Friday 25 February 2022

Morrissey: Why Do His Fans Worship Him?

Not only did Morrissey attract an army of adoring fans from the '80s to the present, but he attracted fans of every demographic. Sure, Elvis and The Beatles had plenty of male, heterosexual fans, but those fans wanted to be like Elvis, Lennon or McCartney, none of them wanted to kiss or hug them like they did with Morrissey. Morrissey attracted fans who would do anything for him.

When filmmaker Fabrizio Federico asked fans why they love Morrissey he heard these answers: wit, humour, honesty, vulnerability, hope, opinionated, true, passionate, bitchy, relatable lyrics, intellect, devilishness, good looks. 

But the man also took risks. It was quite odd for a lead singer to flamboyantly rip off his shirt at nearly all his shows and sing about things like "a murderous desire for love" and whether "nature will make a man of me yet," but actually declare himself to be celibate. He gave earthy commentaries that made the audience howl. With a clever sense of humour, he tossed off all pretensions of piety, adopting the language, intonations and vocabulary of his inner city people….he spoke with candour, giving off the sexual magnetism of a 50's crooner

An admirer of people like James Dean and Marlon Brando, one would think that he was surely a homosexual. Quite the opposite. He actually spoke publicly about his asexuality. It was so strange for someone to visually and lyrically present himself in such a way that oozed of sexuality, but who actually was open about the fact that he never truly desired a physical relationship and to some extent, saw himself as above or beyond the idea of sex.

They would (and still do) stage invade, they wore oversized glasses, they adopted his signature hairdo, they waved flowers at his shows, they despised the British royals like he did, they wrote letters to him, they got Morrissey tattoos and they kissed the ground he walked on. Sure, all those things are nothing new, but the fact that he converted so many people to vegetarianism is a pretty remarkable accomplishment, especially for an entertainer.

An 18 year old fan James Kiss in 1987 even tried to hold a radio station up at gunpoint to force them to play nothing but Smith songs all day. He even wrote letters explaining his actions, which read like Morrissey lyrics: “I don't feel right here," he wrote. "I feel as if I'm out of place. My spirit is lost and my body is pollution filled … I guess what I'm doing is a protest about life. The world's dying and most don't care … in a way the Smiths and Morrissey are one reason I'm doing this."

Throughout his career with The Smiths and still till this day as a solo artist, his lyrics were filled with sexual innuendos, sexual ambiguity and themes of physical intimacy, but it was as if he was untouchable. He presented himself with this "look, but don't touch" mentality, which only made people want him more. Morrissey was viewed as this "sweet and tender" man who sang of sexual confusion and sang with so much honest emotion that he claimed that he has never "performed" onstage, it was all 100 percent true emotion. His lyrics spoke to teenagers of both genders and all sexualities who also shared his interest in sex and maybe even similar feelings of sexual frustration. Though he was openly asexual, he actually became a sex symbol, which seems backwards, but he truly was (and is) a sex symbol in every sense of the term.

Morrissey acknowledged it in an interview by saying, "a lot of my male followers have very anguished and rabid desires in my direction. And I find that quite historic." After Morrissey would rip off his shirt at his concerts, he would throw it into the crowd, where fans tried to get at least a small piece to take home and cherish before it was inevitably ripped to shreds.

What's truly remarkable is that these stage invasions still happen today. People of all ages show up to Morrissey gigs with flowers, handwritten letters and a hope of giving the man they love a hug. Morrissey is so beloved that for many people, going to one of his concerts is a religious experience. He's the preacher and the crowd are the loving, faithful followers. Morrissey's intelligent lyrics were a huge reason that people loved him so much (so much so that they read his lyrics like Bible verses). He sang about things that hadn't been discussed in rock or pop music before. He sang about his favorite poets -- John Keats, W.B. Yeats and Oscar Wilde -- but his wisdom didn't stop there. Sure, others sang about their hatred of the British monarchy like he did in "The Queen Is Dead," but he also sang about things like the National Front ("The National Front Disco"), the Kray twins ("The Last Of The Famous International Playboys"), the plight of the disabled ("November Spawned A Monster"), the ineffective Manchester school system ("The Headmaster Ritual"), police brutality ("Ganglord"), the greed and ego of the music industry ("Paint A Vulgar Picture"), black humor ("Girlfriend In A Coma"), and most notably, vegetarianism ("Meat Is Murder").

They would wear white T-shirts, which displayed either Smiths album covers (all of which were designed by Morrissey) or photos of Morrissey. They wore blue denim jeans and many of them even tried to mimic Morrissey's iconic quiff. They wanted to hug the man who spoke to them like no one had ever spoken to them before. They saw themselves as outsiders and Morrissey was someone who made them feel understood and who made them feel like they weren't alone. He was the one who made people feel that being awkward, reclusive or intelligent weren't undesirable characteristics, especially when it came to rock and roll, which is often associated with being extroverted and macho.

Plus his very clever choice of asexuality, combined with a very physical sexual reality (even if it is only confined to the level of ‘look, don’t touch’) that makes Morrissey so attractive to his hordes. The sweet and tender, untouchable, topless Adonis, always ready to reveal his inner thoughts and passions yet just as eager to veil them in lyrical and sexual ambiguity.  Maybe it is this over-enthusiastic curiosity from fans that forewarns him of a more offensive and dangerous threat to the often remarkable relationship with his art and his audience that he has developed – ie from the blood-hungry tabloids. If this is the case, then Morrissey should be wary of the fate that killed off both his heroes Wilde and Dean, (indulgence and the pressures of fame) and maybe for once I can allow him the excessive protection and molly-coddling he has received from record company and followers. When I asked about the paradox of his two-sided character he replied with a standard, “Well I think it’s easier to be oneself onstage.”

Morrissey probably single-handedly converted more people to vegetarianism than any other one person. He was one of the people who brought this issue to the mainstream, and he wore this cause on his shoulder like no other. Many fans, after hearing that album, gave up meat for life and that's pretty amazing when you think about it. A pop-rock song about vegetarianism is something that no record company would ever push for, especially when the live version of the song was accompanied by a video backdrop of animals being slaughtered and abused.

Another thing that was distinctive when it came to Morrissey fans was that they wrote so many letters and tried to give him so many gifts (before, during and after his shows) that it was getting out of control. Eventually, his management started putting boxes outside of venues before his shows that read "gifts for Morrissey" for fans to present Morrissey with whatever they desired. What's also unique about Morrissey was that he welcomed stage invasions and he hugged fans back and shook their hands as they tried to kiss and hug him in mid-song, which, of course, only lead to more stage invasions. When asked about all the love he receives from his fans, Morrissey once said, "Can you imagine being kissed by hundreds of people? It was immensely uplifting."

BONUS READ:

The story on James Kiss. Smiths fan hijacks local radio station in Denver in the 80s. Armed with the rifle, six Smiths cassette tapes and one Morrissey album.  When Arvada police searched his home, again with his consent, they found a magazine about the Smiths, a poem and a pair of letters, which were entered into evidence. In the letters penned to his parents just before the incident, Kiss spelled out exactly what he was planning and tried to explain why.  Read the letters he wrote...  

The first letter, dated four days before the incident:  𝘿𝙚𝙖𝙧 𝙈𝙤𝙢 𝙖𝙣𝙙 𝘼𝙡, 

𝙒𝙝𝙖𝙩 𝙚𝙫𝙚𝙧 𝙄 𝙙𝙤 𝙩𝙤𝙙𝙖𝙮 𝙞𝙨 𝙣𝙤𝙩 𝙢𝙚𝙖𝙣𝙩 𝙩𝙤 𝙝𝙪𝙧𝙩 𝙮𝙤𝙪. 𝙄 𝙡𝙤𝙫𝙚 𝙮𝙤𝙪 𝙖𝙣𝙙 𝙝𝙤𝙡𝙙 𝙖 𝙜𝙧𝙚𝙖𝙩 𝙙𝙚𝙖𝙡 𝙤𝙛 𝙧𝙚𝙨𝙥𝙚𝙘𝙩 𝙛𝙤𝙧 𝙮𝙤𝙪, 𝙖𝙣𝙙 𝙞𝙛 𝙮𝙤𝙪 𝙨𝙝𝙤𝙪𝙡𝙙 𝙗𝙚 𝙝𝙪𝙧𝙩 𝙗𝙮 𝙬𝙝𝙖𝙩 𝙄'𝙢 𝙜𝙤𝙞𝙣𝙜 𝙩𝙤 𝙙𝙤 𝙄 𝙛𝙚𝙚𝙡 𝙫𝙚𝙧𝙮 𝙨𝙤𝙧𝙧𝙮. 𝙄 𝙛𝙚𝙚𝙡 𝙮𝙤𝙪𝙧 𝙗𝙞𝙜𝙜𝙚𝙨𝙩 𝙦𝙪𝙚𝙨𝙩𝙞𝙤𝙣 𝙞𝙨 𝙜𝙤𝙞𝙣𝙜 𝙩𝙤 𝙗𝙚 𝙬𝙝𝙮, 𝙨𝙤 𝙄'𝙡𝙡 𝙩𝙧𝙮 𝙖𝙣𝙙 𝙚𝙭𝙥𝙡𝙖𝙞𝙣.  𝙈𝙮 𝙫𝙞𝙚𝙬𝙨 𝙤𝙛 𝙡𝙞𝙛𝙚 𝙖𝙣𝙙 𝙩𝙝𝙚 𝙬𝙤𝙧𝙡𝙙 𝙖𝙧𝙚 𝙙𝙞𝙨𝙢𝙖𝙡 𝙖𝙩 𝙗𝙚𝙨𝙩. 𝙄 𝙙𝙤𝙣'𝙩 𝙛𝙚𝙚𝙡 𝙧𝙞𝙜𝙝𝙩 𝙝𝙚𝙧𝙚. 𝙄 𝙛𝙚𝙚𝙡 𝙖𝙨 𝙞𝙛 𝙄'𝙢 𝙤𝙪𝙩 𝙤𝙛 𝙥𝙡𝙖𝙘𝙚. 𝙈𝙮 𝙨𝙥𝙞𝙧𝙞𝙩 𝙞𝙨 𝙡𝙤𝙨𝙩 𝙖𝙣𝙙 𝙢𝙮 𝙗𝙤𝙙𝙮 𝙞𝙨 𝙥𝙤𝙡𝙡𝙪𝙩𝙞𝙤𝙣 𝙛𝙞𝙡𝙡𝙚𝙙. 𝙄 𝙖𝙡𝙬𝙖𝙮𝙨 𝙙𝙧𝙚𝙖𝙢 𝙖𝙗𝙤𝙪𝙩 𝙩𝙝𝙚 𝙥𝙖𝙨𝙩, 𝙖𝙗𝙤𝙪𝙩 𝙜𝙞𝙫𝙞𝙣𝙜 𝙢𝙮 𝙡𝙞𝙛𝙚 𝙛𝙤𝙧 𝙨𝙤𝙢𝙚𝙤𝙣𝙚 𝙚𝙡𝙨𝙚, 𝙖𝙣𝙙 𝙖𝙗𝙤𝙪𝙩 𝙙𝙤𝙞𝙣𝙜 𝙩𝙝𝙞𝙣𝙜𝙨 𝙄 𝙘𝙖𝙣 𝙣𝙚𝙫𝙚𝙧 𝙙𝙤. 𝙄𝙩'𝙨 𝙢𝙮 𝙤𝙣𝙡𝙮 𝙚𝙨𝙘𝙖𝙥𝙚. 𝙄 𝙗𝙚𝙡𝙞𝙚𝙫𝙚 𝙡𝙞𝙛𝙚 𝙣𝙚𝙫𝙚𝙧 𝙚𝙣𝙙𝙨. 𝙒𝙝𝙚𝙣 𝙖 𝙥𝙚𝙧𝙨𝙤𝙣 𝙙𝙞𝙚𝙨 𝙝𝙚 𝙞𝙨 𝙟𝙪𝙨𝙩 𝙗𝙤𝙧𝙣 𝙖𝙜𝙖𝙞𝙣. 𝙏𝙝𝙚𝙧𝙚𝙛𝙤𝙧𝙚 𝙥𝙚𝙤𝙥𝙡𝙚 𝙨𝙝𝙤𝙪𝙡𝙙𝙣'𝙩 𝙡𝙚𝙩 𝙩𝙝𝙚𝙢𝙨𝙚𝙡𝙫𝙚𝙨 𝙗𝙚 𝙩𝙞𝙚𝙙 𝙗𝙮 𝙩𝙝𝙚 𝙘𝙤𝙙𝙚𝙨 𝙤𝙛 𝙩𝙝𝙚 𝙙𝙖𝙮, 𝙖𝙣𝙙 𝙞𝙛 𝙨𝙤𝙢𝙚𝙤𝙣𝙚'𝙨 𝙡𝙞𝙛𝙚 𝙞𝙨 𝙣𝙤𝙩 𝙜𝙤𝙞𝙣𝙜 𝙬𝙚𝙡𝙡, 𝙞𝙩 𝙬𝙤𝙪𝙡𝙙 𝙗𝙚 𝙟𝙪𝙨𝙩 𝙖𝙨 𝙚𝙖𝙨𝙮 𝙩𝙤 𝙦𝙪𝙞𝙩 𝙖𝙣𝙙 𝙨𝙩𝙖𝙧𝙩 𝙖𝙜𝙖𝙞𝙣. 𝙄 𝙘𝙤𝙪𝙡𝙙 𝙬𝙧𝙞𝙩𝙚 𝙖 𝙗𝙤𝙤𝙠 𝙤𝙛 𝙢𝙮 𝙤𝙥𝙞𝙣𝙞𝙤𝙣𝙨, 𝙗𝙪𝙩 𝙣𝙤 𝙤𝙣𝙚 𝙬𝙤𝙪𝙡𝙙 𝙬𝙖𝙣𝙩 𝙩𝙤 𝙧𝙚ad it, I guess what Im doing is a protest about life. The worlds dying and most dont care, and if they do care there is nothing to do about it cose man is the problem. Whoever or whatever man the human race made a big mistake. My views of life are in the poems I have written. Some of the show hope, but it quickly dies in others. A lot in the first book have nothing to do with my views. The second book shows my interest in Morrissey and the first time I planned to do this (this is the second time). I think my ideas are mounting somewhat stemmed from Morrissey. Theres no doubt his words have changed me and in a way The Smiths and Morrissey are one reason Im doing this. The third book continues from the second. I want you to know my exact plan. I have brought a gun for this time, when I tried the first time I had a fake gun. Im going to Y108 and Im going to take control of the station and play all the Smiths and Morrissey tapes over the air. (As i re-read what I wrote it sounds crazy to me) and when its over I'll give myself up. I do not expect to die, but if that happens I wont really mind. I will not hurt anyone else that doesnt try to stop me. I really dont expect to be successful. At the end most will say Im insane. I feel Im sane if everyone elseis insane, but Im insane if they're sane. Again Im sorry for you if I cause you pain. I hope through reading my words you can see why I did this and find a way to forgive me. You're still my mother and father. I hope Im still your son. With love and regret James - ''life is hard enough when you belong here''.

The second letter, dated the day of the incident:

Dear mom and Al, I am ashamed for any respect you have held for me because I really dont deserve it. It's true that lies lead to more lies and I have told so many. I have backed out again last Friday. It has happened so many times I think reasons of why outweigh the reasons why not. My only problem is the reasons why not revolve around you two. I hate to disappoint you. I hate to leave you. I hate to hurt you. I can only hope that your pain weak and short lived. I hope you find a way to understand and forgive. If you cant I'll understand. I must be crazy because I look around for what purpose I could possibly have in this world and this is the only one I could find. One for whom people could laugh at and wonder where I went wrong. I could write forever and not tell you all I want. Please read the poems. Please do not blame yourselves because you have been good parents. Please forgive me and dont cry for me. Love James - ''there is a light that never goes out'' I'll fell much better when its over.








Friday 18 February 2022

Squat Betty Avant-Garde Film Festival

Founder of Squat Betty the enthusiastic Richard Sandling talks about his exciting experimental film festival opening soon. Book Here

What gave u the idea to start Squat Betty? I set it up originally as a monthly screening event in London before Covid and Lockdown put it on hiatus and closed my venue. Now I have relaunched it as a festival in Essex, UK.  I’d been to a few stand alone events for art films and I found that the nights were not great experiences. They were either a bit dry and too reverential of the subject matter or, more commonly, they were a war of attrition with the audience as if it was somehow a failure on the part of the organisers if I enjoyed myself as they made us sit through a million films, all of which were at least 17 minutes long and turgid and the whole evening seemed to go on forever and there were never any breaks. It was relentless and made you think “I can’t take this anymore”, but not because the content was too much to deal with, but because the event itself was shoddy and gave no thought whatsoever to the people who had paid to be there. I have never understood why, if you are doing something that might be challenging to people – be it shocking, offensive, jarring or simply just something they are not used to seeing, that you don’t make everything else about the event welcoming and comfortable wherever possible. I appreciate you want the right setting and the ambience to fit the mood of the work you present, but 99% of the time we are not doing immersive theatre - and the audience are not your enemy. So I made sure it was audience friendly. I ended up doing my night at a Lucha Wrestling School and Fetish Club, which worked really well for the vibe of the event as well as a great space to screen and hang out. I also kept the screenings to 1hr. My main objectives and hopes were to first and foremost showcase interesting work from the world of experimental film for people who would be interested in coming to see that, because it is hard to know the best (or any) places to find screenings like this, especially if you are interested in seeing what filmmakers are doing now rather than attending BFI style retrospectives of established films and filmmakers. I wanted to see what people were doing and give them a place to be seen.

While I included films from all over the world, I also wanted to create a networking social scenario where filmmakers who's work was being shown could come down and introduce their works and meet other filmmakers and create personal and professional connections. I also hoped that an experimental night might also encourage people to go out of their comfort zones and start making experimental films - or make more of them knowing there would be a screening opportunity for them to show their work.

As a filmmaker myself, I find applying to festivals frustrating because theres always some weird reasons they do or dont want your movies. It's too long, it's not long enough, theres too much blue, theres not enough blue, you need to have credits, you dont need to have credits. JUST ASK FOR FUCKING FILMS! You know you've got a festival about trees but for some reason you cant submit to the 'Films About Trees Festival' cose of some fucking nonsense that they've put in place. So I made sure there were no barriers to content. If its experimental send it in cose I want to see it. The inly potential constraint was time. I only had an hour slot for the screenings and at the festival the blocks will be multiples of an hour, so if the film was very long I simply wouldnt have time to include it.

It was also important to me that my festival is free for filmmakers to submit film to because I dont think its fair to expect filmmakers to pay to play. I think that there are already enough gatekeepers and arbitrary obstacles in the way of getting films made and out there without being part of the problem by adding to the problematic and pervasive ostracisation of working class and & poor filmmakers from the industry - and an entry fee, frankly, is unacceptibly exclusionary. I myself cant afford to pay to submit to festivals so I dont expect people to do the same to mine. Filmmakers will frequently tell me off for this saying ''its only a fiver, its only a tenner, its only twenty quid'' but Im applying to loads, possibly hundreds, and it racks up to a lot of money I dont have. And Im not the only filmmaker in this situation. Often when I mention this those other filmmakers will say you need the money to do the job anyway as thats simply the admin of filmmaking, and whilst they may be right its never poor filmmakers telling me this - and I think it really speaks to the normalization of the middle classes of the film industry that ''its only £500 a year for festivals'' is genuinely not seen as a big deal and how priviledged they are to be able to have this complete lack of self awareness and financial security when this is a massive fiscal brickwall in the path of a lot of filmmakers trying to get out there and get out there in the industry. 

And these were the parameters with which I set up the night originally and I have carried it into the festival.

Are there a lot of avant garde filmmakers here in the UK? There are a fair few I think. I didn’t really know any personally before setting up the night, which is kinda why I did it. Purely statistically, the UK was the 6th largest contributor to my festival submissions, but one of the 2nd main source of the officially selected films. So while there may not be as many of us as elsewhere, the quality (I believe) is very high.

Which movies first got u into experimental cinema? Although I have never seen it since I caught it during a bought of insomnia as a teen in the 90s, I particularly remember being affected by a film called On The Edge Of The Horizon by Fernando Lopes which is about a pathologist in the morgue who has to autopsy the unidentified body of a murdered young man who looks like a young version of himself, which leads him to try to do his own investigation into the corpse’s life and death. 

But if I had to name the main turning point in being into experimental film it would have been the first time I saw Performance as a teen. It was just the right film at the right time to really ram home that this was exactly the sort of thing I was into in terms of editing, camera work, sound, theme, mise en scene. It was a genuine game changer for my understanding of who I was and what my passions were.  I saw it the same weekend I also saw Repo Man, Evil Dead and The Quiet Earth for the first time. That was definitely the weekend that changed me forever.

How do u see avant garde movies developing in the future? Tricky to know for sure because the definition of the avant garde is changing. We will always have the established stylistic language of avant garde films, but as technology evolves and the means by which we watch films and make films changes, the notion of what is “radical, unorthodox or experimental” will also have to change. For example, during lockdown I made a feature film entirely remotely, in isolation, completely via zoom. There are no establishing shots, in scene edits or cutaways. There is only the various zoom calls. In terms of accessibility, the script is arguably a fairly mainstream Kevin Smith style comedy. But the way it is filmed and edited and presented is definitely avant garde. And I feel like this is a good example of the sort of transitional period we are in at the moment. I don’t know where we will end up or what the changes will be, but I think it is exciting to wait for these new directions to start fully emerging.

Will your festival become a yearly thing? I hope so. I certainly plan to make that the case. It is my hope that it eventually grows to be a regular fixture on the local and then national and international scene. But currently I’m just looking to get the first one attended and enjoyed.

Other then Squat Betty what are some other cool avant garde festivals at the moment? To be honest, I’m not sure about specially designated ones. All the ones I’ve been accepted to are usually abroad and I can’t get there. As I mentioned, if there’s an entry fee I can’t afford to submit, so I won’t know about it. I’m happy to pay to attend as a punter, of course, but relying on FB groups to get the info about events within travelling distance to me isn’t proving the best way to know what’s going on.

Will you also be starting a magazine? I have no plans to do so and I can’t imagine I will in the future as I am busy with a million things that take up all my time and energy.

How did you go about connecting with all the filmmakers to get involved? Initially, I sent out a post on reddit asking if anyone wanted to send me a film. It wasn’t lots of people, but there were more than I needed and it was mostly all very good, varied and interesting – and it made me realise that I was right to think there was good, current content that I personally found interesting and exciting out there to screen. 

Then I set up the night on FilmFreeway to get people in.  As I mentioned, my desire to let anyone submit did mean I got over 900 films through to watch. And watch them I did! Did I get sent an absolute fucktonne of completely irrelevant films just because it was free? Absolutely. Did I find that a lot of people also don’t know what constitutes an experimental short film? Absolutely. But it was worth it for the large amount of high quality work I did get sent through, particularly from the filmmakers who definitely wouldn’t have submitted if I’d charged or put obstacles in their way. A lot of the films I selected, unbeknownst to me at the time of choosing, were the filmmaker’s first selection for their work at a festival, which was a great feeling to know that my event had given their filmmaking some sort of validation because this is all difficult enough and rejection and failure is often a constant, despite our definite talents, and I think it’s important to create a bit of joy and positivity in this industry wherever we can.  All filmmakers were then notified and invited to attend to introduce their work, which many did. Which, again, was great for the overall experience of everyone at the event.

Official Website

Richard Sandling - Bandcamp




Friday 4 February 2022

Jim Jones: 20th Century Cult Leader


Obedience training, Newspeak, Crimestop, Doublethink, Reality Control, Emotional Control, Sexual Control, Surveillance, Torture, and hard work on starvation diets—the staples of the Orwellian mind controller’s repertoire—were adapted and put into effective operation by Jim Jones in his attempt to demonstrate total behavior modification. Jones succeeded in his perverted mind control “experiment” by creating a mass mentality of the Manchurian Candidate that killed the enemy on demand . . . only here the enemy was one’s children, one’s parents, one’s mate, one’s friends, and even one’s self! On November 18, 1978, a total of 909 people died at the location, either by poison or by gunfire.  How did Jim Jones keep his followers under his control, even as his plan for the "Jonestown Massacre" became clear? What cult tactics did he employ in order to get hundreds of people to follow his instructions? Over the course of his time as the head of the Peoples Temple, Jim Jones used multiple coercive tricks to control his parishioners, from psychological maneuvers to torture.

Jones carefully studied Mao’s mindfucker moves during the Cultural Revolution and used the same propaganda/mind control techniques that the Chinese Communist Party had perfected, in particular the “we’re the vanguard of a new age” and “us vs. them” aspects of “outcast” group think. Since he was so paranoid himself, this talent came easily to Jim Jones.

He was very charismatic," Leslie Wagner-Wilson, a Jonestown survivor, says of the Rev. Jim Jones. With the cadence and fervor of a Baptist preacher, the charm and folksiness of a country storyteller and the zeal and fury of a maniacal dictator, Jones exhorted his followers to a fever pitch, audiotapes recovered from Jonestown reveal. As he spoke, they applauded, shouted, cheered. One follower who survived the "revolutionary suicide" at Jonestown on November 18, 1978, said that Jones was the most dynamic speaker he had ever heard. 

Like all powerful speakers, Jones' greatest asset was his ability to determine what listeners wanted to hear and give it to them in simple language that appealed to them on an almost instinctual level. "He was very charismatic, very charismatic," said Leslie Wilson, who survived that fateful day in Jonestown by walking away from the settlement before the cyanide that killed more than 900 Peoples Temple members was distributed. She was one of 33 people who began the day in Jonestown and lived to tell the tale. "He could quote scripture and turn around and preach socialism," she said. "He appealed to anyone on any level at any time."  Hear Jones declare "I am God" Many of his followers were elderly African-Americans drawn to his cause by his soulful delivery and Pentecostal preaching style, including at times speaking in tongues. That hair-raising fervor was perhaps only overshadowed by what he said. 

"When I say, I am God, then I feel [faith] well up within my soul. And I see it well up in you, and I see the sick healed, and the blind see, and the dead raised. ... You wanna know how I feel, I never feel so good as when I say I am God," he shouted in a full-throated roar in a 1973 San Francisco sermon.


ISOLATED HIS FOLLOWERS
How do you legally kidnap hundreds of people and essentially give them no choice but to do whatever you tell them to? Separate them from the world. In 1977, Jones moved scores of his followers to Guyana, a country in South America, largely to escape the media scrutiny that was now surrounding the Peoples Temple.  Those who went with him were cut off from their friends and family outside of the organization. Jones became their sole source of information.

CREATED A FALSE WARZONE
According to Guyana escapee Teri Buford O'Shea, once the Peoples Temple moved down to South America, Jones made followers believe that the military was after them. He told them that American soldiers were waiting in the woods to kill anyone who ventured too far away from the compound.  O'Shea told The Atlantic, "We didn't know this at the time, but he'd set up people who would shoot into the jungle to make us feel as if we were under attack. And there were other people who were set up to run and get shot - with rubber bullets, though we didn't know it at the time. So there you were, in the middle of the jungle. Shots were being fired, and people were surrounding you with guns." He even compared Jonestown to the Siege of Masada where the mountain town Jews commited mass suicide when the Romans were about to invade them.

TORTURED DOUBTERS 
Deborah Layton was a Peoples Temple member who escaped Jonestown six months before the massacre. She filed an affidavit against Jones in order to get the US government to investigate the Peoples Temple. According to Layton, one of the ways that members of the cult were controlled was by being sent to the "medical unit." "Brave people who spoke out against the atrocities in Jonestown were taken to the 'medical unit' and put on coma inducing drugs," she said. "Others had a python wrapped around their neck. Children who cried about wanting to go back to the States were lowered into a dark well at night. One man was forced into 'the box' underground where he stayed for days/weeks."
In '1984' Orwell’s leading protagonist, Winston Smith, finally has his resistance broken when he is dumped into Room 101 to face his worst fear of having rats running over his body, since he had confessed earlier to that phobia. Jones replicated that situation exactly by initially forcing members to write out their fears in detail. He could then force them to face their worst fears head on when they disobeyed orders, were late for a meeting, or fell asleep during his endless harangues.

PUBLIC HUMILIATION
To break specific members of his group down, Jones would force them to undergo mass criticism in front of the rest of the congregation. Jones would make the followers strip naked in public and encouraged other cult members to berate them at length.  Former Peoples Temple member Elmer Mertle said that this technique was called "catharsis" and that each "catharsis" would end with Jones telling the person who was being punished that what had just happened was a good thing. Mertle said:  The first forms of punishment [in the Temple] were mental, where they would get up and totally disgrace and humiliate the person in front of the whole congregation... Jim would then come over and put his arms around the person and say, "I realize that you went through a lot, but it was for the cause. Father loves you and you’re a stronger person now. I can trust you more now that you’ve gone through and accepted this discipline." These tactics were a central part of both George Orwell’s '1984' & Jones’ mind control systems. All members had to engage in self-analysis, to prepare statements of their errors, weaknesses, fears, and wrong doings, so that they could purge themselves of these negative thoughts and achieve an uplifting catharsis. Instead, these reports became part of each member’s permanent file, and were used against them in public meetings, when errant individuals were “called on the floor” to be ridiculed, humiliated, tormented, or physically tortured. 

STAGED MASS SUICIDES
Prior to the mass death that would end the Peoples Temple, Jones staged suicide rehearsals that he referred to as "white nights." During these events, members had to drink red liquid that they were told contained poison to test their loyalty. Jonestown residents were also frequently kept in the main pavilion while Jones spent all night raging against the media, outside family members, and government powers who opposed them. The true purpose of the white nights was chilling. By continually forcing people to enact a mass suicide, Jones was grooming them for the inevitable real event. By the time the actual massacre came about, Jonestown followers were subconsciously prepared to simply follow his instructions. "White Night! White Night! Get to the to the pavilion! Run! Your lives are in danger!" Jones heightened his followers' sense of danger by telling them how people were coming to murder them. Even worse, Jones had armed people waiting in the jungle. To the followers, these rehearsals seemed too real. However, it turned out the guns were firing rubber bullets, and it was all a ruse to terrify the people who lived at Jonestown. After the drill, Jones returned to the loudspeakers, saying, "Now I know I can trust you. Go home, my darlings! Sleep tight!" 

DEPRIVED PEOPLE OF SLEEP
Depriving someone of sleep is a quick and brutal way to destroy their will. According to Teri Buford O'Shea, one of the few escapees from Jonestown, sleep deprivation was one of the most effective methods of controlling Jones's followers.  O’Shea said, "One time Jim said to me... 'Let’s keep them poor and tired, because if they’re poor they can’t escape and if they’re tired they can’t make plans.'" Jonestown residents were forced to work six days a week and were made to feel guilty if they slept for more than a few hours each night.

BROKE UP FAMILIES
According to former Peoples Temple member Vernon Gosney, "Part of [Jones's] philosophy was that family relationships are sick and need to be broken down." Not only would Jones separate children from their parents, but he would also break up and rearrange marriages. He instilled a forced celibacy in the cult for everyone except himself and the people he slept with, claiming that all men were gay, all women were lesbians, and that he was the only heterosexual in the group.  By separating people in long-standing relationships, he discouraged them from exchanging information or questioning their harsh surroundings.

STARVED MEMBERS
A weakened group is easier to control. According to former Temple member Deborah Layton's affidavit, Jonestown residents weren't fed enough to keep their energy up: "There was rice for breakfast, rice water soup for lunch, and rice and beans for dinner. On Sunday, we each received an egg and a cookie. Two or three times a week we had vegetables. Some very weak and elderly members received one egg per day."  Layton notes that Jones did not rely on the same diet as his followers. Instead, "claiming problems with his blood sugar," he ate more nourishing meals that frequently included meat. A few select members of his inner circle were allowed to eat from his private stores, as well, and appeared to be in much better health than their fellow residents.

PUT PEOPLE IN 'THE BOX
According to survivors of the Peoples Temple, one way that members were reprimanded was with "The Box."  During this punishment, a person was stuffed into a coffin-shaped box and held underground while they were constantly berated and reprimanded for their perceived slights against the cult.

BLACKMAIL
Jones wasn't above resorting to old-fashioned blackmail to keep his followers under his control. He forced members to sign blank power-of-attorney forms as well as false confessions that they had molested their children or conspired to overthrow the US government while members of the Peoples Temple. Once, he reportedly even had a member of the Temple put her fingerprints on a gun and threatened to frame her for murder if she left the cult. Jones's message was clear: Leave the Temple and your life is over. "It was all about forcing members to experience themselves as vulgar and despicable people who could never return to a normal life outside of the group," reported Psychology Today in 1992.

GENERATED PARANOIA
After isolating his followers from the outside world by bringing them to Guyana, Jones continued to isolate Temple members by breaking them into smaller and smaller groups and convincing them to report anyone who spoke out against Jones and the Temple. This engendered a mistrust-laden climate where friends told on friends, and children reported their parents for trying to escape Jones's grasp.  Adding to the atmosphere of paranoia, Jones even convinced his followers that he had psychic abilities and could read their thoughts at all times.

CONVINCED PEOPLE HE WAS GOD
Jones was happy to act as his followers' surrogate father, brother, or God as long as they gave him their devotion in return. He laid this out in his sermons: "If you see me as your friend, I’ll be your friend. [If] you see me as your father, I’ll be your father. If you see me as your God, I’ll be your God."

GAINED MORE FOLLOWERS TO REPEAT THE CYCLE
The perception of power can be as key as power itself. Jones seemingly understood that and constantly brought new members into the Peoples Temple who hadn't yet questioned his control. The more members he was able to bring in, the more power he had, which made him more attractive to people outside of the cult - beginning the cycle again.

MADE POWERFUL FRIENDS
Before moving his cult to South America, Jones became an influential figure in the city of San Francisco. In 1976, Willie Brown, speaker of the California State Assembly, compared Jones to Martin Luther King, Angela Davis, Albert Einstein, and Chairman Mao. High-ranking members of Jimmy Carter's inner circle were known to meet with him, and Mayor George Moscone appointed Jones to San Francisco's housing commission. The reason he had these high-powered friends? Jones likely got them elected. Former members of his church say he pressured his followers into voting for the candidates of his choice and that people who didn't vote were "pushed around, roughed up, physically abused." The New York Times noted in 1978, "there is little doubt that [Jones] controlled the votes of several thousand of his followers, enough to make the difference in a close election."

MADE EVERYONE FEEL LIKE A STAR
One of the simplest ways to control someone is to make them feel as if he or she is your best friend.  Ex-Temple member Mike Cartmell said, "Jones could make everyone feel as if he or she was the guest of the day; he made each one feel special in some way. He gave you your five minutes, and in return, you gave him your life." Cartmell’s family joined the Peoples Temple in 1959, and he was a member for 17 years until he left in February 1977.

PROMISE OF INTEGRATION
Jim Jones and the People's Temple is the doomsday cult that all other doomsday cults are measured against. The infamous Jonestown mass suicide/murder claimed the lives of 918 people, 276 of which were children. But before Jones moved his cult to Guyana, South America, he spent the '50s and '60s recruiting new members by preaching about the beauty of integration, something that spoke to directly to America's African American and young liberal populations. The Jonestown Massacre shows how one good idea can lead to a horrible path when it's twisted by the wrong person. 



Cult tactics
*Keep it vague and simple - promise of something great, a transformative change in their lives, achieve enlightenment, love, righteous formula to get into paradise.
Offer romantic, mysterious, ethereal and otherwordly solutions, offer a family , father figure, music, let go of society and ur past, freedom and the spring of life.
*Emphasise the visual over the intellectual - get rid of boredom and skepticism, use theatre and luxury, exotic culture, write songs together, orgies, drugs, remove calanders, clocks, news, books.
*Borrow forms from organized religion - create a structure that emanates power and loftiness, create rituals, create a hierarchy with titles and new names, ask for sacrifices.
*Prophethood - the leader calls himself god and alludes to it ''they've already nailed me to the cross'', ''they killed me before and it wont happen again'', quote the bible.
* Disguise the source of ur income - never reveal that the money comes from their followers and gifts.
*Use the ''us'' vs ''them'' dynamic - make them believe its an exclusive club, create an enemy, create a cause, purpose and a message for them to believe in.
*Cults remove peoples 'critical thinking' process E.g: Ignore ur doubt and gut instincts because thats whats holding u back towards personal growth 
E.g: What are ur assumptions and reasons based on? 
E.g: Dont be so prideful.

The '1984' mind control tecnniques
In 2003, Dr. Philip G. Zimbardo, a psychology professor at Stanford University and the former president of the American Psychological Association, revealed findings of his Jonestown research, which suggested that Jones could have learned some of his control techniques from George Orwell's novel 1984. During his 25 years of research and extensive interviews with Jonestown survivors, Zimbardo found several remarkable similarities between Jones's methods and those portrayed in 1984.   
Orwell's idea of a "Big Brother" may have existed in Jonestown, as Jim Jones made cult members spy on each other. He used loudspeakers throughout the compound to continually broadcast his voice.   
Jones also forced his followers to give him information that he could later use against them, which is similar to what happens to the main character in 1984. The "White Night" suicide drills could also have a link to 1984; a line in the book says, "The proper thing was to kill yourself before they get you."   
Many who have read 1984 may remember Newspeak, the propaganda language used in Oceania, the novel's fictional dystopia. Jones adopted an analogous measure by making his followers thank him for food and work; of course, the followers' actual living conditions were far from luxurious. Jones son Stephan reveals: “Dad did read 1984, talked about it plenty to frighten us. I think he may have even attached some kind of prophetic significance to the date— nuclear holocaust or fascist takeover or something. Yup, there was a song [“1984”] written and performed by Deanna Wilkinson, our lead performer from the time she joined ‘til she died in Jonestown.”
According to Zimbardo's research, Jones "commissioned a song that his followers were required to sing at Jonestown about the advent of the year 1984. “Jim talked about 1984 all the time. There is a film with Diane singing ‘1984’ in Jonestown and Jim is singing along with her, saying, ‘That’s right, that’s right.’ He would sing, ‘Got to watch out. They are coming to get us. They are going to kill us,’ and similar phrases.”

Big brother is watching you
Jones used this idea to gain the loyalty of his followers. He required followers to spy on one another and blasted messages from loudspeakers so that his voice was always present while they worked, slept and ate, Zimbardo says.  

Self-incrimination
Jones instructed followers to give him written statements about their fears and mistakes and then, if they disobeyed him, he used that information to humiliate them or subject them to their worst fears during public meetings. In "1984," the main character's resistance is broken when he is subjected to his worst fear of being covered in rats.  

Suicide drills
Orwell's main character said that "the proper thing was to kill yourself before they get you" in a threat of war. Jones had his followers do practice suicide drills right up to the actual mass suicide event.  

Distorting people's perceptions
Jones blurred the relationship between words and reality, for example, by requiring his followers to give him daily thanks for good food and work--yet the people were starving and working six and a half days a week, Zimbardo says. Similarly, Orwell described such a technique, which he called "newspeak." Even 'Doublethink' the subject is expected to simultaneously accept two mutually contradictory beliefs as correct, often in contravention to one's own memories or sense of reality. For example ''war is peace'', ''freedom is slavery'', ''Ignorance is Strength'', and ''2 + 2 = 5.''


Jones sought to conquer, corrupt, compromise, divide, and destroy, living always by the motto “the ends justify the means.” They were also used as the cornerstone for the dangerous game of control, subjugation, oppression and domination unleashed to its fullest in the isolation of the borders of South America. The bible is not sacred and you wont die if u drop it.  You wont die if u stand on it, u wont die if you jump up and down on it Jim Jones 
Sow the seeds of mistrust and paranoia Jones His desired to dominate with the creation of his own environment and organization which he could control those he helped recover from drug and alcohol addictions would prove to be the most loyal. Those he gave shelter and a meal would readily embrace him as their savior. As a pragmatist, he also used the humanitarian label to attract humanitarian types, advocates of socialism, and those with little or no family support and/or a willingness to forsake all for him. He seemed to prioritize those with little education) because in his playbook, he thought they would be easier to manipulate, deceive, control, and destroy. After all, to this knowledgeable animal lover, the most loyal pets would be the ones saved from near destruction. Working in tandem with his love for deception would be his love for deconstruction. Jones would “break-down” his followers emotionally, psychologically, and sometimes even physically, only to press the reset button at the end of this initial process, to ultimately re-create and re-cast them into an even deeper chasm of torment, fear and vulnerability. His followers, therefore, would unwittingly jump from the frying pan into Jones’ fire. It was almost as if he loved saving a drowning man only to strangle him on the shore. At the end of all the manipulation and deception, Peoples Temple comprised several hundred senior citizens, who were promised shelter, health care and constant companionship in exchange for relinquishing their Social Security checks and their homes to the Temple. Over time, these demands would be placed on all members, deepening their dependence and vulnerability on a man who frequently compared himself with God, preferring the name of Father above all else. It is instructive that Jones wanted a title and role he had very limited exposure to as a child. Through strategic alignments, associations, and constant public relations endeavors, Jones maintained a profile and persona that essentially pulled the wool over the eyes of those who readily found themselves identifying with the man and his so-called mission. Jones’ need to constantly test the loyalty of his followers. It is this very need that fostered an organizational system of spying and armed security within the confines of communalism to ensure that everyone was “kept in line.” Of course, the playbook on deception demanded the creation of a justification for this loyalty credo. Forever claiming to be pursued by countless enemies (of which the press was dubbed No. 1), the Temple leader constructed two workable paradigms. The first was the “Victim Paradigm”; the second was the “Us versus Them Paradigm.” In the former, Jones always presented himself as the “victim” and never the perpetrator. Under this guise, he would deceive members by justifying the need for heavily armed security whom he tacitly used as intimidators and enforcers. In this paradigm, he lambasted the media and select government agencies such as the FBI and CIA for conspiring against him. Forever the victim, in the words of Shakespeare’s King Lear, Jones always presented himself as “a man more sinned against than sinning.” While the first paradigm assumed the character of a daily routine and means of escaping responsibility for the Temple leader, the second paradigm would be the one to prove lethal to the residents of Jonestown. Under this rubric, Jones would paint the scene and create the impetus for destruction. By instilling the “no way out” plot into his members, the inevitability of their destruction was sold to them lock, stock and barrel. Mental manipulation and the discouragement of individual thought allowed many to accept this ploy. Jones would complain to many in the US that his “enemies” were responsible for the Temple’s exodus to Guyana. The general outlandishness of what occurred in the colony on a daily basis seemed to inoculate members into lowering their sensitivity to real danger. The playbook on deception would be used one last time. The shock of the news of Leo Ryans death was not allowed to settle, as the plot thickened. On the spot, without any warning, the residents received the order that the time had actually come for their eternal departure. Ironically, this would be the first and last time the rattlesnake would not rattle before striking its prey. The emotional cries, distress, chaos and mayhem heard on that death tape reveals unequivocally the fruition of Jones’ destructive agenda. They were also used as the cornerstone for the dangerous game of control, subjugation, oppression and domination unleashed to its fullest in the isolation of the borders of South America. The bottom line is that Jones’ use of deception was raw. He sought to conquer, corrupt, compromise, divide, and destroy, living always by the motto “the ends justify the means.”







PREACHER TERMS

Anointed
Revival
Testify
Emancipated
Deliver you
Seismic
Manifestation
Promised land
Destiny
Salvation
Purified
Dispensation
Sovereignty
Holy trinity
Divine pentacostel
Revelation
Repent
Excamunicated
Testament
Doctrine
Ordained
Omnipotent, Omnipresent, omniscient, omnilucent
Exhaultation
I declare
Dispensation
Ecclesial
*The letter of Killeth (book)
*Religious obligation to bring desires to the surface so u can eliminate them
*Body is the temple of the holy ghost
*Holy ghost power
*The letter then kills but the Spirit maketh alive.
*Eternal judgement
*You only know about a vicarious grace
Holy war
Teutonic Bible
Crusade
Pilgrimage
Eternal
Martyrdom
Sanctity
Consecration
ecclesiastical
Baptism
My apostles
Providence
Secular redemption
Invinsible summer
Sage
Ethical mission to change the world