Since the first publication of my book "Science Fiction and the Hidden Global Agenda", I have continued to study the book's subject matter at length. This research eventually prompted the need for numerous updates and revisions to the original book, along with the incorporation of brand new research material on the subject. The latter includes a wealth of new material on Stanley Kubrick, George Lucas and Ridley Scott, new material incorporating the Laurel Canyon scene and the "death" of Sharon Tate into the context of the book, the connections between the Back to the Future film franchise and 9/11, the role of Doctor Who as a mass purveyor of arcane and predictive programming symbolism, the increasing prevalence of Saturn symbolism in film and television, and much, much more. The resulting 2016 edition of the book weighed in at almost 800 pages long! As a result, I have now published "Science Fiction and the Hidden Global Agenda" - The 2016 Edition as a split / two-volume work. As with the first edition, these books are being produced, printed and published via Lulu Publishing. Volumes One and Two of the 2016 Edition are now available to purchase in paperback format from their website. All of the relevant information and links are below.
Science Fiction and the Hidden Global Agenda - 2016 Edition Volume One
"In Volume One of this comprehensively updated 2016 edition of "Science Fiction and the Hidden Global Agenda", alternative knowledge researcher Carl James explores the formative years of science fiction via the pioneers of the literary genre and their myriad of connections to the global power elite. He also examines how future "space exploration" came to be depicted in the genre and exposes how science fiction acted as a perception management mechanism for the likes of the extra-terrestrial paradigm and the escapades of organisations such as NASA, JPL, the U.S. Department of Defense, and the CIA. This research exposes all manner of secret military and intelligence experiments, cover ups and conspiracies of silence, and a larger global agenda mechanism."
http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - 2016 Edition Volume Two
"In Volume Two of this comprehensively updated 2016 edition of "Science Fiction and the Hidden Global Agenda", alternative knowledge researcher Carl James explores how science fiction has been used by the global power elite to shape mass perceptions of reality. He also examines the "mind control" phenomenon, the culture of fear, false flag events and the media's growing obsession with embedded arcane and occult symbolism and themes. This research exposes all manner of secret military and intelligence experiments, cover ups and conspiracies of silence, and a larger global agenda mechanism."
http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
Free downloadable PDF versions of the books are available from Andrew Johnson's website http://www.checktheevidence.com
See the links below:
The original first edition of the book is no longer available as a paperback version from Lulu, however a free PDF version of the original version is still available to download from checktheevidence.com. Click the link below to download this version of the book:
http://www.checktheevidence.com/pdf/Science%20Fiction%20and%20the%20Hidden%20Global%20Agenda%20-%20Carl%20James%20-%201st%20Ed%20-%202014.pdf
As always, many thanks for all your continuing support and I hope you enjoy my new books. Please spread the word far and wide!!
Best wishes,
Carl James. (http://thetruthseekersguide.blogspot.co.uk/)
The larger “Saturnian” context of Kubrick’s films cannot be overlooked. Saturn Worship (also known as “The Saturn Cult”) is seemingly based upon the once overbearing deification of the planet we have come to know as Saturn. A number of researchers assert that the ringed planet may once have occupied a closer position to Earth in the solar system (according to mythology, Saturn was brightly visible from the Earth, occupying a relatively fixed polar north position in the sky), that the Earth and Mars may have orbited Saturn (and that this group of celestial bodies may have once existed outside of our current solar system), that Saturn may once have been a small sub-brown dwarf star, etc. Some researchers claim that a period of (possibly catastrophic) upheaval reconfigured the solar system into its current alignment. Troy D. McLachlan has written an interesting series of articles on this subject:http://saturndeathcult.com/the-sturn-death-cult-part-1/a-timeless-age-in-a-purple-haze/
Conventional science would have us believe that such large scale events haven’t occurred since the initial formation of the solar system. However, the research of Immanuel Velikovsky (as well as several others) suggests this is perhaps not the case. Notions such as “The Electric Universe” model and the effects of plasma physics and (even) hyper-dimensional energy suggest the possibility that our solar system is in a constant state of change. “The Immanuel Velikovsky Archive” http://www.varchive.org/
For an alternative scientific examination of all things Saturn, Norman R. Bergrun’s “The Ringmakers of Saturn” is also an interesting read. http://www.ringmakersofsaturn.com/
Whatever one makes of the various notions regarding Saturn, the powerful interpretation of this planet in ancient mythology and early religion seems to indicate that Saturn was revered highly above other deified celestial bodies (perhaps even more than the Sun and Moon). Modern celestial deification (in the form of the imagery and metaphor portrayed in advertising, art, music, Hollywood and so on) has pushed the significance of Saturn further into the background, favouring the Sun, Moon, and other planets like Mars and (particularly) Jupiter.
However, some elite and secret society belief systems quietly continue to look upon Saturn as a supreme deity. Saturn Worship is often personified by the significance of a black stone or cube. This object has been interpreted as everything from the alchemical “Philosopher’s Stone” to the mythological “Pandora’s Box”. “Literal” black cubes are visible in numerous worldwide locations – ranging from the Apple 24-7 Store in New York, to the Black Cube of Kabba or Mecca.
The current incarnation of the “Black Cube” appears subtly, cryptically, yet widely in contemporary popular culture. The “Allspark” cube of the “Transformers” film franchise, “Lemarchand's Box” (also known as the "Lament Configuration") in the “Hellraiser” movies, the Borg vessels in the “Star Trek” franchise, and so on, are all potential cyphers indicating the black cube concept.
One particular science fiction franchise – the contemporary revival of “Doctor Who” – appears to have a fascination with the imagery. Recent series included several “black cube” prisons designed to incarcerate Matt Smith’s “Doctor” (“Day of the Moon” and “The Pandorica Opens” – the later cube is called “The Pandorica” as in “Pandora’s Box”), as well as a strange episode (called “The Power of Three”) involving a “slow invasion” by billions of small black cubes. The Saturnian clues in “Doctor Who” were perhaps always there. One incarnation of Saturn (in mythology) is “Kronos”. The latter term is usually associated with “chronology” and “time”. The concept of “time” was allegedly created in Mesopotamia by Sargon. Sargon has also been interpreted as “Saturn”. The Doctor is, of course, a “Time Lord”. The TARDIS’ central control console has always assumed a relatively hexagonal configuration. The hexagon is used in Saturnian symbology as it is a two dimensional representation of the three dimensional “cube” shape.
Bizarrely, NASA has taken photographs showing a huge hexagonal feature that encompasses Saturn’s north-polar region! http://www.jpl.nasa.gov/news/news.php?release=2013-350
Obviously, the central motif and plot-driver of Kubrick’s “2001: A Space Odyssey” is the black monolith artefact. Whilst the monolith is certainly a “black stone”, it does not technically extend to being a “cube”. The monolith’s shape is closely analogous though. The film’s screenplay co-writer, Arthur C. Clarke, allegedly had a fascination with the beliefs of The Brotherhood of Saturn. There are various examples of Saturnian symbolism in many of his novels. Some people consider Saturn to be the apex of Gnostic theology and it is worth noting that Clarke’s ground-breaking work “Childhood’s End” is considered by some to be a “Gnostic thesis”. Although the overlap between Gnosticism and Saturnian beliefs does deserve some scrutiny, I tend to view each as a separate paradigm.
The study of Gnosticism has definite merit, at least in my opinion.
Saturn Worship is fascinating and may (I say tentatively) have its origins in more benign rituals and practices. It does appear to have been ultimately usurped by certain elite parties and perverted and twisted for seemingly agenda-related purposes. For this reason, some researchers have branded all aspects of the Saturn paradigm as evil, deviant, and so on. I have tried (equally with “occult” practices and the like) to avoid weighing in on such arguments and try to stick to what is quantifiable.
Before I move away from the Gnostic subject, I have noticed that researcher John Lash has made some observations about “2001: A Space Odyssey” – not in relation to the Saturn aspect, but rather the role of the computer HAL as a symbol of the destructive nature of Artificial Intelligence, and the increasingly reverential, salvationist or submissive attitude that some humans have toward technology. “This objection comes from my studies of the Gnostic teachings that warn about HAL, simulation, artificial intelligence - AKA the Archon factor so clearly described in Gnostic Coptic texts.” "Take Back the Planet" by John Lamb Lash, 2009 - http://www.metahistory.org/dynamyth/Avatar.php
There is some controversy over the “original” setting of the story of “2001: A Space Odyssey” – was Jupiter really the intended locale (as seen in the released film) or was it Saturn (as featured in Clarke’s novel)? Arthur C. Clarke wrote the novel “concurrently with the film version and published it in 1968, after the film's release.” Arthur C. Clarke, “The Lost Worlds of 2001”, 1972, Signet
Interestingly, in Clarke's novel, the specific destination of the “Discovery” is the Saturnian moon Iapetus (which Clarke spelled with a 'J'). I have often wondered why Clarke chose this bizarre celestial body as the specific location. The NASA Cassini photographs of Iapetus revealed a perfectly linear equatorial ridge (actually three parallel ridge lines) three miles high, which span half the moon’s circumference. The moon also has an odd polygonal curvature to its surface. These abnormalities have prompted some individuals to suggest than Iapetus may be somehow “artificial” in nature. The curious similarity with George Lucas’ Imperial “Death Star” battle station (from the “Star Wars” films) has also earned Iapetus the moniker “the death star moon”.
According to Frederick Ordway, “2001: A Space Odyssey” began production with Jupiter as the intended destination of the “Discovery” mission. In his piece “2001: A Space Odyssey in Retrospect”, Ordway states that Kubrick decided (in September 1965) to change the setting to Saturn.
Kubrick apparently:
“persisted, pointing out the beauty of the Saturnian ring system and the spectacular visual effect of the Discovery’s travelling near or even through it. Would I do some investigation and prepare a memo outlining the latest knowledge of Saturn, its rings, and its moons, he asked? And would I focus on anything that seemed out of the ordinary, something intriguing and unexplainable that Arthur Clarke might weave into a revised screenplay? I prepared the memo, Kubrick was delighted, and Clarke backed the change with great enthusiasm. He brilliantly wrote Jupiter out and Saturn in. Everyone was happy, except for Wally Veevers, Doug Trumbull and others in the Special Effects Department. Despite their wizardry, they felt uncomfortable with the thought of having to accommodate the Discovery's moving within the Saturnian ring system. On top of all their problems, they were not in the mood to tackle a new one that might prove intractable. Anyway, they were all under severe time restraints on myriad other parts of the film.Special effects carried the day as far as the motion picture was concerned. But Clarke was so delighted with Saturn that he maintained it as the target planet in the novel version.” http://www.visual-memory.co.uk/amk/doc/0075.html
By this account, the Saturn premise was ditched due to time limitations and the restrictions of the available effects technology and the film returned to the Jupiter setting. According to Ordway, an atmosphere of tension lingered over the remainder of the production (particularly from Kubrick) following the return to the Jupiter locale.
It has also been suggested that Saturn was always the intended target and that the effects team did attempt to realise Saturn, but that “the production was unable to develop a convincing rendition of Saturn's rings; hence the switch to Jupiter.” The film’s special effects supervisor Douglas Trumbull continued to work towards resolving the technical problems involved in reproducing Saturn's rings. In 1972, he directed the film “Silent Running” and employed “effects developed but not completed for 2001.” http://www.thespacereview.com/article/1337/1
As an interesting aside, Trumbull employed actor Bruce Dern as his lead man for the Saturnian eco-epic “Silent Running”. Dern was a firm fixture of the Laurel Canyon scene and one of a group of Canyon actors (including the likes of Peter Fonda, Warren Beatty, Jack Nicholson, Dennis Hopper, Jane Fonda, etc.) known as “The Young Turks”. Researcher Dave McGowan describes the Canyon scene as one that was once associated with “Masons, the FBI, the OSS, the CIA, the secret society known as ‘Skull and Bones’, the Rothschild family, military intelligence of every conceivable stripe, the O.T.O., the RAND corporation, the ‘Neocon’ cabal and just about every other nefarious group that regularly pops up in ‘conspiracy’ literature.”
http://konformist.com/archives/2009/03-2009/inside-the-lc-08.txt
Interestingly, Bruce Dern’s paternal grandfather was FDR’s secretary of war and defence. http://en.wikipedia.org/wiki/George_Dern
He also had a maternal uncle (Archibald MacLeish) who was FDR’s Director of the War. Department’s Office of Facts and Figures (War Propaganda). http://www.loc.gov/about/librarianoffice/macleish.html
MacLeish was also a member of the Skull and Bones secret society (class of 1915, one year before Prescott Bush.) http://en.wikipedia.org/wiki/Archibald_MacLeish#Early_years
During a March 6, 2011 interview on Red Ice Radio, Jay Weidner disputed the claim that the limitations of the available special effects technology had scuppered Kubrick’s intention to realise Saturn. He asserted that Kubrick was pressured to make the changes by highly placed occultists “worried that the film was too blatant in its depiction of the role played by Saturn in their occult human transmutation agenda.” http://www.redicecreations.com/radio/2011/03/RIR-110306.php
Some researchers have suggested that these possible “high placed occultists” may have also had NASA connections, given the documented connection between the film’s production and the agency. There may be other subtle clues to the Saturn Worship/NASA crossover – such as the naming of the “Saturn” rockets that were intricate to the Apollo programme.
According to Troy McLachlan, “In dealing with these occult NASA insiders while faking the Apollo 11 landings, Kubrick would have been initiated into their perception that humanity’s destiny is inextricably linked to an occult and metaphysical understanding of Saturn.” http://saturndeathcult.com/crimes-of-the-saturn-death-cult/stanley-kubrick-and-the-saturn-death-cult/
To be concluded...
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-1.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-2.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-3.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-4.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-5.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-6.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-7.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-8.html
Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery - http://thetruthseekersguide.blogspot.co.uk/2014/11/updates-6th-annual-british-exopolitics.html
Foxes, Saturn, Kubrick, Doctor Who and The Singularity - http://thetruthseekersguide.blogspot.co.uk/2014/08/foxes-saturn-kubrick-doctor-who-and.html
A Movie About Kubrick Faking the Moon Landing? - http://thetruthseekersguide.blogspot.co.uk/2014/07/a-movie-about-kubrick-faking-moon.html
Stanley Kubrick - Updates - http://thetruthseekersguide.blogspot.co.uk/2014/04/stanley-kubrick-updates.html
Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html
Stanley Kubrick approached many controversial subjects within the context of his films. He often alluded to the power and corruption of the elite, as well as the mechanisms used to maintain their power. A common theme in his films, such as “A Clockwork Orange” and “Eyes Wide Shut”, is the notion of state sponsored, often trauma-based, mind control. Before I look at these films in a little more detail, it is important to establish some generic details regarding the mind control subject.
There exists a documented history of state sponsored mind control instigated by (although far from exclusively) the US Central Intelligence Agency (CIA). The CIA came into being, into 1947, as a direct result of the work and influences of The Tavistock Institute - specifically the CIA’s precursor - the OSS.
Thomas Powers, “The Man Who Kept the Secrets: Richard Helms and the CIA”, New York: Alfred A. Knopf 1979.
The CIA was forbidden from having any domestic police or internal security powers and was authorized only to operate ‘overseas’. In many regard, this rule of thumb was disregarded from the outset. Early examples of the agency’s involvement with mind control experiments include: Project Bluebird – believed to have been officially formed to counter Soviet advances in brainwashing. The extent and success of early forays is a little uncertain, although the mainstream belief has always been one of a “varied success rate” and “poor initial test results.” If this was the case, then it certainly didn’t stop the practice; in fact it flourishedhttp://www.wanttoknow.info/bluebird10pg
From the earliest stages, it appears that these projects aimed to study methods ‘through which control of an individual may be attained’. Experimentation included ‘narco-hypnosis’ which involved the use of mind altering drugs and hypnotic programming. Specialised teams were created in the CIA to travel all over the world, using newly developed interrogation and programming techniques. The practice also involved a variety of narcotics (heroin, sodium pentothal, marijuana, LSD, etc.)
Some degree of disclosure of these operations came to light in 1975 when the existence of MKULTRA was exposed by the Church Committee of the US Congress, and a Gerald Ford commission to investigate CIA activities within the United States. According to Wikipedia, “Investigative efforts were hampered by the fact that CIA Director Richard Helms ordered all MKUltra files destroyed in 1973; the Church Committee and Rockefeller Commission investigations relied on the sworn testimony of direct participants and on the relatively small number of documents that survived Helms' destruction order.” http://en.wikipedia.org/wiki/Project_MKUltra
"An Interview with Richard Helms" (Central Intelligence Agency – 05/08/2007):https://www.cia.gov/library/center-for-the-study-of-intelligence/kent-csi/vol44no4/html/v44i4a07p_0021.htm
FOIA MKULTRA Document Archive:http://www.abuse-of-power.org/foia-mkultra-document-archive/
Various Freedom of Information (FOI) requests eventually resulted in a small number of documents being released. MKULTRA came into being (apparently) on 13th April 1953 – although a number of insiders give an earlier date. CIA documentation describes MKULTRA as an ‘umbrella project’ with 149 ‘sub-projects’. These sub-projects include illegal and unsolicited testing of drugs, altered states of consciousness, and implementation of electronics components. Some experiments also involved “remote activation and control” of living organisms.
The phenomenon of state sponsored mind control programming does not begin and end with MKULTRA though. Although MKULTRA is perhaps the most well-known and documented, a myriad of project names (official and unofficial) have surfaced over the years, begging the question of just how far reaching these practices go.
Whilst it is believed by many that the overall goal of these projects was to brainwash individuals to become couriers and spies, some alleged accounts of extreme programming (such as Cathy O’Brien and Brice Taylor) involved examples of physical and sexual abuse and torture, as well as being subjected to occult and ritualistic ceremonies and practices. They loosely referred to their conditioning as “Monarch Programming”.
http://www.trance-formation.com/index.htmhttp://educate-yourself.org/mc/nwomcbturireview.shtml
There are claims that the practice encompassed out of body experiences, and time / space travel. It is also believed that (in some cases) the E.T. contact / abduction phenomenon is a result of some aspect of these programmes. Some victims alleged that part of their programming was conducted at NASA facilities.
There is also an area of study which analyses the behaviour and associations of people who occupy the public stage. Dave McGowan, author of “Inside the Laurel Canyon”, presents a compelling argument – which connects various “agenda players” to famous individuals (artists, musicians, actors, etc.) who lived in or frequented the Laurel Canyon region of California from the early 1960s onward. These connections include many hallmarks of the mind control phenomenon and counter intelligence operations of the period, as well as ritualistic and occult practices.http://www.davesweb.cnchost.com/
As a little aside, I found it interesting to discover that one particularly notable denizen of the Laurel Canyon region during this period was science fiction author Robert Heinlein. Heinlein was dubbed one of the “big three” – himself, Isaac Asimov and Arthur C. Clarke. His book “Stranger in a Strange Land” (1961) was hugely influential with many connected to the Canyon scene. (Riggenbach, Jeff. "Was Robert A. Heinlein a Libertarian?" - Mises Daily, June 2, 2010. Ludwig von Mises Institute.)
It is possible that much of what has been “disclosed” regarding mind control research may actually be a cover in itself – hiding techniques and practices that are unfathomable to the average person. These may encompass the deeper corners of the energy paradigm or extreme levels of consciousness and reality. Although some researchers have posed this hypothesis, it currently resides somewhat within the domain of speculation. Never the less, there are some worrying pointers that deserve our attention. Often times, research and development of technology from the likes of Lockheed Skunkworks and DARPA (Defence Advanced Research Projects Agency) – groups with an intricate association to the energy cover-up, for example - are baffling to say the least. Over the years, various agenda-driven agencies and groups have developed techniques such as “trans-cranial magnetic stimulation”, “microwave effects on the blood brain barrier” and “synthetic telepathy”.
On December 19th, 1971 – less than four years before the spectre of MKULTRA mind control first crawled into the mainstream spotlight - Stanley Kubrick unleashed “A Clockwork Orange” upon the American viewing public. It was released in the UK on January 13th, 1972. The film squarely tackled the paradigm of “free will” versus “state control” – in this case, the morality and dynamics of state sponsored behavioural modification and trauma-based mind control. The film’s science fiction trappings and futuristic settings are also mildly dystopian in nature.
“Alex (Malcolm McDowell), the main character, is a charismatic, sociopathic delinquent whose interests include classical music (especially Beethoven), rape, and what is termed "ultra-violence". He leads a small gang of thugs (Pete, Georgie, and Dim), whom he calls his Droogs. The film chronicles the horrific crime spree of his gang, his capture, and attempted rehabilitation via controversial psychological conditioning.”http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)
The film, adapted from Anthony Burgess' 1962 novella of the same name, presented a disturbing and violent image of a dystopian, future Britain. Kubrick, writing in Saturday Review, described the film as: "...A social satire dealing with the question of whether behavioural psychology and psychological conditioning are dangerous new weapons for a totalitarian government to use to impose vast controls on its citizens and turn them into little more than robots." http://seriouslyforreal.com/celebrities/a-clockwork-orange-1971-2/
In many regards, Kubrick played with the subconscious of the viewer. Malcom MacDowell’s narration of the film forced the viewer to become unwittingly sympathetic to the central protagonist. This is unsettling, given that the character is an inherently unsympathetic, guiltless, and violent psychopath, rapist and murderer. In fact, the design and tone of the film depicts an overall landscape that is largely metaphorically devoid of humanity. Such aspects underline Kubrick’s skill as a subtle and subversive director and storyteller.
The central concept of the film (and novella) is rooted in the notion of behavioural psychology (see: research of psychologists John B. Watson or B. F. Skinner’s eponymous “boxes” and the practice of “operant conditioning”) and made manifested via the films’ deux ex machina: “The Ludovico Technique”. As is usually the case, the suggestion of this technique existing outside the narrative framework (in other words, “in the real world”), was dismissed as being nothing more than a “parody” of Aversion Therapy treatment –“in which the patient is exposed to a stimulus while simultaneously being subjected to some form of discomfort. This conditioning is intended to cause the patient to associate the stimulus with unpleasant sensations in order to stop the specific behaviour.” http://en.wikipedia.org/wiki/Aversion_therapy
The work, upon which “The Ludovico Technique” was based, connects closely with the activities of those involved with The Tavistock Institute and Stanford Research Institute. A number of insiders have stated that “Ludovico” bears a striking resemblance to less publicised techniques once practiced by the CIA. Moreover, some state the technique (name and all) is a real one.
There is much controversy surrounding “A Clockwork Orange”. The realisation of the film was marred by the original state of Burgess’ novella, which originally included a final “hopeful” chapter to the story – where “free will” is shown as having triumphed over state intervention. The 21st (and final) chapter was omitted from the editions published in the United States prior to 1986. The UK version included the final chapter. It is often said that Kubrick allegedly based the film on the US version of the novella (leaving the film with a stark climax) and that he had been previously unaware of the original ending to the story. This was instrumental (perhaps intentionally) in creating a tone that manifested an infamous notoriety to the film. Following release, the UK press seemingly associated a number of instances of violent crimes to the film, claiming that individuals had aped the mannerisms and behaviour of Alex and his gang of Droogs. There was a fierce backlash against the film, often prompted by UK Parliamentary figures, mainstream media watchdogs and the various arms of censorship in the UK.
However, the origins of this furore seem to be mired in speculation. It is uncertain if there really ever were any crimes committed that were purely inspired by the film itself. In the 1999 UK documentary: “Return of a Clockwork Orange”, Robin Duval (then Director of the British Board of Film Classification”) said, “There were allegations it had invited or stimulated some yob gangs. What we don’t know, at this distance, is how true that was. I mean, there’s a… as a regulator – over a very long period of time – one thing I have learned is that it’s not uncommon for somebody who finds themselves in the dock to say ‘well guv’, it’s not my fault, I saw this movie or TV programme and I was lead to it by what I saw’… and it’s quite possible that there was an element of that with ‘A Clockwork Orange.’” (1999 UK documentary: “Still Tickin': The Return of A Clockwork Orange” - http://www.imdb.com/title/tt2107788/combined
The producers of this documentary attempted to interview Edward Heath and Jack Straw (both allegedly, according to some researchers, may have helped in some manner to encourage the aforementioned ‘public outcry’), but they declined.
In the end, the film was withdrawn from circulation in the UK and it is from here on that the story becomes decidedly strange. For many years, fingers were pointed in numerous directions blaming all and sundry for the effective “banning” of the film. Even the then Home Secretary of the Conservative Government, Reginald Maudling, was alleged to have played a part.
Minister Demanded Clockwork Screening - http://news.bbc.co.uk/1/hi/entertainment/677288.stm
Furthermore, the whole affair seemed to stoke the fire of film censorship and classification, perhaps even playing a part in the eventual “video nasty” controversy of the early 1980s. It is known that many VHS “pirate” copies of the film were brought into the UK from France, where the film ban was not in place. The “video nasty” phenomenon itself was a decidedly murky affair, involving thinly veiled attempts by the UK government to police the burgeoning home video market, and playing a significant role in the legacy of 21st century copyright laws. It has also been claimed that the whole paradigm was actually an experiment in social engineering: designed to generate a cultural backlash that would actually encourage individuals to embrace greater degrees of depravity and violence in television and film. It is possible that Kubrick was utilised to further any and all of these agendas. However, there is no way to know this for sure.
After Kubrick’s death in 1999, it was reiterated by his family and associates that Kubrick himself was responsible for withdrawing the film. According to film critic Alexander Walker, Kubrick was visited by Hertfordshire police, warned about “the power of the film”, and how “real Droogs could turn up on his doorstep” to threaten his wife and children. It has even been suggested, by some sources, that it was the police who decided that a measure was needed to diffuse “public negativity” toward the film. Thus the decision to pull the film was made. 1999 UK documentary: “Still Tickin': The Return of A Clockwork Orange” - http://www.imdb.com/title/tt2107788/combined
In the history of film, it is almost unheard of for the director to withdraw their own film. It only ever really happens if the film is a flop and, even then, the decision is usually made by the studio financing the film. “A Clockwork Orange” was a critical and commercial success, garnering numerous awards and lining the financial pockets of Warner Brothers very nicely. Britain, after America, has always been a key source of box office income for Hollywood. Are we to assume that Warners Bros. simply asked no questions and agreed to the ban? Any film maker that can achieve such a feat must carry a lot of clout in the industry. However, this is Stanley Kubrick we are talking about!
In the late 1970s, Anthony Burgess was interviewed about the negative reaction to the film. He maintained that he had been held partly responsible by critics. However, Burgess firmly blamed Kubrick - specifically citing the non-inclusion of the final chapter of the book as the cause. “I became associated with violence because of the film. If a couple of Nuns were raped in Berwick-on-Tweed, I would always get a telephone call from the newspaper… ‘Mr Burgess, what do you think of this?’ They would never telephone you Stanley… because you keep out of the way!” 1999 UK documentary: “Still Tickin': The Return of A Clockwork Orange” - http://www.imdb.com/title/tt2107788/combined
The film remained withdrawn until Kubrick’s death. Almost three decades maintaining the “ban”, is a long time to allow public animosity to die. It was revealed by close friends that just before his death, Kubrick had discussed ending the ban with Warners, Of course, his untimely death followed and Warners decided to re-release the film anyway. A number of researchers have alluded that this may have, in some fashion, added to the oddities that surround his death. As with most of his films, “A Clockwork Orange” not only makes thematic nods to the world of hidden global agendas, it also utilises visual cues. Provided one understands the relevance of secret society symbolism, the significance of the subtle pyramid shape on the brick wall of the prison yard (precisely as Alex is recruited for “The Ludovico Technique”) or the semblance of pyramid motifs and the “Eye of Horus” in the movie’s publicity posters becomes clear.
Despite all this, perhaps Kubrick’s greatest folly was yet to come. When it did, however, it would turn out to be his last.
To be continued...
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-1.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-2.html
http://thetruthseekersguide.blogspot.co.uk/2014/01/the-stanley-kubrick-conspiracy-part-3.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-4.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-5.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-6.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-7.html
http://thetruthseekersguide.blogspot.co.uk/2014/02/the-stanley-kubrick-conspiracy-part-8.html
Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery - http://thetruthseekersguide.blogspot.co.uk/2014/11/updates-6th-annual-british-exopolitics.html
Foxes, Saturn, Kubrick, Doctor Who and The Singularity - http://thetruthseekersguide.blogspot.co.uk/2014/08/foxes-saturn-kubrick-doctor-who-and.html
A Movie About Kubrick Faking the Moon Landing? - http://thetruthseekersguide.blogspot.co.uk/2014/07/a-movie-about-kubrick-faking-moon.html
Stanley Kubrick - Updates - http://thetruthseekersguide.blogspot.co.uk/2014/04/stanley-kubrick-updates.html
Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html
A few days back, I had quite a lengthy and in-depth discussion with an “awakened” fellow muso about the possible true nature and implications of the music industry and the power of music in general. It is actually rare that I have these types of conversations with musos. Although that might sound a rather conceited comment to make, there is a very good reason why it is sadly the case.
My involvement with musically minded folk has been an almost lifelong experience, with the intensity increased in recent times – especially since my exposure to some of the greater truths of reality. I know from my own journey that the inherent nature of music (particularly for those involved with making music) is one of somewhat blind adoration. Musicians give themselves over, almost altruistically, to the sounds, ideas and influence of their muses. It may not necessarily be in the form of peer-involved hero worship, sometimes perhaps merely taking the form of a devotion to the power that created music can wield.
Here lies the problem: the “power” of music. It is no secret that, more than any other cultural experience, music can affect us hugely. There is no other phenomenon that can so effectively move us emotionally, allow us to recapture moments and experiences from our pasts, reshape our views of self and society at large, and so on. The individuals that harness this power should therefore have a staggering hold over the hearts and minds of the masses. In certain hands, it could (theoretically) be the basis of the power to change the world.
With this in mind, one could easily assume that singer/songwriters and musicians perhaps hold the most authoritative roles on the planet. Of course, they don’t! Power is most certainly wielded here, but it is only in the hands of the creators who haven’t deferred their power to a higher authority and I suspect there are very few cases of this in the music industry. Those who truly take advantage of the influence of music don’t create music; they simply finance and control its direction. Given what I have come to understand of such entities, you can be assured that it isn’t for any beneficial gain of the masses.
You might wonder why anybody with a conscience would wish to be affiliated with such a game. I can only use myself (and my peripheral experiences on the outskirts of the game) as an example in this case. Recently, I have come to truly understand and appreciate the value of independence from larger influences (even from the influence of fellow musos who have largely been indoctrinated by the tired mantras fed to them within the game – “you can’t write songs about that”, “you should do this because it’s what is most popular”, etc.)
Examining the processes at work in the music community reveals two distinct phenomena at work. The first and more obvious mechanism is routed through the visible conduits of money control, manipulation of psychological constructs (fear, love, sex, death, that sort of thing), deference to (or engineered defiance of) authority and peerage, etc. The second is a far more complex aspect, rooted in the ancient practices of ritual, worship and sacrifice.
The effectiveness of music to the power elite has truly come into focus in the last hundred years, especially since the advent of “popular music”. There are some well documented examples of how this was superficially achieved in the past. Here, I am reminded of the time when Frank Sinatra became involved with the campaign to elect JFK as US president and the song “High Hopes” was given new lyrics to encourage folk to “elect Jack Kennedy”!
Although this is an effective method of persuasion for many, there will always be an equal number of people who see right through it. In the case of Sinatra, it may have been that some people just didn’t want to vote for JFK. Others may have acted against the influence because they recognised that it was, albeit in a simplistic manner, a case of ‘being told what to do’. This highlights the, ultimately, limited success of such a superficial venture, but also shows the surface level of a much more complicated mechanism.
A number of alternative researchers have examined the methods that have been taken in the past, most notably during the 1960s, to usurp the influence of music. In the case of Alex Constantine and his fascinating book “The Covert War against Rock”, agencies such as the CIA are noted as having large vested interests in the music industry.
“In 1967, an increasingly subversive form of music melded with politics in San Francisco. Still eclipsed by federal classification are the tactics of the intelligence sector in the destabilization of the lives of politically-tuned musicians on the fringe of the anti-war movement, as revealed before the Senate Intelligence Committee in a leaked intelligence memorandum submitted for the record on April 26, 1976:
‘Show them as scurrilous and depraved. Call attention to their habits and living conditions, explore every possible embarrassment. Send in women and sex, break up marriages. Have members arrested on marijuana charges. Investigate personal conflicts or animosities between them. Send articles to the newspapers showing their depravity. Use narcotics and free sex to entrap. Use misinformation to confuse and disrupt. Get records of their bank accounts. Obtain specimens of handwriting. Provoke target groups into rivalries that may result in death’ [Intelligence Activities and Rights of Americans: Book. II, April 26 1976, Senate Committee with Respect to Intelligence Report]”
Initially, it may appear as though the increasingly political tone of the music from this period of history was “perceived” as a threat to the establishment and that steps were taken to subvert, undermine, weaken and silence such purveyors of this music. This is, however, far from the whole story. Although there are many examples of musicians that threatened the intentions of the global agenda players (some of whom ultimately paid a very high price for their principles), not all so-called “politically active” musicians were what they appeared to be.
Dave McGowan’s incredibly revelatory blog series: “Inside The Laurel Canyon: The Strange but Mostly True Story of Laurel Canyon and the Birth of the Hippie Generation” paints a far more complex story that connects with numerous musicians of the time and is a highly recommended read for anybody who buys into the mainstream, “official” history of popular music. http://www.davesweb.cnchost.com/
This story examines the myriad of military connections to the musicians (and artists and actors) that lived in or frequented the Laurel Canyon region of Los Angeles for many years. The story also ties into the CIA controlled drug scene of the time and, by extension, the countless mind control projects that became something of an obsession to the US military and intelligence agencies.
One phenomenon that intersects these convoluted machinations of the music industry is the so-called “Forever 27 Club”. This strange repeated occurrence (usually dismissed by most as nothing more than coincidence) involves a not-insignificant amount of well-known artists meeting their demise at the age of 27. A curious number of these individuals actually intersect the Laurel Canyon story and also have ties to the military industrial complex.
Perhaps the most infamous members of the “27 Club” were Jim Morrison, Jimi Hendrix and Janis Joplin. In the aforementioned book by Alex Constantine, he says, “you could say that the CIA and other intelligence agencies may have had a hand in the deaths of Hendrix, Janis Joplin and then Morrison. Simply for the reason that they were leaders of a generation during the 1960s.”
Jim Morrison was the enigmatic lead singer of The Doors. It does seem something of a twisted irony that Morrison, who was a key figure in the development of the Canyon scene and subsequent Hippie / anti-war movement, was actually the son of US Navy Admiral George Stephen Morrison. Admiral Morrison commanded the US warships that allegedly came under attack while patrolling Vietnam’s Tonkin Gulf in August 1964.
The Gulf of Tonkin incident is a key example in understanding the process through which global events often occur. “Tonkin” is labelled by many alternative researchers as a “false flag” event, instrumental in the ultimate scale of the Vietnam War. In actuality, the incident was an ‘attack’ that never took place at all, all but officially acknowledged as a ‘façade’. The intent may well have been to provoke a defensive response, which could then be cast as an unprovoked attack on U.S ships.
How strange it should be then that the event, in which Admiral Morrison played such a key role, ultimately resulted in a large scale negative social reaction to the war… a reaction that that was partly led and influenced by his son via his music.
Jim Morrison died in July 1971. According to Wikipedia, “Morrison developed a severe alcohol and drug dependency that culminated in his death at the age of 27 in Paris. He is alleged to have died of a heroin overdose, but as no autopsy was performed, the exact cause of his death is still disputed.”
According to Dave McGowan, “Jimi Hendrix, who reportedly briefly occupied the sprawling mansion just north of the Log Cabin (Laurel Canyon) after he moved to LA in 1968, died in London under seriously questionable circumstances on September 18, 1970. Though he rarely spoke of it, Jimi had served a stint in the U.S. Army with the 101st Airborne Division at Fort Campbell. His official records indicate that he was forced into the service by the courts and then released after just one year when he purportedly proved to be a poor soldier. One wonders though why he was assigned to such an elite division if he was indeed such a failure. One also wonders why he wasn’t subjected to disciplinary measures rather than being handed a free pass out of his ostensibly court-ordered service.”
“At the time of Jimi’s death, the first person called by his girlfriend – Monika Danneman, who was the last to see Hendrix alive – was Eric Burden of The Animals. Two years earlier, Burden had relocated to LA and taken over ringmaster duties from Frank Zappa after Zappa had vacated the Log Cabin and moved into a less high-profile Laurel Canyon home. Within a year of Jimi’s death, an underage prostitute named Devon Wilson who had been with Jimi the day before his death, plunged from an eighth-floor window of New York’s Chelsea Hotel. On March 5, 1973, a shadowy character named Michael Jeffery, who had managed both Hendrix and Burden, was killed in a mid-air plane collision. Jeffery was known to openly boast of having organized crime connections and of working for the CIA.”
Janis Joplin was an occasional visitor to the Laurel Canyon scene. Joplin and The Doors shared the same producer, Paul Rothchild, a man with numerous connections to US Army Intelligence. Joplin died a mere sixteen days after Hendrix was found dead.
Another member of “27 Club” was Brian Jones of The Rolling Stones. Jones does have a tenuous connection to Laurel Canyon. The period between 1968 (when Jones parted company with the band) and his controversial death in July 1969 was a time when The Rolling Stones heavily frequented Laurel Canyon. Mick Jagger has extensive Canyon connections, most notably obvious was his involvement in two “Canyon” produced, occult-drenched film projects: Kenneth Anger’s “Lucifer Rising” and Donald Cammell’s “Performance”. Cammell and Anger were key figures in the Canyon scene.
As with the music of The Beatles, Dr John Coleman (in his book, “Conspirators' Hierarchy: The Story of the Committee of 300”) has claimed that The Rolling Stones were a creation of The Tavistock Institute, designed to subvert the direction of the then contemporary music scene as part of an engineered “Aquarian Conspiracy”. I’ll leave you to decide the validity of that particularly angle.
The Forever 27 Club contains a myriad of disparate artists from across many decades. A few examples include:
Alan "Blind Owl" Wilson - leader, singer and primary composer of Canned Heat, Arlester "Dyke" Christian - frontman, vocalist and bassist of Dyke & the Blazers, Ron "Pigpen" McKernan - founding member, keyboardist and singer of the Grateful Dead, Dave Alexander - bassist for the Stooges, Pete Ham - keyboardist and guitarist, leader of Badfinger, Jacob Miller - reggae artist and lead singer for Inner Circle, Pete de Freitas - drummer for Echo & the Bunnymen, Richey Edwards (February 1, 1995 Disappeared; officially presumed dead November 23, 2008) - lyricist and guitarist for Manic Street Preachers, Jeremy Michael Ward - The Mars Volta and De Facto sound manipulator.
http://en.wikipedia.org/wiki/27_Club
More recent notable entries include Amy Winehouse and Kurt Cobain. There has been a huge amount of speculation regarding these two individuals. Speculation about Winehouse includes theories on mind control and her knowledge of the inner workings of the industry. Her interview with Jonathon Ross where she claims that certain individuals tried to put her in a “pyramid shaped box” is particularly interesting.
Speculation regarding Cobain’s death will probably continue for as long as anybody remembers him. One curious tale involves the time he spent with the author William S Burroughs, shortly before his death. It is claimed that there are photographs of Cobain inside an “Orgone Box” (similar to the ones created by Wilhelm Reich) which allegedly belonged to Burroughs, although this (the box story, that is) may well be little more than an urban legend. There are images of Cobain waving from inside a outdoor cubicle, but this doesn't really prove anything.
Burroughs did actually have extensive contact with many people involved with the CIA drug distribution during the 1960s, as well as those involved in the CIA’s MKUltra projects. He also had friends amongst the Laurel Canyon set. His novel “Naked Lunch” is claimed to be a thinly veiled account of his alleged time spent on the CIA’s payroll. Make of this what you will!
Some of the stranger aspects of these stories (particularly the numerous deaths and bizarre practices of the Laurel Canyon scene) possibly indicate an occult or ritualistic undercurrent. Such practices are actually nothing new in music. Christopher Knowles book “The Secret History of Rock ‘n’ Roll” (which examines the history of music and worship) begins with a telling quote from The Natya Shastra: “dancing and music are more pleasing to the gods than rites and prayers.”
It seems altogether plausible that everything we have come to recognise about music today, has its roots in every form of ancient worship – whether it be the Neolithic, ancient mystery teachings, Dionysian, Bacchanalia, or any other practice. The question is: do any of these beliefs factor into the relatively contemporary music scene? The “Forever 27 Club” phenomenon may hold some clues to answering this question. It may even be possible that there is a ritualistic connection to the actual number 27.
Certainly in astrological terms, the number 27 (although most would argue that it is actually 29) may suggest the phenomenon of “Saturn’s Return”. The effect of the Saturn return, or any of the heavy planets, is said by many to indicate an major transitional period, possibly even a weeding out of what is unnecessary ready for the next portion of life. Even if 29 years is the more accurate figure at work, it may be that there is an “approaching effect” at 27. However, this is not a subject I’m really versed in to any great degree (I had to try and understand what little I could from a more astrologically savvy friend!)
The point here is the connection to Saturn and transitions. Firstly, is it possible that some of this derives from the practice of Saturn worship… a belief system that many researchers believe has darker tones, even connections to the global elite and secret society practices? In relation to the music industry, it might also explain why we often see so much Saturn imagery connected to contemporary pop artists and their music videos.
As for the transitional aspect, I have looked back through the history of popular musicians and singers (that didn’t die between the age of 27 and 29) to see if there are significant events in their personal or professional lives at that age. What I found actually surprised me. Here are just a few arbitrary examples of major transitions that I came across.
Mama Cass, singer with The Mamas and the Papas, recorded “Dream a Little Dream of Me” from her solo album of the same name in 1968 and subsequently embarked on a solo singing career. She was aged 27.
In 1973, David Bowie toured and gave press conferences as “Ziggy Stardust” before a dramatic and abrupt on-stage "retirement" at London's Hammersmith Odeon on 3 July 1973. Bowie effectively killed off his most successful personae live on stage. Shortly after his 27th birthday in early 1974, He moved to the United States and launched his soul, funk, “Thin White Duke” personae, leaving his glam rock image behind forever.
In 1985, Madonna became an overnight success with the release of “Crazy for You”, “Material Girl” and “Like a Virgin”. She even appeared in her first movie roles. She embarked on her first concert tour in North America, The Virgin Tour, with the Beastie Boys as her opening act. Madonna commented: "That whole tour was crazy, because I went from playing CBGB and the Mudd Club to playing sporting arenas.” She was aged 27. Madonna also started dating actor Sean Penn and married him on her 27th birthday.
Kate Bush became a huge globally selling artist following the release of “Hounds of Love” in 1985. Thereafter, she built her own private studio near her home, where she could work at her own pace. She practically retired from the public limelight, shunning the music industry’s main publicity routes. She was aged 27.
The Beatles effectively ceased functioning as a coherent band in 1968. John Lennon began writing and recording experimental material with Yoko Ono as well as his own solo material. He was aged 27.
Of course, these are just a couple of examples. I encourage you to do a random Google of your own. You will be surprised how often the age of 27 marks a major changing point or shift. It also seems to be the case for many movie actors!
So what can we make of all this? My gut (and a fair amount of evidence) tells me that there is more to the music industry than we may ever actually get our heads around. Is it possible that all these factors are just a great bundle of interconnecting paths and coincidences? It could be that what we are often witnessing is little more than the wild lifestyles of over indulgent individuals, whose fame has led them out of control, with all the rest of the high strangeness simply misunderstood coincidences. I do actually believe in coincidences… at least in small to moderate numbers!
However, I find it difficult to summarise the whole subject in such a naïve manner. I have often extolled my position on continually repeated coincidences and used the flipping coin analogy to illustrate my point. On this occasion (and because I’ve been discussing the subject of music) it seems fitting that I leave you with a few lines from a little ditty from Monty Python:
“Here comes another one. Here it comes again. Here comes another one… when will it ever end!?”
Peace my friends!
The Truth Seeker’s Guide.
Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html
