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The Central Intelligence Agency (CIA) recently disclosed a collection of files that document their research and interest in occult practices. These files provide a fascinating glimpse into the agency's exploration of unconventional techniques to gain intelligence and understand unusual phenomena. **The main idea behind the CIA's interest in the occult is to explore any potential intelligence benefits and to understand the cultural and psychological factors that influence individuals involved in such practices.** The released files include information on a wide range of topics, including psychic abilities, remote viewing, mind control, and even attempts at harnessing paranormal powers for military purposes. The agency's interest in these topics dates back to the 1950s and 1960s, during the height of the Cold War when both the United States and the Soviet Union were engaged in a race to uncover any secrets that could give them an advantage over the other. One of the most well-known experiments detailed in the disclosed files is the Stargate Project, which focused on the use of remote viewing as a means of intelligence gathering.

One of the most well-known experiments detailed in the disclosed files is the Stargate Project, which focused on the use of remote viewing as a means of intelligence gathering. The project aimed to train individuals to use their psychic abilities to "see" or gather information about remote locations or events. While the results of these experiments vary, some individuals claimed to have successfully remote viewed distant locations, providing details that were later verified as accurate.

Florence Welch · Useless Magic

This full-color hardback is a beautiful thing to behold. From the cloth-bound cover with gold foil lettering to the heavy pages full of hand-written notes and sketches from journals and stray pieces of paper, it’s essentially an artfully done scrapbook, and a gorgeous keepsake for any Florence + the Machine fan.

“Songs can be incredibly prophetic, like subconscious warnings or messages to myself, but I often don’t know what I’m trying to say till years later. Or a prediction comes true and I couldn’t do anything to stop it, so it seems like a kind of useless magic.

As if the song is somehow speaking through me in its own language. And I am a conduit but totally oblivious to its wisdom.

That’s why poetry, or even having the lyrics written down somewhere, is strange for me. The act of singing gives the most mundane words and phrases reverence and glory. You can make a shrine out of anything. The song has its own personality, and is bigger and stronger than I am. With more to say, to just write something down and let it stay there, on the page, seems to me an enormously vulnerable thing.“

The book is divided into five parts: One for each album released thus far, and a first look at her poetry. In the preface, she mentions that she doesn’t exactly know what constitutes the difference between a song and a poem, except that she feels the latter to be more exposing without the music to carry her words. The poetry and random doodles and notes (you know they’re real because her handwriting was almost impossible to decipher in some spots, and some cringey grammatical errors were kept) were what I was most interested in, but reading the lyrics on their own, stripped from the grandeur of her voice and her often gospel-like, full-blown orchestral music, was a minor revelation on its own – I’ve been a fan since the Lungs days, but it took reading the lyrics printed out on a book page rather than an album booklet to fully appreciate that a lot of them really could pass for some beautiful poetry.

The various lyrics-sections include all of Lungs minus the two covers, plus the b-sides Swimming, Bird Song, Are You Hurting the One You Love?, and Falling, and the standard editions of Ceremonials, How Big How Blue How Beautiful (plus Which Witch), and High As Hope—reading them in succession really makes you appreciate her journey of growth, from sadness, through darkness, into a more mature and subdued kind of happiness, but you’ll also notice recurring themes, from the obvious (drinking crops up a lot all over the place, and Ceremonials is full of songs about water) to the more obscure (such as references to the pagan and religious). If you think her poetry will be as full of allusions and vague metaphors as her lyrics, you’re in for a rude awakening; the very first poem throws a mention of an “aborted threesome” at the reader—no sign of lyrical “bedroom hymns”. Her poems don’t mince words, there isn’t much to interpret because she bares it all, and as a result, they are obviously a lot more confessional and candid than her lyrics, although many seem to retain faint threads to songs—the most obvious such case was one of the poems (Oh You’re a Real Man) becoming a verse in Patricia.

I loved how a portrait of Virginia Woolf followed the lyrics of What the Water Gave Me, and that one of my all-time favorite Patti Smith pictures accompanied the lyrics to Patricia, one of my two favorite songs off the new record: She pays tribute to her muses, and it’s lovely to follow the threads of inspiration. I wish it had included all the lyrics to her own songs, more poetry, or at least more content like lyrics annotations, but despite being a very quick read, it still manages to provide an honest glimpse inside the mind of a passionate artist. Often praised for her incredible voice, I feel that her songwriting, which is equally noteworthy, is mostly overlooked; perhaps this book will make a difference, and expose her as the clever lyricist that she is.

“I make songs to tie people to me,
With a ribbon of fantasy around their necks
Such a beautiful bow
That I hold in my fist.
And will not let go.”

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The CIA's exploration of the occult was not limited to psychic abilities. The files also detail experiments on mind control using various techniques such as hypnosis, drugs, and psychological manipulation. These experiments aimed to understand if individuals could be controlled or influenced to carry out certain actions against their will. It is important to note that while the CIA invested time and resources into these explorations, the overall effectiveness of these techniques remains highly debated. Many within the intelligence community remain skeptical, asserting that these practices are pseudoscience and lack reliable evidence. Nonetheless, the release of these files allows the public to gain insight into the agency's curiosity and willingness to explore unconventional methods during the Cold War era. The documents shed light on the CIA's exploratory mindset and their desire to exploit any potential intelligence-gathering opportunities, regardless of how unconventional they may seem. Overall, the disclosure of these files on occult practices by the CIA reveals their interest in exploring alternative methods for gathering intelligence during the Cold War era. It provides an intriguing perspective on the agency's willingness to think outside the box and push the boundaries of conventional intelligence gathering techniques..

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