The Queen's Reich [PT I]

Seattle's Queensryche started out in the early 80s, playing what was considered somewhat original sounding, cutting edge, aggressive heavy metal. But they rapidly morphed into something more progressive and ecclectic. This peaked with their classic concept album "Operation: Mindcrime," revered for it's unique combination of cinematic drama and hard edged, melodic heavy metal.

Although "Operation: Mindcrime" was only modestly successful compared to larger acts of the day, Queensryche's follow-up "Empire" would see them shoot up to the top of pop charts. Interestingly, the band then chose to play "Operation: Mindcrime" in it's entirety to their newfound audience, as if they hadn't already toured for it!

"They come up and they say “you know Revolution Calling…is that happening in America right now?..are you planning a subversive revolution against the government? Do you want us to be assassins for you?” …and we just say aye! We’re just writing about cars and women and stuff! I mean we got nothing against right wing conservative fascists that run the United States!..the story of Mindcrime is a fictional story. It’s not an extreme version of reality." - Chris DeGarmo

[Left: Chris DeGarmo Right: Geoff Tate]

Though Geoff Tate seemed the unwitting spokesperson for Queensryche initially, it is easy to see why Chris DeGarmo seemed to quickly fall into that role. He was good looking, articulate, quick, funny, intelligent, confident, yet surprisingly disarming in his demeanor. Because of this, one tends to just knod along in agreement with him, giving him the benefit of the doubt when he is vague or ambiguis. We LIKE him. We TRUST him.

But if we examine DeGarmo's quote above, he really doesn't do a very good job at debunking the decidedly serious fan perspective he presents. Beneath his initial sarcasm is the obvious truth that they do write music about REAL topics, and it does reflect their feelings about "right wing conservative fascists" running the country. To me, this seems to support the idea that the album is a "call to arms" of sorts, but let's step back for a moment...

WHAT IS A "QUEENSRYCHE?"

Queensryche is not a real word, it was presumably invented by the band. Not sure what to call themselves, they decided to take the title of Chris DeGarmo's song "Queen of the Reich" and abbreviate it into QUEENSRYCHE.

Queen: "the wife or widow of a king...a female monarch."

Reich: "realm : empire : kingdom"

Empire: "a major political unit having a territory of great extent or a number of territories or peoples under a single sovereign authority."

- Merriam Webster

"The monarchy of Canada is Canada's form of government embodied by the Canadian sovereign and head of state. It is at the core of Canada's constitutional federal structure and Westminster-style parliamentary democracy. The monarchy is the foundation of the executive (Queen-in-Council), legislative (Queen-in-Parliament), and judicial (Queen-on-the-Bench) branches of both federal and provincial jurisdictions. The Queen of Canada has been Elizabeth II since 6 February 1952." - wiki

I thought Queen Elizabeth II was the QUEEN OF ENGLAND? Well, yes she is. But when we look at the word REICH, it seems that Queen Elizabeth's "realm" or "Empire" actually extends to Canada, which is just North of Seattle, Washington. So when we speak of a "QUEEN'S REICH," we are referring to the territories under her juristiction in some form, which may extend beyond the borders of the native country in which that Queen physically resides. So if we say we are "building empires," I suppose that means we are expanding the Queen's Reich beyond it's current borders...

There are no Queens in the United States, as we live in a constitutional republic. So why were these young American rockers promoting "the Queen's Empire" through music, in a territory where that influence was actually forced out during the American Revolution? Maybe they just thought it sounded like a cool, unique name for a heavy metal band.

Freddy Mercury wore a British royal crown replica many times on stage during his band QUEEN's performances. Queen was originally signed to British label EMI, the same label that signed Queensryche in 1983 for their 7-album deal.

Think about this within the context of say, "Game of Thrones." If you are the Queen of an Empire and your people are fawning and worshipping at the feet of some foreign rock and roller from ANOTHER COUNTRY - one which defeated YOUR armies and forcefully claimed its' independence from your Kingdom - well you better do something about that! Because you want your subjects screaming for YOUR OWN home grown rockers, representing YOUR OWN Empire and YOUR OWN interests! In fact, you want THE WORLD screaming for YOUR OWN home grown rock and roll representatives, don't you? Think: The British Invasion...

"The British Invasion was a cultural phenomenon of the mid-1960s, when rock and pop music acts from the United Kingdom and other aspects of British culture became popular in the United States and significant to the rising "counterculture" on both sides of the Atlantic Ocean. Pop and rock groups such as the Beatles, the Rolling Stones, the Zombies, the Kinks, Small Faces, the Dave Clark Five, Herman's Hermits, the Hollies, the Animals, Gerry and the Pacemakers, the Searchers, the Yardbirds, the Who, and Them, as well as solo singers like Dusty Springfield, Cilla Black, Petula Clark, Tom Jones, and Donovan, were at the forefront of the "invasion"" - Wiki

The original Queensryche EP has yellow lettering with a purple outline. Yellow is close to GOLD, an element signifying royalty. Purple is a royal color as well. [think of PRINCE and his PURPLE REIGN]

"Crown Royal [Whiskey] was introduced in 1939 by Samuel Bronfman, president of Seagram, as a tribute to the 1939 royal tour of Canada by King George VI and his wife, Queen Elizabeth, the first of a reigning monarch to Canada." - wiki

Note the yellow/gold and Royal Color purple. A 750ml bottle of Crown Royal typically comes packaged in a Royal Purple sack with yellow/gold string/embroidery.

The iconic "QR" shield on the back of Queensryche's e.p. has swords and a crown...a real expression of heraldry - in the tradition of European Royalty. Are these just some young rockers who watched "Excalibur" one too many times, or is there some type of larger influence here?

Just under the logo is the peregrine falcon motif, which would later morph into the Tri-Ryche symbol. The peregrine falcon is the fastest bird, as well as the fastest animal on the planet. Bird wing motifs are very common in heraldic emblems.

In the video for "Queen of the Reich," a futuristic Queen is attempting to enslave the world using a computer and some sort of crystal technology. At the end of the video, Geoff Tate tears off the face mask from the then captured Queen's eyes, and a blinding light flashes before them. The words: "To be continued." appear across the screen. I'm sure many fans noticed that there was never a sequel to this story. Or was there?

Queensryche's debut full-length "The Warning" features a being with lights shooting out of it's eyes on the cover of what looks like a Tarot card. Is this some sort of cheap knod to where the "Queen of the Ryche" video left off? Note what looks like the planet earth in the background, where a giant storm seems to have formed. Note also the peregrine/tri-ryche symbol on the corners of the card...

For the Warning, EMI flew Queensryche to London to record with producer James Guthrie. Although Guthrie didn't seem to have much experience recording heavy metal, he had already produced "The Wall" by Pink Floyd - making him one of the "big time" rock producers of the day. I suppose EMI was just LOADED with money, because flying the band over to London to work with a producer who could charge top dollar in what would probably be top of the line facilities - well one can only assume EMI was expecting a return on this investment.

DeGarmo: ...We came over to London to record with James because we thought he would be valuable to work with, and he wanted to use London studios. We'd allowed two months to complete the record, but things kept on developing with the result that we over-ran by a month, and that was working 12-14 hours at a stretch with very few days off. It was really exhausting, and when it came to mixing the results I think we were all so drained that we failed to really capture what we'd done. We needed to be fresh for the mix, and we weren't...the label really cares, and wanted very much to get it right, so that's why I'm down here now in LA. It's really working out well and everyone's very pleased with what we've got. We're getting really excited about the album again!" - Kerrang #77

"It's great that the label is prepared to give a new band the time - and the opportunity - to get the record exactly right," Geoff added later. "They could easily have insisted on releasing just what we had, but the support we've had from them has been excellent. We're very fortunate that they trust us and believe in us." - Kerrang! #77

This Kerrang article came out obviously before the Warning album had been released. Clearly there were problems with the initial mix in London, which seems odd considering the high end producer and facilities involved. Kerrang's job here seems to be to provide a bit of damage control, and help reassure Queensryche fans that a proper product is on the way. But the information in the article is contradicted pretty directly in other places...

"The album's original track sequence and sound mix that the band had approved, was changed by mix engineer Val Garay under orders from EMI-America, against the wishes of the band...The band first learned of this in August 1984, while on tour in Japan." - Blabbermouth, Anybodylistening.net

Ok, so according to Kerrang!, DeGarmo was in LA re-mixing the album WITH native Californian Val Garay [then of Kim Carnes fame] and the band was real "pleased" with it all. Yet, other reports claimed EMI made the decision to remix the album AGAINST the wishes of the band! Here's what Geoff Tate said years later about this, according to Blabbermouth...

"The only time I ever experienced [a record label restricting creative freedom] was during the recording of Queensrÿche's first album, The Warning. We went $300,000 over budget and the label took the record out of our hands and gave it to someone else to mix. ... The guy that mixed the album had no clue what Queensrÿche was. He never listened to hard rock music and didn't take input from anyone in the band. He just mixed it according to how he thought it should sound. No-one in the band could listen to that record. We all hated it."

Think about the money this all cost! Flying the band to London, paying for lodging/food. Paying the producer, studio, engineers. Going $300,000 OVER budget! [which was a lot more money in 1984 than it is today] Then refusing to accept the original mix, and spending additional money to pay another person to remix it, who's claim to fame was working with Kim Carnes! Kim Carnes was known for the hit "Betty Davis Eyes." [NOT Metal or even hard rock!] Regardless of how much money EMI had floating around, I can't see them dumping so much cash into the band without expecting a return on the level of Pink Floyd or Kim Carnes. What they ended up with was basically an abstract cult metal classic that only a handful of people in the world would truly appreciate. This might explain the band's drastic shift in sound and image for the next album, which they so admirably explain away with the term "no limits."

It seems the ultimate goals of the band and the label were not very clear or necesarilly in alignment. Yet Kerrang! was out there making sure the opposite perception was given. The band even seemed to play into the "misinformation" to a degree at times. Perhaps as we continue to look at the big picture here, it will all start to make more sense. [no promises though!]

Notice what appears to be a stylized crown on the back of these tarot cards - a similar crown motif is found embedded in Queen's early logo for their debut album...

[Queensryche concert program, presumably handed out to fans during the 1985 Warning tour. We can see that the fully formed Tri-Ryche symbol was already being used, exactly as it would appear on the cover of their following album, "Rage for Order"]

"The spelling "Queensreich" was modified to prevent association of the band with Nazism; "ryche" is a Middle English cognate to "Reich" which, like the German word, can mean "realm", "kingdom" or "empire". The name "Queensrÿche" is written with a metal umlaut over the letter 'y'." - wiki

This business of Queensryche changing the spelling of the word "reich" to avoid association with Nazism is very strange when we consider their unambiguisely named "Tri-Ryche" symbol, as well as the Tri-Ryche corporation the band would form.

"Queensrÿche's logo, the so-called Tri-Ryche (written without an umlaut on the 'y'), also stems from the band's early years...The Tri-Ryche is prominently featured on most of Queensrÿche's album covers."

The word "Tri" is latin for 3. So Tri-Ryche really means 3 Ryche or Third Reich! If they didn't want to be associated with Nazism, it seems rather strange they were not concerned that this "Tri-Ryche" name might raise a few eyebrows. I guess they were right not to worry, because it never even occured to me till I started researching this blog!

Geoff Tate was born in Stuttgart, which was then part of West Germany, to American parents. I'm not saying Tate is a Nazi, I just thought I'd throw that in there with all of this German stuff...perhaps he had a pre-occupation with German topics due to being born there?

Apparently the Tri-Ryche symbol gets credited to both Wes "Grizz" Griswold [R.I.P.] and Scott Rockenfield's brother Todd - both of whom I couldn't really find much of anything about.

At some point Queensryche formed a corporation called "Tri-Ryche," after the symbol of the same name. All 5 members would have equal shares, as I understand it from the Tate vs Wilton/Jackson/Rockenfield court documents. When DeGarmo quit, that left 4 core members. A big beef in the court documents had to do with Tate allegedly forfeiting his share when he behaved in a manner leading to his being voted out of the corporation by the 3 other members. Interestingly, this reduced the corporation down to a true "Tri-Ryche" [or 3 member "empire"] Again, I have to wonder if anyone involved with this court case pondered this "3rd Reich" association...

"Oxford University Press; Abridged edition (May 29, 1986)" - Amazon

"Rage for Order is the second studio album by the American progressive metal band Queensrÿche, released on June 27, 1986." - wiki

I don't want to spend too much time getting into "Rage for Order," but it is interesting to note that the British publisher Oxford Press put out a book called "A Rage for Order" EXACTLY 30 days before the album "Rage for Order" was released on the British EMI label [through subsidiary EMI America].

If you look closely at the Tri-Ryche symbol on the album cover, the base of it looks as though it could be centered at Great Britain. What could this mean?

Similarities to the Batman symbol aside, my guess is that the Tri-Ryche insignia is at least partially inspired by the fleur-de-lis, found on the British crown.

"The fleur-de-lis, also spelled fleur-de-lys (plural fleurs-de-lis or fleurs-de-lys), is a lily (in French, fleur and lis mean 'flower' and 'lily' respectively) that is used as a decorative design or symbol...The fleur-de-lis has been used in the heraldry of numerous European nations, but is particularly associated with France, notably during its monarchical period."

Queensryche's major commercially successful album "Empire" prominently embedded the name of their record label EMI within the title "Empire." Is this EMI asserting it's ownership and responsibilty for the finished product? Who really runs Queensryche? Are the band members just the "frontmen" for a larger social control operation?

EMI AND KERRANG!

Q: You have actually toured with Kiss…played with Maiden, Dio…but before that you were really on the local circuit, weren’t you?

Geoff tate: Actually no. We’d never played live before. I think the first show we played was 4000 people or something…

How did an obscure underground Heavy Metal band from what was, at the time, an obscure part of the country for heavy rock music, manage to bypass the "club circuit" completely, land huge gigs, and then obtain a major record deal so fast? Don't get me wrong, I am GLAD they did, as I am a fan! But it does seem odd.

Most bands that were "making it" at the time were from LA. Ratt, Quiet Riot, Dokken, Motley Crue, Van Halen...These bands were singing about sex, drugs, and rock and roll. Fun. Partying. Even the devil. Queensryche was singing about abstract science fiction fantasy and mystical ladies in black. They didn't scream "radio hit coming soon!" Build a local following? Meh! Why waste time on that when you can jump straight to arenas?

"The group recorded the four songs...For an entire year, they brought their demo to various labels and were rejected by all of them...Kim Harris [manager] sent the demo tape and a band photo to a friend who wrote for Kerrang! magazine, resulting in a glowing review...After the EP garnered international praise, receiving much airplay and selling an unusual number of copies for a small independent release, Tate agreed to leave Myth and become Queensrÿche's permanent lead singer." - wiki

England's Kerrang! is one of the most influencial heavy metal magazines in the world. Although the band's raw talent surely didn't hurt, it seems it was the British magazine's praise of Queensryche's humble ep that was probably most responsible for their initial boost in popularity, leading to larger gigs and a major record deal with a notably British major record label, EMI. They then recorded their first full length, The Warning, in London, England. You know that old cliche about the band you never heard of being "big in Japan?" Well it seems Queensryche was "big in England" initially. At least in the minds of a few influential entities within Queen Elizabeth's Empire.

[note 2 bands with the word QUEEN in the name, listed on the front cover of Kerrang! #77!]

The album "Operation: Mindcrime" begins in a hospital, where a woman with an American accent is paging Doctors over a loudspeaker. We then hear a Nurse with a British accent entering a room, where the TV is broadcasting a news story by a man with an American accent, reporting on a man being held in a hospital - who is obviously Nikki. So we are in America, but a British Nurse is checking in on Nikki to give him a shot. She calls him a "bastard" under her breath, so she is obviously not looking to "fix him up" in a good way! Why is the nurse British? I don't know, but so is Dr X, who is played by British actor Anthony Valentine. [more on this later] Geoff Tate also seems to use a slight British accent on spoken sections of the album.

"Selling skin, selling god, the numbers look the same on their credit cards..."

In the song "Spreading the Disease," Tate rhymes GOD with CARDS. That doesn't work if you have a Northwest American accent! Americans typically pronounce the R in CARDS. Even if you go to the East Coast or deep into the ghetto - you might get a long "A" out of cAAAds. But you don't really get to CODS unless you are British. The numbers look the same on their credit CODS...

"We all met, strangely and mysteriously in a fish and chips restaurant….and we were all there one night." - Geoff Tate, 1984

I came across a book called "The Intern," published originally in 1965. The author? Dr X. Apparently, this was a pen name [pseudonym] for a guy named Alan Nourse, who is a fairly well known science fiction writer. In fact, he wrote a book called "The Bladerunner" in 1974. Although the story is not related to the film of the same name, the name itself was directly lifted.

"In 1960, Alan E. Nourse, who was an intern at Virginia Mason, wrote The Intern; it was published by Harper & Row in 1965, under the pseudonym "Doctor X"" - wiki

So what is the signifficance of this book, "the Intern" by Dr X? It is basically comprised of non-fiction, diary entries written by Alan Nourse while he was an intern at a hospital in.........Seattle! I read the book, and I couldn't find any relavant information to this topic, other than the connections already mentioned. Perhaps Geoff Tate or someone else came across it during the writing of O.M.?

"I worked in a hospital. I was…all the supplies that come in, I was sort of in charge of a store room. Stocking all of these things…keeping track of them, unloading deliveries…" - Chris DeGarmo

Perhaps DeGarmo's early experiences working in a hospital influenced the subject matter on O.M.? Here is what Geoff Tate said about how the idea for DR X came about...

"I guess it started out to be based on a group of people we met when we were in Montreal who were sort of involved with overthrowing their government…and ousting all the English speaking people and bringing in sort of a French controlled new government…quite an interesting night drinking with these people and hearing their viewpoints…that was sort of the inspiration for DR X…"

The character of Dr X is played by Anthony Valentine, a British actor. If the idea of the character was influenced by some French Canadians who hate speaking English, why was the character presented as one who's native tongue is English? And given that the story presumably takes place in America, what would a British guy be doing trying to radicalize and recruit despondent American youth for a revolution and to overthrow the American government?

"...a metal band best known for a concept album (“Operation: Mindcrime”) about a “Manchurian Candidate"-style brainwashed assassin." - LA Times, 1991

"The story is centered around the title of the album, which is called Operation mind crime. And what that is is the codename for this plan that one of the characters has. Dr x is trying to carry out this revolutionary plan…it’s based in contemporary America, is where the story’s based, and he…sort of manipulated these 2 other characters to carry out his violent form of creating change and um, operation mind crime is the name of his plan so he brainwa - - sort of capitalizes on the character’s weaknesses like they happen to have drug problems and religious - they [are] very dependent on religion, so he manipulates both of these angles to make them carry out his plan…we also just tried to write the best songs that we could and surround this story with very emotional, atmospheric music…" - Chris DeGarmo, 1988

"They've split from their management company and have been taken on by the heavyweights of management, Peter Mensch and Cliff Burnstein - the two of them being responsible for the likes of Def Leppard, Metallica, Tesla, Dokken..." - Metal Hammer

When Queensryche began their tour with Metallica on September 11th 1988, I don't think I was the only person confused by the pairing. Metallica was still considered pretty extreme, with regard to their sound and brutality. A Thrash/Speed Metal Band. There was no happy "Enter Sandman" type songs yet! Whereas Queensryche was closer to progressive, hard rock, and/or glam at that point. Metallica's 1988 album "And Justice for All" was, arguably, their most dark and brutal - both lyrically and sonically.

"Justice is lost, justice is raped, justice is gone...pulling your strings, justice is done. Seeking no truth, winning is all, find it so grim so true so real..." - And Justice for All

"I used to trust the media to tell me the truth, tell us the truth. But now I see the payoffs everywhere I look. Who do you trust when everyone's a crook?" - Revolution Calling

Although very different sonically, the 2 bands seemed to compliment each other quite well in their social commentary. Both seemed to view America in specific, as a very dark, corrupt place. Us younger fans of darker, heavier music tended to agree I suppose. Especially those of us who perhaps did not have the best upbringings or did not fit in so well with society. We were probably the most likely "target audience" of this music, if there was such a thing!

But the question is, were the bands reflecting our views or were our views reflecting theirs? Were their views REALLY theirs at all, or those of their financiers? Were we all just responding naturally to the dark realities of the world, or were the dark forces manifesting themselves at our concerts - striving to drive us towards darker and darker extremities, and to our ultimate demise? Could some potential world power have it's eye on destroying America and the constitutional freedom we enjoy through entertainment by creating a culture of cynicism so consumed with reactionary emotion, that we became less rational and discerning of our world? A MOB of loose cannons, reacting to the latest controversy of the day. A mass of RAGE in need of ORDER.

Are these mass shooters the "Nikkis" of today? Are these radical groups intimidating people and causing destruction in the streets the "Dr X cults" of today? Are these satanic, overly sexualized, racially militant, illuminati symbol decorated "artists" of today the new Mindcrime Operations? There's a revolution calling, alright. But maybe the change we need is one back to some sense of normalcy, rather than total misguided upheaval...

Geoff Tate: If you really look into what’s on TV nowadays there’s a lot of really…sort of bizarre images, I guess you could say, that come across…and it’s hard not to think that someone’s not thinking of mind control or some sort of…programming

Chris DeGarmo: So we try to avoid all of those techniques when recording our albums! [laughs] No subliminal messages on our records!

CLICK HERE for part II.

This blog was researched, written, and continues to be maintained by 1 person. If you enjoyed it and would like to encourage more of them, donations can be made by clicking the button below.

SOURCES:

Wikipedia
AnybodyListening.net
LA Times "Queensryche's "Empire" Strikes Back" 5.91
http://www.users.totalise.co.uk/~bigoleg/queensryche/om/features/metal_hammer.html
https://www.youtube.com/watch?v=3O7DwpOleEU
https://www.youtube.com/watch?v=49VnGJ6WuTI
https://www.youtube.com/watch?v=P1TsL9JglR4
https://www.youtube.com/watch?v=ymnIGK-w61Y
https://www.youtube.com/watch?v=KGYCl-crYEI
https://www.youtube.com/watch?v=hH1_aDwnbPQ

Mr Letter on MK ULTRA

In my blog "The Letter that Shall not be Named," I explain that there is a message board containing posts by an unknown individual going by the name represented by the above letter. Due to the fact that Google has algorithms in place to censor/block information online containing references to this individual/entity, I will refer to this individual/entity as "Mr Letter" here. Refer to my previous blog mentioned above for further clarification on this...

Above is a screenshot taken from Truth Social, a new social media platform similar to Twitter [where some believe Mr Letter is now posting]. Although TS is new, I've been following the author of the post in the above screenshot for a couple years now, first on Twitter - where I believe he was banned some time ago. I am explaining all of this to give credit where it is due, regarding who inspired me to explore Mr Letter's posts on the whole MK Ultra topic.

I have mentioned MK Ultra many times in my blogs, but have never dedicated one to that specific topic. After exploring Mr Letter's links, I felt somewhat compelled to show what I found and figured some of my readers would find this useful for research purposes.

One of the scariest things about all of this is that despite the hundreds of thousands of documents available, most of the "records of all these activities were destroyed in January 1973, at the instruction of then CIA Director Richard Helms." That means the crimes referenced in the known documents may only represent the tip of the iceberg, and can only hint at the monstrously advanced scale these types of clandestine operations are likely functioning at today.

There are many places online to view Mr Letter's posts, I just happen to use the mirror site shown above. You can also refer to the previous image, which lists the address to another good mirror site. All legitimate mirror sites should contain the exact same posts with the exact same corresponding post numbers - with very few exceptions. Using the search box, typing the term "mkultra" should easily turn up the same 4 results you see in the above image.

NOTE: Some of the links on Mr Letter's posts may not load properly by clicking them. Try copying and pasting instead, typing it out yourself, or check that there is no space between the "https://" and the rest of the address. Links may also lead to pages which have since been deleted. In that case, try doing a search query using all or part of the address itself. Or search using keywords from the original link, within the domain listed in the original address.

Starting in chronological order, Mr Letter's post #772 from 2.15.18, at 15:02:33 time stamp gives us a link to an official government site featuring the transcript of a 1977 senate hearing, which reads at the top: "PROJECT MKULTRA, THE CIA'S PROGRAM OF RESEARCH IN BEHAVIORAL MODIFICATION."

[Images/info taken from https://www.intelligence.senate.gov/sites/default/files/hearings/95mkultra.pdf]

I'm not going to spend much time getting into the gory details of what is in the transcript, because you can read it yourself. It's only 171 pages, half of which is appendixes/notes. Just reading half of this will make you more of an expert on Mk Ultra than most people - and it is actually pretty entertaining if you view it as some sort of "true crime" drama...I do want to highlight a few alarming details I think need emphesis though, which can potentially provide vital insight into what is happening TODAY.

Senator Daniel K Inouye: "It should be made clear from the outset that in general, we are focusing on events that happened over 12 or as long as 25 years ago. It should be emphasized that the programs that are of greatest concern have stopped..."

Senator Edward M. Kennedy: "These are issues, are questions that happened in the fifties and sixties, and go back some 15, 20 years ago..."

Admiral Stansfield Turner, Director of Central Intelligence: "Let me emphasize that the MKULTRA events are 12 to 25 years in the past. I assure you that the CIA is in no way engaged in either witting or unwitting testing of drugs today..."

Above are just a few examples illustrating the level of DAMAGE CONTROL going on here. Emphesis is being made regarding the TIME that has passed - which really wasn't that signifficant in 1975-77, and is clearly being used as a tool to DISTANCE the then current CIA from their absolutely horrible and inexcusable covert actions against the American people and others in the recent past.

These methods of obfuscation still go on today. The powers that be, the mainstream media, politicans, etc will lie to the public [or deny knowledge of certain things] in order to cover up crimes, get someone elected, pass a certain measure, or win a political argument. Then later down the line, they will make excuses for why they were wrong, blame people who are already dead, throw people under the bus [or just flat out kill em], understate the crimes, or just wait until enough time has passed that people don't care as much. It's quite maddening when you observe this happening in real time - and it happens often unfortunately. [The Hunter Biden Lap†0p, for example - which the New York Times finally verified as authentic, after vehemently denying it's authenticity in the months before and after the 2020 presidential election].

Given that absolutely no effort concerning accountability is being made in this hearing, statements such as "the CIA is in no way engaged in either witting or unwitting testing of drugs today" come off as shallow and insulting to the intelligence of anyone with a brain who is paying attention. We're just supposed to take their word for it now, after these shocking secret activities of theirs have been exposed? If nobody is being held to account, what is the motivation for them to stop?

[Richard M Helms. Served as Director of Central Intelligence (DCI) from 1966 to 1973. He ordered the destruction of all MK Ultra documents in 1973. In 1977 he received a two-year suspended sentence and a $2,000 fine. This seems to be all of the punishment he recieved]

[Dr Sidney Gottlieb, 1977. "Gottlieb administered LSD and other hallucinogenic drugs to unwitting subjects and financed psychiatric research and development of "techniques that would crush the human psyche to the point that it would admit anything".He was named as the person who gave Army bacteriologist Frank Olson LSD at an MK-ULTRA retreat, leading to Olson's mental spiral and death a week later...On October 7, 1975, Gottlieb testified before the Church Committee under the alias "Joseph Schneider." He did not reveal much in his testimony, besides saying he had destroyed nearly all records of what he did during his time at the agency. Gottlieb was never convicted of any crimes." ]

Senator KENNEDY: "And no one- no single individual--could be found who remembered the details, not the Director of the CIA, who ordered the documents destroyed, not the official responsible for the program, nor any of his associates."

"...These institutes, these individuals, have a right to know who they are and how and when they were used. As of today, the Agency itself refuses to declassify the names of those institutions and individuals, quite appropriately, I might say, with regard to the individuals under the Privacy Act..."

"Many researchers, distinguished researchers, some of our most outstanding members of our scientific community, involved in this network, now really do not know whether they were involved or not."

Admiral Turner: "We should certainly assume that the researchers and institutions which cooperated with CIA on a witting basis acted in good faith and in the belief that they were aiding their government in a legitimate and proper purpose..."

"I believe that we all have a moral obligation to these researchers and institutions to protect them from any unjustified embarrassment or damage to their reputations which revelation of their identities might bring..."

Again, these hearings were not about accountability, they were about protecting the name/reputation of all perpetrators and institutions involved in this horrible "research" upon whom were probably thousands of unwitting civilians. I am sure there were plenty of "unwitting participants" here, but they are conflating the civilian victims with the institutions where these horrific activities were carried out and the persons who carried out the deeds! As if the perpetrators of the crimes were victims JUST AS MUCH AS THE CIVILIANS WHO WERE DRUGGED AND TORTURED without their consent! This is all being done to PROTECT the perpetrators and the reputations of the colleges/institutions where these crimes were carried out. And they more or less state it here, without shame! And we are just supposed to nod along in "solidarity" to all of this BS...

Let's not take for granted that the only reason these hearings occured at all was to placate the American public's overwealming distrust of the CIA over these horrific MK Ultra projects - which were too extensive to keep a secret any longer. Specifically, the death of Frank Olson put a spotlight on the ugly secret activities going on, forcing the CIA to comment publicly - resulting in little-to no accountability! Make no mistake, if they could have hid this all from the public forever, they would have.

[The arrow points to a car which popped out of nowhere, just as then-President Trump's motorcade (inside the yellow circle) was passing.]

Post 772 also contains a link to a youtube video, in which a car appears to pop out of nowhere in an apparent attempt to collide into then president Trump's motorcade. The vehicle fails miserably as it plops out and gets stuck near a "pond" on the shoulder, where they are quickly met with security officers in the convoy.

An article published by ky3.com on Aug 31st, 2017 reads in part:

"Samantha Morris, 17, and Nikia Hicks, 18 were in that car on their way to work when their brakes suddenly went out. "I was pumping my brakes hard, they were smoking and i couldn't stop at all" said Morris. That's when she swerved to avoid hitting a gaurd at the entrance of her work and ended up feet from a pond. "i just thought we'd hit a fence," said Morris. "I thought there was a fence. We were crazy close to that pond. we could have drowned.""

Before and after the link to this video, Mr Letter seems to be making references to technology unknown to the public, that can either control an individual, a vehicle they are driving, or both - by way of frequencies and/or cell phones - possibly even from outside of the country! Mr letter also hints that the statements made by the driver to the press is a "fairytale."

Whenever I speak about Mk Ultra, I try to stress to my readers how important it is for them to consider the real possibility that these types of activities never stopped, and that we can only imagine the level of technology being implemented in secret against civilians today. I believe Mr Letter is more or less telling us that this incident is an example of what these types of programs are now capable of, and how the media just explains it away with the express intent of KEEPING YOU IN THE DARK about the truth of it. We only win here by probing further and refusing to accept their narratives at face value!

Mr Letter's post #773 provides a link to a Wikipedia entry on Dr Ewen Cameron, who conducted some of the most well documented experiments on unwitting victims, as part of the Mk Ultra project. CIA activity in Canada seemed to occur with the cooperation of Canadian government, who still cooperate "heavily" to this day.

[Donald Ewen Cameron (1901-1967) conducted horrific experiments upon unwitting patients, under the umbrella of Project MK Ultra.]

"He [Cameron] "was paid $69,000 from 1957 to 1964 to carry out MKULTRA experiments there. In addition to LSD, Cameron also experimented with various paralytic drugs as well as electroconvulsive therapy at thirty to forty times the normal power. His "driving" experiments consisted of putting subjects into drug-induced coma for weeks at a time (up to three months in one case) while playing tape loops of noise or simple repetitive statements. His experiments were typically carried out on patients who had entered the institute for minor problems such as anxiety disorders and postpartum depression, many of whom suffered permanently from his actions. His treatments resulted in victims' incontinence, amnesia, forgetting how to talk, forgetting their parents, and thinking their interrogators were their parents."...When lawsuits commenced in 1986, the Canadian government denied having any knowledge that Cameron was being sponsored by the CIA."

"In 1945, Cameron, Nolan D. C. Lewis and Dr Paul L. Schroeder, colonel and psychiatrist, University College of Illinois, were invited to the Nuremberg trials for a psychiatric evaluation of Rudolf Hess. Their diagnosis was amnesia and hysteria per a short commentary in the Journal of the American Medical Association. Hess later confessed that he had faked the amnesia."

It is interesting to note Cameron's brief role in the Nuremburg trials, before his participation in Project Mk Ultra - where he would be carrying out similar activities to that of the twisted Nazi experiments.

Mr letter mentions a "Lincoln Park." According to wiki, "CFB Lincoln Park PMQ is a residential neighbourhood in the southwest quadrant of Calgary, Alberta, Canada. It is located on former Canadian Forces Base (CFB) Calgary..." I'm not sure the relavance of that particular location, but in this context I assume Mr Letter is hinting that some type of Mk Ultra activity occured there.

It is interesting to consider the American band LINKIN PARK within this context - who's singer Chester Bennington died on his friend Chris Cornell's birthday, the very same year Cornell died, and allegedly the same way [suicide by hanging]. I have spoken about possible connections between Mk Ultra and suspicious deaths within the music scene. This is a very dark area in need of more exposure.

Mr Letter post 773 also contains 5 links at the bottom. The first link will not load properly, but I believe it was intended to route us to the video located on the same domain, at https://www.cbc.ca/player/play/2568182246. This is a disturbing documentary where we finally get to hear from one of the victims of these terrible experiments. It is not that graphic, but is well done and informative. One walks away with just a small taste of the haunting anguish survivors carried with them for the rest of their lives.

["Bob Logi," unwitting victim of Dr Ewan Cameron's mind control experiments. Although he was only 18 at the time, he clearly suffered from perminent damage for the rest of his life. What about the people we know nothing of, who's stories were never made public?]

The 2nd link directs to a 2017 article speaking about how "A recent Department of Justice gag order in an out-of-court settlement was designed to avoid responsibility and avert compensation to more victims and their families." The article contains several links to the Fifth Estate productions mentioned earlier. The article is very informative, and should be highly disturbing to anyone who cares about basic human rights.

The 3rd link is to a New York times article from 1992 which states, "the Canadian Government says the 80 or so patients who underwent the so-called "psychic driving" treatment in Montreal, intended to wipe the brain clear of all trauma, can receive almost $80,000 each...The patients at the Allan Memorial Institute at McGill were put into a drugged sleep for weeks or months, subjected to electroshock therapy until they were "de-patterned," knowing neither who or where they were, and forced to listen repeatedly to recorded messages broadcast from speakers on the wall or under their pillows."

Link 4 directs to the above article, which states in part:

"In the 1980s, the CIA and State Department launched a public counterattack on the Canadian government for questioning the propriety of CIA activities...In press briefings, interviews and Court pleadings, the CIA hammered away at one theme - Canada funded Cameron too...This steady counterattack left the Canadian government completely cowed, apparently a fairly easy thing for the U.S. to accomplish."

The 5th link goes to a 2012 article, detailing a bit more of the history behind MkUltra Subproject 68.

The post ends, in part, with the ominous question: "Have any recent [shooters] received therapy in the past?" This indicates to me that individuals can, and have been "programmed" via these types of secret mind control programs - to go out and shoot people. Mr Letter is encouraging us to do some research on these shooters to find out where they may have recieved "treatment." If we truly want to prevent these types of horrific events from happening again, we need to explore this line of inquiry - because the mainstream media never will. That is, unless they can twist facts to fit whatever narrative they are pushing at a given point in time. And the narrative usually necessitates steps to further erode our 2nd amendment rights.

Post 777 starts out by telling us that Mk Ultra simply started going by different names, and is indeed still active. Mr letter points us towards "Big Pharma," and challenges us to find out why this is an essential aspect of these programs. Google and Apple phones are referenced, encouraging us to further research their capabilities. When taken in reference to the previous post which spoke about the ability to basically control your car from another country, I think Mr Letter is trying to guide us in a direction which will reveal the nefarious technology being used in this context.

When Mr Letter says "THEY are watching," he probably means the very individuals behind this technology. "ARCHIVE EVERYTHING OFFLINE" is straightforward enough. Particularly regarding the Blackberry stuff. But this makes me think of icloud, or Google Drive. Storage space offered to users in order to "save space" on your phone/computer. This is all very important, BIG PICTURE stuff to think about...

The final post we will look at is #2663, posted 1/7/2019.

At the top is a link to a very interesting article published on thesun.co.uk in December of 2018. It reads in part:

"The new documents, released under the Freedom of Information Act, reveal how the CIA experimented on both humans and animals using drugs, hypnosis and electronic devices as part of the top secret - and illegal - mind control project MKUltra."

"Shockingly the swathes of information still missing or redacted in the records could mean the CIA is STILL carrying out the experiments to this day, according to experts."

"One document details how the CIA planned to drug “criminals awaiting trial held in a prison hospital ward” in a bid to develop “improved techniques in drug interrogation”. "

Remember, these are very OLD documents being referenced above. Imagine what THEY are capable of today!

"The records were obtained by researcher John Greenewald Jr, who published them last week on his website The Black Vault."

If you really want to dig deep on this topic, you NEED to explore the "black vault" website referenced above. Although many documents there have been heavily redacted - persistent researchers can greatly educate themselves and others by taking the time to review them and by sharing their findings.

The 2nd link in the post goes to a very important article published by ncats.nih.gov in 2012 entitled: "Converting Brain Signals into Action."

"Currently, the research team is working in parallel on two devices with unique features. One of these, the micro-electrocorticography (ECoG) electrode grid, is placed beneath the skull and on the surface of the brain's movement-controlling motor cortex. A computer system interprets the electrical impulses in the brain captured by the micro-ECoG technology and then converts the signals into movement controls in virtual environments."

This technology is being presented as a solution to physical disabilities/injuries. But just think of the implications in terms of warfare! What Mr Letter is urgently suggesting we look into, are the institutions and individuals funding this research - and the implications within the context of continued MkUltra-type programs. You see, if they can get funding for such technology under the benevolent guise of "restoring movement to the injured/handicapped," they don't even need to hide what they are doing! Then once the technology is available, it can simply be used covertly to control people and get them to do things. Commit crimes, perhaps even involuntarily!

This gets into the rise of transhumanism, and the mainstream media's obsession with promoting the "ideal body/identity." An ideal which relies on technology to augment our bodies and get us to prefer an unnatural appearance to our natural one. It can be something as small as a lip injection, or something as extreme as a sex change operation. These things are being aggressively marketed to younger and younger generations, not to "help them more easily grow and express themselves," but to establish an early reliance upon an unnatural technology, which allows OTHERS to more easily control them.

You might also be interested in my blogThe Letter that Shall Not be Named.

This blog was researched, written, and continues to be maintained by 1 person. If you enjoyed it and would like to encourage more of them, donations can be made by clicking the button below.

Spielberg: Questionable themes and Symbolism

There's a funny scene in the 1994 film "Sleep with Me," in which Quentin Tarantino appears briefly. He's at a party talking to another guy about how the 1980s film "Top Gun" is all about a [seemingly] heterosexual man struggling with homosexuality. At first, it all sounds very absurd and hilarious. But when you go back and re-watch Top Gun, it turns out to be shockingly plausible - you might even wonder how you ever missed it to begin with!

Someone was so amused by this observation, they put together a compilation of scenes from the film [titled "Top Gay" on youtube] which undisputably demonstrates how "homoerotic" the film really is.

Now just before Tarantino's character launches into his "Top Gay" monologue, he's finishing a thought on the previous topic being discussed - which also seems to be film related. He's basically "schooling" the other guy on what makes a film great, exclaiming with cocaine infused confidence, "No! What is REALLY being said?...because the whole idea is subversion! You want subversion on a massive level!"

subversion: especially : a systematic attempt to overthrow or undermine a government or political system by persons working secretly from within - merriam-webster

The very next thing he says is, "you know what one of the greatest fucking scripts ever written in the history of Hollywood is? Top Gun."

So if Top Gun is so great, Tarantino's character must believe that it is subversive in some profound way - since that seems to be his barometer of greatness in a movie. Following that line of thought, it must be that the film shoves masculine, testosterone fueled, hyper-heterosexuality into our faces to the point of irony - subverting the very stereotype nearly into it's opposite. A subtle, homoerotic fantasy that would probably never be detected by the naive young audience the film was aimed at.

I don't know about you, but I think there is a profound truth being revealed here, within a fictional context, regarding the motives behind Hollywood entertainment.

A

B

In Steven Spielberg's 1977 science fiction film "Close Encounters of the 3rd Kind," the big climax involves the E.T.'s mothership landing at the end. First "alien" that comes out of it is of a tall/slender variety. It crouches down into a spider-like position [image "A" above] in order to exit, emphesizing his height in proportion to the exit hatch - which a group of humans had just walked out of in full upright position. The being then stands at full stature with arms out [image "B"], as if saying to the crowd "behold my tall, naked, alien physique!"

You'd think these "advanced beings" woulda built their entry/exit hatch to accomidate the height of this important looking Alien. But if we assume that SYMBOLISM is more important to the writers of these films than continuity and plot, the "sloppy" aspects of many blockbuster films we see often reveal covert messages, deliberately designed to be missed by your conscious mind. While your conscious mind is focused on the plot making sense, your subconscious mind takes in all the symbolism indescriminately.

After the tall, naked alien disappears, a large group of short naked aliens come streaming out of the ship like children. In fact, these appear to be nothing more than human children with LONG fingers and BULGING heads.

The contrast between the taller/slender/adult alien which appeared moments ago and this shorter "child-like" variety hints at the idea of "full grown adult" vs "child," in the sense that adults are tall and children are short. When we remember that they are all naked, suddenly this scene takes on an entirely different character. Just who or what are these "Aliens" supposed to represent in a metaphorical sense? Do they represent something much more literral than we might expect?

The film puts effort into showing the facial expressions in the crowd of people present. Lots of shock and awe. But nobody looks more excited than Richard Dreyfuss' character, Roy.

The nåked chi1dren - er uh, I mean "short naked Aliens" abruptly crowd around Roy and beckon him towards their ship. Roy enthusiastically goes along with them - like a groupie who just got invited backstage at a concert and can't believe his luck! He gets on the ship with them, leaving his family and friends behind. The film ends with this ship taking off into outer space. Is this a metaphor for a man abandoning his family and normal society in order to persue his sick, unlawful, ped0phi1iåc desires?

We tend to assume any deeper "symbolic meanings" found within blockbuster films are generally benevolent in intent. After all, if these films had such hidden filth contained within them, surely they wouldn't win oscars and get all of this critical acclaim, right?

One of the more iconic posters from Spielberg's 1982 film "E.T. The Extra Terrestrial" features an image obviously inspired by Michelangelo's "Creation of Adam," one of the most classic paintings in European history and the Christian world.

God is in heaven, which is up in the sky. That is why he appears to be flying down to touch Adam's finger in the painting. E.T. is a space alien, also from the sky. So does this mean he represents God in the promotional poster? Elliot Taylor [E.T.?] is a human. Adam is a human. So Elliot must represent Adam here - who's depicted as more or less full grown in Michelangelo's painting, somewhat sensual in his pose, ding dong hanging out in full view. Elliot is supposed to be 10 years old in the film. That's kind of a wierd message, isn't it? Are we not supposed to try and interpret such heavy handed symbolism, or are we just supposed to see it and not talk about it?

E.T.'s finger is long and fat at the end. The fat end glows/pulses as he touches/heals Elliot's bleeding finger in one scene, where E.T.'s presence is being kept secret in the boy's house. E.T. says "ouch" when he heals. This scene directly correlates symbolically with the 2 fingers touching in the promotional poster, and ultimately Michelangelo's masterpiece. When you factor in the blood, the physical contact, the pulsing phallic [finger] symbology, the biblical reference, and the word "ouch," well you've got all the ingredients of a violent, sexual act of the most diabolically blasphemous nature! We just overlook it all because aspects are presented out of order and within the context of a heart warming plot and a comforting soundtrack. "It's all about subversion!"

In Speilberg's "Indiana Jones and the Temple of Doom," a man [Indy] befriends an orphaned street child whom he calls "Short Round." What is a short round, a cut of meat? Perhaps a certain body part that has not yet developed fully? They go on a quest for a sacred relic, which leads them directly into the lair of a demonic mind control death cult. This cult keeps children as slaves.

"Maybe he likes older woman?" - Short Round, in reference to Maharaja's decidedly young appearance...

Apparantly this Maharaja character [played by Raj Singh] is supposed to be a 13 year old boy. Yet, he looks and sounds like a young girl in most of the scenes. Short Round comically suggests that he perhaps likes older women. This subtle comment specifically conjures the image of the young boy with an adult female. Also known as ped0phi1ia.

[Maharaja Sir Duleep Singh in 1875, aged 37]

If you look at old illustrations and actual pictures, the Maharajas are typically depicted as decidedly macho, often with facial hair. But when they inherit their roles at such a young age, they might look more boyish in certain depictions, even feminine.

[A young Duleep Singh]

As we can see, the child Maharajas look far more feminine, by today's western standards. The writers of "Temple of Doom" decided to include a boy Maharaja in this film for whatever reason, but also used an uncredited FEMALE for his voice-over. Was this done to exagerrate the feminine aspects of his character?

The film's use of child actors is often endearing, but at other times genuinely disturbing. Considering what we've been looking at so far, this all may be far more disturbing than we ever dared consider. Maybe we should consider it. Maybe we need to acknowledge the poison we've been fed over the years by the entertainment industry?

In "the Goonies," a bunch of kids go on a secret quest underground to find the treasure of "One Eyed Willie." The word "Willie" is slang for penis. The writers of this film made sure the innuendo was enforced by calling him ONE-EYED Willie. A penis has "one-eye." Get it?

Ke Huy Quan [Short Round] returns in this film, along with Corey Feldman, who recently blew the whistle on child m01estati0n in Hollywood - mainly via his self produced film "(My) Truth: The ®ape 0f tw0 C0reys." Although I want to believe Corey's intent was genuine with regard to that film, the fact he doesn't call out his "friend" Michael Jackson in it makes me suspicious. In fact, he seems to go out of his way to defend MJ. [Go watch "Leaving Neverland."] Feldman's also still breathing, which tells me he might be a "false whistleblower," put out there to deliberately mislead people and provide a "release valve" to those wanting justice for unpunished crimes against children year after year. But that's the problem with actors. How do you know when they AREN'T acting?

In "Back to the Future" Michael J Fox goes back in time, hangs out with his dad, and bumps into his mother - who has a mad crush on him. Now obviously, his mother doesn't know that "Marty" is her future child, and it's all very comedic. But at it's root, it's really just a clever way to titillate the audience with a little mother/son 1nçest fantasy.

In "Back to the Future 3" there is a very strange scene where Marty and "Doc" are parting ways, and in the background one of the 2 children literally beckons the viewer toward his crotch with a very clear hand gesture. The same boy then immediately POINTS at his crotch! I've showed this to several people, and almost everyone misses it the first few times. But once you see it, you've got to wonder why it's in there at all. Details like that are no accident! But for some reason you are considered a "conspiracy theorist nut" if you dare trust your own eyes and brain in pointing these things out...

“Every time I had a movie that made a lot of money, or somebody else had a movie that made a lot of money, Stanley would call and say ‘Gee, did you see the grosses of that--wow!’ He would ask you questions about why I thought a nerve might have been hit in America. I would say, ‘Darn if I know.’ And I don’t,” says the director, although he later admits he superstitiously avoids trying to know. “That’s the witchcraft of movies. You have to not ask those questions.” - Steven Spielberg, LA Times

The last Speilberg film we'll look at is A.I. [Artificial Intelligence.] This actually started off as a Stanley Kubrick film - something he wanted to do as far back as 1970, but felt the technology to depict robot characters was too primitive to be done convincingly at the time. If one spends a little time researching this, it's clear that A.I. almost seemed destined to be the climax of Kubrick's entire career - a lifelong passion even! So how the hell did Spielberg end up with it? The simple answer seems to be: Kubrick died.

"Spielberg had flown from New York, and was sitting at Kubrick’s kitchen table at St. Albans, when Kubrick announced, “Why don’t you direct ‘A.I.,’ and I’ll produce it for you?”’ recalls Spielberg. “He said, ‘The card will read great. It’ll say, “A Stanley Kubrick production of a Steven Spielberg film.” Don’t you think people will come to see that?”’ - LA Times 5.6.2001

Honestly, I hate the idea that Kubrick may have legitimately offered the director's chair of his lifelong film passion to someone like Spielberg. Although there are plenty of people backing the claim, I've yet to find an interview where Stanley confirms this himself. Being that he was not fond of the press and rarely did interviews, not so surprising. Still, it would be nice to have total confirmation of this presumed "fact" straight from the horse's mouth - especially considering what we have covered so far in this blog.

Setting aside my hesitance to believe Kubrick would put one of his potential masterpieces in the hands of Spielberg, it is fairly easy to believe the stories about how he was impressed with the special effects Spielberg achieved in Jurassic Park. After all, if an inability to achieve convincing special effects is what held back A.I. for so many years, it's quite logical that Kubrick would be in touch with those achieving the most cutting edge effects in film. And if it was Kubrick's intention to make sure A.I. reached a huge audience, well Spielberg obviously had a "knack" for that too.

H.A.L. was probably the first A.I. character ever included in a major motion picture, and Stanley Kubrick's 1968 Sci-Fi classic "2001: a Space Odyssey" is where it first appeared. If you take the letters H-A-L and look at the letters in the alphabet directly following them, you get I-B-M. IBM [International Business Machines] computers were used by the Nazis and developed some of the most widely used PCs in the 80s and 90s. I even read that IBM was involved with the production of the film! Not sure what they are up to these days, but Kubrick was obviously making a statement, perhaps issuing a warning, about the dangers of A.I. and computers at the time. Apparently Arthur C Clark disagreed with this theory, despite acknowledging the near mathematical impossibility that the HAL/IBM thing was a mere "coincidence."

Notice how phallic the above image is.

This is the story of a boy robot programmed to love his mother, who apparently never fully returns his affections. The boy is depicted in the above film logo, clearly made to resemble an outline of a phallus, forming the .I. in "A.I." An association is then made between the word "intelligence" and "phallus." The "A" has an outline of the boy/phallus image inserted inside of it, which could symbolically be represented as the female sex organ recieving a phallus. This is augmented in the promotional poster shown earlier by a large female head in the background, mouth open, to form a tunnel which cars drive through. This mixes mother/son relations with sexual symbolism in ways that are questionable, at the very least! What is the purpose of all of this sexual symbolism and why does it go completely unexamined by film critics and viewers?

The statement from Warner Bros. was released during pre-production for 'Eyes Wide Shut' and states:

"...Kubrick's previously announced sci-fi film, 'A.I.', believed to be one of the most technically challenging and innovative special effects films yet attempted, is in the final stages of set design and special effects development, and will follow Eyes Wide Shut". - http://www.visual-memory.co.uk

"Jan Harlan Kubrick brother in law said to Steve Rose of the Guardian "He and Spielberg spoke all the time," he continues. "I have six or seven years' worth of correspondence between them over AI, which I recently passed over to Spielberg along with over 1,000 drawings." Harlan told Paul Joyce, "He said on more than one case - "I think the ideal director for this may be Steven Spielberg. If I do it, it may be too stark. I may emphasise too much the philosophical side."

"Harlan maintains that Kubrick would certainly have returned to AI after Eyes Wide Shut. "He had no intention of dying, I assure you. But at one point, Stanley actually said to Spielberg: 'You would be the best guy to direct this film, I'll be the producer.' I can't tell you whether he would have directed it himself or given it to Spielberg. That was still very much a possibility." - http://www.visual-memory.co.uk

Again, everything we find regarding key details to do with Kubrick's development of A.I. comes from everyone BUT Kubrick himself! So I think it is important to take all of this with a grain of salt. Jan Harlan Kubrick at least has the distinction of being related to Stanley, so when he makes statements confirming that Stanley was at least INTERESTED in Spielberg directing A.I., I'd say that carries some weight. However, that last sentence in the last quote above reads "I can't tell you whether he would have directed it himself or given it to Spielberg." Given that, I don't see any reason to assume Stanley ever officially designated Spielberg as the film's director. But notice how that basic assumption was repeatedly re-enforced in the media coverage surrounding A.I. - as if it was cut and dry.

"After shooting had been completed, Kubrick entered a prolonged post-production process and on March 1, 1999, Kubrick showed a cut to Cruise, Kidman and the Warner Bros. executives. The director died six days later" - wiki entry for Kubrick's final film "Eyes Wide Shut."

Much mystery surrounds the death of Stanley Kubrick, and many believe he was murdered for what he attempted to reveal in the film "Eyes Wide Shut," [perhaps even what he planned to release in the film "A.I."] Among other things, E.W.S. deals with the upper elite in society and their secret sex cults - which is an aspect of the film the media interestingly avoids almost unilaterally, choosing to interpret the film as being about relationships and the psychological issues that can arise - which is a level that is legitimately there. But the occult/ritualistic secret society element plays a huge role in the plot as well. Why gloss over it? This was Kubrick's last film, you'd think critics would be putting a microscope over every aspect of it!

Perhaps Kubrick was "blowing the whistle" in a way with his film. Could this be related to the alleged heavy re-editing of it by Warner Bros previous to it's release and just after the sudden, unexpected death of Kubrick? These are just interesting details contributing to the idea that Kubrick simply went too far with the film, and those in power of Hollywood needed to reign things in. If they couldn't prevent it from being released, at least they could edit out the most incriminating aspects. Many people have cited this as the reason the film was not as good as it should have been. And yet, it remains too powerful to be ignored or forgotten.

Kubrick allegedly died on March 7th, 1999. Looking at a 1999 calandar, we find some interesting numbers...January had 30 days, February had 28 days. Total = 58. March 1-7th = 7 days. Ad 58 to 7 and you get 65. There are 365 days in a year, so if we subtract the 65 days that's 300. There were 365 days in the year 2000, so add that to 300 and you get 665. January 1st, 2001 is 1 day after the last day in 2000. Add that 1 day to 665 and you get 666. Stanley Kubrick died exactly 666 days before the year 2001. "2001: The Space Odyssey" was the name of one of his most famous films, and one which some believe was the precurser to his filming of the FAKE moon landing in 1969. [see Jay Weidner's "Kubrick's Odyssey" series]

Is this 666 number a message from the very elite satanic cult Kubrick was attempting to expose through film? Was this a sort of "pre crime" judgement, ala Speilberg's "Minority Report," [which came out the following year after A.I.] punishing Kubrick for what he had planned for his last film?

Stanley Kubrick was clearly a very smart and perceptive man. Given his lifelong love for films, and the study of them - he had to have noticed the symbolism in Spielberg's stuff that I have pointed out here. So why on earth would he even consider Spielberg for A.I.? Perhaps it wasn't just his "knack" for creating blockbuster successes that Kubrick was after, but his diabolical talent in creating films sexua1izing children in ways that go largely undetected. Perhaps Kubrick was going to use Spielberg as an unwitting participant in some sort of self incriminating "whistle blowing" production. How diabolically brilliant, and yet, madly ambitious!

This blog was researched, written, and continues to be maintained by 1 person. If you enjoyed it and would like to encourage more of them, donations can be made by clicking the button below.