Mass marketing ritual murder for fun, profit & societal control

"Don’t you think those people deserved to die? They were involved in kiddie porn.”
-- Charles Manson, “Hollywood Star” interview

It's a big weekend for serious cineastes and superficial fanboys of gifted, narcissistic, psycho Holly Wood auteurs and aging golden boy movie stars, as the latest and last film massacre-piece from Quentin Tarantino barrels into 3,500+ movie theaters across America: “Once Upon A Time...In Hollywood.” 

I haven’t seen it yet, as my days of getting movie premiere invites are long past and I’m sure you can figure out why. But of course I will see it—QT may be an evil genius, but he’s a genius, no question, no doubt, and I’ll pay to see genius even when it whiffs

Not that it sounds like “Once Upon A Time…” is a whiff, despite what reads like the usual untrustworthy kneepads response from film “critics” who write at publications desperate for studio and multiplex advertising dollars. Plus potentially “prestigious” cover-story interviews with above-the-title famous people who would probably far prefer to shit in their face if they thought they could get away with it and maybe they do. 

Photo by Thomas Wolf (

I kid, I kid. I’m sure the 160 minute movie’s terrific and its stars love the corporate news media! Big full-page, full-color newspaper ads are touting great reviews (currently 89% on Rotten Tomatoes), the PR team is out there pushing Leonardo DiCaprio in the entertainment trade rags as “The Last Movie Star” with some success (though you gotta wonder how Brad Pitt feels about it), and the pretty boys and gorgeous gal are doing the usual rounds of softball interviews with fake journalists

I guess it all makes sense, since we’re at the horrific half-century mark for the beyond fucked-up Manson murders, which have always been a cash cow of cadavers for the military-industrial-entertainment complex. The time period and setting dovetail just about perfectly with QT’s favorite film era, which surely added attraction for the writer/director too. And he gets to work with TWO of Harvey Weinstein’s [former?] besties! 

But...does it not seem odd that a wide theatrical release from a major studio and one of its premier creative talents, starring two of its biggest box office draws (or at least they both used to be) while promoting the “official story” of the notorious Tate/LaBianca murders—the one that paints poor misunderstood convicted pedophile and on-the-lam Oscar-winning director Roman Polanski as being fortuitously absent the night of the massacre—appears for the masses right at the precise moment it feels like the lid that’s been glued atop Holly Wood’s most terrible secrets and lies is just about to erupt

So yeah, that kinda bugs me, though I’m sure all the coincidence theorists out there will assure me it’s just a coincidence. 

But I’ve been digging into the Manson murders for decades now, and it’s one of those things that the more you poke around, the weirder it gets.

For one thing, how many of you know that Charles Manson wasn’t even at any of the murders that were carried out under his “personal brand,” so to speak? The killings were actually led by a guy named Tex Watson

It’s also weird that Manson was hanging out with the Beach Boys and wrote at least one song they recorded, as well as a bunch of other songs that have disappeared (unless they ended up stolen for the very un-Beach Boys sounding “20/20” album, recorded while their primary songwriter Brian Wilson was mostly in a psychiatric hospital).

I could continue with weird shit—you should definitely read this, it might change your life—but we’ll just leapfrog to the weirdest, because it’s a direct result of how terrible journalism is now, and I’ll ultimately circle back to why the weird white paper I suggest you read after you finish this might not sound so outlandish in the wake of this new Tarantino movie. 

To set the stage, I’ve got to digress for a moment: Once you’ve figured out the “news” media is a societal management social construct that’s been flat-out lying to you for a really long time, the next phase is to try to figure just WTF has been actually going on for the past….forever. 

This is probably impossible, of course, but at least it’s fun. Seeking out new, different, often smarter sources, people outside the mainstream, people who don’t require corporate badvertising dollars to keep their enterprise afloat. This leads to two distinctly different kinds of so-called “independent journalists.”


1- Those who appear to do it out of passion

2- Those who do it because some vested interest is paying them


One of the smartest of these, and I’m not really sure which of the two categories he falls under, is a Texas guy who claims to be Miles Mathis. Mathis, or whoever/whatever he really is—I’ve dug into him, we’ve corresponded, not worth detailing here—would be the first to tell you he’s a modern Renaissance Man, a luxurious and sensual painter, a brilliant mathematician with radical theories that challenge mainstream physics, and…a man who thinks pretty much every major historical event of the past couple centuries was orchestrated. 

Now, even I don’t believe that shit, but because all the Manson stuff never really added up for me, I was intrigued with MM’s EIGHTY-SIX page white paper trying to prove the murders were totally fake, an elaborate intelligence community production subdivision of the CIA’s Operation Chaos anti-anti-war strategy.

Basically, Mathis’s premise is that 1967’s Summer of Love had blossomed into an effective peace-loving, anti-war movement that was threatening the military-industrial complex’s Vietnam War $trategy. Thus, the hippies, yippies and fun-loving bet-your-bippy types needed to be recast as drug-addicted violent scary radicals. 

Mathis dissects the murders and pokes holes in a lot of the investigation, the reporting, the trial and the aftermath. Some of it is convincing, some of it is absurd, but he lands a few solid punches to the “Official Story” along the way, no doubt.

Solid enough, in fact, that it might start to nag and claw at you that the “Official Story” of the Manson murders is at least half a fairy tale. You know: The ones that begin “Once Upon A Time….”?

Sure, it sounds insane, and that’s cool if you want to run that route, but….what isn’t insane today? What allegedly “Real Life” events the fake news media tried to cram down your throat in the past two years that people didn’t fall for thanks to the internet and citizen journalism—how many of them would’ve stuck in 1970, with three television networks and a compliant print media?

The corrupt corporate advertising-driven “news” media has been selling you the same low-vibration fear-based programming for decades now—don’t just presume to fear “The Walking Dead,” that wasn’t obvious enough, now we’re literally told to “Fear the Walking Dead”—because fear drives insecurity and insecurity drives materialistic consumption and shallow materialistic consumption that substitutes “consumer” for “citizen” is what drives the broken economic paradigm that has been sucking the soul out of America and the world. 

So pardon me if I place just about as much potential credence in a guy—or, more likely, a group of intelligence/“Anonymous” guys pretending to be—named Miles Mathis as I do ABCNNBCBSFox, et al. That last nightmare acronym has done less than zero for Americans for many years now, pitching fear and loathing at the expense of the national fabric.

So I don’t know what the real story of Charles Manson and the Tate/LaBianca murders is, and if you were expecting me to solve it for you, sorry. But you might well be better off trusting the places that don’t have any advertising than the ones that do. 

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Anonymous Adgrunt's picture
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Miles Mathis's picture

I have no record of a Tom Siebert in my inbox. But I don't like being falsely accused of things, with no evidence. There is plenty of evidence I am exactly who I say I am. So if you ever email me again, it better be under an alias, or I will send your ass directly to spam. Miles Mathis

Thomas Siebert's picture

Here's one piece of correspondence with Miles Mathis, as well as a frame grab showing an overview of a few of our exchanges.