Latest / Man in America Podcast / Classic Rock’s Evil Roots: Satanism, the Occult & MK-Ultra

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Classic Rock’s Evil Roots: Satanism, the Occult & MK-Ultra · Man in America Podcast

• 0:13
  Speaker 1: What if the very songs you grew up loving weren't just music, but a tool? What if there's a darker side to rock and roll that connects the Beatles' sudden rise in America to JFK and MK Ultra mind control research and connects Led Zeppelin's darkest years to an occult ritual left unfinished in a house on the shore of Loch Ness. If you grew up loving classic rock like I did, this conversation might just change the way that you hear it. My guest today is Richard Serap, the author of Tales from the Rock and Roll Twilight Zone, which has amazing firsthand interviews with musicians, journalists, and people who knew music icons like Jimi Hendrix and The Rolling Stones up close and personal. Now we're not just talking about strange rumors and old legends.
• 1:02
  We're talking about research claims involving real institutions like the Tavistock Institute, real documented CIA programs, and this really dark pattern of tragedy that followed some of the biggest bands in history right after they got involved with the occult. This is the kind of episode that makes you wanna go back and listen to your favorite records with a completely different set of ears. Welcome to Man in America, a voice of reason in a world gone mad. I'm your host, Seth Hulhaus. This is my hidden history series.
• 1:40
  It's a series where we go back into the documented record of this great nation and the whole world and ask the questions that somehow never made it into our history books. For each episode, we're gonna take something that's hiding in plain sight, something you can look up, people and places, photos and records, things that you can see with your own eyes. And I'm not here to tell you what to think. I'm here to make sure that you've got the information that you need to think for yourself, because we know that we've been lied to about many things, and it's time to start asking the right questions. Now before we start, please hit that like button.
• 2:11
  It really helps this information get to more people. And make sure you subscribe and share us with someone that you think might need to hear it. And also, leave your thoughts in the comments. I love reading those. And remember, every episode is done as a podcast as well.
• 2:22
  So if you'd rather listen, just find us on your favorite podcast app. And for an Apple Podcast podcast, a quick review helps reach even more people. Alright. Let's get in this conversation now with Richard Serret. Mister Richard Serret, it is great to have you on the show.
• 2:38
  And I am genuinely looking forward to getting into this discussion because these are the kinds of topics that aren't just work for me. These are passion projects to understand the kind of stuff that you get to really focus on. So I'm really excited to have you here, and thanks for being here.
• 2:53
  Speaker 2: My pleasure, Seth. It's great to meet you.
• 2:56
  Speaker 1: So just kinda jumping right in. You just published this book right here. It's called The Rock and Roll Twilight Zone. And, it's well, it's got a lot of good stuff in here, which we'll which we'll be getting into. But, I think we could we could probably do 10 different shows just on one section of this book.
• 3:15
  I mean, it it's
• 3:16
  Speaker 2: it's I'm game. I'm game.
• 3:17
  Speaker 1: Yes. And and also, you know, as we were kinda talking before we started recording, it's interesting. So a lot of the audience that watches my show, they're they're of the the Beatles era, the '7 the sixties, the seventies. You know, my dad, I think, was born in '56. So I grew up around classic rock.
• 3:37
  You know, we had a record player, and he had this huge record collection. So whether it was Pink Floyd or Zeppelin or Frank Zappa, you know, he always had these records cycling. And and to this day, I've got this kind of sweet spot in my heart for, you know, the classic rock, you know, sixties and seventies rock. But I think that there's a lot of folks that see, especially post COVID, that there is this very diabolical agenda, and that there is some sort of small group of people that are ill intentioned, right, just to put it very lightly. Yet, they haven't made that connection to the massive social engineering, and you could almost say satanic campaign that started in, you know, the sixties and the seventies through the music industry.
• 4:26
  And so, I guess, before we jump in, why don't you just give us a little bit of your your background? And then and then we'll just kinda dive in and have some fun together.
• 4:35
  Speaker 2: Well, I worked in radio my entire adult life. I began as a producer for talk radio up at a 50,000 watt blowtorch station in Toronto, CFRB. It's been on the air since 1927, and I learned from some of the great Canadian legendary broadcasters. In 2000, I got an opportunity to do my own show. So I've been hosting radio programs.
• 5:03
  I gravitated naturally towards unexplained mysteries, asking, you know, the big questions, which I think ultimately are the only ones that matter. Yes, you know, we need to cover the federal budget and garbage strikes and all that, but there are people better qualified to do that, and it's just my heart's not in that. I've always been interested in the in the big questions quest pulling on threads, let's say. And did did a a television show back in 2011 for five seasons called the conspiracy show. We sold it Italy.
• 5:37
  In 2018, I created a podcast called The Rock and Roll Twilight Zone. I produced 40 episodes. It was kind of done documentary style. People have always been sort of on my case in nice way to write a book, and so I thought maybe I ought to do something a little bit more with the podcast. And so I took 16 stories from the 40 that I produced, transcribed them, preserved all the interviews with the experts and the journalists and the musicians, you know, people that knew Jimi Hendrix or that hung out with members of the Rolling Stones and so forth, preserved those, but just kind of beefed up the the narrative, around the interviews, gave it more of a literary cinematic style.
• 6:26
  And so that's tales from the rock and roll twilight zone.
• 6:30
  Speaker 1: So there we go. And so I guess, let's just let's start with, you could say, maybe the the sacred cow of of the people that were in the sixties and and seventies, kind of rock and roll movement, which was the Beatles. And, you know, obviously, I I wasn't alive during that time. I was born in the eighties. But as far as I understand it, they kinda swept through the nation and almost overnight became this just cultural phenomenon.
• 6:57
  Right? With, you know, young people lining up and, you know, packing concert halls and almost worshiping them. And it was this huge cultural shift that happened that felt probably organic. It it probably felt like, wow. They're just so popular, and I love them so much.
• 7:12
  And now they're on the radio, and the records are everywhere, and and the concerts are getting sold out. But there seems to be much more behind that. So, I guess, I'll hand it over to you, and you can start where you want to. But I guess the with the the question being, what was the driver behind the Beatles' success and popularity in America?
• 7:35
  Speaker 2: Well, I agree with you. They are a sacred cow, and I'm approaching this as a a huge fan. I lived and breathed the Beatles. I discovered them a little bit later. When I was in high school in 1979, I think I bought my first Beatles album from Sam the Record Man in in Toronto during a school field trip.
• 7:53
  So I I totally understand, you know, how this is kind of a sensitive area. So let me say this. I don't think the Beatles were winning participants in this engineering, if you will. I always I liken it to you know, if you go down into into a subway or even on the street and you'll see these incredibly talented buskers, musicians, and maybe you ask yourself, as I do often, why isn't that person famous? They're so talented.
• 8:22
  They're so good. I've never seen someone, you know, play instrument the way they do. Why aren't they performing at Carnegie Hall, or why don't they have a huge record deal? And and then you see some people that do make it to the top, and you ask yourselves, you know, why? Why?
• 8:36
  Why them? And and in not in every case, but in some cases, and I think perhaps with the Beatles and other members of the or other groups that were involved in the so called British invasion. And and I question whether it was a metaphor, the British invasion, or or whether we should take it more literally, an actual British invasion that swept America in 1964. But the idea is, I think, in some cases, the machine, let's call it, gets behind a particular group. It could just be the record company or an ANR representative from EMI in the Beatles case, or it could even go a little bit further.
• 9:15
  So for for many, many decades, I think we've come to understand that let's call them the elites. And and and the elites can be individuals who have more money than God. They can be institutions, intelligence groups, think tanks like the Tavistock Institute. They've recognized that if you want to influence society, if you want to perhaps even manipulate or steer a particular cohort, let's say the youth, teenagers, what's more powerful, culture or politics? So they arrived at the answer, and it's culture.
• 9:56
  I mean, we can sit down and listen to a three hour speech delivered on the Senate floor by Chuck Schumer, and probably it's not gonna do much for us. But a three minute pop song can have enormous influence. And look at what happened to the youth culture in America after the Beatles arrived in 1964. You can see almost a mirror image of the Beatles', let's say, cultural evolution or devolution, some might say. The length of their hair got longer, the clothes they wore, the way they started to question authority.
• 10:37
  The youth of America followed in almost lockstep with the Beatles, which begs the question, was this engineered? Was this by design? Again, not from the Beatles' perspective. They wanted what all young musicians want. They wanted fame, and they wanted to perform, and they wanted record deals, and and they wanted wealth, and they got all of that.
• 11:01
  But the people, the machine, let's say, behind the Beatles I go back to that comment about the the British invasion not just being metaphorical. We could go all the way back to 1781 when general Cornwallis, the British general, surrendered to Lafayette after the Battle of York, which was the decisive British defeat. The British supposedly losing the American colony. I say supposedly because it's interesting. It's always puzzled me how Cornwallis surrendered to a a French general, Lafayette, to George Washington.
• 11:34
  However, that's a discussion for another time. So the Beatles or sorry, the the the British lost control of their colony, and there is a certain school of thought that you could look through this prism at American history ever since 1781 all the way up to the present as an attempt by the British to reestablish control over their lost colony. You could look at the the war of eighteen twelve that way. You could look at the civil war where the British bankers were funding both sides in the civil war, perhaps in an attempt to rip the nation asunder. You could look at, you know, the certain economic catastrophes, the the crash of twenty nine, again, you know, the Bank of London and so forth.
• 12:18
  So this British invasion, including the Beatles and the Rolling Stones and the Kinks, were an attempt to reestablish control through culture. So instead of fighting with muskets and red coats, now the British decided they were gonna use Rickenbacker guitars and melody melodies and catchy riffs because they understood particularly the power of music and how certain chords, certain musical notes, certain melodies can and will bypass the intellectual mind and evoke certain emotions. Certain chords can produce melancholy. Certain chords can produce aggression. I mean, we know these things.
• 13:09
  The Tavistock Institute studied these things after the Second World War. So that's kind of the overarching theme of that first chapter, fab four or false flag.
• 13:18
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• 13:36
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• 14:13
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• 14:35
  So again, that's goldwithseth.com. I like how you summarize the elites, right, because it's and I don't necessarily like using the words elite because I don't think that they're necessarily elite from the point of being the best of the best, but it's for conversation's sake, it's a
• 14:51
  Speaker 2: good main And thing to
• 14:54
  Speaker 1: I think that, you know, even looking at the British and the Crown, you know, through my own research, I mean, the the Crown itself is very central to that elite, infrastructure in that pyramid. It's not necessarily the the the king that's wearing the crown, but the powers that be. It's the city of London. It's the the Vatican, the Washington DC. It's it's the three cities.
• 15:17
  It's But there's a lot of it that really is centered in the kind of underneath the British, what you call the British crown. And so, now even when you when you I'm glad that you mentioned the some of the different, you know, tunings or, chord progressions. You know, my wife is is a musician, and she's studied this stuff extensively, and she's come to me with different, you know, books and everything, but you understand just the power of sound, the power of, you know again, you mentioned certain chord progressions produce a melancholy feeling. Even the kind of different kind of bass beats. Right?
• 15:52
  There's a I think I think that she referred to it as the like, the devil's beat or something. There's certain Mhmm. A certain beat that she referred to that when you hear it in rock and roll music, and it was meant to almost induce, a sexual thrusting type beat that kinda got you moving in that way. And actually, so I have I'll I'll play a short clip here. This is, just, you know, as we're talking about this is at the Beatles concert in '65.
• 16:15
  Right? So if you wanted to take a quick look, this is again, this is the Beatles in 1960. And and so the reason why I wanted to play that though is that, obviously, to show them, but to show the crowd. And this is what you see. It's like looking at the early Elvis concerts, where you'd have the whole row of these young girls that were probably, you know, raised very conservatively as were the the cultural values at that time, all of a sudden obsessed with the thrusting of this man's hips.
• 17:07
  Or you see in the Beatles concerts, you see this you know, these young girls that were probably very well controlled and well behaved. During this concert, there's just an unleashing of just this madness, this behavior, screaming, and wanting to get closer. And and so I think that the you know, you're right though in saying, do you influence through culture or politics? And it was Andrew Breitbart who coined, you know, the idea that, you know, politics is downstream from culture. And so if you can if you can take control of the culture, it gives you immense power.
• 17:38
  And so and so when you're looking at the the Beatles, what are some what are some indicators or what are some information piece of information that would indicate that the Tavistock Institute was was involved, or that would kind of start to reveal some of these shadowy figures and agendas behind them.
• 17:59
  Speaker 2: Right. And and and I should point out, you know, there's there's no smoking gun document or photograph of some MI six agent handing John Lennon a guitar and saying, here, you know, go take back America. These theories, and I think, you know, some of the researchers that I leaned on in that first chapter have some, you know, some excellent ideas, including Nelson Thall, who is the last graduate student of Marshall McLuhan, the great media communications guru in Canada, of course, who coined the term the media means the message. And Marshall McLuhan believed that the arts were controlled by secret societies. And I we can substitute elites or MI sticks or the crown or the Tavistock Institute, if you will, for secret societies.
• 18:49
  But we do know the Tavistock Institute was founded shortly after the First World War, or perhaps towards the end of the First World War, and they were treating shell shocked soldiers returning from the trenches. But after the Second World War, the Tavistock Institute kind of reframed their mission or their parameters, and instead of treating shell shocked veterans or trying to heal, the psyche of an individual, they started looking at mass psychology and how to influence mass psychology or how to influence society.
• 19:32
  Speaker 1: Social engineering, right?
• 19:34
  Speaker 2: Social engineering through advertising and through culture, popular culture, including music. And there's also some academics who came from the Frankfurt School, and one of the names that pops up is, again and again, is Theodore Adorno. Not that Theodore Adorno wrote, you know, She Loves You, Yeah, Yeah, Yeah, or I Wanna Hold Your Hand, but he understand the power of music to, again, to bypass the intellectual mind. Theodore Adorno, again, was a Marxist, as many of the academics from the Frankfurt School were, and he actually hated popular culture. He hated popular music.
• 20:22
  He probably even hated what the Beatles were doing, which skeptics or critics will say, you know, it's ridiculous to suggest that Theodore Adorno was helping to, you know, engineer the Beatles. But I guess the counterargument is who better to understand the way that particularly the repetitiveness of popular music, and the Beatles, and those, you know, certain guitar riffs and harmonies and so forth, the repetitiveness, how powerful that can be. Who better to understand that than someone like Theodor Adorno? And the whole idea of this repetitiveness, we can find this in MK Ultra, for example. And there's something called psychic driving.
• 21:10
  And in the late 1950s, up here in Canada, in Montreal, at the Allen Memorial Hospital and McGill University, there was a CIA funded program that was led by Doctor. Ewan Cameron, and this has been proven in court. Victims were compensated for this, and Cameron basically was victimizing young women, most or all of whom were probably suffering from postpartum depression. So they came to the hospital, they came to the institute looking for for help. What Ewan Cameron and his aides did basically was dose, give these women massive doses of LSD, essentially wipe their memories, and then subjected them to this psychic driving technique.
• 21:58
  And that's where you put It can be a message, it can be musical notes, it can be just about anything on an endless loop. So they'd be playing this over and over. It's basically psychological torture, but it's also a way of fracturing the psyche, the psychic driving. And I just find it interesting, that technique of psychic driving, how it seems as if, almost as if that's been sort of repackaged, turned on its head, and offered up to society as popular music.
• 22:34
  Speaker 1: Yeah. It's an interesting because even as you're saying that, I'm hearing just these various songs, you know, kind of running through my head. Right? These repetitive songs, whether it's Beatles or, you know, Led Zeppelin or, you know, Boston or any any of these these, you know, various, these various, you know, bands. And, know, because I've I've interviewed so I I did a whole series called the Survivor Series, where I interviewed, people that were, you know, kinda came out of the MK Ultra programming.
• 23:05
  Not just MK Ultra, these people that were trafficked as, you know, they're part of elite satanic ritual abuse rings. They were you know, whether they were underneath under the Vatican or in other facilities, and, you know, hearing, you know, firsthand their stories about the the torture and the abuse. And there's one woman that talked about, as a child, they had this particular mechanism. It was like this spinning wheel that they would put a child on, and it'd spin them around and around, and they would kind of chant certain words, and there'd be certain lights and flashing. And I think oftentimes, there were there were drugs involved.
• 23:43
  And so, you look at some of these types of things that were happening. Right? And I'm familiar with the hospital you talked about up in Canada. You look at those types of things that were happening in these, you know, kind of padded rooms and underground facilities and kind of back wings of of hospitals and military installations. But then you also then look at the cultural phenomena of what happened, you know, starting in the sixties, especially then with the introduce the introduction of LSD and the proliferation of the use of LSD in combination with with these.
• 24:17
  And you go watch some of the earlier, you know, Pink Floyd concerts, and you look at the light shows, and, you know, everyone's all, you know, drugged out of their minds with the light shows. And Pink Floyd, I think, was is a particular you know, they were one my favorite, you know, bands growing up. I listened to them now as an adult, and you can see it's like even just re reading some of the lyrics, it's like, oh, gosh. There's there's, like, you know, Comfortably Numb, for instance. Like, there's a that's a very powerful psychological song, whether it's the guitar riffs, the the sound to it.
• 24:47
  It's it's very powerful. And so, basically, what you're kinda saying is that they took this knowledge of human, you know, brainwashing and and and being able to fracture the mind, which is a key part of MK Ultra programs, And they basically then used that and used, I guess, the music as the medium for that to carry that same programming to the masses. Drug them up, give them the music, give them the light shows. Right?
• 25:13
  Speaker 2: Right. Exactly. And and to what end? And, again, to to help to to subvert an entire culture, the the American youth, to lead them, you know, to start questioning authority, which the Beatles music, you know, certainly did at a certain point, to normalize drug use, to question other institutions, including the family. So this, according to this theory, was the objective.
• 25:42
  Now the other important thing, we mentioned LSD, and this speaks to the timing of the British invasion in 1964, and the Beatles performed on the Ed Sullivan Show in '19 in in February 1964. 73,000,000 people watching. That was one in every three Americans were glued to the television that night. But we mentioned the LSD, and that is sort of a trauma. And we know that a lot of the scientists that were exfiltrated into The United States after the Second World War through Operation Paperclip wasn't just they didn't want Wernher von Braun and rocket scientists, they also wanted these scientists that were working on MK-Ultra in Germany.
• 26:28
  They brought them over, and they understood the importance of trauma in fracturing the psyche. Once you fracture a psyche today We used to call it multiple personality disorder, but you can compartmentalize the mind, and certain parts of the mind can only be accessed by, let's call them a handler, and they may have trigger words or sentences or music or, you know, maybe a snippet from a film like The Wizard of Oz. So what was the trauma in 1964? Well, America was only three months removed from the assassination of John F. Kennedy.
• 27:03
  And that there's no question that traumatized not only the youth, you know, many many many Americans were traumatized by that. Even if you didn't particularly, you know, vote Democrat, the idea of a president being murdered in plain view that way in such a grotesque fashion was a trauma. And so, was trauma followed by the psychic driving and the MK-Ultra techniques and the brainwashing that the beetles brought to those shores? I think you could argue, yes. Again, Beatles not necessarily aware of that, but that's what happened.
• 27:43
  The other thing I wanted to mention too, if I could, was we we were talking about the power of of music. During the second World War, the American survival during the war and national security was really dependent on factory out industrial output. And so, what was developed was the Muzak system. Now, became familiar with Muzak in the seventies, elevator music we used to call it, or when you were shopping, you would hear Muzak. It's kind of this background instrumental music that many of us maybe didn't think we were paying much attention to.
• 28:20
  But Muzak was developed initially to essentially influence production from workers. They understood again that musical notes, certain musical notes and musical passages can affect your nervous system. It can affect your heart rate. And yes, it can affect blood pressure. It can affect your mood, of course, and it can affect output production.
• 28:48
  And so, had audio programmers who were producing music specifically for that purpose to to, to motivate people to produce more efficiently, to produce faster, to produce better products.
• 29:01
  Speaker 1: Interesting. And that makes sense. It makes perfect sense. One thing I wanted to to say about JFK, and and the kind of the kickoff for that, when the Charlie Kirk assassination happened, and I and I watched that kind of post within the, you know, the day or two following. You know, Twitter has the ability to put a kind of cover on something that says graphic warning, you have to click it, right, to to view it.
• 29:30
  If there's a fight that gets a little bit too violent, it's very common that you'll see that on Twitter. Right? They have they have those filters. Yet, I on my my feed on Twitter, over and over and over again, you witness just the the blood splurting out of Charlie's neck. You and and, you know, for a lot of younger people, he was their JFK.
• 29:51
  I mean, he was a Mhmm. He was the first kind of, you know, cultural icon that really spoke to them and really really kinda hit them in a way that moved them. And you saw the response in his events that he did and everything. And so, without getting into the ideas of who was behind it or what was going on, just purely looking at the actual, effect of what happened, I looked at that as as a mass trauma event, as a it really is an m is, like, really kind of the the MK Ultra trauma event that was targeting the younger people that many of them weren't alive when nine eleven happened. You know, they didn't have that event.
• 30:31
  So it was like a generational trauma event, and that that just that's how I view it. And personally, I think that it was intended to be that way. I think that was part of the planning of it to create that specific effect on society.
• 30:43
  Speaker 2: Seth, I think we're on the same page. Exactly. I think you could look at nine eleven, the same. Some would go further and suggest it was an occult ritual. Yeah.
• 30:52
  That that mass trauma and I mean, since nine eleven, we have really been subjected to one mass trauma after after another. Or you could go back even further, I mean, but, you know, JFK and certain researchers will even look at the architecture of Daley Plaza or Nineeleven and, you know, overlay certain diagrams and and and so forth and say this was an occult ritual, and you can and it's and it's revealed by the architecture itself and the play of the victim and so forth.
• 31:25
  Speaker 1: Even Charlie Kirk, if you look at the overhead views of of the overhead views, I've seen the same thing. People are analyzing the architecture and the shapes and the geometry of where he was where he was shot, you know, very similar.
• 31:40
  Speaker 2: Right. I mean, this is fascinating, and I I know we're we're not this obviously not covered in tales from the Rock and Roll Twilight Zone, but it does harken back to the assassination because, I mean, I believe that was a conspiracy, it was a cover up, the same with Charlie Kirk, and it's like the same playbook is being rolled out, but it's not as effective. You know, in 1963, television was still a novelty. People believed more or less in authority. Then after the Kennedy assassination, when people started throwing around the word conspiracy, that's when we really had Operation Mockingbird with the infiltration of media by the CIA to discredit conspiracy theories.
• 32:28
  And particularly when no one really bought into the the Warren Report, the Warren Commission Report, that said it was one gunman, Lee Harvey Oswald. Well, it's like they're using the same certain influencers call it FedSlop. I think that's an appropriate term. Yeah. But they're using the same playbook, but they haven't updated their mindset because we're now living in an age where people don't watch the mainstream media anymore.
• 32:54
  We are no longer reliant upon three television networks, and the New York Times or the Chicago Tribune. We're now getting our information from other from other influencers. So these this and then they have sort of reinstigated, I think, operation Mockingbird with the Charlie Kirk case. Oh, yeah. But it's not flying.
• 33:17
  It's not working this time.
• 33:18
  Speaker 1: Yeah. I I I mean, even the magic bullet. Right? How the bullet act in this way. Right?
• 33:24
  The the the man of steel vertebrae, the the lone gunman, you know, all the different you know, and similar to the Butler, you know, the Butler assassination attempt. I saw a lot of the same playbook, that you were seeing there. And so but, yeah, I do think that it's not working nearly as well.
• 33:44
  Speaker 2: No. And so Mask has slipped.
• 33:47
  Speaker 1: Yes. And and so, you know, looking at so so far, you know, you know, we we've talked about the beater the Beatles and the British invasion. Right? And the effect on the culture. Right?
• 34:01
  And which is which is that's easier to see that level of it. It's like, oh, okay. Yeah. The culture of America drastically changed in from the sixties on. Even the Vietnam War, lot of the protests.
• 34:11
  A lot of those were actually very organized, similar to the modern BLM riots or everything. You you had your, you know, weather underground, or you had various, you know, organizations that could, you know, create a protest and get everyone pulled into it and create these mass social movements. But that's just one layer, because when you start looking beneath that, you know, you mentioned, some of the more ritual, a ritual sacrifice, you know, these kinds of of of issues. And so, you know, in your book, you go into this. You you get into Alastair Crawley.
• 34:44
  You get into some of the more darker aspects of this. And that's where I think it's you know, for someone that looks at the Beatles and that they say, well, okay. I think I can agree that, you know, they were being may potentially being used to subvert the American culture. That's one thing. But then if you start saying, well, a lot of these bands were also used to bring in satanic messaging and satanic agendas and to to actually literally, in in essence, cast spells upon the people, right, that were participating and and and and listening to this music, it's a whole other level.
• 35:18
  And so where how do you frame this this especially the sixties and seventies movements from the perspective of secret societies, the occult, Alistair Crawley merged with the intelligence agencies and and these operatives that created this?
• 35:40
  Speaker 2: The the second section of the book, which is four chapters, is called cursed cords, and I discuss occult influences. I discuss actual, you know, curses and omens. And I'm looking at this from the perspective of, you know, an Orthodox Christian. I tend to put things through the biblical lens. I do believe in an unseen world.
• 36:00
  I believe in demonic influences. I do believe in a Luciferian agenda. And in terms of sort of this marriage between marriage of, you know, rock and roll and the occult, or some might say, you know, witchcraft or black magic. Sometimes in in truthfulness, it's simply marketing. For example, and I don't think Ozzy Osbourne, who we just marked the the first anniversary of his death, I don't think he was a Satanist.
• 36:32
  Now the the cofounder of Black Sabbath, Geezer Butler, did dabble quite seriously in the occult for a time. He notoriously painted his entire apartment in black with symbols of the inverted cross, which you can't get much more satanic than that, all over the apartment. And he was he was definitely influenced by the writings of people like Dennis Wheatley, wrote a book called The Devil Will Ride, and, yes, they were also influenced by horror movies. That's where they got the name Black Sabbath. That was a 1969 Boris Karloff film.
• 37:08
  Sometimes, though, in Ozzy's case, in I think it's just marketing. But what is the distinction, you know, between actually buying into these unseen spiritual forces or just kind of going along for the ride? I think the distinction is much thinner than we think. I think even if you're you're doing it for marketing to be branded as, you know, oh, they're the bad boys of rock, or their parents are gonna hate them because, you know, they're thumbing their nose at the organized religion and so forth. Even if you're just going along for the ride, I think it's an invitation.
• 37:49
  And I think that's what happened, for example, with Led Zeppelin. Jimmy Page was an absolute devotee of Alastair Crowley. He opened a bookstore in London, I believe it was called the Equinox, which had all sorts of Crowley material. And he had first edition books by Crowley and original manuscripts. If there was anything that Crowley produced, he would try and buy it.
• 38:19
  He believed in the occult influences and the power of ritual magic. Not stage magic, ritual magic. In fact, he went so far as to buy Alastair Crowley's house, Balskin House, which Crowley purchased. It was on the the Southeast Shore, I believe, of Loch Ness Monster Loch Ness Monster. Loch Ness, the Bolsken House.
• 38:44
  It was isolated. He bought it there because he wanted to perform a very elaborate occult ritual called the Abramelin Operation. And it required complete isolation, it required solitude, it required months of discipline, fasting, and the the endgame of this operation was, to summon sort of the ultimate personal guardian angel, is what he would call it. I would call it, a demon.
• 39:16
  Speaker 1: And Here's Page at the house itself.
• 39:19
  Speaker 2: I'm sorry?
• 39:20
  Speaker 1: Oh, sorry. I've got the Oh, there's
• 39:21
  Speaker 2: Jimmy Page. Yes. Yep. Yeah. That's Bullskin House.
• 39:26
  Well, Alastair Crowley was in the midst of performing this operation, and part of it is before you all you summon the ultimate demon, if you will, there is a series there's a series of steps where you you summon I think it's an initially, it's three lower demons, and then six, and then nine, and then 12. So he was working his way through this, and he was supposed to bind them, these demons, each time. He suddenly gets called away to Paris. And according to the legend, if you will, he didn't properly bind these spirits, and he left. Flash forward to nineteen seventy something, and Jimmy Page has an opportunity to buy this place, Bolluskin House, and he jumps at the opportunity.
• 40:23
  Now I should point out that that during Crowley's time there at Bullskin House, all sorts of strange things started happening. There were gardeners who worked on the property who one in particular, who was at most a teetotaler. Suddenly, he became a raging alcoholic, and he I believe he killed his wife, stabbed his wife. There were a number of other tragedies. There was a a local butcher in town who upon receiving a note from Alastair Crowley, took a meat cleaver and deliberately chopped off his own hand.
• 40:59
  I mean, it's a it's a fairly lengthy list of of misfortune and tragedy that that took place at that house. So Jimmy Page had a he hired an agent or a manager for the for the home while he was on the road touring with Led Zeppelin, and this individual also reported strange goings on at the house. These massive chairs, massive wooden they were almost thrones in the in the dining hall, would suddenly, you know, in the middle of the night, sort of rearrange themselves or be stacked one up on top of the other. Very weird things happening. At at some point, Jimmy Page allegedly summoned the other members of the band, John Bonham, of course, Robert Plant.
• 41:41
  John Paul Jones took a pass, apparently. He decided he didn't wanna get involved in this, but they performed another ritual. And each of the members of the band either were assigned or were invited to create their own sigil, kind of a an occult, if you will. And you can see those on Led Zeppelin three. In fact, none of the members of the band, I don't think even the name Led Zeppelin appears anywhere on the record, but the sigils for each member of the band are there.
• 42:14
  And and the other members of the band didn't necessarily believe they had any power. John Paul Jones clearly didn't want anything to do with it, but but Jimmy Page believed in in the in the power of these sigils. He also embossed in the on the vinyl.
• 42:31
  Speaker 1: So this is it right here. Right?
• 42:34
  Speaker 2: Is that yes. Yes. I believe that's Led Zeppelin three. Yes. Yeah.
• 42:40
  And somewhere on there, perhaps on the inside, it's Led Zeppelin four. I thought it was Led Zeppelin three, but somewhere you'll see the sigils.
• 42:48
  Speaker 1: Okay.
• 42:49
  Speaker 2: On the the cover of Tales from the Rock and Roll Twilight Zone, I've got kind of a collage of images, and I've got a Led Zeppelin or not a Led Zeppelin, a Zephyr with their sigils, or is it a oh, it's a pentagram that I put on there. Anyway, on the vinyl itself, there's a famous saying from Alastair Crowley, Do thou will.
• 43:20
  Speaker 1: This is them right here, right? Are these the sigils?
• 43:23
  Speaker 2: Yeah. Zoso is Jimmy Page. That's his sigil. No one really quite knows what Zoso means. Some believe it's a demon, the name of a demon.
• 43:34
  Let me see. I believe the three interlocking circles, I might that might be John Bonham. The feather, I believe, is Robert Plant, and the the one in the upper right hand corner, that, I believe, is John Paul Jones. I might have that wrong. But, anyway, those are their their four sigils that were said to carry occult or ritual magic power.
• 43:59
  And the the the motive behind this was, you know, to ensure that Led Zeppelin would achieve, you know, maximum success. Well, what happened a short time later is a series of misfortunes and and tragedies be beset the band, including, of course, Robert Plant on vacation in Greece. He and his family are involved in a near fatal axe car accident. Robert Plant was injured. It took him a while to recover.
• 44:25
  I believe he was confined to a wheelchair for a period of time. Then, of course, a short while later, while they're on tour, Robert Plant's young son, Carrick, suddenly becomes ill and dies shortly thereafter. Horrible. He was three or four years old, maybe five. Jimmy Page descends into spirals downwards into heroin addiction.
• 44:52
  Several members of the sort of the entourage die in car accidents, fall down stairs. John Bonham, of course, in 1980, early nineteen eighty, drinks himself to death, sadly. And that, of course, completely unravels the band. So, for those who don't believe in an unseen world, who don't believe in curses or ritual magic, I suppose they could look at that as just a series of coincidences. I don't look at the world that way.
• 45:26
  Speaker 1: It's almost like you could make sense of it, and and and I'm not a practicing warlocker, you know, and I don't know much about these things. Right? But in my limited, you know, understanding, there's always an exchange that happens. It's it's not just these other entities, demons or Satan or Lucifer will just say, okay. I'm gonna make you famous and go have a great life.
• 45:49
  It's always an exchange, which I think is very common. You see a lot of, you know, celebrities or people that their, say, firstborn child had a mysterious death. You know, there's there's a lot of, you know, different people where people have speculated, like, was that a sacrifice to get that level of power? And and these are stories as as old as as time. You know, these are the you know, throughout the bible or throughout historical legend and myth, you have these exact same stories of of, you know, you must make the ultimate sacrifice to gain the ultimate.
• 46:21
  And so it you know, looking at that series of of accidents that happened, it makes you wonder if well, it's like you gotta you gotta pay the piper. Right? If if you want the fame, you want the success, it's it's gonna cost you.
• 46:34
  Speaker 2: Right. The Faustian bargain, as you say, we've been writing about that well. Let's see. Philip Marlow, I think, wrote about Faust in the fifteen forties, Goethe, of course. And I think we've been seeing it play out, well, before Faustian Bargain, but it's been part of the public consciousness, I would say, for at least five hundred years.
• 46:59
  And yeah, think we continue to see it out. I think people in measure make our Faustian bargains. I write about, although it's not strictly rock and roll, the curse of Robert Johnson at the crossroads, that took place in the 1930s, questioning whether or not this legend of making this literally a deal with the devil so that he could become king of the Delta Blues, you know, is it myth? Is there some truth to that? He alluded to it.
• 47:32
  He never denied that he had made this deal at the crossroads and learned to play the way he did after one year earlier, before disappearing for a year. One year earlier, he was mediocre at best, and he used to hang around a legendary bluesman by the name of Sun House, who eventually chased Robert away because he was just becoming annoying, and he couldn't play, really. He disappears. A year later, he reemerges as this magnificent virtuoso, and Sun House immediately came to the conclusion. He must there's no other explanation.
• 48:11
  He must have made a deal with it.
• 48:12
  Speaker 1: If you if you look at the lyrics to this, even, this is for Crossroads. Right? Early this morning, when you knocked upon my door early this morning, oh, when you knocked upon my door, and I said, hello, Satan. I believe it's time to go. Me and the devil was walking side by side.
• 48:28
  Me and the devil, oh, we was walking side by side, and I'm gonna beat my woman until I get satisfied. She said, you don't see why that I would dog her around. Now, baby, you know you ain't doing me right, don't you? She said, you know, okay. Yeah.
• 48:41
  You don't see why. Oh, that's that I would be a dog around her. It must be that old evil spirit so deep in the ground. Says, you may bury my body down by the highway side. Baby, I don't care where you bury my body when I'm dead and gone.
• 48:54
  You may bury my body, oh, down by the highway side, so my old evil spirit can get a Greyhound bus and ride. I mean, it's, I mean, that's the thing is that that, you know, if if you're looking, this stuff is all out in the open. Right? Whether it's something about, you know, like, they have to disclose this stuff. Right?
• 49:13
  They're they're they're kind of some sort of cosmic or law that they're forced to kinda show people what they're doing. But you can see and even there I mean, there was, an interview. I think it was it was, with Bob Dylan. Remember that there's remember the interview where he he he was kind of alluding to the fact that he that he'd sold his soul to the devil. Right?
• 49:34
  Speaker 2: Yes. Yes. I I believe that was might have been with Ed Bradley, sixty minutes, in that interview. I can't say for certain, but it that that rings a bell. I recall that.
• 49:46
  Speaker 1: Actually, I'm gonna I'm gonna pull that up real quick, because I think it's it's it's worth, you know, watching.
• 49:52
  Speaker 2: I'm I'm I'm just in, in awe the way that you're able to pull up these pieces of media and insert them so seamlessly.
• 49:59
  Speaker 1: Oh, well, my my wife, she got tired of being my live producer. So she said, I'm gonna set it up for you so you can just you can do it yourself. So I've got in my studio, I've got maybe 15 different monitors all around. I've got five different computers that all joined together, and I've got all these little, kind of little buttons I can press that are preprogrammed. So it's kind of like
• 50:23
  Speaker 2: Very impressive.
• 50:24
  Speaker 1: The one man band.
• 50:25
  Speaker 2: Very impressive.
• 50:26
  Speaker 1: So, actually, yeah, here this is it right here. I'll play this real quick. This is, it's about thirty seconds. Oops. Let me Here we go.
• 50:42
  So this is it right here. This is the interview with Bob Dylan on, I think sixty minutes, you said.
• 50:48
  Speaker 3: Why do you still do it? Why are you still out here? Well, it goes back to the destiny thing. You know, I made it to bargain with it, you know, a long time ago, and I'm holding up my hand. What was your bargain?
• 51:02
  To get where I am now. Should I ask who you made the bargain with? With with with with, you know, with the chief, chief commander. On this Earth? On this Earth and in, and then in a world we can't see.
• 51:19
  Speaker 1: I mean There you go. I mean, you could say maybe if he was early in his career, as you mentioned with Ozzy Osbourne, maybe it was some sort of marketing thing. But he's well in to you know, at that time of his interview, he's very late in his career. There's no incentive for him to to create some new marketing spin. And you could see how he even responded to that when the guy was asking, well, who with?
• 51:42
  And he's, yeah. You know, the, the chief commander. Right? It's Mhmm. So
• 51:48
  Speaker 2: Yeah. Who rules this Earth? We know. It's Satan. Yeah.
• 51:52
  And you have to wonder why, you know, he's still out there. He's 85 now, I believe. 85 years old and still performing like Bob Dylan's never ending tour. Like, why is he doing that? Is because once he stops and he passes on, the the debt must be collected perhaps?
• 52:13
  Speaker 1: Yeah. I've heard theories like that. Right? That what is when he stops doing it, his life is over, basically. Like, that's just that's a condition.
• 52:22
  And, and so, you know, when you look at this, you know, you could say demonic influence within music, you know, you mentioned, you know, how how in many ways that the the music, it it affects you at a very deep level. It affects you at a cellular level. I mean, it's it's a very visceral thing that you you can feel. But there's also the subliminal nature to it as well, and that's a whole other aspect of it, which, you know, it's kinda like if you're you wanna quit smoking and you're listening to the, you know, the audio, the tape recording at night and and you fall asleep to it. You know, if you get into hypnosis or these things, you know, you know that there's there's really, there's multiple parts to to even to your mind and my mind.
• 53:10
  Right? We have the subconscious, and we have these these drivers that are, you know, driving a lot of our actions that we're not aware of. Yet there is a way I imagine the Tavistock Institute's extensive research into this, as has, MK-Ultra, you know, intelligence agencies and whatnot, that there are ways to influence people subliminally. Right? And so when you get into, say, some of the Zeppelin songs, you play them backwards, and you have these other messages where you hear you hear these things within the songs.
• 53:39
  What do you have to say about that? What's your research shown you about some of the subliminal messaging within this kind of music?
• 53:45
  Speaker 2: Well, I would say most of the the power of of music in terms of influencing happens at the subconscious level. The conscious mind is, you know, the the tip of the iceberg. It's what lies beneath, obviously, that these elites, let's call them our secret societies, if you're more comfortable with that, or some might say the Illuminati. That's what they're interested in. What lies beneath, and how do we manipulate that?
• 54:14
  There's a chapter in the first segment or the first section of the book on the Beatles' Enigma. It's it's about the the Paul is dead legend, which continues to have legs sixty years later. And this this started, you know, before the age of social media, decades before the Internet, decades before social media, and yet it took off like a wildfire that Paul McCartney was killed in a a car crash in November 1966, replaced by a body double. And then the Beatles proceeded to leave breadcrumbs on their album covers like Sgt. Pepper, which is laid out like a funereal scene, Abbey Road, but also with backward masking.
• 54:53
  And a couple of examples, Strawberry Field. Strawberry Fields, if you play a certain section of that backwards, if you don't your stylus, your needle, you might hear John Lennon say, I buried Paul.
• 55:07
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• 56:08
  Speaker 2: In another song, I believe it's it's at Revolution Nine, we hear Paul saying or John Lennon say let me see. What was it? Oh, turn me on dead turn me on dead, Ann. I think I have that right. Maybe it's the inverse.
• 56:24
  Turn me on dead man. I buried Paul. Lenin later said, I didn't say I buried Paul, I was saying cranberry sauce. Yeah, right. I understand how pareidolia works.
• 56:34
  Sometimes, you know, we hear what we want to hear and we can't unhear it, and our brain is wired to look for patterns and so forth. But in this case, those those clues were real. I now I spoiler alert, I don't believe Paul McCartney died in November 1966 and was replaced by a body double, Because in order to believe that, you have to believe they found someone who looked remarkably almost identical to Paul McCartney, but also was a left handed bass player, but who was arguably more talented than the original. If you look at Paul McCartney, pre '66, yes, he wrote Yesterday, arguably, you know, the most covered song in popular music history. But if you look at the body of work after '66, which would be attributed to the faux Paul, It's even greater.
• 57:21
  You know? Hey, Jude. Let it be. The long and winding road. He's worked with wings.
• 57:25
  All of his solo work. So I don't believe that, but the clues are real. Were the clues part of some psyop, psychological operation, to see how they could steer and manipulate and influence the culture. You had in '69 when this legend broke, and it started on a radio station in Detroit hosted by Russ Gibbs, a DJ, receives a call from a student from the University of Iowa, I I believe, who'd read an article in their student newspaper outlining all these clues, and it took off from there. Then the the legend went to WABC in New York, and Robey Young was a DJ.
• 58:07
  And this was a blowtorch of a radio station, WABC. It reached something like 30 some states. And Roby Young suspended his music format to take calls live on the air as his students were or calders were telling him about all of these clues, Roby Young was actually fired either live on the air for breaking format or shortly thereafter. But, again, that's how this legend started. And and since then, you know, people have looked at forensic photographs of Paul McCartney with his girlfriend at the time.
• 58:45
  Was it Mary Asher? Jane Asher. My apologies. Jane Asher. Look.
• 58:51
  Here he here he is with Jane pre 1966, and he's only a couple inches taller. Here we are post 1966, and he towers above her. It's not the same Paul. There were voice print analysis performed, and one researcher in Miami said he looked at three separate songs, one pre '66 and two post '66. They he said and these voice prints are supposedly so unique.
• 59:18
  They're like your fingerprints. He said they were sung by three different people. So were there three different poles? But these clues are are real. The backward masking, the messaging was real.
• 59:31
  Was it was it part of a psyop? Was it clever marketing? I think it was I think it was the former. I think it was a psyop and a very successful one because we're still we're still following our noses looking for clues.
• 59:44
  Speaker 1: Well, I mean, in it you know, when you start looking at this from the framing of these institutions at MK-Ultra, maybe they did kill him. But what that meant was that they killed the part of his mind that was him, and they put someone they they had a different, entity or or or personality that they put in there. As we know, they even remember, you know, back in college, looking was fascinated with much with, multiple personality disorder, where you can have multiple personalities that you could have one personality that, say, drinks a fifth of vodka and gets just unbelievably drunk. The next personality is not drunk. You'll have one personality that's allergic to bees.
• 1:00:28
  The other personality is not allergic to bees. Like and I remember reading all these different studies on this and thinking, this is really fascinating because this really it kind of breaks a lot of the conventional ideas of how the body and how the mind work that, or one personality can speak a fluent not just a fluent language, but a fluent language that's been gone for a thousand years that, like, that the other person that can come in and speak.
• 1:00:53
  Speaker 2: So One personality is an expert marksman and can fly Yes. A Bell helicopter, but the other ones have no knowledge of that.
• 1:01:01
  Speaker 1: Exactly. You're you're absolutely right. And so but I wanna get into the just the the idea of the deaths. Right? And this is another thing that you see.
• 1:01:11
  There's a lot of different ideas, right, about, okay, like the Twenty Seven Club. You know, were these people, you know, sacrificed? You know, have, know, Jimi Hendrix, Janis Joplin, Kurt Cobain, Jim Morrison. You have you have this extensive amount of people that just died. Now, you could also say that being a rock star is a high risk, profession, and that you're exposed to incredible amounts of drugs and, you know, things that might lead to early death.
• 1:01:40
  And so, you know, I'm sure some just got you know, they did an eight ball of coke, and then they shot up some heroin, they never woke up. Right? But there's a lot of other really suspicious stuff. And I've heard, you know, ideas that, you know, well, look at look at Britney Spears as an example, that, well, around mid twenties or so is when a lot of the programming starts kind of breaking down. And so that's why they start kinda acting more you know, they start acting a little more crazy because a lot of their MK Ultra stuff is starting to just open up a little bit, or it's they're having more things coming back, maybe more memories of what happened when they were younger, and then they have to be killed because of it.
• 1:02:19
  But when you look at this because I know you have a whole chapter or a whole section of your book getting into Hendrix and Cobain and some of these other deaths. How how do you make sense of that?
• 1:02:30
  Speaker 2: The that section of the book, pardon me, section three is called killer cords, Darkest Secrets of Rocks, Fallen Stars, and I reopened these cases. In the Jimi Hendrix case, we have a controlling manager by the name of Mike Jeffrey, who was in the British Intelligence Corps. He was an assassin. He was a killer. He served in the Suez Crisis in 1956.
• 1:02:59
  He was intimidating, so he was involved and still had no doubt contacts. You know what they say, like with the CIA, once CIA, always CIA. I think it's the same with MI6 or MI5 or whatever group he was with. That's unclear. But he also employed what I would consider to be sort of MK-Ultra type techniques in managing his cash cow, Jimi Hendrix.
• 1:03:25
  He would physically exhaust Jimi. If you look at his tour touring schedule, they really made no sense. They weren't done in a logistical geographical manner. He had him crisscrossing the country, one show on the East Coast, one show on the West Coast, and it's crazy when you look at it. And then he began to understand what he was doing.
• 1:03:46
  He was wearing him down psychologically, emotionally, physically. He realized Jimi Hendrix realized that this was what was happening. Those people close to him. And I interviewed Juma Sultan. Juma Sultan was a percussionist.
• 1:04:03
  He played the congas in Jimmy's band at Woodstock. By this time, the Jimi Hendrix experience was no more. Noel Redding and and Mitch and his drummer, Mitch, now a senior moment, had left the band, and it was Jimi Hendrix, Juma Sultan, Billy Cox, and and some others, and they were called Gypsy Sun and Rainbows. That's what they that's the band that performed at Woodstock when he did the Star Spangled Banner. Juma Sultan told me, you know, they were they him and his friends, they sat down with Jimmy and said, you know, why do why do you hang around Mike Jeffrey?
• 1:04:39
  He's no good for you. He's trying to push us out, and he's he's stealing from you, and he's and he's trying to run you into the ground. So Jimmy was considering canceling his not considering. I think he'd made up his mind. He was not going to renew his contract with Mike Jeffrey.
• 1:04:54
  Mike Jeffrey understood that. And Mike Jeffrey also took out a a life insurance policy on his client, Jimi Hendrix, worth a lot of money. And which takes us to September 18 at the Samarcan Hotel in Notting Hill, a very posh neighborhood in London, where Jimmy was staying with his girlfriend at the time, Monica Daneman. He just performed at the Isle of Wright Music Festival, and after that, what turned out to be his final performance in Germany at a music festival. And Monica Daneman wakes up very early in the morning of September 18, finds Jimi Hendrix unresponsive.
• 1:05:33
  She maintains that he took nine barbiturates to help him sleep, supposedly, and then washed it down with an enormous amount of red wine. And the interesting thing about Monica Daneman is her timeline and her testimony changes repeatedly over the years, really up until her death. But according to an ambulance attendant, after they received the call from Monica Daneman, they arrived at the Semarcan Hotel, went into the apartment. There was nobody there except for Jimi Hendrix, who was unresponsive and on the bed. And it appeared he had asphyxiated on his own vomit from barbiturate poisoning.
• 1:06:21
  They took him to St. Mary Abbott's Hospital in London. The attending physician, Doctor. John Bannister, tried to revive him for about thirty minutes to no avail. Again, he noted the vomit.
• 1:06:34
  Apparently, he'd asphyxiated. But he also noticed the red wine was in Jimmy's hair. It was in his clothes. His his clothes were soaked in red wine, and it was in his lungs. It wasn't in his stomach.
• 1:06:50
  Wasn't in his blood. It was in his lungs. And he commented at the time and for years after, his immediate impression was, and he didn't even know who Jimi Hendrix was at the time, this person had been drowned in red wine. Now today, we call that technique waterboarding. That's something that Mike Jeffrey would have been familiar with.
• 1:07:13
  And so Mike Jeffrey cashed his his life insurance policy on Jimmy, as did the record company, of course. But that's typical for a record company to have a life insurance policy on one of their artists. And he paid off his debts, Mike Jeffrey did, to the mob, and they were considerable.
• 1:07:32
  Speaker 1: Interesting. Almost as if you could imagine someone maybe holding him down, forcing a handful of pills into his mouth, you know, kinda holding his you know, pouring wine into there so you've got no choice but to start. Yeah. And what Right.
• 1:07:47
  Speaker 2: Why did Monica Danneman just get up and leave? Yeah. She later said, oh, I went out for a pack of smokes. Did she leave the door unlocked so that the, the would be assassins could enter quietly, perhaps. Perhaps.
• 1:08:00
  Speaker 1: It's like it's Hotel California. You can enter, but you can never leave. Right?
• 1:08:04
  Speaker 2: Yeah. And and how how would you cover something like that up? You would probably need the help of some intelligence institutions, and Mike Jeffrey certainly had those. In fact, in I believe it was in January, February, early nineteen seventy, Jimi Hendrix came to perform here in Toronto and landed at the airport, and they found, the airport security found, drug paraphernalia in his suitcase. Now, Jimmy supposedly had been clean for some time at this point.
• 1:08:37
  He turned in astonishment to his then girlfriend, Kathy Etchingham, and said, come on, you know, this this isn't mine. I I don't use anymore. And she agreed. She insisted this wasn't Jimmy's. He was facing a twenty year jail term.
• 1:08:50
  You know, 1970, here in Canada, we didn't look at drug use the same way. Now it's, you know, it's it's pretty well legal to use on the street and in children's playgrounds. But back then, it was a serious, serious offense. In comes Mike Jeffrey, like a knight on a shining armor, and springs Jimi Hendrix. He gets him off, or at least he claimed credit for it.
• 1:09:14
  Again, was that his was his his in his his connections in the intelligence group? But what it allowed Mike Jeffrey to do was to say to Jimmy, see, without me, you're nowhere. You're you're gonna be like a lamb thrown into the lion's den. You need me to rescue you. He also staged a kidnapping.
• 1:09:31
  Jimi Hendrix was in New York. He got lured. This was before he was clean. He got lured away from the club for with promises of the best heroin and, or cocaine that you can find. He ended up being kidnapped and held in an apartment somewhere.
• 1:09:45
  They called supposedly Mike Jeffrey demanding a a huge ransom. Jimi Hendrix or sorry. Mike Jeffrey called his fixer in New Jersey and told him to bring his mob friends from New Jersey. Curiously, Mike Jeffrey knew exactly where Jimi Hendrix was being held. They send in their goons from New Jersey, free Jimi Hendrix, and Mike Jeffrey again comes in like the hero.
• 1:10:07
  You see, I saved you again. You can't survive without me. This is almost again like like MK Ultra type programming.
• 1:10:14
  Speaker 1: It reminds me of the the kind of Monte Cristo. Same same storyline, right, capturing Yeah. The boy and then, you know, freeing him. And so, you know, when you mentioned intelligence, so I I I listened to the audiobook probably six months ago of, Weird Scenes Inside the Canyon, by, David McGowan, right, about Laurel Canyon. And, the one that he spent a good amount of time in that book just, like, methodically documenting all of these various musical superstars and how a large, large majority of them came from military families, intelligence families.
• 1:10:57
  It was it was an overwhelming amount number amount of of people, where it was just one after another. It's like, Yeah. This guy, his father was this director at some intelligence agency out of Langley. This this was this. And it was it was really interesting because it made you think and then you get into Frank Zappa, and you get into Laurel Canyon, and and there's a lot of it's there's a lot of strange stuff that went on there, including, you know, ritual sacrifices and murders and all kinds of stuff.
• 1:11:23
  But then it almost paints the picture that almost that entire movement was basically some sort of military operation. Military you know, when you say military, it's military plus the, you know, the agencies, which I think they're they're kind of incestuous as you get towards the top of them, right, when you when you start looking at such a more secretive programs. What how do you how do you kind of piece that altogether?
• 1:11:50
  Speaker 2: Yeah. I I I think you could look at the the whole counter revolution and the hippie movement as once again being engineered. Maybe it didn't start off that way, but we see this time and time again through history. Even, flash forward to the Islamic revolution in Iran in 1979. That revolution was not intended necessarily to end up with a theocracy, but Ayatollah Khomeini, who was living in exile near the end of his exile in France, suddenly comes swooping in, possibly with MI6 and CIA help and funding, and he subverts that revolution and takes it over.
• 1:12:33
  I think the same thing happens or happened with the hippie movement and the counterculture. It may start off as this organic, you know, peace and love and let's smoke weed and and, you know, free love and all of this. But again, the intelligence groups, the elites, they're paying attention to these things, and they they're they're figuring out what can we glom onto? What can we what can we subvert? What can we infiltrate?
• 1:12:59
  And I just think history is replete with examples like this. You know, remember that LSD was legal up until I think it was 1966. And, you know, Timothy Leary was advocating for the use of, you know, this professor at Harvard University, no less. If it's good enough for Timothy Leary, then we might as well do it. Ken Kesey, who wrote One Flew Over the Cuckoo's Nest and was a member of the Merry Pranksters, and their band was originally the Warlocks.
• 1:13:31
  It was the Grateful Dead. Their Kool Aid acid tests, their LSD parties come and take LSD and listen to the music and it's peace and love. Well, Ken Kesey was a student at Stanford University and was involved in LSD experiments.
• 1:13:53
  Speaker 1: And he wrote, electric kool aid acid test. Right?
• 1:13:56
  Speaker 2: That was that was Tom Wolfe. Oh, okay. Who wrote that.
• 1:13:59
  Speaker 1: Was Ken was he was he fear losing?
• 1:14:03
  Speaker 2: No. That was, Hunter s Thompson.
• 1:14:07
  Speaker 1: Oh, you're right. Okay.
• 1:14:08
  Speaker 2: He was yes. Ken Kesee was one flu over the cuckoo snakes.
• 1:14:10
  Speaker 1: Oh, okay. Okay. I've got all my, my sixties drug authors a little bit mixed up.
• 1:14:16
  Speaker 2: That's okay. That's okay. So yeah, to answer your question, I think that's what happens. That's just the way I think that's the way the world works. And I don't know when it began exactly, but that's where we're at now.
• 1:14:30
  I mean, even if you look at, for example, we mentioned Charlie Kirk earlier, and these influencers that are on YouTube and Rumble and they have their podcasts, and they were supposed to be the counter response to the mainstream media. And they weren't going to toe the official narrative line. Well, now a certain portion of them are because, as is often the case, powers that be, they look around, they say, Who has influence? Who has power? Let's buy them.
• 1:15:05
  Let's subvert them, and let's make them work for us.
• 1:15:09
  Speaker 1: Yeah. You I saw the same thing happening. You have these people that were the same people that were saying, wow. I think George Floyd's connections to x, y, and z. They look at the Butler assassination.
• 1:15:22
  Something going on here. You know, they've they've they're they've really built an entire platform on questioning the government. Yet, when it comes to this, they're just almost instantly believe the official FBI story. There was a lone gunman. Everything else is just a conspiracy to to spit on his wife, and, you know, it's just it was kind of crazy for me.
• 1:15:44
  Right? And, yes, even without saying you know, jumping to conclusions, like, oh, it was this person that did it, and this is the conspiracy behind it. At least being able to say, okay, objectively, I'm seeing a lot of the same patterns that we've seen in these types of psyops before. And so let's just not jump to conclusions, but you saw instantly that people just basically staring into the screen for their podcast saying, trust the government. Trust the gov or just obey.
• 1:16:13
  Right? And it was Yeah. And it it kind of for me, it kind of it it kind of knocked, you know, a lot of people off the the wall for me. It's like, okay. I now can I now see that these, you know, 35 people, whatever, I can no longer trust what they say because it's they've they've shown their hand?
• 1:16:28
  That was just my my own assessment of it.
• 1:16:31
  Speaker 2: I again, we're on the same page. There's a famous experiment. I'm not sure if it was conducted at by the CIA for recruits, but the the, commander or whatever the director is holds up a picture of an apple. And he asks and this has been staged, of course, beforehand, and they're focusing really on one one of the recruits. Or but the first person they ask, what what are you seeing in this picture?
• 1:16:57
  It's a picture of an apple, and he says it's a banana. Might be the other way around, but it's a banana. And he says it he asks the next person, what do you see here? And, again, it's a picture of an apple. He says, it's a banana.
• 1:17:07
  On down the line, banana, banana, banana, banana. The the person, you know, who's 26 in line is looking at this trying to figure out what the heck. That's an apple. Why is everyone saying a banana? But everybody's saying banana.
• 1:17:18
  When it comes to him and his time, he's asked, what do you see in this picture? He says, it's an apple. Because he he's he's influenced, he's swayed, he feels the pressure. And
• 1:17:33
  Speaker 1: Oh, he says it was a banana. Right? Because the picture
• 1:17:36
  Speaker 2: was an did I mix that up? Yeah. He says it was yeah. He says it's a banana.
• 1:17:42
  Speaker 1: Yeah. Okay.
• 1:17:42
  Speaker 2: Yeah. He falls in line. Sorry. Thank you for that. I got confused there.
• 1:17:46
  It happens a lot these days. He yeah. He falls in lockstep with everybody else, and that is a that is tremendously powerful. The the you know, we call it peer pressure today, I I guess, but it goes deeper than that. It's it's very so psychological.
• 1:18:03
  This needing to belong and to conform, it's almost innate.
• 1:18:08
  Speaker 1: There is a similar experiment that I was recently talking with my wife where they did the same thing, but it was with lines, I think. They made five lines, but one line was obviously longer. And I think it was the same thing in looking at the social conformity. And I feel like I mean,
• 1:18:23
  Speaker 2: I don't know, at the
• 1:18:24
  Speaker 1: same fact that this probably, why I'm an independent, you know, kind of podcaster now, because I feel I'd be the one saying, you guys are a bunch of idiots. Like Mhmm. What's wrong with you? Like, that's an apple. But then I'd probably would been you know, they they would take me out back and shot me or something, right, if it was the CIA.
• 1:18:40
  Speaker 2: Well, that and there's a price to pay for for not conforming. Yeah. It may not be as, you know, as overt as being killed. Maybe it means you're gonna work the overnight show instead of drive home. Or you're not gonna get advancement.
• 1:18:58
  Or you're just gonna be shunned and ostracized. There was a very famous incident of a KGB general who came over to The United States. This was after the fall of the Soviet Union. He was recruited. He became I think he was involved with the CIA at this point.
• 1:19:18
  And his opinions or his perception about what was happening in America are quite telling. He said, You know, it's amazing the way that you handle your dissidents. In the Soviet Union, we would just throw them in a gulag, and they never be seen again. Here, you don't use gulags. You just discredit them, and you ostracize them.
• 1:19:37
  I think your system is far more, effective.
• 1:19:40
  Speaker 1: Interesting. Yeah. Or your YouTube channel gets no reach. Right? You know, some of these, it's it's the same.
• 1:19:48
  Yeah. Me me me me as well. Right? And so, yeah, that that's how they control they control the the narrative. Well, Richard, I I think we could just keep going, but I think maybe we'll just have to plan the the second the two part the next part of this work.
• 1:20:03
  Because I really wanna get into Kurt Cobain and, some of those other things with you. But, we've already gone for over an hour here, and it's been absolutely wonderful. I wanna pull up your website, for people, which is let me see. It is right here. So, the URL for the book is therockandrolltwilightzone.com.
• 1:20:26
  It's now available. I've got, you know, my copy right here, which I've started reading, and it's it's very, very well written. And not just, like, structurally and research wise, but you're very almost a poetic in how you write things. You you use a lot of very descriptive words that pull you in. So it's not just a it's not like reading committee of 300, which which is which
• 1:20:48
  Speaker 2: is which
• 1:20:49
  Speaker 1: is also an important
• 1:20:50
  Speaker 2: book. Appreciate that. Thank you. And there's also at at the rockandrolltwilightzone.com, there are some sample chapters or parts of sample chapters you can read if you wanna get a sense of, the writing style and and so forth. Chapter one and chapter six.
• 1:21:04
  Speaker 1: There there's your
• 1:21:05
  Speaker 2: both of those.
• 1:21:05
  Speaker 1: There's your zeppelin with the sigils on it.
• 1:21:08
  Speaker 2: There you go.
• 1:21:09
  Speaker 1: Yes. And then you also have a, a YouTube channel and a podcast. Right? So it's it's strayed strangeplanet.ca. Right?
• 1:21:17
  So what what can people find here?
• 1:21:20
  Speaker 2: They can subscribe to my free podcast, Richard Serra at Strange Planet. It drops every Monday, Wednesday, Friday. It covers, hidden history, unexplained mysteries, UFOs, conspiracies. Yes, we talk about Charlie Kirk. Cover a lot of ground.
• 1:21:38
  It's broad canvas. And they can also become a premium subscriber. On the website, get commercial free listening, special bonus episodes. There's also a link to my YouTube channel, which is basically the video version of the podcast. It's at Strange Planet Radio.
• 1:21:55
  That's the YouTube channel. But and there's also a free monthly newsletter called Inner Sanctum they can subscribe to. All of that at strangeplanet.ca.
• 1:22:05
  Speaker 1: Great. Well, Richard, it was it was such a pleasure speaking with you. It it met and exceeded my expectations. I read I was, you know, reading through your book, and I think this guy's gonna be a lot of fun to talk to. And and it really was.
• 1:22:16
  I I I just, I I I hope we can do some more shows together, because I'd love to even do a show just on the Tavistock Institute and and social engineering, and we could kinda go deep into any of these different topics. But I just I appreciate you giving me and the audience your time today, and I really, really enjoyed this discussion with you.
• 1:22:33
  Speaker 2: Oh, likewise, Seth. It was great meeting you. I had a lot of fun. Thank you so much.
• 1:22:37
  Speaker 1: Well, good. Yeah. These days, we have to have, you know, ways of having fun. There's too many
• 1:22:41
  Speaker 2: Yeah. If you don't if you don't laugh, you're gonna cry.
• 1:22:43
  Speaker 1: Exactly. Alright, Richard. Well, take care, and thank you, and until next time. We'll see you then.
• 1:22:48
  Speaker 2: All the best.
• 1:22:49
  Speaker 1: Did you know that in the last few centuries, over half a million bells have been destroyed? There were literally bell graveyards. Now, the textbooks tell us that this was to use the metal, but if you've ever gone down this rabbit hole, you discover that the sounds that these bells made had amazing healing properties. There are even claims that certain regions with lots of these bells, church bells, etcetera, were mostly untouched by the bubonic plague. Now your doctor might call you a conspiracy nut for thinking that, but even modern science recognizing the healing power of sound.
• 1:23:20
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• 1:23:50
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• 1:24:23
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