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THEY (STILL) LIVE

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They Live is a 1988 American science fiction satirical film written and directed by John Carpenter. The film stars Roddy Piper, Keith David, and Meg Foster. It follows a nameless drifter referred to as “Nada”, who discovers the ruling class are in fact aliens concealing their appearance and manipulating people to spend money, breed and accept the status quo with subliminal messages in mass media.  Many of the ideas in this film are clarified and expanded upon in the book ALIEN INTERVIEW.  (see below)

“I want you to get these documents published. I want IS-BEs on Earth to have a chance to find out what is really happening on Earth. Most people will not believe any of it, I’m sure. It seems too incredible. No “reasonable” person would ever believe a word of it. However, it only seems “incredible” to an IS-BE whose memory has been erased and replaced with false information inside the electronically controlled illusion of a prison planet. We must not allow the apparent incredibility of our situation prevent us from confronting the reality of it.

ALIEN INTERVIEWFrankly, “reasons” have nothing to do with reality. There are no reasons. Things are what they are. If we don’t face the facts of our situation, we’re going to stay under the thumb of the “Old Empire” forever! The biggest weapon the “Old Empire” has left now is our ignorance of what they are doing to all the IS-BEs on Earth. Disbelief and secrecy are the most effective weapons they have!

The government agencies that classified the enclosed transcripts as “TOP SECRET” are run by IS-BEs who are nothing more than mindless automatons covertly ordered about through hypnotic commands given by the “Old Empire” prison operators. They are the unknowing slaves of unseen slave masters — and all the more enslaved by their willingness to be slaves.

Most of the IS-BEs on Earth are good, honest, able beings: artists, managers, geniuses, free thinkers and revolutionaries who have harmed no one, really. They are no threat to anyone except the criminals who have imprisoned them.

They must find out about the “Old Empire” amnesia and hypnosis operation. They must remember their own past lives. The only way this will ever happen is to communicate, coordinate and fight back. We have to tell other people and they have to discuss it openly with each other. Communication is the only effective weapon against secrecy and oppression.

This is why I am asking you to tell this story. Please share these transcripts with as many people as you can. If the people of Earth are told what is really going on here, perhaps they will begin to remember who they are, and where they came from.”

— from a letter written by Nurse Matilda MacElroy,  published in the book ALIEN INTERVIEW

VISIT THE WEBSITE and BLOG for the book at www.alieninterview.org and www.alieninterview.org/blog

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CREATING LIFE FROM MATTER

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Metropolis is a 1927 German expressionist epic science fiction drama film directed by Fritz Lang. The film was written by Lang and his wife Thea von Harbou, and starred Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge. A silent film, it was produced by Erich Pommer in the Babelsberg Studios by Universum Film A.G.. It is regarded as a pioneering work of science fiction genre in movies, being among the first feature length movies of the genre.

Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia, and follows the attempts of Freder, the wealthy son of the city’s ruler, and Maria, a poor worker, to overcome the vast gulf separating the classes of their city. Metropolis was filmed in 1925, at a cost of approximately five million Reichsmarks, making it the most expensive film ever released up to that point.

In this film, the mad inventor Rotwang kidnaps the heroine, Maria.  You see he’s created a robot to be a replacement for a woman he loved.  But it needs a soul!  So when the need to get Maria out of the way in the general run of the plot presents itself, he imprints the image of Maria onto his Robot.lang-metropolis The lady is in a confined little bed-thing with a big steel helmet on her head with wires coming out.  Rotwang throws switches and levers.  Chemicals boil, electricity flies, the robot on her throne is surrounded by energy and suddenly changes into the image of Maria.  Though when she opens her emotionless eyes, they seem to glow with an inner light.  IT’S ALIVE!

 This revolutionary film addresses the subject of animating inanimate organisms.  Biological engineering and animation of bodies by spiritual beings is thoroughly discussed in the book ALIEN INTERVIEW:

“How else can you explain the source of spiritual animation which defines every living creature? To say it is the work of “god”, is far too broad. Every IS-BE has many names and faces in many times and places. Every IS-BE is a god. When they inhabit a physical object they are the source of Life.”

Metropolis (short synopsis of the film)

MetropolisposterSometime in the future. Johann Fredersen is mastermind of Metropolis, a gigantic high-tech city, under whose surface masses of workers lead an archaic slave existence. His son, Freder, is witness to the inhumane working conditions and rebels against his despotic father, discovering a spiritual community in the catacombs of the city: Maria, a young woman, preaches the virtues of love and reconciliation. But Fredersen discovers Maria as well and conjures up a sinister plan. He commissions the scientist Rotwang to develop a robot form of Maria, which he will use to gain influence over the workers. The plan works, but Freder and Maria are able to hinder the catastrophe in the last minute. The mass hysteria turns and directs its rage toward the robot Maria, who is burned at the stake. Freder and Maria form a new brotherly community among the classes – Fredersen offers his hand in reconciliation, true to the motto of the film: “the mediator between the hand and the brain must be the heart”.

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BEST SELLERS ABOUT UNTOUCHABLES

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india slumsI am very careful about the books I read, and who wrote them, and published them, and why.   I read a lot of books.  Not many novels.  Mostly non-fiction.   However, I started reading Shantaram after I did a lot of research about the author, Gregory David Roberts, and read parts of the book on the internet.  I bought the book because I think the author is an excellent writer, who escaped from a  20-year prison sentence in Australia fled to Bombay (Mumbai) where he lived for many years in the slums with the “untouchables” of India.  He spent most of his time as a solitary nurse treating the injuries and illnesses of his neighbors with a first aid kit in own his tiny hovel.  He never charged money.  He also sold drugs and worked for gangsters to earn a modest living while still in hiding as an escaped convict.  Later, the author was captured in Germany and completed serving his 20 year prison sentence.

What the novel Shantaram reveals about shantaramthe slums and ghettos of Mumbai is something that most Americans don’t know because nobody ever talks about “untouchables”! Poor people are “invisible” to the “upper classes”, i.e. people who earn more than a few dollars a day.   Sixty percent of the 20 million citizens of Mumbai live on only 6% of the land, within a stones throw of the wealthiest people in India. The oppressive disparity of wealth, health services and housing between the rich and poor is an issue in the U.S. and around the world, but most visible and extreme in Mumbai.

ALIEN INTERVIEW, edited by Lawrence R. SpencerI have known many very poor people from the slums of the southern states in the U.S..  They are the same kind of “untouchables” as the people who live in the slums of India.  These are the rapidly growing population of the private prison system in the U.S..  I am reading Shantaram because it is a novel about “untouchables”, written by a convict who also a nurse, a philosopher and an artist with the English language.  Alien Interview It was written by a nurse, dictated to her by an alien philosopher about “untouchables”, who are the entire population of prison planet Earth.   — Lawrence R. Spencer. 2015