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Ben Rubin-The Corporate Takeover of Music & Culture · UK Column Radio

• 0:07
  I'm going to tell you a bit about my double life.
• 0:11
  For many years I lived a double life.
• 0:13
  In the week I was a highfalutin, high-powered corporate
• 0:17
  consultant advising international corporations on
• 0:20
  how to make loads of money. And on the weekend I was a raver
• 0:26
  and a clubber and a promoter and a DJ.
• 0:29
  And I held those two things very separate.
• 0:32
  Actually, it was the corporate order in the week and then the
• 0:37
  creative chaos on the weekend basically.
• 0:40
  And I kind of like that balance. When I got to my mid 30s and I
• 0:45
  was still doing the music stuff. And actually when I really
• 0:49
  thought about it, that was what I was passionate about.
• 0:52
  That's what I was excited about. That's what I thought about and
• 0:54
  I was interested in. And I was looking around me and
• 0:56
  I could see people that I'd come up with over the years who'd had
• 0:59
  amazing careers in music and were much more engaged in that
• 1:03
  world. And I thought to myself, I need
• 1:04
  to make a decision and I need to to split from this corporate
• 1:08
  world and I need to double down on my passion.
• 1:13
  And I left the job and a bunch of other stuff, big life change,
• 1:20
  actually. And I went full time into music
• 1:25
  in February 2020. And less than a month later, all
• 1:33
  my plans were cast aside because a supposed global emergency
• 1:40
  happened, which you all know about.
• 1:42
  And that was a bit of a shock, actually.
• 1:48
  And actually the thing that was the biggest shock about it is
• 1:51
  that over that period, I watched the creative grassroots music
• 2:02
  world and that community that I've been part of, and I'd
• 2:05
  always held a separate and distinct from corporate, do
• 2:10
  exactly what the corporations wanted.
• 2:13
  Basically, they delivered the agenda completely, right.
• 2:17
  So the institutions from the big major labels, which you kind of
• 2:23
  expect them to to lead the charge on the lockdown and the
• 2:28
  vaccines and everything, you'd expect it from them, but you
• 2:31
  wouldn't expect it from the niche underground music labels,
• 2:37
  communities, platforms, journalists and artists, right?
• 2:40
  But they had been captured in some way.
• 2:45
  And in order to bring that to life for you a little bit, I'm
• 2:49
  going to show you a clip. I hope this works.
• 2:52
  I don't know if it will from a 1997 film called Men in Black,
• 2:58
  the. Only thing that.
• 3:01
  Pulls it's weight around. Here is my God damn.
• 3:03
  Truck. Vegas What?
• 3:25
  The heck is it Agar? Get your big butt back in the
• 3:29
  house. Please, projectile weapon on the
• 3:45
  ground. You can have my gun when you pry
• 3:48
  it from my cold, dead fingers. Your proposal is acceptable.
• 4:35
  Bigger. What on earth was that?
• 4:37
  Sugar. I've never seen sugar do that.
• 4:42
  Give me sugar in water. More, more.
• 5:17
  Your skin is hanging off your bones.
• 5:26
  Oh yeah, is. That OK, it's the skin suit,
• 5:44
  which is the term that I got from Alex Thompson, by the way,
• 5:46
  skin suit, which is really gruesome actually when you think
• 5:49
  about it. But basically what it describes
• 5:51
  is a parasitic, A parasitic entity that kills and then takes
• 5:55
  on the form of something whilst changing its purpose.
• 5:58
  Basically, when you get up close to it and you really start to
• 6:02
  kind of interrogate it, actually, it becomes obvious
• 6:07
  that this isn't the thing that you thought it was, Right?
• 6:09
  So this is Edgar. The skin is hanging off his
• 6:11
  bones. Interestingly, did anyone see
• 6:14
  Mark Devlin's talk last night? A couple of people.
• 6:17
  So this thing about sugar water, like, I don't know, there's
• 6:21
  something about that that I think is interesting because if
• 6:23
  you think about like carbonating drinks, the stuff that the junk
• 6:26
  that we get sold, it's all sugar water basically, isn't it?
• 6:28
  Right. And I don't know, is there
• 6:30
  something about these parasitic entities?
• 6:31
  They like sugar and the way that we're drinking this stuff, like,
• 6:35
  you know, there's horrible monster drinks with the 666-ON,
• 6:38
  all that kind of thing. I think there's something in
• 6:39
  that anyway. But you know, under
• 6:42
  interrogation, it gets really ugly.
• 6:44
  So when I see that, I think about, you know, when Keir
• 6:48
  Starmer got kicked out of that pub, Well, that guy, right?
• 6:52
  It's like, so he kind of looks like a normal man, but then when
• 6:54
  you put him into a social situation and he actually has to
• 6:57
  deal with real people, then it all just falls to pieces
• 6:59
  basically, right. And this is kind of what we're
• 7:01
  looking at here. And and this is true across the
• 7:04
  whole system. I won't put that gruesome image
• 7:06
  up there for too long. I'll just I'll flick it back to
• 7:07
  this one. But essentially all of the
• 7:11
  component parts of the system that have existed for a very
• 7:14
  long time look like the old thing that we thought that they
• 7:19
  were, but actually they're not. And they've been taken over by a
• 7:25
  parasitic entity, an energy, a system, essentially.
• 7:31
  Sorry, Wetico. Oh, yes, I'm familiar with that.
• 7:38
  Yes. Yeah.
• 7:39
  Will Keats talked about that before.
• 7:49
  Right, OK, right now. OK, we're going to talk later.
• 7:55
  Fascinating, but it's true across the whole system, right.
• 7:57
  And I, I jotted down a few examples.
• 8:01
  The health system is not to do with health.
• 8:05
  Actually I used to, I was a trustee of a health charity and
• 8:08
  one of the my fellow trustees who knew a lot about the NHS and
• 8:13
  how it worked. He said that the NHS, it's been
• 8:16
  designed to create, collect and kill sick people as profitably
• 8:20
  as possible. That's a parasitic entity,
• 8:23
  right? It's a skin suit.
• 8:24
  It's not a health service. It's something different.
• 8:28
  Same with the food system, right?
• 8:30
  It's, it's, it's about delivering genetic engineered
• 8:34
  mush into your body. It's got nothing to do with
• 8:36
  nutrition. It's got nothing to do with
• 8:38
  what's natural. It's got nothing to do with
• 8:39
  what's happening in this, in this field back here right where
• 8:42
  they've got permaculture running.
• 8:43
  That's actual food, not what we get served up in in the
• 8:48
  supermarket political system. I mentioned Starmer, but again,
• 8:53
  he's supposed to be the British Prime Minister, but he's working
• 8:56
  for the World Economic Forum. Yeah, it's completely different
• 9:00
  by his own estimation. Right.
• 9:02
  He's told us this. What else?
• 9:05
  The army. It's supposed to be defending
• 9:07
  us. But actually there is a document
• 9:10
  that came out earlier this year called the Integrated Operating
• 9:12
  Concept, which basically says that the the enemy is
• 9:15
  everywhere, including in our own barracks.
• 9:19
  So if the enemy's actually in your own barracks is the army
• 9:23
  and the the the whole population, the whole civilian
• 9:26
  population of the nation is your enemy, potentially that's a
• 9:30
  hideous reframing of what the army is and how it's supposed to
• 9:34
  think. All right.
• 9:37
  Where else? Artificial intelligence, it's
• 9:40
  not intelligent and actually it destroys real intelligence.
• 9:45
  Another another good example. Where else money.
• 9:52
  So our money, particularly where they're trying to take it to is
• 9:55
  not actually money. It's a control mechanism.
• 10:00
  And the best person to listen to about that is Catherine Austin
• 10:03
  Fitts. Mike did a great interview with
• 10:05
  Catherine Austin Fitts about six months ago, I think it was, and
• 10:08
  she talked about exactly that. Your money's not money.
• 10:11
  Money is supposed to do three things.
• 10:12
  It's a store of value. It's a method of exchange and a
• 10:15
  unit of account. And a CBDC barely does any of
• 10:19
  those things. And actually it's much more
• 10:21
  about control. The church is run by satanic
• 10:25
  paedophiles, as I think Brian is going to talk about in about an
• 10:27
  hour or so. And the, the, the, the, the
• 10:32
  cultural system, the musical system, the, the world that I
• 10:37
  was investing my future in is actually about coercion and
• 10:43
  control and the, the transformation of society.
• 10:47
  And actually all the things that I thought it was or many of the
• 10:50
  things that I thought it was actually, it wasn't at all, you
• 10:53
  know, it was a really, really striking thing to come across.
• 10:56
  And also I forgot to do the legal system, which I will just
• 10:59
  introduce now because I thought this is quite fun.
• 11:01
  So we've talked about the what Brian Leveson has been doing in
• 11:06
  terms of trying to destroy trial by jury.
• 11:08
  They've also, I'm very disappointed to say, destroying
• 11:14
  trial by combat as well, which this, this guy in Bury St.
• 11:19
  Edmunds tried to engage in trial by combat rather than pay a £25
• 11:24
  for a a motoring offence, which is quite good.
• 11:27
  I'm, I'm from Bury St. Edmunds.
• 11:28
  I was quite proud about that. So anyway, back to the music.
• 11:31
  So I'm going to talk about music festivals, which I think is
• 11:33
  probably relevant and pertinent given we are at a music festival
• 11:36
  and this is a real festival, by the way.
• 11:37
  Like this is actually proper grass roots, organic for the
• 11:42
  people, by the people and not for some gross corporate entity,
• 11:46
  which is what's unfortunately happened to a lot of the big
• 11:49
  musical institutions that we have, right?
• 11:51
  So actually, you know, Glastonbury Festival.
• 11:54
  Has anyone been to Glastonbury? Right, OK, right.
• 11:58
  Good or bad, up or down, like terrible used to be good.
• 12:04
  OK, that's interesting, isn't it?
• 12:05
  So what happened? Because it used to be a good
• 12:08
  thing and then something changed.
• 12:11
  Yes. By who?
• 12:15
  The British Broadcasting Corporation.
• 12:18
  What is it? A corporation?
• 12:19
  Does anyone know? Because it gets tossed off.
• 12:22
  Isn't it the BBC? Why is it a corporation?
• 12:25
  Why does it need to be a corporation?
• 12:26
  Why can't we just have a national broadcaster?
• 12:30
  Yes. Yes, right.
• 12:50
  She's got nothing to do with us. He's got everything to do with
• 12:53
  maintaining the status quo. Yeah.
• 13:17
  Yeah, it is, yeah. And, and, and, and that those
• 13:20
  sound like the actions of a parasitic entity, right?
• 13:23
  That is aggressive to human life.
• 13:29
  No, you're yeah, I think you're, you're absolutely correct.
• 13:32
  And I think you've landed on something interesting in terms
• 13:34
  of some of the characters that you've introduced into this,
• 13:36
  right. So anyway, Glastonbury is kind
• 13:39
  of the showpieces and it's probably the most famous music
• 13:41
  festival on earth. I think that's probably fair to
• 13:43
  say, right? And it it is.
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  I've never been, by the way. I've got loads of friends who've
• 13:48
  been loads of friends who've performed at it.
• 13:50
  I think it probably it, it died a death in the mid 90s, right?
• 13:54
  And actually, I think when it really died to death, when the
• 13:56
  BBC probably got involved since around 199798 when they actually
• 14:00
  went in and they weren't just broadcasting it, they actually
• 14:03
  took over a lot of the operational stuff in the
• 14:05
  background as well. It was pre there, it was Michael
• 14:07
  Eavis and it was, you know, I, I don't want to get into his
• 14:10
  particular background or his relationship with the music
• 14:12
  industry or the fact that most of those major labels are just
• 14:15
  frankly evil, but. OK, All right, there you go, 97.
• 14:27
  There you go. All right.
• 14:29
  Exactly. And actually now I like that
• 14:33
  word anarchic, because these things should be kind of
• 14:35
  anarchic, shouldn't they? But they're not.
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  And actually, the thing that I noticed with Glastonbury,
• 14:38
  because I've sort of, you know, you can't avoid it.
• 14:41
  It's just there, right? And but actually this year I
• 14:46
  wouldn't have a proper look at what was going on in the
• 14:48
  background and who's pulling strings because I wanted to
• 14:50
  understand it a little bit better.
• 14:52
  And I went to the home page and a little research tip for people
• 14:57
  don't really look at the website at all.
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  Just go straight to the bottom. Any website you have a look
• 15:03
  right at the bottom or, and, or you look at trustees or
• 15:06
  governance and that's it. And pretty much from that you
• 15:10
  can tell everything you need to know about what's going on.
• 15:12
  Any industry, anything right? That's, that's, that's a little
• 15:15
  short, short circuit for you. And you can see here that
• 15:18
  Glastonbury right at his base at the bottom level, its foundation
• 15:23
  is built on top of three NGOs and these are big international
• 15:28
  corporate, non governmental organisations, 2 of which you're
• 15:31
  probably very familiar with. Oxfam and Greenpeace pushing a
• 15:35
  lot of the woke, progressive, liberal, climate crisis driven
• 15:39
  agenda that we talk about all the time on the column.
• 15:42
  I won't talk about those too much.
• 15:43
  The one that really caught my attention was the one on the
• 15:45
  right hand side, Water aid, because I've never heard of
• 15:49
  water aid. Has anyone heard of water aid?
• 15:52
  Yeah, OK Knowledgeable crowd. Obviously.
• 15:56
  I would expect nothing less. So anyway, I, I hadn't and I had
• 16:00
  to go and do a little bit of research homework to go and find
• 16:02
  out who they were. And it's hash tag.
• 16:04
  Team Walter obviously needs a hash tag.
• 16:06
  And it turns out this thing was founded in 1981.
• 16:12
  So that's Thatcher. It's Thatcher.
• 16:16
  Is someone saying to me, Savile, is that Savile?
• 16:18
  No, they all looked like Savile back then, didn't they?
• 16:20
  It's just the look. Yeah, But I'm sure he was
• 16:24
  lurking around somewhere. Yeah.
• 16:27
  And so basically, this was set up and they did.
• 16:32
  There's something called the Thirsty World Conference, and it
• 16:34
  says he determines to find a solution to a global crisis.
• 16:41
  This is what they do. They invent crises.
• 16:44
  So they go, oh, no, there's a crisis.
• 16:45
  Really. Where did where does that come
• 16:47
  from? You've just declared it, and
• 16:49
  that means that you now have to set up a special working group
• 16:52
  and some kind of corporate infrastructure in order to
• 16:55
  meddle with everyone's business in order to deal with this
• 16:59
  supposed crisis, Right? And that's literally where we're
• 17:03
  at now. It's the Poly crisis.
• 17:05
  Everything is a crisis. And these people are about the
• 17:07
  water crisis, Right? And actually who's behind it
• 17:11
  because it's the water industry. Yeah.
• 17:13
  So this is privatised water utilities.
• 17:17
  These are the bad people in water in the country, aren't
• 17:22
  they? Everyone talks about the water
• 17:24
  utilities all the time. They have been for years.
• 17:27
  Yeah. So these these were the original
• 17:29
  public assets that were taken private, loaded up with debt,
• 17:36
  the huge bonuses paid out to the book corporate boards, to the
• 17:41
  directors, and are now owned essentially in tax havens.
• 17:45
  And they are running the infrastructure into the ground
• 17:49
  and raising our bills constantly.
• 17:52
  And that's getting worse. Basically, Walter's kind of been
• 17:56
  to the side a little bit. It's not the kind of bill that
• 17:58
  comes every month. It's like once a year and it's
• 18:00
  probably a bit less than the others.
• 18:01
  But actually they're starting to escalate, right?
• 18:05
  And there's a lot of talk now about re nationalising these
• 18:08
  broken assets. And they've been broken by these
• 18:10
  people and these people run something called water Aid.
• 18:13
  And apparently they're going to, they're, they're helping
• 18:16
  transform water around the whole world.
• 18:19
  So you've destroyed water. These really important
• 18:22
  foundational national assets that we have in the UK that have
• 18:25
  been built up through the taxes of our of, of our ancestors over
• 18:30
  hundreds of years. They've been bought, destroyed,
• 18:36
  stripped and but you're going around the world helping people
• 18:40
  fix water problems that doesn't doesn't actually add up.
• 18:44
  Doesn't make any sense right. And then who's the who's running
• 18:48
  it? Have a guess.
• 18:51
  Trust who's the patron Yes, of course it is.
• 18:59
  So this guy, why is he hanging around with these people?
• 19:03
  What? Because he's, these are his
• 19:04
  people, right? But he's Mr. Nice Guy, right?
• 19:07
  He's Mr. Environment, he's Mr. Sustainability, he's Mr. Future
• 19:13
  Humanity. And actually, no, he's
• 19:18
  overseeing the destruction of our water infrastructure, the
• 19:23
  pollution of our rivers, the pollution of our oceans,
• 19:29
  ruthless corporate skulduggery on an unbelievable level.
• 19:34
  And he, he's through that organization, dictating the
• 19:38
  cultural agenda at Glastonbury Festival.
• 19:42
  That's crazy. Why?
• 19:44
  Why isn't music supposed to be from the grass roots up,
• 19:51
  anarchic and creative and expressive and not controlled by
• 19:55
  people like this? Like he's the total antithesis
• 19:57
  of what that's supposed to be. But obviously they couldn't put
• 20:00
  him on the front page of the Glastonbury website because it'd
• 20:03
  be a massive turn off. So they have to stick him down
• 20:06
  the bottom, round the corner, out the back.
• 20:10
  But this is what Colt has become.
• 20:12
  And This is why in 20/20/21, I saw all of the people that I had
• 20:17
  up to that point respected and worked with and known over the
• 20:20
  years when completely head first into the whole great research
• 20:24
  agenda, which let's not forget, he launched in November 2020.
• 20:28
  He was the main global figurehead for it.
• 20:32
  Yeah. So these are the strings that
• 20:34
  we're looking at essentially, that people like him use to
• 20:37
  control the puppets out in society, right?
• 20:41
  And let's not forget this because things are getting quite
• 20:45
  tetchy in the country at the moment.
• 20:47
  And what we really don't need is things like this happening.
• 20:50
  Death. Death to the IDF.
• 20:53
  Death. Death to the IDF.
• 20:54
  Death. Death to the IDF.
• 20:56
  Death. Death to the IDF.
• 21:00
  Death. Death to the IDF.
• 21:06
  Hell yeah. From the river to the sea in
• 21:08
  Palestine. Must be will be inshallah and
• 21:11
  will be free. Who saw that Bob villain, Right.
• 21:16
  Are you in there? OK.
• 21:18
  All right. In the crowd.
• 21:20
  And how what was your response to that?
• 21:22
  Like, it looks, you know, it was definitely a vibey gig.
• 21:26
  Like, there was. There's a lot of energy.
• 21:29
  I bet it was. Yeah.
• 21:32
  Yeah. OK.
• 21:41
  OK, well, that's something we can all get behind, right?
• 21:44
  You know, so there's there's some good in here and there's
• 21:46
  some bad in here. But The thing is, and I'm not
• 21:48
  here to defend the IDF, by the way, for a second.
• 21:50
  My issue with this is that that shouldn't have been broadcast.
• 21:53
  It's 7:00 PM on the national broadcaster.
• 21:56
  In the current climate. Yeah.
• 22:00
  Like it's not appropriate at all.
• 22:03
  And actually, when you go and look at this guy and this is his
• 22:07
  logo, what does that look like? Bob Villain's logo looks like a
• 22:13
  six point star with a load of weird occult stuff around it.
• 22:16
  That's what it looks like. So I'm like, this is
• 22:20
  interesting, isn't it? What are you actually up to?
• 22:23
  And how has the BBC overseen by the King allowed this?
• 22:26
  Allowed it, right, Because there's a delay on those feeds.
• 22:30
  Yeah. So they knew that that was going
• 22:32
  to go out. They could have stopped it.
• 22:33
  They didn't. Why?
• 22:34
  Because they want to cause chaos and breakdown in the country and
• 22:37
  division, because they can profit from it, because they
• 22:39
  want to affect the transformation of our society.
• 22:42
  Every single different component part of it was talking about it
• 22:44
  earlier. Yeah.
• 22:45
  Culturally, politically, economically, that's what
• 22:47
  they're doing that's what the great Reset is.
• 22:49
  Charles launched it. This guy's a chaos agent for the
• 22:52
  establishment's what he is. Fortunately, that's what I see
• 22:55
  him as. And also these are the lyrics to
• 22:59
  one of his songs, right? Again, in the current climate,
• 23:03
  I'm not going to read it. We're on the UK columns, so I
• 23:05
  can't say the naughty word, right?
• 23:07
  But essentially what he's saying is I heard you want your country
• 23:09
  back, hat shut up. I heard you want your country
• 23:12
  back. You can't have that.
• 23:14
  I heard you want your country back, shut up.
• 23:16
  And the lyrics don't get a lot more sophisticated than that, to
• 23:18
  be honest with you. It's quite a crude message.
• 23:21
  And he's out there saying, I'm against the IDF, but also, if
• 23:25
  you're British, this right? And The thing is, this is what
• 23:28
  the Israelis are doing to the Palestinians at the moment.
• 23:32
  So what are you, Mr. Villain, and what is actually getting
• 23:36
  delivered here out into society under the auspices of the king?
• 23:44
  Nuts, Absolutely nuts. And that's just one part of it.
• 23:50
  Huge, huge, huge, huge cultural agenda at Glastonbury, right?
• 23:54
  You won't be able to read these. There's loads of names on there.
• 23:56
  And this is just one component part of it, right, Because it's
• 23:59
  not just a music festival. Yeah, it is about cultural
• 24:03
  transformation, mind control, delivering a very, very specific
• 24:08
  message, particularly around woke, liberal, progressive
• 24:13
  politics, because actually that's the direction of travel.
• 24:16
  They want to take everything. They want everything to be
• 24:17
  delivered through the state. Everything's going to be under
• 24:21
  state control. And Charles was the head of
• 24:23
  state. Yeah.
• 24:24
  So that makes sense, doesn't it? So maybe that's just what
• 24:26
  Glastonbury is. It's certainly what the BBC is,
• 24:29
  but I don't think that the vast majority of people attending
• 24:31
  Glastonbury or performing in Glastonbury have got any idea
• 24:36
  that this is what they're involved with.
• 24:39
  They just go along, bright eyed, bushy tailed, open minded,
• 24:45
  looking for a fun weekend out in the country, indulging in some
• 24:49
  hedonism, see all their friends at the same time, but actually
• 24:52
  they're being coerced and manipulated into accepting some
• 24:55
  stuff that they probably wouldn't have done if they
• 24:56
  thought about it. And the message you've been
• 24:58
  delivered in a different way, right?
• 25:01
  And that's just one example on one website having a couple of
• 25:06
  clicks around and that's maybe a little insight into my life and
• 25:11
  how my head works. Basically, this is what I spend
• 25:14
  my time doing. We all do basically.
• 25:17
  So this is this is this is one example.
• 25:21
  And if you hear earlier, you would have heard me talking
• 25:24
  about the beast system and the two wings of it.
• 25:25
  And so the way I think about it is you have the left wing, which
• 25:29
  is all about power and that obviously aligns the left wing
• 25:32
  politics. And then you have the right
• 25:33
  wing. It's all about money, and this
• 25:36
  is the left wing, this is the power side of the beast system.
• 25:40
  And now we'll have a little look at what's going on.
• 25:43
  Also music on the money side. Those two things meet at the
• 25:46
  top, by the way. So actually you go that way, You
• 25:49
  go that way, they actually meet at the top.
• 25:51
  And power of money become integrated, become the same
• 25:54
  thing around people like Charles.
• 25:56
  Yeah, he's a power of money guy, ultimately very wealthy, very
• 25:59
  powerful and making all of the cultural decisions for
• 26:05
  basically, when you think about Glastonbury, the audience for
• 26:07
  that, especially the whole of middle England, really, because
• 26:10
  it dictates what comes out in the newspapers.
• 26:15
  It's Yeah, it is. It's, it's, it's the the people
• 26:17
  who own stuff really in the country.
• 26:19
  It's all being manipulated by by these people through these these
• 26:24
  cultural events that are not supposed to be about that.
• 26:27
  So on the the money side of it, who's at the KKR?
• 26:32
  Kohlberg, Kravis Roberts. No, OK, that's interesting.
• 26:36
  So they are, I was going to say were, but no, they're still
• 26:39
  around a global private equity fund, the original private
• 26:45
  equity fund, they actually invented private equity launched
• 26:48
  in 1978. They've got about something like
• 26:52
  half a trillion dollars worth of assets under management.
• 26:56
  Huge, huge global operation. The one of the founders Henry
• 27:03
  Kravis, which is the second K and KKR and his wife both on the
• 27:08
  council of Foreign Relations. His wife is also the Co chair of
• 27:13
  the Bilderberg. Group.
• 27:15
  Yeah, this is like these are top, top level global governance
• 27:18
  people and they also invest in weapons companies, a lot in
• 27:27
  weapons companies. And they're also currently
• 27:29
  speculating on the redevelopment of Gaza once it's been
• 27:32
  ethnically cleansed by the IDF, right?
• 27:35
  So these are that's, this is the kind of business that they're
• 27:37
  into. They're into a lot of other
• 27:38
  stuff as well, right. But this is, these are the sorts
• 27:40
  of people that are now getting involved in music, music
• 27:45
  culture. And actually the what they've
• 27:47
  what they've done back in it was last year, 2024, they acquired a
• 27:55
  bunch of big international and European festivals and they
• 27:59
  created something called superstruct.
• 28:02
  And this is how superstruct talks about itself.
• 30:12
  The speakers are quite good, aren't they?
• 30:15
  Yeah, Superstructure, entertainment.
• 30:18
  What they've done is they've taken 80 music festivals and
• 30:24
  many of these were originally proper, proper creative for the
• 30:34
  right reasons operations. Some of them been running since
• 30:38
  like Sonar Festival, which I'll talk about in a moment.
• 30:41
  It's been running since the mid 90s.
• 30:42
  And actually that's like the jewel in the crown of European
• 30:44
  electronic music festivals. Amazing what they've done over
• 30:47
  the years, like incredible curation, incredible production.
• 30:51
  They take over the centre of Barcelona for about a week in
• 30:53
  the summer of a year. They've got incredible sort of
• 30:56
  daytime programming and in the night time and, and the the most
• 31:00
  amazing roster of, of international artists.
• 31:03
  Some of the some of these are quite niche.
• 31:05
  Some of them you might be familiar with, I don't know.
• 31:10
  Hi, that festival in Croatia, you've got a board masters which
• 31:14
  is down in Cornwall every year. And across here we're talking
• 31:18
  about touching the, the lives and the, the, the minds and the
• 31:22
  eyeballs and the years of millions of people every year.
• 31:26
  Yeah, it's it's it's a huge operation and and this has
• 31:31
  caused enormous controversy in the music community.
• 31:35
  It's been fascinating to watch this play out the past six
• 31:37
  months in particular. There's always been a very
• 31:40
  active pro pro Palestine, anti Zionist contingent in electronic
• 31:47
  music DJ culture. That's kind of where I come
• 31:50
  from. I can't speak so much to like
• 31:52
  indie rock and guitars and all that kind of thing, but in the
• 31:55
  electronic world, it's always been there.
• 31:57
  But with what's happened since October 7th, 2023 and the fact
• 32:01
  that essentially we've had this genocide live stream to us over
• 32:06
  the Internet 24/7. And we now have a global
• 32:10
  investment fund that is investing in weapons companies
• 32:13
  that are operating in that genocide.
• 32:15
  And also speculating on the potential future development
• 32:18
  opportunities for the land that they're trying to take.
• 32:21
  A lot of artists have taken real exception to this and a lot of
• 32:26
  the audience in particular have taken real exception to this.
• 32:29
  And I think what's beginning to happen here is like we should at
• 32:31
  the beginning with the face stretch back, is that actually
• 32:34
  now that we're up close to it, people are really beginning to
• 32:37
  notice that this is these organizations are not what they
• 32:39
  were. They've been taken over by a
• 32:41
  parasitic entity, a corporate entity that is not interested in
• 32:45
  delivering what you thought you were going to get, but actually
• 32:49
  is interested in, in, in, in something very, very different.
• 32:52
  And the Sonar festivals actually had to to come out in, you know,
• 32:58
  really unprecedented fashion and, and make these public
• 33:02
  statements basically saying, and, and they had to do this
• 33:06
  under quite significant duress because there are a lot of the
• 33:10
  questions were being asked were essentially OK, if we come to
• 33:12
  Sonar, if we buy tickets to your festival, we're not just funding
• 33:15
  KKR. And what they came out and said
• 33:17
  was no, not at all. And no time have we ever sent,
• 33:22
  nor will we ever send a single euro to KKR, which is an
• 33:28
  accounting trick basically, right?
• 33:31
  Because actually they could probably say we don't send any
• 33:35
  euros to KKR, but The thing is, KKR owns our bank account.
• 33:40
  Yeah, in entirely, all of it, lock, stock and barrel.
• 33:44
  We are completely control controlled and owned and
• 33:46
  operated by them. We don't send them any EUR
• 33:49
  though, right? And this is the kind of thing
• 33:52
  that we're starting to see come out of the culture.
• 33:54
  There's a lot of obfuscation and backpedalling and people trying
• 33:58
  to brush things under the carpet.
• 34:00
  But I think actually that the dam is broken on this now.
• 34:03
  And it's really interesting to see that all of these
• 34:05
  organisations, these 80 bus festivals, I'll kind of get onto
• 34:09
  this a bit more towards the end, right?
• 34:11
  But actually they're beginning to collapse.
• 34:13
  And this, this cultural superstructure, which is a bit
• 34:17
  of a hint about the name, right? Superstruct is beginning to
• 34:21
  breakdown and it's being undermined from below by the
• 34:27
  real culture, like Patrick was saying earlier, right?
• 34:29
  This idea of culture and counterculture, actually those
• 34:31
  things are reversed. The real culture is the thing
• 34:33
  that's down on the grass roots at the street level and that is
• 34:37
  actually beginning to chip away at the foundations of this huge
• 34:41
  global corporate behemoth that Sonar Festival is obviously
• 34:45
  sending no euros to. But The thing is, it's not just
• 34:48
  about money, right? And this is the important thing,
• 34:50
  really important thing. And a lot of people, because
• 34:52
  obviously they've come out and made this statement, we don't
• 34:54
  give any money to KKR. But actually that's kind of by
• 34:57
  the by doesn't really matter because they're not just paying
• 35:00
  you for the opportunity to make a few quid from selling 10 LB
• 35:05
  bottles of water to 23 year olds, right?
• 35:08
  Like that's, that's not what they're there to do.
• 35:10
  What they're there to do is to own the mind space and to put
• 35:13
  forward a very specific, a political message, a very
• 35:18
  specific cultural message, a very specific technological
• 35:21
  message as well. And actually one of the other
• 35:23
  things that I did when on the Sonar website, when you go down
• 35:26
  to the bottom again and you look at what logos are down there,
• 35:29
  you can see there's this organization called Saydor.
• 35:32
  And Saydor is a, a technology consulting business not entirely
• 35:36
  dissimilar to the kind of ones that I would have worked with
• 35:38
  many years ago. And who are they owned by?
• 35:40
  They're owned by the Carlisle Group.
• 35:42
  Who's the Carlisle Group? It was the second biggest
• 35:45
  beneficiary of the war in Iraq after Halliburton.
• 35:49
  They made an absolute killing. Founded by David Rubinstein,
• 35:52
  member of the tribe like me, who is also on the Council on
• 35:56
  Foreign Relations. And these are the people who are
• 36:02
  calling the cultural shots. These are the people pushing
• 36:04
  forward messages like this. Do you see that in that video
• 36:08
  you did? That's quite aggressive, isn't
• 36:11
  it? Is I'm trying to tell you
• 36:13
  something there. And then also that.
• 36:16
  Yeah, the horned beast. So what is that we're looking
• 36:20
  at? Is that a music festival?
• 36:21
  Is that some kind of ritualistic ceremony imbued with bizarre
• 36:27
  messaging and witchcraft? And again, this is what Mark
• 36:30
  Devlin was talking about last night.
• 36:32
  You know, is this what the music industry's been doing the whole
• 36:35
  time? I think it probably has at least
• 36:37
  in part. And then this one as well.
• 36:39
  So three times in that 2 minute video, they're pushing this
• 36:43
  straight up satanic messaging. And that's what these people are
• 36:46
  investing billions in pushing out into the world, right?
• 36:50
  And it, and it, and it, it is about the Mindspace.
• 36:54
  You know, Brian always talks about this document Mindspace,
• 36:57
  which came out of the Behavioural Insights team back
• 36:59
  in 2010. She's one of the key documents
• 37:02
  that the, the, the nudge people use to think about how they can
• 37:06
  get our society to do exactly what they want it to do, you
• 37:10
  know, but to nudge us into it, to manipulate us into it, to
• 37:13
  coerce us. And this was a quote that came
• 37:18
  out of that video. We turn dreams into stories,
• 37:21
  into memories that last a lifetime, right?
• 37:26
  Think about that. They last a lifetime.
• 37:30
  We're going to embed this into you forever.
• 37:35
  It's not just about money. It's not just about hedonism.
• 37:39
  It's about something much more than that.
• 37:42
  And actually, as I've kind of alluded to, it's it's the
• 37:44
  superstructure. And this takes us straight into
• 37:48
  Marxist theory. Yeah.
• 37:51
  So the superstructure comes from Marxist theory.
• 37:54
  It talks about the philosophy and art and, and, and law and
• 38:02
  literature and culture itself. Ultimately, you know, it's the
• 38:06
  stuff that exists above the industrial base, which they have
• 38:11
  also replaced with something that looks a little bit like
• 38:13
  this. I didn't make this, I found it.
• 38:15
  But actually I think this fits the bill quite nicely.
• 38:17
  Superstruct is about that. The superstructure, it's been
• 38:21
  transformed. We're not, we're no longer about
• 38:24
  nation states. We're about this thing, this
• 38:27
  ugly flag and all of the stuff that goes, goes around that,
• 38:31
  right. And, and, and, and the base, the
• 38:33
  industrial base is, is global corporations.
• 38:39
  Yeah. This is what is driving the
• 38:43
  agenda at superstruct. This is what's driving the
• 38:48
  agenda in the music industry and it all is beginning to look a
• 38:54
  little bit like like that basically, a bit hideous up
• 38:58
  close. And that that's what my journey
• 39:02
  was discovering what music was really about basically.
• 39:07
  And the antidote to all this, I'll leave it on a positive note
• 39:12
  and not that disgusting face, is that we all get to rebuild it
• 39:17
  ourselves together from the ground up in the right way.
• 39:20
  And a great way to start doing that is through exactly what's
• 39:25
  happening in this tent and in the fields around us, which is
• 39:29
  for good people who want to come together and celebrate life and
• 39:34
  community and creativity without this constant drive towards
• 39:41
  profit or power or hidden agendas can actually make make
• 39:48
  culture new again. And it will grow up from the
• 39:53
  fields like the the, the real plants in the permaculture at
• 39:57
  the back there. And that's, that's the task
• 39:59
  ahead of us. That's the way I see it.
• 40:01
  And you know, amongst the other things that I do around UK
• 40:03
  column, I'm getting involved much more now back into music.
• 40:08
  And I can see some some green shoots beginning to
• 40:11
  breakthrough, not just here today, but also in London and
• 40:15
  elsewhere around the UK and, and around the world.
• 40:18
  So despite how hideous some of the stuff is that we just talked
• 40:22
  about, I am very optimistic for the not just far future, but the
• 40:26
  immediate future and, and today as well.
• 40:28
  So that's it. Thank you for listening.
• 40:40
  Super, Ben, thank you very much indeed.
• 40:43
  Now, does anybody have any questions for Ben?
• 40:47
  Come on. Yeah, There we go.
• 40:48
  Good man. Well done.
• 40:51
  Hi, Ben. That was really interesting.
• 40:55
  Yeah, I've been in music education for the last 20 years.
• 40:59
  I also in 97, I was one of the bands that played the big stage
• 41:03
  on Glass Me Festival. So whoever you're down here said
• 41:04
  that's when bands were still cool then.
• 41:06
  I'm happy with that. My point is, it's not just the
• 41:12
  festivals. If you look at what's going on
• 41:14
  with Live Nation, with all the venues all over the country and
• 41:17
  Ticketmaster, all the ticket sales, you'll find the
• 41:20
  corporatisation of the live music industry is, is it's,
• 41:23
  it's, it's across the whole sector.
• 41:26
  I wonder if you've done any digging into those, those
• 41:29
  corporations as well. Because, yeah.
• 41:32
  And, and just to be a positive point as well, there's a lot of
• 41:35
  waking up in the next generation of musicians that are making
• 41:38
  their own music and going to their own venues and crowd
• 41:41
  surfing their own album releases and avoiding all this.
• 41:44
  And there's a lot of bands I know that wouldn't go near
• 41:46
  Glastonbury or some of those just for that reason.
• 41:48
  But yeah. Have you all wonder if you've
• 41:49
  got any thoughts on Live Nation and Ticketmaster and those sorts
• 41:53
  of those organisations that we're all likely to interact
• 41:56
  with when we go to live music? I, I have, I have looked at it,
• 42:02
  I've focused on the festivals just in the interest of time.
• 42:05
  And also it's something I've been looking at over the past
• 42:06
  couple of weeks. But no, you're absolutely right.
• 42:08
  Like Live Nation, Ticketmaster, and any, any organization that
• 42:15
  tries to centralise, control and profit making potential to
• 42:21
  itself, generally using technology and does that in a
• 42:26
  way that is detrimental to the rest of the system surrounding
• 42:30
  it. Is, is, is bad news, right?
• 42:33
  Like those, they're destructive to organic ecosystems, right?
• 42:39
  And they're just other examples of multinational corporations
• 42:46
  that are run purely for profit in the interest of their
• 42:48
  shareholders and everything, everything that goes along with
• 42:51
  it because it's the same thing with all of them ultimately.
• 42:59
  So, so, so the, the two things. So one is, I forget, I think it
• 43:04
  was the gentleman over here mentioned earlier that these the
• 43:07
  music is being used to Rd. test a lot of the new technologies.
• 43:13
  And that's partly because they've got a younger audience
• 43:16
  and they're more amenable to the changes that are happening in
• 43:19
  the digital infrastructure. But also because in order to get
• 43:24
  into a venue, you've always had to have a ticket, right?
• 43:26
  So there's a there's a component of compliance there already.
• 43:30
  So what they're doing is building around that.
• 43:33
  And what you'll find is that a lot of the kind of technological
• 43:36
  road map for digital ID and even things like the PCR test results
• 43:47
  and all that stuff in, in that, that horrible period that we
• 43:50
  won't name that was being normalised through the music
• 43:56
  industry. And those big platforms are
• 43:58
  absolutely at the centre of it. And then the other thing that
• 44:01
  I'm noticing that they're doing at the minute, and it's those
• 44:04
  corporate platforms, but then also some of the bigger artists.
• 44:08
  I've noticed Coldplay doing this quite a bit.
• 44:10
  What's his name? Chris Martin, who is Aun Global
• 44:13
  Citizen ambassador, by the way. And he's got, and I think he
• 44:15
  might be a World Economic Forum young global leader too.
• 44:17
  Like, he's not a good guy, right?
• 44:20
  But basically what they're doing, the economy is
• 44:22
  collapsing, right? Literally the economic system is
• 44:25
  is gone into freefall over the past.
• 44:28
  I mean, it's really accelerated over the past five years.
• 44:30
  But it was always already kind of on its uppers before that.
• 44:33
  And what they're doing is basically saying, OK, well, the
• 44:35
  grassroots music venues and the smaller artists are basically
• 44:43
  struggling to keep the head above water.
• 44:45
  A lot of them are being shut down.
• 44:46
  A lot of them are not able to, to, to, to continue following
• 44:49
  their passion and, and participating in the music
• 44:52
  industry. So what we'll do, we'll give
• 44:54
  them a couple quid. You know, like God knows how
• 44:58
  much money Chris Martin's got, God knows how much money
• 45:01
  Ticketmaster make every year. But what they'll do, they'll put
• 45:04
  a couple of quid into some charitable foundation and then
• 45:07
  that will basically give people a false sense of hope and
• 45:11
  security that things are going to get better.
• 45:13
  Whereas actually what should happen is the whole thing should
• 45:15
  just collapse and then we should have a reckon like a proper
• 45:19
  reckoning about why that's happened and what to do about
• 45:23
  it. And they just ploning the
• 45:24
  inevitable. So I'm saying a lot of that in
• 45:26
  in music at the moment. Definitely very cynical.
• 45:30
  Really, really cynical people will sit on stage and this is
• 45:33
  the thing when you understand, you get into the upper levels of
• 45:35
  the music industry, same as anywhere really.
• 45:37
  But I think I find music particularly offensive is that
• 45:42
  when you're up on stage as a as a big time international artist
• 45:46
  and you're essentially riding on the the admiration and the
• 45:53
  adoration of these legions of fans.
• 45:56
  In order to get into that position, you've had to betray
• 45:59
  every single one of those people.
• 46:02
  Yeah, in a really fundamental way.
• 46:05
  And, and to to kind of decide to participate in that, I think.
• 46:08
  Well, they say you have to sell your soul, right.
• 46:10
  I think that's, that's the mechanism through which that
• 46:12
  happens. You completely betrayed all
• 46:14
  these people that are elevating you and that you you should be
• 46:20
  looking out for ultimately, you know, any more questions on that
• 46:32
  note, I think the looking out for each other is the bit that I
• 46:36
  think we'll take away for the for the uplift.
• 46:40
  Terrific, Ben, Thank you very much indeed.
• 46:42
  I think there's a huge amount to to think about hereafter, not
• 46:46
  least because of all the various and amazing music that's going
• 46:50
  to be going on now and for the rest of the for the rest of the
• 46:53
  festival. Ben, thank you very much indeed.
• 46:55
  Thank you. Thank you.