Mind Control in the Music Industry ~ Part 2

March 17, 2012 § 22 Comments

By Tai Carmen

Click For Part 1

“As artists we’re highly sensitive people, and this machine around us, this so-called ‘music industry,’ is such a demonic thing. It’s sacrifices people’s lives and their essences at the drop of a dime … I had a manager once say to me, ‘ You know you’re worth more money dead than alive.”’ ~Chaka Khan

An in-depth analysis of mind-control themes in contemporary pop music (see last week’s Mind Control in the Music Industry ~ Part 1) would be incomplete without addressing Metropolis. Written and directed by German expressionist Fritz Lang in 1927, the cult classic is set in a futuristic urban dystopia. The story highlights the struggle between two distinct classes, the wealthy rulers who designed the city and the oppressed, mechanized workers who live underground — without whom the elite’s metropolis could not be sustained. Freder, the son of the city’s creator, becomes entranced with a young woman, the charismatic, angelic Maria.

Though the restless workers are pressing for revolt, Maria acts as a people’s prophet, advocating peace. She entreats them to remain patient, promising that God will send a mediator to channel communication between the divided classes. However, Maria is abducted by Joh Frederson (city creator and father of Freder,) along with his accomplice, the mad scientist, Rotwang. The two men take her to a black magic laboratory and hook her up to a machine which steals her likeness.

Using a fusion of satanic ritual and Tesla-esque technology, Rotwang has created a “machine man” whom he considers “the man of the future.” The archaic android has the faculty to assume the physical appearance of any person Rotwang programs it to imitate. Employing this technology, the two men create a false Maria.

At the end of the procedure, the simulated Maria looks exactly like the beautiful young woman after which she has been modeled. But beneath the deceptively soft-looking skin lies a cold, programmed machine.

The false Maria is then set loose on the worker city to incite riots and discredit the movement started by the real Maria. The chaos is generated by an erotic dance performance by the false Maria in a red light district club.

Posing as the Whore of Babylon astride a multi-headed beast, the machine-Maria inspires lust, madness, rage and violence to break out among the men.

In the end, Fredor becomes the mediator between the ruling and the working classes (though he can hardly be considered neutral, what with his father owning the city!) Yet the film closes with the feel-good caption: “the mediator between the head and hands must be the heart.” Metropolis is a stunning visual odyssey, a technical marvel. Widely and deservedly considered a masterpiece.

Like any work of art, the film can be interpreted in multiple ways and on multiple levels. Clearly the head in the closing epitaph is supposed to represent the elite, framing them as the brains, and the hands represent the workers, the brawny means by which the visions of “the head” are carried out. But what does the heart symbolize to the film’s creators?

Metropolis was co-written by Fritz Lang with his wife, Thea von Harbou. Though she would go on to become a passionate member of the Nazi party, the Jewish Lang held democratic political views, having no Nazi affiliations beyond the fact that Hitler famously admired the film. Some conspiracy sites (check out Vigilent Citizen’s “Occult Symbolism in Metropolis”) have suggested that the film is a statement made by the elite for the elite, and that the mediator symbolizes the media, which has become increasingly controlled by the same six corporations – in other words, a small handful of wealthy, elite individuals.

Whatever Fritz Lang’s intended cinematic message, the film sparks interesting speculations. For instance, note that the tool used by the elite (represented by mad scientist Rotwang and city creator, Joh Frederson) to manipulate the masses was a woman dancing erotically.

Could control of the masses be as simple as sex?

Certainly, though it is rare, the CIA has publicly admitted to infiltrating the media.

Also interesting, the visage of false Maria is often imitated by today’s pop stars, who make common practice of paying tribute to Metroplis, specifically Rotwang’s creation.  

The message behind the woman as robot is similar to the message behind the woman as doll — another theme that shows up constantly in today’s videos and popular music symbology.

The visual cue subtly but firmly dictates: she is not in control of herself. She is programmable.

Often, with doll and robot imagery, comes a motif of missing limbs.



An internet culture has been built around the regularity with which these images recur in the pop mythos. Theories that pop stars are mere puppets for higher powers wishing to impart agenda-driven messages abound.

“The idea behind Illuminati involvement in the careers of popular music icons,” notes conspiracy site Parkalert Press, “revolves around the central concept that as new artists, athletes, and personalities arrive on the scene, there is a system in place where certain people are handpicked to go on to a further calling.” “Pop icons are influential,” continues Parkalert Press, “especially on young people, and their everyday movements attract the attention of millions.  That’s why the theory exists that the Illuminati embraces them, ‘enlightens’ them, if you will, and then supports them, further adding to their success.

“In return, these people cooperate by showing their appreciation for how they got where they are through permeating their music, videos, interviews, books, and everyday actions with Illuminati-based symbolism, imagery, and terminology.”

Could the rise in mental health disorders today be exacerbated by the bipolar and dissociative themes in pop music today? It could be a self-feeding cycle. Is the recurring imagery simply a case of mental health issues being common in artists and performers?

Many believe the relentless plentitude of symbols point in a more sinister direction. Monarch Programming is a specific kind of trauma-based mind control which many speculate may be rampant in the entertainment industry, what with the plethora of butterfly imagery.

Cathy O’Brien is an outspoken activist spreading awareness about the phenomenon of trauma-based mind control. In her exposé “Trance Formation of America” she details her life as a Monarch Slave. Also known as Marionette Programming, this dark brand of psychological warfare originated in Nazi Germany.

After the allies won WWII, a slew of Nazi scientists, doctors and psychiatrists were brought over to the US — ostensibly so the enemy didn’t have access to their sinister skills. But then guess who did? Out of this infamous influx of mad Rotwangs, MK ULTRA was born: a covert, illegal human experimentation program run by the CIA’s Office of Scientific Intelligence.

According to whistleblowers like Cathy O’Brien, Project Monarch is an outgrowth of that program, designed to artificially induce MPD and DID in victims as a means of control, creating Manchurian candidate types to do their bidding; whether it be sex slavery or assassination. The conspiracy theory line of reasoning goes … why not pop stars, too?

Rosanne Bar has publicly asserted that her Multiple Personality Disorder was “deliberately induced by the CIA […] after they brought all the Nazis over from Germany to run the American Psychiatric Association.”

When Larry King, with whom she is interviewing, expresses disbelief, Roseanne sticks to her story: “I’m telling you the truth. It is all mind control and all kinds of things to invent people with multiple personalities.”

“So you have been captured by Nazis?” ribs Larry King, still not taking her seriously.

Roseanne responds, “Well, in a way, I believe the government has implanted some kind of a chip into my head.” Posts on her blog and repeated appearances at mind control survivor conferences affirm that her comments to Larry were no joke.

It may, too, simply be that today’s performers are voicing the public’s own semi-subliminal sensation of existing in what is essentially a mind control environment.

We are spoon-fed what to believe by advertisers. Traumatized on a daily basis by the violence in the news. Forced to compartmentalize in order to function, perhaps by wearing a fashionable article of clothing and conveniently blocking out the conditions of the sweatshop workers who produced it. Or by eating a fast food chicken sandwich, while avoiding thinking about the crowded, unsanitary conditions of the chickens; those rows upon rows of dirty cages. And who among us does not feel they have multiple selves living within them? Men and women alike are dehumanized, reduced to faceless consumers.

Women are objectified, many brainwashed into taking up the values of their oppressors, objectifying themselves and promoting self-objectifying to others.

In a previous post, “The Mad Cult of the World,” I compare the socialization process to cult indoctrination. The similarities are actually quite noteworthy. Perhaps it makes sense for us to collectively express mind control themes through our chosen cultural archetypes.

What do you think?

Mind Control in the Music Industry

February 22, 2012 § 38 Comments

By Tai Carmen

“As an artist, I think delusion is the greatest gift that you can bear.” ~ Lady Gaga 

You’re not supposed to take pop music seriously. By definition, it is fluff; pure sugar. But sugar, sweet and insubstantial as it is, can be a dangerous thing.

Music is a powerful force. And pop music holds great influence over the masses. It’s worth noticing, then, what kind of messages are being broadcast to our minds via the pop music industry.

As the slew of buzzing conspiracy sites can attest to, there has been a distinct and disturbing trend in the pop music imagery of the past several years, which propagates the glamorization of mind control themes.

Whether it’s Lady Gaga portraying an insane asylum through a high fashion lens in “Marry the Night,” or Britney Spears posing as a laboratory marionette with tubes coming out of her bandaged fingers in “Hold it Against Me,” pop stars are all pumping out the same recycled slew of mind control themes.

Many people may not realize that the practice of trauma-based mind control has a very real and chilling history in the US: in the 1950s and 60s the CIA conducted covert and illegal experiments on unwitting citizens, now declassified and known as project MK ULTRA.

If you’re not familiar with this subject, be prepared to discover a disturbing facet of American history. The image below is shocking—it’s the only photographic image online from the MK Ultra files, most of which have been destroyed—but I offer it under due consideration to substantiate the argument that conspiracy theories of trauma-based mind control are not so far fetched.

The published evidence indicates that Project MK ULTRA was a government-funded operation created with the goal of studying various methods of mind control, using the surreptitious administration of drugs and other chemicals, hypnosis, sensory deprivation, isolation, verbal and sexual abuse, as well as various forms of torture.

Project MK ULTRA was first brought to public attention in 1975 by the U.S. Congress, through investigations by the Church Committee, and by a presidential commission known as the Rockefeller Commission.

Although the CIA insists that MK ULTRA-type experiments have been abandoned, 14-year CIA veteran Victor Marchetti has stated in various interviews that the CIA routinely conducts disinformation campaigns and that CIA mind control research continues. In a 1977 interview, Marchetti called the CIA claim that MK ULTRA was abandoned “a cover story.”  (Project MK-ULTRA.)

So why does the fashion and music industry glamorize these atrocities? The question, complete with spooky implication, remains. But that such themes recur with bizarre and increasing regularity, should be of interest, not just to conspiracy buffs, but to every thinking citizen.

According to experts, one of the consequences of trauma-based mind control is the creation of several different personalities, called alter egos. This deliberate compartmentalization and fragmentation of the whole person allows for more control over the subject/victim: one alter ego, for instance, could hide something from another. So, in theory, a “dark” alter ego could be created to carry out actions distasteful to the dominant personality.

Considering this, it’s odd to note how many celebrity recording artists have publicly discussed their “alters” as though it were the most natural thing in the world.

“This alter ego takes over when I am on stage. She is really wild and daring and a much more impulsive performer than I am. Her name is Britannia. When I am her I feel I can take on the world, normally I am pretty shy.” ~ Britney Spears

“Slim Shady is just the evil thoughts that come into my head, things I shouldn’t be thinking about.” ~ Eminem

“I had to separate the two because Mary is nice, you know, intelligent. Brook-Lynn is crazy and ignorant and she don’t care.” ~ Mary J. Blithe

“I have someone else that takes over when it’s time for me to work and when I’m on stage, this alter ego that I’ve created that kind of protects me and who I really am. When I’m onstage I’m aggressive and strong and not afraid of my sexuality. The tone of my voice gets different, and I’m fearless. I’m just a different person.” ~ Beyonce

The Beyonce/Sasha Fierce phenomenon has been particularly driven home, as can be experienced during this odd footage glamorizing the splitting of personalties, shown at a Beyonce concert.

Notice the two Beyonces are quite obviously divided into “pure/innocent/good-in-a-boring-way” Beyonce and “sexy/corrupt/dark/bad-in-a-good-way” Beyonce. The coin symbolism is quite clear as well: two sides of the same coin; black & white polarization. Obviously, the former is portrayed as a goody-two-shoes and a wimp, and the vixen wins our favor with her superior, fierce fashion and high-powered queenly self-possession. We can hardly help but feel our sympathies allied with the dark Beyonce, aka Sasha Fierce. But who is Sasha Fierce?

“Many years ago,” Beyonce explained to the press, “I named my alter ego Sasha and it’s something that stuck. So when I was trying to decide the title of my album… I realized it had two different sounds. One represented who I really am and one sounded like my alter ego, so I decided to split it into two. Because I feel like Sasha is a big treat for my fans. It’s definitely exciting being able to have an excuse to be so over the top.”

Anyone with knowledge of psychology knows that splitting the personality into “good” and “bad” is an unhealthy coping mechanism.

“Splitting can be seen as a developmental stage and as a defense mechanism. In psychoanalysis, there are the concepts of splitting of the self as well as splitting of the ego. This stems from existential insecurity, or instability of one’s self-concept. The borderline personality is not able to integrate the good and bad images of both self and others, so that people who suffer from borderline personality disorder have a bad representation which dominates the good representation.” (Splitting.)

As humans we have both positive and negative impulses. We should foster self-acceptance and positive action, not internal division. To promote compartmentalizing, rather than integrating, these conflicting inner aspects is to advocate a problematic road.

“What I feel onstage,” says Beyonce, “I don’t feel anywhere else. It’s an out-of-body experience. I created my stage persona … so that when I go home, I don’t have to think about what it is I do. Sasha isn’t me. The people around me know who I really am.”

It seems odd for the singer to describe wanting to “forget what it is she does,” as if it were something dirty. And the description of feeling outside of her body, while channeling a personality she has described in interviews as “someone I wouldn’t want to meet on the street,” sounds notably dissociative.

It’s understandable why so many demonic possession threads surround the singer. Beyonce went from the girl next door to a vixen sporting satanic goat skull imagery overnight. Now she has told press: “Sasha is done. I killed her.”

These sound more like the words of a troubled teen than a world-renowned performer in her thirties. And troubled teens everywhere are hanging on her every word.

Nicki Minaj, known for her brash style, multiple wigs and personalities, describes her alter ego “Roman Zolanksi” as a “crazy boy who lives in me and says the things that I don’t want to say. He was born just a few months ago. I think he was born out of rage. He was conceived in rage. So he bashes everyone. He threatens to beat people and he’s violent.”

The interviewer, of course, treats all of this like it’s perfectly normal and even funny, despite Nicki’s strangely expressionless delivery: “That must be nice,” he says off camera, “to have, like, an ignorent loud mouth so you can just sort of blame every–” Nicki Interjects: “He wants to be blamed. I don’t want to blame him. I ask him to leave. But he can’t. He’s here for a reason. People have brought him out. People conjured him up and now he won’t leave.

The fact that she concludes another interview by snarling demonically and proclaiming that “anybody who ever doubted Roman is going down in a coffin” is seen by the world as harmless theatre. More recently she has been quoted as saying that Roman is her favorite of all her different personalities because  “everybody else started to like Roman, so he became my favorite.”

In a recent interview with Ryan Seacrest, Minaj details creepily:  “He wanted to show that not only is he amazing, but he’s never going to be exorcised, even when they throw holy water on him, he still rises above.”

That the scratchy-voiced singer chanting “Take your medication, Roman! Take a long vacation, Roman!” while handcuffed to an upright table, electroshock -style, and surrounded by hooded figures has been touted by the press as a “show stealer” at the recent Grammy Awards ceremony shows the sad state of pop music today. (She has called the performance “Roman’s coming out party.”) That she is shouting “Stop! Get me out of here!” in the beginning of the performance is emblematic of a troubling trend.

Electroshock therapy imagery is everywhere these days. It’s hard to find a Lady Gaga video without it. She skirts the issue in “Yoü and I,” a video fraught with mind control imagery and multiple selves, including Gaga’s recent alter ego, a greasy Italian dude she calls “Jo Calterdone.” In interviews she says the video is about “the crazy things people will do for love.” She explains the weird scenes in the barn, when her lover straps her down by the wrists and ankles to an upright table, as being about her “mad scientist boyfriend turning her into a mermaid.”

But throwing in fanciful ideas like mermaids doesn’t change the undeniably disturbing nature of being strapped down in a barn and experimented on; adding the fact that the mad scientist is supposed to be her character’s boyfriend only ups the creep factor.

And why is the version of Gaga narrating the conclusion wearing weird straps and wires on her jaw like it’s the latest trend?

You might recognize this look from the earlier MK ULTRA image (echoed quite directly in the image of Gaga at the top of this post.) But this video is about the crazy things we do for love, right?

The shock pop star’s video “Marry the Night” starts out in a Girl Interrupted-style insane asylum, where Lady Gaga is being wheeled in on a gurney in post-surgical garb after apparently having had her spine removed. The voiceover notes:

“When I look back on my life, it’s not that I don’t want to see things exactly as they happened. It’s just that I prefer to remember them in an artistic way. And truthfully, the lie of it all is much more honest because I invented it. Clinical psychology tells us arguably that trauma is the ultimate killer. Memories are not recycled like atoms and particles in quantum physics. They can be lost forever. It’s sort of like my past is an unfinished painting and as the artist of that painting I must fill in all the ugly holes and make it beautiful again. It’s not that I’ve been dishonest, it’s just that I loath reality.”

Later, looking wearily up at her nurse, a traumatized-looking Gaga says she is going to be a star, because she has “nothing left to lose.”

“See the girl to your left?” she asks the viewer as the nurses wheel her into a spooky psychiatric ward of half-naked, tranced out, trouble women…”She ordered gummy bears and a knife a couple hours ago. They only gave her the gummy bears. I wish they’d only given me the gummy bears.”

Gaga has told press that the video is intended for ‘art to imitate life’ and depict her journey to stardom. For those wondering what left Gaga so traumatized on that journey, MTV.com has the artist’s official answer: “The video is a metaphor for how she felt when she was dropped from her first record label, Island Def Jam, before landing at her current home at Interscope.”

A statement that leaves us wondering exactly what that transition from Def Jam to Interscope entailed!

(click to read Part 2)

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