"If you like."
"Fidelio."
"Thank you."
Wolfgang Amadeus Mozart. Orson Welles. Frank Zappa. Stanley Kubrick.
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| Wolfgang Amadeus Mozart |
Quis custodiet ipsos custodies?
Mozart's final opera, Die Zauberflöte or The Magic Flute, placed the inner rituals and symbols of Freemasonry on display for all to see. If you have ever seen an accurate adaptation of the opera, then you may have noticed the Queen of Heaven, the Rainbow Bridge, the noose, the bird...all variations on occult Masonic symbols. In fact, you would see all the archetypes present in a later work called The Wizard of Oz.
Writing the opera at a time (1791) when the Bavarian Illuminati were becoming a powerful force behind European and American politics, Mozart attempted to sensitize the audience to that group's symbols as a means of exposing them. It was a warning to anyone who could interpret the opera that nefarious forces were rising behind the scenes. Curiously, Mozart died at a young age shortly after that opera hit the stage.
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| Orson Welles |
Hearst was the Rupert Murdoch of the late 19th and early 20th centuries. He could make or break public figures, start wars and manipulate public opinion with the flick of a pen. His life was mirrored in the character of Charles Foster Kane, a pitiable and lonely man haunted by what he had lost. Interestingly, Kane was also Welles' autobiographical projection.
Though Citizen Kane is considered one of the greatest films of all time, both for its daring narrative style, and for the ground-breaking visuals that it used, Welles was virtually destroyed by it. Hearst arguably put an end to Welles' career before it had truly begun.
Though Welles' later work showed all the innovation and genius of his first film, he never attained the stature of say, a Spielberg or Lucas. But because his creativity was quite useful to the PTB, having tested mass mind-control techniques with War of the Worlds for them, Welles was allowed to muddle through, as long as he didn't stir the pot too much, which he didn't, at least not to the shocking extent of his first film, though all his works contains many visual allusions and metaphors for the aware viewer.
Frank Zappa is not someone most people think of when listing the Great Exposers of the Hidden Elite. Few people truly appreciate his unique blends of musical styles, or his flaunting of social mores through playfully sarcastic lyrics. However, if one listens carefully to Joe's Garage in Three Acts, you will pick up very definite audio vignettes of the inner workings of the music industry. The Central Scrutinizer is the All-Seeing Eye, leading us on a biographical tour of Joe's rise to musical fame, his descent into sex and drugs, his concentration for being creative, and his eventual redemption.
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| Frank Zappa |
Because music is truly the universal language, great composers like Mozart and Zappa are very accessible. The problem is modern humans have little training in this language, and so are rarely able to bring to conscious thought what their sub-conscious minds automatically understand.
Zappa is often dismissed as whimsical and farcical, and so doesn't rate a look at the depth and layering evident even in his earliest works. Ultimately, this is also his saving grace, in that it was a perfect disguise for his message, though it often leads to him being written off prematurely, as well.
Stanley Kubrick is arguably the all-time master of hidden context and symbolism, when it comes to mass media. He was one of the few cinematic greats who deeply understood both the art and science of the visual medium, and one of the fewer still who used it for us, rather than against us. One wishes that he had lived to direct the Da Vinci Code, rather than Ron Howard. Who knows what depth of layering and occult truths would have emerged from his powerful mind?
Whether you believe Kubrick produced the Moon landings or not, there is no denying that what we expected to see from Man's exploration of local space was exactly what Kubrick planted in our minds with 2001: A Space Odyssey just a year before Apollo 11.
He also showed us the power of secrets and lies. Hiding truth always led to the logical conclusion that those who threatened to expose it had to die. It was a conclusion to which even a sentient machine would come. The only possible outcome of occult knowledge was death and destruction. Occult is the polar opposite of Truth, one leading to death, the other to Life.
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| Stanley Kubrick |
As I listened to the talk as the lights came up, I realized that Kubrick had just done a number on our heads. He had taken a loathsome and despicable character named Alex, and had turned him into an anti-hero, a sympathetic and tragic figure before our very eyes. Most people left the film dazed, unable to articulate why. I knew immediately what had happened, and the alchemy of it enthralled me.
When The Shining came out, I knew immediately that what I had seen and felt in ACO was not a fluke. Here it was again. Kubrick had created a symbolic United States in the Overlook Hotel, and he forecast the decay and descent into madness that would follow our collective denial of what had been destroyed to achieve the Shining City on the Hill. All Americans are Jack Torrance, driven mad by a misguided work ethic and the incessant nagging of Wendy, our conscience personified.
There was no longer any doubt in my mind that Kubrick was telegraphing multiple layers of warnings and wake-up calls to us. It caused to go back and review all his films carefully, and when I did, I was left gasping for air like a fish yanked from his native ocean. But the real slap to my psyche was yet to come.
Then came Eyes Wide Shut. For the first time ever, I was unable to move when the lights came up. I was gob-smacked into paralysis. I sat through a second showing in the same afternoon. I couldn't believe what I was seeing and hearing. It was all there...all of it. It was The Magic Flute, Citizen Kane, Joe's Garage, and all of Kubrick's previous works rolled up into one stunning package.
I was haunted by the sounds and images. I have since viewed it frame by frame, dissected the sound track, and parsed the dialogue, analyzing every layer of meaning. It is one of the most daring exposes I have ever witnessed. It was a news reel for the Awake and Aware, and a teacher of even the most adept. Every nuance and subtlety had a minimum of three definitions. It was a visual Wasteland, with all of the mastery of Eliot in multiple, simultaneous channels. And Kubrick was dead four days after finishing it.
One thing all four of these men have in common, beside the ability to lay Life's Great Mysteries at our feet, is that they were all intimately familiar with the aspects of the social Matrix that they exposed. Mozart walked among the powers of Europe and was a plaything for them. Welles knew the media moguls and Hearst empire from the inside, both in radio and the newspapers that could make or break a life in 500 words or less. Zappa had lived through the explosion of pop culture and the rock music industry, and put its guts on display for anyone willing to listen. And finally, Kubrick understood the awesome power of the visual media, and how multiple messages could be sent through simultaneous channels without distortion.
Kubrick showed us a stylized film frame as the monolith, stark and mysterious, imparting knowledge and information through some unseen magical method. He showed us how it could be used to make the reprehensible into something likeable by manipulating our senses. He confessed his sins, and those of his native country, in the metaphors of haunted hotels and naive characters. And finally, he showed us who the men behind the curtains were, somewhere over the rainbow, in the language of dreams, using the future impossible tense.
These men, and many other people, have suffered greatly both for what they knew, and for their attempts to tell us. They paid hellish prices, in some cases the Ultimate Price, to bring us the information they had. It behooves us to listen carefully. They are trying to warn us away from certain disaster, even from beyond the grave. Their works are timeless and entrancing, simply because of the pure truths they hold out, though it is up to us to unlock the incredible stories they have to tell us.
It's like that strange scene in Interview with a Vampire, when Brad Pitt first joins the undead. Suddenly his eyes are opened to the rich and terrifying world just beyond the obvious. And so it is with us, if we are willing to push the boundaries of our Matrices and see the world for what it is. Be prepared, though. Things are never what they appear to be, especially when we stand on the shoulders of giants.
All Truth must be discovered, it can not be delivered. The great minds have done the work to give us the pieces and we must do our part to assemble them.
