I just got this email today from world-renown film critic Ray Carney (cassavetes.com) who is known within the Independent Film World as one of the toughest cookies to please. I had sent him an email a few weeks ago about a play I was in called "King of Hearts", but he never responded and I thought there was no way in hell that he would actually come and see it. But apparently he did! I post his email here for two reasons: first, I like to toot my own horn, but second, the email says a couple of interesting things about the responsibility an actor has to portraying a character truthfully. Here is the email: From: "Ray Carney" To: m2burns@comcast.net Sent: Thursday, June 3, 2010 7:15:13 PM GMT -05:00 US/Canada Eastern Subject: at the intersection of Norfolk and 1A..... Matt, I waved but you didn't see me. I was pulling out of Norfolk St. at around 5:40 today from 1A and you were turning onto it in a small black car. But it did remind me that I have been remiss in telling you what a great job I thought you did in King of Hearts. You wonderfully stayed "inside" your character (the deaf mute), functioning from HIS perspective and HIS understanding. That is the essence of drama. So many actors play themselves, from THEIR OWN points of view, but you played your character, from his pov. Great work! Forgive me for being out of touch for so long. No excuse. Just busy. (Currently editing a book chapter in FRENCH and my French is primitive. Welcome to my world!) Stay well. And keep doing the drama/acting thing. You have talent! Ray Ray Carney, Prof. of Film and American Studies Author: Cassavetes on Cassavetes (Farrar, Straus and Giroux/Faber and Faber); Shadows (British Film Institute/University of California Press); John Cassavetes: The Adventure of Insecurity; The Films of Mike Leigh (Cambridge University Press); The Films of Frank Capra (Wesleyan University Press); Speaking the Language of Desire: The Films of Carl Dreyer (Cambridge University Press); The Films of John Cassavetes: Pragmatism, Modernism, and the Movies (Cambridge University Press), and other works Ray Carney's web site--"The Independent Film Pages" http://www.Cassavetes.com Ray Carney's blog--"Necessary Experiences: Why Art Matters" http://people.bu.edu/rcarney/aboutrc/letters.shtml Mailing address: Prof. Ray Carney College of Communication 640 Commonwealth Avenue Boston University Boston, MA 02215
Perhaps a brief recap of this whole story is in order: Last January, I was attempting to make a documentary about metaphysics. The film was meant to be a sort of sequel to my short documentary "A Parallel World", which was about a haunted house on Cape Cod (click HERE to view). I didn't know what I wanted the so-called sequel to be about, but I essentially wanted to further explore the possibility of a spiritual dimension coexisting with our physical world, one comprised of spirits (deceased humans), more intelligent energies (what we would refer to as 'angels') and a most intelligent energy (what we would refer to as 'God'). My attempt to film such a documentary ultimately led me to a medium named Liam Galvin. Galvin is renown for his mediumship and has written several books about the so-called "spiritual world". I met Galvin through a friend of mine and he was kind enough to schedule a reading with me, both for the purpose of my documentary but also for my own personal interest. Although it usually takes about three months to get a reading with Galvin (because he's so good at what he does), he was actually kind enough to fit me in within two weeks time. So on January 25, I sat down with Liam at a place called "The Healing Moon" in Norwood, MA., and it wasn't even five minutes into the reading that I was essentially shocked by what was happening. Not only did I end up talking with my two dead grandfathers but Liam also identified two of my "spirit guides" as being Alfred Hitchcock and indie film director/ex-Hollywood actor John Cassavetes. Liam also said I had a beautiful actress with me from the 1920s or 30s, as well as writers, musicians and philosophers. You can read the full story and listen to the audio tapes of my reading with Liam by clicking HERE. The night after the reading, I went home and had a very strange experience while in bed trying to fall asleep. The name "Lillian Gish" suddenly popped in my head and then a B&W image of D.W. Griffith flashed in my mind's eye. Gish, if you're not familiar, was an extremely famous actress from the silent film era and Griffith was one of the first big directors of the early Hollywood days (his films Birth of a Nation and Intolerance were among the most significant of the silent era). I didn't know why these two people came into my mind, but, with the help of another medium friend (Jan), I eventually came to identify them as two more of my spirit guides. To read the full story of this particular discovery, click HERE. After identifying Gish and Griffith as spirit guides - in addition to Cassavetes and Hitchcock - I basically tried to forget about all this spiritual stuff. Although I believed in everything that was happening, part of me was still kind of weirded-out by it all. I mean, it's not exactly normal to be walking around thinking you're haunted by the spirits of four ex-famous people. Though I was excited by my discoveries at first, I felt a little stupid in the long run. Kind of delusional. Maybe even a little crazy. So I basically tried to put it all in the back of my mind in hope of returning to a state of mental normalcy. But my guides weren't through talking to me. Only a week or so after "meeting" Gish and Griffith, another random name entered my mind: Nathanael West. West, if you're not familiar, was a big writer from the 1930s. His novel Miss Lonelyhearts (1933) is considered his masterpiece while The Day of the Locust (1939) is considered to be one of the best novels about the early years of Hollywood (the latter novel is often said to be on the same level as F. Scott Fitzgerald's The Last Tycoon). I actually read The Day of the Locust a year or two ago as research for my own Hollywood novel, so I was somewhat familiar with West, but I found it odd how - all of a sudden - his name kept echoing in my mind. At first I kind of just said "All right, maybe this is significant," but, to tell you the truth, I didn't really care all that much. Maybe Nathanael West was my spirit guide or maybe I randomly had Nathanael West in my thoughts for no significant reason -- the bottom line was that I was more or less tired of all this spirit stuff and wanted to concentrate on other things. West, however, wouldn't let me forget about him. A couple days later, I was paging through the Boston Sunday Globe newspaper and I suddenly saw the name Nathanael West staring at me from one of the inner pages of the "Ideas" section. Apparently there was a new book that had just come out about the life of West and his wife Eileen McKenney (entitled Lonelyhearts: The Screwball World of Nathanael West and Eileen McKenney). I read the article on the book and it gave me a really weird feeling. There seemed to be something significant about this Nathanael West guy. The idea of him being a spirit guide felt a little more possible...but, still, I didn't feel any real need to confirm my feelings. I could have gone to one of my medium friends for confirmation - like I did with Jan when I was curious about Gish and Griffith - but I decided not to. I didn't want to bother her any more.
A month or two passed and West remained in the back of my mind, though my immediate thoughts were on other things. I probably never would have gone to any effort of confirming him as a spirit guide if it wasn't for another development in this whole story. About six weeks later (i.e. two weeks ago), I was polishing my novel for probably the five-thousandth time when a thought suddenly entered my mind. For some reason, I started acknowledging certain affinities between my work and the work of Hunter S. Thompson's Fear and Loathing in Las Vegas. Then I remembered how Liam Galvin had told me I had five writers with me as spirit guides, which is something that - for some reason - didn't interest me too much at the time (I basically figured the writers were unknowns from way back in the past). But, suddenly, I started to think "Hmmm...maybe Hunter's one of those five." But, of course, the idea seemed rather far-fetched. First of all, I've always like Hunter's work (Fear and Loathing in Las Vegas is one of my favorite books of all time), so I kind of chalked up the whole idea of him being my guide as "wishful thinking". Plus, Hunter has only been dead for five years; I mean, he friggin' committed suicide in February 2005, for Christ sakes. The idea of a guy shooting himself and, sometime within a five-year period, attaching himself to me as a guide, seemed like a really wacky idea. So I kind of laughed off the whole thing and tried to forget about it, kind of like I tried to do with West. But Hunter wasn't going to let me forget about him either. Day after day passed and I had extreme difficulty getting him out of my mind. For some reason, I felt compelled to go on Youtube and start watching Hunter S. Thompson interviews and other video clips. I looked up photos of him on the Internet and read little tidbits about his life. Looking at him and listening to him struck a chord within me. There was something strange going on. About a week later, I finally came to the point where I started to seriously consider the idea that maybe - just maybe - Hunter was actually with me as a guide, and I stress 'maybe'. Possibly. Conceivably. There was a one-percent chance. But, still, I wasn't quite ready to consult with someone like Jan, mainly because I didn't want to make a complete ass of myself if the answer was 'no'. I wanted to, first, try and confirm my suspicions via a few methods I could perform myself. The first thing I did was 'dowse', just as I did with Gish and Griffith. I explain the concept of 'dowsing' in my last blog but let me give you a brief explanation here: What you essentially do is hold a pendulum in your hand and ask your spirit guides 'yes' or 'no' questions. Usually your guides start moving the pendulum in a clockwise direction if the answer to the question is a 'yes' and in a counter-clockwise direction if the answer to the question is a 'no'. However, I find that you can calibrate the pendulum in any fashion you want to. For example, sometimes I ask that the guides show me a 'yes' by simply moving the pendulum and a 'no' by not moving it. Anyway, by means of dowsing with my (home-made) pendulum, I was able to further confirm my suspicions that Hunter was with me as a guide. Basically, when I asked if Hunter was present, the pendulum would move like crazy, without my help or the help of any external stimulus. In other words, the pendulum's movement was entirely 'paranormal'. Watch the video below for a demonstration of this phenomenon:
So, yes, the dowsing - once again - yielded some interesting results and I was one step closer to being convinced Hunter may have been with me as a guide. But I still had my doubts. After all, the pendulum could have moved from my own subconscious energy, especially if - deep down - I really wanted to believe Hunter was my guide. Clearly I needed more evidence before I drew any conclusions, but I still felt foolish consulting with a third party like Jan. I mean, think about how silly I would have sounded: "Hey, Jan, could you just check and see if the spirit of Hunter S. Thompson is haunting me? Thanks a bunch." And if the answer turned out to be 'no' I'd feel like a royal schmuck. "Who do you think you are, Matt, thinking a dude like Hunter S. Thompson is with you as a guide? Get off your high horse, ya stupid hediot!" Yes, I needed a little more convincing before I consulted with my medium friend. So I tried one other experiment, a method that paranormal investigators refer to as an "EVP session". "EVP" (if you've never watched the shows "Ghost Hunters" or "Ghost Adventures") stands for electronic voice phenomenon. What you do is basically take a voice recorder and ask spirits questions in hope that they provide answers. Metaphysical theory suggests that it takes less energy for a ghost to communicate through the audio frequency recorded on an audio tape than it does through the frequency we hear with our own naked ears. This means that we may not hear the ghosts respond to our questions, but they may still turn up on the recorder. Anyway, I managed to get my hands on a digital audio recorder and I began an EVP session by simply asking Hunter to say something I would be able to hear when I played the tape back, so that I would know he was with me. However, after a couple of tries, nothing turned up - no voices as far as I could hear. So I altered my approach a bit. I began another EVP session where I asked Hunter to knock or click or make two sounds twice, as confirmation that he was, indeed, with me. And it was after this request that something rather interesting happened. About five seconds after I asked the question, I felt as though something flew past my eyes, kind of like a bug, but it wasn't solid. The best way to describe it is that it was like a ball of energy...sort of like an orb, though it wasn't illuminated. And, then, about a second or two after I saw the orb (call it what you will), I heard a noise that I'm still having trouble finding an explanation for. Listen to the audio clip below and hear for yourself: (Note about this clip: the reason why I specify that Hunter only communicates with me if he is "in the light" is because I was afraid of attracting any kind of negative energy to myself. Hunter, after all, committed suicide, so I was concerned that he may not have made it into the light after passing. Spirits who aren't in the light are not good to have around you, not necessarily because they're negative or evil, but because their intentions are often misguided, even selfish, and they may influence you in ways that are not in your personal best interest.)
Now, the above audio clip is played at regular speed and - to the the naked ear - the noise sounds like it is one single 'click'. However, upon slowing the clip down, the noise is actually two distinct clicks that come right after each other. Here is the same clip played at a slower speed:
So, yes, there seems to be two distinct noises in the above audio clip, but why are they so close together when played at normal speed? Why wouldn't Hunter (if it WAS Hunter who made the noises) have spaced them out more? Well, there is one possible explanation for this. Metaphysical theory suggests that many spirits (especially those who are in the light and not earthbound ghosts) are operating at a higher energy vibration than human beings. What this sometimes means is that their method of communicating can be much faster than our kind of communication. EVPS from these particular spirits will sound sped-up, like they are in fast-forward. In other words, the two clicks in the above audio clip may sound fast to the human ear, but to a higher spirit like Hunter S. Thompson, they may be slower, more spaced out and not sound like they're layered on top of each other. This is a possible explanation. Anyway, all this talk about EVPs and vibrations may sound strange and complicated to the everyday layman, but the fact of the matter is that I seemed to get an appropriate response when I asked Hunter to make two noises. Surely the 'clicks' could have sounded out of sheer coincidence, but I have to say I never heard the noises again and I really couldn't identify the source of them. Plus, there was that weird orby-thing that flew in front of my eyes only seconds before I heard the noise, which only adds to the strangeness of it all. Paranormal or not, the results of the EVP session were undeniably interesting. But I STILL was nervous about consulting with Jan and asking her to see if Hunter was with me. The whole idea seemed too far-fetched, and if the answer was 'no' I would have felt like the biggest ass in the friggin' world. Days passed and I, again, tried to forget about the entire situation. But I had great difficulty doing so. Hunter simply wouldn't get out of my mind, and, eventually, I came to realize that, if Hunter was with me, I really needed to know, one way or the other...literally, for my own peace of mind. I needed confirmation. So I finally caved and wrote an email to Jan. As I mentioned in my previous blog (click HERE to read), Jan is an experienced dowser with both psychic and medium abilities. Keep in mind that I don't pay her for her services. She is simply a friend kind enough to help me out with my metaphysical questions. She has nothing to gain by telling me what I want to hear. Anyway, here is our email correspondence. It's brief, simple, and pretty damn straight-forward. Also, you will notice that I asked her about Nathanael West as well. I figured I might as well try and get both names out of my head while I was at it; you know, kill two birds with one stone.
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----- Original Message ----- From: Matt To: Jan Sent: Tuesday, May 25, 2010 3:30 PM Subject: Re: question Hi Jan, Just another question to run by you if you have any free moment. Absolutely no rush. The medium I went to a while back said I had five writers with me as spirit guides and two names have been in my mind lately that I just wanted to run by you: Hunter S. Thompson and Nathanael West. If you have a moment could you dowse to see if these people are with me as guides, just to rule them out and get them out of my mind? Again, absolutely no rush. Thanks a lot. I really appreciate the help. --Matt ----- Original Message ----- From: Jan To: Matt Sent: Thursday, May 27, 2010 8:44:17 PM Subject: Re: question Yes on both counts! : ) ----- Original Message ----- From: Matt To: Jan Sent: Friday, May 28, 2010 3:44:17 PM Subject: Re: question Wow hahaha. Thanks again for your help! I really appreciate it!!!
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So, indeed, the answer, according to Jan, was simple: YES...both Nathanael West and Hunter S. Thompson were with me as spirit guides. Now, I'm not saying that Jan's dowsing results are one-hundred-percent accurate, but I do have to say that she's usually right. I mean, her results combined with my own dowsing results (not to mention the EVP session) have basically convinced me that, yes, it's probably true that both Hunter and Nathanael are two of my spirit guides. Needless to say, this is all pretty crazy. I mean, knowing that a guy like Hunter is with me is a really intense feeling. This is the guy who wrote The Rum Diaries (the inspiration behind my "Natty Ice Diaries") and Hell's Angels and Fear and Loathing in Las Vegas. He worked and became good friends with Johnny Depp and Benicio Del Toro while making the Fear and Loathing movie. He was a pop-cultural icon in the 70s, writing for Rolling Stone and Sports Illustrated and covering the disillusioning Nixon era with his unique "Gonzo" journalism. It's very surreal that Hunter is actually with me right now. I mean, he knows who I am! That's a really weird thought. And then, of course, there's Nathanael West, one of the great novelists of the early twentieth century. The Day of the Locust was an ingenious novel, probably one of the best Hollywood novels I read while researching my own novel. I'm sure he provided a lot of assistance when I was writing my book. So, yes, discovering Hunter and Nathanael are with me as guides is an incredible feeling; however, what's even more incredible about the whole experience is how, again, my guides were able to telepathically reveal their identities to me (just as Gish and Griffith did). I mean, their names just popped into my head in a very weird way and haunted my thoughts until I finally got some confirmation that they were, indeed, with me as guides. For some reason, they felt it was time to reveal their identities. Why now? I don't know. What's also interesting about the situation is how both Hunter and Nathanael experienced really tragic deaths at the end of their life, but are now (apparently) alive and well in the spiritual dimension. I mean, Hunter, of course, committed suicide, so it's interesting to see that he made it to "the other side" in one piece and is still doing his thing. And then there's Nathanael who actually died in a tragic car accident while driving to his friend F. Scott Fitzgerald's funeral in 1940. Hunter's situation, in particular, raises some interesting questions about the concept of suicide. Is killing oneself really the ultimate sin? Was it wrong for him to do it? Was it his fate? Maybe Hunter's helping me out now for Karmic reasons, because he cut his life as a writer on earth too short. In fact, maybe Nathanael is helping me out for similar reasons: that is, because his own life was cut too short (for reasons outside of his control, of course). Or maybe everything was meant to be. They were meant to die when they did. It was all part of God's grand design. Whatever the reasons, I am honored to have Hunter and Nathanael helping me out. I'm sure there's more spirit guides to identify, but I have no idea who they are at this point in time. Liam said I had three more writers with me, not to mention musicians and even philosophers. It will be interesting to see if these people ever decide to reveal their identities; maybe, over time, they will. But, frankly, I'm happy enough knowing Hunter and Nathanael are with me, not to mention John Cassavetes, Alfred Hitchcock, Lillian Gish and D.W Griffith. It's nice to know that these people are endorsing my endeavors. They give me a feeling of validation, especially during the times when I start doubting myself and the creative life I lead. Now, one thing a lot of people are probably wondering right now is where the hell all these spirit guides are? I mean, if they're "with me", where are they in relation to my physical self? And, to be honest with you, I don't really know how to answer this question other than to say that the spirits exist in a completely different (i.e. non-physical) dimension that we can't see with our own eyes and therefore have a difficult time comprehending. But it's important to remember that our eyes are only designed to process a very narrow spectrum of light, which means that we only see a fraction of what is actually in front of us. If our eyes were designed to process a much broader spectrum of light (one that would include infra-rays and ultra-violet rays) then we would probably be able to see a lot more spirit activity, as spirit energy usually only makes itself visible in the higher portion of the light spectrum. This, incidentally, is why so-called "Ghost Hunters" have more success capturing spirits with "full-spectrum" cameras (i.e. cameras with lenses that can process both infra-red and ultra-violet rays). The bottom line is that our concept of reality is unavoidably limited because we can see very little of what's in front of us. So, in the end, who is to say that our guides aren't around us all the time? Maybe they are, but we just don't know it. Maybe an entire world of spirits surrounds us on a 24/7 basis, but we're just completely blind to it.
If there is any teeny-tiny semblance of art and healthy human expression in today's outcrop of Hollywood movies, then that teeny-tiny semblance will more than likely wither completely away in the not-too-distant future. According to a recent NY Times article, a company named Cantor Exchange is trying to open "an online futures market" that will allow studios, institutions and moviegoers to place bets on how well a Hollywood movie does at the box office. In simple terms, this means anybody who has some money to play around with can place a bet on how well a Hollywood movie will do during its few first weeks in theaters. You can either bet on it doing well, or against it. Contracts will trade at $1 for every one million that the movie brings in.
"So if 'Robin Hood' is expected to bring in $100 million in its opening weeks, a single contract could be bought for $100 by a trader who thinks Russell Crowe’s role in the movie will drive sales far above expectations. If that trader guesses right, and the movie sells $150 million in tickets, the trader makes $50."
In the case of the studios, company profits can be further maximized by betting on one of their movies that they think will perform well at the box office while losses can be minimized by betting against one of their movies that they think will flop. And, according to Cantor, there will be no "conflicts of interest" within the studios because the market will supposedly be designed in a way so that a studio would never be able to make more money by purposely making a bad movie and then betting against it. Cantor insists that there will always be an incentive for the studios to make a good movie; good, of course, meaning financially successful. Now, if this all sounds confusing to you, you're not alone. Most of this is Wall Street talk, which is all about 'derivatives' and 'contracts' and other jargon that is meant to be complicated to understand for anybody who has a soul. The fact of the matter is that the "future" of a Hollywood movie is being turned into a kind of game that inevitably makes people more concerned about the financial success of a movie than what the movie is actually about (i.e. the artistic success), the ramifications of which are detrimental to both Hollywood and society as a whole. With this new futures market, a movie is essentially only as good as how much money it makes on its opening weekend, which has always been the way things were in Hollywood, though Cantor's new market only exacerbates the situation. This is basically the last slap in the face of any filmmaker out there who is trying to make a meaningful movie and get it out to a large audience. All attention to meaning and substance and emotion and truth and personal expression in a film is replaced by razzles and dazzles, things like sex and violence and action and corny gags that will thrill an audience upon an initial viewing and therefore boost initial box-office profits. The hare-film (one that is instantaneously successful) essentially replaces the tortoise-film (one that proves to be successful over a longer period of time). In fact, the tortoise is never even given a chance to win; it never even gets a number in the race. Of course, this is all fine and swell as long as Hollywood can come to admit that all it does is squeeze out commodities that exist for the sole purpose of making money. But they never come out and actually say this. They still have their prestigious Academy Awards ceremonies where they all pat each other on the back for their "artistic excellence" and try to convince middle America that their films have significant artistic value. For some reason, Hollywood-types have always attempted to convince themselves and others that they are artists (when they're technically businessmen). In other words, they have always tried to claim the word "art" as their own. This is probably because - deep down - they feel guilty about making crap for the purpose of getting rich and achieving fame. They know that financial achievement and artistic achievement - by nature - rarely come in the same package. But they don't like this harsh reality. So they go and basically try to change reality. And, perhaps, some day they will succeed. After all, if everybody starts believing that what Hollywood makes is art and true art becomes extinct, then the commodity that is a Hollywood film will, indeed, become the only kind of art we know. Commerce will BE art, and even if this isn't a truth in actual reality, what's important is that it will be a truth in our reality; or, our unreality - whichever way you want to look at it. For your reference, here are the NY TIMES articles alluded to in this blog: http://www.nytimes.com/2010/03/11/business/media/11futures.html http://www.nytimes.com/2010/04/08/business/media/08futures.html
According to an article in today's Boston Globe (click HERE to read), the "Global Community" has committed to pay $5.3 billion over a two-year period to help rebuild Haiti after its disastrous earthquake. The US alone has pledged $1.5 billion. Although a relief effort such as this one always looks philanthropic and generally benevolent on paper, it is important for us to think about where this money is actually coming from and what the use of this money will mean in a place like Haiti, especially in terms of the nation's sovereignty. According to the Haiti Recovery Commission (led by the Clintons and spawned by the UN), the intent of the relief effort is to not only rebuild Haiti, but to also "transform" it. At first glance, this seems to make sense; after all, simply reconstructing what Haiti had before the earthquake would be stupid because another earthquake could come along and destroy everything all over again. Surely Haiti has to be built in a more intelligent, earthquake-proof manner than it was before. However, I fear that when the UN says it wants to "transform" Haiti what it really means is that it wants to "modernize" Haiti, which basically means "westernize". In other words, the UN's intention - whether it be on a conscious or subconscious level - is to turn Haiti into a like-country, a western entity. They essentially want to conquer Haiti as one of their own. Of course, the word "conquer" may sound a tad extreme here, and perhaps it is. And let me just say that I don't think the United Nations and the Clintons have evil, imperialistic intentions when it comes to their Haitian relief effort. These people obviously mean well, but I don't think they understand what they will inevitably be doing if they allow Western money to be used for rebuilding Haiti, unless the money comes with no strings attached, which I highly doubt that it will. According to the Globe's article, much of the money for the reconstruction effort is going to be coming from "countries, development banks and nongovernmental groups for years to come." Vague in its description of these sources, it's probable that some of the so-called "nongovernmental groups" the article is referring to are wealthy corporations that will unavoidably view the rebuilding of Haiti as a way to make a profit, much like Halliburton, Lockheed Martin and Blackwater did when it came to rebuilding Iraq. Hopefully these companies will be closely watch-dogged and won't display the kind of blatant profiteering that they did in Iraq, but when you're dealing with a corporate entity that thinks solely in terms of its bottom line, it's almost assumed that they will exploit the Haitian situation, at least to some degree. But even if this kind of profiteering doesn't take place in Haiti, one thing is for certain: the money being funneled into the relief effort will be corporate money, and as long as corporate money is used to rebuild Haiti, the corporate West will ultimately end up having an invested interest in the country, which means - to some extent - that Haiti will ultimately be under the influence of Western corporate power. This, of course, is a serious threat to the nation's sovereignty, not to mention its culture and overall way of life. Additionally, there are the so-called "development banks" that the Globe article refers to as another source of the reconstruction funds. The article is, again, vague when it comes to describing these banks, but it does say in a later paragraph that the relief commission "will work with a multi-donor trust fund administered by the World Bank". Whenever the World Bank is involved with a relief effort, one should immediately grow leery of the entire situation. The World Bank, if you're not familiar, is an organization headquartered in Washington whose purpose is, according to its website, to "provide low-interest loans, interest-free credits and grants to developing countries for a wide array of purposes." On the surface, the World Bank seems to have philanthropic intentions, but over the years the Bank has developed a very shady reputation. Several conspiracy theorists have accused the Bank of having an imperialistic agenda, that their purpose is not to help developing countries but to ultimately take control of them. Or, to put it another way, the Bank's intention is world domination. Now, associating the World Bank with world domination may seem a tad extreme as well, but it really isn't far off the mark if you think about it. Like many of the banks of today (especially the ones that triggered the U.S. financial crisis), the World Bank essentially acts as a mafia-like entity that goes into a poor, vulnerable country like Haiti, hands out a loan that they basically know the country probably won't be able to pay back and gradually seizes control of property, assets and - ultimately - the entire country. Haiti ultimately loses its sovereignty and unavoidably becomes part of the Western World. It's a subtle form of Western imperialism. And it's not just in Haiti or other natural-disaster areas where this imperialism is likely to occur; it's actually happening in the entire third world...mainly under the guise of a little something called the Global Warming initiative. Over the years, the World Bank has been the most vocal organization when it comes to warning the world about Global Warming, insisting that third world countries will be hit the hardest by the impending disaster:
"[Global Warming's] effects—higher temperatures, changes in precipitation patterns, rising sea levels, and more frequent weather-related disasters—pose risks for agriculture, food, and water supplies. At stake are recent gains in the fight against poverty, hunger and disease, and the lives and livelihoods of billions of people in developing countries."
-- World Bank Website
The Bank's overall plan is to "assist" these countries in preparing for the potentially catastrophic ramifications of the rising global temperatures. But when they say they want to "assist" these countries what they really want to do is hand loans out to them, loans that will (supposedly) help the countries protect themselves from Global Warming's effects, but that will also make the third world be forever indebted to the first world...basically to the extent that the entire third world will ultimately be empowered by the World Bank. The ultimate consequence is that the Western World becomes the only world. Incidentally, several conspiracy theorists suggest that Global Warming isn't even a real issue, but a myth manufactured by the World Bank to use as an excuse to take over third world countries. In an episode of his show "Conspiracy Theory", former Minnesota governor Jesse Ventura interviewed several reputable scientists that not only refute the Global Warming issue but actually claim annual temperatures are decreasing instead of increasing. Solidifying these claims is a scandal that was revealed a couple years back where scientists working in close association with the World Bank were caught "cooking" annual temperature reports, showing that temperatures were rising when all scientific data proved they were dropping. Obviously a report that disproved Global Warming's existence would undermine the World Bank's agenda, so the scientists were coerced into fibbing the reports. (To read about this scandal, click HERE.) The World Bank, however, is not - in and of itself - as evil an entity as I'm probably making it out to be; it's basically a front for a much shadier organization that not a whole lot of people know about, as it tries to keep a very low profile. The president of the World Bank, Robert B. Zoellick, happens to be a member of an elitist group called The Bilderberg Group, which is a free-mason-like secret society that has been convening behind closed doors for years now. Comprised of the world's super-rich elite, the Bilderberg group has made it known for quite some time now that its overall intention is to create one world government run by its elite members. According to David Rockefeller (one of the most notable Bilderberg members), the purpose of creating this kind of government is so that the world will never again "know war, but only peace and prosperity for the whole of humanity. The supranational sovereignty of an intellectual elite and world bankers is surely preferable to the national auto-determination practiced in the past centuries" (Cook). In other words, Rockefeller prefers a common government where bankers and so-called "intellectuals" (i.e. those who are smart about getting rich) run the world instead of a diverse mix of sovereign nations with different cultures and values influencing their lives. Rockefeller's World is a corporatist world, one with an unregulated free-market system designed to make the rich (bankers, 'intellectuals' et al.) richer and the poor poorer. Just like what's already happening in America, the "middle class" will ultimately be eliminated and there will be nothing but a super-rich class of elitists who possess all power over billions of powerless peasants. This will be the "New World Order", to use a term coined by George Bush Sr., whom - incidentally - is also a member of the Bilderberg Group. So, yes, the Bilderberg Group and its front the World Bank don't make a secret of their intention to dominate the world, though they tend to disguise their agenda with a philanthropic facade. As Rockefeller explained, they're doing it all in the name of "peace", although they're apparently ignoring the fact that their actions are yielding everything BUT peaceful ramifications. In his revealing article "Is an International financial conspiracy driving World Events?", Richard C. Cook (former U.S. federal government analyst) delineates the many negative side-effects that have been spawned by the Bilderberg agenda over the years, most of which came as a result of the Clinton and W. Bush administrations (Clinton and Bush are both Bilderberg members). Using Cook's own words, I will list just some of these effects:
NAFTA has led to the elimination of millions of U.S. manufacturing jobs as well as the destruction of U.S. family farming in favor of global agribusiness.
Similar free trade agreements, including those under the auspices of the World Trade Organization, have led to export of millions of additional manufacturing jobs to China and elsewhere.
Average family income in the U.S. has steadily eroded while the share of the nation’s wealth held by the richest income brackets has soared. Some Wall Street hedge fund managers are making $1 billion a year while the number of homeless, including war veterans, pushes a million.
The fact that bankers now control national monetary systems in their entirety, under laws where money is introduced only through lending at interest, has resulted in a massive debt pyramid that is teetering on collapse. This "monetarist" system was pioneered by Rockefeller-family funded economists at the University of Chicago. The rub is that when the pyramid comes down and everyone goes bankrupt the banks which have been creating money "out of thin air" will then be able to seize valuable assets for pennies on the dollar, as J.P. Morgan Chase is preparing to do with the businesses owned by Carlyle Capital. Meaningful regulation of the financial industry has been abandoned by government, and any politician that stands in the way, such as Eliot Spitzer, is destroyed.
The destruction of family farming in the U.S. by NAFTA (along with family farming in Mexico and Canada) has been mirrored by policies toward other nations on the part of the International Monetary Fund and World Bank. Around the world, due to pressure from the "Washington consensus," local food self-sufficiency has been replaced by raising of crops primarily for export. Migration off the land has fed the population of huge slums around the cities of underdeveloped countries.
The expansion of the U.S. military empire abroad is mirrored by the creation of a totalitarian system of surveillance at home, whereby the activities of private citizens are spied upon and tracked by technology and systems which have been put into place under the heading of the "War on Terror." Human microchip implants for tracking purposes are starting to be used. The military-industrial complex has become the nation’s largest and most successful industry with tens of thousands of planners engaged in devising new and better ways, both overt and covert, to destroy both foreign and domestic "enemies."
Finally, the deteriorating conditions of everyday life have given rise to an extraordinary level of stress-related disease, as well as epidemic alcohol and drug addiction. Governments themselves around the world engage in drug trafficking. Instead of working to lower stress levels, public policy is skewed in favor of an enormous prescription drug industry that grows rich off the declining level of health through treatment of symptoms rather than causes. Many of these heavily-advertised medications themselves have devastating side-effects.
This list should at least give us enough to go on in order to ask a hard question. Assuming again that all these things are parts of the elitist plan which Mr. Rockefeller boasts to have been developing, isn’t it a little strange that the means which have been selected to achieve "peace and prosperity for the whole of humanity" involve so much violence, deception, oppression, exploitation, graft, and theft?
(To read the complete Cook article go to this link: http://www.globalresearch.ca/index.php?context=va&aid=8450.) I feel that Cook's last point listed above is the most important: I mean, isn't it true that all the violence and wars and starvation and corruption and exploitation we see in the world today defeat the purpose of the elitists' self-proclaimed "peaceful" intentions? Maybe guys like Rockefeller and Zoellick and Clinton and Bush are ignorant of the fact that their actions are causing so much destruction. Or maybe they feel that the world needs to get worse before it gets better, which is basically how George W. Bush justified the chaos in Iraq that erupted after the United States invaded the country to create a democratic nation of peace. The fact of the matter is that world peace will not be the end result of the Bilderberg's agenda, no matter which way you look at it. Not only will sovereignty and diversity and culture die, but the world will become an extremely poor, depressing and unhappy place where a small minority of privileged rich people rule over billions of powerless peasants. Democracy and liberty and overall freedom will end. Opportunity won't exist. We will be slaves without options. Taking all of the above into consideration, it's important to realize that I'm not suggesting we adopt a non-interventionist stance when it comes to helping Haiti or other countries in the third world; a place like Haiti obviously needs our help and our money after such a devastating earthquake. However, I feel that when we help Haiti it's our human responsibility to respect the country's sovereignty, culture and overall way of life. If we truly want to be philanthropic, then we will give them the money they need with no strings attached. This means no subcontracting out the reconstruction efforts to private, profiteering corporations (like what was done in Iraq); no handing out loans with interests that make these nations indebted to the West; no seizing of property/assets after loans aren't repaid; no imposing of our Western way (i.e. the corporate way) on the Haitian way of life. In short, we truly need to donate the money to Haiti and not see the devastated land as something we can exploit or invest in or ultimately take control of. This is what true charity would be. It would be the most human thing to do. It would be in the best interest of all parties involved. Ultimately, the world would be a better place.
A couple of months ago, I visited a renown medium named Liam Galvin who, among other things, informed me that I not only had my two dead grandfathers "with me" as spirit guides, but also the spirits of John Cassavetes, Alfred Hitchcock and a beautiful actress from the early 1900s whom he wasn't able to identify. (To read about this story, visit this link: http://thenattyicediaries.blogspot.com/2010/01/meeting-my-guides.html) Curious about the actress' identity, I went home that night, lied in my bed and thought about who she could possibly be. Little did I know that I wasn't going to have to wait very long for an answer. As I was laying against my pillow - trying to get some sleep - a name suddenly entered my mind: Lillian Gish. Now, when I say the name 'entered' my mind I mean, literally, it seemed to just pop into my head. The best way to describe the sensation is that I felt as though I didn't think of the name myself. As corny as it may sound, it was almost as though the name was inserted into my mind, like from some unseen force. Oddly enough, Lillian Gish wasn't even an actress who I was very familiar with. I remembered hearing the name here and there while I was in film school and when I used to research the history of Hollywood, but I actually thought she was an actress Charlie Chaplin used in a lot of his movies. In fact, I was literally saying inside my head, "Hmmm...Lillian Gish...wasn't that the actress in all of Chaplin's movies?" And it was at this point that another name immediately entered my mind, as though it were a response to my question: D.W Griffith. Griffith, if you're not familiar with the name, basically started Hollywood. I mean, obviously there were several different pioneers involved with putting Hollywood on the map, but Griffith was a sort of godfather of the Hollywood film movement. His film Birth of a Nation in 1915 was the highest-grossing movie of its day and revolutionized the art of filmmaking with its innovative cinematic techniques. Birth was the film that inspired Louis B. Mayer to enter the movie business and start MGM studios. It was the film that made people realize the pictures was not some superficial fad or silly novelty but a serious art; the wave of the future; a respectable means of individual expression (and, in the eyes of people like Mayer, a way to make some serious cash). Anyway, Griffith's name came into my head differently than Gish's did. Where with Gish I simply got the name in my head, in Griffith's case, an actual image of his face entered my mind. It was a B&W photograph that flashed in my mind's eye for about one full second and I immediately identified the person in the photograph as Griffith. Just like with Gish's name, it was as though some unseen force planted this photograph into my mind. I did not consciously think up this image. It was very different from how I knew my brain and thought processes to operate. I realize this may sound wacky and somewhat crazy, but I do not know how else to explain it. The next day, I woke up, Googled the two names and discovered that Gish and Griffith (much to my surprise) had a big connection with one another...like, a really big connection. In fact, Gish starred in pretty much all of D.W Griffith's significant films, including Birth of a Nation, and also films like Intolerance and Broken Blossoms (two other Griffith masterworks). The director and the actress were like how Scorsese and Deniro were in the 70s/80s, or how Tim Burton and Johnny Depp are today. They were basically a package deal. Needless to say, I was intrigued by this discovery: how odd it was for these two names to pop into my head when I wasn't even consciously aware that they had such a connection with each other. What did it all mean...if anything? Was Gish the actress who Liam Galvin thought was with me as a spirit guide? And how did Griffith fit into this picture? Was the image of Griffith in my head just Gish's way of helping me identify her as a spirit guide? Or was there something more to this? Was Griffith another one of my guides??? There were a couple of ways I went about finding answers to these questions. First of all, I tried a method that is commonly used by meta-physicists to communicate with the spirit world; it is a technique called 'dowsing' (read about it at this link: http://en.wikipedia.org/wiki/Dowsing). There are several tools one can use when they 'dowse' but I find that the one that works best for me is a pendulum. What you essentially do is hold the pendulum in your hand and ask your spirit guides 'yes' or 'no' questions. Usually your guides start moving the pendulum in a clockwise direction if the answer to the question is a 'yes' and in a counter-clockwise direction if the answer to the question is a 'no'. However, I find that you can calibrate the pendulum in any fashion you want to. For example, sometimes I ask that the guides show me a 'yes' by simply moving the pendulum and a 'no' by not moving it. Anyway, by means of dowsing with my pendulum, I was able to come to the conclusion that Lillian Gish and D.W. Griffith were, indeed, "with me" as spirit guides. As you will see in the video demonstration below, I simply asked my pendulum to move as much as possible if the spirits of Gish and Griffith were with me; and sure enough, the pendulum moved like crazy - on its own - without my help or the help of any force in the real world. In other words, the movement of the pendulum was completely "paranormal". Watch and observe the phenomenon in this video. And, by the way, anybody can do this. All you need is a pendulum of some sort and an open mind:
So, yes, the dowsing yielded some very interesting results, but I still didn't see it as conclusive evidence proving Gish and Griffith were my spirit guides. First of all, I didn't completely trust my dowsing skills. And I also worried that the movement of the pendulum was potentially created by my own subconscious energy, not by the energy of a spirit guide independent from myself. What I needed to do was get a neutral, third-party to dowse for me. This way, I could definitely rule out the possibility of my subconscious skewing my results. So I consequently consulted a more experienced dowser (and also a medium) whose full name I cannot publish right now, so I will simply call her Jan. Jan has significant psychic abilities and has been dowsing for several years now, almost always with successful results. I contacted Jan via email, told her my dilemma and had her dowse for me. Here is our email correspondence:
----- Original Message -----
From: Matt To: Jan
Sent: Monday, March 22, 2010 9:29 PM
Subject: two questions
Hi Jan,
I have two random questions that I thought your dowsing may be able to shed some light on. Please understand there is no rush in answering, as it's no emergency. I'm just trying to fit some pieces into a puzzle here and I thought you may be able to help. I don't even know if these questions are answerable but I thought I would give it a shot.
1. Is the former actress Lillian Gish "with me" as a spirit guide? 2. If so, do I have a past life connection with her?
I ask these questions after seeing a medium and he said I had an actress from the early 20th century "with me". He also said I had a past life in California. I was just curious to see what kind of answers you could get for me. Again, no rush. Just curious if you have a moment.Thanks so much!-Matt
----- Original Message ----- From: Jan To: Matt Sent: Thursday, March 25, 2010 5:06:41 PM GMT -05:00 US/Canada Eastern Subject: Re: two questions
Hi Matt,
If I'm dousing correctly, yes on #1 and no on #2. I hope this helps with the puzzle pieces. I think you also did have a past life in Calif. I don't know how to explain past lives. I don't think it's reincarnation, but I don't know that we can truly understand what past lives means. I'm glad you weren't in a rush because I was busy this week and didn't see your email right away.
Take care!
Jan
----- Original Message -----
From: Matt To: Jan
Sent: Friday, March 26, 2010 1:16 PM
Subject: Re: two questions
Thanks, Jan! That's a good source of confirmation for me. Lillian Gish popped into my head the night after I saw the medium and I felt that she was the actress who was with me. There's just one other name that's been popping into my head, a former director named D.W. Griffith (i.e. David Llewelyn Wark Griffith). I'm not sure if it's because he worked with Gish a lot or if he is also a guide. If you have a spare moment could you ask if he is with me as a guide? Griffith is the last name that has been puzzling me. I'm probably going to try and talk to Beverly about the past life stuff.
Thanks so much! Matt
----- Original Message ----- From: Jan To: Matt Sent: Saturday, March 27, 2010 10:25:06 AM GMT -05:00 US/Canada Eastern Subject: Re: two questions
He's one of your guides too. But no connection in a past life. I'm glad to be able to help!
----- Original Message ----- From: Matt To: Jan
Sent: Saturday, March 27, 2010 2:02 PM
Subject: Re: two questions
Thanks Jan! That's incredible. Very flattering to have these people at my side. The medium told me I had Alfred Hitchcock with me as well, which basically shocked the both of us.Thanks so much for your help! I really appreciate it. ----- Original Message ----- From: Jan To: Matt Sent: Saturday, March 27, 2010 2:15:24 PM GMT -05:00 US/Canada Eastern Subject: Re: two questions
I guess you should keep writing - with an entourage like that behind you!!! Good luck and may God bless your work - and you!!
----------
So there it was: confirmation from a reliable third-party source that Lillian Gish and D.W Griffith were two of my spirit guides, in addition to John Cassavetes and Alfred Hitchcock, not to mention others whom I have not identified and am not sure if I ever will. As I mentioned in the above emails, I felt extremely flattered by such a discovery. First of all, Lillian Gish is an icon of the silent screen. She was the star of some of the most significant films of the silent era. Hell, Smashing Pumpkins named their first album after her (Gish)! She was an absolutely beautiful woman (just look at her photo above). It's like having a beautiful metaphysical girlfriend with me all the time, which probably sounds like a pathetic thing to say, but it is kind of a cool feeling I must admit. And then, of course, there is Mr. Griffith, who is basically Mr. Hollywood. His film Birth of a Nation was essentially the Titanic and Avatar of its day (only much better). And his film Intolerance - a huge and enormously expensive epic film - will always be remembered as being Hollywood's most ambitious project in the industry's history. How honored I am to have this man as a spirit guide. So, yes, identifying Gish and Griffith as my guides is an incredible feeling, but I think what's even more incredible about this whole experience is seeing how my guides were able to telepathically communicate their identities to me. I mean, never in my whole life would I have ever thought that Gish and Griffith were two of my spirit guides, but then their names randomly popped into my head while I was in bed that night. Honestly, at first I thought my brain was just getting wacky on me, but I guess I was actually experiencing a form of direct communication from the spirit world. My guides were speaking to me. Furthermore, it's nice to know that Gish and Griffith are together again on "the other side". Gish has actually only been dead for seventeen years - she died in 1993 - but Griffith died way back in 1948. In fact, his death was rather sad and tragic. Supposedly, he was somewhat depressed, still in debt from Intolerance (one of the most expensive films ever made in Hollywood) and also disgruntled with the direction in which the film industry was going at the time. One July night he was drinking at the bar in Hollywood's famous Knickerbocker hotel, got up to go to his room and was found a while later unconscious on his floor. He died on his way to the hospital from what was reported to be a cerebral hemorrhage. Anyway, it's somewhat comforting to know that Griffith is OK, still alive (in spirit form) and has seemed to have reunited with one of his soul mates. They may not like me saying this, but there were actually rumors of Gish and Griffith being romantically involved at one point or another, though they never admitted to being an official couple. Neither of the two ever married anybody, so maybe they were secretly in love with one another but didn't know it...or just couldn't make the relationship work during their time on the earth. Romantic or not, one thing is for sure: Gish and Griffith were extremely good buds. And if they are, indeed, my spirit guides, I guess it's pretty safe to assume that they're still really good buds in the spiritual dimension. So now the question lingers: why the hell have these people chosen to be my guides? I mean, we're talking John Cassavetes, Alfred Hitchcock, Lillian Gish and D.W. Griffith. These are some really big names. They were really good at what they did. Why did they choose me? Or why did I choose them (many theories suggest that we choose our guides before we are born)? Who really does the choosing? How does all this stuff work??? I have so many more questions, but the fact of the matter is that I'll probably never get them all answered...not while I'm alive, anyway. My guess is that they're with me - more or less - because of one particular project I've been working on that I won't say too much about other than that it does involve Hollywood, the film industry, the media, our celebrity culture and just the American culture in general. Judging from what I know about Griffith, Gish and the others, I think they would probably believe in the project and be supportive of my purpose in doing it. Hopefully - some day - I will be able to get this project out to the public; but until then, I simply appreciate the fact that I'm having some great people help me with it. At the risk of sounding looney and weird, I would like to now thank my invisible friends. Thanks, dudes! I appreciate your support. Now I really only have one more thing bothering me: who I was in my past life. In her emails, Jan told me I didn't have any past life connection to Griffith or Gish but confirmed what Liam Galvin told me about having a past life in California. Honestly, I don't really know who I could have been. It's possible I was just some anonymous Native American or Mexican or something. I'm not sure if I will ever find out. Maybe I'm not meant to find out. Who knows.... To be continued. Maybe.
