Latest / Ryder Lee / THE DOORS DEATH & RESURRECTION OF JIM MORRISON | MARK DEVLIN

Transcript

THE DOORS DEATH & RESURRECTION OF JIM MORRISON | MARK DEVLIN · Ryder Lee

0:54
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2:36
Speaker 1: So with that down, we have with us today UK
2:39
Speaker 1: Music Journalists Club and radio DJ, author and the star
2:43
Speaker 1: of a Clockwork, shining on Amazon Prime, Apple TV Plus
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Speaker 1: and now available worldwide on Vimeo. Links are in the description.
2:53
Speaker 1: Broadcasting live from the UK. Mark Devlin, Welcome to the show.
2:59
Speaker 2: What's up brother, Good to link with you again.
3:02
Speaker 1: Yeah, it's good to have you. I'm glad we could
3:04
Speaker 1: definitely make it happen. Man, I remember listening to your rants,
3:10
Speaker 1: your car rants back in the day, which were fantastic.
3:13
Speaker 1: By the way. Also before that you had conscious rapper
3:18
Speaker 1: Diesel Automatic on your show Good Vibrations. Is that correct
3:22
Speaker 1: with Joe Murray?
3:24
Speaker 2: That's right, Yeah, a couple of great rappers. Diesel is
3:28
Speaker 2: out of Montenegro in Eastern Europe and Joe Murray's out
3:31
Speaker 2: of New York and Yeah, great conscious, freedom orientated hip hop.
3:37
Speaker 2: Not a lot of it around.
3:39
Speaker 1: Yeah, And I've had Diesel on my show a couple
3:41
Speaker 1: of times, and we've become really good friends since then,
3:45
Speaker 1: So thank you for having them on. You introduced me
3:48
Speaker 1: to them. Yeah. So when was it in your music
3:54
Speaker 1: career that you realize that the entire music industry is
4:00
Speaker 1: essentially red.
4:03
Speaker 2: Well, I was a slow learner. Took me a while.
4:06
Speaker 2: So I spent the best part of twenty years as
4:09
Speaker 2: a club and radio DJ. And I'm someone that's always
4:12
Speaker 2: loved music. I bought my first record when I was five,
4:16
Speaker 2: which was Queen's Bohemian Rhapsody, first time around seven inch single.
4:20
Speaker 2: Saved up my pocket money and went and got a
4:23
Speaker 2: copy of that, and that turned me on to pop
4:26
Speaker 2: music basically. So I grew up in the eighties or
4:30
Speaker 2: the first part of the eighties, just listening to whatever
4:32
Speaker 2: was in the charts and whatever was on the radio.
4:35
Speaker 2: And then I kind of fine tuned my taste a
4:37
Speaker 2: bit in the mid eighties and got into black music.
4:39
Speaker 2: So I got into soul, funk, early hip hop, early
4:43
Speaker 2: house music, and that set me on a path to
4:46
Speaker 2: wanted to become a DJ because I wanted to communicate
4:49
Speaker 2: my love for this music to other people, which is
4:52
Speaker 2: the main reason why anyone becomes a DJ. And I
4:55
Speaker 2: achieved that. I got into radio first off, and then
4:58
Speaker 2: off the back of the radio, I've got into doing clubs.
5:01
Speaker 2: And I worked really hard. I've always had a very
5:04
Speaker 2: strong work ethic and hustled a lot, did a lot
5:07
Speaker 2: of networking and hob nobbing with all the right people,
5:11
Speaker 2: not P Diddy, thankfully, all the other right people, and
5:16
Speaker 2: I managed to get gigs all over the UK and
5:18
Speaker 2: then internationally, so it really became a career for me.
5:21
Speaker 2: It was a full time job and I was loving it.
5:23
Speaker 2: I was playing R and B, hip hop, reggae, dance
5:26
Speaker 2: all traveling all around the world, meeting some great people,
5:30
Speaker 2: you know, great clubs, loads of women, and life was great.
5:34
Speaker 2: And it took me until round about two thousand and
5:38
Speaker 2: seven to start to see some of the cracks in
5:42
Speaker 2: the music industry facade. So round about that time, I'd
5:46
Speaker 2: started reading the books of David Ike, and my dad
5:50
Speaker 2: actually put me on to them because he was reading
5:53
Speaker 2: that stuff himself, and he recommended that I should approach
5:56
Speaker 2: it with an open mind, and at that point like
5:58
Speaker 2: most people in the UK, I thought that David Ike
6:02
Speaker 2: had lost his mind, because that's the way we've been
6:04
Speaker 2: conditioned to think of him through the mainstream media. So
6:08
Speaker 2: I was like, really, this guy's crazy, isn't he. And
6:11
Speaker 2: my dad said, well, you know, read the books and
6:14
Speaker 2: at the end of it, see if he sounds so crazy.
6:17
Speaker 2: So I did that, and I read his book about
6:20
Speaker 2: the nine to eleven attacks, Alice in Wonderland of the
6:24
Speaker 2: World Trade Center disaster, and it raised a whole lot
6:27
Speaker 2: of questions in my mind, and I was like, yeah,
6:29
Speaker 2: actually he's got a point. This stuff doesn't add up.
6:32
Speaker 2: And then I read his book The Biggest Secret, which
6:34
Speaker 2: totally blew my mind, and I emerged from that process
6:38
Speaker 2: seeing the world in a different way to what had
6:41
Speaker 2: previously been the case. Also in two thousand and eight,
6:45
Speaker 2: I got put onto the first Zeitgeist movie, Me Too,
6:49
Speaker 2: Me Too.
6:49
Speaker 1: I saw that as well, that's what basically what people
6:53
Speaker 1: say awakened will awoken me as well for a Zeitgeist movie.
6:58
Speaker 2: Yeah, yeah. So the com do a Nation of David
7:00
Speaker 2: Ike and Zeitgeist was enough for me to totally change
7:04
Speaker 2: my entire worldview, and I did it step by step
7:07
Speaker 2: stage by stage. But first off, I was like, well,
7:11
Speaker 2: hang on a minute, because if organized society is controlled
7:14
Speaker 2: by secret society networks and they use it for mass
7:19
Speaker 2: mind control and social engineering and to keep the people
7:22
Speaker 2: in line and to enslave humanity, then they're not going
7:26
Speaker 2: to have let something like the music industry slip through
7:29
Speaker 2: the net given the wonderful opportunities that institution offers to
7:35
Speaker 2: mass mind control large numbers of people. So I thought, well,
7:39
Speaker 2: you know, this stuff must be present in music. So
7:42
Speaker 2: I made that my specialist area of interest. I saw
7:45
Speaker 2: a lot of people doing geopolitical analysis, A lot of
7:48
Speaker 2: people were looking at the banking, financial scams and things
7:53
Speaker 2: of that nature, but I didn't see too many researchers
7:55
Speaker 2: looking into the music industry and the way entertainment has
7:59
Speaker 2: been weaponar through occult symbolism, through the manipulation of sound frequencies,
8:06
Speaker 2: through subliminal images placed into movies and things of that nature.
8:09
Speaker 2: You know all about that, and so I made it
8:12
Speaker 2: my specialist area of interest. And so for the past
8:15
Speaker 2: fifteen years or so, it's been pretty much my full
8:18
Speaker 2: time job. I started to wind up the djaying shortly
8:20
Speaker 2: after that, because, for one thing, the music was changing
8:24
Speaker 2: for the worst, and so called hip hop was becoming
8:27
Speaker 2: nothing of the sort. It bore no resemblance to what
8:30
Speaker 2: I'd been there before, so I didn't really have much
8:33
Speaker 2: interest in continuing to play the music, and also, in
8:36
Speaker 2: all good conscience, I just decided I couldn't really be
8:39
Speaker 2: a part of this beast machine that's pushing all this
8:43
Speaker 2: harmful stuff. So I started to reel in the djaying
8:48
Speaker 2: and I had the idea of putting out a book
8:51
Speaker 2: based on the first five years worth of my findings,
8:53
Speaker 2: and that ended up being Musical Truth, Volume One, which
8:56
Speaker 2: came out in early twenty sixteen, and it's been my
9:00
Speaker 2: full time job since then. So I've been putting out
9:02
Speaker 2: a bunch of books. I do podcasts and videos, I
9:05
Speaker 2: do live talks and conferences presentations, and it's very different
9:09
Speaker 2: to what I was doing before, but at the same time,
9:11
Speaker 2: there are lots of parallels. But what I'm doing now
9:15
Speaker 2: is a lot more satisfying, fulfilling, and probably better for
9:19
Speaker 2: the soul when.
9:21
Speaker 1: It comes to hip hop and wrap though too. I've
9:23
Speaker 1: gone into an argument with some people over TUPAC because
9:26
Speaker 1: I'm one hundred percent believe TUPAC was an actor. Have
9:30
Speaker 1: you looked in the Tupac.
9:31
Speaker 2: At all I have, and I would go along with that.
9:34
Speaker 2: I mean, Tupac was literally an actor. He was trained
9:37
Speaker 2: in the performing arts, so before he became a rapper,
9:40
Speaker 2: and he was down with all this thug life stuff imagery.
9:45
Speaker 2: He studied dancing like ballet dancing and acting in performing
9:50
Speaker 2: arts schools. And he had some film roles. He was
9:53
Speaker 2: in Juice. That was like his big movie breakthrough in
9:57
Speaker 2: nineteen ninety one. He was in Justice with Janet Jackson,
10:02
Speaker 2: did a whole bunch of movies. So it's almost like
10:04
Speaker 2: his hip hop career was kind of an afterthought to
10:07
Speaker 2: this other stuff that he was doing. But I never
10:10
Speaker 2: really bought this idea of him as this tough kind
10:13
Speaker 2: of thug guy pushing this criminal lifestyle. It just never
10:18
Speaker 2: rang true with me. It always smacked more of it
10:22
Speaker 2: being an agenda. So when it comes to is reported
10:26
Speaker 2: assassination in September nineteen ninety six, I know there are
10:30
Speaker 2: some people who will claim that that was a staged event,
10:33
Speaker 2: It was a fake death, and you may well still
10:36
Speaker 2: be alive, and I can't rule that out. But the
10:39
Speaker 2: way I see it was that event was used to
10:42
Speaker 2: escalate the so called East Coast West Coast beef within
10:46
Speaker 2: hip hop which occurred in the mid nineties, and this
10:49
Speaker 2: involved Puff Daddy Sean Combs known these days as p Diddy,
10:54
Speaker 2: So even back in the nineties, he was up to
10:56
Speaker 2: his treacherous, scrawny, untrustworthy neck in controversy and bad Boy
11:02
Speaker 2: Records the label that he had in New York and
11:05
Speaker 2: he put out artists like Notorious Big and a whole
11:08
Speaker 2: bunch of other rappers and R and B singers through
11:11
Speaker 2: that label, and then over on the West Coast in
11:13
Speaker 2: LA he had Death Row Records headed up by sug Knight,
11:18
Speaker 2: with Tupac as one of the prominent rappers on that label.
11:22
Speaker 2: And the East Coast West Coast syop was all about
11:25
Speaker 2: whipping up discontent and fermenting discord between the two different
11:32
Speaker 2: coasts and inviting rap fans to pick a side. So
11:37
Speaker 2: who you're down with, You're down with sug Knight and
11:39
Speaker 2: Death Row, or you're down with Puffy and Bad Boy Records.
11:42
Speaker 2: And there was a high body count which emerged at
11:45
Speaker 2: that whole thing, not least the Notorious Big Biggie Small's
11:49
Speaker 2: who was assassinated gunned down in a hail of bullets
11:53
Speaker 2: almost six months to the day after we were told
11:56
Speaker 2: that Tupac got shot. This was in March of ninety seven.
12:00
Speaker 2: All kinds of questions about that. One that I've got
12:02
Speaker 2: is why did Puffy, if he was his best mate
12:05
Speaker 2: and his mentor his handler, not travel in the same car.
12:09
Speaker 2: Quite lucky for Puffy that he traveled separately. So Biggie
12:13
Speaker 2: died in that, and also a whole bunch of other
12:15
Speaker 2: people died in this so called beef because you know,
12:20
Speaker 2: characters were getting involved in the turmoil that had no
12:24
Speaker 2: real interest in it, but because of the discord that
12:28
Speaker 2: had been systematically whipped up, people were getting shot. So
12:32
Speaker 2: I see the whole thing as having been a syop.
12:35
Speaker 2: And given that tupacs reported death pretty much kicked off
12:39
Speaker 2: the escalations, I have to ask myself whether he could
12:43
Speaker 2: indeed have been an actor, and whether that assassination event
12:47
Speaker 2: was genuine or whether it was faked and staged. Wouldn't
12:50
Speaker 2: be the first time we've seen it, nor the last.
12:54
Speaker 1: Yeah, I think that if you want to learn more
12:57
Speaker 1: about Tupac, all you got to do is watch that
12:59
Speaker 1: high school interview just opened to YouTube. A high school
13:03
Speaker 1: interview of Tupac and you'll see exactly what's going on. Now,
13:08
Speaker 1: how far back does the influence from the intelligence and
13:13
Speaker 1: the military go in the music industry? Did it come
13:16
Speaker 1: from the very inception? Because I've read somewhere and I
13:20
Speaker 1: don't know if this is true. You could probably tell
13:22
Speaker 1: me if this is true, but that Elvis was in
13:26
Speaker 1: some kind of witness protection program.
13:31
Speaker 2: Right. Well, I would say that the military intelligence infiltration
13:37
Speaker 2: of music goes all the way back to the very start.
13:39
Speaker 2: And my research takes me back to about nineteen fifty five,
13:43
Speaker 2: so I go back to the mid fifties, and that
13:45
Speaker 2: was the birth of the rock and roll era, and
13:47
Speaker 2: Elvis Presley was the first rock and roll superstar. So
13:50
Speaker 2: one year before Elvis broke through, you had Bill Haley
13:55
Speaker 2: and his comments with this very important record, Rock around
13:59
Speaker 2: the Clock, which pretty much changed youth culture at the time.
14:02
Speaker 2: Used to be Bill Haley and the Comets, but these
14:05
Speaker 2: days it's his comments that's the Mandela effect for you.
14:09
Speaker 2: But this group was they were knocking on a bit.
14:13
Speaker 2: You know. Bill Haley was no youngster, and he'd been
14:15
Speaker 2: involved with bluegrass and country music and stuff of this nature.
14:19
Speaker 2: And then suddenly in nineteen fifty four he put out
14:22
Speaker 2: a record called Shape, Rattle and Roll, and the following
14:25
Speaker 2: year he broke through with Rock around the Clock, and
14:27
Speaker 2: there was a movie titled Rock around the Clock came
14:30
Speaker 2: out at the same time. Also, the song was featured
14:33
Speaker 2: on the soundtrack to The Blackboard Jungle, which was another
14:36
Speaker 2: really important film from the mid fifties. And this was
14:39
Speaker 2: the same year that James Dean had his film Rebel
14:42
Speaker 2: Without a Cause. So these very influential movies were happening
14:47
Speaker 2: at the same time as music was changing. So up
14:51
Speaker 2: to that point in the mid fifties, the music scene
14:53
Speaker 2: in both Britain and America was pretty austere and conservative
14:59
Speaker 2: and rather boring, you might say. It was the postwar era.
15:03
Speaker 2: It was very traditional musical values. And then in the
15:08
Speaker 2: middle of that decade you get effectively the birth of sex,
15:12
Speaker 2: drugs and rock and roll. You get the birth of
15:14
Speaker 2: the term teenager, which had not been used up to
15:17
Speaker 2: that point to describe young people. And you've got James Dean,
15:21
Speaker 2: this iconic film God, and then the following year, with
15:27
Speaker 2: Bill Haley and the Comets having paid the way for him,
15:30
Speaker 2: Elvis Presley breaks through with hound Dog and Jail House,
15:34
Speaker 2: rock blue suede shoes, and he's this very sexually attractive
15:40
Speaker 2: to women, young dynamic guy, and he's like nothing anyone's
15:44
Speaker 2: ever seen before. He's handled by a guy named Colonel
15:48
Speaker 2: Tom Parker, or he's referred to as Colonel Anyway, who
15:52
Speaker 2: wasn't a real military colonel. He was a Dutchman, and
15:56
Speaker 2: there are lots of dubious gaps in his official biography
16:00
Speaker 2: to explain where he came from. So he arrived in
16:03
Speaker 2: America and he was reportedly embroiled in an undercover operation
16:09
Speaker 2: which was known as Operation Top Hat, and this involved
16:14
Speaker 2: the testing of biological and chemical warfare decontamination methods, we're told,
16:22
Speaker 2: and it was military personnel that were used as the
16:25
Speaker 2: human guinea pigs, as it so often is. So this
16:29
Speaker 2: biological weaponry was being tested out on the military guys themselves,
16:34
Speaker 2: and it seems that Colonel Tom Parker was one of these.
16:38
Speaker 2: During the military service that he did in the United States,
16:43
Speaker 2: he underwent a period of isolation, solitary confinement, and even
16:50
Speaker 2: his official biography acknowledges that when he came out a
16:54
Speaker 2: solitary confinement, it had given him a severe form of psychosis.
17:00
Speaker 2: You don't say I mean, this is one of the
17:02
Speaker 2: standard methods used in MK ultra trauma based mind control,
17:08
Speaker 2: you know, sensory deprivation and solitary confinement. Effectively, it's known
17:15
Speaker 2: that this can cause the mind to dissociate from reality
17:19
Speaker 2: and shatter into these different compartments. So this is the
17:23
Speaker 2: guy who, when he came out of the military, was
17:26
Speaker 2: given the role of being Elvis Presley's first manager, and
17:30
Speaker 2: he stayed with him pretty much throughout his career. What
17:34
Speaker 2: we often find is that handlers have undergone mind control
17:39
Speaker 2: themselves and then they pass it on to their subjects.
17:44
Speaker 2: So there's evidence to suggest that Elvis was mind controlled
17:48
Speaker 2: himself in the early days. This is what they do
17:51
Speaker 2: with performers of all kinds, not just singers, but all
17:55
Speaker 2: kinds of musicians and Hollywood actors, anyone that's in the
17:59
Speaker 2: public spotlight. They mind control them to make sure they
18:02
Speaker 2: stay on script and make sure they keep pushing the
18:05
Speaker 2: agendas that have been set out for them. So later
18:09
Speaker 2: in his career, it seems that Elvis developed an interest
18:14
Speaker 2: in law enforcement. So supposedly he was very patriotic and
18:21
Speaker 2: had quite traditional Christian conservative values, and he was concerned
18:27
Speaker 2: at the moral decline of American society, not least the
18:32
Speaker 2: influx of drugs coming through organized crime networks. And so
18:37
Speaker 2: the story goes that he volunteered to President Richard Nixon
18:42
Speaker 2: to become a spy effectively, and he said, look, I've
18:47
Speaker 2: got the perfect cover, this well recognized musician that gets
18:52
Speaker 2: booked to go and perform all over the place. This
18:55
Speaker 2: puts me in an ideal position to infiltrate sir and
19:00
Speaker 2: groups and gather certain information without suspicion falling on me
19:04
Speaker 2: because I'm this famous music guy, right. And supposedly that's
19:09
Speaker 2: what Elvis embarked on. He was working for the Drug
19:12
Speaker 2: Enforcement Agency because he wanted to try and stop the
19:15
Speaker 2: influx of street drugs. He also had connections with the FBI,
19:20
Speaker 2: and he had connections with the police departments of various
19:23
Speaker 2: cities around North America. And I was watching a webinar
19:28
Speaker 2: a couple of months ago, actually by a researcher named
19:32
Speaker 2: Aula Dammaguard of light on Conspiracies dot Com. Do you
19:36
Speaker 2: know I him?
19:37
Speaker 1: No? I do know.
19:38
Speaker 2: Yeah, he's a good friend of mine. He's a Danish guy.
19:41
Speaker 2: He lives in Ballei these days, but for the past
19:43
Speaker 2: thirty years or so. He specialized in investigating political assassinations
19:49
Speaker 2: and psyops and the cover ups that follow in their wake.
19:53
Speaker 2: And he's done a bit of work looking into Elvis,
19:56
Speaker 2: and his conclusion in this webinar that he put out
19:59
Speaker 2: the other week was that Elvis ended up infiltrating crime
20:03
Speaker 2: gangs including Sam Giancarlo coming out of Chicago and also
20:08
Speaker 2: the Gambino crime family coming out of New Orleans, and
20:13
Speaker 2: so he was basically ratting on them, going back to
20:16
Speaker 2: his paymasters in the intel community and reporting on what
20:21
Speaker 2: he'd overheard and what he'd seen, and supposedly the mob
20:25
Speaker 2: got wind of the fact that there was some sort
20:27
Speaker 2: of mole within their operation, and according to Ula, initially
20:33
Speaker 2: suspicion fell on Frank Sinatra because Frank Sinatra was all
20:37
Speaker 2: tied up with the mob, you know, and they put
20:41
Speaker 2: a hit out on him, and due to some crossed
20:44
Speaker 2: wires and wrong for communication, Frank Sinatra's mother ended up
20:50
Speaker 2: getting taken out instead of him. So they supposedly got
20:55
Speaker 2: some information that Frank was due to beyond this private
20:58
Speaker 2: jet that he traveled around him, but actually his mother
21:02
Speaker 2: had got on this private lia jet and it crashed
21:05
Speaker 2: into a Mountain in January of nineteen seventy seven and
21:10
Speaker 2: killed her anyway later in nineteen seventy seven, sixteenth of August,
21:15
Speaker 2: we're told Elvis dies at the age of forty two
21:20
Speaker 2: in the bathroom of his place, Graceland's. There are conflicting
21:25
Speaker 2: stories about exactly what happened. His girlfriend at the time
21:29
Speaker 2: said that he collapsed in the bathroom. She found him
21:32
Speaker 2: unconscious in the bathroom, and this close friend and associate
21:37
Speaker 2: that was also in Gracelands at the time, part of
21:39
Speaker 2: the Memphis mafia that Elvis used to roll with, claimed
21:43
Speaker 2: that Elvis was on the bed when he was found.
21:45
Speaker 2: So they don't seem to get their stories straight. And
21:49
Speaker 2: there are all kinds of inconsistencies when it comes to
21:51
Speaker 2: the funeral as well, because it was open casket, and
21:55
Speaker 2: the mourners at the funeral said that the body in
21:58
Speaker 2: the casket appeared to be the sweating perspiring, and it
22:03
Speaker 2: had like a false glued on sideboard that was coming off,
22:08
Speaker 2: it was peeling off, and also there was hair dye
22:11
Speaker 2: that was kind of leaking into the sweat, like this
22:13
Speaker 2: black hair dye, and it just didn't look like Elvis.
22:17
Speaker 2: And supposedly there was a sighting of somebody that looked
22:19
Speaker 2: like Elvis hiding out in the poolhouse at Graceland's when
22:24
Speaker 2: this reporter was taking photographs a few days afterwards, and
22:28
Speaker 2: so all Le Damaguard's conclusion is that Elvis's death was faked,
22:33
Speaker 2: and he achieved this with the assistance of his associates
22:38
Speaker 2: in the military intelligence community, because you can't fake your
22:41
Speaker 2: death otherwise, you just can't get away with it. You've
22:44
Speaker 2: got to have the complicity and the cooperation of these
22:48
Speaker 2: alphabet agencies. And so he went into deep cover like
22:53
Speaker 2: a witness protection program, changed his name, moved away. There
23:00
Speaker 2: is a preacher who goes by the name of Pastor
23:04
Speaker 2: Bob Joyce, who people might have heard of, so you
23:07
Speaker 2: can get videos there you go there he is. So
23:11
Speaker 2: some people feel that this could well be Elvis Presley
23:16
Speaker 2: having reinvented himself as this pastor from this small church
23:20
Speaker 2: in Arkansas. So a couple of problems here are that
23:27
Speaker 2: Elvis was quite a tall guy, and when you look
23:31
Speaker 2: at videos of Pastor Bob Joyce, he appears to be
23:34
Speaker 2: quite a bit shorter than Elvis. Also, Elvis was born
23:38
Speaker 2: in January nineteen thirty five, so we just passed what
23:41
Speaker 2: would have been his ninetieth birthday, and this guy, Pastor Bob,
23:45
Speaker 2: does not look ninety to me. Having said that, there
23:49
Speaker 2: are all kinds of things that can be achieved through
23:52
Speaker 2: Hollywood style makeup and film props and things of that nature.
23:56
Speaker 2: And when you've got the Intel communities on your side
23:59
Speaker 2: and they're helping to cover up your true identity, then
24:02
Speaker 2: anything is possible. So this guy in his church sermons
24:06
Speaker 2: sings Elvis songs and it's been commented.
24:09
Speaker 1: On like Olvis too. He sounds like.
24:13
Speaker 2: Right right, and people have said that he laughs in
24:15
Speaker 2: the same way as well. Elvis had this very distinctive laugh,
24:18
Speaker 2: and when Pastor Bob laughs, it seems just like Elvis.
24:21
Speaker 2: So personally, I can't rule it out. And if Elvis
24:26
Speaker 2: Presley was able to fake his death and fade off
24:30
Speaker 2: into the shadows with the assistance of Intel, then how
24:36
Speaker 2: many other artists might have done this through the decades.
24:40
Speaker 2: Is that what we were looking at with Tupac for example?
24:44
Speaker 2: Could that be what we were looking at with Jim Morrison,
24:47
Speaker 2: who I know you want to talk about? And how
24:49
Speaker 2: many other artists who were told died at an untimely age?
24:53
Speaker 2: Could this dynamic also apply to we have to consider
24:57
Speaker 2: the question.
24:58
Speaker 1: I feel regardless if Bob Joyce is really Elvis or not,
25:04
Speaker 1: has definitely brought him a lot of attention. He's definitely
25:08
Speaker 1: got his church recognize. I mean, he's blown up on TikTok.
25:11
Speaker 1: Some of those TikTok videos have millions and millions of
25:15
Speaker 1: views of people claiming now he's come out publicly and
25:19
Speaker 1: said that he's not Alvis. But you know, I don't
25:22
Speaker 1: know how much weak that really holds. I mean, if
25:24
Speaker 1: you're actually trying to hire it, of course you would
25:26
Speaker 1: say that you're not Elvis.
25:27
Speaker 2: Right, Well, he kind of has too, But you always
25:30
Speaker 2: find that they offer you symbolic clues, cryptic clues. So
25:34
Speaker 2: within freemasonry, there's this dynamic known as masterful speaking, which
25:39
Speaker 2: is where you say two things at the same time.
25:42
Speaker 2: So there's a surface narrative that comes with plausible deniability,
25:47
Speaker 2: and that's what's put out there for the exoteric masses.
25:51
Speaker 2: So a good example of that comes from Paul McCartney.
25:55
Speaker 2: If it's really him, we can call him Billy Shiars
25:57
Speaker 2: if you like William Shephard, Because there's this very strong
26:02
Speaker 2: opinion that the original biological Paul McCartney of the Beatles
26:07
Speaker 2: actually died in nineteen sixty six. Eleventh of September is
26:12
Speaker 2: the date that most often comes up for this, nine
26:15
Speaker 2: eleven six six, and that the public role of Paul
26:18
Speaker 2: McCartney has been getting played by an individual by the
26:21
Speaker 2: name of William Shepherd, known colloquially as Billy Shears. Hence
26:26
Speaker 2: why on the Sergeant Pepper album we get the lyric
26:29
Speaker 2: early on May I introduced to you the one and
26:32
Speaker 2: only Billy Shears, because that was supposed to be the
26:34
Speaker 2: public's initiation to the new version of the Beatles with
26:39
Speaker 2: this guy in place of the original Paul. So over
26:42
Speaker 2: the years, this idea, this conspiracy theory, keeps bubbling to
26:48
Speaker 2: the surface every now and again, and every so often
26:52
Speaker 2: Paul or Billy whoever he is, gets asked about it.
26:56
Speaker 2: So in two thousand and nine he went on the
26:58
Speaker 2: David Letterman chat show and Letterman directly addressed all these silly,
27:03
Speaker 2: crazy rumors that Paul McCartney is really dead, and you know,
27:07
Speaker 2: Paul is laughing along with it, and he said, yeah,
27:10
Speaker 2: what happened was there was a sleeved this record called
27:12
Speaker 2: Abbie Rude, and I was walking across the zebra crossing
27:16
Speaker 2: burfoot because I was burfoot. Everyone was looking at it
27:19
Speaker 2: and going he's dead. And then let Himan has a
27:23
Speaker 2: good old laugh about it, and then he says, oh,
27:25
Speaker 2: of course, the other part of it is that you
27:27
Speaker 2: were replaced by this guy that you know took the
27:30
Speaker 2: place of the original Paul, and McCartney or Billy whoever
27:33
Speaker 2: it is, has a good old laugh and he goes, yeah,
27:35
Speaker 2: well i'm him, so right there. He's told you that
27:40
Speaker 2: he's the replacement. He's told you that he's not the
27:43
Speaker 2: original Paul. But it comes with plausible deniability. So the
27:47
Speaker 2: audience has a good old chuckle because they're like, oh,
27:50
Speaker 2: what a ridiculous idea. But he's told you. Now, if
27:53
Speaker 2: he's questioned and pinned down about it, he can say, oh,
27:57
Speaker 2: I was joking. Come on, you can't take me seriously, surely.
28:00
Speaker 2: But for those in the know, those who are initiated
28:04
Speaker 2: into occult systems and secret societies and learn how to
28:08
Speaker 2: spot symbolism and spot cryptic speech, he's told you something else.
28:13
Speaker 2: He's told you that he's not that original guy. So
28:16
Speaker 2: that's masterful speaking. And Mason's learned how to do this
28:19
Speaker 2: say two things at the same time, and they're seemingly contradictory,
28:24
Speaker 2: but the cover story, which is put out to the
28:26
Speaker 2: masses is what they want most people to believe. So
28:31
Speaker 2: you have to learn to spot read the language of
28:34
Speaker 2: symbolism and code and cryptic ways of speaking to get
28:39
Speaker 2: to the bottom of what they're often telling you.
28:42
Speaker 1: They're all linguistic programming at its finest. Yeah, our third
28:48
Speaker 1: movie was going to be about the Beatles, and we
28:50
Speaker 1: were planning on doing the first one was JFKI Acts
28:53
Speaker 1: about the jfk assassination, next one about the Shining, and
28:56
Speaker 1: then the third one was going to be about the Beatles.
28:58
Speaker 1: But it kind of fell apart and fell through. But
29:02
Speaker 1: we talk a lot about the music industry, Well, you
29:05
Speaker 1: talk a lot about the music industry in a Clockwork Shining,
29:09
Speaker 1: And there was a lot of things that you had
29:12
Speaker 1: said about Jim Morrison and the Doors and how his
29:16
Speaker 1: dad was a high up naval officer responsible for the
29:20
Speaker 1: Gulf of Talking false flag event which led to the
29:23
Speaker 1: Vietnam War, which was responsible for hundreds and thousands of deaths,
29:28
Speaker 1: And it makes a lot of sense because Jim Morrison
29:32
Speaker 1: seemed like he could kind of do whatever he wanted
29:35
Speaker 1: to do because he knew that he was always going
29:38
Speaker 1: to kind of, you know, get out of it because
29:41
Speaker 1: his dad was this high up, high ranking naval officer. Now,
29:48
Speaker 1: you mentioned in the movie A Clockwork Shining that you
29:52
Speaker 1: believe that Jim Morrison had faked his death. Do you
29:56
Speaker 1: have any more information on that and and what led
30:00
Speaker 1: you to that conclusion.
30:04
Speaker 2: He ticks all the boxes for being the ideal candidate
30:08
Speaker 2: to have faked his death because of the family connections
30:11
Speaker 2: that he had, primarily who his dad was very high ranking,
30:15
Speaker 2: as you just mentioned, the Navy admiral. And one year
30:19
Speaker 2: prior to Jim breaking through as the frontman of the Doors,
30:24
Speaker 2: he appeared in a commercial in nineteen sixty four for
30:27
Speaker 2: Florida State University, which you can get on YouTube. So
30:31
Speaker 2: he's there in his college blazer, he's got closely cropped hair,
30:35
Speaker 2: and he's playing the role of a student from this
30:38
Speaker 2: Florida university and he's very serious and very scholarly. And
30:42
Speaker 2: then one year later he's grown out his hair. He's
30:47
Speaker 2: up there on stage with all these songs that have
30:49
Speaker 2: appeared seemingly out of nowhere. He's got all his bandmates
30:52
Speaker 2: with him and all his bandmates in the Doors have
30:56
Speaker 2: high ranking military fathers, all of them. Some of them
31:00
Speaker 2: like Robbie Krieger and ray Manzeric a more high level
31:05
Speaker 2: connected than Jim himself, it would seem. So the Doors
31:07
Speaker 2: were effectively a military band. So by nineteen sixty five,
31:12
Speaker 2: he's up there on stage, he's often drunk in performances.
31:16
Speaker 2: He's pushing drug culture. He's very much embodying the anti establishment, countercultural,
31:24
Speaker 2: youthful spirit of the times, and the Doors were one
31:28
Speaker 2: of the bands that were used the most to push
31:30
Speaker 2: all that stuff forward. So the social engineers wanted to
31:34
Speaker 2: change the culture of the times, and it involved pitting
31:38
Speaker 2: the young people, the baby boomers that was the generation
31:42
Speaker 2: that was in their crosshairs against their parents' generation and
31:46
Speaker 2: value systems. So it's just more sowing discord in society
31:51
Speaker 2: and setting one group or one generation off against another.
31:55
Speaker 2: So it was sex, drugs, rock and roll, all kinds
31:58
Speaker 2: of other social change and turmoil and unrest. There were
32:02
Speaker 2: all these activist groups going on, the Black Panthers and
32:05
Speaker 2: had the Weather Underground and all these activist groups. There
32:09
Speaker 2: was Gloria Steinem coming out with Muss magazine and pushing
32:15
Speaker 2: the contraceptive birth control pill and trying to supposedly empower
32:20
Speaker 2: women by getting them to embrace feminism, the modern feminist movement,
32:25
Speaker 2: all these major social changes, not to mention Malcolm X
32:29
Speaker 2: and Martin Luther King and all this other stuff that
32:32
Speaker 2: was going on. So by the time you get to
32:35
Speaker 2: nineteen sixty nine, American society and therefore by default world
32:40
Speaker 2: society because everywhere else gets affected by it, was unrecognizable
32:45
Speaker 2: from what it had been at the start of that decade.
32:47
Speaker 2: Everything had changed, Attitudes to everything had changed. The Vietnam
32:53
Speaker 2: War was in full throttle, and as we've said, that
32:57
Speaker 2: was significantly accelerate it by the role of Jim Morrison's father,
33:03
Speaker 2: and just everything in culture was different. Bands like The
33:09
Speaker 2: Doors had played a major role in shifting things in
33:14
Speaker 2: that direction, and by nineteen seventy one it seems that
33:21
Speaker 2: Jim Morrison's role was pretty much done because they got
33:25
Speaker 2: the social changes that they wanted, and a lot of
33:29
Speaker 2: the bands that had come out of Laurel Canyon, the
33:32
Speaker 2: Doors and all their contemporaries weren't really needed anymore. There
33:37
Speaker 2: were new styles of music coming through and that continued
33:40
Speaker 2: as the nineteen seventies progressed got into sort of punk
33:44
Speaker 2: a new wave by the latter part of the decade.
33:47
Speaker 2: And it seems that Jim's role, if we accept that
33:50
Speaker 2: he was an actor, and I do, he was literally
33:53
Speaker 2: an actor, just like Tupac, was no longer needed. So
33:57
Speaker 2: what do you do with somebody that comes from a
33:59
Speaker 2: military family when they're not required anymore and they're only
34:04
Speaker 2: twenty seven? Part of this mythical twenty seven club, the
34:08
Speaker 2: large number of musicians that have died at the age
34:10
Speaker 2: of twenty seven in some strange circumstance or other. Well,
34:14
Speaker 2: if your high level military grade connected like Jim was,
34:18
Speaker 2: you're going to know the right people to enable you
34:22
Speaker 2: to fade off into the background and fake your death.
34:25
Speaker 2: And that's what I believe happened. So the date we
34:28
Speaker 2: were given for his death was the third of July
34:32
Speaker 2: nineteen seventy one. Interestingly, this was two years to the
34:36
Speaker 2: day after the founding member of the Rolling Stones, Brian Jones, himself,
34:42
Speaker 2: died third of July nineteen sixty nine, when he was
34:46
Speaker 2: found floating face down in the swimming pool of his
34:50
Speaker 2: country cottage in southern England. So I personally feel that
34:54
Speaker 2: Brian Jones was taken out, and it was all to
34:57
Speaker 2: do with the other Rolling Stones wanting to take control
35:01
Speaker 2: of the group and steer it off in certain desired directions,
35:05
Speaker 2: and Brian was seen as getting in the way. He
35:07
Speaker 2: was expendable past his cell by date and he went. Also,
35:13
Speaker 2: third of July is when David Bowie retired his Ziggy
35:16
Speaker 2: Stardust character live on stage at Hammersmith Odeon in London.
35:22
Speaker 2: He announced that Ziggi Stardust was going to be retired off,
35:27
Speaker 2: which horrified all these diehard Bowie and Stardust fans. So
35:31
Speaker 2: there's something about the third of July. It is the
35:34
Speaker 2: feast of Saint Thomas within sort of occult circles, and
35:37
Speaker 2: I wonder if that's why that particular date was chosen.
35:41
Speaker 2: So we're told that old Jimbo turned up dead in
35:45
Speaker 2: the bathtub of his Paris apartment that he shared with
35:49
Speaker 2: his girlfriend common law wife, Pamela Corson. So he was
35:54
Speaker 2: found unconscious in the bathtub, but there was no auto
36:00
Speaker 2: done on his body, and the only people to have
36:05
Speaker 2: seen his body prior to it being taken care of
36:11
Speaker 2: were Pamela, his partner, and one other guy, a medical guy,
36:18
Speaker 2: and It's reported that Jim had a smile etched onto
36:22
Speaker 2: his face, which is a pretty strange thing and a
36:25
Speaker 2: bit difficult to achieve for a dead body. And the
36:29
Speaker 2: fact that there was no autopsy performed as god e
36:32
Speaker 2: raised some questions. So nobody can actually tell you what
36:38
Speaker 2: Jim Morrison died of. If you accept that he died,
36:41
Speaker 2: people have got this vague idea that it was some
36:43
Speaker 2: sort of overdose, but nobody really knows what the drug
36:46
Speaker 2: might have been. And we get this so often with
36:48
Speaker 2: rockstar deaths. They're just chalked up as some sort of
36:53
Speaker 2: overdose or possibly, you know, suicide, or nobody really worries
36:58
Speaker 2: too much about what it was that caused this person
37:00
Speaker 2: to pass away, because it's just chalked up as the
37:03
Speaker 2: rock and roll lifestyle, you know, that's the way these
37:06
Speaker 2: people live, live fast, die young, all kinds of drugs
37:10
Speaker 2: and alcohol abuse and all this sort of stuff. I've
37:13
Speaker 2: often said, if the same amount of plumbers or lorry
37:16
Speaker 2: drivers turned up dead as rock stars do, people would
37:21
Speaker 2: be saying, what's going on, Why are all these plumbers
37:23
Speaker 2: and lorry drivers dying? What's happening?
37:25
Speaker 1: Man?
37:26
Speaker 2: But when it comes to rock stars, they can just
37:28
Speaker 2: get away with it. So they achieved that with Jim,
37:32
Speaker 2: and he went into sort of mythical rock god status
37:36
Speaker 2: like some many of these twenty seven Club members, and
37:39
Speaker 2: you know, people like James Dean that have just entered
37:41
Speaker 2: into legend, and you've got all these die hard Doors
37:45
Speaker 2: fans that just filled Jim was this profit and this
37:47
Speaker 2: poster child for the anti war sort of countercultural generation,
37:53
Speaker 2: and a lot of people just don't seem to consider
37:55
Speaker 2: his military connections and what that might have enabled him
37:59
Speaker 2: to do. So his wife, Pamela Corson died just a
38:04
Speaker 2: few years after him, And we also have the strange
38:08
Speaker 2: case of Jimmy Hendrix, who died in September nineteen seventy.
38:13
Speaker 2: He was also twenty seven years of age. And there
38:15
Speaker 2: was this big space at the time of all these
38:17
Speaker 2: artists that were passing away unexpectedly. Brian Jones, there was
38:21
Speaker 2: Jimmy Hendrix in September nineteen seventy. The following month October seventy,
38:26
Speaker 2: Janis Joplin. Then in July seventy one it was Jim Morrison,
38:31
Speaker 2: and they were all twenty seven. And with Jimmy Hendrix,
38:36
Speaker 2: there's so much evidence to demonstrate that he was murdered.
38:40
Speaker 2: He was taken out at the hands of his manager,
38:44
Speaker 2: a guy named Michael Jeffrey, who was actually a British
38:48
Speaker 2: military intelligence insider. That was actually his job, and for
38:53
Speaker 2: some reason he crops up as Jimi Hendrix's manager. He
38:57
Speaker 2: managed some other groups as well, including the Animals out
39:00
Speaker 2: of Newcastle, who became one of the bands in Laurel
39:03
Speaker 2: Canyon when they relocated from England. So Jimmy Hendrix seems
39:09
Speaker 2: actually died through being water boarded with red wine. This
39:16
Speaker 2: is what the coroner who examined his body, because there
39:18
Speaker 2: was an autopsy there said. He said that he was
39:23
Speaker 2: saturated in red wine and when he pressed down on
39:26
Speaker 2: his chest it was all coming up through his windpipe
39:29
Speaker 2: and staff. So it seems that Michael Jeffrey had hired
39:33
Speaker 2: a couple of thugs from the Newcastle Underworld to come
39:37
Speaker 2: down to London to do the job to finish Jimmy
39:40
Speaker 2: Hendrix off. We're told that it was to do with
39:44
Speaker 2: music publishing, the old adage that an artist is worth
39:48
Speaker 2: more to a corporation dead than alive. But there's a
39:52
Speaker 2: lady named Rachel Caruso who did a video a while
39:56
Speaker 2: back claiming that she comes from a multi generational ultra
40:00
Speaker 2: satanic ritual abuse family and that she had an uncle
40:05
Speaker 2: named Paul Caruso who was Jimmy Hendrix's handler mind control handler.
40:12
Speaker 2: And she repeats this idea that Hendrix was got rid
40:17
Speaker 2: of in this way, and she says it's because Jimmy
40:20
Speaker 2: Hendrix was starting to break his mind control programming, so
40:25
Speaker 2: he also was an MK ultra slave, she says, from
40:28
Speaker 2: a multi generational family on his mother's side, and when
40:32
Speaker 2: he was starting to regain some of his memories and
40:35
Speaker 2: his innate humanity was starting to bleed through the MK programming,
40:41
Speaker 2: it was decided that he was becoming too much of
40:43
Speaker 2: a liability, so that's why he had to go. That's
40:46
Speaker 2: her account for why he was got rid of. So
40:49
Speaker 2: I think Jimmy Hendrix was a genuine offing, But Jim
40:54
Speaker 2: Morrison I don't accept it was because of all the
40:59
Speaker 2: unanswered questions that we have hanging over it, and mainly
41:03
Speaker 2: because of how high level connected he was, who his
41:06
Speaker 2: father was, the fact that he'd done acting jobs before.
41:10
Speaker 2: So it raises the tantalizing possibility that Jim could still
41:15
Speaker 2: be alive. If he is, he'll be eighty years of age,
41:20
Speaker 2: but it's not impossible. Stranger things have happened.
41:23
Speaker 1: It turns out eighty isn't that old? Eight is not
41:27
Speaker 1: that odd? Do you possibly still be alive if he did?
41:29
Speaker 1: Indeed figures that And I think that this this is
41:35
Speaker 1: interesting what you just said about the music industry, Like
41:38
Speaker 1: they're worth more to them dead than they are alive,
41:41
Speaker 1: because then they no longer have to pay them for
41:45
Speaker 1: their money, so then they can just have you know,
41:48
Speaker 1: they don't have to pay them for the music, so
41:49
Speaker 1: they can just keep all the money. It's kind of
41:51
Speaker 1: like what people have talked about with Prince. And the
41:54
Speaker 1: reason that they at Prince is because Prince, I mean,
41:59
Speaker 1: this is a theory, theory and speculation. The reason that
42:02
Speaker 1: they offered Prince was because he got the rights back
42:05
Speaker 1: to all of his music and he wasn't distributing it
42:07
Speaker 1: to any of these platforms. He wasn't given it. He
42:11
Speaker 1: took it all off of Spotify, he took it all
42:13
Speaker 1: off of Apple Music and all that. And two years
42:17
Speaker 1: after he got the rights back to all of his music,
42:19
Speaker 1: he was oft, they don't want you to have the
42:24
Speaker 1: rights to your music because if you have the royalties,
42:26
Speaker 1: and that's the same way with Michael Jackson as well.
42:28
Speaker 1: Michael Jackson had a huge catalog of music that he owned.
42:34
Speaker 1: He owned all of the Beatles right, like, all the
42:39
Speaker 1: like huge catalogs of music. So it makes sense that
42:42
Speaker 1: they would want to, you know, get rid of these
42:45
Speaker 1: people because then that opens up all the royalties and
42:48
Speaker 1: all the music that they have access to.
42:51
Speaker 2: Yeah, makes a lot of sense. When Whitney Houston turned
42:54
Speaker 2: up dead in a bathtub, and that was very strange
42:56
Speaker 2: as well in twenty twelve because twenty four hours before
43:00
Speaker 2: it was found dead in a bathtub, her daughter that
43:03
Speaker 2: she had with Bobby Brown, Bobby Christina, was also discovered unresponsive,
43:08
Speaker 2: unconscious in a bath tub in the same hotel suite,
43:11
Speaker 2: the La Beverly Hilton. So this raises the possibility that
43:16
Speaker 2: Bobby Christina was the one that was supposed to be
43:18
Speaker 2: taken out and for whatever reason, that didn't happen. So
43:22
Speaker 2: then twenty four hours later, Whitney is discovered dead in
43:26
Speaker 2: the bathtub. And this was at the time when Clive Davis,
43:29
Speaker 2: who's a very suspect guy music industry executive, he's been
43:33
Speaker 2: around forever. He was head of Arista records. He put
43:37
Speaker 2: Puffy on the map. P he Diddy, so go figure.
43:40
Speaker 2: He's the guy that basically gave him his career and
43:42
Speaker 2: facilitated bad Boy Records. But he was Whitney Houston's mentor.
43:48
Speaker 2: He's said to have discovered her and signed her to Arista.
43:51
Speaker 2: And at the time, Whitney was getting honored at a
43:55
Speaker 2: party for the Grammys, because the Grammys were taking place
43:58
Speaker 2: in Ala at that time, and the news filtered through
44:02
Speaker 2: that Whitney had been discovered dead in the hotel suite
44:06
Speaker 2: above where they were having this party, And instead of
44:09
Speaker 2: stopping the party, which is what you might imagine would
44:12
Speaker 2: get done in the interest of good taste, Clive Davis
44:15
Speaker 2: decided to turn it into a celebration. So he said, no,
44:18
Speaker 2: we're not stopping the party. We'll just do it to
44:20
Speaker 2: honor Whitney. So the event is said to have taken
44:23
Speaker 2: on a sort of celebratory vibe. So when you get
44:27
Speaker 2: into the dark occult aspects of what goes on in
44:30
Speaker 2: the music industry and entertainment generally, you get into things
44:35
Speaker 2: like rituals and the idea of sacrifices, the idea of
44:38
Speaker 2: artists being taken out the idea of family members of
44:42
Speaker 2: artists being taken out as a condition of their fame
44:45
Speaker 2: and success and prominence and wealth. There's a heavy price
44:48
Speaker 2: to pay for being famous in these fields if you
44:52
Speaker 2: don't come from one of these important bloodline families. So
44:58
Speaker 2: it's possible that Knew Houston was taken out in that
45:01
Speaker 2: manner to fulfill some kind of sick, ritualistic agenda that
45:07
Speaker 2: these controllers are deer to. So where was I going
45:14
Speaker 2: with this? I was making a point about Whitney Houston. Yeah,
45:17
Speaker 2: she died in February and this was just a couple
45:21
Speaker 2: of days before Valentine's Day. And when you think about
45:25
Speaker 2: the vast bulk of Whitney Houston's music, what it covers lyrically,
45:30
Speaker 2: it's love songs. So it was reported at the time
45:34
Speaker 2: in twenty twelve that her back catalog sales of her
45:39
Speaker 2: old albums absolutely skyrocketed, went through the roof. All these
45:43
Speaker 2: fans were going out to buy these albums in tribute
45:46
Speaker 2: to her, and every Valentine's Day now people are going
45:50
Speaker 2: to be flocking out buying Whitney Houston albums because it's
45:53
Speaker 2: love songs, right, So the timing is often important as
45:56
Speaker 2: to when these artists are taken out, and it is
46:00
Speaker 2: to do with music publishing in so many instances. You
46:03
Speaker 2: mentioned Prince and Michael Jackson, so many parallels between those
46:07
Speaker 2: two artists. You know, they were both doing battle with
46:11
Speaker 2: their respective record labels, Warner Brothers and the Sony Corporation.
46:15
Speaker 2: They both called them out as being completely immoral and
46:19
Speaker 2: exploiting artists and the terrible nature of the contracts that
46:24
Speaker 2: they were held in, and they were trying to regain
46:26
Speaker 2: control of their own music publishing back catalogs, master tapes.
46:31
Speaker 2: Another artist that was embarking on that route was George Michael,
46:36
Speaker 2: so he did battle with Sony as well. He was
46:39
Speaker 2: signed to the same corporation as Michael Jackson, and it
46:43
Speaker 2: didn't end well for any of them. And there's all
46:45
Speaker 2: kinds of other strange stuff as well. Like Michael Jackson
46:49
Speaker 2: we're told died on the twenty fifth of June two
46:53
Speaker 2: thousand and nine, which is George Michael's birthday. George Michael
46:58
Speaker 2: died six months later to the day, on Christmas Day
47:02
Speaker 2: of twenty sixteen, ten years to the day after James Brown.
47:07
Speaker 2: James Brown is also said to have attempted to extricate
47:13
Speaker 2: himself from his record deal way back in the nineteen
47:16
Speaker 2: sixties when he, Sam Cook and Otis Redding formed this
47:20
Speaker 2: sort of coalition where they were planning to launch their
47:24
Speaker 2: own record label for black soul artists and take back
47:28
Speaker 2: some of their power from the corporations that they were
47:31
Speaker 2: signed to, and you know, went back their publishing and
47:34
Speaker 2: things of this nature. So straight away Sam Cook seemingly
47:39
Speaker 2: got taken out, and we're told that he tried to
47:43
Speaker 2: rape a young woman at a motel after a show,
47:47
Speaker 2: and the woman escaped from his room and panicked and
47:51
Speaker 2: went to the motel reception and the receptionist grabbed a
47:54
Speaker 2: gun and shot Sam Cook as he tried to break
47:57
Speaker 2: into the office. That's what we're told. But as with
47:59
Speaker 2: all things, there's all sorts of anomalies and discrepancies and
48:03
Speaker 2: problems with the official story there. But either way, in
48:06
Speaker 2: December nineteen sixty four, Sam Cook was out of the picture.
48:10
Speaker 2: Then in nineteen sixty seven, also December, Otis Redding boarded
48:16
Speaker 2: a light aircraft after a show and it crashed into
48:20
Speaker 2: a lake, killing everyone on board, including the group, the
48:23
Speaker 2: bar Quays Soule group that were traveling with him. So
48:26
Speaker 2: there's Otis Redding gone, so that just left James Brown,
48:30
Speaker 2: and it seems that his fate for having dared to
48:34
Speaker 2: go up against his paymasters, his owners, was to be
48:39
Speaker 2: forced into loyal obedience service to the control system for
48:45
Speaker 2: several decades to come. So for the next forty years
48:48
Speaker 2: he became known as the hardest working man in show
48:51
Speaker 2: business because of the amount of albums he put out,
48:53
Speaker 2: the amount of shows he did. Was that through personal
48:56
Speaker 2: choice or was he being forced to do this because
49:00
Speaker 2: that was his payback? I suspect it was the latter.
49:03
Speaker 2: And then even when he did die in his seventies
49:07
Speaker 2: on Christmas Day of twenty sixteen, there are would you
49:10
Speaker 2: believe it, anomalism discrepancies surrounding that event as well, very
49:14
Speaker 2: strange stuff. So the twenty fifth of June, when Michael
49:17
Speaker 2: Jackson died, is known within Satanic groups as antiqu Christmas.
49:26
Speaker 2: So where as the rest of us celebrate Christmas on
49:28
Speaker 2: the twenty fifth of December, because it's marking the sun
49:32
Speaker 2: having reached its lowest point in the solar year in
49:38
Speaker 2: its annual journey, So the winter solstice has occurred twenty
49:43
Speaker 2: first of December, and then the sun is seen to
49:45
Speaker 2: effectively stay still, which is what the word solstice means,
49:49
Speaker 2: for the following three days, and then on the morning
49:53
Speaker 2: of the twenty fifth of December, it very slowly and
49:57
Speaker 2: very gradually begins to rise again. So it's God's sun sun,
50:04
Speaker 2: not Son, rising after three days in the tomb, three
50:10
Speaker 2: days of being dead. So it remind you of any
50:12
Speaker 2: stories you might have heard. So that's what Christmas is
50:15
Speaker 2: all about. It's the celebration, at least in the what's
50:19
Speaker 2: referred to as the northern hemisphere, of the days starting
50:22
Speaker 2: to get slowly longer as the sun moves towards its
50:25
Speaker 2: high point at the summer solstice. So Satanists, who twist
50:31
Speaker 2: and invert everything celebrate the opposite. So on the twenty
50:35
Speaker 2: fifth of June, three days after the summer solstice, the
50:39
Speaker 2: sun is gradually, very slowly declining a little every day,
50:45
Speaker 2: so it's symbolically being seen to die. And that's what
50:49
Speaker 2: satanis love. They're all about death and decay, and symbolically
50:53
Speaker 2: they like to represent this. So it's interesting that that's
50:58
Speaker 2: the date when Michael Jackson passed away. It's George Michael's
51:01
Speaker 2: birthday and it's six months to the day before George
51:06
Speaker 2: Michael turns up dead. George Michael, a man arguably best
51:10
Speaker 2: known for the lyric Last Christmas, I Gave you my
51:14
Speaker 2: heart turns up dead on Christmas Day of heart failure.
51:19
Speaker 2: You couldn't make it up, and you don't have to.
51:23
Speaker 1: That's a wild coincidence, wild coincidence. Mark. There's a lot
51:30
Speaker 1: of information about Michael Jackson, and I think that Michael Jackson.
51:33
Speaker 1: There is this video that I watched, which I don't
51:35
Speaker 1: know if it's true or not, but someone analyzed the
51:40
Speaker 1: license plate number on the van that carried Michael Jackson's
51:44
Speaker 1: body out, and it shows him they're pulling into a
51:49
Speaker 1: Have you seen this video where they're pulling into a
51:52
Speaker 1: parking garage and Michael Jackson gets out of the back
51:55
Speaker 1: of the van.
51:56
Speaker 2: I think I've heard about it, but I've not seen
51:58
Speaker 2: the video.
52:00
Speaker 1: Yeah, it was really interesting. And then later on that
52:02
Speaker 1: same VM with the same license plate, the scene on
52:06
Speaker 1: the news like picking up Michael Jackson's dead body.
52:12
Speaker 2: It's just crazy, man, It's crazy. Every time you get
52:15
Speaker 2: a reported artist death, there's all kinds of things to
52:19
Speaker 2: just completely mess with your mind and tie researchers like
52:23
Speaker 2: me up in a knot and send us off down
52:25
Speaker 2: the garden path. You know, you have to be very
52:28
Speaker 2: thorough with your research not to get caught up in
52:31
Speaker 2: some kind of syop in such cases, you know, so
52:35
Speaker 2: with David Bowie, for example. So twenty sixteen was a
52:40
Speaker 2: really unlucky year in music history. So we're told that
52:45
Speaker 2: in January the tenth David Bowie sadly passed away of
52:51
Speaker 2: cancer at the age of sixty nine. At the very
52:53
Speaker 2: end of the year, Christmas Day, George Michael turns up
52:56
Speaker 2: dead in bed on Christmas Day, and you had the
53:00
Speaker 2: death of Prince in the middle twenty first of April
53:02
Speaker 2: twenty sixteen, were told at the age of fifty seven
53:04
Speaker 2: in an elevator at his Paisley Park complex just outside Minneapolis.
53:09
Speaker 2: So Bowie was a couple of days away from his
53:13
Speaker 2: birthday when he sadly passed away from cancer. This is
53:16
Speaker 2: an interesting thing because I've noticed a lot of celebrities,
53:20
Speaker 2: famous people that die seem to die two days before
53:24
Speaker 2: their birthday. I only noticed this today, But Jimmy Saville,
53:27
Speaker 2: I'm sure everyone knows all about Jimmy Saville and what
53:30
Speaker 2: he was up to, died two days shy of his
53:34
Speaker 2: eighty fifth birthday in twenty eleven, so he's born on Halloween.
53:38
Speaker 2: That couldn't make that up thirty first of October and
53:42
Speaker 2: he dies on the twenty ninth, and I think I've
53:45
Speaker 2: got to check this out, but David Lynch has just
53:47
Speaker 2: passed away, and I think he was two days shy
53:49
Speaker 2: of his birthday as well. So it's interesting how many
53:52
Speaker 2: of these famous people don't quite make that birthday by
53:55
Speaker 2: two days. But anyway, that's by the bye. So David Bowie,
54:00
Speaker 2: we're told, die is in January twenty sixteen. So the
54:04
Speaker 2: morning after the news breaks, Sky News have this bulletin
54:10
Speaker 2: and they whee al out this guy to pay tribute
54:13
Speaker 2: to the life of David Bowie, and they say that
54:17
Speaker 2: he's a music industry executive who goes by the name
54:20
Speaker 2: of Jack Stephen. Nobody had heard of Jack Stephen up
54:24
Speaker 2: to this point. When you went to do a background
54:28
Speaker 2: check on him at the time in twenty sixteen, as
54:30
Speaker 2: I and many others did, there was virtually nothing to
54:33
Speaker 2: be found of him online. Since then, I've discovered a
54:37
Speaker 2: few things. So he's got a LinkedIn profile. There's a
54:41
Speaker 2: mention of him in a eurhythmics book, as having effectively
54:44
Speaker 2: discovered the rhythmics or signed him to RCA Records, So
54:48
Speaker 2: he now seems to have a bit of a past,
54:51
Speaker 2: a bit of a history in the music game. But
54:54
Speaker 2: in twenty sixteen, nobody knew who he was. So he
54:56
Speaker 2: appears on this Sky News interview and me idiately people
55:01
Speaker 2: started remarking on how much he looked like David Bowie,
55:06
Speaker 2: and not only that, but he sounded just like him
55:09
Speaker 2: as well. The voice was uncannily similar like pastor, Bob
55:13
Speaker 2: Joyce and Elvis. So now you're left wondering, is this
55:18
Speaker 2: Bowie is he mocking us? Is he appearing one last
55:22
Speaker 2: time and then he's going to fade off into obscurity
55:24
Speaker 2: like Elvis possibly did? Or are we getting a bit
55:28
Speaker 2: too paranoid and a bit too conspiratorial and as the
55:31
Speaker 2: guy really died and we're just reading too much into this.
55:35
Speaker 2: But then you look at the situation surrounding Michael Jackson
55:38
Speaker 2: and the morning after we got the news of Michael Jackson.
55:40
Speaker 2: In two thousand and nine, Larry King on CNN interviews
55:46
Speaker 2: this guy whose name is given as Dave Dave, I
55:50
Speaker 2: think his real name is supposed to have been David Rothenberg.
55:53
Speaker 1: The suppose Burne victim, right.
55:55
Speaker 2: So the story is that when he was a kid,
55:58
Speaker 2: this guy was set on fire by his abusive father
56:01
Speaker 2: and he suffered terrible burns, had to undergo surgery and such,
56:06
Speaker 2: and Michael Jackson befriended him in hospital. So when Michael died,
56:11
Speaker 2: Dave appeared to say what a wonderful guy he was
56:13
Speaker 2: and to share his memories of him and stuff like that.
56:17
Speaker 2: But again, people remarked at the time on how it
56:20
Speaker 2: looked as if it could be Michael Jackson under heavy
56:24
Speaker 2: prosthetic makeup, and how similar his voice was to Michael's.
56:29
Speaker 2: It sounded just like Michael. So it leaves guys like
56:34
Speaker 2: me unsure of exactly what's gone on and unable to
56:39
Speaker 2: say one hundred percent one way or the other if
56:43
Speaker 2: these people are these departed stars under new disguises, or
56:48
Speaker 2: whether it's just coincidence or just the way things go.
56:53
Speaker 2: It's very difficult to pin down exactly what's gone on here,
56:58
Speaker 2: and I think they do it deliberately to confuse the
57:01
Speaker 2: likes of us.
57:03
Speaker 1: Well, there's also this video that I've most recently seen
57:06
Speaker 1: of Paul McCartney here where the guy behind him looks
57:12
Speaker 1: more like he would probably look than he actually looks.
57:16
Speaker 1: It's so interesting here this video of Paul McCartney, and
57:22
Speaker 1: right behind him, this guy is going to appear that
57:25
Speaker 1: it looks more like right there he is.
57:29
Speaker 2: It looks like freaking John Lennon, doesn't.
57:31
Speaker 1: It It does? Oh my god, yeah it does.
57:35
Speaker 2: Yeah. Yeah. So people are saying, well, that actually looks
57:38
Speaker 2: like John Lennon. It does look a bit like John Lennon.
57:41
Speaker 1: I thought it was like the reincarnation of Paul McCartney,
57:45
Speaker 1: but it does look like John Lennon. Yeah. Yeah.
57:46
Speaker 2: And when he turns to the side, he's got Lennon's nose,
57:49
Speaker 2: this kind of pointed nose. But there's all kinds of
57:52
Speaker 2: problems there as well, because we now have AI fakery,
57:58
Speaker 2: and you can't trust a video anymore because it could
58:01
Speaker 2: have been digitally manipulated and AI could have been put
58:05
Speaker 2: in there. You can't trust a picture that you find
58:08
Speaker 2: online anymore because it could have been photoshopped, because the
58:12
Speaker 2: fakery is now very good. So it's very difficult to
58:16
Speaker 2: be able to place any stock in any of this stuff. Really,
58:20
Speaker 2: you've got to go back to print photographs, which are
58:23
Speaker 2: much more difficult to fake and old magazines and old
58:26
Speaker 2: books that have been around for decades if you want
58:29
Speaker 2: any reliable evidence in any of these cases, most other
58:33
Speaker 2: things become gray areas because of the capacity for fakery.
58:37
Speaker 2: I mean even something that troubles me greatly is I'm
58:40
Speaker 2: totally open to the idea that Paul McCartney was replaced
58:44
Speaker 2: and that the guy we have today might not be
58:46
Speaker 2: the original Paul McCartney. I can certainly say there's been
58:49
Speaker 2: more than one Paul McCartney. It's obvious from looking at
58:52
Speaker 2: photos and film footage and stuff. He changes in height,
58:56
Speaker 2: he changes in appearance, his face gets fatter and then
58:59
Speaker 2: longer and thinner. So it's two separate guys, or possibly
59:02
Speaker 2: more than two. But something that bothers me greatly is
59:06
Speaker 2: that I'm a big John Lennon fan. I love his
59:09
Speaker 2: solo music. I loved a lot of the stuff that
59:12
Speaker 2: he put out in the Beatles. I know that he
59:15
Speaker 2: was a very compromised character, a very complex character, and
59:19
Speaker 2: in many cases he was not a particularly likable character.
59:23
Speaker 2: You know, he was very unkind to his first wife, Cynthia,
59:27
Speaker 2: and to his son Julian reportedly, and he used to
59:30
Speaker 2: mock disabled people and stuff, and these aren't great traits,
59:33
Speaker 2: you know, But at the same time, he put out
59:37
Speaker 2: some incredibly empowering music through his solo canon of work
59:42
Speaker 2: in the nineteen seventies, and I personally believe that he
59:46
Speaker 2: was very sincere and very conscientious in a lot of
59:49
Speaker 2: the messages that he was putting out there. And you
59:52
Speaker 2: don't really find any other artist in music history that's
59:56
Speaker 2: put out that many profound songs in terms of spiritual
1:00:01
Speaker 2: mystical stuff, which you've got in a lot of his songs,
1:00:04
Speaker 2: and also the more politically socially conscious songs and songs
1:00:11
Speaker 2: that just address complex topics and interesting subjects that other
1:00:16
Speaker 2: artists don't really go near. So for all those reasons,
1:00:20
Speaker 2: I really like John Lennon's work, and he's a totally
1:00:24
Speaker 2: fascinating character to study. But what bothers me is that
1:00:28
Speaker 2: when you look at the time of his final album,
1:00:31
Speaker 2: Double Fantasy, which was released just a few weeks before
1:00:35
Speaker 2: we're told he was shot outside the Dakota Building in
1:00:38
Speaker 2: December nineteen eighty, he doesn't quite look the same as
1:00:42
Speaker 2: the John Lennon of old. He's changed in some ways.
1:00:47
Speaker 1: But is that because because he kind of got out
1:00:50
Speaker 1: of the whole you know, music industry, and he was,
1:00:53
Speaker 1: you know, sort of became hippie as well. It could
1:00:58
Speaker 1: that have been because he he didn't have all the
1:01:02
Speaker 1: people around him, He didn't have the makeup going on,
1:01:04
Speaker 1: so he aged more so he looked different. Because I
1:01:07
Speaker 1: think that that's a contention with a lot of this
1:01:09
Speaker 1: stuff too, because some people are like, oh, the celebrities
1:01:12
Speaker 1: look completely different. I'm like, well, if you're kind of
1:01:14
Speaker 1: out of the spotlight, you're not getting all the work
1:01:16
Speaker 1: done that you would normally be getting done. You wouldn't
1:01:20
Speaker 1: be made to look like you're younger than what you are. Like,
1:01:24
Speaker 1: I guarantee if Tom Cruise didn't have as much work
1:01:27
Speaker 1: done on him, if Brad Pitt didn't have all that
1:01:29
Speaker 1: work done on him, they would look like their age
1:01:32
Speaker 1: that they're supposed to be. Right.
1:01:34
Speaker 2: Yeah, well I take that point. But it was more
1:01:36
Speaker 2: in facial structure and you know, facial features that I
1:01:43
Speaker 2: started to see some problems. But the thing with John
1:01:45
Speaker 2: Lennon and all the Beatles is just how much they
1:01:48
Speaker 2: did change their appearance. And not only that, but they
1:01:52
Speaker 2: appeared to be two separate groups. They had two very
1:01:54
Speaker 2: distinct phases. So when they first emerged with their debut
1:01:59
Speaker 2: single tween sixty two Love Me Do they just finalized
1:02:03
Speaker 2: their original lineup or the lineup that people are familiar with.
1:02:08
Speaker 2: So Stuart Sutcliffe was the original bassist and he died
1:02:12
Speaker 2: at the ripe old age of twenty one of a
1:02:15
Speaker 2: brain anaorysm right before the Beatles broke through to prominence
1:02:19
Speaker 2: in nineteen sixty two. And Pete Best, whose mother Mona Best,
1:02:24
Speaker 2: got the Beatles their very earliest gigs in Liverpool. She
1:02:28
Speaker 2: came from a military family background. Would you believe her son,
1:02:32
Speaker 2: Pete was the original drummer in the Beatles and Mona
1:02:38
Speaker 2: Best Pete's mother got impregnated by a close friend of
1:02:43
Speaker 2: the Beatles, a guy by the name of Neil Aspinall.
1:02:47
Speaker 2: So it was a young guy, it was the same
1:02:49
Speaker 2: age as the Beatles, but he got Pete Best's mother
1:02:54
Speaker 2: knocked up and she ended up giving birth to a
1:02:58
Speaker 2: son who was named Ugue Best Vincent or Rogue Best.
1:03:03
Speaker 2: And instead of getting rid of Neil Aspinall, who was
1:03:08
Speaker 2: a sort of roadie and an assistant and a close
1:03:11
Speaker 2: confident of the Beatles, you might think this would be
1:03:14
Speaker 2: a very embarrassing affair and they'd want to get rid
1:03:17
Speaker 2: of Neil, you know, to deflect attention away from what
1:03:20
Speaker 2: had happened. But no, they didn't do that. They kicked
1:03:24
Speaker 2: Pete Best out of the group and they replaced him
1:03:26
Speaker 2: with Ringo. So Ringo became the drummer with the Beatles,
1:03:30
Speaker 2: and he's the one that went on too the Fame
1:03:32
Speaker 2: and the Fortune and the great Wealth, whereas Pete remained
1:03:37
Speaker 2: in Liverpool and has just opened up the Kasbar Coffee Club,
1:03:40
Speaker 2: which is where the Beatles did their first gigs in
1:03:42
Speaker 2: the city, as an airbnb because it's been his home
1:03:46
Speaker 2: for several decades. So the Beatles came out with this lineup,
1:03:50
Speaker 2: and to start with, they were doing these songs that
1:03:54
Speaker 2: endeared them to a certain demographic, so girls loved them,
1:03:58
Speaker 2: but they were also family friendly, so she loves You,
1:04:02
Speaker 2: I want to hold your hand from Me to you,
1:04:05
Speaker 2: songs like this, and there were songs that your mother
1:04:07
Speaker 2: would like and your granny would like because they were inoffensive.
1:04:11
Speaker 2: They did the Ed Sullivan thing in New York in
1:04:13
Speaker 2: February sixty four, and you know, endeared themselves to American audiences.
1:04:20
Speaker 2: But then nineteen sixty six comes along and this is
1:04:23
Speaker 2: the beginnings of the counterculture. This is the beginnings of
1:04:27
Speaker 2: the flower Power sort of hippie era and all these
1:04:30
Speaker 2: big social changes. And by the following year, which was
1:04:34
Speaker 2: known as the Summer of Love nineteen sixty seven, they
1:04:37
Speaker 2: released the Sergeant Pepper album, which is very trippy and
1:04:41
Speaker 2: very psychedelic in parts, and they look like a completely
1:04:46
Speaker 2: different band. So those who adhere to the theory that
1:04:51
Speaker 2: Paul McCartney was replaced will say that by the time
1:04:54
Speaker 2: of Sergeant Pepper, they've switched out Paul for Billy Shears,
1:04:58
Speaker 2: so you're look in at a different guy. But they've
1:05:01
Speaker 2: all changed appearance. So on the cover of that album,
1:05:04
Speaker 2: they've got longer hair, they're wearing mustaches, and then over
1:05:08
Speaker 2: the ensuing years, sometimes they got beards, sometimes they haven't.
1:05:12
Speaker 2: Sometimes they're wearing mustaches, sometimes they're not. John Lennon's got
1:05:16
Speaker 2: his little granny glasses sometimes and sometimes he hasn't. Sometimes
1:05:20
Speaker 2: he's got long hair, and then he gets his hair
1:05:22
Speaker 2: cropped off, So they're looking different all the time. And
1:05:26
Speaker 2: I wonder if this was done deliberately to throw people
1:05:29
Speaker 2: off the scent, if certain members have been getting replaced,
1:05:33
Speaker 2: because it can just be explained away as Oh, the
1:05:36
Speaker 2: Beatles were just going with the fashion of the times.
1:05:38
Speaker 2: And you know, of course they look different from album
1:05:40
Speaker 2: to album, because everybody did in those times. There's a
1:05:44
Speaker 2: theory that the Beatles were the product of British military intelligence. Intelligence.
1:05:50
Speaker 2: Military intelligence is of course an oxymoron. But five and
1:05:55
Speaker 2: MI six are very closely linked to the Tavistock Institute,
1:06:00
Speaker 2: which is a social engineering think tank where psychological operations
1:06:04
Speaker 2: are dreampt up by social scientists, behavioral scientists, psychologists those
1:06:11
Speaker 2: who want to change culture and change societal attitude to
1:06:16
Speaker 2: all kinds of things, so they weaponize popular culture to
1:06:20
Speaker 2: get the job done. So they do it through things
1:06:23
Speaker 2: like movies, TV shows and of course music groups. So
1:06:28
Speaker 2: there was this guy named John Coleman, doctor Jonathan Coleman,
1:06:33
Speaker 2: who was a British military intelligence guy, and he broke
1:06:36
Speaker 2: ranks and became something of a whistleblower, and he put
1:06:40
Speaker 2: out a book which was published in nineteen ninety one
1:06:44
Speaker 2: titled The Committee of three Hundred Conspirators Hierarchy, And this
1:06:50
Speaker 2: is a very sort of key book within conspiracy circles.
1:06:54
Speaker 2: He breaks down the thirteen so called Illuminati families and
1:06:58
Speaker 2: he talks about secrets of society, networks and the way
1:07:01
Speaker 2: they're all structured. But he makes a very bold claim
1:07:04
Speaker 2: in that book that the Beatles are not just the Beatles,
1:07:08
Speaker 2: but also the Rolling Stones, who were supposed to be
1:07:10
Speaker 2: the Beatles' rivals but supposedly came out of the same camp,
1:07:14
Speaker 2: were the product of Tavistock, and they were made as
1:07:18
Speaker 2: popular and as influential as they became because you don't
1:07:23
Speaker 2: get those levels of fame and influence under your own steam.
1:07:28
Speaker 2: You have to be selected for it. There's no way
1:07:31
Speaker 2: a group could get even a fraction of the way
1:07:34
Speaker 2: towards the influence that the Beatles had over so many
1:07:37
Speaker 2: people if they didn't have the backing of the state,
1:07:41
Speaker 2: the military industrial complex, the true controllers of organized society.
1:07:47
Speaker 2: So of course the Beatles have to have been chosen,
1:07:51
Speaker 2: handpicked to be that group. And so that's apparently what
1:07:57
Speaker 2: they were doing. They were changing attitudes by sweeping their
1:08:02
Speaker 2: fan base along with them. So they started out as
1:08:05
Speaker 2: this group putting out these love songs, boy meet's girl
1:08:09
Speaker 2: love songs, and then by the latter part of their
1:08:12
Speaker 2: career they've embraced psychedelic acid culture and all the changes
1:08:17
Speaker 2: that were coming out of California in those times were
1:08:20
Speaker 2: being echoed in the London underground, the sort of counterculture
1:08:25
Speaker 2: that was happening in London at the time, with the
1:08:28
Speaker 2: Beatles spearheading the whole thing. So you know, it's interesting,
1:08:31
Speaker 2: isn't it, because LSD appeared everywhere at the same time,
1:08:36
Speaker 2: in Britain and America, and yet we're supposed to believe
1:08:39
Speaker 2: it's just this organic thing. It's just the way these
1:08:42
Speaker 2: cycles of culture go and acts. In America, bands were
1:08:46
Speaker 2: getting all psychedelic and you know, experimenting with these new
1:08:50
Speaker 2: trippy sort of sounds at exactly the same time as
1:08:53
Speaker 2: groups like the beat Tours and Pink Floyd and the
1:08:56
Speaker 2: Who were over here in Britain. It all smacks of
1:09:01
Speaker 2: being orchestrated, social engineering, dreamt up, cooked up at Tavistock,
1:09:07
Speaker 2: because that's where they all come out of. And with
1:09:10
Speaker 2: groups like the Beatles, the Rolling Stones, the Animals, the Doors,
1:09:14
Speaker 2: the Mamas and the Pappers, Frank Zappra, the Mothers of Invention,
1:09:18
Speaker 2: Joni Mitchell, all these other groups, The Beach Boys, the Monkeys,
1:09:23
Speaker 2: Alice Cooper, all these bands are coming out of Laurel
1:09:26
Speaker 2: Canyon being used as assets to get the culture of
1:09:30
Speaker 2: the time changed, and I think it's fairly safe to
1:09:35
Speaker 2: say and fairly accurate to say that the ripples from
1:09:39
Speaker 2: what went on in the nineteen sixties at the hands
1:09:42
Speaker 2: of these kinds of groups and those that control them
1:09:46
Speaker 2: are still being felt in society today. So a favorite
1:09:50
Speaker 2: thing that my dad used to say to me, there'd
1:09:54
Speaker 2: be this kind of situation where, when I was younger,
1:09:57
Speaker 2: we'd be watching a movie together. I'd be like a
1:10:00
Speaker 2: teenager and a sex scene would come on. And there's
1:10:05
Speaker 2: nothing more awkward than watching a sex scene in a
1:10:08
Speaker 2: movie with your parents in the room. You start to
1:10:10
Speaker 2: shuffle awkwardly in your seat, you know. And my dad
1:10:14
Speaker 2: would usually break the silence by saying, I blame the
1:10:17
Speaker 2: sixties for this, And he had a point, because that's
1:10:21
Speaker 2: when it all began, you know, sex coming into films
1:10:24
Speaker 2: and depictions of violence. It all happened at that time.
1:10:30
Speaker 2: In nineteen sixty nine, twentieth of March, right at the
1:10:34
Speaker 2: time of the Spring equinox, there was a guy named
1:10:37
Speaker 2: Dr Richard Day, and he held a meeting which was
1:10:42
Speaker 2: connected to Planned parenthood. So this is the eugenics operation
1:10:47
Speaker 2: that Bill Gates's father was a founder member of. All
1:10:50
Speaker 2: about population reduction, what could possibly go wrong? Right? And
1:10:55
Speaker 2: Richard Day addressed a group of pediatricians as part of Parenthood,
1:11:01
Speaker 2: and he outlined all the changes that were scheduled to
1:11:06
Speaker 2: take place in society in the decades ahead, and he
1:11:10
Speaker 2: told the people in the audience, David Iike tells this
1:11:13
Speaker 2: story often, but it's come up in my research as well.
1:11:16
Speaker 2: He told all the attendees to not take notes and
1:11:19
Speaker 2: to turn off their recording tape recorders, and one doctor there,
1:11:25
Speaker 2: for whatever reason, did take notes. And years later, just
1:11:30
Speaker 2: before he passed away, he published what he could remember
1:11:34
Speaker 2: of that meeting in nineteen sixty nine, and he said,
1:11:37
Speaker 2: Richard Day told everyone that music was going to get worse.
1:11:43
Speaker 2: Music was going to be used deliberately to drive a
1:11:47
Speaker 2: wedge between young people and their parents' generation. They were
1:11:51
Speaker 2: going to degrade moral values. They were going to deliberately
1:11:55
Speaker 2: and systematically work with Hollywood and the television industry to
1:12:00
Speaker 2: get graphic depictions of sex and violence into movies and
1:12:05
Speaker 2: TV shows that would be seen by a mainstream audience.
1:12:08
Speaker 2: And it was a slow drip, subversive attack through popular
1:12:14
Speaker 2: culture on not just America, but the rest of the world.
1:12:19
Speaker 2: And I think we can conclude that they've done a
1:12:23
Speaker 2: brilliant job of it.
1:12:25
Speaker 1: Seems to be super successful. I mean, if you just
1:12:27
Speaker 1: look at the types of music that people listen to nowadays, dude,
1:12:31
Speaker 1: it's like completely garbage. I can't even listen to it,
1:12:36
Speaker 1: meaning like make my ears bleed, dude.
1:12:39
Speaker 2: Literally that literally that If I'm ever in a shop
1:12:43
Speaker 2: where they start playing what passes for hip hop now
1:12:46
Speaker 2: with all this auto tune, you know, I just have
1:12:48
Speaker 2: to get out of that shop because it makes me
1:12:50
Speaker 2: feel almost physically unwill. It has that effect on me.
1:12:55
Speaker 1: There's also been this weird transition from bands and musicians
1:13:01
Speaker 1: into I think it happened in the early nineties, Like
1:13:05
Speaker 1: as we were coming out of the eighties into the nineties,
1:13:08
Speaker 1: we started getting away from bands, like it started becoming
1:13:11
Speaker 1: about the solo artists, like the solo person, and they
1:13:16
Speaker 1: started trying to rip people away from bands, like the
1:13:18
Speaker 1: singers of bands and having them go out on their
1:13:21
Speaker 1: own and like Fleetwood Mac, like a lot of these
1:13:26
Speaker 1: they were trying to influence them to try and break
1:13:28
Speaker 1: away from the band. And the only thing that I
1:13:30
Speaker 1: can think of is, you know, it's difficult to control
1:13:34
Speaker 1: five or more people because sometimes, you know, with bands,
1:13:37
Speaker 1: there's a lot of people inside of the band. It's
1:13:40
Speaker 1: much easier to control one person than it is to
1:13:42
Speaker 1: control multiple people and get them all on the same page.
1:13:46
Speaker 1: So they started putting an emphasis on solo artists now,
1:13:50
Speaker 1: and now that's all popular mainstream music is. It's no
1:13:53
Speaker 1: longer bands anymore. It's now solo artists. But I think
1:13:57
Speaker 1: bands are starting to kind of make a time, any
1:14:00
Speaker 1: bit of a comeback.
1:14:02
Speaker 2: Another thing is that you get all these artists collaborating
1:14:05
Speaker 2: with each other now. And I'm thinking of the genre
1:14:08
Speaker 2: that's described as urban. It's nothing of the sort, you know,
1:14:10
Speaker 2: but so called hip hop and so called R and B.
1:14:13
Speaker 2: So you have like the first artist's name, and then
1:14:16
Speaker 2: you have a bunch of others separated by commas. And
1:14:19
Speaker 2: I know this unfortunately, because my daughter listens to a
1:14:21
Speaker 2: lot of this stuff and I see all the names
1:14:23
Speaker 2: coming up on the screen. But it's like four or
1:14:26
Speaker 2: five different artists featured on the same track. And it's
1:14:31
Speaker 2: just a way of getting all these artists out there
1:14:33
Speaker 2: to these different fan bases and stuff. But it all
1:14:35
Speaker 2: sounds the same. They all sound exactly the same. It's
1:14:37
Speaker 2: the same producers they're working with. Everything's drenched in auto tune.
1:14:41
Speaker 2: They all sound like gibbering robots. And we've been talking
1:14:45
Speaker 2: here about artists like Elvis Presley. You know, Elvis Presley
1:14:48
Speaker 2: broke out nearly seventy years ago. The Beatles had their
1:14:52
Speaker 2: heyday sixty years ago, and here we are still talking
1:14:55
Speaker 2: about them. Why Because they're fascinating, because their music was good,
1:15:00
Speaker 2: because there's songs stood up to scrutiny and analysis, and
1:15:04
Speaker 2: they're still interesting to consider all these decades on who
1:15:09
Speaker 2: honestly believes that, Never mind sixty years from now, let's
1:15:13
Speaker 2: say six years from now, there's gonna be people sitting
1:15:16
Speaker 2: around going, I miss Cardi B. Cardi B was great.
1:15:21
Speaker 2: She had some amazing songs that the lyrical complexity and
1:15:26
Speaker 2: the themes that she was discussing, and you know, she
1:15:29
Speaker 2: was amazing. Man, who's going to be saying, Oh, Doja Cat?
1:15:33
Speaker 2: Doja Cat was just just the best artist, you know,
1:15:37
Speaker 2: even incredible lyricists.
1:15:39
Speaker 1: The lyrics are just so stunning. Megan A. Stallion, Oh
1:15:43
Speaker 1: my god, Megan Stallion.
1:15:45
Speaker 2: Yeah, migos, Oh so good, so good. It's not gonna happen,
1:15:50
Speaker 2: is it?
1:15:51
Speaker 1: No? I don't think so, and that's the that's the
1:15:54
Speaker 1: issues because there's no soul there. It's like all I
1:15:58
Speaker 1: think a lot of it's just AI general music. Now.
1:16:01
Speaker 1: I think that they've had this AI generated stuff for
1:16:03
Speaker 1: a really long time, and they've been using it in
1:16:06
Speaker 1: the music industry since the freaking early two thousands, and
1:16:10
Speaker 1: we're just now getting it now. So it doesn't have
1:16:13
Speaker 1: any of that soul, it doesn't have any of that grasp.
1:16:16
Speaker 1: And that's the thing about the Beatles too, is the
1:16:18
Speaker 1: Beatles had I think that they were the first and
1:16:21
Speaker 1: one of the only bands that wrote a lot of
1:16:24
Speaker 1: their music in the two thirty four hertz music. So
1:16:29
Speaker 1: it's two four to three to two, sorry for four
1:16:32
Speaker 1: to thirty two. Yeah.
1:16:34
Speaker 2: Yeah, That's a thing that comes up a lot in
1:16:37
Speaker 2: my research frequencies that the tuning pitch, the standard tuning
1:16:41
Speaker 2: pitch where the a note is tuned to a certain
1:16:45
Speaker 2: number of cycles per second measured in hertz. So four
1:16:48
Speaker 2: to three to two is said to be a harmonic frequency.
1:16:53
Speaker 2: And you speak to so many musicologists, musicians, audio files
1:16:58
Speaker 2: and they'll say, yes, all three to two is the
1:17:00
Speaker 2: one because it's in tune with the rhythms of the
1:17:03
Speaker 2: body and the natural resonance of the earth, and it's
1:17:07
Speaker 2: just a highly natural choice to tune your music too,
1:17:10
Speaker 2: and music sounds much more pleasing on an unseen level,
1:17:14
Speaker 2: so you don't really notice it, but it has a
1:17:18
Speaker 2: very positive effect on the listener, whereas four forty hurts
1:17:23
Speaker 2: only eight herts apart, but making all the difference. Is
1:17:26
Speaker 2: said to be a very discordant, very dissonant frequency, and
1:17:30
Speaker 2: that's the one that's been used as the international tuning
1:17:33
Speaker 2: pitch since the tail end of the Second World War,
1:17:37
Speaker 2: so several decades, so most pieces of recorded music coming
1:17:42
Speaker 2: through the corporations will have been pitched to four forty,
1:17:47
Speaker 2: and a lot of the live music that you listen
1:17:49
Speaker 2: to as well, unless the musicians specifically know to retune
1:17:53
Speaker 2: their instruments to four three two is going to be
1:17:55
Speaker 2: getting delivered in four forty. And this is said to
1:17:58
Speaker 2: put you in a state of unease, and you feel
1:18:01
Speaker 2: very agitated and stressed, but you don't know why. So
1:18:04
Speaker 2: it's having that effect on you, but you're not consciously
1:18:07
Speaker 2: aware of it.
1:18:08
Speaker 1: So certain you're at a spiritual level.
1:18:12
Speaker 2: Spiritual level, yeah, and sound frequencies can do that. So
1:18:16
Speaker 2: when you get very low on the scale when you
1:18:19
Speaker 2: start getting down to about seven hurts, So the human resonance,
1:18:23
Speaker 2: which is supposed to be the natural frequency of the earth,
1:18:27
Speaker 2: is said to be seven point eighty three hurts. But
1:18:30
Speaker 2: when you get even lower than that, and you get
1:18:32
Speaker 2: down to about seven, you start to be able to
1:18:35
Speaker 2: actually feel sound frequencies, so you don't hear them, you
1:18:40
Speaker 2: feel them in your body. And there's technology available whereby
1:18:44
Speaker 2: very low frequencies are used to disperse crowds in like
1:18:49
Speaker 2: riot situations, so they unleash one of these sound weapons,
1:18:54
Speaker 2: and the frequency makes people feel physically sick, and there's
1:19:00
Speaker 2: been instances of people actually vomiting and actually losing control
1:19:05
Speaker 2: of their belts because it's just pulsating through their body
1:19:08
Speaker 2: and having a horrific effect on them.
1:19:10
Speaker 1: I think the military has some of those that they
1:19:13
Speaker 1: say that they use for like riot.
1:19:15
Speaker 2: Control exactly, that's what they say they're used for. But
1:19:18
Speaker 2: we don't know when these things could be getting used
1:19:20
Speaker 2: against us. And it's just a reminder of how powerful
1:19:25
Speaker 2: sound frequencies can be because it's all happening on that
1:19:28
Speaker 2: unseen level. And now that we've got music or so
1:19:31
Speaker 2: called music being delivered in digital or electronic formats. The
1:19:36
Speaker 2: scope is there for all kinds of harmful stuff to
1:19:39
Speaker 2: be getting stripped into the recordings without anyone knowing they're there.
1:19:45
Speaker 2: So that's it. You know, kids now are listening to
1:19:48
Speaker 2: MP three's on their phones and that's their idea of
1:19:52
Speaker 2: what music is. In our day, it was vinyl albums.
1:19:56
Speaker 2: You come home from the record shop with a great
1:19:59
Speaker 2: new Vie album with this lavish artwork in the sleeve,
1:20:02
Speaker 2: and you get really excited as you put it on
1:20:04
Speaker 2: the turntable. It's all analogue, and Vinyl enthusiasts speak of
1:20:08
Speaker 2: that warm sound that Vinyl used to deliver. Because you're
1:20:11
Speaker 2: getting a full frequency range recording. Now you've got all
1:20:16
Speaker 2: kinds of stuff getting stripped out of the recording when
1:20:18
Speaker 2: it's being compressed down to MP three, So a lot
1:20:21
Speaker 2: of the data is getting lost to reduce the file size.
1:20:25
Speaker 2: But if information and sound is getting lost and nobody notices,
1:20:31
Speaker 2: then the opposite thing could be happening, which is stuff
1:20:35
Speaker 2: could be getting stripped in and nobody notices. So you
1:20:39
Speaker 2: don't really know what you're listening to anymore because it's
1:20:42
Speaker 2: all digital and electronic. And I'm just not a fan.
1:20:45
Speaker 2: I'm not a fan of everything in society being digital
1:20:48
Speaker 2: and electronic. I'm not a fan of the fact that
1:20:51
Speaker 2: I've got a twenty twelve Apple MacBook right here, which
1:20:55
Speaker 2: has USB ports in. But if i want to get
1:20:58
Speaker 2: an updated Apple Mac, I'm not going to have USB ports,
1:21:02
Speaker 2: so I'm not going to be able to plug devices in.
1:21:05
Speaker 2: Everything's got to be done wirelessly. I've got a car
1:21:08
Speaker 2: with a CD player in. Imagine that because I like
1:21:11
Speaker 2: driving around listening to CDs. But when I want to
1:21:14
Speaker 2: buy a new car, I'm really going to struggle to
1:21:17
Speaker 2: find a car with the CD player in. They want
1:21:21
Speaker 2: you connecting your phone via Bluetooth and having all these EMFs,
1:21:24
Speaker 2: all this radiation swimming around. That's the way they're trying
1:21:27
Speaker 2: to take everything.
1:21:28
Speaker 1: But that's convenience, Mark. That's way more convenient than using
1:21:32
Speaker 1: cables and getting at your CD and putting your CD
1:21:35
Speaker 1: into the CD player.
1:21:37
Speaker 2: Well mind fiddling around with CDs. I don't mind that.
1:21:41
Speaker 1: I missed those days though, when you would have the
1:21:44
Speaker 1: giant booklet of CDs in your car and you're trying
1:21:47
Speaker 1: to find the rare CD while you're driving. It's good,
1:21:50
Speaker 1: a good old I remember back in the day you
1:21:54
Speaker 1: had a fancy car if you had a six disc
1:21:59
Speaker 1: CD player, you know what I mean, like where you
1:22:01
Speaker 1: get have like six disc in there at the same
1:22:03
Speaker 1: time and you could pick whatever disc that you want
1:22:05
Speaker 1: to listen to. You were like you had a lot
1:22:07
Speaker 1: of money if you have one of those six disc
1:22:09
Speaker 1: CD changers in your car.
1:22:11
Speaker 2: I used to feel great for having a cassette player
1:22:14
Speaker 2: in my first car in the late eighties.
1:22:17
Speaker 1: And you know, those were nice because then you could
1:22:19
Speaker 1: get that that cassette player that had the OX cord
1:22:23
Speaker 1: into it and then you can plug your phone, your
1:22:25
Speaker 1: iPod into the ox cable and then play play through
1:22:29
Speaker 1: the cassette.
1:22:29
Speaker 2: Well it was Wartman's back in my day. But yeah,
1:22:31
Speaker 2: they were the iPod of the time.
1:22:34
Speaker 1: So when it comes to like MK Ultra, and we've
1:22:37
Speaker 1: touched a little bit on MK Ultra here, and I've
1:22:40
Speaker 1: kind of been looking into the Jim Jones stuff as like,
1:22:45
Speaker 1: and what's interesting is that in the Shining, there's this
1:22:50
Speaker 1: cool aid that's above the fridge that we talk about
1:22:53
Speaker 1: in a clockwork shining and you can watch that on
1:22:57
Speaker 1: Vimeo now worldwide. Uh, And the Jim Jones thing happened
1:23:03
Speaker 1: while this was being filmed while the Shining was being filmed.
1:23:08
Speaker 1: And I've been kind of doing a little bit of
1:23:11
Speaker 1: research into the whole Jim Jones thing, and it seems
1:23:14
Speaker 1: like he had like a lot of military connections, he
1:23:18
Speaker 1: had a lot of intelligence connections. In that the entire
1:23:23
Speaker 1: Jim Jones incident is kind of shaping up to be
1:23:28
Speaker 1: a gigantic MK ultra experiment.
1:23:33
Speaker 2: Yeah. I don't know a lot about the Jim Jones story,
1:23:36
Speaker 2: but yeah, it certainly takes all the boxes for having
1:23:39
Speaker 2: been a mind control cult. Many of these serial killers
1:23:43
Speaker 2: also seemed to come out of that world as well.
1:23:47
Speaker 2: So Dave McGowan, before he wrote his book on Laurel Kenyon,
1:23:51
Speaker 2: had a book called Program to Kill, and he's talking
1:23:54
Speaker 2: about all these well known serial killers, the Zodiac Killer,
1:23:58
Speaker 2: son of Sam, the Strangler, and he's saying that many
1:24:02
Speaker 2: of these may well have come out of MK ultra lapse.
1:24:06
Speaker 2: And it was an experiment, a very gruesome experiment. But
1:24:10
Speaker 2: you know, these aren't particularly morally sound people that were
1:24:13
Speaker 2: speaking of here, who just wanted to see what would
1:24:16
Speaker 2: happen if you would program a guy to become a
1:24:18
Speaker 2: killer and to go out there and just murder people.
1:24:21
Speaker 2: You know how far could they take it? Would they
1:24:24
Speaker 2: break their programming? Just a massive social experiment, and I
1:24:28
Speaker 2: think that's what was going on with a lot of
1:24:30
Speaker 2: these cases. Something I'd actually missed speaking of a clockwork
1:24:34
Speaker 2: shining there until you and Jay pointed it out to me,
1:24:37
Speaker 2: was I was very familiar with the John Lennon assassination.
1:24:42
Speaker 2: I was very familiar with the John Hinckley attempted assassination
1:24:45
Speaker 2: of Ronald Reagan. But I'd missed the timing. I'd missed
1:24:49
Speaker 2: the fact that The Shining was released at Halloween nineteen
1:24:52
Speaker 2: eighty and it's got the Catcher in the Rye in it.
1:24:55
Speaker 2: You got Wendy reading the copy there, and right after
1:25:00
Speaker 2: that movie was released two months later, or less than
1:25:03
Speaker 2: two months, John Lennon is assassinated, supposedly by Mark Chapman.
1:25:08
Speaker 2: He's reading a copy of The Catcher in the Ryoe
1:25:10
Speaker 2: at the scene. And then a few weeks on from that,
1:25:12
Speaker 2: early nineteen eighty one, John Hinckley tries to take out
1:25:15
Speaker 2: Ronald Reagan. He's reading a copy of Catcher in the Rye.
1:25:19
Speaker 2: And all of these events are just a few weeks
1:25:21
Speaker 2: after The Shining got released. So it really does add
1:25:25
Speaker 2: some weight to the suggestion that this movie was all
1:25:29
Speaker 2: about revealing secrets of MK Ultra and then it went
1:25:33
Speaker 2: real world. It became live exercises very soon after the
1:25:38
Speaker 2: movie was released. The timing is very intriguing in that regard.
1:25:43
Speaker 1: Yeah, how could Qubriic have known about this book and
1:25:48
Speaker 1: put it inside of his movie and then less than
1:25:50
Speaker 1: a year later two major assassinations happened with the Catcher
1:25:55
Speaker 1: in the Rye on the scene.
1:25:57
Speaker 2: Why that movie? That movie was begun in nineteen seventy eight,
1:26:02
Speaker 2: so it took a long while to film. You know,
1:26:05
Speaker 2: Stanley took his time with it. So does that mean
1:26:08
Speaker 2: that in nineteen seventy eight it was known that they
1:26:11
Speaker 2: were gonna take John Lennon out in nineteen eighty or
1:26:14
Speaker 2: was the decision taken along the way. I mean, we'll
1:26:17
Speaker 2: never know, but these are intriguing possibilities.
1:26:22
Speaker 1: It really is. And there's a lot of things that
1:26:24
Speaker 1: was kind of you know, cut out of a clockwork
1:26:27
Speaker 1: Shining just because it was getting really long and it's
1:26:31
Speaker 1: super rough just making a movie in general, but making
1:26:35
Speaker 1: a movie that's almost two hours long, Oh man, that
1:26:38
Speaker 1: can be a nightmare. Because it's just me right, I'm
1:26:40
Speaker 1: just I'm putting everything together, and how many times you
1:26:44
Speaker 1: have to watch the movie to make sure everything, all
1:26:46
Speaker 1: the details and everything is perfect, the music levels and
1:26:49
Speaker 1: everything is. It's over and over again. You're gonna watch
1:26:52
Speaker 1: that thing.
1:26:53
Speaker 2: I look about twenty five trailers as well.
1:26:55
Speaker 1: Yeah, and should it could drive someone literally insane. I
1:27:00
Speaker 1: felt like Jack at the Overlook Hotel as I was
1:27:04
Speaker 1: making it, and I'm sure my girlfriend definitely felt the
1:27:07
Speaker 1: exact same way. But something that we left on the
1:27:11
Speaker 1: chopping block was the connections between Sidney Gottlieb and Almonds
1:27:15
Speaker 1: assistant Bill Watson, which we talked about on your show
1:27:19
Speaker 1: around a month ago, and we also had a lot
1:27:22
Speaker 1: more on Charlie Manson in there, but it didn't really
1:27:27
Speaker 1: fit in anywhere. And you just mentioned Dave McGowan's book
1:27:33
Speaker 1: in their Program to Kill. Both you and Jay both
1:27:36
Speaker 1: mentioned the book within the movie at Clockwork Shining and
1:27:39
Speaker 1: while you were being interviewed for your part in the documentary,
1:27:45
Speaker 1: and it didn't make it to the actual final cut
1:27:49
Speaker 1: of the movie, but you mentioned that you believe that
1:27:52
Speaker 1: the Manson Tate murders were essentially staged in order to
1:28:01
Speaker 1: end the entire hippie movement. Would that be cracked and scene.
1:28:06
Speaker 2: Yeah, I do lean towards that being the case, and
1:28:10
Speaker 2: I've taken my queue for that largely from a paper
1:28:14
Speaker 2: that was put out by Miles Mathis, Miles W. Mathis.
1:28:18
Speaker 2: So this guy is quite enigmatic. Nobody seems to have
1:28:22
Speaker 2: seen him. There's no photographs of him or film footage.
1:28:25
Speaker 2: But he's got a website called Myleswmathis dot com. And
1:28:29
Speaker 2: he's a painter, not a painter and decorator, but a
1:28:31
Speaker 2: portrait painter, you know. And as a sideline, he's a
1:28:35
Speaker 2: researcher and he looks into conspiracies and psyops and assassinations
1:28:40
Speaker 2: and casts his watchful eye over him. And what he
1:28:44
Speaker 2: says is that being an artist, he's got a very
1:28:46
Speaker 2: keen eye for detail, so he spots things that other
1:28:50
Speaker 2: people miss clues. And he's written so many papers it
1:28:53
Speaker 2: leads people to suspect whether it's possible for one individual
1:28:58
Speaker 2: to have written this amount of especially if it's in
1:29:01
Speaker 2: his spare time, because it's a lot, and being an author,
1:29:05
Speaker 2: I know how long it takes to research stuff and
1:29:08
Speaker 2: write it and present it. But either way, there's a
1:29:11
Speaker 2: whole load of papers on his site and I certainly
1:29:14
Speaker 2: don't agree with everything that he claims. So he claims,
1:29:17
Speaker 2: for instance, that the John Lennon assassination wasn't real, that
1:29:21
Speaker 2: it was faked. I don't agree with that. He says
1:29:24
Speaker 2: the JFK assassination was faked with JFK complicit in it.
1:29:29
Speaker 2: Don't agree with that either. But in his paper on
1:29:32
Speaker 2: Tate Manson, he presents what I consider to be a
1:29:35
Speaker 2: very compelling argument for that whole event having been a
1:29:40
Speaker 2: set up a siop military grade. It ties into Laurel
1:29:44
Speaker 2: Canyon because you've got Lookout Mountain Air Force Base right
1:29:48
Speaker 2: up there in the canyon, and we mentioned that in
1:29:51
Speaker 2: the documentary as well, and it figures heavily in Dave
1:29:54
Speaker 2: McGowan's story about all the rock bands that were coming
1:29:56
Speaker 2: out of Laurel Canyon. But it turns out that right
1:29:59
Speaker 2: across from Laurel Canyon, as you go across the valley
1:30:03
Speaker 2: there you have the house at Colo Drive, which is
1:30:07
Speaker 2: where Roman Polanski and Sharon Tate lived and where the
1:30:10
Speaker 2: murders are said to have taken place. So there's a
1:30:13
Speaker 2: clear view from the house to the Air Force base
1:30:16
Speaker 2: right across, and Miles Mathis contends that the whole operation
1:30:22
Speaker 2: could have been run out of Lookout Mountain. That makes
1:30:24
Speaker 2: a lot of sense, would have been coordinated from there,
1:30:28
Speaker 2: and Lookout Mounting closed in nineteen sixty nine, ceased operations
1:30:33
Speaker 2: right around the time of the tape Monson event. So
1:30:36
Speaker 2: in his article, he's got a bunch of photographs and
1:30:39
Speaker 2: there's all sorts of oddities, such as Sharon Tate, who's
1:30:43
Speaker 2: supposed to be dead by this point, supposed to be
1:30:46
Speaker 2: a body is smiling, and this is a photograph that
1:30:50
Speaker 2: was put out into the mainstream. So again it's almost
1:30:52
Speaker 2: like they want to see who's going to notice, and
1:30:55
Speaker 2: they're kind of mocking people.
1:30:57
Speaker 1: Didn't you just say that Jim Morrison was also reported
1:31:00
Speaker 1: to be smiling.
1:31:01
Speaker 2: Yeah, there's no photographs of him, but reports were that
1:31:04
Speaker 2: he was found with a smile on his face. Yeah,
1:31:06
Speaker 2: there's just all kinds of things that don't add up.
1:31:09
Speaker 2: He shows what's said to be the interior of the
1:31:12
Speaker 2: Yellow Drive house and it doesn't match earlier photographs from
1:31:16
Speaker 2: the nineteen forties of the same house. The ceiling has
1:31:20
Speaker 2: dropped in height, and he also points out that there's
1:31:23
Speaker 2: all kinds of shabby rugs and some dirty, old couch
1:31:26
Speaker 2: and stuff covered in blood. And this is supposed to
1:31:31
Speaker 2: be the home of a well known millionaire film director,
1:31:35
Speaker 2: Roman Polanski and his internationally known actress glamorous wife. Would
1:31:42
Speaker 2: they live in a house with these crappy, old, shabby
1:31:45
Speaker 2: old rugs everywhere? It looks as if this stuff's been
1:31:48
Speaker 2: brought in from a secondhand charity shop to dress a
1:31:52
Speaker 2: film set. They get a bunch of fake blood from
1:31:54
Speaker 2: Hollywood just down the road and throw it around everywhere,
1:31:58
Speaker 2: and then get a bunch of actors to pretend that
1:32:00
Speaker 2: they're dead and photograph them. And it just comes across
1:32:06
Speaker 2: as a very compelling argument. As far as I'm concerned,
1:32:09
Speaker 2: that the whole thing was a pretty shoddily executed attempt
1:32:14
Speaker 2: at convincing people that these horrific murders had taken place,
1:32:18
Speaker 2: and the object of it would have been to effectively
1:32:22
Speaker 2: put a final nail in the coffin of the hippie
1:32:25
Speaker 2: culture of the times, because they'd done their syop, they'd
1:32:30
Speaker 2: done the whole sex and drugs and rock and roll thing,
1:32:32
Speaker 2: they'd implemented all these social changes that they wanted to,
1:32:36
Speaker 2: and by the end of the nineteen sixties they were
1:32:38
Speaker 2: ready to wind it all up and move on to
1:32:42
Speaker 2: whatever came next. So they wanted to present the idea
1:32:45
Speaker 2: to the American public that hippies were these dangerous, wild eyed, maniacre,
1:32:52
Speaker 2: murderous crazy people, and they were unpredictable, You couldn't trust them,
1:32:58
Speaker 2: and they were a threat to polite society, so they
1:33:02
Speaker 2: should not be tolerated anymore. So Charlie Manson was their guy.
1:33:07
Speaker 2: He was said to have masterminded the whole thing. He
1:33:09
Speaker 2: you know, in photographs and footage of him, he looks crazy.
1:33:13
Speaker 2: He's got these crazy eyes, he's got the beard and
1:33:15
Speaker 2: the long hair, and that would have fulfilled a lot
1:33:18
Speaker 2: of people's archetypal image of what a hippie represented. And
1:33:23
Speaker 2: that's why I think the whole thing was done. It
1:33:27
Speaker 2: was to shut down a lot of opposition to the
1:33:33
Speaker 2: establishment that was coming from the sort of hippie community,
1:33:37
Speaker 2: because they wanted the Vietnam War to continue, and they
1:33:41
Speaker 2: wanted to just shut down any sort of opposition to
1:33:47
Speaker 2: what they had planned to do, any kind of effective opposition.
1:33:52
Speaker 2: So this was a really good way of using social
1:33:54
Speaker 2: engineering and culture creation to achieve that. Again, the weaponization
1:33:59
Speaker 2: of popular culture.
1:34:01
Speaker 1: It's also really interesting the connections between Roman Polanski, Stanley
1:34:05
Speaker 1: Kuber again Jack Nicholson as well in the movie Chinatown
1:34:10
Speaker 1: that he directed with Jack Nicholson.
1:34:13
Speaker 2: Right, yeah, well, there's all kinds of crazy synchronistic connections
1:34:19
Speaker 2: between the Beatles and Rosemary's Baby and Roman Polanski. I
1:34:24
Speaker 2: mean the amount of connections, which I detailed in my
1:34:27
Speaker 2: last book, Musical Truth, Volume three, got a whole section
1:34:30
Speaker 2: on these, and I've done podcasts on them as well.
1:34:33
Speaker 2: It's just beyond the realms of human planning. To be honest,
1:34:37
Speaker 2: it feels to me as if you could not get
1:34:41
Speaker 2: a bunch of master chess players and precision military planners
1:34:46
Speaker 2: to sit around a table and say, and then we'll
1:34:49
Speaker 2: connect the Beatles in through this song, and then we'll
1:34:52
Speaker 2: connect Roman Polanski in through this meeting with Ringo Starr
1:34:56
Speaker 2: at the can Film Festival in ninety sixty eight. There
1:34:59
Speaker 2: are so many connections it's just insane. Not least the
1:35:02
Speaker 2: fact that John Lennon was gunned down outside the Dakota
1:35:06
Speaker 2: Building and this is where Rosemary's Baby was set. This
1:35:10
Speaker 2: is the setting for the story, and the exterior shots
1:35:13
Speaker 2: of the Branford Building were actually those of the Dakota
1:35:17
Speaker 2: And then In the movie, a young woman falls to
1:35:19
Speaker 2: her death from one of the windows of the Dakota
1:35:22
Speaker 2: Building and right where she lands is a white Volkswagen
1:35:26
Speaker 2: Beetle car parked which gets splattered with blood, and it's
1:35:30
Speaker 2: parked right about on the spot where John Lennon would
1:35:34
Speaker 2: get killed thirteen years later. And also a white Volkswagen
1:35:37
Speaker 2: Beetle appears on the sleeve to the Beatles Abbey Road
1:35:41
Speaker 2: album and the photo to that album, the cover photo
1:35:47
Speaker 2: of the four Beatles walking across the Zebra crossing was
1:35:51
Speaker 2: taken on the day of the Tape Manson murders, eighth
1:35:55
Speaker 2: of August nineteen sixty nine, the very same date. And
1:35:59
Speaker 2: that's just a couple of examples. They just go on forever.
1:36:03
Speaker 2: So it's interesting that you've got the Jack Nicholson Roma
1:36:07
Speaker 2: Polenski connection through Chinatown, as you say there, and there's
1:36:11
Speaker 2: all kinds of synchronistic connections like this which occur all
1:36:16
Speaker 2: the time, and it just raises even bigger questions about
1:36:19
Speaker 2: the true nature of this reality and what kind of
1:36:22
Speaker 2: coding could be running to cause all these things to
1:36:26
Speaker 2: occur the way they do.
1:36:27
Speaker 1: And also in the shining that walk in like the
1:36:29
Speaker 1: Beatles abbey Road album cover. Stephen King was inspired by
1:36:36
Speaker 1: the John Lennon song Instant Karma to Mima's book The
1:36:40
Speaker 1: Shining You Got to Catcher in the Raggedy Salander stuff.
1:36:45
Speaker 1: And also, I don't have the slide in here, and I
1:36:47
Speaker 1: don't think here's a slide of Beatles in Abbey Road
1:36:51
Speaker 1: and The Shining that's pretty much lined up identically. But
1:36:54
Speaker 1: there's another one where the Beatles were in talks to
1:36:58
Speaker 1: play the Hobbits in the I don't know where that
1:37:01
Speaker 1: slide is. I thought I had this slide in here,
1:37:03
Speaker 1: must have dumped it somewhere. But they were in talks
1:37:08
Speaker 1: to play the Hobbits in J. R. R. Tolkien's The
1:37:14
Speaker 1: Lord of the Rings that Stanley Kubrick was in talks
1:37:18
Speaker 1: with creating the movie.
1:37:21
Speaker 2: I didn't even know that. I didn't know that about
1:37:24
Speaker 2: the characters mimicking the US road crossing thing there, and
1:37:29
Speaker 2: I didn't know about Stephen King being inspired by Instant
1:37:32
Speaker 2: Karma where he talks about we all shine on. Didn't
1:37:34
Speaker 2: know that. I just got goose bumps when you told
1:37:36
Speaker 2: me that.
1:37:37
Speaker 1: Actually, yeah, there's so many Beatles Beatles connections along with
1:37:41
Speaker 1: the actual Volkswagen beetle that Kubrick change from a red
1:37:46
Speaker 1: to a yellow beetle. And then later on when Hollerin's
1:37:48
Speaker 1: going up to the hotel, there's a red Volkswagen beatle
1:37:52
Speaker 1: this crush under a semi which was a job at
1:37:56
Speaker 1: Stephen King. To wrap up here, we we talked a
1:38:02
Speaker 1: little bit about Bohemian Grove in the documentary, which is
1:38:05
Speaker 1: another thing that was kind of it was talked about
1:38:08
Speaker 1: a little bit, but it wasn't really brought to the forefront.
1:38:12
Speaker 1: Kathy O'Brien, which is in the documentary, which is a
1:38:15
Speaker 1: monarch MK ultra mind Control survivor.
1:38:19
Speaker 2: Was to interviewing her in two days.
1:38:20
Speaker 1: Actually, oh great, great. She was to be sacrificed at
1:38:29
Speaker 1: Bohemian Grove. And what connections have you found between Bohemian
1:38:38
Speaker 1: Grove in the music industry? Is there any connections there
1:38:43
Speaker 1: because BMI and Grove has said to have been like
1:38:44
Speaker 1: this place where the you know, the elites kind of
1:38:47
Speaker 1: congrege and they kind of plan out all this stuff.
1:38:49
Speaker 1: But it's also been reported that, you know, literal sacrifices
1:38:53
Speaker 1: and rituals go down there.
1:38:57
Speaker 2: Right Well, the main connection comes from one of the
1:39:00
Speaker 2: members of the Grateful Debt, who were a group that
1:39:04
Speaker 2: were very big in the sixties at the time of
1:39:06
Speaker 2: the counterculture, coming out of Pallo Alto, California. And on
1:39:11
Speaker 2: the surface, they appear to be just this sort of
1:39:14
Speaker 2: greased out rock band, bunch of stoners, you know, but
1:39:18
Speaker 2: when you dig into the family members and some of
1:39:21
Speaker 2: their affiliations and connections and where they come out of,
1:39:25
Speaker 2: you start to find connections into Freemasonry and other secret societies.
1:39:31
Speaker 2: And then you've got an interview from a few years
1:39:34
Speaker 2: ago with Bob Weir, who's one of the founder members
1:39:38
Speaker 2: of the group, and he's on this panel on some
1:39:41
Speaker 2: sort of chat show and one of the questions comes
1:39:44
Speaker 2: up and it's what can you tell us about your
1:39:47
Speaker 2: participation at Bohemian Grove, And Bob Weir looks all sort
1:39:52
Speaker 2: of awkward and doesn't quite know how to answer the question,
1:39:55
Speaker 2: and he goes, well, uh, yeah, Bohemian Grove is just
1:39:59
Speaker 2: like this social occasion. Really, it's just like this get together,
1:40:03
Speaker 2: like a supper club or whatever, and you know, some
1:40:06
Speaker 2: of us just get together and discuss things and there's
1:40:08
Speaker 2: really nothing to it. And you can tell that he
1:40:11
Speaker 2: really wished the question hadn't been asked. Because now he
1:40:16
Speaker 2: can't deny it because he doesn't know what sort of
1:40:18
Speaker 2: evidence somebody might present that he was in attendance there,
1:40:21
Speaker 2: so he's got to admit to it. But he laughs
1:40:23
Speaker 2: it all off as it's just a supper club and
1:40:25
Speaker 2: it's harmless. I was at Yale University in April last year.
1:40:30
Speaker 2: I came over to the East coast of the States
1:40:33
Speaker 2: and I did a talk in New Haven, Connecticut, exposing
1:40:37
Speaker 2: all this stuff that we're talking about now. But during
1:40:39
Speaker 2: the day I got a tour of the Yale University
1:40:43
Speaker 2: campus by one of the students, and she made the
1:40:47
Speaker 2: mistake of asking the tourists if anyone had any questions,
1:40:52
Speaker 2: and I said, yes, I've got a question. What can
1:40:55
Speaker 2: you tell me about Skull and Bones, the secret society
1:41:00
Speaker 2: mystery school fraternity that operates out of Yale. And she
1:41:04
Speaker 2: answered the question in the same way that Bob Weird
1:41:07
Speaker 2: did about Bohemian Grove. She said, Oh, it's a supper club. Really,
1:41:11
Speaker 2: it's just a social occasion, you know, just dinner, bit
1:41:15
Speaker 2: chats all. It is not what I've heard. A bit
1:41:18
Speaker 2: more goes on there, but that's the way they just
1:41:21
Speaker 2: like to write these things off. So we know now
1:41:24
Speaker 2: that one of the most instrumental, influential bands in the
1:41:28
Speaker 2: sixties counterculture has at least one member who attends Bohemian Grove.
1:41:35
Speaker 2: So what is a rock star a rocker if that's
1:41:39
Speaker 2: all he is doing attending Bohemian Grove. If it's reserved
1:41:43
Speaker 2: for like presidents and business leaders and lord mayors and
1:41:48
Speaker 2: things of this nature, it just goes to show that
1:41:52
Speaker 2: you don't really know who these rock bands are. You
1:41:55
Speaker 2: don't really know who the members are, you don't know
1:41:58
Speaker 2: what families they might come out of, and that's why
1:42:01
Speaker 2: it becomes a very dangerous thing to place your trust
1:42:04
Speaker 2: in any of them, particularly when it comes to bands
1:42:07
Speaker 2: like the Grateful Dead who have a very loyal fan
1:42:10
Speaker 2: base won't have a word said against them. And it's
1:42:14
Speaker 2: like this with most bands. You know, these people are
1:42:17
Speaker 2: literally gods to their fans, and they'll make all kinds
1:42:21
Speaker 2: of excuses for them. So you can say to somebody,
1:42:24
Speaker 2: old Bob, we're attends Bohemian Grove, a Grateful Dead fan,
1:42:27
Speaker 2: and they'll come up with all kinds of stuff to
1:42:29
Speaker 2: explain it away. Oh he was joking, he was being ironic,
1:42:33
Speaker 2: you know, all kinds of because people just don't want
1:42:36
Speaker 2: to have to face up to it. Fans of the
1:42:38
Speaker 2: Grateful Dead refer to themselves as dead heads. They think
1:42:42
Speaker 2: as a term of endearment. I would suggest it's a
1:42:45
Speaker 2: term of mockery which was invented by the controllers to
1:42:50
Speaker 2: demean them. But they don't see it that way. So
1:42:53
Speaker 2: they'll say, yeah, I'm a dead heard man, but they're
1:42:56
Speaker 2: actually getting satanically mocked to their faces and they can't
1:43:00
Speaker 2: even see it.
1:43:02
Speaker 1: Well, Mark, thank you so much for coming on, brother,
1:43:05
Speaker 1: I really appreciate your time here this evening. Can you
1:43:07
Speaker 1: let people know where they can find you online? This
1:43:10
Speaker 1: is your time to plug your website, your books, where
1:43:13
Speaker 1: they can find your books, your channel, or anything that
1:43:15
Speaker 1: you would like people to know. Sure.
1:43:18
Speaker 2: Well, the main one stop shop for everything is Djmarkdevlin
1:43:22
Speaker 2: dot com. So if you go there you get links
1:43:25
Speaker 2: to all my videos, my podcasts. There's links through to
1:43:28
Speaker 2: my books, my email addresses on the site if anyone
1:43:31
Speaker 2: wants to drop me an email with any feedback. I've
1:43:34
Speaker 2: done three books in my Musical Truth series, which is
1:43:37
Speaker 2: exposing the true nature of the corporate music industry. Musical
1:43:40
Speaker 2: Truth Volumes one, two, and three. They're all on Amazon,
1:43:44
Speaker 2: but I also sell copies myself if people want to
1:43:48
Speaker 2: come to me direct. They're also on Barnes and Noble,
1:43:50
Speaker 2: so if anyone doesn't like Amazon, you can find them
1:43:52
Speaker 2: on Barnes and Noble. And I'm writing a fourth book
1:43:55
Speaker 2: in that series right now, which I want to get
1:43:58
Speaker 2: out on the Spring Equinox. So I've noticed that this
1:44:01
Speaker 2: is a time of year when the so called elites
1:44:04
Speaker 2: like to pull many of their stunts. So if we
1:44:06
Speaker 2: think back to the COVID situation in twenty twenty, it
1:44:10
Speaker 2: all kicked off round about the time of the Spring Equinox,
1:44:12
Speaker 2: and they like to pull their little cute psyops around
1:44:15
Speaker 2: this time of year because of the incoming energy that's
1:44:18
Speaker 2: connected with the Spring Equinox. So I thought to myself, well,
1:44:22
Speaker 2: if they do all their stuff on these dates, I'm
1:44:25
Speaker 2: going to put my book out on this date, and
1:44:28
Speaker 2: I'm going to try and dissipate some of this negative
1:44:30
Speaker 2: energy and turn it towards something constructive and positive. So
1:44:34
Speaker 2: that's why I'm aiming for three two two, which is,
1:44:38
Speaker 2: you know, March twenty second. It's a date which is
1:44:40
Speaker 2: connected with Skull and Bones, which we were just talking about.
1:44:43
Speaker 2: Because three two two is said to be the number
1:44:46
Speaker 2: of the Brotherhood of Death. So I'm putting a different
1:44:49
Speaker 2: slant on it by putting my next book out then,
1:44:52
Speaker 2: and it's going to be entitled No One's Dad's a Plumber.
1:44:56
Speaker 2: And this is largely entitled by the Jim Morrison situation.
1:44:59
Speaker 2: You know, his dad was the Navy admiral, and we
1:45:02
Speaker 2: find countless examples of generals and lieutenant colonels and mayors
1:45:07
Speaker 2: and presidents and stuff, but you don't find many plumbers.
1:45:11
Speaker 2: You don't find many rock stars dads who were plumbers.
1:45:15
Speaker 2: So that's why I've titled it that. It's just an ironic,
1:45:18
Speaker 2: funny sort of title for the book.
1:45:21
Speaker 1: That's a brilliant name. I love it and I would
1:45:24
Speaker 1: love to have you back on whenever you release that
1:45:26
Speaker 1: book so we can get even more deep into the
1:45:31
Speaker 1: into the rabbit hole in that and the links to
1:45:35
Speaker 1: Marx information is in the description of this video. Please
1:45:37
Speaker 1: hit the thumbs up button up the channel and the algorithm,
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Speaker 1: share a subscribe, hit the bal icon as well for notifications,
1:45:43
Speaker 1: and check out a clockwork Shining. If you're in the
1:45:46
Speaker 1: United States, you can find it on Amazon Prime and
1:45:50
Speaker 1: Apple TV Plus. And also if you're in the UK,
1:45:52
Speaker 1: you can also get it on those platforms as well,
1:45:55
Speaker 1: but if you're not in those two countries, you can
1:45:59
Speaker 1: find it on It is pinned into the top of
1:46:02
Speaker 1: the chat and is also in the comments and in
1:46:04
Speaker 1: the description of this video. Thank you guys very much,
1:46:07
Speaker 1: appreciate all of you. Will see you guys next time.
1:46:10
Speaker 1: Bye Bye, Mark, stay with me.