HOLLYWOOD BABYLON: THE ENTERTAINMENT INDUSTRY’S DARK SIDE
By Victor Thorn*
As the co-founder of Paranoia magazine in 1992 and currently its associate editor, not to mention author of the recently released anthology Conspiracy Geek, Joan d’Arc has seen her fair share of high strangeness over the decades.
During a November 1 interview, AMERICAN FREE PRESS asked d’Arc about the entertainment industry’s dark side. She replied, “Actress Anna Nicole Smith, like Marilyn Monroe before her, was a mind controlled sex symbol. Her handler, Howard K. Stern, made a bizarre video showing a drugged Anna Nicola in an alter personality. Wearing garish clown makeup and playing with a baby doll that she thought was alive, Smith also spoke in a baby-like voice.”
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Although this video was never intended for public consumption, it depicts Smith regressing to a disassociated nine-year-old level while receiving instructions and carefully construed code words from her handler. Fed an unending supply of pharmaceuticals by those controlling her life, Smith suffered extreme psychological trauma when her 20-year-old son overdosed in her hospital room three days after she delivered a baby. Less than five months later, on February 8, 2007, Smith herself perished due to substance abuse.
Continuing this theme, d’Arc commented, “Another famous actress, Britney Spears, appeared to break into an alter personality during a interview with ABC’s Diane Sawyer. When asked an emotionally difficult question, Spears suddenly began speaking in a much louder, different voice, saying, ‘Hello, I’m like, goodness, hello.’”
Indeed, this 2003 televised interview revealed Spears inexplicably snapping into an alternate personality and conversing with nonexistent people as a “mind control glitch” temporarily interrupted her normal train of thought. As one of the most infamous stars to emerge from Walt Disney’s Mouseketeer kiddie factory, Spears suffered what appeared to be a nervous breakdown when she outlandishly buzz-cut nearly all the hair from her head. Some researchers have characterized these episodes as desperate pleas for help in order to escape her handlers.
Another brief glimpse into the entertainment industry’s dark side occurred when famous rock legend Bob Dylan told Ed Bradley of 60 Minutes, “I made a bargain with the [he halts and garbles this word] a longtime ago, and I’m holding up my end of the bargain.”
Referencing this peculiar moment, d’Arc elaborated on precisely whom he made this deal with. “Dylan said on 60 Minutes that he sold his soul to the Chief Commander on this Earth and the world we cannot see. He seemed to be in a moment of truth and didn’t appear to be waxing poetic.”
Perhaps most dangerous of all, d’Arc next delved into the eccentric life and death of filmmaker Stanley Kubrick, who many have speculated belonged to some sort of Illuminati secret society. “An example of an occult film is Kubrick’s 1999 release Eyes Wide Shut starring Nicole Kidman and her Scientologist husband at the time, Tom Cruise. It’s been said that the movie’s sex magic ritual is a reenactment of orgy parties Kubrick attended at the Villa of the Aldobrandini family, one of the 13 ruling bloodlines of the Black Nobility of Rome, known as the Illuminati. These families sit way above even the Vatican, Knights Templar, Freemasonry, Opus Dei, and all of the world’s richest families. After Kubrick completed this film, he had a sudden heart attack in his sleep.”
As one of the most tantalizing deaths in Hollywood history, d’Arc spoke about the possibility of foul play. “Was this a natural heart attack or was it induced? It’s not outlandish to suppose that Kubrick’s death was instigated by someone as punishment for exposing secret rituals of the world’s ruling families. In the 1950s the CIA studied ways to mimic death by natural causes such as heart attack and cancer. It was found that the use of potassium chloride or calcium gluconate to cause a heart attack would not raise suspicion since these chemicals are naturally present in the human body. Another way to induce heart attacks is via radio-frequency weapons.”
STARS SPEAK OUT
Unlike the old Hollywood studio system where actors were little more than pieces of meat run through a grinding machine, today’s stars—at least occasionally—are speaking out against Tinseltown’s abuses.
Summing-up a culture that feeds off desperation, model-actress Melyssa Ford told reporters, “If your ultimate goal is to be famous, then you’re going to do a lot to get there, like sign your name in blood on a contract with the devil.”
Comedian Dave Chappelle, who admittedly professes an interest in conspiracy theories such as AIDS being man-made, got so fed-up with the industry that he fled to Africa. Upon returning, he said of Hollywood, “The environment is sick.”
Actor Randy Quaid, while on the run from authorities, held a press conference on October 29, 2010, where he dropped a bombshell. “We believe there to be a malignant tumor of star-whackers in Hollywood . . . How many people do you know personally who have died suddenly and mysteriously in the last five years? I have personally known eight actors, Heath Ledger, Chris Penn and David Carradine among them . . . I believe these actors were whacked, and I believe many others, such as Britney Spears, Lindsay Lohan and Mel Gibson are being played to get at their money.”
On May 16 leading lady Sean Young, who starred in Blade Runner and Wall Street, appeared on Red Ice Radio where she exposed what many AFP readers already know, at about 13 minutes into the broadcast: “Humanity is being preyed upon, as a species, not only by old satanic families like the Rothschilds and Rockefellers, Collins, Dupont, Warner, Russell, [plus] the world’s monarchies and the Vatican, but they’re also preyed upon by governments, the military, banking institutions and academia.”
Pop singer Michael Jackson, who many feel came under the wrath of these powerful sources, took on Sony Music and its president in June 2002. “Tommy Mattola is the devil,” he told a cheering audience. “We have to continue our drive until he’s terminated.” A never-ending string of scandals and lawsuits plagued Jackson until his suspicious death from the knockout drug Propofol in 2009.
Child star Corey Feldman, who has seen numerous actors fall by the wayside, told ABC News on August 10, 2011, “I was literally famous before I knew my own name.” More dramatically, he pointed a finger of blame at executives for the demise of his friends. “The number one problem in Hollywood was, is, and always will be pedophilia. It’s all done under the radar, but it’s the big secret . . . They surround child stars like vultures.”
CULTURAL TIMELINE
The entertainment industry’s dark side extends well beyond wrecked lives and compromised careers. It also directly affects the course in which our society takes.
Beginning in the 1920s with Cultural Marxists at the Frankfurt School, the advent of mass media, and Edward Bernays’ use of propaganda to spur on rampant consumerism, F. Scott Fitzgerald’s novels introduced post-WW I America to the Jazz Age where Flappers in form-fitting dresses smoked cigarettes and engaged in “petting.” At the time, such feminine pursuits were considered scandalous. Fitzgerald’s books mirrored a Roaring Twenties of excess, living beyond one’s means, and ultimately an economic crash.
With a lull in the 1930s due to a decades-long depression, followed by WW II in the 1940s, America emerged in the 1950s as the world’s undisputed superpower. NWO elite realized they couldn’t topple the U.S. militarily, so erosion from within became their focus.
Using Frankfurt School techniques of weakening the family structure and challenging patriarchal authority, Hollywood presented Marlon Brando as an outlaw biker in The Wild One, while in Rebel Without a Cause, James Dean’s father suffered horrible amounts of emasculation by wearing his wife’s apron. In the art world, Jackson Pollock—nicknamed “Jack the Dripper”—took abstract expressionism to new levels by splattering paint onto the canvas. Musically, Elvis Presley brought “colored” rhythm-and-blues into the bedrooms of white teenyboppers, whereas traditionalists blamed Mad magazine and comic books for glorifying juvenile delinquency.
Quite possibly the best illustration of how various agendas were forwarded arrived via Jack Kerouac’s On the Road. Originally written in 1950, this bohemian novel that chronicled recreational drug use and sex outside of marriage was so far ahead of its time that publishers wouldn’t release it until 1957. Used as a springboard to welcome in the bourgeoning hippie movement, Kerouac’s literary endeavors were lambasted by Jewish critics like Norman Podhoretz as creating “subversive Beatniks.”
By the 1960s, Bob Dylan’s protest songs lit the fuse for antiwar activists and burning draft cards. Once the Beatles led a British invasion to America’s shores, an entire counterculture listened to tunes advocating LSD, free love and political revolution. In Tinseltown, spurred on by Alfred Kinsey’s falsified sexual behavior studies, moviegoers saw for the first time onscreen nudity and vulgarities that had up until then been forbidden under the Hays Code [i.e. Holly
wood’s primary self-censorship apparatus].
As a generation of flower children stumbled into the 1970s, they were filled with disillusionment over a slew of assassinations (JFK, RFK, etc), Kent State, lies about the Vietnam War, and the upcoming Watergate scandal. No longer touting peace and love, Baby Boomers evolved into the “Me Generation”—a term that arose from novelist Tom Wolfe. Jaded and cynical, cinema in the 1970s reflected more conspiratorial-related themes than at any other time in American history. Whereas films such as Network exposed the hypocrisy of corporate news, others like The Parallax View and Executive Action completely exposed the Warren Report’s phoniness.
Today, with the advent of cable television and pay-per-view stations, viewers accustomed to watching Father Knows Best or Leave it to Beaver wouldn’t recognize what they were seeing. While relying on concepts such as political correctness and “tolerance,” Cultural Marxists have made gangster rap and TV shows like Queer Eye for the Straight Guy commonly accepted, especially among today’s younger demographics.
