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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The Politics of Normalcy

July 6, 2011 § 45 Comments

By Tai Carmen

“…if you are not like everybody else, then you are abnormal, if you are abnormal , then you are sick. These three categories, not being like everybody else, not being normal and being sick are in fact very different but have been reduced to the same thing.” Michel Foucault

Perhaps you noticed it, too. The word ‘anxiety’ appearing more and more in conversation, ads and media. People talking, not about ‘being anxious,’ (a moment that can pass) but about ‘having anxiety’ (a permanent affliction).

In “The Age of Anxiety,” a poem written in 1947, W.H. Auden links modern angst with man’s quest to find substance and identity in a shifting and increasingly industrialized world: …It is getting late / Shall we ever be asked for? Are we simply / not wanted at all?  

Writer-philosopher Albert Camus dubbed the 20th century “The Century of Fear.” One wonders what he would say about the 21st.

Writer Herman Hesse, exploring the age of angst in his novel Steppenwolf, attributes the feelings of isolation and loneliness in his protagonist to the breakdown of repressive bourgeoisie values, which let loose the wild, irrational forces within man without offering a new standard or value system for support, thereby creating an uneasy limbo, lacking guidance and direction.

Though the subject has been explored for centuries by writers and philosophers, social anxiety disorder did not officially exist until it appeared in 1980’s Diagnostic and Statistical Manual, the DSM-III — the psychiatrist’s bible of psychological afflictions — under the name “social phobia,” the same book which once classified homosexuality as a mental disorder.

Not that the problem didn’t exist before — it was the ancient Greeks, after all, who coined the word agoraphobic —  but during the latter half of the 20th century, anxiety seems to have shifted culturally from a covert issue to an overt one.

By the 1990’s pharmaceutical companies received F.D.A. approval to treat social anxiety and poured tens of millions of dollars into advertising its existence. In 2002,  Anxiety Disorders Association of America reported that 19.1 million (or 13%) of adults ages 18-54 were affected with a form of anxiety disorder. Now the percentage has climbed to 40 million (or 18%) of the population.

The current version of the DSM-IV describes diagnosis as warranted when anxiety “interferes significantly with work performance” (italics mine) or if the sufferer shows marked distress about it.

So in other words, according to the DSM, if you can’t adjust to your life as an employee, you may have a disorder. If it affects your productivity within the system, that’s the true indicator of a problem.

Of course, this makes sense on an individual basis — why wouldn’t job performance be an issue for individual workers? We all have bills to pay.

But on a broader level, from the perspective of analyzing cultural trends and messages, it strikes me as eerily dystopian that humans should be viewed like malfunctioning robots who need repair because their efficiency has faltered, rather then looking into possible problems with the work places themselves (environment, demands, etc).

Not “Maybe we need more breaks to maximize efficiency,” but “Maybe you have a problem. Take a pill and get back to work.”

There is a lack of humanity in the description, an emphasis on product over person.

In Madness and CivilizationMichel Foucalt notices the link between society’s labor needs and their attitude towards the socially maladjusted:

Before having the medical meaning we give it, or that at least we like to suppose it has, confinement [of the insane] was required by something quite different from any concern with curing the sick. What made it necessary was an imperative of labor. Our philanthropy prefers to recognize the signs of a benevolence towards sickness where there is only a condemnation of idleness.

I want to be clear that I am not criticizing individuals for taking anxiety medication. I am not telling anyone to stop taking their medication or saying it’s weak or wrong to do so. It’s a personal choice. We need all the help we can get, and I understand that medication is one form of help for many people.

My interrogation, rather, is aimed at our perception of anxiety as a society — our knee-jerk reaction of repression over investigation, of labeling the feeling a disorder, rather than seeing it as a potential initiation into deeper mastery of one’s will and character, or as a symptom of an imbalanced social system.

Interestingly, angst as put forth by the existential philosophers refers to the spiritual dread one experiences in the face of one’s own freedom. As Kierkegaard said in The Concept of Dread:

 “I would say that learning to know anxiety is an adventure which every man has to affront if he would not go to perdition, either by not having known anxiety or by sinking under it. He therefore who has learned rightly to be anxious has learned the most important thing.” 

In that context, there begins to appear something ominous about the medication of such a feeling, which may be uncomfortable, but also suggests the presence of our own grand possibility. If anxiety is a natural reaction to the experience of our own overwhelming freedom, what will it mean to repress that sensation?

Some might take issue with the fact that I am not drawing a distinct line between philosophical anxiety and physiological/psychological anxiety. I am aware that our society sees them as different issues — one as garden-variety-human-condition-angst, which everyone experiences to some degree, and the other as the more pathological, in-need-of-medication-chemical-imbalance anxiety. This is because I don’t believe they are different. Rather, I think they are gradations of the same experience.

I see the varying interpretations of anxiety by different fields as exactly that: interpretations. The difference between, say, a poet’s description of an elephant and a zoologist’s. The elephant remains the same.

Just because one field has identified the chemicals related to the feeling does not mean the chemicals are the beginning, or the end, of the story.

Social anxiety is often linked with introverts — incidentally, a much misunderstood personality type within our modern culture.

“The day may come,” says Susan Cain in her recent New York Times article, “Shyness: An Evolutionary Tactic?” “when we have pills that ‘cure’ shyness and turn introverts into social butterflies […] [But] the act of treating shyness as an illness obscures the value of that temperament.”

As a culture we need both the shy, sensitive introverts to ponder the deeper meanings of things and the assertive, bold extraverts to take action and get things done. Diversity in a species is an evolutionary advantage.

Case in point: evolutionary biologist David Sloan Wilson performed a simple but telling experiment on a school of unknowing pumpkinseed sun fish. About 15-20 % of animals display introvert characteristics of caution (interestingly, the same percentage as in humans,) called “sitters,” compared to the more curious, assertive “rover” types…

The biologist lowered a metal trap into the water and a large number of  “rover” sunfish went inside to investigate — only to be caught. While the more tentative “sitter” sunfish, who sat back and watched, remained free.


“Had Professor Wilson’s traps posed a real threat, only the sitters would have survived,” points out Cain. “But had the sitters taken Zoloft and become more like bold rovers, the entire family of pumpkinseed sunfish would have been wiped out. ‘Anxiety’ about the trap saved the fishes’ lives.”

Wilson then caught all the sunfish and took them back to his lab. The rovers acclimated faster, eating a full five days earlier than their sitter brethren. In this case, the rovers had the evolutionary advantage.

“There is no single best … personality,” Professor Wilson concludes in his book, “Evolution for Everyone,” “but rather a diversity of personalities maintained by natural selection.”

Yet we live in a culture which treats the sitter personality as freakish. “Just do it!” our slogans roar. Action is prized over contemplation, assertiveness over timidity. One way we manifest this bias as a society is by encouraging perfectly healthy shy people to see their tendencies as problematic, needing to be cured.

Studies show that introverts, who tend to digest information thoroughly, do better in school than their extroverted peers, despite having the same I.Q. The careful, sensitive temperament from which both shyness and anxiety can spring is not only rich in observational skill, insight and inner vision, it may well be essential to the survival of our species — a point well illustrated by our friends the pumpkinseed sunfish.

As science journalist Winifred Gallagher points out: “The glory of the disposition that stops to consider stimuli rather than rushing to engage with them is its long association with intellectual and artistic achievement. Neither E=mc2 nor ‘Paradise Lost’ was dashed off by a party animal.”

I’m not saying that people who take medication are doing so to “conform to the status quo,” (obviously they are doing it to feel better and to function more effectively in their life) but the increase of medication use in the Western world does suggest the possibility of an increasingly homogenized human experience.

Though some might argue that such “increased homogeny” is just fine if it entails a more well-adjusted life experience, I am suspicious of terms like “well adjusted,” because they require that we hold a yardstick up against the majority to measure the minority; it fails to account for individual temperament or the gifts that come with eccentricity.

Back to the original thought: being anxious vs having anxiety. This is a shift of language I have witnessed in my lifetime. And what a consequence the simple replacement of “having” with “being” implies: one is an emotion that passes through you, another is something you are stuck with, a state, part of your personality, even your identity.

And could it have anything to do with the multi-million dollar pharmaceutical companies filling the airwaves with the language of “having?”

What great symphonies, works of literature and philosophies would not have been created had the sensitive temperaments creating them been medicated? And what will our society look like in 100 years if it continues down its current trajectory?

The Mad Cult of the World

June 16, 2011 § 42 Comments

By Tai Carmen

“Our society is run by insane people for insane objectives.” John Lennon

“Those who dream by day are cognizant of many things which escape those who dream only by night.” Edgar Allan Poe

“The world we see that seems so insane is the result of a belief system that is not working. To perceive the world differently, we must be willing to change our belief system, let the past slip away, expand our sense of now, and dissolve the fear in our minds.” William James

Imagine how our world would look to an alien observer. The notes taken by an evolved and sensitive species might look something like this:

Humans appear to be creatures of routine — the majority wake up before they have rested sufficiently, needing a loud beeping alarm to prematurely stir them from their slumber, and a liquid stimulant to force them into unnatural alertness. They then get into small metal vehicles, which emit toxic gasses and were assembled by mostly miserable factory workers.

A large number of humans take these small metal vehicles to small, sterile cubicles, where they stare at a small rectangular screen for eight hours, pressing buttons, with one hour off to eat.

For their time in front of the screen, they receive tokens (some people have their own private cubicle and receive more tokens than the rest,) which they exchange for shelter (which is left empty most of the day, while they go off and earn the tokens which obtained it in the first place).

Other items of interest requiring tokens are packaged food of mostly poor quality and various large unnecessary upgrades to their stronghold of posessions, the desire for which is stimulated by large rectangular screens in their shelters, for which they exchange a large amount of tokens willingly.

On these screens (which most humans watch, mesmerized, for hours at a time, when they are not staring at the screen in the cubicle) they see images designed to simulate reality (a form of entertainment which has all but replaced the experience of reality) and stimulate covetousness, which seems to mesmerize them into exchanging their hard-earned tokens for items which appear to have social significance for them.

Another large percentage of the population goes to work in factories which produce (or stores which feature) these coveted and mostly useless items.

This exchange is considered desirable. The rationale is that it creates more jobs and keeps the economy in good health. No one seems to question the point of this self-perpetuating wheel of psychological enslavement, and those who do are deflected and dismissed.

The primary activities expected to be carried out by these adult humans seem to be almost unanimously joyless, but the tokens received appear to be incentive enough.

Individuals who refuse to conform and pay homage to the tokens are almost unanimously ridiculed as lazy, good-for-nothing, mentally unsound, losers, etc. Unless individuals can find some way to earn tokens, they can not afford to buy or rent shelter and as a result become cemented in their roles as social pariahs.

Often these pariahs abused liquid downers to numb their misery in the world described above. Their status as shelter-less social rejects only fuels their need for this numbing agent. It seems reasonable to blame the numbing agent, or the individual’s inability to cope with reality. However, few blame the reality which made them have to cope to begin with.

Such probing strikes close to home: as every socially functional person is aware, there is no escape from the need to conform to the all-consuming demand of the token. And so those who do put forth the effort to work are forced to ennoble their enslavement, calling it a good hard day’s work.

Though hard work is a virtue, there is a stickier truth surrounding this truth, which is more convenient to ignore.

If our ET observer were to have read up on the nature of cult indoctrination, he might notice what writer Bettina Drew observes, “[…] there are similarities between corporate indoctrination and what’s thought of as organizational brainwashing.”

In her interesting article on the mind control techniques of cults, writer Amy Sillup elaborates:

“The victim must first be isolated from society, so that the cult or other coercive entity need not compete with outside influences. Access to outside information must be eliminated or at least rigidly controlled; the information is then reinterpreted according to the precepts of the cult. Questions from the victim are not be tolerated, nor are replies given.

During the early isolation period, certain psychological pressure or even physical torture techniques are usually employed. These measures can include […] sleep deprivation […] humiliation […] and constant repetition of indoctrinating ideas. 

Repetitive tasks may be assigned to dull the senses and reasoning skills, while also hastening the breakdown of the will. Threats of violence, death, or destruction of the victim’s soul if she rebels against the “groupthink” are frequently utilized. A period of punishment followed by the doling out of small rewards or privileges keeps the victim off-balance.” 

Sensory overload, such as drugs, flashing lights and overwhelming visuals, she notes, are also employed.

To our old friend the alien observer, the Westernized world itself could seem like a kind of cult.

Repetitive tasks? Check. Small rewards? Check. Sensory overload? Check. Drugs? Check (Prozac anyone?) Sleep deprivation? Check. Limited access to information? In a sense: while the modern world does have access to international media in most cases, the information itself is limited to the focus of our contemporary culture. Those with ideas not in line with the accepted reality face the threat of social rejection — in the past they have even been put to death, and still are in some parts of the world. Threats of death? Check.

Studies show that “the same regions of the brain that become active in response to painful sensory experiences are activated during intense experiences of social rejection.” So in a very real way, the threat of outcast status can act with the same coercive force as threatened physical violence. Threats of pain/humiliation? Check.

The average American watches more than 4 hours of TV each day, which adds up to two months of non-stop TV-watching per year. By age 65, that person will have spent 9 years watching television. 99 % of American homes own at least one television. Sensory overload and repetition of ideas? Check.

As social media mogul Joe Summerhays points out:

[During the advent of the industrial revolution] gin carts filled the street of London, numbing the dehumanizing pain of mindless factory work into submission. The 1800′s lacquered workforce lubricated the march of industry […] As the efficiency of industrialized society produced more free time, the gin cart became television. This new lubricant oiled things into the late 20th century.

And so our sensitive and saddened extraterrestrial anthropologist would have to report that humans have essentially cornered themselves into having to conform to an insane system, where they are required to spend the majority of their lives gritting their teeth through joyless activities to earn tokens to support their enslaved existence.

We have built a society where, in order to survive, we must, in effect, build our own cages, even paying to consume our own propaganda.

Our interplanetary visitor might feel obliged to make one final note in his evaluation of 21st century human culture:

It appears, none the less, that some individuals are not entirely hypnotized. They still turn inward to the private flickerings of their dreams, which whisper of possibilities greater than the reality before them.

 

 

See “The Role Of The Dreamer & The Falseness Of Civilization.” 

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