power, we need subversion ideology, cultural warfare, economic warfare and diplomacy, meaning to play one against another divide and conquer and so forth.” Speculation continues as to the true nature of Brzezinski’s relationship with Obama and whether he ever was, or indeed still is, a background manipulator in the administration. In fact, during an interview earlier this year, he himself once again denied any significant connection to the President, but then said, “I have a relationship where from time to time I am able to share my views with him.”
The proposal that Brzezinski presents in ‘The Grand Chessboard’ is perhaps best summed up in the second chapter, ‘The Eurasian Chessboard,’ where he states, “for America, the chief geopolitical prize is Eurasia. For half a millennium, world affairs were dominated by Eurasian powers and peoples who fought with one another for regional domination and reached out for global power. Now a non-Eurasian power is pre-eminent in Eurasia – and America’s global primacy is directly dependent on how long and how effectively its preponderance on the Eurasian continent is sustained. Obviously, that condition is temporary. But its duration, and what follows it, is of critical importance not only to America’s well-being but more generally to international peace.”
You and me are the same
We don’t know or care who’s to blame
But we know that whoever holds the reins
Nothing will change
Our cause has gone insane

And these wars, they can’t be won
And these wars, they can’t be won
And do you want them to go on
And on and on
Why split these states
When there can be only one?

And must we do as we’re told?
Must we do as we’re told?

You and me fall in line
To be punished for unproven crimes!
And we know that there is no one we can trust;
Our ancient heroes, they are turning to dust!

And these wars, they can’t be won
Does anyone know or care how they begun?
They just promise to go on
And on and on
But soon we will see
There can be only one

United States!
United States!

… sia!
… sia!
… sia!

… sia!
… sia!
… sia!

… sia!
… sia!
… sia!


The sedate piano intro, the warm strings, and the gentle, soft texture of Matt’s vocals at the beginning of the ’United States of Eurasia’ is almost at odds with the sense of cynical despair in the opening lyrics. Before long though, the song bursts out loud with Bellamy’s emotive cries and a stab of eerily precise Queen-style backing harmonies and guitar for good measure, all setting the pace for what is to come. Perhaps in reference to the title, the gradual build-up in the song’s momentum and dramatic scale is periodically ushered in with an Asian /Middle Eastern-flavoured bridge of strings and piano. Beneath them, the drums punch their way onwards, almost in the rhythmic style of a military march. One could perhaps imagine that the band was taking inspiration from a particular page in ‘Nineteen Eighty-Four’ where Winston Smith recalls the day he looked at the propaganda pictures on the tele-screen and saw endless marching columns of the Eurasian army, or, as he described them, “row after row of solid-looking men with expressionless Asiatic faces, who swam up to the surface of the screen and vanished, to be replaced by others exactly similar.” The song segues into ‘Collateral Damage,’ a short piano-led instrumental based on Frederic Chopin’s ’Nocturne In E-Flat Major, Op.9 No. 2.’ In the background, there’s the sound of children playing followed by an overhead jet-fighter launching a missile.

The artwork to the Muse song ‘United States of Eurasia.’

The ‘United States of Eurasia’ is to some extent a Rock-Opera condensed into four minutes, and one could perhaps even imagine it being performed in an Orwell-influenced musical on Broadway or in the West End of London with lines of dancers all dressed in military uniform marching and chanting to the ending harmonic stabs of “Eura-sssia!” with one arm aloft flags in hand. As Dominic Howard told ‘Q’ magazine in 2009, “not everyone gets the Monty Python aspect to our music but it’s there. There are some serious ideas, but a lot of the musical accompaniment and flourishes are done in a spirit of fun.”

Described by Chris Wolstenholme as “the most ‘Rock‘ track on the album,” ‘Unnatural Selection’ is largely absent of such frills, instead shifting much of the focus onto the primary guitars/drums nucleus of the band. Unlike the title-song of the album which repeatedly states that “love is the resistance,” the lyrics of ‘Unnatural Selection’ finds Matt singing, “I am hungry for unrest. Let’s push this beyond a peaceful protest.” This is an example of the “fine line” that Bellamy claims the album is “teetering on” between choosing to fight The System through passive non-compliance and “kicking a few shop windows in.”
They’ll laugh as they watch us fall,
The lucky don’t care at all,
No chance for fate,
It’s unnatural selection,
I want the truth

I am hungry for some unrest,
I want to push this beyond a peaceful protest,
I wanna speak in a language that they’ll understand

Dedication to a new age,
Is this the end of destruction and rampage?
Another chance to erase it then repeat it again

Counterbalance this commotion,
We’re not droplets in the ocean, We’re the

They’ll laugh as they watch us fall,
The lucky don’t care at all,
No chance for fate,
It’s unnatural selection,
I want the truth

No religion or mind virus,
Is there a hope that the facts will ever find us,
Just make sure that you are looking out for number 1

I am hungry for some unrest,
Let’s push this beyond a peaceful protest,
I wanna speak in a language that you will understand

Counterbalance this commotion,
We’re not droplets in the ocean, We’re the

They’ll laugh as they watch us crawl,
The lucky don’t share at all,
No hope for fate, it’s a random chance selection,
I want the truth

Try to ride out the storm,
Whilst they’ll make you believe, that they are the special ones, (we have not been chosen),
Injustice is the norm,
You won’t be the first and you know you won’t be the last

Counterbalance this commotion,
We’re not droplets in the ocean, We’re the
Ocean, ocean, ocean

They’ll laugh as they watch us fall,
Unlucky, they don’t care at all,
No chance for fate,
It’s unnatural selection,
I want the truth,
I want the truth,
I want the truth,
I want the truth

‘The Resistance’ also includes ‘MK Ultra‘ which is based on a subject widely covered on this website. Chris told the ’NME,’ “this was about brainwashing. MK Ultra was a covert CIA mind-control and chemical interrogation programme. It’s a song about losing control of your own destiny. Because you’re not in control of your own mind.” Also worth noting is the 12-minute-plus epic, ‘Exogenesis: Symphony.’ Dominic says, “the song is about leaving this destructive planet we’ve created, leaving it behind to go and populate somewhere else in the universe.”

The Orwellian theme that pervaded throughout the album was translated onto the live stage for the band’s subsequent world tour. For the arena dates, three huge semi-transparent LED pillars towered over the audiences. These constructs were based on Oceania’s government ministries which were housed in 300-metre high pyramids. For the stadium segment, a triangular-shaped structure covered in video-screens was used which Matt said was based on ‘Nineteen Eighty-Four’ and also the notorious All Seeing Eye symbol.

Muse performing in between their LED towers during the arena segment of ‘The Resistance’ tour at the NIA, Birmingham, UK, November 2009 (click to enlarge).

Muse on the stadium leg of the tour performing on their triangular ‘All Seeing Eye’ structure during June 2010.

To the casual observer, it might appear that it was business as usual in the Muse camp given the Orwellian references on ‘The Resistance’ album and supporting 22-month world tour, but, in reality, the feverish enthusiasm for conspiracy theories that Matt Bellamy was all too keen to share with the music-press only a few years previously was beginning to wane somewhat. During an interview in September 2009 he said, “I’m not so interested in them now, but I definitely was. Conspiracy always stinks of paranoia, but I am genuinely interested in researching the mechanisms behind powerful organisations. I feel I missed so much at school, and there are so many things I want to know, but they weren’t taught to me. Because of that, and because I watch the news and see these things going on in front of me, I’m drawn to research. That can take you down weird paths, towards conspiracy theories and wacky ideas, but that doesn’t mean I believe them.” Then, later that same month, Bellamy expanded on this further during an interview with ‘Rolling Stone’ magazine, and in the process, opened himself up to suspicion amongst the Alternative community. He said, “I’m a curious person, a rational thinker. There is loads of stuff on the internet suggesting 9/11 was an inside job. But that is not my belief.” It was a significant statement considering that only three years earlier he’d been voicing his doubts about the official version of events put forward by the US and UK governments. In October 2006 for example, he told ’CMU Daily,’ “September 11th is clearly an inside job, there’s massive evidence that suggests that it was either allowed to happen or even worse, deliberately made to happen.” So, what instigated this about-turn, and from a man so closely aligned to the Truth Movement? In many respects, 9/11 is the conspiracy that underpins and galvanizes a small but growing fringe of people across the globe who want to see an end to the oncoming threat of a New World Order, as a result, to reject this theory is almost illogical, unless of course, the person doing the rejecting is not what he or she seems. Was it possible that Bellamy and his band-mates had been ‘compromised’ in some way? After all, Muse had become a successful world-class act and Bellamy’s controversial statements on highly delicate issues such as the September 11th attacks were being widely distributed in the mainstream to a mass audience. Other well-known figures in the entertainment industry over the years who’d been equally if not more outspoken against The Powers That Be had either met an untimely death or fallen prey to career-damaging scandals. One popularly held view is that Matt, Chris and Dominic were perhaps secretly pressured to radically change their outlook on 9/11 in order to escape a similar fate. Others have put forward the idea that the band had been corrupted by the trappings of Pop stardom. If this was indeed the case, it certainly wasn’t in evidence when they performed ’Uprising’ at the annual Grammy Awards ceremony in Los Angeles in February 2011 where they collected the gong in the ‘Best Rock Album‘ category for ‘The Resistance.’ Standing within their towering LED pillars, the band played as images flashed across the video-screens of paper money engulfed in flames and bank buildings with their windows smashed in. Perhaps the most interesting sight of all was when Matt sang the line “they will not control us” and formed a pyramid over his eye with his hands. At a time when chunks of the population were being threatened with financial Armageddon following the crash of 2008, this performance brought a slice of the real world into the detached glamorous showbiz environment of the Grammys.

Muse at the 2011 Grammys.

“They will not control us.”

Towards the end of 2011, Muse were back in the studio recording a new album and in December of that year, Chris Wolstenholme reportedly said it felt like he and the band were “drawing a line under a certain period in our career. It feels like it‘s time to move on and do something radically different.” In May 2012, they returned to their hometown in Devon to take part in the Olympic torch relay as part of the run-up to the games later that year, and as a result, once again made themselves the focus of suspicion. The fact that ‘London 2012’ had become mired in fevered internet conspiracy theories ranging from claims the event was organised by malevolent power-hungry Zionists, to speculation a false-flag terrorist catastrophe was planned to take place at the opening or closing ceremony in order to usher in a police-state, would have no doubt been familiar to a seasoned observer such as Matt Bellamy. As such, his willing involvement only served to bolster the growing unease amongst the Alternative community that Bellamy once spoke out for with such fervour. Then, in June, there was more cause for concern when it was announced that a Muse track had been selected as the official song for the Olympics. Titled, ‘Survival,’ Matt reportedly said at the time, “it’s a huge honour to have the track chosen as such a major part of the London 2012 Olympic Games. I wrote it with the games in mind as it expresses a sense of conviction and determination to win.” However, judging by recent comments, it would appear that he wasn’t being entirely honest when claiming it was penned specifically for the event. In the January 2013 edition of ’Q’ magazine he’s quoted as saying, “now it’s all over, we can say that the song was really written more about Survivalists. There was this TV show called ‘Doomsday Preppers,’ which was all about these crazy survivalists who think the world is gonna end. The song is basically about that… I was surprised as everybody else was that the song got selected for the Olympics.”

The documentary TV series that Matt refers to is screened by ’National Geographic’ and each episode focuses on a range of different survivalists, or “preppers” as they’re otherwise known as they prepare for the end of civilisation which they believe is close at hand and will be brought about by one of many disasters including financial collapse, overpopulation, terrorist attacks, solar flares, and Global Warming. In the episode, ’It’s Gonna Get Worse,’ San Diego psychiatrist, Bradford Frank talks about the possibility of a killer-flu pandemic which he believes would hit right across America. In order to protect him and his wife and daughter from exposing themselves to the illness in public places when – or if – such an outbreak occurs, he’s stockpiled hundreds of food-cans in his home, and 1,000 pounds of rice because it’s inexpensive, has a long shelf-life and is high in protein. Frank claims he has enough to feed all three of them for up to a year. Additionally, because he fears hospitals will become a hotbed of infection in the wake of a pandemic, he’s also taken advantage of his status as a physician to buy antibiotics, in fact up to $15,000-worth at the time of the documentary’s original screening, and he’s replaced the standard glass windows of his house with bullet-proof ones in order to protect him and his family from any desperate flu-sufferers who’re looking to raid the home of a doctor for life-saving drugs. In the same episode, we see a married couple in Salt Lake City prepping for a peak oil crisis which would lead to a collapse of the power grid and a lack of access to medicines. To counter this, they’ve purchased fish-tank antibiotics from pet-food stores because they’re exactly the same as those prescribed for humans and also freely available to buy over the counter without the need for prescription. The couple have also filtered water from their hot-tub for rationing. Elsewhere in the programme, we can witness the life’s work of retired scientist Bruce Beach who’s built a 10,000ft-square underground nuclear shelter near his home in rural Ontario, Canada. Nicknamed ‘Ark Two,’ it’s made up of 42 school buses and can house up to 500 people. His aim – should a world-shattering war commence – is not only to protect as many people as possible from it‘s effects, but to help rebuild society in it’s aftermath. As such, the shelter’s inhabitants will be largely made up of children. He says it’ll serve as an “underground orphanage, a place where a new generation could be saved… we’re going to say to people: ‘Well, we have room for your children, but we don’t have room for you.’ That’s the nature of life… this is the lifeboat.”

In an episode of the series titled ‘You Shall Not Fear,’ Becky Brown, a single woman in her thirties and based in Salt Lake City, is said to have spent $50,000 on prepping. She believes the US economy will collapse causing the government to forcibly take over. During the programme she says, “they would literally come in with the army and call martial law. The city would look like chaos. The highways and the roads will be shut off because they’re gonna mandate who goes where. We won’t have a water supply. They’re gonna hold the water for the most elite. We’re gonna be left surviving on our own with what we have already.” As a result, she has collected nearly 100 gallons of water for storage and 4,000 servings of long-term food. It just so happens that Becky and her sister Amy are the founders of ‘Grab n Go Food Storage,’ a company that sells a number of emergency supplies including water filtration bottles, and Potassium Iodide capsules which can be taken to protect against radiation exposure such as in the event of a nuclear-nuclear-reactor disaster. Of course, her food storage business is by no means unique. The survival market is blossoming and a number of Alternative broadcasters are happy to publicise them for a price. Alex Jones is perhaps the best known of them all. Just one look at his ‘InfoWars’ website is enough testament to that. There you’ll see advertisements for emergency suppliers such as ‘efoods Direct,’ and also ‘Rising Company’ which sells fallout shelters, steel bunkers and safe rooms.
Although Matt Bellamy believes some of the preppers on the documentary are “crazy,” in general, there does appear to be an increasing sense of unease across the world thanks in part to the banking crash of 2008, and the so-called “austerity measures” within the EU countries which have led to mass riots and demonstrations. And what about fears of a natural disaster? In 2010, NASA warned that a peak in the sun’s magnetic energy cycle could lead to a solar storm next year which would knock out electricity grids around the Earth for hours, days or even months bringing the planet to a virtual standstill. Politicians and experts have met to discuss these concerns and how to protect the world against this threat when or if it happens.
According to the ‘Doomsday Preppers’ documentary, “a recent poll found that 41% of Americans feel that preparing for a disastrous event is more important than saving for retirement, and over half believe some kind of catastrophe will occur in the next ten years.”
Race, life’s a race
And I am gonna win
Yes, I am gonna win

And I’ll light the fuse
And I’ll never lose
And I choose to survive
Whatever it takes

You won’t pull ahead
I’ll keep up the pace
And I’ll reveal my strength
To the whole human race

Yes I am prepared
To stay alive
And I won’t forgive,
Vengeance is mine
And I won’t give in
Because I choose to thrive

Yeah, I’m gonna win!

Race, it’s a race
And I’m gonna win
Yes, I’m gonna win

And I will light the fuse
I’ll never lose
And I choose to survive
Whatever it takes

You won’t pull ahead
‘Cause I’ll keep up the pace
And I’ll reveal my strength
To the whole human race

Yes I’m gonna win

Fight! Fight! Fight! Fight!
Win! Win! Win! Win!

Yes I’m gonna win!

It’s hardly surprising that Muse performed ‘Survival’ at the closing ceremony of the Olympics given that it was the official song for the entire event.
A long-time conspiracy theorist such as Bellamy would’ve also been aware of the occult symbolism going on all around him that night.

** During the ceremony, the focus turned to a giant cauldron which gave way to a phoenix…

In his book, ‘The Phoenix: An Illustrated Review of Occultism and Philosophy,’ the revered 33rd Degree FreeMason Manly Palmer Hall states, “among the ancients a fabulous bird called the Phoenix is described by early writers … The Phoenix, it is said, lives for 500 years, and at its death its body opens and the new born Phoenix emerges. Because of this symbolism, the Phoenix is generally regarded as representing immortality and resurrection … The Phoenix is one sign of the secret orders of the ancient world and of the initiate of those orders, for it was common to refer to one who had been accepted into the temples as a man twice-born, or reborn. Wisdom confers a new life, and those who become wise are born again.” In his book, ‘Satan’s Door Revisited,’ self-confessed former Satanist William Schnoebelen writes, “the Phoenix… is believed to be a divine bird going back to Egypt … This Phoenix destroys itself in flames and then rises from the ashes. Most occultists believe that the Phoenix is a symbol of Lucifer who was cast down in flames and who … will one day rise triumphant. This (belief) also relates to the raising of Hiram Abiff, the Masonic ‘Christ’.”

The ceremony was steeped in occult symbols, in fact, far too many to document here. However, it’s worth noting the segment where performers used blocks to build a giant pyramid which they then appeared to hold their arms out in praise to. Given that Muse had spent great time and expense in designing props based on the infamous ‘All Seeing Eye’ for ‘The Resistance Tour’ stage-set, this spectacle would not have been unfamiliar to them…

The Olympic torch relay that Muse participated in roots back to the German games of 1936 created as it was by Carl Diem who was hired by Adolf Hitler to organise the event. It’s based on the ancient Greek mythological figure Prometheus (also known as “The Torch Bearer”) who stole fire for human use from Zeus, King of the Olympian Gods. According to Oxford University classicist Cressida Ryan, the Nazis “wanted a symbolic bridge between ancient Greece and modern Germany. And light is a symbol of purity – the bright, white, pure, stunning light of the ancient Greeks was something that fed into the Aryan myth.” These ideals were ingrained within the Nazis’ ideology-system from it’s earliest days. When an unknown Adolf Hitler joined the party in 1919, it was operating under the name of the German Workers’ Party (known in it’s native language as the ‘Deutsche Arbeiterpartei,’ or ‘DAP’) and had direct links to the occultist organisation, the Thule Society. DAP founders Anton Drexler and Karl Harrer were Thulists themselves acting on the desires of fellow society members who were seeking to establish a political workers’ union. A few months after it’s formation, the DAP changed it’s name to the ‘German National Socialist Party’ (‘Nazi’) in a bid to broaden it’s appeal to larger sections of the German population. Hitler became chairman in 1921. Many of his high-ranking Nazi sidekicks were linked to the Thule Society and the practise of occultism including Rudolf Hess, Heinrich Himmler, and Hermann Goring.

Just four days on from their appearance at the Olympics closing ceremony, Muse were the subject of an intriguing discussion between Alternative radio-host Jack Blood and his special guest, the researcher David Icke who was asked to comment on a clip of an interview said to have been recorded with Matt Bellamy in 2011. In it, the Muse front-man is asked whether he and his band-mates have ever run into trouble for aligning themselves with the fight against the New World Order, to which Matt replies, “it’s the opposite actually, we’re aligning ourselves with the New World Order and I’ve managed to get myself involved into that whole scene. I’ve done a lot of research into it and the more – the deeper you go – the darker you get. You actually realise you actually are one of them. You start to learn the mind-control tricks that these people use, it’s very, very straightforward actually. We’ve actually used those skills in order to help this band become more popular, so, and in the process of doing that you end up becoming one of those, and you end up becoming what you hate, but actually, you have a lot more fun. It’s less paranoia and it’s a bit more enjoyable lifestyle.” At this point, Matt asks the interviewer, “are you taking this seriously?” He’s met with the reply, “no.” Amid much laughter, Bellamy answers back, “I will if you will, or I won‘t if you won‘t.” Was Matt merely adding a touch of sarcasm to the proceedings or was he attempting to communicate a serious message under the guise of mild humour? Icke says, “there could be many dynamics going on there. He could be not wanting to come out and say, ‘yes, I actually agree with this’ for fear of ridicule and loss of face with some people… but he did say something very true there, that the methods of manipulation have been used to promote Muse – well, they had to be, ‘cos they’re used to promote all these major bands and these major entertainment people, and in many ways, it is easier in the short term to just accept it and go with it.”
You can hear the Bellamy clip here for yourself as well as more comments from Icke and Jack Blood…

It was four weeks on from this broadcast that Bellamy’s interview with the website ‘Metro’ was published in which he stated that he no longer believed 9/11 was an inside-job and also claimed that his “political views are bit more nuanced now.” Some days later he told ‘The Guardian,’ “I was getting very drawn into obscure conspiracy theories. As time’s moved on I’ve become far more rational and empirical and I’ve managed to focus on slightly more realistic, tangible things.” Matt was speaking ahead of the release of the new Muse album, ‘The 2nd Law’ which included the Olympic song ‘Survival’ and the Dub-step inspired ‘The 2nd Law: Unsustainable’ which had been made available to the public some weeks previously in the form of a video-trailer posted on the internet. The track begins in customary Muse fashion with an orchestral and choir section before a female voice speaking in the style of a news-reporter tells us that “an economy based on endless growth is unsustainable.” Matt told the ‘NME’ the track is “the noise of humanity on a tiny planet in the middle of nothing. Hanging around space would be so peaceful and quiet and suddenly you come to this little blip that’s f*****g chaos! I see it as drifting away from the planet and going into the peacefulness of what actually is gonna happen at the end of it all, which is nothingness.”

‘The 2nd Law’ was released in October this year and at the time of this article’s publication had achieved Top Ten status in at least nineteen countries. There are a number of tracks on it worthy of note, one of which is ‘Animals’ which Matt told BBC News is “probably the most political song” on the album. By the way, it should be noted at this point that ’Conspiro Media’ has gone to great lengths in this extensive article not add it’s name to the long list of music commentators over the years who’ve repeatedly compared Muse to Radiohead. However, the temptation here is too strong to resist. With it’s almost persistent tempo (which, I’m informed, is a “5/4 time signature played to a 4/4 beat”?!), electric guitar-plucked flamenco-style riff, and heartfelt Thom Yorke-esque vocals, ’Animals’ is reminiscent of Radiohead’s ‘Hail to the Thief’ era. Matt says the song is “aimed at the bankers and people who gambled every ones’ money and ended up putting countries in debt.” The track ends with the sound of stockbrokers yelling and shouting. Bellamy has said, “we added the sound of Wall Street traders screaming right before the bell goes. It’s pretty dark how lost in it these people are getting… they sound like a bunch of animals.”

You’re an animal
Don’t take anything less

Out of control
You’re out of control
Strike those in distress

Bend more rules
Buy yourself an island

We’re animals
Buy when blood is on the street

Out of control
We’re out of control
Crush those who beg at your feet

Spread out
Kill the competition
And buy yourself an ocean

Lay off
Kill yourself
Come on and do us all a favour


No one could blame the least attentive of listeners from being easily fooled into a false sense of comfort by the dreamy lullaby vibe that dominates the opening bars of the song ’Explorers’ and overlooking the bleak lyrical content as a result. Matt says the track is “about the intense desire to grow and expand – at some point nature will become the minority. I’m not sure if I’m really coming from an environmental thing.” He adds that the song “is where I’m singing about my views on property rights. The idea that corporations can own vast tracts of foreign countries. I’m not sure if the deal went through but, I think it was in Paraguay or Uraguay, the Bush family bought something like a million acres of land, which underneath contains the biggest natural water reservoir in South America. At some point there has to be someone who says: ‘That’s not right.’. Can BP buy Nigeria? At the moment they can. They could buy it and they kick all the natives out, shoot them down or whatever and just say: ‘We own this now.’” There’s a sense of resignation in the lyrics as Bellamy laments the plundering of the planet, informing us that “there’s nothing left for you or for me.”

Once I hoped
To seek the new and unknown
This planet’s overrun
There’s nothing left for you or for me
Don’t give in, we can
Walk through the fields
And feeling nature’s glow
But all the land is owned
There’s none left for you or for me

Who will win?
‘Cause I concede

Free me
Free me
Free me from this world
I don’t belong here
It was a mistake imprisoning my soul
Can you free me
Free me from this world

A world lush in bloom
With rivers running wild
They’ll be re-routed South
With none left for you or for me
Don’t give in
Hear the engines roar
And save our crops from drought
But when the black gold’s in doubt
There’s none left for you or for me

Fuse helium-3
Our last hope

Free me
Free me
Free me from this world
We don’t belong here
It was a mistake imprisoning our souls
Can you free me
Free me from this world

Free me
I’ll free you
Free us from this world
We don’t belong here
It was a mistake imprisoning our souls
Can you free me
Free me from this world

Running around in circles feeling caged
By endless rules
Can you free me, free me from this world

Go to sleep


The album’s opening track, ’Supremacy,’ is classic trademark Muse; an operatic, grandiose mini-epic, a shameless excursion into musical excess. It borrows elements from John Barry’s ‘007’ and Led Zeppelin’s ‘Kashmir’ with the subtlety of a sledgehammer and directs it’s energy against the cruel Powers That Be, warning them that “the time, it has come to destroy” their “supremacy.”

Wake to see – your true emancipation is a fantasy.
Policies have risen up and overcome the brave.

Greatness dies, unsung and lost, invisible to history.
Embedded spies brainwashing our children to be mean.

You don’t have long,
I am on to you
The time, it has come to destroy…

Your supremacy

Your supremacy


You don’t have long,
I am on to you
The time, it has come to destroy…

Your supremacy


Yeah, yeah


During an interview with BBC Radio 6 presenter Mark Radcliffe in August this year, Bellamy delved deeper into what inspired him to name the album after the Second Law of Thermodynamics. He said, “I think it was something that came up during the making of the album, and I think it was – I think there were some certain themes in certain songs that seemed to have some relevance to that and I think there was a lot of songs dealing with things falling apart and how the Second Law of Thermodynamics states that within an isolated energy-system, energy generally decreases and eventually reaches zero and everything’s in chaos, and I think there’s a lot on the album that talks about how life itself is a bit of a conflict against that.” He also referred to the current financial crisis. “You know,” he said, “it’s one of those things that every ones’ feeling at the moment and I think it relates very closely to the Second Law, in that it’s this kind of obsession with endless growth, and at some point the expansion will stop and the only way then is to fall apart and that’s what we’re obviously going through at the moment. And you almost feel like with what’s going on, the only way to actually solve it is to kind of start again – that’s how it feels – ’cos this has been something that’s being going on for quite a long time now and it doesn’t seem to be getting any better.”

‘The 2nd Law’ album.

Before embarking on their latest world tour to promote their new album, the band spoke to journalists about the pyramid that would literally take centre-stage as part of yet another elaborate live spectacle. In September this year Matt Bellamy told ’Metro,’ “we have a symbolic upside-down pyramid suspended over us as we play. It will screen videos and images that relate to the songs. At some point, the pyramid will turn inside out and consume Dom’s drum-kit.” In the same month, he told ’The Guardian,’ “it’s turning the power structure of the world on it’s head.” In an interview with the ’NME’ in October, he expanded further adding that, “a lot of people think the pyramid represents power-structures, you know, in every walk of life. Anything from basic corporate structures with a top-down system where CEOs take all the profit and get paid more than the people at the bottom, which is the kind of down-to-earth version, to the Illuminati, you know. The pyramid seems to represent the power structures of the world, or what some people see as the justice of the world. It can all be summarised by a pyramid. Turning it upside-down is a gesture as to what we think of that. But during the concert it becomes a pyramid and eats the band. Then we escape out of it.”

Muse on tour with their upside-down pyramid (Click to enlarge).

Muse have come a long way since their humble beginnings in Teignmouth and the release of their ’Showbiz’ album in 1999. A Grammy-award winning, best-selling group of global magnitude, they were recently hailed ‘The Best Act in the World Today’ at the annual ‘Q Awards’ ceremony in London.
With the success come the trappings that money and fame inevitably provide and Muse can now access the upper echelons of society that are exclusively inhabited by the privileged and the powerful. Matt Bellamy for example, has now effectively been welcomed into the inner circles of Hollywood Royalty thanks to his relationship with Goldie Hawn’s movie-star daughter Kate Hudson. The pair announced their engagement earlier this year, shortly before the birth of their son, Bingham Hawn “Bing” Bellamy.

Matt and Kate at the ‘Vanity Fair’ Oscar Party (Feb. 2012).

In April, the couple were guests at the prestigious annual Correspondents’ Dinner in Washington DC, an event attended by senior US government officials, members of the Press corps and the President and First Lady. Matt claims he was seated next to General Colin Powell, the former commander of the US Armed Forces who also served as Secretary of State in the George W. Bush administration when the US launched it’s ‘War on Terror’ military campaign against Afghanistan and Iraq. Bellamy says, “Kate and I asked him lots of questions. He was a lovely man and it was a very pleasant conversation, but these guys are hardcore. You ask them questions about the Military-Industrial Complex and they don’t fanny about.” Is it any wonder that Bellamy has become the focus of sceptics who accuse him of effectively selling out his ideals in exchange for the lifestyle he’s become accustomed to, especially when he’s wining and dining with figures who were central players in wars that he rallied against with such passion, most notably on songs he wrote for the ‘Black Holes and Revelations’ album?
Then there’s his involvement in the London 2012 Olympics. It’s difficult to accept the notion that he wouldn’t have been familiar with the news-reports that appeared in the run-up to the games regarding the over-zealous military presence in and around the streets of East London and the numerous allegations, claims and rumours via the Alternative media. One might conclude that all this would have been of little consequence to Bellamy given that his interest in conspiracy theories had dwindled. But what of his appearance at the occult ritual that was the closing ceremony? Matt has acknowledged the hidden power and meaning of the upside-down pyramid that Muse are currently touring the world with and how it can be re-interpreted for the greater good of all, so, what did he make of the phoenix, the cauldron and various other occult symbols that marked the final night of the games and the claims of a number of commentators and researchers that these were a homage to the New World Order dream?
It’s his views concerning 9/11 that perhaps spark the greatest suspicion though. What startling evidence, whose explosive accounts compelled the Muse front-man to conclude categorically that he no longer believed the September 11th attacks to have been an inside job? He’s yet to reveal his sources (as far as this blog is aware). Of course, it’s entirely possible that Bellamy’s controversial about-turn was of his own accord, but ‘Conspiro Media‘ is doubtful thus far. As David Icke expressed earlier, the methods of manipulation that have been used to promote Muse are the same as those employed to support all the major entertainment figures. Is it possible for a band or artist of worldwide prominence to operate within such a system and be truly free to express their views to the fullest, especially with regards to 9/11? Perhaps Matt, Chris and Dominic have discovered first-hand that it would not be in their best interests to pursue this highly contentious issue further in public?

                                                                                                                                                           REASONS TO BE DOUBTFUL? (PT. 1):

There’ll be many reading this who’ll undoubtedly be aware of the occult imagery that’s paraded before our eyes by modern-day music artists in countless videos, photo-shoots and album-covers. In fact, it’s now reached a stage where these motifs are bombarding our eyes and our senses to such an extent that they‘ve become a normality. Is it any wonder that the majority of Pop and Rock fans who’re unfamiliar with the hidden meanings behind these symbols fail to notice them and why they’re being used – even when these images have no relevance to the song or artwork they‘re incorporated in? However, as many respected researchers and scholars will testify, these symbols are there for a purpose, regardless of how nonsensical they might appear to the naked eye. The respected scholar Robert Richard Hieronimus, Ph.D. is a leading authority in the study of occultism (and a former guest of ‘Conspiro Media‘). He says, “with symbols there are always multiple levels. Symbols reveal, and they conceal, and that’s why they’re used and that’s why they’re so important. They reveal to those who have eyes to see and ears to hear and they conceal from those who do not have the eyes to see or ears to hear.” It’s said that powerful yet hidden figures in the music industry with the “eyes to see” use symbols to stamp their mark of ownership on the artists they control and to communicate this subversively with others who also understand the meaning behind the imagery. The photos below would perhaps suggest that Matt Bellamy is one of those who’s been bought and paid for?

Many of the symbols that are used hark back to the days of Ancient Egypt, an era and a culture that those in the Hidden Halls of Power are said to treat with the utmost reverence thanks to their links with secret societies and fraternal orders. The renowned 33rd Degree Mason and mystic, Manly Palmer Hall writes in his 1928 book, ‘The Secret Teachings of All Ages,’ “the philosophic power of Freemasonry lies in it’s symbols, it’s priceless heritage form the Mystery Schools of Antiquity.”

Below, we see Bellamy in a common pose that’s been adopted by many famous musicians and performers. It’s said to be a direct reference to the ancient Egyptian deity Horus who was forever symbolised in picture-form as an eye…

Matt and the Eye of Horus

It could also refer to the All Seeing Eye on top of the pyramid perhaps?

In the next shots, Matt appears to be making the Sign of the Horns. Of course, this symbol is also interpreted to signify ‘love’ – especially when the thumb is disconnected from the middle and ring fingers.

In the following photo we see Muse standing on or around a checkerboard floor – a classic Freemasonic symbol…

You can see more examples here courtesy of the blog, ‘Pseudo-Occult Media’:

According to the 19th century American Freemason and historian Albert G. Mackey, the so-called ‘Mosaic Pavement,’ “consists properly of many little stones of different colours united together in patterns to imitate a painting. It was much practiced among the Romans, who called it ‘museum,’ whence the Italians get their ‘musaico‘, the French their ‘mosaique,’ and we our ‘mosaics.’ The idea that the work is derived from the fact that Moses used a pavement of coloured stones in the tabernacle has been long since exploded by etymologists. The Masonic tradition is that the floor of the Temple of Solomon was decorated with a mosaic pavement of black and white stones. There is no historical evidence to substantiate this statement. The Talmud informs us that there was such a pavement in the Conclave where the Grand Sanhedrin held its sessions. By a little torsion of historical accuracy, the Freemasons have asserted that the ground floor of the Temple was a mosaic pavement, and hence as the Lodge is a representation of the Temple, that the floor of the Lodge should also be of the same pattern. The mosaic pavement is an old symbol of the Order. It is met with in the earliest Rituals of the eighteenth century. It is classed among the ornaments of the Lodge in combination with the indented tassel and the blazing star. Its parti-coloured stones of black and white have been readily and appropriately interpreted as symbols of the evil and good of human life.”

In the early 1920s, the English Freemason W.L. Wilmshurst wrote, “the floor, or groundwork of the Lodge, a chequer-work of black and white squares, denotes the dual quality of everything connected with terrestrial life and the physical groundwork of human nature – the mortal body and its appetites and affections. Everything material is characterised by inextricably interblended good and evil, light and shade, joy and sorrow, positive and negative. What is good for me may be evil for you; pleasure is generated from pain and ultimately degenerates into pain again; what it is right to do at one moment may be wrong the next; I am intellectually exalted today and tomorrow correspondingly depressed and benighted: The dualism of these opposites governs us in everything, and experience of it is prescribed for us until such time as, having learned and out­grown its lesson, we are ready for advancement to a condition where we outgrow the sense of this chequer-work existence and those opposites cease to be perceived as opposites, but are realized as a unity or synthesis. To find that unity or synthesis is to know the peace which passes understanding ­ i.e. which surpasses our present experience, because in it the darkness and the light are both alike, and our present concepts of good and evil, joy and pain, are transcended and found sublimated in a condition combining both. And this lofty condition is represented by the indented or tesselated border skirting the black and white chequer-work, even as the Divine Presence and Providence surrounds and embraces our temporal organisms in which those opposites are inherent.”

Occult symbols possess a multiple level of meanings and can either be used for good or bad intent. It’s possible that Bellamy is attempting to convey a positive vibe?
The above images are interesting because we can be fairly certain the Muse front-man knew what he was involving himself in.

Or perhaps not?…


Any one baffled by some of the accounts in the latter half of this extensive article in which we find Matt dismissing conspiracy theories but at the same time apparently embracing the power of the pyramid, or playing a central role in ‘London 2012,’ or indeed dramatically changing his views on 9/11, might be interested to entertain the possibility that the Muse front-man is not in full control of his mind? In a March 2001 ‘NME’ article titled ’Are Muse Cracking Up,’ Matt said, “I’ve got a problem with drinking water. I’m not very good at it. When I first went out on tour I used to get dehydrated and I used to get these really bad headaches… I didn’t realise that it was because I wasn’t drinking. I remember I was having these strange hallucinations of this triangular blade, really silver metallic, razor sharp. I was in this landscape, completely arid, grey, dead, with an endless horizon; it’s like a bigger planet than this one because the horizon was so flat and it went on forever. The sky was baking blue, burning heat and I was in there trying to dodge these blades that were flying everywhere. One would always go and cut me right in there. And it wouldn’t cut my head, it’d just sort of go in and I could feel it cutting into my brain. It wouldn’t damage the exterior of my head. I used to have that recurring, it seemed like more than a dream to me, it seemed like it was really happening; it was with me during the day, travelling on planes, I couldn’t stop thinking about it. I saw a programme on TV one night, and they were talking about Psywar, psychological warfare and the influences that governments have had over their populations in order to make them believe they’re having a war for the right reasons, things like that. How they can use mobile phones, they can use the microwaves inside the things to do stuff to us. I thought that was what was happening… I went through a number of different theories. It got to the point where I was thinking that maybe that’s what real life is like and this is all a dream. Then I thought it was one of the number of phobias I had and then I went to the doctor and he told me to drink more water and that was that.” So… problem solved? Perhaps. But, what if Bellamy’s initial fears that his mind was effectively being tampered with via mobile phone signals was actually closer to the truth? According to the clinician and researcher Colin A. Ross MD in his book ‘Bluebird: Deliberate Creation of Multiple Personality by Psychiatrists’…

A declassified CIA document dated 7th January 1953 with a section heading ‘Outline of Special H Cases’ describes the creation of multiple personality in two 19-year old girls. ‘H’ is shorthand for hypnotic, hypnotized, or hypnotism in these documents:
“These subjects have clearly demonstrated that they can pass from a fully awake state to a deep H controlled state … by telephone, by receiving written matter, or by the use of code, signal, or words and that control of those hypnotized can be passed from one individual to another without great difficulty. It has also been shown by experimentation with these girls that they can act as unwilling couriers for information purposes.”

(Above, two pages from the documents… CLICK TO ENLARGE)

Of course, it’s entirely possible that Bellamy was in fact suffering from symptoms brought about from dehydration as he claims. It’s also worth noting that the singer was taking copious amounts of hallucinogenic drugs at the time and his headaches and visions might’ve been a direct cause of this. A 2002 ‘Kerrang!’ article reported that Bellamy had “taken fistfuls of mushrooms over the years, not as a weekly routine, but as a bi-annual binge.” In 2001 Matt recalled one particular day during the recording of the ‘Origin of Symmetry’ album when he saw the mushroom in his hand morph into a squirming worm. He said, “we were recording in Ridge Farm studios. We finished the first five songs for the album and then we woke up in the morning and there was this field full of mushrooms right next to the studio. So we ate them all. We had to have everything remixed because we were all in a jacuzzi together eating maggots.”
It’s perhaps interesting at this point to note the findings of a team of researchers at the John Hopkins University School of Medicine in Baltimore, Maryland. They claim that one strong dose of magic mushrooms can alter a person’s personality for more than a year, or perhaps even permanently. Their study, which was published last year, focused on a chemical in the drug known as, Psilocybin which encourages ’openness’ and, they state, “encompasses aesthetic appreciation and sensitivity, imagination and fantasy, and broad-minded tolerance of others’ viewpoints and values.” They reached their conclusion after administering one high dose of Psilocybin to 51 volunteers, all of whom had completed a personality questionnaire before taking the chemical, then a month after it, and a further 14 months later. From this, it was found that 30 of them had undergone significant changes in character. Researchers are now investigating whether Psilocybin could be used in future for therapeutic purposes in a bid to help people break out of negative thought patterns, perhaps by combining the chemical with meditation. The lead author of the study, Katherine MacLean Ph.D. is reported to have said, “this suggests that there might be an application of Psilocybin for creativity or more intellectual outcomes that we really haven’t explored at all.” She added, “the domain of openness generally has benefits related to overall intelligence, the ability to think abstractly and creatively and to have an active imagination.” Not everyone greeted the findings with open arms. Dr. Daniel Angres, associate professor of psychiatry at Rush University Medical Centre in Chicago said, “there are safer ways to create profound transcendent experiences, like the use of meditative states… Character can and will deteriorate with the use of substances that have abuse potential over the long run even though initially there may sometimes seem to be positive personality adaptations.” The fact that scientists and researchers are working hard to devise new and effective ways of altering peoples’ minds artificially should be a cause for concern, especially when looking back at recent history. Actually, initial studies into how Psilocybin can be administered as a medical application began as far back as the early 1960s at Harvard University, the very location where the chemical was also being administered in MK-ULTRA experiments during the same time period.
So, is any of this information relevant when studying the life and times of Matt Bellamy? Well, perhaps not, but there might be some of you reading this who would like to pursue it further because there are some interesting tell-tale signs that might lead one to consider the possibility that the Muse front-man is yet another celebrity mind-control casualty.

Bellamy’s revealing 2001 ‘NME’ interview in which he talked about his strange hallucinations and the band’s magic mushroom-fuelled jacuzzi trip during the recording of ’Origin of Symmetry,’ was published just a month after the album’s release, and it was somewhere around this period that Bellamy met and began dating Italian beauty Gaia Polloni, who at the time was training to become a clinical psychologist and was undergoing an internship at a Milan hospital with psychotic patients. If any one was in a position to ‘guide’ and ‘handle’ Bellamy then it was Polloni who remained his girlfriend from early 2001 to December 2009. Fast forward to 2012 and she’s now a fully-fledged clinical psychologist. According to her official website, she “is also an EMDR (Eye Movement Desensitisation and Reprocessing) therapist” and “a member of ‘SITCC’ (Italian Society of Cognitive Behavioural Therapy).” It then goes on to state that “combining her personal interest in music and knowledge of psychology, Gaia Polloni has been studying and researching the relationship between music and psychology for the past few years, exploring the ways in which these two universes intersect. In particular, she is interested in the effects that music has on psychopathology (music therapy), in how music can facilitate the expression of emotions and deep feelings,” and… most significantly, “in how writing music and lyrics can be used as a unique tool for delving into our inner world.” … Was Bellamy a ‘controlled’ musical instrument who’d been effectively tuned to lead his fans and admirers in the Alternative community towards a dead-end? Interestingly, Matt’s and Gaia’s relationship spanned an era in his life when he was just beginning to delve into Orwellian themes on ‘Origins of Symmetry’ and it continued right through his fevered ‘conspiracy-theorist’ phase and then ended just three months after he first went public with his revised views on 9/11.

Gaia Polloni

Whilst talking to ‘Rock Sound‘ magazine in 2006, Matt said, “although I’m singing in first person, it’s not necessarily my opinion – it’s a character. I don’t know if there’s a big separation between me and the characters in the songs, but in interviews I’m deliberately building that! I wanted to have the freedom to say whatever I want within songs. I’m character-building to really let out stuff that I want to say.” In a 2000 US radio interview, the renowned MK ULTRA researcher Fritz Springmeier said, “people are familiar with dissociation and how the mind has the ability to function on several tracks. For instance, if you are at a party and engrossed in a conversation with somebody and you are focused on what they are saying, and all of a sudden somebody across the room says your name, and your mind immediately switches and goes ‘oh they are calling me over there,’ well that’s one evidence, and there are other ways to realise that the mind is not one monolithic entity but it is broken up into components. While you were engaged in that conversation with somebody, there was one part of your mind which was still listening to other things. It was a dissociated part of the conscious mind; in other words, it was dissociated from the conscious. You weren’t conscious of that part of your mind that was listening to the rest of the conversation but it was. Hypnosis, trance and dissociation are just different aspects of the same thing. The Illuminati have learned over the centuries how to put people in different mental states and the information is learned in the different states. To access that information best, you need to go back to that particular state.”

Fritz Springmeier again:
“They go a lot further than just using natural dissociation. They have learned how to create amnesia walls within the mind and basically what they are doing to the mind is the same as what we do to computers. In order to make computers functional they had to figure out some way to section off part of the computer’s memory so the user could not access that memory. It had to nest that memory. You will notice that when you reboot your computer, the computer reboots itself with memory that you weren’t able to access. That memory was dissociated – in human terms I guess you could say there is an amnesia wall there. They know how to build walls in the mind to mentally section off the mind – and they do this through trauma. If you get a severe enough trauma what the mind will do in order to continue functioning is dissociate that trauma with an amnesia wall. Let’s say you were in war and your best friend had just gotten blown to smithereens by artillery … his guts are lying out. Your mind may build amnesia walls around this event and you may not be able to remember it. So the worse the trauma, the better the amnesia wall. The Illuminati take a small child about two years old, and they begin traumatising it with the worst traumas that are imaginable so that they can create these amnesia walls. They find these dissociated pieces of the mind which are just like in a sense floppy disks, then they put in their programming to the dissociated parts of the mind as to what they want that part to become. Some of these parts they make into personalities… and then while they are creating these multiple personalities, they are programming them to be exactly what they want them to be.”

According to Springmeier’s book ‘The Illuminati Formula Used to Create an Undetectable Mind-Controlled Slave,’ which he co-wrote with self-confessed former MK ULTRA victim Cisco Wheeler, “there are a number of types of dissociation: amnesia, somnambulistic states, localised paralyses, anesthesias, and hallucinations. Hypnosis can reproduce all of these dissociative states. The mind naturally hypnotises itself under various conditions.”

There’s no evidence to suggest that Matt Bellamy ever suffered any form of extreme trauma during his childhood as is often the desired norm when creating a future mind-controlled slave, but disassociation techniques can also be implemented in later stages of life via a range of methods.


   More symbols…

The video for the single, ‘Invincible’ features Muse embarking on an amusement park ride that takes them on a journey through various events in the history of the world. As they are transported into this fantasy-like reality, a ‘hypnotic spiral’ pattern appears on the doors in front of them.

One of the most common symbols to look out for, is when a suspected mind-controlled performer is photographed with dolls or mannequins, or dressed to look like one. It’s said to symbolise the de-humanisation of the alleged victim. Here we see Bellamy the ‘clothes-horse’ modelling a range of fashion-wear in ‘Spin’ magazine from 2009 whilst partially separated from the rest of his body. This might perhaps signify mental disassociation?

Although the information above is intriguing and perhaps worth considering, it is by no means proof positive that Matt Bellamy is yet another name to add to the long list of alleged music mind-control victims. ‘Conspiro Media’ is merely presenting the facts and data and – as ever – leaving the reader to make up his or her mind up for themselves.


Regardless of whether Matt Bellamy changed his outlook on 9/11 due to the trappings of fame, the pressures of fear or indeed a genuine reappraisal of views is to some extent immaterial. Perhaps it was always inevitable? It’s certainly disappointing, because as a member of one of the biggest bands on the planet, he can reach an audience of millions and there can be no doubt that his efforts in earlier days to highlight the less reported aspects of the September 11th attacks would’ve encouraged a significant number of music fans to explore avenues they perhaps never knew even existed. In fact, the same applies to any manner of suppressed fringe issues that the musician has highlighted over the years. It’s true, his interest in so-called “conspiracy theories” has dipped in recent times, however, it’s still too early to judge to what extent and how this will impact on his musical message in future. What is clear is that he’s lost none of his lyrical bite. The sense of despair and hostility that was evident on tracks on ‘The Resistance’ and ‘Black Holes and Revelations’ can also be heard on ‘The 2nd Law,’ most notably when the Muse front-man aims his disgust at the greedy bankers on ‘Animals’ and sings, “kill yourself… come on and do us all a favour.” Yes, the extreme, less reported areas of conspiracy (HAARP, the ‘Club of Rome,’ MK-ULTRA) might have been put to one side for this album in exchange for more conventional topics such as the world financial crisis, and the environment. But, in an era when so few (if any) well known contemporary acts address issues of global importance, maybe we should be thankful that he remains one of a few singing out against the machinations of the Powers That Be – however restrained or misdirected one might feel it is?



** Speaking about David Icke…

“The problem with David Icke, is that he tends to dig a hole for himself the moment he brings lizards into the equation. You know, I’m interested in some berserk things too, but you’ve got to try to talk about the ideas that are possibly not crazy, otherwise you just end up devaluing everything you’re saying.”

‘The Independent’ – September 15th 2006

** Talks about his willingness to incorporate political ideas and current affairs into his music…

“I watch the news and try to gain a deeper understanding of what’s going on in the world and see if I might have something to contribute.”

‘The Telegraph’ – October 4th 2012

** His reaction to American Right-wing activists embracing Muse songs for their own ends, most notably the broadcaster, Glenn Beck…

“In the US, the conspiracy theory sub-culture has been hijacked by the Right to try to take down people like Obama and put forward Right-wing Libertarianism… So yeah, I do find it weird. ‘Uprising’ was requested by so many politicians in America for use in their rallies and we turned them down on a regular basis.”

‘The Observer’ – September 30th 2012

** His views on the death penalty and former President George W. Bush…

“Just imagine an innocent person being killed for something they didn’t do! It’s outrageous and the risk of that happening is enough for me to figure the death penalty isn’t right. Man judging man is a difficult area. Some people think one in every 100 people executed are innocent, you can never be 100 per cent sure with any crime – if there’s that 0.01% of doubt, you can’t go killing people, George Bush ‘killed’ about 300 people – he’s the person who signed the form, he didn’t have to sign it. You were the Governor of Texas, during that period you had the maximum amount of executions, more than any other governor in the history of America. Do you think, within the Christian realm, that God would accept that? Do you think you’re going to go to Heaven?… He’s a good puppet and he says yes to what everyone tells him to do; that’s what everyone loves, all the big people who own all the companies – they all like that; they know they can control him.”

‘Rock Sound’ – 2003

** On God and religion…

“The ideas behind the Bible are probably quite interesting and people that believe the Bible all live their lives in different ways; some of them like George Bush start wars and other people sacrifice everything they’ve got to go and help the third world. Within the Christian faith there’s a wide variety of people who use the word ‘religious’ to justify what they are doing and it can be used for both ends: pure evil and pure good. Either way, anything that is written by a man – he’s just a man isn’t he?”

‘Rock Sound’ – June 21st 2007

“I don’t believe in God, but maybe there’s a part of me that is trying to make music for something that is beyond what I’d ever want to reap any rewards for. It’s difficult in the days we’re in to be that pure about music. When I get in the studio, I reach a moment where I’m sure I’m onto something, and I really want to follow it through. Next thing I know, I’ve got to wrap it up and make a video.”

‘Classic Rock’ – May 1st 2009

** On the environment…

“I’m part of that generation that had ecological concerns instilled into us… At the same time, there’s that tension about whether we should restrict our natural state or push forward and survive against the odds. As a species, we have limited resources but at the same time I don’t want to regress.”

‘Metro’ – September 24th 2012

** Therapy through music…
“When I dabble in watching the news and reading about current events I tend to get a future negative view and that’s something I’ve dealt with through music. It’s quite possible I’m slightly paranoid. But I’d say making music is an expression of feelings of helplessness and lack of control that I think a lot of people can relate to.”

‘The Observer’ – September 30th 2012

** Magic Mushrooms…

“I guess the point of doing this is to dig into your subconscious, to experience something that’s not usually on offer. I’m not afraid of seeing something dark and seeing something horrible when I do this. In fact, I think the last time I did mushrooms I was actually looking for that to happen. But, I think it’s a way of connecting with yourself in a way that you can’t do in everyday situations.”

‘Kerrang!’ – June 22nd 2001

** Recalls the night he and his band-mates witnessed UFOs whilst in a hotel swimming pool at the end of the ‘Absolution’ tour in Tuscon, Arizona…

“It was a small, silver sphere moving very fast. Then another one appeared and then they both disappeared upwards so they became so small you could no longer see them. We were unsure what it was, so we phoned up our tour manager who was at the venue about 30 minutes away and got him to go outside with the crew. They could see it too, so I’ve definitely seen a UFO.”

‘Rock Sound’ – January 30th 2008

* Extra-terrestrial intervention…

“I don’t think there are aliens with us now, but I certainly think part of our DNA at least is not from this Earth. There’s a massive void of fossil records – there should be billions of fossils and skeleton structures of all these different stages of Neanderthal, which there aren’t. There’s one or two. I think there was definitely Neanderthal man around but there was a cross pollination-type situation taking place. There’s a rumour that there’s a certain bloodline that is susceptible to possession from this other entity which lives outside our realm of understanding of the three dimensions. It’s the royal bloodline obviously, which goes back a long, long way. Check out those bloodlines!”

‘NME’ – November 11th 2006

REFERENCE LINKS:,%20Walter%20Leslie%20~%20The%20Meaning%20of%20Masonry%20%5Bpdf%5D.pdf


As Kate Rothschild’s relationship with an American rapper reportedly intensifies, ‘Conspiro Media’ presents the first of a two-part feature on the notorious family’s influence on music over the last 180 years

Judging by recent news-reports, it would appear that the relationship between Jay Electronica and his lover Kate Rothschild has intensified.
According to the UK’s ‘Daily Mail,’ the US rapper has “moved into a new flat a stone’s throw from Kate’s home” in Kensington, West London and “introduced her to his mother.”

Kate Rothschild and Jay Electronica photographed in London together

The couple first hit the headlines some weeks ago after it was revealed that the 30-year-old heiress of the Illuminati banking dynasty had been involved in an extra-marital affair with Electronica for a year. Her husband, Ben Goldsmith, the son of the late billionaire financier and tycoon, Sir James Goldsmith, was reportedly arrested at their home in early June 2012 on suspicion of actual bodily harm after the couple argued over explicit texts and emails that she and the Hip Hopper had been sharing. Goldsmith was later released without charge and subsequently announced he was filing for divorce on the grounds of adultery. Their children continue to live with Kate at the home they once shared as husband and wife.

Kate and Ben

Their very public split even spilled on to ‘Twitter’ in the days following the estranged couple’s parting of the ways. Goldsmith wrote: “(Kate) has hired ’Project Associates Ltd.’ to fix her reputation (bit late surely?). How about focusing on her devastated children?” Some days later, Kate hit back at Ben‘s comments in a quick succession of ‘Twitter’ messages and also answered some of the critics who sympathised with her husband. She wrote, “Ben in a rational mood would be first to say my devotion to my children is unshakeable. I am with them now, as I always am. Our marriage went bad a few years ago and none of you have any idea what I went through along with my husband. Then we separated for a while. Anger and bitterness following that time led to a very one sided story being deliberately released in order to shame and hurt me.” She also added that Electronica had “saved my life in many ways and I am eternally grateful to him.“ In response to a ’Twitter’ reader who wrote, “imagine if you’d been cheated on,” she replied, “I have, several times.” Kate also claimed that the media had been given “false and inaccurate information” regarding her split with Ben. Justifying her ‘Twitter’ attack, she wrote, “if this makes one or two of you think twice next time before lynching on the basis of tabloid gossip then it was worth the outburst.” Some days later however, both she and Ben distanced themselves from the ‘Twitter’ feud in a joint-released statement that read, “we are both deeply saddened that our marriage has ended after nine years. It is a matter of regret that, at a time when our emotions and those of our friends have run high, things have been said in public which should have been kept private. We accept our share of responsibility.”
However, the truce didn’t appear to last long. Electronica entered the fray with his very own public attack on ’Twitter,’ branding Goldsmith a “f*****g hypocrite“ a week or so later:

Some commentators have credited Electronica with ‘breaking up an Illuminati union,’ given that Kate’s and Ben’s marriage was also a merging together of descendants from two of the wealthiest and influential families on the planet. The fact of the matter is though, the marriage may have come to end, but the couple share three young children who carry both bloodlines and also ancestors originating at least as far back as the 1800s. Indeed, there are mutual links between the two dynasties that stretch even further. For example, both families established their fortunes in banking in Frankfurt during the 16th and 18th century and both hailed from the city‘s ghetto known as, “Judengassen” (Jew Alley). At the time, the Goldsmiths were still known by their German name, Goldschmidt. It isn’t until relatively recently that this was replaced with the anglicised version which is used now. It was first adopted by Frank, grandfather of Ben and nephew of Maximilian Benedikt Hayum von Goldschmidt, who in 1878 married Minna Caroline Baroness von Rothschild, the daughter of the last remaining male in the Frankfurt House of Rothschild. After her father’s death in 1901, the couple modified their name to Goldschmidt-Rothschild. They subsequently had five children.
On further inspection, it appears the links between the two families goes back further still, to 1783, when the Rothschilds were still building on the early foundations of the monumental wealth and power that was yet to come. This was the year that a banker by the name of Solomon Daniel Goldschmidt married Gutelche Rothschild, sister of Mayer Amschel Rothschild, the man credited with founding the all-powerful dynasty. Incidentally, some researchers believe a member of the Goldschmidt family was one of the twelve prominent businessmen who allegedly attended a secret meeting organised by Mayer in 1773 and where plans were put in place to seize control of the world’s money and ultimately create a global dictatorship.

Ben’s father, the notorious billionaire tycoon Sir James Goldsmith who died in 1997.

The prospect of history repeating itself again is not only possible, but (many commentators would suggest) highly probable considering that Ben’s brother, the Tory MP Zac Goldsmith, recently divorced his wife of ten years after he reportedly refused to give up his long-term affair with Kate Rothschild’s sister, Alice. However, despite his marriage having now been legally declared dead, he has recently stated he has no plans to tie the knot with his one-time mistress and soon-to-be ex-sister-in-law who he now lives with in London.

Zac Goldsmith and Alice Rothschild

Many independent researchers and historians would argue this incestuous union between the two dynasties is born from a necessity to keep their combined financial wealth and influence from coming into close contact with the outside world.

Mayer Amschel Rothschild

It’s widely documented that Mayer Rothschild successfully managed to contain his large fortune within the family during the 18th and 19th century by arranging marriages, often between first or second cousins. This is the same man who it’s claimed once said, “permit me to issue and control a nation’s money and I care not who writes the laws.”

What would Old Man Rothschild have made of the circumstances surrounding Kate’s marriage breakdown and her subsequent relationship with an African/American who hails from one of the most violent and poverty-stricken areas in the USA? One can perhaps only guess.

Born Timothy Elpadaro Thedford on September 19th 1976, Jay Electronica was raised in the Magnolia Projects of New Orleans, which had a local crime rate higher than any full municipalities in the United States. The area suffered further misfortune on an almost biblical scale after it was flooded in the wake of Hurricane Katrina in 2005. This has led to redevelopment work on the old site and it has since been re-named and re-branded, ‘Harmony Oaks.’ Ironically, the financing for this project originated from Goldman Sachs, the notorious investment-banking firm which many researchers have labelled an unofficial outlet of the Rothschild family and working secretly as a ‘front’ on it‘s behalf in order to deflect any unwanted attention away from the infamous dynasty‘s machinations.

Jay Electronica

When Electronica left New Orleans at the age of 19 to pursue his music career, he reportedly lived a nomadic lifestyle travelling from city to city. He eventually gained notable attention in 2007 following the release of his mix-tape, ‘Act 1: Eternal Sunshine (The Pledge)’ on ‘MySpace.’ Since then, Jay has also appeared as a guest on various other Rappers’ singles as well as releasing his own EP, ‘Style Wars’ and two official singles, ‘Exhibit A’ and ‘Exhibit C,’ the latter of which makes references to his time living homeless on the streets of New York. In November 2010, it was announced that he’d signed to Jay-Z’s label/management company, ‘Roc Nation.’ Kate Rothschild meanwhile manages his affairs in Britain in her role as head of her very own music label, ‘Roundtable Records,’ which she set up in 2010 with former magazine editor, James Knight.

It’s claimed that it was her growing obsession with Hip Hop and the accompanying party lifestyle that contributed to the break-down in her marriage. As she began to spend more and more time in clubs and bars till the early hours of the morning checking out new bands and artists for her music-label, it’s said her husband Ben was home alone looking after their young children and growing increasingly suspicious of her relationship with Electronica.

Of course, the uncanny similarities that have been drawn between Kate’s alleged obsession with Jay and Hip Hop music and the circumstances almost 60 years earlier surrounding her great-aunt Kathleen’s fascination with American Jazz and one of it’s greatest pioneers Thelonius Monk, have already been made by a number of journalists and bloggers.
Born Kathleen Annie Pannonica Rothschild in December 1913 and nicknamed “Nica,” she was later partially erased from the family’s history and any financial inheritance when she and her husband of 16 years, Baron Jules de Koenigswater separated in 1951 and then divorced in 1956. In recent years, Nica’s story of how she traded in her marriage and a life of privilege for Jazz music, and more crucially, Thelonius Monk, has been brought to light by her great-niece Hannah Rothschild who first heard of her when she accidentally came across her name in family records. Desperate to find out more, she flew to America to meet her during the 1980s. They remained in occasional contact until Nica’s death in 1988 at the age of 74. In the years since, Hannah has documented her great-aunt’s life in a book and BBC documentary. However, her mission to un-lift the lid of mystery from this most enigmatic of Rothschild women initially proved difficult. Nica’s five children refused to co-operate despite having originally agreed and other members of the Rothschild dynasty rejected Hannah’s phone-calls.  As she herself admits, her notorious family “had to be good at keeping secrets. Secrets helped them create a great fortune.”

‘Nica’ Rothschild

In a 2008 article for the ‘Jewish Quarterly,’ Hannah says Nica’s marriage to her French diplomat husband had become restrictive. She’d apparently never been comfortable living the life of an ambassador’s wife and was “becoming increasingly mesmerised by the Jazz scene.” She “found more excuses to extend their regular trips to New York until, one day in 1951 she decided to stay. She told Stanley Crouch, the music critic, that this momentous decision was inspired by Thelonius Monk’s record ‘Round Midnight,’ which cast a spell on her and inspired the start of a new life.”
In a recently recovered ‘lost’ interview, Nica recalled how this song captivated her and set her off on her journey to becoming a ‘Baroness of Jazz.’ She said, “it was in the late 1940s. I was on my way back to Mexico where I was living with my husband and family at that time. On my way to the airport, I stopped off to see my friend Teddy Wilson. He said, ‘have you heard this record, Round Midnight?’ Well, I’d never even heard of Thelonius. He said, ‘you can’t leave without hearing it,’ and he galloped off somewhere to get the record. I couldn’t believe my ears. I’d never heard anything remotely like it. I made him play it twenty times in a row, missed my plane, and never went back to Mexico. But you see, I didn’t meet Thelonius until two years after that in 1954. I heard that he was playing in Paris, so, I got on a plane and I got there just in time to hear his first overseas concert, and I went backstage afterwards. And (Jazz pianist/composer) Mary Lou Williams introduced me to him. But we hung out for the rest of the time he was there. We had a ball for about a week.” In fact, they were almost inseparable from that moment on until Monk’s death 28 years later.

Nica and Thelonius pictured in 1964

Speculation regarding the exact nature of their relationship and whether the two were ever  sexually involved continues. Speaking in May this year on the eve of the release of her book, ‘Baroness: The Search for Nica the Rebellious Rothschild,’ Hannah said, “I asked every single person who was close to them who was still alive: ‘Look, did you see any touchy feely stuff?’ – for want of a better expression. And everybody said ‘absolutely not, it wasn’t like that.’” Indeed, Thelonius’s wife didn’t seem too concerned that her husband was spending most of his time with Nica. Hannah said Nellie Monk “had suffered incredible penury and hardship through her husband not actually earning any money” and “was frankly quite delighted when this rich, you know, woman appeared with a chequebook and a fabulous Bentley and you know, absolute unstinting devotion… I think they weren’t too bothered that she was so passionately keen on supporting him.”

Hannah Rothschild

In his book, ‘Thelonius Monk: The Life and Times of an American Original,’ author Robin Kelley claims that Nica and Nellie were friends. He also writes about the time Thelonius gave a fellow musician some advice when he approached a woman in a club they were playing in stating, “be sure that you want to have her for a girl or have her for a friend, because if you make love to a girl she ain’t gonna be your friend. Because you can have a friend like Nica’s my friend, and I wouldn’t touch her. She’s the best friend I ever had.” However, is it any wonder that their relationship continues to draw questions when certain key sources close to Nica leave the scope for imagination wide open? For example, Thelonius’s son, T.S. Monk tells Hannah during the making of her 2009 documentary ‘The Jazz Baroness’ that, “your aunt fell in love with my dad. I have no doubt about that. She was profoundly moved by his music and his personality – he was a good looking cat.”

The music Thelonius Monk helped to pioneer in the 1940s and 1950s was known as ‘Bebop.’ Although it came out of 1930s ‘Swing’ music (which was not only danceable but popular), this new style was it’s antithesis; designed specifically to be listened, not danced to. It was improvisational and unpredictable, for example, the rhythm section of a Jazz band playing Bebop wasn’t merely there to keep time, but also to interact with the soloist and provide it’s own embellishments, usually by emphasising beats and bars in a song that would’ve once been untouched. This gave the music a free-flowing feel, instead of being constrained within a specific form.
Nica championed Monk’s music and even wrote the liner-notes for his 1962 album, ‘Criss-Cross.’ Three songs from his classic 1957 album, ‘Brilliant Corners’ were written in her apartment on a Steinway piano they’d bought and she also negotiated his landmark residencies at the legendary ‘Five Spot’ café in New York.
As a pair, they became a regular fixture on the Jazz social-scene and Nica played host to some of it’s biggest musical legends in her New York hotel suites with regular late-night jam-sessions that continued well into the morning hours. She was regarded a “patron” of many prominent Jazz musicians and she was reported to have repeatedly provided them with unwavering support in their times of need. T.S. Monk recalls, “I would be hanging with Nica and we would get in the car – she’d say, ‘come on let’s go in the car, we have to go somewhere.’ And I can’t tell you how many mercy missions just short of ambulatory in their nature to save musicians’ lives in every way you can imagine – whether we were going to a pawn shop to retrieve a guy’s instrument, or going to buy groceries because someone didn’t have food, or going to the rent-office to pay somebody’s rent because they were about to be thrown on the street, or going to the hospital to visit somebody because they didn’t have anybody else to visit them, you know? Or going to help somebody get some food because their girlfriend just had a baby… I mean the list goes on and on and on. Every aspect of human existence that I saw musicians deal with, I saw them lean on Nica and I saw Nica respond.” There were times during her life when such deeds brought her much unwanted trouble and a great degree of trauma and anguish. For example, when 10 dollar’s worth of marijuana was discovered in the trunk of Nica’s car by police whilst she, Thelonius and saxophonist Charlie Rouse were travelling to a live show in 1958, she informed them the drugs were hers and assumed complete responsibility. In an age when America was still dealing with widespread racial prejudice and segregation, she sensed that she was in a better position to deal with the consequences of what might follow. According to her friend, the Jazz historian Dan Morgenstern, Nica “took the rap… because she felt that she would be able to deal with the legal problems much better than he (Thelonius). He was Black, she was not.” Nica was sentenced to three years imprisonment followed by immediate deportation. She was later released subject to appeal and a two-year legal battle followed. With the help of her illustrious family’s legal muscle, the case was eventually dismissed on a technicality.
Nica courted further unwanted controversy after the legendary Jazz musician Charlie ‘Bird’ Parker died in her hotel suite on March 12th 1955. He arrived there on March 9th physically ill and depressed. Hannah says Parker was, “on his way to a gig in Boston… his little daughter had died recently, he tried to commit suicide by drinking iodine a few weeks before. He was still taking drugs… he was broke. He was in a really shocking state, so he went to see Nica who he thought was probably one of the few people who would open her door to him. She did indeed. She got him up to her apartment, and then he was in such a terrible state that she called her personal physician… who came round. She wanted to get him into hospital… he refused. He had a fear of hospitals… so all she did was try and keep him warm, try and keep him – you know – together, give him jugs of water.” Days later, whilst watching TV, he reportedly started to choke and then died. The official cause of death was lobar pneumonia, although Hannah claims it’s been “proven” that he died due to “some kind of exploded ulcer in his guts.” He was only 34-years-old.

Charlie Parker

The death of a drug-addicted Black musician in the hotel suite of a White divorced heiress was regarded as something of a scandal within certain sections of society where gossip was rife. Meanwhile, the American Press printed various allegations on a regular basis ranging from claims that Nica was a drug user and/or a dealer and that she’d been involved in an affair with Parker. A number of conspiracy theories also surfaced; One was that Nica was involved in a relationship with Jazz drummer Art Blakey who, in a jealous rage upon discovering Parker in her suite, shot him in the stomach. There were also questions. For example, why didn’t any one call an ambulance? Why wasn’t his death reported immediately? Some have claimed that Nica killed Parker and delayed informing the authorities of his death for two days because she was busy cleaning out any evidence of drug-dealing from her suite.

When Monk’s health began to deteriorate, he too also found refuge with Nica. From the 1970s until his death from a stroke in 1982, he lived with her at her home in New Jersey. He performed his last live date in 1976 and spent the remaining years ensconced in Nica’s home lying on his bed, reading magazines and books, listening to records and watching TV as Nica and his ever faithful wife Nellie took care of him.
Bassist Al McKibbon played with Monk on his final ever tour in 1971 and later claimed that the legendary musician, who he’d known for over 20 years, hardly spoke to him the entire time. He said, “on that tour Monk said about two words. I mean literally maybe two words. He didn’t say ‘good morning,’ ‘goodnight,’ ‘what time?’ Nothing. Why, I don’t know. He sent back word after the tour was over that the reason he couldn’t communicate or play was that Art Blakey and I were so ugly.” It wasn’t rare for Monk to behave like this. Sometimes, he would become so excited that he wouldn’t sleep for three or four days in a row, pace for days after that and then withdraw into himself and stop speaking. His onetime manager, Harry Colomby recalls moments when Monk would look up to the sky and mumble to himself, meanwhile his son T.S. claims his father sometimes didn’t even recognise him. Some authors and researchers believe Monk was bipolar. Others have suggested schizophrenia. One physician has even claimed that he was misdiagnosed during a stay in hospital and prescribed drugs that may have caused brain damage. In the 1988 documentary ‘Thelonius Monk: Straight No Chaser,‘ T.S. says his father was hospitalised on several occasions with an ‘unspecified mental illness,’ and in Hannah’s BBC documentary, she mentions a mental breakdown which led to Monk being given electroconvulsive therapy – despite Nica’s protests.
Is it possible Thelonius Monk was a victim of Mind-Control? Would this explain the lack of a clear diagnosis and his frequent spells in hospital? According to the book, ‘Straight, No Chaser. The Life and Genius of Thelonius Monk’ by Leslie Gourse, the musician went missing for a week whilst on a trip to San Francisco. It later transpired he’d spent that period, apparently mute, in a psychiatric institution. Author Robin Kelley meanwhile, claims that this happened to Monk on two separate occasions.
In a 2011 article for the political newsletter ‘CounterPunch,‘ investigative journalist and author, Jeffrey St. Clair approaches the subject of MK-ULTRA when assessing the life and times of Monk and his friend, the Jazz pianist Bud Powell. He recounts the night in 1951 when both of them were busted for heroin possession by police whilst out driving. Clair claims Powell was strapped into a straight-jacket and sent to the psychiatric ward at Bellevue Hospital in New York whilst Monk was imprisoned for 60 days after failing to raise the $1,500 bail money.
Powell – writes St. Clair – was later transferred to the Pilgrim State Hospital, the “world’s largest asylum, where shrinks with scalpels were butchering brains in the name of psychiatry.” He continues:

Powell, the most gifted pianist of his time, was pumped full of the latest drugs… strapped to a gurney and his body convulsed with crippling jolts of electricity, again and again, week after week.

Everybody agreed: Bud Powell had poetic hands. Nobody hit the keys the way he did. The sound of his playing was rich and chromatic, swinging with an almost ecstatic intensity. Powell played with blazing speed but his runs were also clear and coherent. He made the piano sing. But… the psychotropic drugs and the electro-shock sessions took their toll. Powell was never the same following his release from Pilgrim in 1953. He was assigned to the guardianship of Oscar Goldstein, the owner of the Birdland jazz club. Goldstein kept Powell in a state of prison-like confinement. His system was saturated with heavy doses of the anti-psychotic drug Thorazine, which severely degraded his ability to play. Powell later wrote a song about those lonely months titled ‘Glass Enclosure.’ 

Bud Powell

By 1956, Powell was a shattered man. The pianist had endured more the 100 electroshock sessions in his brief life. His friend Jackie Mclean, the stellar sax player, speculated that Powell’s doctors had subjected the musician to treatments that resemble torture more than therapy. “He was so messed up, I think they were experimenting on him,” Mclean said. It’s worth noting that at the time Powell was being put through the wringer, the CIA was secretly financing experiments in electroshock, mind-altering drugs and psycho-surgery at hospitals in the US and Canada. While there’s no evidence that Powell was a CIA research subject, some of that agency money found its way to doctors working at the two psychiatric hospitals – Pilgrim and Creedmore (in Brooklyn) – where Powell underwent long-term confinement.

Monk’s father had also been institutionalised and Nica’s was said to have been blighted with the same behavioural symptoms that Thelonius displayed, such as long manic periods without sleep when he wouldn’t stop talking followed by days when he didn’t utter a single word. Nica’s sister Miriam claims he “certainly had serious depressions when he was young.” He committed suicide in 1923 aged just 46. Incidentally, the nature of his death provides yet another uncanny parallel between the life of Nica and her younger counterpart, Kate Rothschild, whose father Amschel, hanged himself at the Hotel Paris in Bristol in 1996 at the age of 41. Both deaths were originally reported to have been due to “heart attacks.”

MK Clues?… The front-cover of the album ‘Brilliant Corners’ showing a multi-faceted Thelonius.

Although there are a number of mysteries and unanswered questions surrounding the life and times of Kathleen Annie Pannonica Rothschild, her friends, associates and confidantes are in little doubt about the influence she had, not only on the career of Thelonius Monk, but dozens of other legendary musicians in her role as Jazz patron and all-round Mistress of Mercy. Had she not have been there to feed them, nurse them, promote them, pay their bills and bail them out, would they have been as free to go about their work?

Nica with Jazz great Charles Mingus

Her presence lives on in the music, despite her family‘s attempts to rub her out of existence. Thelonius wrote the song ‘Pannonica,’ which has since been described as “one of the great dedication pieces” of all time. All in all, there are thought to be over 20 songs that have been written about her including, ‘Thelonica’ by Tommy Flanagan, ‘Nica’s Dream’ by Horace Silver, ‘Nica’s Tempo’ by Art Blakey & The Jazz Messengers, ‘Tonica’ by Kenny Dorham, ‘Nica Steps Out’ by Kenny Drew, ‘Theme for Nica’ by Eddie Thompson, as well as Monk’s ‘Coming on the Hudson’ and ‘Bolivar Blues.’

Another Rothschild woman immortalised in music was the 19th century French socialite and painter, Charlotte. Her father was Baron James de Rothschild, the founder of the French branch of the family. In 1832, he was introduced to the Polish composer and virtuoso pianist Frederic Chopin by their mutual friend, the Lithuanian/Prussian/Polish noble and aristocrat, Prince Antonin Radziwill. James was the son of Mayer Rothschild and the nephew of Gutelche Rothschild – who was the wife of Solomon Goldschmidt (Goldsmith). He married his niece, Betty Salomon von Rothschild in 1824 and together they established themselves as the darlings of Parisian culture. They also became major patrons of the arts, not only championing playwrights, novelists, painters and poets but composers, including Gioacchino Rossini who wrote a great deal of music for the illustrious couple on their command. They also supported Chopin. Thanks to their assistance, he was invited to play at social but private gatherings of the aristocracy and artistic and literary elite known as, Salons and also received a mass of requests for piano lessons. In 1842/43, he dedicated his ‘Ballade No. 4 in F minor, Op. 52’ to Charlotte who, according to author Tad Szulc in his book, ‘Chopin in Paris – The Life and Times of the Romantic Composer,’ was “one of his best pupils.” He also dedicated the waltz, ‘Valse Op. 64, No. 2 in C sharp minor’ to her in 1847, partly as a gesture of gratitude to James and Betty for their years of patronage.

1866 Portrait of the Baroness Charlotte de Rothschild

Although universally acknowledged for his musical achievements, Szulc believes that Chopin’s influence in shaping the contours of geo-political history has been overlooked. Along with the French novelist and feminist Baroness Dudevant who was his romantic interest for ten years (better known under her pseudonym, George Sand), Szulc writes that Chopin (a reported Freemason) played a role in determining the future of France during the July Monarchy of 1830 when the Conservative government of Charles X and the House of Bourbon was overthrown and replaced with a Liberal constitutional monarchy under the rule of King Louis-Philippe who has been described by historians as a friend and supporter of the merchants and bankers. In fact, James de Rothschild put together the loan package to stabilise the finances of the new government and he was later elevated to a Grand Officer of the Legion of Honour by the king in recognition of his services. Szulc writes,

The dedication of two of his important works to Baroness Charlotte de Rothschild throws interesting light on Chopin’s special personal connections with the financial powers of France under the July Monarchy simultaneously with his – and George Sand’s – friendships with artists and radical politicians of the day. It brought the world of music and the world of business and money together in an unprecedented fashion, and, significantly, in relationships that went far beyond the traditional confines of musicians-for-hire at the beck and call of rich patrons.
Cigar-smoking Sand attracted her Leftist political friends, principally Pierre Leroux, Louis Blanc, Emmanuel Arago, and Father Lamennais, and literary figures, from Hugo to Balzac and Saint-Beuve; and personages like Lamartine, who was a poet as well as a militant politician. Finally, the “regulars” included their common friends: Delacroix, Heine, Fetis, Marie Dorval, the Viardots, and the Marlianis. There was nothing quite like it in Paris when it came to talent in all the arts, intellectual power, political position, aristocratic tradition, and enormous wealth. It was the elite of France. And it showed Chopin’s personal standing in a multitude of otherwise unrelated Parisian milieux.
In another dimension… the Chopin-Sand soirees played a remarkably important long-range role in French and European political evolution near the mid-point of the 19th century. Yet they have gone almost entirely unnoticed and ignored in this sense – or underestimated – by historians and biographers… Even Francois Guizot, the ultra-Conservative historian and Prime Minister after 1840, appeared occasionally under the Chopin-Sand roof. These soirees were a most civilised convergence of culture and politics, and arguably an important element in the broad process of shaping the century.

Chopin’s former star-pupil Charlotte de Rothschild embraced the world of the arts from a young age and later in adulthood became an artist herself earning a great deal of respect for her watercolours and landscapes. She also befriended the composer Georges Bizet whose wife Genevieve Halevy went on to marry the Rothschild’s lawyer Emile Straus after his death in 1875.


During the same period, another Charlotte de Rothschild was making her mark. She was a member of the Vienna branch of the family who married her cousin, the banker, Anselm Salomon von Rothschild in 1826. Her legacy lives on in what is sometimes described as the Rothschild family ‘musical autograph book’ (the Livre d’Or). In it, are the names of some of the world’s most distinguished composers who often visited Charlotte’s home and were asked to write either a song or piano piece for the book. Following her death in 1859, her daughter Mathilde inherited it and continued the tradition. The book includes manuscripts by Felix Mendelssohn, Vincenzo Bellini, Franz Liszt and, of course, Chopin who taught Mathilde to play piano when she was 15 years of age. The book has subsequently been passed on through the female line, being added to well into the 20th century by such talents as Leonard Bernstein. An accomplished composer in her own right, Mathilde wrote songs under the name “La Baronne Willy de Rothschild” or “Freifrau Willy von Rothschild” for singers including the Austrian soprano Selma Kurz and the opera star Adelina Patti.

The family’s Livre d’Or and some of Mathilde’s music has been brought to life in recent years by yet another Charlotte de Rothschild, this time from the British branch of the family.

Soprano, Charlotte de Rothschild

A soprano of some repute, in 2010 she created a recital called ‘Family Connections’ (sometimes also dubbed, ‘A Rothschild Soiree’) that consisted entirely of songs from the dynasty’s Livre d’Or and which she has performed on numerous occasions since. The 56-year-old has toured the world, performing at major concert venues as well as Buckingham Palace and the Palace of Versailles. Earlier this year, she released her latest CD ‘Fairy Songs’ with the harpist Danielle Perrett and is due to enter the studio again soon to record all of Mathilde’s known compositions for a future double-album release. In the video below, she performs Mathilde’s ‘Les Papillons’…

Charlotte studied her craft in Austria at the Mozarteum University of Salzburg and at the Royal College of Music in London where her uncle Leopold David de Rothschild was council Chairman. In fact, this was one of many positions he held on a number of British musical institutions including the English Chamber Orchestra (President), the Music Advisory Committee of the British Council (Chairman) and the Jewish Music Institute (co-President). Born in 1927, his mother, Marie Louise Eugenie Beer was a great-great niece of the German opera composer, Giacomo Meyerbeer. As a child, he initially began his musical journey learning to play the violin, and later moved to the piano which he continued to be a student of until his death in April this year. In adulthood, he worked in his father’s bank, ‘NM Rothschilds & Sons’ and later sat as Director on the court of the Bank of England, but his love for music never waned.

Leopold de Rothschild

He sang in the Bach Choir for almost 50 years and eventually served as Chairman and later, President. In his role as fundraiser, he helped raise money for a new opera house at Glyndebourne, gave support to the London Symphony Orchestra, the London Sinfonietta and provided scholarships for students to study at the Royal College of Music. The conductors George Solti, Charles Mackerras and Colin Davis were among his friends.

As history clearly shows, Kate Rothschild is by no means the first member of her family to dedicate her energies to music, and whilst her relationship with an African/American from a background far removed from her own has caused a certain degree of surprise in the public arena, it is by no means unique.
In the second and final instalment of this analysis, we’ll shift the focus onto Jay Electronica who’s not only accused of being an Illuminati stooge, but a member of an organisation called ‘The Nations of Gods and Earths’ which holds the view that Black people are the original descendants of the planet and that this secret has been kept from public view with the exception of a select few known as the “Five Percenters” of which Jay is said to be one. There’ll also be an examination of his music and lyrics, and hopefully (and we really do mean “hopefully“), a rare glimpse behind Kate’s record label and why she chose to call it ‘Roundtable,’ a name that conjures up esoteric/occult connotations. On investigation, there appears to be very little information freely available, as a result, ‘Conspiro Media’ has thrown caution to the wind and contacted ‘Roundtable’ via e-mail (incognito of course) to politely ask her out-right – hence why we “hopefully” expect an answer in the not too distant future (but – let’s face it – don’t hold your breath).

** If you’re interested in reading the next instalment as soon as it’s published, then please feel free to subscribe to ‘Conspiro Media’ and we’ll e-mail it to you as soon as it’s ready **

REFERENCE LINKS:!/programs/mam/2010/apr/04/!/programs/mam/2010/apr/04/transcript/

The “Illuminati” and possible Mind Control… It’s all there to be heard in the new Nicki Minaj & B.o.B collaboration

It seems that Nicki Minaj is hitting back at her critics.

A new duet with American Rapper, B.o.B titled ‘Out of My Mind,‘ features the lines,

“When my goons come through and start shooting stars
You know, I’m all about shoes and cars
I’m kinda drunk off blue Bacardi
I told Baby when I get my new advance
I’mma blow that motherf****r on a blue Bugatti
You know, I graduated summa cum laude
That’s why they thinking I’m Illuminati”

The track is taken from B.o.B’s new album, ‘Strange Clouds.’

Accusations that Minaj is yet another performer on a growing list of music industry Illuminati ‘puppets’ have been steadily intensifying ever since her star began to rise in 2010 with the release of her album, ‘Pink Friday.’ These suspicions reached an all-time high earlier this year following her live appearance at the Grammy Awards. But even before she’d stepped on stage that night the tongues had started wagging after she arrived at the bash with a man dressed as the Pope. It’s been reported that this was a reference to her upcoming single at the time, ‘Roman Holiday.’

“Roman” is also the name of Minaj’s alter-ego, thus fuelling on-going speculation amongst critics that the singer/rapper is a victim of Showbiz Mind Control (… more about that later). She once described Roman as “a demon” inside her. This is an interesting description, given that at the beginning of her controversial Grammy stage-show, Minaj is seen taking Confession from a priest – the very same man who accompanied her on the Red Carpet as “The Pope” – then, the live-action cuts to a pre-recorded video titled, ‘The Exorcism of Roman.‘ As the film opens, we see the priest visit the home of Roman’s worried mother who refers to Minaj’s alter-ego as “he.” In a recent interview, the R&B star stated that Roman is “the boy that lives inside of me. He’s a lunatic and he’s gay.”

Confession time…

In the video, the priest makes his way into a room where he finds a possessed Nicki/Roman. When he asks her/him who she/he is, she/he screams back, “Roman!” The drama then cuts back to the live stage at the Grammys, where Nicki is seen dressed in black, bound at the wrists and tied to a board against the backdrop of a stained-glass window church. She begins singing ’Roman Holiday’ which features lyrics that bear all the hallmarks of a person subjected to alleged Mind Control techniques:

“Take your medication, Roman
Take a short vacation, Roman
You’ll be okay
You need to know your station, Roman
Some alterations on your clothes and your brain
Take a little break, little break
From your silencing
There is so much you can take, you can take
I know how bad you need a Roman holiday (Roman holiday)
A Roman holiday”

She breaks free of her shackles and eventually makes her way to a mock altar where she briefly kneels down. The performance draws to a close with a group of hooded men in white monk-robes singing a disturbingly dark, monotone version of ’O Come, All Ye Faithful’ as the priest reappears on stage with men dressed as altar-boys. He then collapses at the mock altar as ‘Roman’ (or is that Nicki?) levitates above the stage bringing the show to a close.

Bill Donahue, the president of the USA’s largest Catholic civil rights organisation, The Catholic League, described Minaj’s performance as, “perhaps the most vulgar,” adding that it “was the sexual statement that showed a scantily clad female dancer stretching backwards while an altar boy knelt between her legs in prayer.” He then said, “none of this was by accident, and all of it was approved by The Recording Academy, which puts on the Grammys. Whether Minaj is possessed is surely an open question, but what is not in doubt is the irresponsibility.”

Irresponsible… and perhaps, deliberate? Given that her controversial performance took place just a day after the suspicious death of Whitney Houston, one of the music industry’s biggest ever stars, is in itself rather revealing. For example, considering the dark, Satanic themes that were addressed in Minaj’s live spectacle, wouldn’t it have been wise to cancel it or at least replace it with something less disrespectful? Surely common sense should have prevailed?… And why did a pre-Grammy Awards party hosted by Houston’s former mentor Clive Davis at the Beverly Hills Hilton Hotel carry on as scheduled despite the fact that she’d been found dead in a room there just hours earlier? In an interview with Piers Morgan on CNN, Soul singer Chaka Khan criticised Davis’s decision to continue with the star-studded bash whilst Houston’s body was still in the building. She said, “I thought that was complete insanity. And knowing Whitney I don’t believe that she would have said ‘the show must go on.’ She’s the kind of woman that would’ve said ‘Stop everything! Un-unh. I’m not going to be there.’ … I don’t know what could motivate a person to have a party in a building where the person whose life he had influenced so enormously and whose life had been affected by hers. They were like… I don’t understand how that party went on.”
In the same interview, she shared her views on the circumstances that led to Houston’s demise from drug addiction, views that might also provide an explanation for the bizarre events which occurred after her death, and the decision of Grammy organisers to continue with Minaj’s performance as the “demon“ Roman …

“I think that we all as artists… because we’re highly sensitive people, erm, and this machine around us, this so-called ‘music industry’ is such a demonic, er, thing… it sacrifices peoples’ lives and their essences… “ 

Other well-known performers who’ve made similar comments over the years include David Bowie who told ’Rolling Stone’ magazine in 1976 that, “Rock has always been the Devil’s music . . . I believe Rock and Roll is dangerous . . . I feel we’re only heralding something even darker than ourselves.” In a 1978 interview for ‘Hit Parader’ magazine, Ozzy Osbourne said, “I really wish I knew why I’ve done some of the things I’ve done over the years. I don’t know if I’m a medium for some outside source. Whatever it is, frankly, I hope it’s not what I think it is – Satan.” Former Rock & Roller Little Richard once stated, “I was directed and commanded by another power. The power of darkness … that a lot of people don’t believe exists. The power of the Devil. Satan.”
Led Zeppelin is one Rock band in particular which is regularly referred to when alleged Satanic elements in Popular music are discussed. This suspicion is no doubt further fuelled by the group’s guitarist Jimmy Page and his well documented admiration for occultist Aleister Crowley who he once proclaimed was, “a misunderstood genius of the 20th Century” stating that, “his whole thing was liberation of the person, of the entity, and that restrictions would foul you up, lead to frustration which leads to violence, crime, mental breakdown, depending on what sort of makeup you have underneath.” Page’s strong interest in Crowley led to him purchasing Boleskine House, the Scottish estate where the occultist lived from 1899 to 1913. The legendary Rock star owned the property from the early 1970s until the early ‘90s, although some sources claim he spent no more than a total of six weeks in the house during that time. He also possessed a number of Crowley’s clothing and manuscripts.

Led Zeppelin (left), and the notorious Aleister Crowley (right)

It’s said that Led Zeppelin’s supposed involvement in Black Magic and Satanism can be seen in the artwork of their album covers and heard in the lyrics of such songs as ‘House of the Holy,’ which directly refer to “Satan.” They’ve also been accused of practising occult rituals during their stage shows in front of thousands of unsuspecting fans who fail to recognise the hidden meanings contained within the live performances.

Nicki Minaj’s performance at The Grammys has also been likened to a dark, Satanic ritual, perhaps intended as an elaborate rite in memory of the recently deceased Whitney Houston who, some researchers believe, was murdered and offered up as a “blood sacrifice.”

Just days after her controversial appearance, the Rapper Waka Flocka Flame hit back at claims that Minaj was carrying out her duties as a servant of the Illuminati. In the interview below he says the allegations are “bulls**t.“

Now with the release of Minaj’s latest duet alongside B.o.B, it seems as though the star is also making her voice heard on the issue. However, the lyrics to the track actually leave the discerning listener with more questions than answers. B.o.B raps:

“I’m out of my f***ing mind, GG gally, oh my
I was doing fine, once upon a time
‘Til my brain left and it didn’t say bye
Don’t look at me wrong; I’m out of my mind
Like Nostradamus and da Vinci combined
So paranoid of espionage
I’m watching my doors and checking my blinds
My brain is on vacation, they telling me
And I’m bi-polar to disparity
And I need medication, apparently
And some electro-compulsive therapy
I am a rebel but yes I’m so militant
Still I’m eligible for disabilities
I am psychotic but there is no remedy
Still is not figurative, this is literally
If these niggas go dumb, I go to the mental facility
See, man I’m so out there, I slap fives with E.T
I don’t need a feature”

There are a number of significant references in these lyrics that correspond with methods which have been used on unsuspecting victims in Mind Control experiments. Words such as, “medication” and “electro-compulsive therapy” are particularly interesting, as these are techniques which were used during the notorious CIA-backed MK-ULTRA Mind Control experiments following the end of WWII.

B.o.B’s new album, ‘Strange Clouds.’

The renowned British-born psychiatrist, Donald Ewen Cameron was connected to this covert project. He used a combination of particularly intensive electroshock on his patients as well as partial sensory isolation. Drugs such as LSD, diazepam, heroin, morphine, MDMA, mescaline, psilocybin, scopolamine, marijuana, alcohol, sodium pentothal and ergine were administered also. Author, Fritz Springmeier and former self-confessed Mind Control victim, Cisco Wheeler claim these methods have also been used in an alleged MK-ULTRA spin-off program known as, ‘Project Monarch,’ regarded by most researchers as the principle breeding ground for future stars of the entertainment industry. In their book, ‘The Illuminati Formula Used to Create an Undetectable Mind Controlled Slave,’ they write, “stun guns, staffs with hidden electric cattle prods, and cattle prods are frequently used on the slaves (victims). Electroshock is used to create the dissociation from trauma during the programming, and later it is used to remove memories after the slave has carried out a mission, or to instil fear and obedience in a reluctant slave. The shock destroys and scrambles the memory which is still stored in the short term memory section of the brain.”

Dr Ewen Cameron

With regards to drugs, Springmeier and Wheeler state that, “the science of Pharmacology has given the Programmers a vast array of mind-altering and body-altering drugs. Some of the drugs are not used to directly alter the mind, but to change the body (make the skin burn), or make the person vomit, or some other reaction that can be harnessed to further their nefarious programming goals.”

It’s difficult to ascertain whether B.o.B is rapping about a fictional scenario in the song ‘Out of My Head‘ or personal experience… and what of the reference to slapping “fives with E.T?”

Dr. Helmut Lammer is an atmospheric scientist and author who has also spent time researching unexplained phenomena, exotic military weapons and Mind Control. In an article titled, ‘The MK-ULTRA / Reptoid Connection’ he writes:

There is currently a great debate about the claims of various Mind Control victims, that they experienced or witnessed humans who transformed into reptoid creatures. In our book ‘MILABS: Military Mind Control and Alien Abduction’ co-authored by my wife Marion, we investigated alleged alien abduction cases where abductees also reported or experienced unwitting human military involvement, so called MILAB-abductions. We also came across cases where the abductees believed that they witnessed reptoid beings during military kidnappings. We found that such cases may represent in reality drug induced screen memories where the Mind Controllers hide covert experiments, etc.

Declassified CIA documents show that the intelligence agencies had great interest in isolation research and used hallucinogenic drugs for cover stories to ridicule or discredit individuals during covert operations. In one declassified MK-ULTRA document there is mention of documents… that show their interest in financing experiments and research in chemicals having psychogenic effects. Other documents note that they continue study in the field, and make the findings available on a strictly controlled need-to-know basis.

As well as the Minaj duet, B.o.B’s new album features yet another intriguing track titled, ‘Where Are You (B.o.B vs. Bobby Ray).’ The song finds the rapper (real name, Bobby Ray Simmons, Jr.) in a battle of egos as he grapples with his famous persona. In 2009 he said, “now I go by the name Bobby Ray. Make sure you put Bobby Ray. I’m really going into a new direction – more free and not trying to live up to any particular genre. I don’t feel like I’ve been doing that. I don’t feel like I’ve been trying to fit in, but I feel even more free-spirited. I have more willingness musically.” Some weeks later, he released the mixtape, ‘B.o.B vs. Bobby Ray,’ and then followed it up with his debut album in 2010, ‘B.o.B Presents: The Adventures of Bobby Ray.’


In March this year, an ‘MTV News’ article reviewed the ‘Where Are You…’ track which had just been released as a US-only single, stating that:

Fame sure has a way of changing people, and on his new single, Bobby Ray and his alter-ego B.o.B duke it out for four-and-a-half minutes.
‘Where Are You (B.o.B vs. Bobby Ray)’ opens with a lush piano melody, which builds and gives way into spacey synth sounds, a doo-wop-inspired background melody and a pounding bass drum. With the beat in full swing, B.o.B wastes no time confronting his issues when he raps, “whatever happened to Bobby Ray? He used to be here for us/ Then he got famous and left all his fans in the dust.” B.o.B continues to rhyme in third person, lamenting on the changes that fame brings. World tours and taxing studio sessions have clearly affected Bob’s relationship with his family and his fans, whom he now seems distant from. “I never thought you would sell out, you’re becoming so cocky/ I asked you for a picture after your show, you walked right by me,” he raps.

Springmeier and Wheeler write:

Most people are still unfamiliar with… the concept that one mind can have several personalities. On the other hand, they can understand perfectly that a computer can wall off sections of memory, and they can understand perfectly that a single human mind is superior to all the computers in the world assembled together… They will allow a computer this ability but not the human mind.

The creation of multiple personalities also divides responsibility within a person. A person who lives with a multiple, say for instance their handler, will form widely divergent relationships with the different alters. In terms of programming, each dissociated fragment of the mind may be moulded into something. Some fragments lend themselves to be moulded into full personalities, and some lend themselves into being moulded into single-purpose fragments, and some must be discarded. A part of the mind can be developed into a full-blown independent personality with all the idiosyncrasies that any other person has.

Springmeier and Wheeler later note that, “when building a system, the Programmers take advantage of their knowledge of how multiplicity works. Two alters can have several possible relationships,” including, “two-way amnesia, where neither alter knows about the other’s existence. This is what the Programmers want for most alters. They don’t want multiples to even know they are multiples,” or, “one-way amnesia, where A alter knows B alter, but B doesn’t know A.”

They also claim that, “a name humanises the alter. Names are sometimes attached later if needed by a handler.”

Nicki Minaj (born, Onika Tanya Maraj), told ‘New York’ magazine earlier this year that, “I have different personalities, so I just started naming them.”                                           Indeed she has… For example, there’s the Spanish-inspired “Rosa” (pronounced, “Rrrrrrrosah!”) and “Female Weezy,” who can be seen sporting blonde dreadlocks and tattoos in the music-video for ’Y.U. Mad’ alongside fellow rappers Lil’ Wayne and Birdman. Lil’ Wayne was also the catalyst for Minaj’s character “Lap-dance Nika” during their ‘I’m Still Music Tour’ of 2011, and in November 2010, she assumed the alter-ego of “Nicki Teresa,” a head-scarf adorning “healer to her fans” during a visit to the charity organisation, ‘The Garden of Dreams Foundation’ in New York. Then there’s “Roman” and ‘his’ mother, “Martha” who speaks in a British accent and can be heard on the song ‘Roman’s Revenge’ and seen in the music-video for the single ‘Moment 4 Life.’

Interestingly, “Roman” contributed a rap to a single by R&B star Trey Songz in 2010 titled ‘Bottoms Up,’ in which there’s a reference made to the ex-‘Playboy’ pin-up and alleged Mind Control victim, Anna Nicole Smith who died in 2007 due to an “accidental overdose“ of prescription drugs. In 2009, a judge charged the former model’s boyfriend, Howard K. Stern and two psychiatrists with conspiring to “commit the crimes of prescribing, administering and dispensing controlled substances” in regards to her death. One of the accused doctors was later acquitted, and the other, Khristine Eroshevich had her charge reduced to a misdemeanour in early 2011, although she was still ordered to serve twelve month‘s probation and pay a fine of $100 for obtaining pain killers under fraudulent means. Stern, meanwhile, walked out of court a free man after the judge ruled there was no evidence to convict him and agreed with his claims that Smith was a victim of chronic pain, not addiction

Anna Nicole Smith in her hey-day

During the long, drawn-out court case, a video-tape recording filmed by Stern was presented to the court which showed Smith dressed in clown’s make-up and speaking in a child-like voice. Prosecutors used the footage to argue that Stern and the two psychiatrists had plotted to keep her in a drug stupor in the years leading up to her death.
Others who’ve watched it since believe Smith’s behaviour in the film shows all the classic hallmarks of Mind Control, thus reinforcing the suspicions of those who claim the legendary ‘Playboy’ brand is merely a malevolent organisation harbouring Programmed ’Bunnies.’


One of Minaj’s most intriguing alter-egos is “Barbie” (sometimes known as, “Harajuku Barbie”) because it relates symbolically to the theme of dolls in Mind Control. For example,
former ’Monarch’ slave, Kathleen Sullivan claims varying brainwave levels (“EEGs“) are used in secret experiments to identify a victim’s particular function; the “BETA” level (‘Awake’/‘Normal alert consciousness’) is where inhibitions and moral convictions are stripped away and replaced with sadistic, primitive instincts. This level is referred to as “sexual programming.“ The “DELTA” level (‘Deep, dreamless sleep’) is known as “killer programming” and is said to have been originally developed for special agents and elite soldiers. Sullivan says that she “was used pretty extensively in a Delta state with military personnel or under the orders of military personnel. In that state I was absolutely, completely loyal to whoever my ‘superior’ was. They had a number of sub-codes that would activate different parts of that Delta system. Beta for me – another word that they used a lot, a code name, was ‘Barbie‘. What that involved was that all the personalities who were used for what I knew as ‘sexual servicing’ of other individuals – I was used both as a child and as an adult in those alter states, and I had more than one. In those alter states I would not resist, I had no anger, I was an absolute sexual slave and I would do whatever I was told to do.”

In 2011, toy company ‘Mattel’ showcased their new Nicki Minaj ‘Barbie’ doll.

The artwork for Nicki’s debut album, ‘Pink Friday’

In the music-video of Nicki Minaj’s hit single, ‘Turn Me On,‘ we see top French DJ and producer David Guetta play the role of a Dr. Frankenstein-like character creating his very own Minaj doll from mechanical parts…

“Barbie” was one of Minaj’s earliest personas born from her attempts to escape a chaotic childhood where arguments between her parents were commonplace. She recalls that, “to get away from all their fighting, I would imagine being a new person. ‘Cookie’ was my first identity – that stayed with me for a while. I went on to ‘Barbie,’ then ‘Nicki Minaj.’ Fantasy was my reality.” She claims that her father was a heavy drinker and drug user who was often violent towards her mother. She says, “he set fire to the house, he was attempting to kill my mother. She got out before it burned all the way down…. I wanted my mother to be stronger, and she couldn’t be.”
Potential Mind Control victims who are chosen early on in their lives for this specific purpose are often said to hail from violent, turbulent, abusive backgrounds. In ‘Deeper Insights Into the Illuminati Formula,‘ Fritz Springmeier and Cisco Wheeler write:

The basis for the success of the Monarch Mind Control programming is that different personalities or personality parts called alters can be created who do not know each other, but who can take the body at different times. To create alters (dissociative parts of the mind) the worse the trauma, the better the amnesia walls, so programmers have been spending years trying to outdo each other in creating the world’s worst traumas that humans can survive, so they can program people. To insure that the programming and abuse stays hidden from even the slave, the slave is given daily traumas as a child to keep them dissociative. The first type of abuse is prenatal. The second series of abuses occurs from 2 to 4. The third round of programming abuse, is given to the child around 5 to 6 years of age. One of the specific programming abuses is teaching the child slave to redirect their anger away from Papa or Daddy the slave owner.

A CLASH OF EGOS… From left to right; ‘Martha,’ Female Weezy,’ ‘Lap-dance Nika,’ and ‘Nicki Teresa.’

No doubt, Minaj’s latest recording with B.o.B will be a hit and very little mainstream attention will be directed towards the lyrical content, despite it‘s references to possible Mind Control and/or the “Illuminati.”
As for the future? More of the same it seems. Speaking during an interview with the website, ‘Digital Spy,’ Minaj announced ambitious plans for her gay alter-ego “Roman” including a movie, book and men’s fragrance. She said, “I feel like Roman represents a lot of people and it would be good to tell his story and therefore tell their story. So we’ll see. People really gravitate towards Roman – he’s a crazy little boy. I love him because he says what no-one else will say and so he’s a good friend to have next to you.”

** B.o.B’s new album, ‘Strange Clouds’ is released this week (May 1st 2012).

If you’d like to read a more detailed analysis about Mind Control / MK-ULTRA and Satanism in the entertainment industry, then please visit this link:


The Cowell Connection…

Part 1: THE  ?  FACTOR…

Anyone familiar with the notorious ‘Illuminati’ and it’s alleged plans for a New World Order, will perhaps also be aware that one of it’s required aims in reaching this goal is to strip away any semblance of individualism.

Believe it or not, one such example is typified by the history of the music industry.

At the birth, of what has since become commonly known as “Pop music” during the latter half of the 1950s, there were a multitude of record labels in existence. By the end of the 1980s, most of them had been gobbled up and either dismantled, or merged into the larger companies known at the time as, “the Big 6” (EMI, CBS, BMG, Polygram, WEA and Universal). A decade later, this became “the Big 5” when Polygram absorbed into Universal, and then yet another decade later, “the Big 4”, when Sony (formerly CBS) merged with BMG to become Sony/BMG.

Many critics have argued that the death of the smaller, independent label has led to a slow, but steady decline in the nurturing and support of music artists, a nurturing that can only be successfully adopted by an intimate team of people who work within a reasonably small organisation where communication is easier to maintain.

Although many music artists have enjoyed fame and success instantaneously, history has shown others had to endure an uphill struggle. We now live in an age where newly-signed artists are dropped from record contracts and tossed by the wayside merely because their second or third release “only” manages to reach a “disappointing” number 3 in the charts. It’s perhaps important to acknowledge that had this policy been adopted in Pop music’s earlier pioneering days, then the world would probably have never heard of The Beatles, whose first ever UK single, ‘Love Me Do’ stalled at a modest number 17 in the charts. Furthermore, their early attempts at breaking into the lucrative U.S. market suffered continuous setbacks, despite the efforts of their record company. They are by no means an exception… Elton John, Queen, David Bowie, The Kinks, Stevie Wonder and even Elvis Presley (who released a total of 16 singles over a two-year period, all of which failed to appear in the U.S. mainstream charts until his first hit record in 1956) are other notable examples.

Question is, had these artists signed to one of the major “Big 4” companies during the impatient era we now exist in, would they have ever been given the chance to prosper and grow?

The so-called “Big 4” (from top left and clockwise): WEA, Universal, EMI and Sony/BMG

One possible symptom of the new corporate-led, centralised structure, is an apparent lack of artists who write and record music with a social/political emphasis. Anyone wishing to look at the current singles and albums chart-listings would be hard-pressed to find any such material. One is tempted to ask what has become of the fresh, brave, challenging forms of protest and social comment expressed in musical form in earlier years by such legends as Bob Dylan, The Clash, Marvin Gaye, Joan Baez, Bob Marley, The Jam and even the Sex Pistols? Has there been an orchestrated move by the Big Companies to stifle the growth of such acts in order to dissociate the mainly young music-buying public from thinking about the world they live in, choosing instead to bombard them with over-sexualised starlets and ’Pretty Boys’ singing trite lyrics over inoffensive, uniformed dance-beats?

The sharp increase in the presence of such manufactured acts has happened at precisely the same time as the acknowledged decline in the prominence of musicians who play in Rock bands (the genre most favoured by artists who feature social comment in their lyrical content). Current chart trends would support this view. According to the official UK Top 40 singles chart (as compiled by the reputable publication, ‘Music Week’ on May 22nd – 28th 2011), there were NO rock/guitar-based acts featured at all…. that’s right… not even one, unless you count the re-released ‘Fast Car‘ by Tracy Chapman (which is actually an old hit from the 1980s).

In January 2010, Martin Talbot, the head of the Official Charts Company, gloomily reported that 2009 had been the toughest year to date for independent guitar music in the UK. Only two ‘indie’ (independent) guitar bands featured in the top 20 top-selling albums of that year.

According to a BBC-news article in September 2010 under the heading of, ‘Rock Anthems Vanishing from Charts’, sales of Rock singles had dropped by almost 18% in the first eight months of 2010, compared with 2009, whilst Urban/Soul/Rap single sales were up 33%, with Pop rising 30% in the same period. In the same article, Absolute Radio head of music James Curran alarmingly stated that the singles chart had “become unrecognisable from even two years ago”. He said: “What’s quite frightening is how quickly it has changed. It’s very difficult to get a bona fide Rock hit these days, even by some of the biggest bands.” When asked about the current state of British Rock music, Mani, a former member of one of the 1980’s and 90’s most  innovative bands, The Stone Roses said, “It’s all about the songs and technique and spirit. Bands of my era had a whacked out agenda. They walked it, they lived it, they breathed it. [They were] not necessarily the best musicians in the world but they can try things that are dangerous. I think what’s wrong with British music at the moment is people are too career-orientated. They’re afraid, or record companies will not allow them to take risks, and that just makes everything so uniform. Why bother?”

The depressing downturn was summed up rather tellingly by a web-article in January 2011, which starkly informed it’s readers that 2010 was the year the, “number of rock songs on the U.K. charts (was) at (the) lowest level in half a century”. According to the article, only three Rock songs appeared in the top 100 best-selling U.K. list that year.

Of course, this current downturn may be – as Talbot sates – all about fashion and “trends and movements.” As he points out, “sometimes movements can be sparked by one act coming out of nowhere and doing something different.”

Looking back at Pop history over the last 60 years, there have indeed been examples of music genres or acts that have entered the scene and given birth to a new style. For example, back in the early 60s, the initial Rock ‘n’ Roll craze (which had shot to prominence during the 1950s, introducing us to the likes of Elvis Presley, Little Richard and Chuck Berry) had just about run it’s course. A fallow period followed when the charts were invaded by pale imitators and so-called ’crooners’. It wasn’t until the arrival of The Beatles in 1963 and the ‘Beat groups’ that the music-scene was revitalised, giving birth to the ‘Swinging Sixties’. Punk music also achieved a similar feat in 1976, sweeping away the so-called “Progressive Rock” bands that had reigned supreme during the early to mid 70s. The rise and growing popularity of ‘House music’ during the late 1980s (a modernised version of 70s Disco music born in the clubs of Chicago) also made an impact – especially in the UK and Europe – giving rise to the ‘Acid House’ and ‘Rave’ era of the late 80s and early 90s.

Three acts that epitomized the eras they represented; A young Elvis Presley, The Beatles during their historic 1964 U.S. tour, and Punk fire-brands, The Sex Pistols

However, what differentiates these examples to the current trends of today, is that, irrespective of any shake-up in the musical landscape, guitar-based music has always prevailed. Furthermore, the current domination of Pop, Urban and Rap music is not representative of a “new trend” or “movement“. For example, so-called “Urban” music is merely another word for “Soul” and “R’n’B”, a genre with it’s roots firmly fixed back to the 1950s and 60s. Additionally, Rap music (otherwise known as ‘Hip Hop’) has been a regular presence in the Pop charts since it’s early pioneering days in the late 1970s and is by no means, “something different“. Interestingly, the story of Hip Hop and Rap appears to show that there has been a deliberate move on the part of the major record companies to sanitise a particular music-genre. Once a voice-piece for the poor and disaffected, Rap music was born on the streets of America where, through the use of syncopated lyrics, young rappers and DJs highlighted the poverty and injustices of American society. This was further explored by such acts as Public Enemy, KRS-One and (the assassinated) Tupac Shakur well into the 1990s. Today, commercial Hip Hop music has largely become synonymous with lyrical content that rarely strays away from sexual innuendo. Any Rap fans looking for something a little more substantial, are forced to scour the outer fringes where a surprising amount of Hip Hop is recorded and released on a weekly basis concentrating on issues ranging from politics to foreign affairs and even the Illuminati. These offerings never reach the mainstream, irrespective of any quality or innovation that might be on display.

If there is indeed a conspiracy to disengage us from educating our minds whilst at the same time bombarding us with meaningless, unimaginative, uninspired, music performed by seemingly vacant Pop stars with little to say, then music mogul Simon Cowell requires further investigation for his possible – and perhaps – willing part in all of this.

Cowell has amassed a multi-million pound empire from the creation of TV shows such as the ‘X-Factor’ and the ‘…Got Talent‘ series. However, the music mogul has had more than his fair share of criticism.

His ‘stable’ of star discoveries has been described by some as nothing more than an army of bland, boring robots cynically delivered to the public via a constantly moving conveyor-belt. In fact, Cowell’s fiercest critics have blamed him for contributing to the overall death of a music scene that was once built on foundation-stones of ingenuity, inspiration, excitement, passion, outrageousness, vitality and rebelliousness.

Some of Cowell’s star-stable – such as Leona Lewis – have enjoyed continued success under the guidance of Cowell and his company, ‘Syco Productions’. Others though, have seemingly been tossed aside like discarded toys. In a recent UK newspaper article titled, ’Cowell the Executioner’, an unnamed “former music industry insider” said, “The way they run the business is immoral… The whole basis of a show like X Factor is to find the next big talent. But when they do, they use them and throw them away. Talk about crushing people’s dreams. What they forget is that often they are dealing with kids who are quite fragile.”

Former Bee Gee Robin Gibb, who once appeared as a special guest on one of Cowell’s talent shows, has also lambasted the TV talent scout. “I don’t like how these people are chosen almost from nowhere“, he said, during a 2008 interview. “I don’t believe that many of them really yearned to get into a life of music, more that they want fame. The ones that win are told what to sing, how to dress, how to behave. They are over-styled ‘puppets’. They aren’t musicians they are simply a product. It is a glorified advert. The shows are much more about television and making money for the people behind the show, than actually finding musical talent. For a while that product is popular but there is hardly ever any longevity. And then these kids just get dumped with no real way of getting back in again because they didn’t spend the time over the years building up contacts and working out how things worked for themselves.”

This view has also been enforced by former ‘X-Factor’ winner Steve Brookstein who – despite enjoying initial success – was later dropped by Cowell and ‘Syco’ leaving him without a record contract, a situation he has yet to recover from. In an interview earlier this year he said, “I was dropped because I wouldn’t play the game. Simon was quoted everywhere saying I just couldn’t sell records. I felt completely done over. I emailed him asking him for an explanation, but I got a message back from his lawyers asking me not to contact him directly”.

Steve Brookstein with Cowell during happier days

Some of Cowell’s stars (past and present); From top left & clockwise: Leona Lewis, Matt Cardle, Olly Murs, Susan Boyle, Alexandra Burke and Cher Lloyd

Of course, the concept of talent-spotting and grooming is nothing new. Back in Pop music’s formative years during the mid-to-late 50s, Simon would have been labelled a music “impresario”, much in the same way that Larry Parnes was when his stable of stars invaded the British charts back in that era. His approach was to select, and then groom, handsome young men who would be attractive to a teenage audience. He also gave his charges new ear-catching stage names. For example, Ron Wycherley became Billy Fury, Reg Patterson was re-named Marty Wilde and Tommy Hicks was re-branded Tommy Steele. Admittedly, Parnes was far from an angel. According to one report by researcher Steve Walker, one of Parnes‘s artists, Vince Eager, “began to wonder why he had never received any record royalties. “You’re not entitled to any,” Larry Parnes told him. “But it says in my contract that I am,” Eager protested. “It also says I have power of attorney over you, and I’ve decided you’re not getting any,” Parnes replied.”

Another significant figure who operated during this era was Carroll Levis, a Canadian talent scout who toured the length and breadth of Britain’s theatres during the latter half of the 1950s looking for new performers to appear on his TV programme. The show introduced new talent, with each show having a winner chosen by audience response in the form of applause measured by the ‘Clapo-meter’.

Larry Parnes

There are notable factors (if you pardon the pun) that differentiate Cowell from his Black & White-era counterparts. For example, despite his questionable business tactics, Parnes has since been credited for leaving behind a respectable legacy in the pages of British Pop history. His artist-stable was largely made up of genuinely talented performers who recorded a number of seminal British Rock ’n’ Roll classics during the late 1950s and early 60s. Parnes also employed an in-house songwriter to pen his artists‘ tunes, unlike Cowell who has been criticised for his over-reliance on uninspired, lacklustre cover versions. Levis too was constantly on the hunt for talented individuals based upon the merits of their own unique abilities.

Carroll Levis

In comparison, even after more than two decades in the music industry, Cowell has yet to provide even one universally acclaimed artist of note, let alone song, but despite this, his apparent influence on the current course of Popular music far outweighs the combined efforts of Parnes and Levis, whose contributions (although important) were never a game-changer.

Cowell currently enjoys a level of power and prestige that Parnes and Levis could only ever have dreamt of. In 2010, British magazine ‘New Statesman’ listed him at number 41 in a list of “The World’s 50 Most Influential Figures”.

Larry Parnes with his young protege, Billy Fury

Perhaps the question that has to be asked at this point is, has Cowell’s acknowledged influence only been felt in the music industry, or has it managed to permeate itself into everyday, so-called, “normal” society? In an age of reality-TV and celebrity worship, programmes such as ‘X-Factor’ have been blamed for giving millions of people the false hope that they too can become rich and famous overnight. In 2008, a UK teaching union claimed that children were turning away from schoolwork because they saw education as unhelpful to their ambition to become rich and famous. The Association of Teachers and Lecturers claimed to have been, “ appalled at the extent of the decline in this country into the cult of celebrity, which is perverting children’s aspirations and expectations”. Many teachers also said their pupils sought to be famous with no discernible talent.

Mary Bousted, the general secretary of the association, said: “We are not surprised about infiltration of celebrity culture in schools – it reflects the current media obsession with celebrity and the effect of celebrity culture on society as a whole. We are deeply concerned that many pupils believe celebrity status is available to everyone. They do not understand the hard work it takes to achieve such status.”

According to performing arts school franchise ‘Stagecoach’ student numbers leapt from 12,000 in 1999 to 36,000 in 2010. It was in 2005, when programmes like ‘The X-Factor’ were at their zenith, that David Sprigg, co-founder of Stagecoach, saw the biggest spike in student numbers. He said, “99.9% of students will not suddenly appear on television. We tell them it’s a crowded and unreliable profession.”

In 2007, former Oasis star, Noel Gallagher gave reporters a typical Gallagher-esque analysis of Cowell and his talent shows when he linked them to mental illness. He said, “if somebody is dangling this carrot of ‘fame and fortune’ in front of a girl who can sing like Britney Spears then they’re going to go for it, right, because they live in a s*** hole. But it seems to bring on instant mental illness. You’re going in at the top, with a number one that sells 750,000 or whatever. You spend a year slogging around the country and then what? You can’t go back cos that would look bad“.

Former ‘X-Factor’ winner Steve Brookstein called the Cowell process “humiliating” and akin to “bear bating”. He also gave a somewhat dark description of Cowell’s celebrated power and influence. “It’s amazing how many doors close when you part company with Cowell“, he said in a recent interview, “it’s almost like leaving a mafia family”.

Perhaps comparisons with the “mafia” are a little off target, but Cowell’s untold wealth, power and influence is the kind largely enjoyed and shared by members of another form of secret society, a society that is dedicated to an agenda aimed at global control.

Cowell having fun. Have you noticed the Masonic emblem on the front and side of the speedboat?

Is Cowell a Showbiz/culture representative for a hidden Elite? Is he a designated Culture Assassin with a mission to dumb-down the world’s youth and destroy a music scene which has been used as a voice-piece and form of expression by young people for almost 60 years?

As many researchers, whistle-blowers and witnesses have claimed, this secret Elite operates within a dark, hidden world that goes far beyond the confines and clichés of Big Business and political machinations. In a bid to grasp every last morsel of control from an unsuspecting global population, this cabal has adopted techniques and methods that, to the unfamiliar eye, would beggar belief. One such technique is the applied, scientific use of Mind Control – also known as: MK Ultra.

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

According to official accounts, ‘MK Ultra’ began in April 1953 under the orders of CIA director Allen Dulles. With the ‘Cold War’ gaining pace between America and Russia, U.S. authorities were keen to use this mind-control technique on captured Russian spies and prisoners of war during interrogation. Millions of dollars were invested in these experiments, many (if not the majority) of which were conducted on unknowing participants.

Much of this secret operation became public in 1977 when an investigation was launched by the U.S. Senate Select Committe on Intelligence. One of the members of the committee included Senator Ted Kennedy, who said:

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

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

Helms’s efforts to block the public from finding out the full facts has led to much speculation about what really went on. For example, many researchers and first-hand witnesses have claimed that MK Ultra was more than just about extracting information from prisoners of war, and was actually used for a multitude of purposes ranging from creating (through ’brainwashing’) ‘robot-like‘ assassins (as documented in the movie, ‘The Manchurian Candidate‘), sex slaves and prostitutes (for the purpose of bribing top political figures into submission), drug-running, and spreading disinformation through the mass-media.

In recent years, researchers have also claimed that the world of entertainment has been an integral part in all of this.

In their bid to take control of our everyday lives, the so-called ‘Elite’ have been accused of going as far as to using (mind-controlled) Pop/Rock singers and movie actresses as unwitting agents in their bid to bring about a collapse in the basic moral values of society through the promotion of sexual promiscuity in the young, social upheaval, and a breakdown and lack of respect for the traditional ‘family unit’.

And this is – perhaps – where Simon Cowell appears in the ugly equation.

On taking a look at his life and career, there are certain ‘tell-tale’ signs that indicate Cowell is an active participant in the ‘handling’ of mind-controlled singers and artistes.

For example, there are notable and credible ‘clues’ to be found in his past relationships with women. And what about his ‘stable’ of star-acts borne from his TV-talent shows? Are they too unwitting (’controlled’) victims being used by Cowell to cheapen the cultural landscape of everyday life and bring about false dreams and hopes in the minds of millions of youngsters?

Cowell’s life-story appears to be entwined within a vast, tangled web of connections that link into other conspiracies and conspirators. In fact, a number of his closest friends and colleagues have also been accused of similar suspicious activities (as well as Satanism and murder). On closer inspection, this interweaving web is so long that it requires a great deal more than one solitary page on a website to investigate.





**ADDENDUM (June 2011):

Shortly after completing this article, a number of stories and articles appeared in the mainstream media and on the internet which cast a critical eye over Cowell and his ‘…..Got Talent’ series.

The apparent backlash began in late May 2011 when it was revealed that Cheryl Cole (one of Cowell’s judges on the hit show) had been “sacked” from the U.S. version of the series. A number of media articles claimed that Cowell was to blame – although he strenuously denied this at the time, and insisted the decision to axe Cole was made by American TV bosses. Cowell’s recent series of shows were also attacked by TV critics who claimed the choice of judges were dull and uninspired.

Potentially more damaging are the allegations made via an anonymous internet article which claimed the most recent UK series of ‘… Got Talent’ was already “fixed” in the favour of contestant Ronan Parke to win.

The article is believed to have been written by a Sony/BMG employee based in Germany. It claims that ‘Syco’ talent scouts spotted Ronan two years ago and brought him on to ‘Britain’s Got Talent’ – with the plan to fix it for him to win.

The internet attack on Syco describes the alleged “manipulation of, not only the show and the contestants, but also the viewing public“. It also alleged that Ronan’s hairstyle, clothing and mannerisms were all choreographed.

Cowell has denied the allegations, labelling it a “smear campaign”. Cowell’s lawyers were reported to have made a formal complaint to the police about the allegations, and it is believed that the German equivalent of the FBI is also involved.
It is far too early to assess whether the latest media backlash against Cowell and his TV shows will continue, or whether they will have a lasting or damaging effect on his career. Undoubtedly, a number of weeks – and even months – will have to pass before a conclusion of any form can be made.

Regardless of the latest backlash, and how this will effect Cowell‘s power and popularity, it is clear his legacy has been assured. The changes he has helped to bring about in the music industry and in our cultural landscape will take months and even years to change.

– Conspiro –

*(Original article written: May 2011)*


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