Stranger Things: Uncle Sam's Secret Sorcerers III

  
 "The truth, the truth! There's no truth. These men, they make it up as they go along. They're the engineers of the future. They're the real revolutionaries."† 

Stranger Things claims to draw inspiration from 80s horror but is entirely lacking in the gore and trauma that defined that decade. It is in fact more derived from 80s sci-fi, particularly the work of Steven Spielberg, than the mindless carnage of the slasher films that ruled the Eighties scene.

But 80s horror does dovetail quite nicely with the next chapter of our story, a year in which America-- and indeed, the entire world-- were buffeted by an endless series of traumas, both real and manufactured. 


And the seeds planted in 1968 would bear poisonous fruit for years to come. For some strange reason it all feels closer at hand this year than ever before.


How much of this was the work of the shadowy black magicians of the CIA's MKOFTEN, the real authors of the events we see unfold in Stranger Things? 


We may never know. But the damage is still done.



1968 began with the Tet Offensive, a major operation designed to destroy American morale and weaken the public's patience with the increasingly bloody and apparently futile war effort in Viet Nam. Despite heavy losses for the North, the offensive was a major strategic success:
On January 31, 1968, some 70,000 North Vietnamese and Viet Cong forces launched the Tet Offensive (named for the lunar new year holiday called Tet), a coordinated series of fierce attacks on more than 100 cities and towns in South Vietnam. 
General Vo Nguyen Giap, leader of the Communist People’s Army of Vietnam (PAVN), planned the offensive in an attempt both to foment rebellion among the South Vietnamese population and encourage the United States to scale back its support of the Saigon regime. 
Though U.S. and South Vietnamese forces managed to hold off the Communist attacks, news coverage of the offensive (including the lengthy Battle of Hue) shocked and dismayed the American public and further eroded support for the war effort.
Although details of the horror wouldn't be known for another year, 1968 saw one of the most horrific and senseless atrocities of the Viet Nam War:

(A) company of American soldiers brutally killed the majority of the population of the South Vietnamese hamlet of My Lai in March 1968. Though exact numbers remain unconfirmed, it is believed that as many as 500 people including women, children and the elderly were killed in the My Lai Massacre... 
The public's patience with the war wore thin as details of the massacre were revealed. But it wasn't the end of the nightmare in Southeast Asia, not by a long shot.  


In early April, Martin Luther King Jr. was assassinated in Memphis. A drifter named James Earl Ray would be arrested and convicted for the assassination but would protest his innocence until his death. 

A lot of other people would come to doubt the government's version of King's killing. From "
The Conspiracy to Kill Martin Luther King Jr: Not a Theory But a Fact, According to Our Own Legal System":
But there surely were people in the federal government who thought they had good reason to join a conspiracy to get rid of Dr. King. He was deep into planning for the Poor People’s Campaign, which would bring poor folks of every race and ethnicity to Washington, DC...That meant redistributing wealth -- an idea that made perfect sense to Dr. King, who was a harsh critic of the evils of capitalism (as well as communism). 
It also meant uniting whites and non-whites in the lower income brackets, to persuade them that the suffering they shared in common was stronger than the racial prejudice that divided them..
The resulting civil unrest crippled urban America:
Over the course of the following week, riots broke out in 125 cities nationwide. In many instances the National Guard was required to quell the violence...When they were over, some 39 people were dead, more than 2,600 injured and 21,000 arrested. The damages were estimated at $65m - about $385m today. 
But the real damage was rendered over a much longer term...The riots literally burned out the centres of major American cities, and in their aftermath few investors, insurance companies or businesspeople were willing to return. Dozens of inner cities, already under strain from the suburbs, simply collapsed, leaving in their wake a miasma of unemployment, crime and poverty.

Adding to the apocalyptic mood of 1968 were the Paris riots, which brought the entire country of France to a standstill and nearly collapsed the government.
The volatile period of civil unrest in France during May 1968 was punctuated by demonstrations and massive general strikes as well as the occupation of universities and factories across France.  
The protests reached such a point that political leaders feared civil war or revolution...(t)he protests spurred an artistic movement...but also intense violence, which ultimately ensured their defeat and the Gaullist government to remain strong and unopposed by its socialist critics.
Similarly, Richard Nixon would be elected in 1968, in a three-way race with Democrat Hubert Humphrey and Southern segregationist George Wallace.  The unrest at the Democratic National Convention in Chicago went a long way in establishing Nixon's cred as the "law and order" candidate. Nixon would crush George McGovern for re-election in 1972, despite the growing Watergate scandal.


Likewise the so-called Prague Spring, a brief period of liberalization, ended with tanks and troops invading Czechoslovakia:

The Prague Spring reforms were a strong attempt by Dubček to grant additional rights to the citizens of Czechoslovakia in an act of partial decentralization of the economy and democratization. The freedoms granted included a loosening of restrictions on the media, speech and travel. 
On the night of 20–21 August 1968, Eastern Bloc armies from five Warsaw Pact countries...invaded the ČSSR...That night, 200,000 troops and 2,000 tanks entered the country. 

MEANWHILE, BACK AT THE RANCH

MKOFTEN consultant Sybil Leek would release her Diary of a Witch in 1968 and would work the talk show circuit to promote it. Witchcraft would become a major fad following its publication.

With LSD losing its cache with the glitterati (especially following the Beatles' disavowal of the drug in mid-67) UCLA student Carlos Castaneda would kick off the vogue for magic mushrooms with his book The Teachings of Don Juan, which he claimed was a field study of his time with an indigenous shaman but has subsequently been challenged as a work of fiction.

Kenneth Anger, flush with funds from the CIA-directed Ford Foundation and from oil heir John Paul Getty II, moved his Lucifer Rising operation to London in 1968 and fell in with The Rolling Stones, who were then recording their post-psychedelic album Beggar's Banquet. 

Mick Jagger would record some random doodles on the Moog synthesizer for Anger's film, which would end up as the soundtrack for Invocation of My Demon Brother, the filmmaker's tribute to Aleister Crowley. Stones siren Marianne Faithful would play Lilith in the Lucifer film.

Anger claimed the Stones recorded "Sympathy for the Devil" at his suggestion.



The Stones would be playing "Sympathy" the following year while Hells Angels pledges beat a young black man named Meredith Hunter to death at the Altamount Raceway. Hunter was filmed approaching the stage brandishing a firearm.

Altamount would be remembered as the anti-Woodstock, and the death-knell of Aquarian idealism.



YEAR THREE

Several films released in 1968 would continue to reverberate for years, often decades after their release, and some are still very much relevant today. With Satanism more visible than it has been since the late 60s, one film in particular stands out as a benchmark, and perhaps as a bellweather.

Rosemary's Baby, starring Mia Farrow and John Cassavetes,  was released in 1968 and caused a sensation. Curiously, it stuck to the novel's conceit of 1966 as "Year One" for the Satanist cabal who orchestrated the birth of the Antichrist. 

Is it simple coincidence that 1966 was also Year One for MK-OFTEN?

Part of the film's (and of course, the novel's) insidious power is the depiction of the cabal and its ruthless methods of achieving its ends. The use of an anagrammatic code becomes a key plot point in the film, something worth considering when looking at Rosemary author Ira Levin's experience in the Signal Corps.

What is also remarkable- and shocking for the time- about Rosemary is the depiction of the coven. 

Rather than being drawn as drooling maniacs or mustache twirlers in the LaVey mode, the Satanists are presented as kindly, caring, and rather charming 
eccentrics who have a legitimate grudge against society. This approach lends them a greater sense of reality than movie goers were used to. 

Rosemary still holds up as a master class in modern suspense. It marked an artistic high point for its director, Roman Polanski, who would stare into the face of real evil the following year, when his pregnant wife was murdered by Susan Atkins and other members of the Manson Family ("Susan" was one of the names Rosemary considered for her baby in the film). 

Polanski himself would later plead guilty to the statutory rape of a 13 year-old girl and flee to France to escape a fifty year jail sentence for the rape and other charges.

Rosemary was filmed at the famous Dakota building in New York City, a detail that would be recirculated when John Lennon was killed outside it by Mark David Chapman in 1980. Mia Farrow was part of the Beatles' entourage to India in 1968. Lennon composed the Beatles' standard "Dear Prudence" for Farrow's sister.

That song would be featured on the so-called "White Album", released in 1968, which would play a major part in the apocalyptic delusions of Charles Manson.

Kenneth Anger would claim that he was approached by Chapman at a film festival shortly before Lennon's murder. Chapman allegedly handed Anger a handful of bullets and said, "These are for John Lennon."

Anger would premiere Lucifer Rising in New York shortly after Lennon's death.


Like many films of the period, Rosemary's Baby would inspire reams of truly insipid social and academic commentary, a symptom of the total collapse of intellectual rigor inside the Ivory Tower following the convulsions of the 1960s. 

Like this mind-boggling nonsense:
Many interpretations of the film suggest that it harbors strong sentiments about the prevalent feminist culture of the 1960s, suggesting that Rosemary’s association with Satan’s child puts her in a position of power and authority, and therefore the reproductive power of women in general places the entire female population in a similar position. 
Unbelievable. Where do you start?

Let's start here: Rosemary is the victim of a brutal rape orchestrated by a Satanic conspiracy. Her baby is then stolen from her upon birth and she is essentially reduced to nanny status by the cabal, who are exasperated by the infant's crying.

Where exactly is her power or authority?



And any illusions that Polanski- a convicted rapist himself, remember- is some kind of feminist ally are pulverized by his treatment of his first wife, Sharon Tate:

Polanski filmed orgies at their house and showed the videos at parties, later reported to be sadomasochistic porno movies with many recognizable Hollywood faces.  He trolled Sunset Boulevard and its clubs for girls he brought home for threesomes. Sharon was totally intimidated by him. 

'(Polanski) told her (Yate) to dress; he told her what makeup he liked, what he didn't like. He preferred her with nothing, no makeup. But he ruled her entire life from the time she met him,' Tate's friend Joanna Pettet (said).
Did Polanski film those pornos for blackmail purposes? Might that explain some of Hollywood's irrational support for him?



Another of the national traumas of 1968 was the assassination of Robert F. Kennedy in Los Angeles. Kennedy was the frontrunner for the Democratic Presidential nomination and was killed at a campaign appearance, ostensibly by a Palestinian immigrant named Sirhan Sirhan.

But Sirhan's story got stranger the more one looked into it, filled with stories of Rosicrucians and second shooters and strange girls in polka-dot dresses. And that was only the start.

Sirhan may well have had contact with the Process Church, or whoever was using the church as cover: 

Ed Sanders, in the first Dutton edition of The Family: The Story of Charles Manson’s Dune Buggy Attack Battalion, suggested that The Process Church had “a baleful influence” on Sirhan Sirhan....  
... Sirhan talked several times prior to Kennedy’s death about visiting a certain occult group in London...a Process member named Lloyd worked as a chef at the Ambassador Hotel at the time of RFK’s assassination...Sirhan visited a friend in the Ambassador Hotel kitchen only a day before the assassination. 
In the revised 2002 edition of The Family, Sanders recounted a 1974 investigation into “a satanic group of English origin” conducted by an Immigration and Naturalization Service (INS) criminal investigator named Richard Smith...
According to Sanders, an investigator working for him contacted Smith and was allowed to read his report, which stated, “English satanist cult members invited Sirhan Sirhan to a number of parties that were sponsored by television people in Los Angeles, and that one of the parties took place at Sharon Tate’s residence. At these parties, it was averred, sexual and ritualistic activities were reported to have occurred.”  
Conclusive? No. But yet more sulfurous smoke around the Process.


TRAUMA-BASED MIND CONTROL

The nonsense written about Rosemary's Baby pales in comparison to the endless attempts to graft therapeutic social commentary onto another 1968 landmark, Night of the Living Dead. 

Created by a team of television commercial producers and distributed by a fast-buck outfit who curiously neglected to copyright the film, Night would spawn a genre that is more popular today than ever; the dehumanizing, sadistic zombie genre.
 


Zombies had been seen in pictures before but never like in Night:
Prior to the release of the film in 1968, “zombie” movies focused on “voodoo zombies”, which meant living victims that were turned into slaves by supernatural forces.  
Night of the Living Dead changed that by rebranding the zombie into a undead killer that hungers for human flesh (or brains). It also established much of the lore that surrounds modern zombies, such as the idea of having to destroy the brain of a zombie to kill it, zombies being afraid of fire and so forth...
Nearly every zombie movie since 1968 owes its roots to Night of the Living Dead, even those that deviate from the formula. 
Since its release, there's been a never-ending deluge of nonsense like this written about the film:
 Some film scholars argue that this film can be read as a subversive critique of 1960s American society with most of them interpreting the film as dealing with racism, the Vietnam War, a patriarchal society, and distrust of authorities.
Bear in mind this is a movie in which an 11 year-old girl is depicted eating her father's corpse.

Perhaps the efforts made to redeem the film are meant to disguise the way in which it was premiered to the American public: as a kids' movie.

Yeah, you read that correctly. A kids' movie.

Night of the Living Dead premiered on October 1, 1968 at the Fulton Theater in Pittsburgh. Nationally, it was shown as a Saturday afternoon matinée – as was typical for horror films at the time – and attracted an audience consisting of pre-teens and adolescents. The MPAA film rating system was not in place until November 1968, so even young children were not prohibited from purchasing tickets. 
 
Legendary film critic Roger Ebert covered Night's premiere for The Chicago Sun-Times. His report is equally legendary:
There were maybe two dozen people in the audience who were over 16 years old. The rest were kids, the kind you expect at a Saturday afternoon kiddie matinee. This was in a typical neighborhood theater, and the kids started filing in 15 minutes early to get good seats up front. 
Ebert saw how the mood swiftly changed in the theatre as children- children- were subjected to what can only be described as an act of organized child abuse:
The kids in the audience were stunned. There was almost complete silence. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. 
There was a little girl across the aisle from me, maybe nine years old, who was sitting very still in her seat and crying... It's hard to remember what sort of effect this movie might have had on you when you were six or seven. But try to remember.   
You read so much nonsense in the conspiratainment media about "trauma-based mind control", over the most innocuous images, like hands over eyes or broken mirrors.

This was the real fucking thing. 

I felt real terror in that neighborhood theater last Saturday afternoon. I saw kids who had no resources they could draw upon to protect themselves from the dread and fear they felt.  
Lest you think this was some kind of oversight, or a case of mis-marketing, be aware that it most definitely was not:
"Night of the Living Dead" was passed for general audiences by the Chicago Police Censor Board. Since it had no nudity in it, it was all right for kids, I guess. This is another example, and there have been a lot of them, of the incompetence and stupidity of the censorship system that Chicago stubbornly maintains under political patronage.
Incompetence? Rest assured that if there had been a nipple accidentally exposed for a half-second that the film would have been pulled.

No, this was deliberate


The effects that extreme horror can have on the viewer are well-known.
Research from Joanne Cantor, the outreach director of the Center for Communication Research at the University of Wisconsin-Madison, suggests horror movies generally keep many people scared long after they’ve seen horrific images. 
“These findings reveal that scary movies have an overwhelming tendency to stay with the viewer for a long time, long after the viewer understands that the lingering response is to some extent irrational,” wrote Cantor. 
She says that even though we know a specific killer never lived and that murders we witness in a horror flick never took place, the story vividly reminds us of real threats that do exist in the world around us...realistic fiction is highly plausible and can therefore profoundly affect the way we see and respond to our own world.
That study was done on adults. Recently. 

Just imagine children in 1968.

Studies like this have been done for a long time. Despite the protests by producers and their shills, the effects of exposure to endless gore and extreme violence are unambiguously negative.

Now, horrific imagery has its place in storytelling. But most of the films that followed in Night's wake reveled in gore simply for its own sake, devoid of moral or ethical content. And what exactly is the moral content in Night of the Living Dead? It ends with nothing but death and despair.

And it was originally marketed for children.



Night of the Living Dead didn't pioneer the use of gore in exploitation film. 

That honor goes to the mind-numbingly misogynistic Blood Feast, a moronic twist on Hitchcock's Psycho made by fast-buck artist Herschell Gordon Lewis. 

It's considered the first "splatter" film.

The movie is uniformly awful in every conceivable manner, but is distinguished by a curious use of occult imagery (note the Sphinx behind the title card):
Blood Feast is a 1963 American splatter film directed by Herschell Gordon Lewis. It concerns a psychopathic food caterer who kills women so that he can include their body parts in his meals and perform sacrifices to his "Egyptian goddess" Ishtar. 
Huh.

Dozens of imitators would follow. Including, arguably, Night of the Living Dead. But the sadism and cruelty of the 60s slasher films was cartoonish compared to what would come in the 1970s....
...notably Last House on the Left and The Texas Chainsaw Massacre. The psychopathy, misogyny -and indeed, misanthropy- depicted in House was so extreme that the film's distributor was forced to try to redeem the film with a ridiculously-disingenuous therapeutic disclaimer:
 “The movie makes a plea for an end to all the senseless violence and inhuman cruelty that has become so much a part of the times in which we live. WE DON’T THINK ANY MOVIE CAN GO TOO FAR IN MAKING THIS MESSAGE HEARD AND FELT!”  
John Carpenter would up the ante in 1978 with Halloween, which invited the audience to see the carnage from the killer's point of view:
(critics) blame the film for spawning the slasher subgenre, which they felt had rapidly descended into sadism and misogyny...Mick Martin and Marsha Porter critiqued the first-person camera shots that earlier film reviewers had praised and later slasher-film directors utilized for their own films... Claiming it encouraged audience identification with the killer, Martin and Porter pointed to the way "the camera moves in on the screaming, pleading, victim, 'looks down' at the knife, and then plunges it into chest, ear, or eyeball. Now that's sick." 
Halloween would have no small effect. 

Besides launching a franchise of films, there would be no less than 293 "slasher" films made in the 1980smost of which centered on the brutal murders of young women. 

That's not including the non-slasher "splatter" horror films.

What would be the effect of making serial killers "Hannibal Lecter", "Jason" and "Michael Myers" and "Freddie Krueger" into cultural heroes? 

Concurrent with the rise of the slasher film in the 60s would be an explosion of serial killing, particularly in the United States. 

The 10 worst serial killers in the world all date from the slasher era of Hollywood, as do nearly all of the worst serial killers of the 20th Century.

In fact 76% of all known serial killers in the past 100 years are American.




And by sheer happenstance, the serial killing in America rose and fell with the depiction and glorification of these psychopaths in motion pictures.

ZODIACAL

1968 saw the rise of the so-called Zodiac Killer, a masked madman who liked to taunt the media with codes and cyphers. He operated out of the San Francisco Bay Area, as would several other serial killers at the time:
The self-proclaimed Zodiac Killer was directly linked to at least five murders in Northern California in 1968 and 1969 and may have been responsible for more. After he taunted police and made threats through letters sent to area newspapers from 1969 to 1974, further communication from him abruptly stopped. Despite an intensive search for the killer and the investigation into numerous suspects, no one was ever arrested for the crimes and the case remains open.
And when would his first communication arrive? On Lammas, the same day we saw Charles Whitman inaugurate the era of mass shooting:
On August 1, 1969, the San Francisco Examiner, San Francisco Chronicle and Vallejo Times-Herald each received an identical handwritten letter in an envelope without a return address. Beginning “Dear Editor: I am the killer of the 2 teenagers last Christmas at Lake Herman . . .” the letters contained details from the murders that only the killer could have known. 


 

Part of his terror campaign was waged through the media, as if he understood that the fear he was arousing was as effective in traumatizing the city as the killings themselves:
The killer went on to threaten further attacks if the letters weren’t printed on the front page of the papers. Each closed with a symbol consisting of a circle with a cross through it and was accompanied by one part of a three-part cipher that he claimed contained his identity.
But the Zodiac killings suddenly stopped in 1974:
Then, in 1974, the letters stopped...At least five other murders have been tentatively linked to the Zodiac, including the 1963 shooting of Robert Domingos and Linda Edwards near Santa Barbara, California, and the 1966 stabbing death of college student Cheri Jo Bates in Riverside, California. However, in both these and the known Zodiac murders, no suspect has ever been arrested.
Strangely enough there would be two other serial killers working the Bay Area around the same time who were never caught- the so-called "Original Night Stalker" and the "Doodler".


The case has become an obsession for amateur sleuths:
(F)ormer San Francisco Chronicle cartoonist Robert Graysmith wrote two separate works on the Zodiac...ultimately identifying a man named Arthur Leigh Allen as the most likely suspect. Allen died in 1992, however, and was never conclusively connected to any of the murders. 
Most recently, (author Gary Stewart claims) to have uncovered that his father, Earl Van Best Jr.—who bears a strong resemblance to the man pictured in the police sketch—was the Zodiac Killer. As with Allen, however, there is no conclusive proof to connect Van Best to the murders.
Other suspects have been named by Zodiac hobbyistsBut they can't all be right. 

Right?

What if they were? What if the Zodiac killings were an op, by some cult or agency? And as such were performed by a team?

Note that 1974 is the same year the Process Church splintered and Robert DeGrimston was forced out. What if the Process- or the Zodiac- were no longer useful to whoever was working behind the scenes, if such parties did indeed exist?

The Zodiac symbol is not entirely unlike the Process symbol (both arguably based on solar wheels), and do note this was a killer who loved his symbols and his cyphers.



And bearing in mind theories that Charles Manson learned his race-war-apocalypse theology from contact with the Process, note that the Zodiac symbol is also identical to the so-called Celtic Cross, used by Neo-Nazis since the Second World War.

It's not like cults- especially in the Bay Area- haven't been fronts for other intelligence operations before.



Now this all sounds crazy until you realize that the Son of Sam killings (originally called the "44 Caliber Killer") were widely compared to the Zodiac killings in the late 70s, and the Son of Sam killings have been widely linked to the Process Church, or at least a splinter group of which.

Linked most recently by that hotbed of conspiratainment....uh,  New York Magazine. 
In his 1987 book The Ultimate Evil, Terry, a former business journalist for IBM, proposed a bold new theory of David’s crimes, and also of his character. In Terry’s view, David’s fundamental flaw wasn’t insanity or emotional instability but an abiding gullibility.  
“Berkowitz was susceptible to any line of shit,” says Terry. His failing, the one that underpinned all others, was an intense loneliness, a vulnerability....He “thirsted,” as he put it, for normal relationships with people. One night, outside his Bronx building, he ran into Michael Carr, son of Sam Carr, the neighbor whose dog did or didn’t speak to David. Michael Carr invited David to a nearby park, which Terry says was a meeting place for a Westchester affiliate of (the Process Church).   
David began attending meetings in the woods. “Before long he was cutting prints in his finger and pledging to Lucifer,” says Terry...(t)he group got into small-time arson and animal sacrifices, and then it escalated.
Serial killers are notorious for trying to pawn off their crimes on other suspects. The problem here is that witnesses described shooters who matched the Carrs' descriptions.


 
Terry says the cult was behind the Son of Sam killings. There’s long been circumstantial evidence that David didn’t act alone. Six police sketches based on eyewitness accounts look dramatically dissimilar (and one closely resembles Michael Carr’s brother, John). 
The most compelling corroboration, though, comes, as usual, from David. In 1993, Terry interviewed him in prison for Inside Edition. (Berkowitz said), “The killings were another sacrifice to our gods...We made a pact, maybe with the devil, but also with each other … We were going to go all the way with this thing. We’re soldiers of Satan now." 
And there are other reasons to suspect Berkowitz didn't act alone, including the suspicious deaths of his alleged accomplices not long after his arrest (cough, star chamber, cough):  
And yet, enough suspicious coincidence swirls around the case to give pause. Soon after David’s arrest, John and Michael Carr both died mysterious deaths, one an unsolved murder, the other possibly a suicide.
Even the Queens district attorney at the time believed David didn’t act alone. In talking with me, David doesn’t deny his involvement with the Carr brothers. Officially, a police investigation is still open...
The Son of Sam traumatized New York City during a time of blackouts and bankruptcy. It would set the stage for the massive expansion of the NYPD and their powers, which only grew in the Crack Years.

But the Zodiac Killer paved the way. So much so that an analog would be featured in Clint Eastwood's 1971 law and order manifesto, Dirty Harry.


Who also carried a .44 caliber.

But the national trauma sweepstakes wouldn't be truly complete until 1969, when all those flower children suddenly didn't seem so flowery....




UPDATE: Siskel and Ebert from 1980, when mainstream theaters were deluged with slasher sludge. They differentiate the exploitation pictures from Halloween and explore the sick impulses behind the trend. Here's part one. 

UPDATE: Read "Martin Luther King assassinated by US Govt: King Family civil trial verdict"




TO BE CONTINUED

Frank Spotnitz and Chris Carter, 'Tunguska', The X-Files

46 comments:

  1. Hey Chris,

    For me all that splatter, slasher garbage is deeply toxic shit, and I'm speaking as a fan of 'horror' fiction. I'm fascinated by crime and psychopathy, etc. But more than that as an artist I'm captivated by subtlety, nuance and context. All that sick, violent stuff was pushed by someone somewhere, no doubt. Things can be about making money and also have simultaneously differing agendas.

    I suspect there are a number of serial killers throughout history who were actually team ops of some kind rather than lone violent psychopaths. You want to make your social engineering really carry? Spill a little human blood. It's sacrifice by any other name.

    Here's how black intel factions really operate. 1) Coerce (i.e. pay them.) 2) Threaten, if coercion fails, 3) Kill, if threatening fails. As far as I'm concerned intelligence infrastructures have never been about protecting civilians from domestic or foreign threats. They're about maintaining a sociopolitical situation and mindset that justifies to the continual existence of that infrastructure. Just ask the CIA how deeply the Paperclip mindset is embedded in their modus operandi, or how many counterinsurgencies they've managed. Or maybe don't ask them. It's healthier.

    Excellent work as always, my man.

    Peace

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    1. Well, it's interesting. We have the rise of Zodiac- the serial killer as media star- at the same time we have this trauma session with Night of the Living Dead put out as a kiddie movie and then the rise of the slasher movies, which would become a deluge. We haven't gotten to Manson and The Exorcist yet. And concurrent with the biblical flood of slasher and splatter movies is an explosion of serial killing in the US. You can put aside any questions of intent for a moment. What you have is a recipe for social disaster, in making icons of psychopaths like Manson, Leatherface, Jason, Michael Myers and so on. What message does this send? We always hear all this talk about "the Satanic Panic" but never hear about all the actual satanic murders that were committed at the time. I mean, just the Chicago Ripper Crew alone would cause a national panic. Or the deluge of Satanic imagery in pop culture. The question we can ask is what if all of this was not spontaneous? At the same time you had all this slasher/Satan imagery in the culture you had the engineered Fundamentalist movement, which we can also trace to intelligence sources. A classic Hegelian dialectic in motion.

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  2. Great analysis. The visceral link of movies to serial killers in the eighties is something I never really considered, but it seems so obvious once stated, and I say this as someone who happily watched many of these movies on video during overnights etc growing up. A typical Friday night sleepover at 15 years old would start with the overheated action flick. The horror movie would always be last.
    It is long past time to kick the fanboy "anything goes" nihilism to the curb.

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    1. I saw plenty of those movies when I was a kid. Why? Because there'd be nothing else playing at the drive ins or the discount movie theaters. Isn't that curious? If you didn't have money for the mainstream movies that's all you got. I got bored very quickly with those movies. They didn't scare me at all. I remember thinking Training Day was a more effective horror movie that any Jason sequel.

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  3. Interesting series as usual, Chris. I remember hearing about the theory tying the Process to the Manson Family and the Son of Sam and to satiate my curiosity I read "Ultimate Evil", "Love Sex Fear Death - The Inside Story of the Process Church" and pretty much all of the Process literature as well over the process (~zing) of a month. If I recall correctly Timothy Wyllie, Process member and author of LSFD, made no bones about the fact that Mary Ann had a strong hidden Nationalist streak and expressed that he would not have been surprised if she was secretly meeting or funding various Nationalist groups behind closed doors. It did not appear that Moore, the author of all the Process material, was as sympathetic in these views which do not appear at all in the Process literature. At the end of the day who knows who Mary Ann was meeting with on the sly but in my eyes the Process appears to ultimately be a failed cult with reasonably effective marketing skills that served their organization for a short time and that's what most people remember them for - the marketing.

    As for Terry's "Ultimate Evil" book - really compelling and frightening stuff however the story had a different impact on me after sitting with me for a while. While there is a lot of interesting evidence in the book to make the argument that Berkowitz did not perform the killings alone, the book also tries to present the argument that everything that Berkowitz tells Terry is the real deal and it feels more plausible that Berkowitz in many cases was simply telling Terry what he wanted to hear - embellished prison stories and reinterpretations of various events with some extra color added courtesy of Berkowitz's own unstable paranoia. Ultimately I wouldn't put a lot of stake into Berkowitz's side of the story, which largely has Terry leading the answers a great deal of the time - though it makes for some fascinating reading.

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    1. Well, there's been an effort to rehabilitate the Process but all you need to do is go back and look at their magazines and read their writings to see the classic hallmarks of a mind control cult in action. And these kinds of cults- especially globe-trotting ones like the Process- were notorious for acting as intelligence fronts. So the Moores may have been just a couple of nutters but the real action may have been done by other players hovering around the cult. There's just way too much smoke around this group for there to be no fire. The bottom line with the Son of Sam is that witnesses identified shooters that didn't look like Berkowitz. And that ties into this weird phenomenon where you have a bunch of researchers convinced a number of different people were the Zodiac. They might all be correct.

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    2. I don't disagree with any of these points and I definitely agree with your classification of The Process as a classic mind control cult. I just think that there are some pretty big holes in the standard conspiracy narrative surrounding The Process. But I think that you appear to be well aware of these and digging deeper than most (as usual).

      Btw there was a crime author who wrote a book where he made the claim that he thought his father was the Zodiac Killer - are you familiar with that? My brother went to a lecture that the author gave and said it was pretty compelling. The father was a celebrated doctor and the family lived in that spooky John Sowden House that Frank Lloyd Wright's son designed funny enough.

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  4. Arrrghh, Blogger ate my first attempt at a reply :-(

    Full disclosure—I'm a horror writer and cut my teeth on horror fiction and movies as a kid in the 70s and 80s. And although I usually sprain my neck nodding along with your posts, in this case it isn't completely clicking. I don't think MK-OFTEN and/or its allies engineered the rise of slasher films, nor do I believe Romero's movies were deliberately foisted on kids at that unfortunate screening. The correlation is there, just not the causation.

    The zeitgeist of the late 60s/early 70s was dark as fuck—you reference My Lai, Manson, Altamont, ML King, riots—which gave rise to Romero's brutal nihilism. Things were truly falling apart. I agree with many of the critics (including an older Ebert) that Romero's film was much more than cheap exploitation, though Romero might not have realized it himself—it captured something crawling in the deep end of the noosphere's cesspool. Or, maybe, that thing captured him and rode him. Either way, it got out and into our heads.

    Slasher flicks never resonated with me because I always understood that losing one's soul was a lot worse than losing multiple pints of blood. They quickly became boring and forgettable. Can anyone reading this tell me the difference between Halloween 1 and 4 or 6 or 9? It was simply a rite of passage for teens who wanted to get a quick hit of mayhem and ogle Savinni's latest effects. Easy profit, built-in audience out for cheap kicks.

    The supernatural, occult-themed horror films of that era, on the other hand, are my esthetic, and I can't shake it. The Exorcist, Wicker Man, Phantasm, The Devil Rides Out, The Omen, The Night Stalker, Let's Scare Jessica to Death, The Shining, The Fog, Burnt Offerings, The Evil Dead, Pet Sematary, The Sentinel, even the TV version of Tom Tryon's The Dark Secret of Harvest Home—that was the real deal. The slasher and later torture porn films are a product of a soulless, money-driven race to the bottom. They still have their fans (I see plenty of them at horror cons), but horror has moved on (or back, rather) to the supernatural and the occult. Teens will still pay to see schlock, but don't they always, no matter what the genre? Sturgeon's Law is always in effect, maybe more so in horror than other genres.

    It was the sickness in the collective soul that burst out of the chests of the Mammon-obsessed Me Generation that generated the (ultimately forgettable) slasher films. You've clearly hit on something, but my guess is the alphabet agencies were pawns for something much bigger... along with the rest of us.

    All that said, I am really digging this series and look forward to more.

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    1. Hi Professor Pan,

      Maybe the manipulation of film media in this regard was part of a larger social engineering experiment that possibly had its roots in the successful use of the propagandized films of the World War II era when it was proven how well visual media (i.e Hollywood movies) could be utilized to plant ideas and stimulate responses from the unassuming masses?

      Placing oneself in the role of social scientist working to the ends of those behind the scenes with agendas for mass control, given the opportunity to use films as a means to initiate responses from certain individuals that are inherent in every society who might otherwise be latent in regards to their psychotic behavior otherwise, what percentage of the population would negatively respond to these kinds of horrific images and narratives if they were structurally worked into the entertainment industry as harmless films that are easily consumed and transmitted around the country? What percentage would then trigger psychotic behavior that they would act out as a result of that kind of exposure? Well, lets find out, you might say.

      The example Chris gives of the "Night of the Living Dead" and the details of the subsequent movie review are a fortunate record of such an experiment, in my opinion.

      Here, you have the manipulative response to the images by a cross section of youth and then a written report of the effect of it as a word image which re-enforces the visual imagery. These items are components of the viral programming necessary to entice with anticipatory excitement and luring those target personalities towards the necessary psychotic fractures for re-programming.

      Success of this can be traced with the ever increasing trends in horror films towards bloody violence mingled with explicit sexual promiscuity which seem to be particulates of such re-programming techniques used by the MK-ULTRA engineers.

      As further example, the toning down of such images of the Devil and Devil Worship to those of ordinary, kindhearted people instead of the usual boogeyman with pitchfork and fiery brimstone and flipping the idea of a scary mad killer into the soft spoken, quiet boy or girl next door image breaks the mental mold of such characterizations and re-routes the expectation in another direction.

      I think For the benefit of the social engineer who must catalyze the effect, The first time this is done as visual imagery has the ability, by shock value alone, to alter the fundamental way neural pathways are routing as your brain tends to take familiar images for granted and just fill in the gaps with any new data.

      Altering the familiar pattern with the new image, forces the brain to rearrange the storage area and once accomplished, opens the new pathway for the next phase of image programming. While I think we do this all the time in terms of learning new things and just getting around our environments, the manipulation of these otherwise normal brain processes in order to gain a specific response seems to be the goal of such mass programming. Drilling down even into deeper manipulations use even more visceral techniques that further traumatize the person being programmed or altered for nefarious purposes such as unconscious control or weaponization.

      What is used primarily for research and slow manipulation on the masses via the entertainment industry is pretty low level but effective since these techniques have risen in popularity and can be seen in modern advertising for commercial consumer purposes. However, the principles of control are there and clearly, I think, have been and are being used to steer people subtly towards some well planned outcome in the long game that is being played out on all of us.

      Either that, or they just want to sell more action figures, popcorn, and fizzy drinks at the concession stand.

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    2. I dunno. I've long ago decided never to assume agency (or ABC agencies) are behind something that could have easily grown from human beings exploring the darker edges of reality—especially in art. I am familiar with all of the manipulation (or at least all of it on the record), and I acknowledge its interweaving with art and artists (see the CIA and abstract art). I just don't see its dirty fingers in this part of the collective. Artists regularly push the envelope, esp. in a time of discord and real-life horror. In an era so turbulent and violent, it seems only natural that the screen would throw that back at us in novel ways.

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    3. I'm not anti-Horror. I'm not a huge, huge fan of the genre, but a lot of my favorite films might be classified under that category, even if a lot of them are really thrillers or suspense with occult or supernatural themes. The Wicker Man is not a horror movie, it's a suspense story with a horrific finale. But I don't enjoy movies that are made simply for people who like to watch other human beings be tortured, mutilated and murdered. I think there's something seriously wrong with that kind of entertainment. And the numbers simply don't lie. If you glorify rock stars you get a lot of young people wanting to be rock stars. Or sports heroes. Or movie stars. If you glorify Leatherface, Hannibal Lecter, Freddie Krueger, Michael Myers etc etc that's going to resonate with that one in a million fucked up personality who's possibly suicidal but decides to take out his problems on young girls. If we recognize the power of religious fundamentalism to create killers, we have to recognize the cinema of psychopathy as well. And yes, arranging matinee showings of Night of the Living Dead for children was absolutely an op. These are the same people that subjected children to all kinds of horrific experiments- electroshock therapy, drugs, radiation- a scary movie wouldn't make them blink.

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    4. With the Night of the Living Dead, it was released at a time when theater owners and distributors were very nervous about age-appropriate material because the US Supreme Court upheld the constitutionality of age-certification boards in 1966. So all of these theater owners, including the Walter Reade Co., deciding to flout that ruling and local censor boards all at once for some no-budget film is extremely unlikely. To say the least.

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  5. That song would be featured on the so-called "White Album", released in 1968, which would play a major part in the apocalyptic delusions of Charles Manson.
    Revolver was the album that Manson acted out on no?

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  6. Chris,

    The slasher/splatter movies gained ground in no small part from the granting of many of the killers personality, back-story, and (most importantly) a decidedly Grand Guignol sense of humor. Freddy Krueger is perhaps the best example of this trend. "The Bastard Child Of A Thousand Maniacs" - now there's a line I wish I'd written! - became more appealing, if that is the right word, to the audiences by gaining a type of character depth, right as the genre was descending into cliche and recycling by presenting his victims as disposable caricatures (the Jock, the Introvert, the Good Girl, etc) When in later years the sequels would make some attempts at breaking convention and introducing victims that went against the wind, they did so with the firmly-established Freddie as the solid center. The monster had become the measure, and the audience's knowing, winking pal.

    As for the Zodiac, I do recall one theory saying he turned up in the Boston area and was responsible for several murders here. I don't recall the details. But, I do recall the article on the Process in the Fortean Times back in the 90s saying that Robert de Grimston literally walked away from the Process on Boston Common, telling the followers who were with him that day that he was leaving them there, then walking off. Not sure why I'm mentioning those things together.

    I wonder if the rise of Christian Fundamentalism, with its Hell Houses at Halloween and its positively frothing descriptions of demonic acts and hellacious damnation, were in some way related to this slasher/splatter trend. They seemed to rise in parallel. And, we had that lovely Satanic Panic in the 80s to fill our nightly news - guess they figured that Michelle Remembers would have made a poor movie.

    Finally, had you noticed that a new Phantasm movie is about to come out? Last appearance of Angus Scrimm, who died right after filming. Another link to those days, complete with anchor-barbed spheres to chase down the stragglers.

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    1. Well, do you remember there was a point that all the Strand would book was slasher movies? I didn't have the money to go the Plaza every weekend and hadn't yet learned the fine art of sneaking in so I had to pay for my movies. And that's all you got- shitty slasher movies. Maybe the occasional Cheech and Chong movie or something. With the Process, I think another of the tells with them is how often they moved around and how many branches they had. That takes money and they seemed to have some even after their short vogue period. Again, I realize there's this campaign to rehabilitate them but they pop up too often at too many crime scenes to have entirely clean hands. At the very least they were useful idiots for a larger op.

      I'm going to get to the Fundamentalism thing since it's very much part of the story here. The " Jesus Freaks" have the same fingerprints on them as the rest of these miscreants.

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    2. The Strand, and the Blue Hills Drive-In. That place was a madhouse. They showed Texas Chainsaw, and you had guys running around between the cars revving up real chainsaws! They showed them all at Blue Hills: Last House, I Spit On Your Grave, the works. And the lot could get like something out of a Troma movie. Kept the car doors locked, we did.

      The Process had a Cambridge location, on the other side of Cambridge Common from Harvard Square. Even in the early 1970s that wasn't cheap digs. I doubt they paid for it panhandling the tourists.

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    3. And the Scientologists had a big fancy setup on Boylston Street smack dab in a swanky neighborhood. The whole rebranding campaign with the Process is really weird because it's not as if you can't look all this stuff up. Maybe they buying dog food with their alms but they sure as hell weren't publishing a magazine with them. And this whole deal with visiting Manson in prison during the trial- why the hell would they do that?

      The thing with Blue Hills reminds me that all this talk you hear about the Satanic Panic overlooks one basic fact- there was a shit-ton of satanic ritual murder in the 70s and early 80s. Once it filters down to the trailer parks it's no longer Ayn Rand with robes. It's barbarity, death and rape, a tale as old as time. And guess what- it's coming back.

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    4. Yeah, the Satan movies were everywhere. I recall going with the family to see Race With The Devil over at the Plaza Twin Drive-In in Braintree (a-ha!) and getting my first taste of the Grand Satanic Conspiracy - in 1975! Everyone but the protagonists were in on it, there was nowhere to run, you're toast.

      Of course, this came hot on the heels (hooves?) of The Devil's Rain, which I didn't see until many decades later but saw the trailers all over TV, on radio, and before other movies. We need to take such advertising into account - even if you never saw the movie, you saw it everywhere, all around you in the aether. You couldn't avoid it.

      The Devil's Rain was another one where no one gets out alive, or at least with their souls. Another Technicolor lesson in how resistance is futile. I think it would have had a much stronger effect on the zeitgeist, were the makeup effects not so hilariously bad.

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    5. As a south shore native myself, you guys make me wicked nostalgic. I'm based in Cambridge now and was curious to where the Process was set up here in the 70s.
      I'm also curious about their current state, as I remember hearing about a lot of them running an animal sanctuary or something Utah. Also, the musical outfit Sabbath Assembly, which featured indie-witches Jex Thoth and Jamie Myers, not to mention Genesis P. Orridge preaching their Jehova/Satan/Lucifer doctrine. Is this still the DeGrimston-original persevering, or a facsimile of some kind?
      Gotta say, I find Mary Anne fascinating, at least the little descriptions we get from Wyllie, and curious to more of her origins and whereabouts. A lot of mystery with this behind-the-scenes show-runner, one who apparently claimed to be both Hecate and Kali. Maybe more will surface one day.

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  7. And these tools are falling into the hands of the general public, which is both exhilarating and terrifying in equal measure. On one hand, in accordance with the logic of guns, you don't want powerful weapons to solely be held within the armories of the political elite to dispense with as they please. On the other hand, /pol/ and company are not exactly responsible themselves. They get caught up in magical fads that flare up, burn brightly, and exhaust their fuel supply so fast that no individual human can keep up with them. What a time to be alive, I guess.

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    1. Well, it makes you wonder. I don't think these intel boys are as clever as everyone else does. There seems to be a devil of a lot of blowback and secrets don't seem to be kept very well, and I know for a fact that secrets can be kept when necessary. It really makes you wonder if it will all blow up in everyone's faces.

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  8. Chris, I know it's not really an approach you take in your writing, but do you ever get the urge to sort of "try on" the belief that yes, the "watchers" (to use your vocab.) are a real phenomenon, and to see where that leads?

    I've been swimming in that area of the pool for a little while now. I think it was after recently reading Clarke's Childhood's End (spurred on by a post of yours), and then delving into info streams that I'd previously sloughed off, on account of them seeming too carelessly compiled, by people who seemed way too 'out there'. Stuff like the "Ra" Material, and the strange history of that whole crew; and Laura Knight-Jadzyk, and her story, and her crew. And then, looking into the current scenes that seem to mostly trace back to one or the other, or (usually) both.

    I'd always associated that whole info stream with like, crystals, gullible housewife types and crappy paperbacks in garage sale bins. There's a lot of that, but there's also stuff that you don't often run across in other circles. Or at least I hadn't.

    To get back to the point, do you ever get tired of digging up connections and connecting dots, pointing out associations and all that stuff you're so good at? Ever just feel like running with, what it seems like, the bulk of your writing is kind of "pointed in the direction of". I don't mean this as a critique. I think you and your blog are brilliant. It's just more of a question I guess.

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    1. It's an excellent question, actually. What I do here is take a lot of material that other people have looked at before, often many people, and try to look for connections that haven't been made before and find the underlying themes that link it all together. A lot of it is compulsion, really. Just seeing things and having these things leap out at me. But actually I started the blog to develop ideas for new books. I guess I just got addicted to the freedom and immediacy of blogging. As to the Watchers being a real phenomenon, yes I have no doubt of it.

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  9. In the Rosemary's Baby section, the spelling should actually be 'bellwether,' not 'bellweather.' (Although your version actually fits in better with overall global climatic chaos.) So, kudos!

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  10. This never ends. Also Chris, check out this for the vagaries of Operation OFTEN, and how intimately it is interwoven into the modern template (from Nov.2011): http://mcmmadnessnews.blogspot.com/2011/11/happy-vallee.html

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    1. Lots of interesting links there. Cheers, Wordman.

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  11. The whole Herschel Gordon Lewis transformation is so strange to me. Back in the late 1990s I knew him only as one of the leading authorities on advertising copywriting, especially classic Direct Response pieces.

    I found his work hugely helpful in my development as a junior copywriter. His methods really did work.

    His tone was always very matter-of-fact and his examples were kind of boring.

    To find out years later that he invented the slasher film was almost impossible to believe. Like coming across a mugshot of your favorite uncle.

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  12. Thanks so much for the kind words, Chris. And the DailyMail article you linked to is a doozy regarding the entire milieu in that Tate/Polanski Cielo horror house. It bespeaks of untold levels of Governmental/Process Church manipulation, especially regarding how Tate may have been silenced due to what she may have overheard from Sirhan Sirhan himself, at a party, at her house, prior to the RFK assassination! The mind boggles. Throw in LaVey's Church of Satan, herds of Hollywood A-listers at the time, and Dennis and Brian Wilson hanging around, as well as Lennon and assorted Beatles stumbling around the periphery, and you've got a real swingin' Luciferian party!
    Of course you've got to consider the source, but remember what Manson said: "Don't you think those people deserved to die? They were involved in kiddie porn."
    As you know and have documented, the Age of Aquarius turned black-as-night in a hurry, didn't it?
    Puts me in the mind of "Children Of The Flaming Wheel" from King Kirby's Spirit World too. And cheers right back at ya!

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  13. Your link between Living Dead & TBMC is spot on. Great work.

    Some thoughts:

    I was a big fan of Hannibal (TV series) & it really elevated “Murder as Art”. It’s a theme I’ve been interested in for a while and has a long intellectual pedigree. The process you describe is like the version for the masses. The true “aesthete” transcends the “trauma” into a world of opposites – think Milton’s Satan. Their “strength” lies in their capacity to not be horrified but instead delighted and hence “transformed”. At a global level most will be traumatised but some will be transformed. Like Hannibal’s protégés the serial killers you refer to are “becoming”. Francis Dolarhyde becomes the Red Dragon.

    So I think the T in TBMC can be “Trauma” or “Transformational”. We may think the goal is “trauma” – and it is - but maybe it’s also “transformation”? Like a series of experiments and many die or are damaged beyond repair, but the few successes are what really matters to “them”. They’re not all serial killers either. The real prizes are the “fully-functional” members of society who can be channelled into Murder & Mayhem Inc.

    It’s win-win: Trauma or transformation.

    Hope I don’t sound approving. I actually hate gore and mostly my hand is over my eyes. The seen cannot be unseen. I feel that way about a lot of stuff out there these days – and that’s just the Daily Mail (ha ha).

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  14. I really hate horror films and i don't watch them (slasher and war movies, violence and gore are too much for me)

    But the ones that call my interest even if i'm not able to actually watch them are poltergeist and hellraiser. (I'm an 80's kid) The "nefarite" concept is very similar to one of the "razide beings" in the setting of a very interesting role playing game named "Kult". i do think you may find this game books interesting. Also, i always remember one episode of the tv series "criminal minds", and they come across a "satanic murder ritual" and the "expert" says that kind of murder has NEVER been proved to occur in the US.... Funny huh....

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  15. I´m in Scandinavia. When I get home from work late at night and put on the tv every night there´s a moronic american police show on every channel, each identical to the other. A Mcdonald´s of perverse violence, to fill my head at my coomand. Tasteless, empty of anything but death in candy wrappings.

    People and their kids live and feed on this
    day in and day out, soak it in licking their lips. And then read the news and go:
    "...- Ooh, whatever made this or that person do this or that horrible perverse crime!? We will never understand why!"

    Well, you know ...I dunno...

    Here´s a truth contrary to all popular conception: Evil is boring.
    Yeah, I know. Boring?? Murder, mayhem, torture, humanity´s favorite past-time-
    Boring??

    (Funny how that´s almost in some way like a sacrilegious thing to be saying, huh?
    Of course, it is! We worship death.
    Not being extatic over it, wether horrified
    or glad at the enemy being bombed to bits,
    IS sacrilegious.)


    Evil is a hole you dig in the ground.

    "Oo! dark and dank and scary- Exciting"
    Not really. In the end it´s just a hole.

    And when you´ve dug deep enough all you find it´s damn hard to get up again.
    And that it may take a long, long time
    better used elsewhere.













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  16. ( What I´m curious about now is you´re take
    on how the to get out?

    Yes, this all a kind of a hell. Has always been. Ranging from simmering to unbearable. No fun. It´s very clear.
    Where to go next?
    No solution? Going down with the flag?

    Keeping yourself busy writing while your chair is on fire?

    Gnosticism?

    A conundrum: as long as hell is entertaining to us,
    we value it to much to want to find, and use, a way to get out. )

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  17. But then of course the spotting and calling out of the lies, the false, is a part of walking to truth, of getting out.

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  18. And then there's Siskel & Ebert both dying young, Roger Ebert with a horrible disfiguring cancer of his mouth. What are the odds?

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  19. Chris, I don't know if you saw the recent headline in Norway of 300+ reindeer being killed by "a lightning storm". I was researching animal mutilations recently and found it. Personally, I have been interested in the "37 degree" latitude animal mutilations theory, because I live in Roanoke VA. Many mutilation cases go unreported. The official line on the mutilations is that they are just scary looking but entirely natural body decomposition.

    I also remember being at a sleepover when I was really young at a gymnastic center where they showed us all halloween, or some sort of x rated horror movie. I walked out of it. I went out onto the gymnastic area and sat by myself. I have never liked the saw type genre.

    My wife and I just came back from a Bigfoot conference in hungry mother state park, Virginia. It was loads of fun. It was interesting to see the two viewpoints- most people are either nuts-and-bolts Sasquatch hunters or straight up supernatural/paranormal in belief.

    I've been really digging your blog as usual, you are as sharp as ever. Thanks.

    http://uk.mobile.reuters.com/article/idUKKCN1141PR

    http://news.nationalgeographic.com/2016/08/norway-reindeer-lightning-weather/

    http://www.openminds.tv/37-degree-latitude-paranormal-freeway-814/12718

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  20. Well the Synchromysticism Chaos fire of Stranger Things is starting is having reverberations in our mundane reality; "When his father, Jerry Wetterling, coached his Central Minnesota Youth Soccer Association team in St. Joseph, Minn., Jacob, 11, wore a red jersey with the number "11" on it. Now the Wetterling family is asking people to use the number 11 as a symbol of hope and to honor their son by adding it somewhere on their person "at their next game, concert or big event to show their commitment to making the world a better place for kids," they wrote in a post Wednesday afternoon on the Jacob Wetterling Resource Center's Facebook page. "It's one of the many ways to honor Jacob's spirit and his sense of fairness."

    "The center posted 11 things that people can do to nurture a culture of kindness and compassion. "If you put on Jacob's jersey number, make a commitment to living with these 11 traits," the post read.... Jacob's remains were found late last week in a pasture near Paynesville, Minn., nearly 27 years after his abduction. On Tuesday, Danny Heinrich, 53, confessed in court to abducting, sexually assaulting and killing the 11-year-old St. Joseph boy." http://www.duluthnewstribune.com/news/4110763-wetterling-family-asks-people-wear-no-11-jacob#.V9Gjc9k6cfs.email

    Now looking at the article and how 11 is being highlighted than some in the editorial department is either subconsciously or even consciously invoking the character of the Stranger Things series.

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  21. In the 1980 film "Where the Buffalo Roam," Hunter S. Thompson (Bill Murray), speaking in 1968, talks of that time of "the fear" "between the 60's and the 70s." The time of Nixon, when so much of these things took place.

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  22. Additionally, while on a recent tour of the Dexter Street Baptist Church in Montgomery, Alabama, where MLK was a reverend, the tour guide noted James Earl Ray but empahsized to our tour group that the assassination was part of a larger conspiracy. I was surprised to hear this from the guide.

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  23. For those who haven't read it, I strongly suggest this highly fascinating work by the (sadly) late great author David McGowan, "Programmed to Kill: The Politics of Serial Murder":
    https://www.amazon.com/Programmed-Kill-Politics-Serial-Murder/dp/0595326404/ref=sr_1_3?ie=UTF8&qid=1473584018&sr=8-3&keywords=david+mcgowan

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    1. David McGowan's other great work, fortunately published just prior to his rather sudden demise from "natural causes" also ties in the Process Church and a string of gruesome occult-charged deaths in the LA scene surrounding the sacred deities of pop music: Google "Laurel Canyon and the birth of the hippie movement"

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    2. Read that one as well, another excellent work.

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  24. Recently watched the documentary Holy Hell about a cult in California from the 80s up till now. The leader of the cult, a failed actor, had a small like one second part in Rosemary's baby. I thought that was interesting.

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  25. I feel like there was so much more substance to art and music back then. This is an excellent article. There are songs that will always stick, songs of protest and songs of redemption. I suppose maybe it's not as popular a topic nowadays because the world isn't at war. Thanks for sharing this piece!

    Jasmine V | Belgravia Group

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  26. I've been a lurker here for a while now and as an enthusiast of where art and spirit intersect; your work here is what I consider a cutting-edge treasure trove if that made any sense (I consider Kubrick and Lynch my unofficial teachers, introducing me to synchronicity and life-as-a-dream(film) concepts)!

    I'm a fan of the Elm Street movies and a post on a Youtube video about having a dream involving Freddy Krueger caught my attention;
    someone (calling him/herself Bloodvile) posted that back in 1982, two years before the first movie premiered, he among others had dreams involving a figure who fit the visual description of Freddy, and claims he remembers a news story from the same year about people having the same types of dreams. Not to mention director Wes Craven took the dream aspect of the movie from a news story on a tribe (Indonesia or Malaysia I think) in which their youths were afraid of sleeping and dying from seemingly night terrors. Not sure if you keep track of older post comments but thought this was in line with the Secret Sun.

    Here's the video link:
    https://www.youtube.com/watch?v=uXxUXOV0k-o

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