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


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

MD & Freeman

Freeman & Mark Devlin

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


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

Paisley Park Studio Complex Pyramids

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

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

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

Listen to the pod-cast here:

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

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

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


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


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

replay march 2015 banner reversed

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

All is not lost though.

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

‘Anaesthetist’ (lyrics)



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

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

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

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

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

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

Step the f**k back!


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

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

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

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

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

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


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


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



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

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

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

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

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

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

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

sol album cover eskmo

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

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

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

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

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

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

Get it all. You deserve it, Kendrick.

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

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

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

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

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

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

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

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

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

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

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

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

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

Here’s some excerpts:

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

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

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

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

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

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

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

Matt Bellamy

Matt Bellamy

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

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

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

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

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

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

drones cover matt bellamy

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

muse patty hearst


You can read the article here:

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

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

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

Bellamy Tweeted this on the same day:

muse psychopaths2

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

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

Read it all here:

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

muse psychopaths


The link to the above article:

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

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

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

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

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

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

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

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

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


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

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

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

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

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


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

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

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


‘Q’ Magazine. May 2015 issue – pg: 10

Here’s a review of events from 2014 and a look ahead at what’s in store for ‘Conspiro Media’ in 2015 and beyond…

2015 Out with the Old In with the New

The initial idea that led to the formation of Conspiro Media was – in all honesty – much grander than what has transpired since the very first article was posted back in June 2011. The original concept was for the creation of a website brimming with topical content, a website complete with; 1) a constantly updated News Headlines page (with added blog commentary and analysis from time to time), 2) a section showcasing singers, rappers, musicians and remixers/producers of an Alternative nature who communicate a meaningful message (and who might not necessarily be widely-known), 3) a regular(ish) smattering of lengthy, in-depth articles, and 4) a YouTube channel featuring exclusive interviews with researchers, authors and others relevant to those of us seeking more information on the dark, arcane, symbol-ridden, plot-scheming (yet not always altogether negative) elements that are (and always have been) present in entertainment/media/The Arts. As its turned out, the last two ingredients in this ambitious wish-list have been achieved, but the first two havent. So, not the desired result of course, but by no means due to accident or disaster. Faced with the uphill challenge of building a large-scale website from scratch with absolutely no prior knowledge or experience on to how to achieve this, and mindful of the sheer amount of days, weeks and months that would pile up on the way to attaining this goal as a consequence, it was decided to go ahead with something less elaborate first. After all, why hold back on sharing information – any information that might be of value and/or relevance, however small or understated – just for the sake of a big idea that might not even materialise until a year (or more) down the line (if at all)? Best to engage modestly rather than never. Take each day as it comes and assess all progress regularly – test the waters, as it were ahead of any plans to expand as desired. And thats exactly whats been happening, and now, here we are with 2015 ahead of us, a period in time when folk make resolutions for the future and reflect on whats occurred in the previous twelve months Therefore, with all this in mind, its also time to issue an announcement here – and that is:

Conspiro Media is all set to begin its steps towards achieving that desired Grand Plan.

This is largely due to necessity.                                                                                               Why so? Well, one only need take a look back at the seemingly relentless stream of events that occurred during 2014 that were (are) worthy of note and that this site shouldve reacted to but couldnt and didnt; For starters, there were all those celebrity deaths, most of which were officially deemed as non-suspicious but that were met with doubt and even outright accusations of foul-play by the more Alternative-minded of us. It all began in February when Oscar-winning actor, Philip Seymour Hoffman was found dead in his Manhattan apartment due to a drug-fuelled accident. In August, comedy legend and film-star, Robin Williams was a victim of suicide, and earlier in April, O.T.O.-follower Peaches Geldof died of – in the words of the inquest-report – an unintentional heroin overdose. There was no indication that any third party was present or involved, it stated. Her death, however, came just months after shed Tweeted some provocative comments, observations and revelations with regards to Ian Watkins, the paedophile Rock-musician who was jailed in late-2013 for a string of child sex-offences including the attempted rape of a baby. Had she revealed too much? And what about the constant air of suspicion that hangs around her father, Sir Bob Geldof who, incidentally, faced something of a critical mauling from cynics in the closing weeks of last year in relation to his Band Aid 30 project? peaches geldof-His ex-wife (and Peaches mother), Paula Yates, died in September 2000 of an accidental overdose, 34 months after the suicide of the man shed left him for, 80s/90s Pop sensation, Michael Hutchence. In a police-statement following the INXS stars death, she branded the Boomtown Rats front-man evil, and claimed he had intimidated her by bragging that he was above the law. As numerous onlookers and commentators have opined, a significant number of people closely connected to this sainted individual have ended up dead before their time, and from ugly circumstances. 2014 also saw the passing of TV-host and comedian, Joan Rivers whilst reportedly undergoing minor throat-surgery at a Manhattan outpatient clinic. Interestingly, two months after she died there came accounts of a federal investigation that concluded shed lost her life due to the mistakes of doctors. This has no doubt fuelled suspicions that she was ultimately silenced for calling Barack Obama gay and his wife, Michelle a transgender (we all know) just weeks earlier when approached by an on-the-street reporter. Did the veteran celebrity, like Peaches Geldof before her, pay the ultimate price for her candidness?

The issue of Hollywood paedophilia garnered notable mainstream-media attention towards the end of 2014. This was when the US documentary, An Open Secret was revealed to the public for the first, and, – when considering the apparent content contained within it – possibly last time. Directed by Oscar-nominee Amy Berg, its said to incorporate the testimonies of several ex-child performers including one by the name of Evan H. He gives his account of his abuse at the hands of his then-manager, Marty Weiss who, at a pre-trial hearing in 2012, pleaded no contest to two felony-counts of oral-copulation with a child under the age of 14.

Amy Berg

Amy Berg

Of the few who say theyve seen the documentary, theres focus, so they claim, also placed on Hollywood talent-agents, Michael Harrah (whos apparently caught on a secret tape-recording admitting to making advances on a minor) and Bob Villard who once represented a young Leonardo DiCaprio. According to reports, this individual was among nine people indicted by a federal grand jury in 1987 on charges of transporting child-pornography. In 2001, he was sentenced to three years probation after searches of his home uncovered thousands of photographs of boys in skimpy bathing-suits posing in sexually suggestive positions. He pleaded no contest, as he is also said to have done in 2005 when he was handed an eight-year prison-term for committing a lewd act on a 13-year-old male who sought him out as an acting-coach. Perhaps the best-known of all the individuals placed under the spotlight of suspicion in the documentary is X-Men director, Bryan Singer whose name is linked to Marc Collins-Rector founder of the now-defunct web-TV company, Digital Entertainment Network and who, in 2004, reportedly pleaded guilty in a US District Court to transporting minors across State lines for the purpose of sex. He was notorious in Hollywood – so its said – for his pool-parties where young teenage boys mingled with powerful and successful entertainment/media-men. These get-togethers were referred to in a lawsuit filed against Singer in 2014 by a former male child-model. He claimed the director sexually-abused him at the California estate where these drink and drug-fuelled gatherings took place and then did the same to him in Hawaii in 1999 when he was 17. The allegations were denied, and in August last year, it was announced that the case had been dropped.

Bryan Singer

Bryan Singer

The move to dismiss was, said the accuser, Michael Egan III, little to do with the strength of (Singers) defence, but rather, it is a consequence of the current circumstances regarding my case, my lack of legal counsel, and my inability to proceed in this matter acting on my own behalf. Amy Berg has reportedly said he was the victim of a faulty lawyer and had made a poor decision regarding not only this particular sexual-abuse suit but three others which hed aimed – but then also withdrew – against seasoned TV-heads, David Neuman and Garth Ancier, and Broadway producer and former Disney employee, Gary Goddard.

And as if all this wasn t enough

In December 2014, Stephen Collins, the American screen-actor perhaps best-known to millions for his clean-cut roles in countless television-shows such as the long-running 7th Heaven (in which he played the part of a church-minister, incidentally), admitted publicly to molesting and/or exposing himself over the years to a total of three young girls all aged somewhere between eleven and thirteen. His confession to the US magazine/website, People came just months after an audio-tape was leaked to the media in which he was said to be heard discussing these incidents. It was recorded during a confidential marriage-therapy session in 2012 with his estranged wife, actress, Faye Grant and without – he claims – his knowledge or consent.

Stephen Collins

Stephen Collins

As it happens, 2014 was something of a year for abuse allegations either made by or against the celebrity set. The rape-accusations surrounding veteran comedian and TV-actor, Bill Cosby attracted the most attention, and still do. But there were other notables. For example, sometime during the end of last year, the broadcaster, Howard Stern asked Pop-star, Lady Gaga whether shed been raped by a record-producer at some point in her life. She answered the question with few specifics but did seem to imply nevertheless that – yes – she had been, when she was nineteen, by a man who was twenty years older than her. Shes reportedly denied claims that the as yet unnamed individual was none other than Dr. Luke, the 41-year-old songwriter and music-producer. He himself reacted to the accusations by launching a lawsuit for defamation against prominent criminal-attorney-to-the-stars, Mark Geragos who – so were led to understand – sent a number of strongly-suggestive Tweets (most of which, its said, have since been deleted) that alleged the Pop hit-maker was the rapist in question. I said it because its true, the lawyer told entertainment-news website TMZ after the Twitter posts were pounced on by the media. Furthermore, he revealed his intention to call in Lady Gaga to give evidence for one of his clients, fellow Pop-star, Kesha, who in October 2014 filed a lawsuit for sexual-assault and battery against Dr. Luke. According to her legal complaint, the music-producer, whos credited with playing a prominent role in her career from the beginning, has sexually, physically, verbally and emotionally abused her for the past ten years in order to destroy her self-confidence, self-image, and self-worth so that he could maintain complete control over her life and career. Theres also references to her stint in rehab in January to March last year. The continuous and ongoing years of sexually, physical, verbal and emotional abuse and harassment at the hands of Dr. Luke took their toll, it states. She was forced to seek emergency medical help. Dr. Lukes abuse had caused her to suffer from Bulimia Nervosa, an eating disorder Doctors at the facility told her and her family that the blood pressure and sodium levels were similar to levels found in patients following a heart attack or stroke. She suffered from psychological effects caused by Dr. Lukes abuse, including severe depression, post-traumatic stress, social isolation, and panic attacks. The psychological effects of the repeated abuse suffered were continuous and ongoing…” Sexual abuse, physical abuse, emotional abuse, trauma well-worn words when describing the horrors experienced by an alleged Mind-Kontrolled Pop-puppet. She announced a change of identity of sorts after checking out of rehab; she reverted back to her birth-name, dropping the $ symbol for the letter s. Sources close to the celebrity were reported as saying the reason for this was because she was looking for a fresh start and the previous moniker reminded her of her old self. Make of that what you will. And likewise with regards to another star of sound and screen, Amanda Bynes. According to reports in October last year, she was admitted to a California hospital on an involuntary psychiatric-hold after posting a series of allegations against her father on Twitter, accusing him of physically, verbally and sexually abusing her. She then backtracked on these accusations shortly afterwards, Tweeting, my dad never did any of those things. The microchip in my brain made me say those things but hes the one that ordered them to microchip me. Strong stuff but perhaps not surprising when considering her back-story. Its one thats rife with details that you might collectively term, MK clues. For example, Bynes had been on the receiving-end of an involuntary psychiatric-hold prior to 2014. It happened in July of the previous year after she was involved in a series of often reckless and sometimes bizarre occurrences that included a drug-arrest, a number of motor-related episodes (for example, she was charged for two alleged hit-and-run incidents, although these were later dropped), and finally, a small fire that she was accused of starting in front of a strangers house in California and which was said to be the reason for her enforced hospitalisation after police were called. According to reports, a witness at the scene says they saw Bynes lying down near the driveway of the property with her left trouser-leg ablaze and exclaiming that her dog had been burned by the flames. There were also accounts that the animal in question was soaked in gasoline. During her spell on psychiatric-hold, TMZ stated that it had received information from sources that doctors had concluded the star was suffering from schizophrenic tendencies theres a good Amanda and a bad Amanda. The website reported that the star almost mimics an exorcism when talking about the bad Amanda, pulling at her body as if to remove the demon, and even biting herself. Furthermore, when hospital-staff quizzed her about the fire during a lucid spell when she was kind, quiet and nice her personality changed radically. She got frustrated and then shut down. Her fragile mental state was reportedly recognised by the courts which, as a result, accepted her parents request for temporary control of her personal affairs including her estate worth somewhere between three to over five million dollars. Once again, following her 2014 hospitalisation, they were granted conservatorship. This most recent move was slammed by Amanda on her release in October. She Tweeted, I am more than capable of handling my personal life and finances and I am enraged. Most interestingly of all, she then not only accused her mother and father of stealing money from her, but for doing so with the participation of an extremely notorious individual, an individual who she also held partly responsible for having her hospitalised, none other than Sam Lutfi. He was Britney Spearss so-called manager during her suspected MK meltdown back in 2007-2008 when she was, like Bynes years later, involved in a series of occasionally peculiar incidents that saw her shaving off all her hair, and attacking paparazzi with an umbrella before being put on – wait for it – psychiatric-hold. The Baby One More Time stars parents reportedly blamed him for his involvement in their daughters mental decline and slapped a restraining-order on him, stating, Mr. Lufti essentially moved into Britneys home and purported to take control of her life, home and finances. He also drugged Britney. Lufti – whos also been linked to other suspected MK-puppets including Paris Hilton and Lindsay Lohan – denied the accusations. Byness parents meanwhile are said to have rejected their daughters accusations that this so-called svengali was in any way plotting in league with them.

From top-left to right: Dr. Luke and Kesha pictured in 2011; Sam Lutfi and Britney Spears; Amanda Bynes circa 2013; Lady Gaga

Clockwise from top-left: Dr. Luke and Kesha pictured in 2011; Sam Lutfi and Britney Spears; Amanda Bynes circa 2013; Lady Gaga

As far as Conspiro Media can ascertain, 28-year-old Bynes is currently involved in a legal battle to win back control of her estate and personal affairs. A future article examining these events – as well as one focusing on the controversy surrounding Kesha, Lady Gaga and Dr. Luke – is most certainly being considered for inclusion on this site as is a feature on the role of the CIA in music. This will be in response to claims late last year that a firm based in Washington DC that works for the US Government-backed USAID (United States Agency for International Development) had secretly infiltrated Cubas underground Hip Hop movement for more than two years, recruiting unwitting rappers in a covert plot to spark youth unrest in Cuba and bring about regime-change in that country. The news-agency, Associated Press reported in 2014 that it had obtained documents, thousands of pages of contracts, e-mails, preserved chats, budgets, expense-reports, power-points, photographs and passports” directly linking this secret program to ’Creative Associates International, the aforementioned Washington firm. The AP states that “the idea was to use Cuban musicians ‘to break the information blockade’ and build a network of young people seeking ‘social change.’ At first, the Hip Hop operation was run in Cuba by Serbian contractor Rajko Bozic. His project was inspired by the protest concerts of the student movement that helped undermine former Serbian President Slobodan Milosevic in 2000.” In Cuba, Bozic “homed in swiftly on Los Aldeanos, a Hip Hop group frustrated by official pressure and widely respected by Cuban youth for its hard-hitting lyrics. Creative used a Panama front-company and a bank in Lichtenstein to hide the money-trail from Cuba, where thousands of dollars went to fund a TV-programme starring Los Aldeanos. It would be distributed on DVDs to circumvent Cuba’s censors.” The forthcoming ‘Conspiro Media’ article will provide a recap of all the allegations put forward by the AP (for what you’ve read here thus far is just the tip of the proverbial iceberg) as well as taking a closer look at the notorious histories of both Creative Associates International and USAID, an agency that – according to its website – “works to end extreme global poverty and enable resilient, democratic societies to realise their potential.” It claims to go about this through a variety of efforts that – on the face of it – might appear innocent enough to the casual observer; It “invests in… providing life-saving assistance in the wake of disaster, investing in agriculture, health-systems.” It ‘believes in’ “promoting free, peaceful, and self-reliant societies with effective, legitimate governments.” However, since its formation in 1961 under the watch of President John F. Kennedy, it’s been accused of meddling covertly in overseas affairs whether it be by influencing foreign elections and revolutions, or by supporting and/or administering torture and death. Mark Weisbrot, an American economist and founder of the think-tank, ’The Centre for Economic and Policy Research,’ is quoted as saying, “in a number of countries, including Venezuela and Bolivia, USAID is acting more as an agency involved in covert action, like the CIA, than as an aid or development agency.” In an April 2014 article, William Blum, former US State Department employee, now author and historian, wrote, “the grandly-named Agency for International Development does not have an honourable history; this can perhaps be captured by a couple of examples: In 1981, the agency’s director, John Gilligan, stated, ‘at one time, many USAID field-offices were infiltrated from top to bottom with CIA people. The idea was to plant operatives in every kind of activity we had overseas, government, volunteer, religious, every kind.’ On June 21st 2012, the Bolivarian Alliance for the Peoples of Our America (ALBA) issued a resolution calling for the immediate expulsion of USAID from their nine-member countries, ‘due to the fact that we consider their presence and actions to constitute an interference which threatens the sovereignty and stability of our nations.’ USAID, the CIA… together or singly, continue to be present at regime-changes, or attempts at same, favourable to Washington, from ‘colour revolutions’ to ‘spring’ uprisings, producing a large measure of chaos and suffering…”

So there you have it… just some events there from 2014, a year that ended with a few notable (and significant) words from Pop’s much-maligned ‘dark priestess,’ Madonna. During a Q&A-session with the music-magazine/website, ‘Rolling Stone,’ she revealed the inspiration behind six new tracks that, she claims, she was forced to rush-release after “unfinished” versions were leaked online without her permission. One of them is titled, ’Illuminati.’ In it, you can hear her state, “it‘s not Jay-Z and Beyonce; It‘s not Nicki or Lil Wayne; It‘s not Oprah and Obama; the Pope and Rihanna; Queen Elizabeth or Kanye. It‘s not pentagrams or witchcraft; It‘s not triangles or stacks of cash; Black magic or Gaga, Gucci or Prada. The all-seeing eye is watching tonight, that‘s what it is; Truth in the Light. Nothing to hide, secrets in sight.” You can check out the lyrics in full here:

“People are always using the word Illuminati but they’re always referencing it in the wrong way,” she opined to ‘Rolling Stone.’ “People often accuse me of being a member of the Illuminati and I think in today’s Pop-culture the Illuminati is perceived as a group of powerful, successful people who are working behind the scenes to control the universe. Not people with consciousness, not people who are enlightened. So people were accusing me of being a member of the Illuminati, and I kept going, wait – so first I had to figure out what that meant. Madonna 2014I know who the real Illuminati are, and I know where the word comes from. The real Illuminati were a group of scientists, artists, philosophers, writers, who came about in what is referred to as the Age of Enlightenment, after the Dark Ages, when there was no writing and no art and no creativity and no spirituality, and life was really at a standstill. And right after that, everything flourished. So we had people like Shakespeare and Leonardo Da Vinci and Michaelangelo and Isaac Newton, and all these great minds and great thinkers, and they were called Illuminati… They were illuminating people. It had nothing to do with money and power. Of course they were powerful, because they influenced people. But their goal was to inspire and enlighten. So when people refer to me as a member of the Illuminati, I always want to say, ’thank you. Thank you for putting me in that category.’ But before I can say ‘thank you,’ I feel like I had to write a song about what I believe the Illuminati to be, and what it isn‘t.” She most certainly wasn’t the only celebrity and oft-alleged ‘Illuminati stooge’ to comment publicly in 2014 on this notorious secret society, and – again – ‘Rolling Stone’ was there to document it. Katy-Perry-Rolling-Stone-Cover-August-2014In one of its summer editions, Popstress, Katy Perry was quoted as saying, “listen, if the Illuminati exist, I would like to be invited! I see all that s**t, and I’m like, ’come on, let me in! I want to be in the club!’ I guess you’ve kind of made it when they think you’re in the Illuminati. But listen, I believe in aliens, so if people want to believe in Illuminati, great.“ She claimed to have “no idea what it is. It sounds crazy. Weird people on the internet that have nothing to do find, like, strange triangles in your hand-motions.”

On the subject of “triangles” and “hand-motions” briefly, movie-actor and comedian, Jim Carrey gave us a new comedic interpretation of – for want of a better term – ‘Illuminati symbolism’ when he appeared on the US TV chat-show, ‘Jimmy Kimmel Live’ last year…

Jim Carrey's Secret Hand Signal5

When Kimmel asked him what the unusual signal meant, Carrey – to laughs from the studio-audience – replied, “you don’t know what that is? Come on, Jimmy. Seriously. The time is up. People are hip to this kind of stuff. I’m here tonight to blow the lid off it, to be the whistleblower. I’m sick and tired of the secrets and the lies. It is the secret symbol of the Illuminati… and it is the ‘all-mocking tongue.’ And I’m sick of it. I want everybody to be in on the joke, man. You know what I mean? For years now, talk-show hosts, people on television, people on sitcoms, have been hired by the Government to throw you off the track – to distract you, to make you laugh… make you happy and docile so you don’t know what’s really going on.” If you haven‘t yet seen it, take a look…

Actually, Carrey’s ’Kimmel’ appearance wasn’t the only occasion during 2014 when he publicly referred to “the Illuminati.” Here he is mentioning it in passing on ’Saturday Night Live’ during a skit parodying television-dating shows…

Judging by the comments left on blogs, forums, and chat-boxes amongst the more ‘Alternative-minded’ of us last year, opinion is divided as to what Carrey was aiming to achieve with these references. Was he mocking so-called ’conspiracy theorists’? Perhaps the intention was to cheapen and damage the credibility of, not only those of us who follow this line of research, but the very idea – the very possibility – that there do exist secret plots to control the masses? Or maybe – just maybe – he actually was whistleblowing, but secretly, through his characteristic brand of comedy?

Whatever the real reason was for Carrey’s public nod to ‘the Illuminati’ during 2014, one thing’s for sure, it’s no longer a subject exclusively discussed and debated on the fringes. As noted in a ‘Conspiro Media’ January 2014 article that reviewed events and happenings of 2013, this recent mainstream-media acknowledgement has been slowly brewing and growing for some time. So, it only stands to reason, there’ll be millions of people out there now who’re aware of this secret society – not from researchers, authors, journalists, and prominent speakers within the ’Truth circuit’ – but from the comments of globally-famous Pop-culture icons. Putting aside any questions or doubts as to what motivated these celebrities to respond to this subject in the way they did, there is of course an opportunity here for those of us with an interest in keeping abreast of the One World Agenda to take advantage of; We should be on hand in the face of this growing mass awareness, to guide and assist those who’ve been led to this point of consciousness by the likes of Carrey, Perry and Madonna and who are largely unfamiliar with the details of any grand (and very real) globalist conspiracy, to point them towards knowledge and information that we (you) believe to be credible and as reliable as possible (should they so ask or seek of course).

It’s appropriate then that ‘Conspiro Media’ is all set to follow-through with its much desired expansion now, because, as it stands, this site currently doesn’t possess the capacity to accommodate the rapid succession of events such as unfolded in 2014 – and hence why there’s been a serious lack of regularly updated material here in general actually (let alone in the last twelve months).

The overarching problem that’s contributed to the site’s shortage of frequent postings is… time. You see, in a genuine bid to deliver the most relevant, reliable and significant information possible, each article that’s available to see here will have been as a result of anywhere between a week to six month’s-worth of work. Most of this is spent on painstaking research (fact-finding, reference-hunting, cross-checking), and also – to a lesser extent – on the collating and arranging of all the relevant and useful data into a readable-enough format once it‘s been collected. Obviously, the priority is to get all this completed and published as soon as is possible. In order to achieve this however, one must apply a single-minded approach, and ultimately, at the cost of reporting on any breaking news-items and topics occurring in the meantime that might be relevant to this site.

The solution to this problem is… space. ‘Conspiro Media’ can – potentially – supply information on the latest news-events of relevance as and when they happen whilst continuing to deliver the usual, familiar heavily-researched articles as well, ideally, by moving away from the confines of the current web-address, ‘,’ to a more expansive location which can accommodate multiple pages of content more satisfactorily. It’s there (so it’s planned) you’ll be able to access a user-friendly menu-board that guides you towards the proposed ‘News Headlines’ area where you’ll be able to check out all the most recent developments, posted in a variety of forms, more often than not taken directly from outside-sourced reports (with the occasional additional commentary from ‘Conspiro Media‘ too) and complete with links straight to the sites they‘re lifted from. Meanwhile, the customary heavier articles will be published and available to read elsewhere in a separately-designated section of their own. All this should (it’s hoped) ensure that there’ll always be something fresh to see whenever you should choose to come and take a look. Also, don’t forget about the inclusion of an area dedicated to showcasing conscious-minded music-artists, so, please, if you’re a singer, rapper, musician, producer/remixer/DJ who has something meaningful to share, do get in touch and pass on your details, either by adding them to the ’comments’ section (via the speech-bubble at the top of this post) or by e-mail (contact, me – Matt Sergiou – at

It should be pointed out that this proposed expansion is currently in the very, very early planning stages. There have been discussions with one or two web-designers as to how this idea can be transformed into a reality, but that‘s as far as it‘s gone to date, so, it’ll be sometime yet before we’ll see the finished result – it could take three months, maybe six, perhaps twelve (the sooner the better, preferably). I sincerely hope you’ll keep checking back for any new articles that’ll be posted here in the meantime though – even if they are somewhat infrequent.

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


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

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

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

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

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

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

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

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

Margaret Thatcher’s influence on 1980s British culture spawned a generation of angry musicians. Will we ever witness such a rebellion again?

GSH 50

Margaret Thatcher was often accused of having little (if any) affection for the Arts. In a 2009 ‘Guardian’ article for example, an assortment of writers, musicians, composers, and painters who were active during her premiership spoke out against her supposed philistine attitude. The newspaper’s film critic, Peter Bradshaw opined, “from 1979 to 1990, nothing, with the possible exception of football, was of less interest to Margaret Thatcher than cinema. For her, the Arts were greedy and ungrateful gobblers-up of public subsidy, and cinema was the least compelling of this fantastically undeserving lobby. She had visited the cinema in Grantham as a child and was said to enjoy Hollywood and British films from the 30s and 40s, but her biographer and friend Charles Moore says that it’s doubtful she saw much as an adult. Film was entirely irrelevant to her personally and politically, and her tentative contact with shrewd ad-men such as Gordon Reece, Tim Bell and the Saatchi brothers was the nearest she came to show business.” Hanif Kureishi, perhaps best known for writing the screenplay for the 1985 movie ‘My Beautiful Laundrette‘ which tackles issues such as racism, homosexuality and Britain’s political and economic policies during the Thatcher era, was far more scathing in his assessment of her. He stated that she, “like the Queen, is basically vulgar, and has little cultural sophistication or understanding. But unlike the Queen, she actively hated culture, as she recognised that it was a form of dissent.” He continued, “Thatcher had no understanding of what a central place the Arts have in British life. Or how good Britain is at producing books, films, theatre and music.” It’s somewhat ironic, then, that her influence on the cultural landscape of 1980s Britain is deeply profound. Within hours of her death last week, bloggers and social commentators were quick to illustrate this through countless examples of songs, movies, TV shows and plays that poured out during her historic run as Premier. A number of musicians who formed bands or were well known for singing out against her policies during this time have commented on her passing, including Bobby Gillespie, lead singer of Primal Scream, one of the most innovative British bands to have emerged during the latter half of that decade. He reportedly told ‘AFP,’ “I was very happy when I heard the news. My friends were texting me and everybody thought it was great.” He also praised bands that flourished during that era such as Joy Division for “making art that felt like Britain… It was a grey, paranoid, violent place and they were making music that reflected that, so to me it’s true art. They were important because they were questioning authority, ‘think for yourself’ that was the message of that stuff. (Now) we live in a very violent and extreme time but the music I hear doesn’t reflect that. Young bands are so conservative, so bland, no one says anything that’s controversial or confrontational.” His observations on the lack of social commentary in contemporary Rock is a theme that ’Conspiro Media’ has explored in the past at some length, for example, in a June 2011 article titled, ’The Cowell Connection,’ the corporate-led centralisation of the music industry towards the end of the 1980s and the swallowing-up of small independent labels that were once breeding grounds for outspoken artists was cited as a possible cause for the downturn in songs with a social/political emphasis, as was the meteoric rise of Simon Cowell and ‘X Factor’ in 2004 and the never-ending stable of Mind-Controlled puppets that have rolled out of it’s production-line ever since.

It would be wrong to assume, as have a number of commentators over the years, that Thatcher’s resignation in 1990 somehow starved artists of a muse that they could vent their anger and frustration against. Whilst there’s no denying the fact her policies led to deep, often violent divisions during the 1980s, and her tough, uncompromising public image riled her most passionate of critics, modern-day bands needn’t look too far for replacements. As Bobby Gillespie states, we do indeed live in an “extreme time,” arguably even more extreme than the days when the so-called ‘Iron Lady’ was residing at No.10 Downing Street. Since her resignation 23 years ago, sections of the world have been (or are being) bombed into submission by a cabal that justifies it’s acts of aggression based on the lies of 9/11 and Tony Blair’s and George W. Bush’s “weapons of mass destruction.” Prior to the invasion of Iraq in 2003, millions of people across the globe marched on the streets in protest in an international display of solidarity not seen since the Vietnam War years when well-known musicians of the time were quick to add their voices to the chorus of discontent… In the 2000s, the music scene, in the main, remained silent. In present-day Europe, the ordinary man and woman on the street are being brought to their knees by an un-elected group of bureaucrats who rob their money. Meanwhile, the banksters snatch their own slice from the pie, whilst the remainder of the population are forced to endure  “austerity measures” that include cuts in public services and the stripping of benefits from the most vulnerable in society… but, the singers still ain‘t singing.

There are voices of dissent in the distance, though…

The decline of guitar-based music in Britain in recent years has coincided with the rise in popularity of Urban/Dance, a genre that incorporates a number of styles including Grime and Hip Hop, both of which have between them delivered material that, on occasion, is packed with social / political comment. In the wake of 2011’s London riots for example, a number of the UK’s best known rappers including Professor Green, and Lethal Bizzle spoke out about the unrest, stating that it was a cry of desperation by a generation of under-privileged, disaffected, frustrated, angry youths shunned by government, and trapped inside a hidden section of society where drug-taking, drug-dealing, theft, and murder is the norm. Within days of the riots, lesser recognisable Urban artists were releasing tracks in response.
Unfortunately, these rebellious voices of reason are constantly drowned out by the over-powering noise of the Music Industrial Complex and it’s endless procession of inane, trivial stars and starlets who’re all dancing and singing to the same tired old tune. There is music available that tackles themes of social injustice, war, and the ever-growing presence of the New World Order, but, you have to go look for it, because it won’t come to you courtesy of the mainstream.

Margaret Thatcher has drawn her last breath, but the defiant, angry spirit she inadvertently ignited in the voices of countless musicians and performers during the 1980s is still desperately holding on for dear life… somewhere.


A number of music artists who were actively recording and performing during the Thatcher era found time over the last week to share their views on her death, her legacy, and her policies…

One of Margaret Thatcher’s harshest critics, his controversial views have brought him into direct contact with the authorities. Following the release of his 1988 album, ‘Viva Hate,‘ he was investigated by police for a song featured on it titled, ‘Margaret on the Guillotine’ which described the death of the then Prime Minister as a “wonderful dream.”  morrissey

In an official statement posted on the website ‘True to You’ on April 9th 2013, he remarked:

“The difficulty with giving a comment on Margaret Thatcher’s death to the British tabloids is that, no matter how calmly and measuredly you speak, the comment must be reported as an “outburst” or an “explosive attack” if your view is not pro-establishment. If you reference ‘the Malvinas,’ it will be switched to ‘the Falklands,’ and your ‘Thatcher’ will be softened to a ‘Maggie.’ This is generally how things are structured in a non-democratic society. Thatcher’s name must be protected not because of all the wrong that she had done, but because the people around her allowed her to do it, and therefore any criticism of Thatcher throws a dangerously absurd light on the entire machinery of British politics. Thatcher was not a strong or formidable leader. She simply did not give a shit about people, and this coarseness has been neatly transformed into bravery by the British press who are attempting to re-write history in order to protect patriotism. As a result, any opposing view is stifled or ridiculed, whereas we must all endure the obligatory praise for Thatcher from David Cameron without any suggestion from the BBC that his praise just might be an outburst of pro-Thatcher extremism from someone whose praise might possibly protect his own current interests. The fact that Thatcher ignited the British public into street-riots, violent demonstrations and a social disorder previously unseen in British history is completely ignored by David Cameron in 2013. In truth, of course, no British politician has ever been more despised by the British people than Margaret Thatcher. Thatcher’s funeral on Wednesday will be heavily policed for fear that the British tax-payer will want to finally express their view of Thatcher. They are certain to be tear-gassed out of sight by the police.
United Kingdom? Syria? China? What’s the difference?”

Johnny Marr (Ex-Smiths):


“My thoughts are that if you see the word ‘Thatcherism,’ it’s not a word that stands for something good. I don’t think there’s any getting around that.

I thought that the British government’s statement that she made Britain great again was false and really arrogant because everybody knows, left or right, that Margaret Thatcher didn’t make Britain great. If that was the case then why isn’t it? I felt like that was very, very disrespectful to generations of families who have never recovered from her legacy.”

*’Rolling Stone’ magazine, April 13th 2013

Annie Lennox (Ex-Eurythmics):
“Margaret Thatcher’s death has provoked an outpouring of polarised responses, clearly reflecting how people felt, and still feel about her, right up to the present day.
As a political leader, her style was strident (some would say strong), inflexible (some would say firm), authoritarian (some would say powerful ), tough (some would say resolute), arrogant (some would say assured), snobbish (some would say she had a sense of values), and faintly ridiculous, (some would say patriotic). She was the headmistress and we were the renegade schoolchildren. She was the leader and we were the ardent followers…all depending on which side you happened to be on. Despite the evidence of her gender, she could never be described as a Feminist. She was more of a singular woman in the old boys club than a defender of women’s rights. annie-lennox
Although she was the daughter of a humble grocer shop owner, her aspirations far outreached her roots.. which is tremendous but… she failed to have any real understanding or connection with ordinary people, riding rough shod over their lives, leaving them to deal with the aftermath of a decimated industrial era. Entire communities disintegrated with generations being left to cope for decades down the line.
I admire dedication, strength of purpose and vision, these are all fine qualities but when political policies are so brutally hard line, that they affect people’s entire existence at a pen stroke (whilst being told to pull themselves up by their boot straps), you can be sure that the spirit of dictatorship has arisen. From my own perspective I keep recalling the heavy sense of oppression that saturated every aspect of the 70s, and I can’t say I have any sense of fond nostalgia.”

*’FaceBook’ posting, April 10th 2013

Billy Bragg:
Perhaps British music’s best known, most outspoken activist, his career was somewhat defined during the 1980s by his unflinching, criticism of Thatcher and her policies.


“This is not a time for celebration. The death of Margaret Thatcher is nothing more than a salient reminder of how Britain got into the mess that we are in today. Of why ordinary working people are no longer able to earn enough from one job to support a family; of why there is a shortage of decent affordable housing; of why domestic growth is driven by credit, not by real incomes; of why tax-payers are forced to top up wages; of why a spiteful government seeks to penalise the poor for having an extra bedroom; of why Rupert Murdoch became so powerful; of why cynicism and greed became the hallmarks of our society.

Raising a glass to the death of an infirm old lady changes none of this. The only real antidote to cynicism is activism. Don’t celebrate – organise!”

*’FaceBook’ posting, April 8th 2013.

John Lydon (formerly, Johnny Rotten; The Sex Pistols):

john_lydon_london_201201_website_image_gchk_standardSpeaking to journalists after arriving in Sydney for a live date with his band, PiL, he said, “I was her enemy in her life but I will not be her enemy in her death.” Furthermore, “her politics were really dreadful and derisive and caused a great many issues for me when I was young, for all of us trying to go through that. But that don’t mean I am gonna dance on her grave, as they say. I’m not that kind of person. I was her enemy in her life but I will not be her enemy in her death. I am not a coward.” He added, “my entire life, socially, was all around the Maggie era. That was the great challenge as a Sex Pistol was how to deal with Margaret Thatcher. I think we did rather good.”

Dave Wakeling:
The guitarist and vocalist of 2 Tone band, The Beat who recorded a song titled ‘Stand Down Margaret’ in 1980. l_589f88eb212c2a9142aea1216f5e65d7

“The American perspective of Margaret Thatcher, certainly from a foreign policy point of view, was that she was a trusted ally – of Ronald Reagan’s in particular – and did a pretty good job at it. And there’s an argument there. But what most Americans didn’t see was the complete dismantling of towns and villages, of people’s lives being cut short and then cutting their own lives short because they thought, like the Sex Pistols said, that there was no future. That time signalled a breaking of the English spirit, where people who used to have each other’s back, and used to talk to strangers – Thatcher turned neighbours into competitors.
People misunderstand the socialism of the English after World War II. Soldiers like my father got back to England and there was nothing left – there were no hospitals, land had been decimated, and that carried through our childhood. So everybody built stuff together and looked after each other. It was like, when push came to shove, although we had differences of opinion, we had each others’ backs. Mrs. Thatcher’s introduction of trickle-down economics, and we’re still waiting for it to work, broke that mold. She broke the unions. She sold shares of companies that the people already owned, all of which flopped in value. A generation saw their parents give up on life as they saw their own opportunities stunted. They saw the town where they’d grown up dismantled. She was very divisive.
It was obviously a very transformative time – similar in some ways to what Americans have gone through in the last few years. A recession closing on depression, a sense of nihilism – but it reached epic proportions in England where the scapegoats were anybody who seemed to be different …  ‘Your skin colour is different? It must be your fault.’ To divide people against each other, make them forget in their pain and common suffering, and conquer. Simple. Historic. It’s been done so many times, I don’t even know how it works anymore. People go for the bait and get desperate, and if you can reach out with a bit of national pride, you can pump things up with a good war. Then there was pretence. Something that I think the film Iron Lady missed was, not only how Mrs. Thatcher’s accent was terribly affected – she had a slightly D.H. Lawrence accent from Nottingham East Midlands, or Robin Hood country, and adopted a very proper Oxford English accent – but her real voice would break out sometimes when she’d get angry. Because most everything about Mrs. Thatcher was pretend – it was a way for the privileged to secure themselves at the expense of everybody else, which continues to this day. 
The song ‘Stand Down Margaret’ was as much about, ‘get off your soapbox!’ as standing down in a political sense. It was: stop showing off to everybody; humble yourself a bit; stop pretending you’re posh – we know you’re from Nottingham.
In England, there’s a notion called ‘kippers and curtains,’ where somebody buys expensive net curtains to hide the fact that they don’t have any furniture at all and they’re really inside eating smoked fish twice a day off an old packing case.
It’s a front. Acting posh and hoping that rich people would love her. Sure, she ended up as Lady Thatcher, but grew up as a grocer’s daughter. Some say that’s terrific – she broke the glass ceiling for women, but she didn’t. Pretending to be an aristocratic man that liked to bully people is not any essence of feminine power. It was just aping the worst of male power. That’s not to say that change wasn’t required. We understood England was in a pickle and needed to modernize, but we really didn’t need to become a floating aircraft carrier for America and at the same time give up our own traditions. Every country and every decade has to deal with change, but it was done with cruelty and arrogantly. Because of that, it created more enemies than friends. Still, we wanted to poke fun at it. We wanted the song to be happy. We were sick of her making people miserable and we were sick, frankly, of so many miserable sentiments and songs and attitudes in opposition to her. So we wanted a protest song that was full of life and word play. We didn’t want it to be insulting. We even asked please [the lyric: “Stand down Margaret / Stand down please”]. Unfortunately, we never got the chance to say thank you. I disagree with Mrs. Thatcher absolutely and entirely. And I still feel sad and heartbroken at what she did to England. But beyond all that, we send comfort and solace to her family, because it’s always a sad and reflective time when a mom dies.
At the end of the day, the worst thing about Margaret Thatcher is not that she said in 1987, ‘There’s no such thing as society – there are individual men and women and there are families,’ or that she was an ardent supporter of the Apartheid movement in South Africa who once called Nelson Mandela a ‘grubby little terrorist.’ The worst thing is, she bloody won and we let her get away with.”

*’The Hollywood Reporter’ 2013

REFERENCE LINKS:–calls-respect.html

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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