Radio 3Fourteen - Music of the Control System

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00:00:28.000 This is Radio 314 on the Red Ice Radio Network.

00:00:45.700 Hello, hello.

00:00:46.920 Today we'll be hearing from Mark Devlin,

00:00:48.460 who is a long-standing English radio and club DJ specializing in hip-hop.

00:00:52.800 Although he's interested in all aspects of conspiracy,

00:00:55.380 true nature of reality, and human consciousness,

00:00:57.260 his area of special interest is in the methods by which the music industry

00:01:01.060 is being systematically subverted by the control system.

00:01:04.680 Earlier this year, he recorded a conversation with David Icke

00:01:07.300 about what really goes on beneath the surface of the music biz.

00:01:10.520 Hello, Mark. How are you today?

00:01:12.760 Hey, Lana. Good to kick it to a fellow music head.

00:01:16.280 Hey, so were you in London for the Olympics?

00:01:19.360 No, I was avoiding the Olympics like the plague.

00:01:22.020 So you didn't see any alien invasions?

00:01:23.800 No, I was watching out for them, but I didn't see any.

00:01:27.500 But we've got the Paralympics to go, so who knows?

00:01:29.660 That's right.

00:01:30.960 Well, before we get into the ugly business of music,

00:01:33.300 maybe you can tell us your background,

00:01:34.560 such as when and how you became a radio and club DJ.

00:01:38.540 Okay. Well, I've always been a music fan, always loved music.

00:01:43.000 Bought my first record when I was five, which was nothing too corny.

00:01:47.600 It was actually Queen's Bohemian Rhapsody.

00:01:49.440 So, you know, it was a pretty cool song.

00:01:51.980 And I spent all my childhood years just listening to chant music,

00:01:55.800 pop music, whatever was on the radio.

00:01:59.340 And in my teenage years, I kind of refined my tastes

00:02:02.460 and got into black music, basically.

00:02:05.740 Soul, funk, hip-hop, reggae, that sort of thing.

00:02:09.160 And I sort of fine-tuned my listening and went down that route

00:02:13.540 and decided that I really wanted to become a DJ

00:02:16.060 and I wanted to play music for a living.

00:02:17.920 So, I got started in 1990, 22 years ago now.

00:02:22.960 And in the intervening years, I managed to get onto radio

00:02:27.300 and became a club DJ.

00:02:29.500 And I've been fortunate enough to play in over 40 countries.

00:02:32.940 Most of them in Europe, actually.

00:02:35.220 But a few further afield, like Australia

00:02:38.260 and various places in Africa, New Zealand,

00:02:41.880 played in Sweden.

00:02:43.060 But I've never actually played in Italy for some reason.

00:02:45.400 Hmm. Well, I'm a big fan of the UK trip-hop,

00:02:48.380 so maybe you were spinning some of that as well.

00:02:50.540 If there's any Italian promoters listening, hit me up.

00:02:54.100 And I've also been a music writer as well.

00:02:56.280 I've written for various music magazines.

00:02:58.040 The main one was Blues and Soul,

00:02:59.520 which was a long-running UK black music publication.

00:03:02.320 So, yeah, that's been my career, really, so far.

00:03:07.340 So, have you and your DJ friends noticed a big change

00:03:09.500 in the audience these days versus, I don't know, 10 years ago?

00:03:12.620 Oh, absolutely.

00:03:13.700 It's something I talk about all the time with other DJs

00:03:16.200 and other sort of music heads of my generation

00:03:18.760 because it sort of takes somebody of my age and generation

00:03:23.300 to have noticed a shift that's taken place,

00:03:27.060 a sort of generational conditioning, if you like.

00:03:29.560 And it's been the subject of a number of podcasts,

00:03:33.320 which I've started to do.

00:03:34.700 I put the first one out last year.

00:03:37.140 And the first few that I did were music-based,

00:03:39.980 but I've moved those into conversation-based more recently.

00:03:43.640 And we are discussing things like how the music has changed,

00:03:47.160 how lyrical content has changed,

00:03:49.300 and other more sinister stuff,

00:03:51.460 such as symbolism and imagery in videos,

00:03:54.340 and how music is used for mind-control purposes.

00:03:59.200 So, the subject goes very deep.

00:04:01.140 That's right.

00:04:01.580 And it's not something that many people

00:04:03.500 are comfortable with talking about,

00:04:05.340 but it is the truth.

00:04:06.820 And, you know, sometimes the truth is inconvenient,

00:04:09.960 but you've got to go there.

00:04:11.520 That's right.

00:04:12.280 And so that's what I do.

00:04:13.540 Well, we're going to get into some of those topics,

00:04:15.300 but first I just want to talk about the music industry.

00:04:18.520 And do you think it's been controlled from the start?

00:04:20.520 I mean, because we could take this all the way back to even classical music.

00:04:25.200 Well, there is evidence to suggest that it's been controlled all along.

00:04:31.100 But my particular area of interest is the music that I've played over the years,

00:04:37.360 which, broadly speaking, is hip-hop and R&B, but mainly hip-hop.

00:04:42.580 And what I've noticed is, as I said, I got started in 1990.

00:04:46.700 And if you speak to any sort of bona fide hip-hop head, hip-hop purist,

00:04:52.680 they'll tell you that the early 90s was considered something of a golden age for hip-hop.

00:04:57.820 It's like the golden years.

00:04:59.420 Obviously, hip-hop got started in the 1980s.

00:05:01.800 But by the time the 90s had rolled around,

00:05:04.040 everything was very creative and very innovative.

00:05:08.180 You had a lot of great acts and groups that had very distinct identities.

00:05:13.160 The lyrical content of tracks was very potent, very meaningful.

00:05:18.860 It was addressing things like social issues, police brutality.

00:05:23.240 There was a phase in hip-hop that started talking about the nation of Islam

00:05:26.280 and the Five Percenters, which was a sort of faction of Islam

00:05:30.300 that a lot of the hip-hop community got into.

00:05:33.780 It was just interesting stuff, you know.

00:05:35.560 It was a fascinating period.

00:05:36.620 And so things kind of trotted along until about 1997.

00:05:42.920 And I've pinpointed 1997 as a year where there was a noticeable change

00:05:49.140 in what was happening with hip-hop music in terms of lyrics,

00:05:52.280 in terms of the imagery of the artists.

00:05:55.540 And interestingly, I was recording a podcast last month

00:05:58.320 with a fellow UK DJ and also an MC.

00:06:01.120 And independently of what I'd said,

00:06:04.700 they came up with the suggestion that 1997

00:06:07.660 is when things started to go pear-shaped.

00:06:10.840 Interesting.

00:06:11.240 So there seems to be some validity to that year.

00:06:14.560 And 1997 was a pretty dark year generally in the UK

00:06:18.280 because we had Blair coming to power,

00:06:21.160 which is never a good thing.

00:06:23.500 And 1997 was also the year that Princess Diana was assassinated.

00:06:27.300 And in hip-hop, it was the year that the Notorious B.I.G.

00:06:31.580 was assassinated, alternately known as Biggie Smalls,

00:06:35.800 a very high-profile rap artist.

00:06:38.320 And a lot of people kind of pinpoint the murder of Biggie

00:06:42.780 as marking a definite downward spiral

00:06:46.980 in what was happening to the music.

00:06:49.680 And so from 1997 onwards,

00:06:52.060 the lyrical content of mainstream hip-hop

00:06:55.180 was almost exclusively about materialism,

00:06:58.760 consumerism, brands, champagne, gold chains,

00:07:03.560 getting laid,

00:07:05.300 guns, gold rims.

00:07:08.760 And you might think that's just part of

00:07:11.600 the natural cycle of music.

00:07:13.680 You know, it changes over time and it's just a trend.

00:07:16.180 But we're now in 2012, 15 years on,

00:07:19.660 and nothing's really changed.

00:07:21.520 So 15 years is quite a long trend.

00:07:25.160 Oh, yeah.

00:07:26.220 And so that kind of signaled to me

00:07:28.820 that something was changing.

00:07:31.100 Although at the time,

00:07:32.000 I didn't really pay too much attention to it

00:07:34.020 because I wasn't into any of this

00:07:36.020 so-called conspiracy stuff back then.

00:07:38.640 And I just kind of went with the flow,

00:07:40.620 as most of us did.

00:07:41.920 Hey, I just want to say also,

00:07:43.060 the 90s, we had the grunge era.

00:07:44.780 I was up in Seattle then,

00:07:45.940 which was awesome.

00:07:47.040 That's some of my favorite music,

00:07:48.300 alternative-wise.

00:07:50.040 Sure.

00:07:50.400 And there were a lot of people

00:07:51.700 that had a lot to say, of course,

00:07:53.360 during that time.

00:07:53.980 They actually wrote their own music

00:07:55.060 and didn't care so much

00:07:56.020 about what they look like, like today.

00:07:58.100 Exactly.

00:07:58.780 I think the 90s was a great time

00:08:00.240 for music generally,

00:08:01.240 not just the music that I listened to.

00:08:02.860 But, you know, there was indie music,

00:08:04.740 there was Britpop,

00:08:06.640 music, you know, club music.

00:08:09.180 It was all good.

00:08:10.180 The movies were good.

00:08:11.180 It's just a great decade,

00:08:12.440 or at least the first part of it was.

00:08:14.640 But anyway,

00:08:15.740 we fast forward sort of 11 years

00:08:18.120 from there, really,

00:08:19.780 to 2008,

00:08:21.240 which is another year

00:08:22.760 that I've kind of pinpointed

00:08:24.060 as marking a definite downward change.

00:08:27.720 By 2008,

00:08:29.220 you had a whole breed of new artists

00:08:32.180 coming through for the first time,

00:08:34.160 the likes of T-Pain,

00:08:36.480 Akon,

00:08:37.880 Flowrider,

00:08:39.420 Lil Wayne,

00:08:40.540 and a whole bunch of others.

00:08:41.920 And if you listen

00:08:44.040 to the sort of music

00:08:44.760 that these guys are making

00:08:45.800 in terms of lyrical content

00:08:47.600 and also production style,

00:08:49.320 it's pretty clear

00:08:50.460 that something is changing again

00:08:52.780 because it bears no resemblance

00:08:55.460 at all to the stuff

00:08:57.920 that went before it,

00:08:59.000 which is taken to be hip-hop.

00:09:01.120 And so you listen to guys

00:09:02.180 like Lil Wayne these days

00:09:03.480 and Drake and Nicki Minaj,

00:09:05.860 who I'm sure we'll get into

00:09:06.960 a bit later.

00:09:08.580 And these are classed as rappers.

00:09:10.040 And to me,

00:09:11.620 and to many others,

00:09:13.200 they're not rappers at all.

00:09:14.600 What they're making

00:09:15.380 is not hip-hop music.

00:09:17.000 It's completely different.

00:09:18.880 You've got auto-tune everywhere,

00:09:21.580 which, again,

00:09:22.320 we can go into,

00:09:23.160 but auto-tune is

00:09:24.160 the trademark sound

00:09:25.460 of the artist T-Pain.

00:09:27.220 And it's this sort of

00:09:28.200 robotic,

00:09:29.820 kind of computerized,

00:09:31.240 horrible vocal sound.

00:09:32.820 I don't know how people

00:09:33.400 can listen to that

00:09:34.260 and just think it's awesome,

00:09:35.360 you know?

00:09:36.380 Exactly, exactly.

00:09:37.400 It was first popularized

00:09:39.420 by Cher

00:09:40.120 on a track called

00:09:41.380 Life After Love

00:09:42.320 in the mid-90s,

00:09:43.440 which was awful.

00:09:45.020 And that record

00:09:45.800 was sort of dismissed

00:09:46.460 as a corny pop tune.

00:09:47.900 But now,

00:09:48.480 it's all over

00:09:49.140 so-called hip-hop

00:09:50.380 and R&B records.

00:09:51.900 What's going on?

00:09:53.040 Well,

00:09:53.420 something is,

00:09:54.080 clearly.

00:09:55.800 Cyborgs.

00:09:57.960 Indeed.

00:09:59.240 And so,

00:10:00.080 by 2008,

00:10:01.900 I was sort of

00:10:02.960 paying attention

00:10:03.520 to other stuff,

00:10:04.840 what you might call

00:10:06.900 conspiracy stuff,

00:10:07.920 although I don't like

00:10:08.600 that word.

00:10:09.680 But I started

00:10:11.420 reading books

00:10:12.240 by David Icke

00:10:13.200 and I started

00:10:14.400 paying attention

00:10:15.080 to the idea

00:10:16.540 that the world

00:10:17.520 is actually

00:10:18.360 nothing like

00:10:19.080 the version of events

00:10:20.500 that you get

00:10:20.860 on the mainstream news

00:10:21.820 or that the government

00:10:22.980 tells you.

00:10:24.380 And I started

00:10:25.600 looking into

00:10:26.220 all these related subjects.

00:10:29.060 And around about 2008,

00:10:30.820 I got turned on

00:10:31.520 to a website

00:10:32.180 called Vigilant Citizen.

00:10:33.640 VigilantCitizen.com

00:10:36.040 and it's a guy

00:10:37.120 in Canada.

00:10:38.720 Nobody knows

00:10:39.180 his real name,

00:10:39.740 actually.

00:10:40.060 He's just known

00:10:40.420 as VC.

00:10:41.740 And what he does

00:10:42.800 is examine

00:10:43.880 the symbolism

00:10:44.880 and the imagery

00:10:46.080 that is getting

00:10:47.020 placed in music videos

00:10:48.200 and live stage shows.

00:10:50.160 And he's very knowledgeable.

00:10:51.580 He breaks it all down

00:10:52.500 and explains

00:10:53.300 how all this

00:10:54.100 occult imagery

00:10:55.080 is being subliminally

00:10:56.680 placed right in front

00:10:58.220 of our eyes

00:10:58.920 and what it actually

00:11:00.720 means

00:11:01.280 and what it might

00:11:02.960 be designed to do

00:11:03.880 in terms of the effect

00:11:04.800 it has on the human mind.

00:11:06.980 So I found that

00:11:07.880 quite interesting.

00:11:09.400 And by 2010,

00:11:11.460 which is

00:11:12.020 not long ago really,

00:11:13.820 I underwent

00:11:15.000 what I would describe

00:11:16.140 as a conscious awakening,

00:11:18.800 which is where

00:11:19.700 I read

00:11:20.260 David Icke's

00:11:21.500 Human Race

00:11:22.260 Get Off Your Knees

00:11:23.040 book.

00:11:23.440 and suddenly

00:11:25.280 everything

00:11:25.920 kind of slotted

00:11:26.740 into place

00:11:27.400 for me

00:11:28.080 and it was like

00:11:29.340 a light bulb

00:11:29.880 went off

00:11:30.340 in my mind

00:11:31.020 and all the pieces

00:11:32.680 kind of fitted together.

00:11:34.460 So in your mind,

00:11:35.520 why are all these

00:11:35.980 occult symbols

00:11:36.680 showing up in videos

00:11:37.740 and live shows

00:11:38.520 these days?

00:11:39.820 Well,

00:11:40.560 it comes down

00:11:41.580 to the suggestion

00:11:42.940 that the world

00:11:44.480 is actually controlled

00:11:45.700 by

00:11:46.180 a group

00:11:48.160 of secret societies,

00:11:49.700 a cabal,

00:11:50.660 a network,

00:11:51.520 whatever you might

00:11:52.180 choose to call it,

00:11:52.880 those that consider

00:11:54.540 themselves the rightful

00:11:55.600 rulers of the planet,

00:11:56.660 as Ian Crane

00:11:57.380 would put it.

00:11:58.860 You know,

00:11:59.540 this shadowy

00:12:00.360 kind of group

00:12:01.040 that controls

00:12:02.160 governments,

00:12:02.780 controls corporations

00:12:03.620 and controls

00:12:04.800 pretty much everything.

00:12:06.000 Including the music

00:12:06.640 business.

00:12:07.600 Oh,

00:12:07.780 absolutely.

00:12:08.320 All the record labels.

00:12:09.380 Yeah,

00:12:09.520 they're owned by,

00:12:10.160 there's this great book

00:12:10.820 called The Hitmen

00:12:11.400 that basically

00:12:11.980 exposes the hustlers

00:12:13.460 who rule over

00:12:14.020 the music industry

00:12:14.740 and they're basically

00:12:15.260 the mob.

00:12:17.280 Exactly.

00:12:17.920 I've heard of that book,

00:12:18.900 yeah.

00:12:19.740 And so I came to realize

00:12:21.520 that this group,

00:12:22.640 this cabal,

00:12:23.420 this network of elites,

00:12:24.780 whatever you want

00:12:25.220 to call them,

00:12:26.240 hijack any profession

00:12:28.800 or any trade

00:12:30.020 or any industry

00:12:30.980 that they feel

00:12:32.380 can help

00:12:33.160 advance their agenda.

00:12:35.620 And clearly,

00:12:36.460 the entertainment business,

00:12:38.160 consisting mainly

00:12:38.900 of Hollywood movies

00:12:40.180 and the music industry,

00:12:42.120 are a major part of this.

00:12:43.520 and it became clear

00:12:45.700 that the placing

00:12:46.500 of this imagery

00:12:48.240 and symbolism

00:12:48.980 in videos

00:12:49.680 is their way

00:12:51.280 of mind controlling

00:12:54.020 the masses

00:12:54.740 and also

00:12:56.440 kind of

00:12:57.640 giving you

00:12:58.280 a little indicator

00:12:59.220 of who's really

00:13:01.060 in control

00:13:01.580 and who's really

00:13:02.260 running things.

00:13:03.020 because it seems

00:13:04.400 to be the case

00:13:04.900 that whenever

00:13:05.280 these guys

00:13:06.140 do anything,

00:13:07.580 there's usually

00:13:08.140 three or four reasons

00:13:09.380 why they're doing it.

00:13:11.040 You know,

00:13:11.260 there's a main one

00:13:12.060 but there's all sorts

00:13:13.000 of subsidiary reasons

00:13:14.140 as well.

00:13:15.160 And one of them

00:13:15.740 definitely seems to be

00:13:16.880 that they're kind of

00:13:18.340 rubbing our noses in it.

00:13:19.560 by placing

00:13:20.880 this symbolism

00:13:22.160 in plain sight

00:13:23.220 in these videos

00:13:23.960 that are on MTV

00:13:24.740 and, you know,

00:13:25.540 mainstream TV channels

00:13:26.580 daily

00:13:27.100 and are getting

00:13:27.940 soaked up

00:13:28.580 by teenagers,

00:13:30.580 they're kind of

00:13:31.760 subliminally

00:13:33.120 letting everyone

00:13:34.260 know who's boss.

00:13:35.860 Mm-hmm.

00:13:36.320 I see.

00:13:37.520 Well,

00:13:37.720 it amazes me

00:13:39.040 that humans

00:13:39.400 are so susceptible

00:13:40.780 to control

00:13:41.580 by the subconscious mind.

00:13:42.900 I mean,

00:13:43.140 just a visual

00:13:43.880 or a vibration

00:13:44.980 it seems

00:13:45.420 is all it takes

00:13:46.300 these days.

00:13:47.780 Well,

00:13:48.340 indeed,

00:13:48.900 yeah.

00:13:49.140 I mean,

00:13:49.660 there's so much

00:13:50.740 information

00:13:51.960 about how

00:13:52.480 Hollywood movies

00:13:53.220 and therefore

00:13:54.600 music videos

00:13:55.540 as well

00:13:56.000 have a subliminal

00:13:57.340 effect on the viewer

00:13:58.560 without them realizing.

00:14:00.600 You know,

00:14:00.840 there's been all sorts

00:14:01.400 of studies done

00:14:02.000 with advertising

00:14:02.680 to show how

00:14:04.020 subliminal messages

00:14:05.340 in ads

00:14:05.900 make people go out

00:14:07.080 and buy products

00:14:07.740 without them even

00:14:08.380 knowing it's going on.

00:14:10.140 So,

00:14:10.500 yeah,

00:14:11.340 I became aware

00:14:12.340 that this was happening.

00:14:15.220 And Vigilant Citizen

00:14:15.980 gives you some great

00:14:16.860 examples of

00:14:17.840 what goes on

00:14:18.900 in these videos.

00:14:20.220 And you come to realize

00:14:21.720 that all through

00:14:23.320 music videos

00:14:24.020 by the very biggest

00:14:25.020 artists in the industry,

00:14:26.960 so if you take

00:14:27.520 the top 10,

00:14:28.740 15 names

00:14:29.680 that are having

00:14:30.200 all the big hits

00:14:31.000 and the household names,

00:14:32.980 they're the ones

00:14:33.620 whose videos

00:14:34.240 are full of this stuff.

00:14:35.720 And you have

00:14:36.300 all seeing eyes

00:14:37.180 straight off

00:14:38.040 the back of a dollar bill.

00:14:39.300 You have pyramids,

00:14:41.560 Masonic compasses,

00:14:43.120 the covering of one eye.

00:14:44.840 I mean,

00:14:45.220 that's the classic.

00:14:46.860 I've actually got

00:14:47.560 a montage picture

00:14:48.740 of all the artists

00:14:50.440 that have been

00:14:51.840 photographed

00:14:52.840 covering their eye.

00:14:53.900 Hey,

00:14:54.160 I do have to say that.

00:14:55.300 Sorry to interrupt you,

00:14:56.240 but I do have to say

00:14:56.980 about the one eye thing.

00:14:57.880 I've taken photos

00:14:58.740 with one eye

00:14:59.780 just because artistically

00:15:00.820 it looks pretty cool.

00:15:02.280 It looks nice.

00:15:03.020 It feels nice.

00:15:03.840 So maybe sometimes

00:15:05.280 it doesn't mean

00:15:06.440 that they're in on it,

00:15:07.400 but it's just

00:15:07.920 artistically it's pleasing.

00:15:09.940 Well,

00:15:10.380 yeah,

00:15:10.560 I've heard it said

00:15:11.340 in defense of why it's done

00:15:13.720 that it's a cool pose.

00:15:14.820 It's just a pretty cool thing to do.

00:15:16.480 But when everyone's doing it,

00:15:19.560 you start to ask yourself,

00:15:20.800 why haven't they found

00:15:21.400 a new way to look cool?

00:15:22.800 There are other ways

00:15:23.640 of doing it.

00:15:24.940 But yeah,

00:15:25.480 the covering of one eye

00:15:27.320 is all through the videos.

00:15:28.940 And one of the most disturbing

00:15:30.820 things I've seen in a video

00:15:32.040 was for Umbrella,

00:15:33.760 the Rihanna video

00:15:34.680 of five years ago.

00:15:36.620 And in it,

00:15:37.240 there's a split second shot

00:15:38.840 which is how they do subliminals,

00:15:41.100 you know,

00:15:41.300 very, very quickly

00:15:42.060 so it doesn't register

00:15:43.320 in the conscious mind.

00:15:45.100 And Rihanna is inside a pyramid,

00:15:47.580 surprise, surprise,

00:15:48.440 and she's striking a pose

00:15:50.440 which has obviously been

00:15:52.240 computer graphic improved,

00:15:55.500 amended,

00:15:56.700 because it's not a pose

00:15:58.180 that you can actually

00:15:58.900 anatomically achieve naturally.

00:16:01.280 And the pose is emulating

00:16:04.060 the Baphomet goat head,

00:16:06.580 the goat of Mendes,

00:16:07.500 which is a classic sign

00:16:10.160 of Satanism.

00:16:11.720 And, you know,

00:16:12.440 it's quite a disturbing thing

00:16:13.680 to find in a video

00:16:15.020 for a number one single

00:16:15.960 that's getting played

00:16:16.520 throughout the world.

00:16:17.380 I always wonder

00:16:18.020 who came up with the idea.

00:16:19.600 Is it someone who wrote

00:16:20.280 the treatment for the video?

00:16:21.560 Is it the manager?

00:16:22.640 Is it the artist?

00:16:23.300 I mean,

00:16:23.720 who's the guy

00:16:24.600 that's responsible here?

00:16:26.540 It does make you wonder.

00:16:27.820 I found myself wondering

00:16:30.720 the same thing

00:16:31.460 with the opening ceremony

00:16:32.980 of the London Olympics

00:16:34.120 recently,

00:16:34.780 which was directed

00:16:35.500 by Danny Boyle,

00:16:36.840 the film director.

00:16:38.820 And I found myself wondering,

00:16:41.180 you know,

00:16:41.520 does Danny know

00:16:42.600 what he's doing?

00:16:43.820 Is he complicit in this?

00:16:45.160 Or have they just said,

00:16:46.260 right, Danny,

00:16:47.180 here are some scenes

00:16:47.980 we want in this ceremony.

00:16:49.760 It's up to you

00:16:50.320 how you present them,

00:16:51.160 but these have got

00:16:51.800 to be in there.

00:16:52.700 Yeah.

00:16:53.060 It does make you wonder.

00:16:54.480 The central command speaks.

00:16:56.600 Exactly.

00:16:57.880 But yeah,

00:16:58.600 clearly something's

00:16:59.440 going on there

00:16:59.940 as far as I'm concerned.

00:17:01.260 So how do you think

00:17:02.360 the music industry

00:17:03.140 goes about choosing

00:17:03.880 the next big superstar,

00:17:05.320 like the next Lady Gaga?

00:17:08.440 Well,

00:17:09.320 it's clear to me now

00:17:11.880 that to make it as an artist,

00:17:14.860 you have to allow yourself

00:17:16.360 to be absolutely controlled

00:17:18.000 by the industry

00:17:19.280 in every way.

00:17:21.120 And I think it's happening

00:17:22.580 more so now

00:17:23.260 than used to be the case.

00:17:24.700 I think artists

00:17:25.240 used to be able

00:17:25.860 to express themselves

00:17:26.780 artistically far more so

00:17:29.020 than they can now.

00:17:30.940 And it strikes me

00:17:31.860 that at any given time now,

00:17:34.280 there's a kind of top 10

00:17:35.940 of positions

00:17:36.620 that are available

00:17:37.900 and artists are selected

00:17:40.160 to fill those positions.

00:17:41.800 So there's a number one

00:17:43.100 rapper position available

00:17:44.480 and Jay-Z

00:17:45.740 has been slotted into place.

00:17:47.780 And if it wasn't Jay-Z,

00:17:48.960 it would be somebody else.

00:17:50.580 So these artists

00:17:51.580 are selected

00:17:52.380 just to have that

00:17:54.240 kind of exposure.

00:17:55.900 And I think

00:17:57.560 they're kind of selected

00:17:58.960 on different grounds.

00:18:00.340 As far as rappers go,

00:18:01.720 it's well known

00:18:02.360 that a lot of hip-hop artists

00:18:03.540 come from the ghetto,

00:18:04.680 they come from the hood,

00:18:05.920 you know, poverty.

00:18:06.460 And it's reasonable

00:18:09.500 to assume

00:18:10.180 that record companies

00:18:11.360 say to these guys,

00:18:12.280 look, you know,

00:18:12.680 you sign on the dotted line,

00:18:13.900 you do what we say,

00:18:15.440 you join the corporation

00:18:17.780 and you'll never be poor again.

00:18:20.020 And obviously,

00:18:20.920 for these guys

00:18:21.560 that have never

00:18:23.180 had money

00:18:24.320 in their lives,

00:18:25.040 that's a very attractive prospect.

00:18:26.680 So they sign

00:18:27.120 on the dotted line.

00:18:28.440 Then you have artists

00:18:29.140 like,

00:18:29.740 for example,

00:18:30.620 Lady Gaga,

00:18:31.440 who strikes me

00:18:32.280 as someone

00:18:33.240 that always

00:18:33.980 just wanted fame

00:18:35.080 at any cost.

00:18:37.160 And there's probably

00:18:37.560 a lot of these.

00:18:38.880 And they're promised

00:18:39.300 fame and fortune,

00:18:40.520 you know,

00:18:40.920 you'll never be that

00:18:41.980 shy, awkward kid again

00:18:43.720 that nobody likes at school.

00:18:45.040 You'll be adored

00:18:45.660 by millions.

00:18:48.660 And that's incentive

00:18:49.620 enough for them

00:18:50.240 to sign on the dotted line.

00:18:51.760 But I think

00:18:52.880 so many of them

00:18:53.620 don't realize

00:18:54.380 what they're signing up for.

00:18:56.240 And of course,

00:18:56.940 once you've crossed the line,

00:18:58.780 you can't go back.

00:19:00.440 And you have to do

00:19:01.660 what they say.

00:19:02.260 In every way.

00:19:05.380 And I think

00:19:05.720 a lot of artists

00:19:06.420 discover that

00:19:07.100 to their peril.

00:19:08.100 The question is,

00:19:08.700 what is that line?

00:19:10.240 How are these

00:19:10.860 mind control techniques

00:19:11.780 implemented and used on them?

00:19:13.980 Well, exactly.

00:19:15.260 And this leads on

00:19:16.320 to the question

00:19:16.840 of mind controlled artists.

00:19:19.120 Because it's my view

00:19:20.660 that music is used

00:19:22.080 to mind control

00:19:23.040 the public.

00:19:24.340 Oh yeah.

00:19:24.940 But of course,

00:19:26.260 you also have

00:19:27.300 the artists themselves

00:19:28.360 who are mind controlled.

00:19:30.540 And this is where

00:19:31.640 we get into

00:19:32.360 the very ugly area

00:19:34.060 of MKUltra,

00:19:36.760 Monarch Programming,

00:19:38.160 Mind Control,

00:19:39.140 which I'm sure

00:19:40.100 a lot of your listeners

00:19:40.820 will be aware of.

00:19:42.340 Yes.

00:19:43.260 But in a nutshell,

00:19:44.560 it's a trauma-based

00:19:46.700 mind control technique

00:19:48.040 that was apparently

00:19:49.240 developed by the Nazis

00:19:50.600 during the Second World War.

00:19:52.560 And when the war finished,

00:19:53.800 a lot of these scientists

00:19:55.260 were covertly

00:19:56.680 brought into the US

00:19:57.740 and started working

00:19:59.320 for various factions

00:20:00.740 of the government,

00:20:01.520 including the CIA,

00:20:03.280 in seeing how

00:20:05.360 MKUltra mind control

00:20:07.460 could be used

00:20:08.380 for various things,

00:20:09.920 such as to program

00:20:11.200 Manchurian candidate-style

00:20:12.960 assassins.

00:20:14.380 And there's a suggestion

00:20:15.100 with that recent

00:20:16.000 movie theater

00:20:17.000 shooting in Colorado

00:20:18.080 that that might be

00:20:19.460 what was going on.

00:20:20.880 And then,

00:20:21.400 when it comes to

00:20:22.000 the entertainment industry,

00:20:23.520 there's evidence

00:20:24.240 that a lot of Hollywood actors

00:20:25.800 have undergone this.

00:20:28.300 And there's absolute evidence

00:20:30.200 that certain music artists

00:20:32.020 have undergone it.

00:20:34.160 And, you know,

00:20:35.220 they're subjected

00:20:35.920 to horrific,

00:20:37.520 traumatic experiences.

00:20:40.120 And it causes the mind

00:20:42.700 to shatter

00:20:44.280 into different compartments

00:20:45.980 or personas

00:20:46.960 or alters,

00:20:48.340 as they're called.

00:20:49.740 And what kind of evidence

00:20:50.400 have you found

00:20:50.980 for this trauma-based

00:20:52.260 mind control?

00:20:52.860 Well, it's various documents

00:20:55.160 and various videos

00:20:56.360 on YouTube,

00:20:57.300 but it's coming from

00:20:57.880 lots of different sources.

00:20:59.580 And they all tend to be

00:21:00.680 pretty much agreeing

00:21:01.860 with each other.

00:21:03.060 And you get certain names

00:21:04.480 of artists,

00:21:06.300 and there's a lot of agreement

00:21:07.480 on which artists

00:21:09.040 may well have undergone this.

00:21:12.160 And, again,

00:21:12.820 going back to the videos,

00:21:14.200 what they tend to do

00:21:15.200 is place little visual

00:21:16.540 indicators

00:21:17.420 in videos

00:21:18.660 and record sleeves

00:21:19.680 and such

00:21:20.180 to show that

00:21:21.660 a particular artist

00:21:23.220 has undergone

00:21:24.820 mind control.

00:21:26.340 And one of the prime

00:21:27.420 candidates

00:21:27.800 is Nicki Minaj,

00:21:30.120 who is allegedly

00:21:31.240 a rapper,

00:21:33.380 but a classic

00:21:34.120 textbook example

00:21:35.100 of a mind control

00:21:37.320 subject.

00:21:38.860 So going back

00:21:39.860 to the idea

00:21:40.360 of alters,

00:21:41.100 these different personalities,

00:21:42.820 you have

00:21:43.560 the sort of front

00:21:44.520 alter,

00:21:45.400 which is the everyday

00:21:46.140 personality

00:21:46.780 that engages

00:21:47.400 with the public

00:21:48.680 and is the one

00:21:49.880 that appears

00:21:50.280 in interviews

00:21:50.820 and such.

00:21:52.120 But then you have

00:21:52.720 all these different

00:21:53.740 alters that are created

00:21:55.940 by the mind control

00:21:57.140 process.

00:21:58.320 And when you listen

00:21:58.900 to Nicki Minaj records,

00:22:00.680 on track,

00:22:01.880 she breaks into

00:22:02.720 all these different

00:22:03.660 kind of accents.

00:22:05.000 She's got this

00:22:05.600 amusing British

00:22:07.020 accent that she does,

00:22:08.480 which everyone thinks

00:22:09.200 is really cute.

00:22:11.120 And she does it

00:22:11.760 in interviews as well.

00:22:13.040 So she'll be

00:22:13.580 being interviewed,

00:22:14.900 and then she suddenly

00:22:15.840 adopts this British accent.

00:22:16.940 And she's got

00:22:18.960 this alter ego,

00:22:20.820 which again appears

00:22:21.620 on her records,

00:22:22.920 called Roman,

00:22:23.940 Roman Volansky,

00:22:26.620 which is obviously

00:22:27.440 an allusion

00:22:28.280 to the film director

00:22:29.220 Roman Volansky,

00:22:30.380 who directed

00:22:31.260 Rosemary's Baby

00:22:32.080 and an interesting guy

00:22:34.560 who's worth looking up.

00:22:36.500 And she put a track

00:22:37.640 out called

00:22:38.020 Roman's Revenge

00:22:38.880 as well,

00:22:39.500 in which she kind of

00:22:40.280 switches on the track

00:22:41.900 into this other voice

00:22:43.720 and this other person.

00:22:45.080 So there's some

00:22:47.320 indicators there.

00:22:48.780 And then you've got

00:22:49.200 Lady Gaga,

00:22:50.600 who,

00:22:51.360 well,

00:22:52.180 it's all in the name,

00:22:52.900 really.

00:22:53.920 Lady Gaga

00:22:54.620 often appears

00:22:55.860 as a male persona,

00:22:59.440 wearing a suit

00:23:00.140 and sort of

00:23:00.660 dressed up as a male,

00:23:02.360 as an alternative

00:23:03.020 personality.

00:23:04.960 And there's been

00:23:06.160 a trend in

00:23:07.140 hip-hop and R&B

00:23:08.020 in recent years

00:23:08.860 for artists

00:23:09.600 to have alter egos.

00:23:11.620 And I'm not suggesting

00:23:12.480 that all these artists

00:23:13.680 are subjects

00:23:14.280 of mind control,

00:23:15.500 but it ties into

00:23:16.560 this idea

00:23:17.260 of artists

00:23:18.600 having alters.

00:23:20.080 So Beyonce

00:23:20.700 put out a record

00:23:22.160 a few years ago

00:23:23.100 called

00:23:23.380 I Am Sasha Fierce.

00:23:25.400 And Sasha Fierce

00:23:26.200 is this

00:23:26.740 alternative personality

00:23:28.540 that she takes on

00:23:29.920 when she gets on stage.

00:23:32.140 And in interviews,

00:23:33.080 she said,

00:23:33.620 oh,

00:23:33.800 I feel like somebody else

00:23:34.940 when I'm on stage.

00:23:35.900 You know,

00:23:36.120 I don't feel like I'm myself.

00:23:37.880 And then you've got

00:23:38.540 the likes of Eminem,

00:23:40.420 has always been known

00:23:41.100 as Slim Shady

00:23:41.940 and Jay-Z's got

00:23:43.940 multiple pseudonyms

00:23:45.160 and a lot of them do.

00:23:48.280 And then going back

00:23:49.440 to these visual indicators

00:23:51.340 of mind control,

00:23:53.340 there are various things

00:23:55.060 which when you see them

00:23:56.060 in videos

00:23:56.580 or on sleeves

00:23:58.220 or in artwork,

00:24:00.800 are again

00:24:01.640 an allusion

00:24:02.420 to MKUltra mind control.

00:24:04.820 One of them

00:24:05.340 is the butterfly,

00:24:07.480 named after

00:24:08.520 the monarch butterfly,

00:24:09.440 which is part

00:24:10.320 of the same process.

00:24:11.580 You see butterflies

00:24:12.480 everywhere

00:24:13.060 on record sleeves.

00:24:15.480 Mariah Carey

00:24:16.180 put out a record

00:24:17.180 called Butterfly

00:24:17.820 a few years ago.

00:24:19.060 You see them

00:24:19.600 all over videos.

00:24:21.260 You see dolls.

00:24:23.120 Whenever you see

00:24:23.720 dolls around,

00:24:24.540 particularly with

00:24:25.080 mutilated limbs,

00:24:26.980 that's always a good

00:24:27.720 indicator of mind control.

00:24:29.260 And interestingly,

00:24:30.540 Nicki Minaj's

00:24:31.760 pseudonym

00:24:32.660 is Barbie.

00:24:34.680 She's known

00:24:35.020 as Barbie Doll.

00:24:36.200 And her fans,

00:24:37.640 her female fans,

00:24:38.560 are known as

00:24:39.300 barbs.

00:24:40.820 So, you know,

00:24:41.600 she's shouting out

00:24:42.400 all my barbs.

00:24:43.620 And of course,

00:24:43.920 the male fans

00:24:44.600 are called Ken's.

00:24:46.600 They're not even

00:24:47.300 trying to hide that one.

00:24:49.500 And then pink hair

00:24:50.600 is another one.

00:24:51.440 Nicki Minaj

00:24:51.840 has always got pink hair.

00:24:53.860 Katy Perry

00:24:54.420 is often seen

00:24:55.060 with pink hair.

00:24:56.900 And the Mickey Mouse ears

00:24:58.280 are the other one.

00:25:00.080 Have a look

00:25:00.480 at how many artists

00:25:01.540 in promo pictures

00:25:03.060 and videos

00:25:03.700 have Mickey Mouse ears.

00:25:05.700 Mickey Mouse Club.

00:25:06.700 Yeah,

00:25:08.760 the Mickey Mouse Club.

00:25:09.800 Exactly.

00:25:10.300 Which was the breeding

00:25:10.900 ground for

00:25:11.740 Britney Spears,

00:25:13.000 Justin Timberlake

00:25:13.740 and Christina Aguilera.

00:25:15.700 All famous attendees

00:25:16.880 of the Mickey Mouse Club,

00:25:18.020 which of course ties

00:25:18.620 into the Disney Corporation.

00:25:21.160 That's right.

00:25:22.200 Again,

00:25:22.860 there's lots

00:25:24.040 to read

00:25:24.840 and find out

00:25:25.420 about Disney.

00:25:26.120 Disney is not

00:25:26.640 all it seems.

00:25:28.220 But these Mickey Mouse ears

00:25:29.700 are everywhere.

00:25:31.660 And again,

00:25:32.340 people might say,

00:25:33.320 oh,

00:25:33.600 it's a way of looking cool.

00:25:34.900 It's a way of looking

00:25:35.540 distinctive.

00:25:36.600 Well,

00:25:36.800 why has everyone

00:25:37.280 got frigging

00:25:38.000 Mickey Mouse ears then?

00:25:39.220 You know,

00:25:39.460 there are other ways

00:25:40.220 to do it.

00:25:41.200 So they all seem

00:25:42.420 to be indicators

00:25:43.140 of mind control

00:25:45.320 in the industry.

00:25:46.620 And you never used

00:25:47.300 to see these things

00:25:48.000 in videos.

00:25:49.080 But when you know

00:25:50.100 what you're looking for

00:25:50.980 and when you start

00:25:51.900 to pay attention,

00:25:53.120 you see them everywhere

00:25:54.020 and you realize

00:25:55.300 over the past few years

00:25:56.640 the agenda

00:25:57.820 has been stepped up

00:25:59.040 big time.

00:26:00.600 I've also heard

00:26:01.040 you mention

00:26:01.380 the ritual sacrifice

00:26:02.220 of hip-hop artists.

00:26:03.600 Can you talk about that?

00:26:04.440 Yeah,

00:26:06.380 well,

00:26:06.820 this is

00:26:07.500 a subject area

00:26:09.460 which

00:26:09.960 a lot of people

00:26:11.660 may

00:26:12.940 kind of agree

00:26:14.440 with everything

00:26:15.360 I've discussed

00:26:16.240 so far.

00:26:17.340 But when you bring

00:26:18.500 the idea

00:26:19.280 of the music industry

00:26:21.100 ritually sacrificing

00:26:22.420 as artists

00:26:23.140 into the picture,

00:26:25.240 it's too much

00:26:26.060 for a lot of people.

00:26:27.200 And they're like,

00:26:27.600 whoa,

00:26:28.000 whoa,

00:26:28.540 you know,

00:26:28.840 I'm not going there.

00:26:30.220 That's enough now.

00:26:31.380 But I'm not

00:26:33.860 definitely saying

00:26:34.980 that this goes on.

00:26:36.240 But at the same time,

00:26:37.860 having discovered

00:26:38.560 what I have

00:26:39.580 about the industry,

00:26:41.460 about what's really

00:26:42.440 going on in the world,

00:26:44.080 about the nature

00:26:44.860 of reality,

00:26:46.060 I wouldn't necessarily

00:26:47.480 discount it.

00:26:48.820 It's a theory

00:26:49.520 which most famously

00:26:51.060 has been put forward

00:26:52.280 by Professor Griff,

00:26:54.100 who was formerly

00:26:54.860 of the group

00:26:55.440 Public Enemy.

00:26:56.180 Yeah,

00:26:56.320 we've tried to get him

00:26:56.900 on red ice

00:26:57.480 a couple times.

00:26:58.720 Oh, really?

00:26:59.000 I chatted with him

00:26:59.760 but it just never

00:27:00.540 happened.

00:27:02.260 Oh,

00:27:02.500 that would have been great.

00:27:03.560 To have got Griff,

00:27:04.100 that would have been

00:27:04.460 incredible.

00:27:05.760 I've tried to get him

00:27:06.380 myself actually

00:27:07.040 for my podcast

00:27:07.740 but he's a difficult

00:27:08.340 guy to reach.

00:27:10.320 But yeah,

00:27:10.820 Professor Griff

00:27:11.340 was known as

00:27:11.900 the Minister of Information

00:27:13.180 for Public Enemy

00:27:14.140 and he was actually

00:27:15.620 sacked from the group

00:27:16.520 many years ago.

00:27:17.460 I think he was sacked

00:27:18.020 in about 1990

00:27:18.880 for alleged

00:27:20.800 anti-Semitic

00:27:22.340 comments.

00:27:23.840 Yeah.

00:27:24.440 That's a

00:27:24.920 convenient phrase.

00:27:26.740 So he kind of

00:27:27.560 went his own way

00:27:28.340 and he's always

00:27:29.200 been an outspoken

00:27:30.520 figure.

00:27:31.900 But in recent years

00:27:33.060 he's put forward

00:27:34.080 this theory

00:27:34.740 that the large

00:27:36.480 number of

00:27:37.480 artists

00:27:38.740 in the hip-hop

00:27:39.860 and R&B field

00:27:41.040 who just happen

00:27:42.460 to have died

00:27:43.480 in strange

00:27:44.840 circumstances

00:27:45.500 might actually

00:27:47.160 be part of

00:27:48.100 a program

00:27:48.900 of ritual

00:27:49.300 sacrifice.

00:27:50.920 And

00:27:51.100 when you look

00:27:53.020 into the elites

00:27:54.300 if you want to

00:27:54.820 call them that,

00:27:55.560 you know,

00:27:55.780 the cabal

00:27:56.280 and

00:27:58.340 what they've

00:27:59.020 been involved

00:27:59.520 with through

00:28:00.000 the ages,

00:28:01.800 sacrifice

00:28:02.120 is definitely

00:28:03.380 on the agenda

00:28:04.720 and

00:28:05.960 unfortunately

00:28:06.940 human sacrifice

00:28:08.260 didn't

00:28:09.040 end

00:28:09.540 many hundreds

00:28:10.800 or thousands

00:28:11.260 of years ago.

00:28:11.960 It still goes on

00:28:12.700 now

00:28:12.960 in various forms.

00:28:15.260 War is one,

00:28:17.080 false flag

00:28:17.840 terror events

00:28:18.620 are another

00:28:19.080 and

00:28:20.140 so Griff's

00:28:21.020 suggestion

00:28:21.500 is that

00:28:22.380 these artists

00:28:23.020 being

00:28:23.460 knocked off

00:28:25.280 by the industry

00:28:26.000 is all part

00:28:27.080 of this

00:28:27.580 satanic

00:28:29.420 sacrificial

00:28:30.220 agenda.

00:28:31.840 And so

00:28:32.100 when you look

00:28:32.920 at the number

00:28:33.880 of artists

00:28:34.480 that have died

00:28:35.920 it started

00:28:37.600 pretty much

00:28:38.120 with Tupac

00:28:38.820 in September

00:28:40.020 1996

00:28:40.660 who died

00:28:43.100 in a hail

00:28:43.680 of bullets

00:28:44.180 in a car

00:28:45.040 in Las Vegas.

00:28:47.500 Six months

00:28:48.300 later,

00:28:49.020 March

00:28:49.380 1997,

00:28:50.940 Notorious B.I.G.

00:28:51.840 Biggie Smalls

00:28:52.780 died in

00:28:53.820 almost exactly

00:28:54.820 the same

00:28:55.240 circumstances

00:28:55.860 and then

00:28:57.300 in the coming

00:28:58.740 years

00:28:59.180 you had

00:28:59.840 artists like

00:29:00.500 Aaliyah

00:29:01.040 who died

00:29:02.060 in a plane

00:29:02.440 crash

00:29:02.800 aged 22

00:29:04.020 in 2001.

00:29:06.460 Jammaster J

00:29:07.240 who was shot

00:29:08.540 in a recording

00:29:09.060 studio

00:29:09.520 when

00:29:10.400 that classic

00:29:11.740 lone nutter

00:29:12.440 gunman

00:29:12.900 that we hear

00:29:13.500 so much about

00:29:14.160 burst into

00:29:15.200 the studio

00:29:15.640 and shot him.

00:29:17.720 Lisa

00:29:18.160 Left Eye

00:29:18.720 Lopez

00:29:19.260 part of the

00:29:20.160 group TLC

00:29:20.760 died

00:29:21.800 in a plane

00:29:22.340 crash.

00:29:23.620 Then of course

00:29:24.480 more recently

00:29:25.100 you've got

00:29:25.660 Michael Jackson

00:29:26.320 2009

00:29:27.620 lots of

00:29:28.840 strange

00:29:29.280 circumstances

00:29:30.040 surrounding

00:29:30.680 his death

00:29:31.180 lots of

00:29:31.560 unanswered

00:29:31.980 questions.

00:29:32.980 You've got

00:29:33.140 Amy Winehouse

00:29:34.000 last year

00:29:34.960 The 27 Club

00:29:36.060 The 27 Club

00:29:37.760 exactly

00:29:38.180 the latest

00:29:39.780 member

00:29:40.160 and then

00:29:41.780 you've got

00:29:42.080 Whitney Houston

00:29:42.600 who died

00:29:43.780 in February

00:29:44.360 this year

00:29:44.820 and so

00:29:45.880 Griff's

00:29:46.480 suggestion

00:29:46.860 is that

00:29:47.760 in each

00:29:48.400 of these

00:29:48.660 cases

00:29:49.040 and there

00:29:49.920 may have

00:29:50.140 been others

00:29:50.600 you've got

00:29:52.380 a prominent

00:29:53.040 figure

00:29:53.860 in the

00:29:54.420 music industry

00:29:55.060 who

00:29:56.100 as part

00:29:57.000 of their

00:29:57.300 induction

00:29:57.720 process

00:29:58.660 if you like

00:29:59.460 as part

00:30:00.260 of their

00:30:00.620 being brought

00:30:01.260 into the

00:30:02.040 very high

00:30:02.520 levels of

00:30:02.980 the industry

00:30:03.520 they are

00:30:04.940 required

00:30:05.400 to offer

00:30:07.020 up a

00:30:07.380 sacrifice

00:30:07.680 of somebody

00:30:09.020 that's close

00:30:09.480 to them

00:30:09.820 and

00:30:11.000 you know

00:30:12.100 again

00:30:12.480 I know

00:30:12.820 this is

00:30:13.100 going to

00:30:13.280 sound

00:30:13.540 outlandish

00:30:14.160 to a lot

00:30:14.500 of people

00:30:14.840 but

00:30:15.900 you can

00:30:16.560 watch

00:30:16.920 Griff's

00:30:17.480 videos

00:30:17.800 on

00:30:18.000 YouTube

00:30:18.260 about

00:30:18.900 it

00:30:19.160 and

00:30:19.880 once

00:30:20.240 you've

00:30:20.420 got

00:30:20.540 used

00:30:20.720 to

00:30:20.820 the

00:30:20.940 idea

00:30:21.260 and

00:30:21.520 you've

00:30:21.680 looked

00:30:21.820 into

00:30:21.980 the

00:30:22.140 information

00:30:22.500 a bit

00:30:22.760 more

00:30:23.000 it may

00:30:23.700 become

00:30:24.140 more

00:30:24.620 plausible

00:30:25.020 so

00:30:26.700 his

00:30:26.920 suggestion

00:30:27.300 is that

00:30:27.900 Tupac

00:30:28.460 was

00:30:29.600 connected

00:30:30.940 to

00:30:31.740 Suge Knight

00:30:33.140 who

00:30:33.700 was

00:30:35.140 the

00:30:36.080 executive

00:30:36.500 CEO

00:30:37.640 of

00:30:38.020 Death Row

00:30:38.400 Records

00:30:38.860 which was

00:30:39.360 Tupac's

00:30:39.800 label at the

00:30:40.220 time

00:30:40.440 Suge Knight

00:30:41.180 has been

00:30:41.440 in and

00:30:41.740 out of

00:30:42.000 jail

00:30:42.240 who knows

00:30:43.400 how many

00:30:43.700 times

00:30:43.960 over the

00:30:44.280 years

00:30:44.580 but the

00:30:45.360 suggestion

00:30:45.680 is that

00:30:46.280 he was

00:30:46.760 involved

00:30:47.120 in

00:30:47.400 he

00:30:47.940 knowingly

00:30:48.660 took part

00:30:49.560 in

00:30:49.800 Tupac's

00:30:50.540 murder

00:30:50.920 that's

00:30:51.880 the

00:30:51.980 theory

00:30:52.240 when it

00:30:53.300 comes to

00:30:53.600 Biggie

00:30:53.860 you've

00:30:54.380 got

00:30:54.660 the

00:30:55.500 character

00:30:55.880 Sean

00:30:56.480 Combs

00:30:57.140 Puff

00:30:57.940 Daddy

00:30:58.240 P.

00:30:58.720 Diddy

00:30:59.000 Diddy

00:30:59.560 various

00:31:00.360 pseudonyms

00:31:01.060 best known

00:31:01.780 as Puff

00:31:02.120 Daddy

00:31:02.380 who's

00:31:03.040 quite a

00:31:03.740 shady

00:31:03.980 character

00:31:04.400 actually

00:31:04.860 wouldn't

00:31:06.880 trust him

00:31:07.280 to tell you

00:31:07.620 the time

00:31:07.920 in a

00:31:08.080 clock

00:31:08.260 factory

00:31:08.660 yeah

00:31:09.360 he has

00:31:09.720 that look

00:31:10.040 about him

00:31:10.440 doesn't

00:31:10.720 he

00:31:10.900 well

00:31:11.660 that's

00:31:11.920 why

00:31:12.040 he wears

00:31:12.280 dark

00:31:12.520 glasses

00:31:12.940 so you

00:31:13.360 can't

00:31:13.560 see his

00:31:13.820 eyes

00:31:14.140 hiding

00:31:14.800 his

00:31:15.080 soul

00:31:15.460 if he

00:31:16.440 has

00:31:16.640 one

00:31:16.840 the

00:31:17.600 windows

00:31:18.240 to his

00:31:18.880 soul

00:31:19.220 exactly

00:31:19.880 hence

00:31:20.540 the

00:31:20.680 glasses

00:31:21.020 Aaliyah

00:31:22.540 was

00:31:23.720 connected

00:31:24.320 to

00:31:26.640 Damon

00:31:27.020 Dash

00:31:27.520 who

00:31:28.320 co-founded

00:31:29.120 Rockefeller

00:31:30.200 Records

00:31:30.720 there's a

00:31:31.700 name to

00:31:32.000 conjure

00:31:32.260 with

00:31:32.520 with

00:31:33.140 Jay-Z

00:31:33.660 so when

00:31:34.700 Jay-Z

00:31:35.140 burst onto

00:31:35.720 the scene

00:31:36.080 in 1996

00:31:36.700 he had

00:31:37.420 his own

00:31:37.680 label

00:31:38.020 Rockefeller

00:31:38.960 Records

00:31:39.420 in conjunction

00:31:40.320 with Damon

00:31:40.740 Dash

00:31:41.060 and Damon

00:31:42.100 Dash

00:31:42.420 was

00:31:42.820 apparently

00:31:44.080 in a

00:31:44.440 relationship

00:31:44.820 with

00:31:45.240 Aaliyah

00:31:45.700 at the

00:31:46.140 time

00:31:46.340 that she

00:31:46.560 died

00:31:46.860 and then

00:31:48.760 Jam Master

00:31:49.780 J and

00:31:50.360 Left Eye

00:31:51.380 and others

00:31:51.880 are a little

00:31:53.780 more unclear

00:31:54.400 but that's the

00:31:56.120 theory put forward

00:31:56.820 by Griff

00:31:57.220 and there are

00:31:57.840 other people

00:31:58.380 that have

00:31:58.760 kind of

00:31:59.220 adopted that

00:31:59.940 as well

00:32:00.380 and I think

00:32:02.100 it's definitely

00:32:02.600 worth

00:32:03.080 people

00:32:03.800 considering

00:32:04.520 before

00:32:05.140 just throwing

00:32:06.400 it out

00:32:06.680 because it

00:32:06.960 sounds too

00:32:07.360 ridiculous

00:32:07.760 that's right

00:32:08.320 this sort

00:32:09.180 of thing

00:32:09.400 does go

00:32:09.860 on all

00:32:10.140 the time

00:32:10.560 unfortunately

00:32:11.660 well speaking

00:32:12.620 of Jay-Z

00:32:13.540 he uses a lot

00:32:14.380 of Illuminati

00:32:15.300 symbolism

00:32:15.840 and I wanted

00:32:16.560 to play

00:32:16.920 this little

00:32:17.380 clip of him

00:32:18.160 being confronted

00:32:19.060 about that

00:32:19.580 in an interview

00:32:20.140 okay

00:32:21.020 well Jay

00:32:21.960 you know

00:32:22.360 I have to

00:32:22.780 ask you

00:32:23.100 the first

00:32:24.060 day

00:32:24.280 that I

00:32:24.520 said

00:32:24.680 you were

00:32:24.880 coming up

00:32:25.180 this was

00:32:25.360 before I

00:32:25.880 knew

00:32:26.020 these guys

00:32:27.180 were coming

00:32:27.500 people are

00:32:28.560 really buying

00:32:29.220 into this

00:32:29.780 that you

00:32:30.200 are some

00:32:30.620 sort of

00:32:31.460 Illuminati

00:32:33.320 devil

00:32:33.780 worshiping

00:32:35.040 Freemason

00:32:36.960 something

00:32:37.780 what is

00:32:38.520 what are you

00:32:39.500 up to

00:32:40.260 that I

00:32:40.560 wasn't aware

00:32:41.200 of

00:32:41.640 I don't

00:32:42.160 know

00:32:42.380 I don't

00:32:42.660 know

00:32:42.760 where it

00:32:43.000 came from

00:32:43.400 I don't

00:32:43.640 know

00:32:43.720 where it

00:32:43.940 started

00:32:44.240 but

00:32:44.540 you know

00:32:45.040 well

00:32:45.660 there's

00:32:45.940 all these

00:32:46.280 images

00:32:46.720 in videos

00:32:47.640 that people

00:32:48.120 are saying

00:32:48.620 are deliberate

00:32:49.260 are you

00:32:51.140 my question

00:32:53.360 to you

00:32:53.640 is are you

00:32:53.920 messing with

00:32:54.400 people and

00:32:54.840 doing this

00:32:55.180 on purpose

00:32:55.680 no not

00:32:56.400 me

00:32:56.740 no never

00:32:58.500 done that

00:32:58.900 before

00:32:59.260 why would

00:32:59.740 I do

00:33:00.000 that

00:33:00.220 that's

00:33:00.420 we've

00:33:00.660 taught

00:33:00.880 to be

00:33:01.860 honest

00:33:02.100 with you

00:33:02.500 I really

00:33:04.580 think it's

00:33:04.960 really silly

00:33:05.520 you know

00:33:06.280 for the

00:33:07.200 record

00:33:07.420 you know

00:33:07.860 I of course

00:33:08.780 believe in

00:33:09.280 God

00:33:09.580 but I

00:33:10.340 believe in

00:33:10.720 one God

00:33:11.280 you know

00:33:12.000 if people

00:33:12.500 must know

00:33:13.020 my religious

00:33:13.600 beliefs

00:33:14.020 I believe

00:33:14.420 in one

00:33:14.760 God

00:33:14.980 I don't

00:33:15.680 believe

00:33:15.980 in religion

00:33:16.540 I don't

00:33:16.940 believe in

00:33:17.540 Christians

00:33:18.320 or

00:33:18.660 Muslims

00:33:19.360 I think

00:33:19.820 all that

00:33:20.200 separates

00:33:20.600 people

00:33:20.960 I think

00:33:21.300 it's one

00:33:21.660 God

00:33:21.900 I think

00:33:22.180 it's all

00:33:22.560 the same

00:33:22.980 God

00:33:23.260 and I

00:33:23.540 don't

00:33:23.660 believe

00:33:23.920 in

00:33:24.080 hell

00:33:24.320 but as far

00:33:25.700 as God

00:33:26.100 of course

00:33:26.540 I believe

00:33:26.940 in God

00:33:27.340 am I

00:33:27.900 part of

00:33:28.320 some type

00:33:28.680 of sect

00:33:29.060 or cult

00:33:29.380 that sounds

00:33:29.820 stupid

00:33:30.220 to me

00:33:30.640 like

00:33:31.120 ignorant

00:33:31.500 to even

00:33:31.900 say

00:33:32.260 you know

00:33:33.240 I

00:33:34.240 guess

00:33:34.480 the last

00:33:35.200 time

00:33:35.400 I

00:33:35.540 addressed

00:33:35.800 that

00:33:36.040 but

00:33:36.280 you know

00:33:37.920 it's

00:33:38.540 really

00:33:38.980 aren't

00:33:39.200 there

00:33:39.360 little

00:33:39.680 secret

00:33:40.880 societies

00:33:41.840 yeah

00:33:42.740 right here

00:33:43.300 that's the

00:33:43.620 mob squad

00:33:44.240 nation is

00:33:45.700 the gang

00:33:46.160 I mean

00:33:46.580 but

00:33:46.780 as far

00:33:47.520 as

00:33:47.780 you know

00:33:48.160 I can't

00:33:48.980 even get

00:33:49.220 in a golf

00:33:49.640 club

00:33:49.880 in Palm

00:33:50.280 Springs

00:33:51.040 I'm from

00:33:51.440 Marcy

00:33:51.740 Projects

00:33:52.260 imagine

00:33:52.680 they just

00:33:53.640 think about

00:33:54.180 that

00:33:54.420 like

00:33:54.700 they wouldn't let you

00:33:55.560 in the club

00:33:55.920 you're saying

00:33:56.280 of course not

00:33:57.040 how

00:33:57.380 people that

00:33:58.440 control the world

00:33:59.360 and

00:33:59.640 you know

00:34:00.460 do you believe

00:34:01.900 that those sort

00:34:02.620 of organizations

00:34:03.660 exist

00:34:04.260 I think

00:34:04.620 there's friends

00:34:05.220 I think

00:34:05.620 there's cliques

00:34:06.100 of friends

00:34:06.560 who control

00:34:07.260 things

00:34:07.700 I don't know

00:34:08.240 if it's a devil

00:34:09.060 worshiping sect

00:34:10.280 I think that's

00:34:10.840 a little Tom Hanks

00:34:11.700 right

00:34:12.400 but

00:34:13.160 I believe

00:34:14.640 there's cliques

00:34:15.240 of people

00:34:15.660 that control

00:34:16.200 the world

00:34:16.540 like

00:34:16.800 you know

00:34:17.240 Jesus my man

00:34:18.620 I got Atlanta

00:34:19.280 I go down

00:34:19.700 Atlanta

00:34:20.040 I got that thing

00:34:20.880 you know

00:34:21.320 you come down

00:34:22.080 Brooklyn

00:34:22.400 you got that

00:34:22.960 thing

00:34:23.200 I go down

00:34:23.620 to Virginia

00:34:23.980 but you know

00:34:24.700 that's just

00:34:25.220 natural process

00:34:26.160 you know

00:34:26.640 I'm sure

00:34:27.120 Obama has

00:34:27.960 these people

00:34:28.460 that you know

00:34:29.080 everything is good

00:34:30.240 so he rocks with

00:34:30.920 yeah but

00:34:31.620 you know

00:34:32.880 as far as

00:34:33.600 you know

00:34:33.980 how far

00:34:35.080 people are taking

00:34:35.780 it

00:34:35.980 you know

00:34:36.800 I guess

00:34:37.580 it's kind of

00:34:37.960 surprising

00:34:38.560 I guess

00:34:39.540 you know

00:34:39.880 I guess

00:34:40.320 I'm an entertainer

00:34:41.180 as long as people

00:34:41.720 entertain

00:34:42.100 it's fine

00:34:42.680 but you know

00:34:43.360 that's not my thing

00:34:44.920 okay

00:34:45.840 so you're not

00:34:46.960 you don't intentionally

00:34:48.020 do this to just

00:34:49.160 put people in a frenzy

00:34:50.800 I'm an entertainer

00:34:52.380 at the end of the day

00:34:53.320 but you know

00:34:54.920 so the next video

00:34:56.240 push your buttons

00:34:56.760 maybe I push your buttons

00:34:57.900 but you know

00:34:58.940 but that's all it is

00:35:00.740 yeah

00:35:01.100 all right

00:35:02.020 but you know

00:35:02.780 whatever

00:35:03.320 what is it

00:35:03.840 what

00:35:04.020 but you don't have

00:35:04.840 to do that

00:35:05.220 these days

00:35:05.640 people make up

00:35:06.280 their own things

00:35:06.920 and they just run

00:35:07.720 with it

00:35:08.220 yes

00:35:09.540 but you antagonizing

00:35:11.140 it takes it to a whole

00:35:12.100 other level

00:35:12.660 no that's just

00:35:13.480 the comic in me

00:35:15.320 some sort of comedian

00:35:17.500 yeah it's humor

00:35:18.280 it seems

00:35:18.760 it's funny

00:35:19.460 you have to be surprised

00:35:21.800 how seriously two people

00:35:22.800 would take that

00:35:23.320 how far it went

00:35:24.480 yeah

00:35:24.780 has he tried to initiate

00:35:26.060 either one of you guys

00:35:26.940 into any form of cult

00:35:27.940 or satanic

00:35:29.100 amen

00:35:30.240 so what do you think

00:35:41.760 about that

00:35:42.360 well I like the way

00:35:44.320 he got the Obama

00:35:45.360 name check in there

00:35:46.300 oh yeah definitely

00:35:47.360 well the prez is having

00:35:49.540 parties at the White House

00:35:50.600 now right

00:35:51.080 he's having hip hop

00:35:52.060 people over

00:35:52.720 well yeah

00:35:54.300 I hear he's gone off

00:35:55.300 hip hop these days

00:35:56.100 though he's more of an

00:35:56.880 indie kid now

00:35:58.040 yeah I've heard that clip

00:36:01.580 before

00:36:01.920 and I think it's interesting

00:36:04.300 that that sort of question

00:36:05.660 comes up in interviews

00:36:06.540 now

00:36:06.860 yeah

00:36:07.140 it never used to

00:36:08.260 well it's because of

00:36:09.000 angels and demons

00:36:09.780 right

00:36:10.140 that's people's reference

00:36:11.060 to the Illuminati

00:36:12.100 now

00:36:12.380 well that's right

00:36:13.800 that's right

00:36:14.360 you know the Dan Brown book

00:36:15.720 has a lot to answer for

00:36:17.580 in terms of

00:36:18.340 coloring people's

00:36:19.620 perceptions of what

00:36:20.660 the Illuminati is

00:36:21.660 I think

00:36:22.180 which is not the way

00:36:23.480 it's presented

00:36:23.880 in that book

00:36:24.760 but I just think

00:36:25.760 it's interesting

00:36:26.380 that that question

00:36:27.420 has to come up

00:36:28.480 in interviews

00:36:28.900 and they feel the need

00:36:30.020 to ask it

00:36:30.560 and it obviously shows

00:36:31.740 that so many people

00:36:33.140 now are getting

00:36:33.720 little whisperings

00:36:34.740 of oh jeez

00:36:35.940 he's Illuminati

00:36:36.640 and if they don't know

00:36:38.140 what Illuminati is

00:36:39.200 it's going to make them

00:36:40.160 curious as to what

00:36:41.300 this whole thing's

00:36:41.880 all about

00:36:42.340 and of course

00:36:43.680 the thing to point out

00:36:44.940 is that

00:36:45.540 none of these artists

00:36:47.040 are in the Illuminati

00:36:48.940 if you want to call it that

00:36:50.160 the Illuminati

00:36:52.100 wouldn't have them

00:36:54.000 in their top ranks

00:36:54.980 you know

00:36:55.740 they're basically

00:36:56.440 stooges

00:36:57.180 puppets

00:36:58.200 foot soldiers

00:36:59.020 for the Illuminati

00:37:00.520 if you want to call it that

00:37:01.740 you know

00:37:03.360 this control system

00:37:04.280 uses various

00:37:05.900 different professions

00:37:07.460 and various different people

00:37:08.480 to advance its agenda

00:37:10.020 and these artists

00:37:11.400 are just an aspect of that

00:37:13.020 and as for Jay

00:37:13.900 saying you know

00:37:14.600 denying that he's a part

00:37:15.520 of the whole thing

00:37:16.000 well of course he would

00:37:16.940 you know

00:37:17.420 what's he going to say

00:37:18.100 yeah

00:37:18.480 I'm in on it

00:37:19.480 yes

00:37:19.860 I'm a mind controlled servant

00:37:21.540 yeah

00:37:22.500 yeah

00:37:23.000 I'll put my hands up

00:37:24.180 okay you got me

00:37:25.040 how long is he going to last

00:37:26.040 then if he comes out

00:37:26.800 and admits it

00:37:27.340 I've heard Kanye West

00:37:28.560 confronted in an interview

00:37:30.440 and he said

00:37:31.340 I don't even know

00:37:32.200 what the Illuminati is

00:37:33.260 so that's his answer

00:37:34.580 well I have to say

00:37:35.840 that Jay-Z

00:37:36.260 his manager should have

00:37:37.580 prepped him better

00:37:38.240 on how to respond

00:37:39.160 to that question

00:37:39.960 because it was pretty weak

00:37:41.140 the way he responded it

00:37:42.140 you know

00:37:42.540 you know

00:37:43.160 you know

00:37:43.600 you know

00:37:44.100 yeah

00:37:45.200 I guess he just thought

00:37:46.600 that saying he didn't

00:37:47.940 know what it was

00:37:48.780 was enough

00:37:49.860 I've heard Jessie J

00:37:51.940 the British artist

00:37:53.000 questioned about it

00:37:54.380 and she's just said

00:37:55.100 oh I don't have time

00:37:55.980 for that

00:37:56.320 you know

00:37:56.600 I'm young

00:37:57.500 I'm having fun

00:37:58.200 I don't have time

00:37:58.800 for secret societies

00:37:59.660 but you know

00:38:00.840 what are they going to say

00:38:02.100 of course they're going

00:38:03.140 to deny it

00:38:03.800 and I think

00:38:05.540 Illuminati

00:38:06.320 has become

00:38:07.060 a bit of a buzzword

00:38:08.480 actually

00:38:08.840 in music

00:38:09.860 definitely

00:38:10.260 you're hearing a lot of

00:38:10.880 references to it

00:38:11.720 in tracks now

00:38:12.760 particularly in hip hop tracks

00:38:14.520 there's a current one

00:38:15.220 by Rick Ross

00:38:15.960 where the lyric goes

00:38:17.640 he's making money

00:38:18.840 he must be Illuminati

00:38:19.800 and so

00:38:20.980 the phrase

00:38:21.900 is definitely

00:38:22.880 entering the public

00:38:23.940 consciousness

00:38:24.540 and it's almost as if

00:38:27.040 the controllers

00:38:28.440 have realised

00:38:29.380 that people are

00:38:30.120 sort of

00:38:30.600 paying attention

00:38:31.660 to this idea

00:38:32.600 that their artist

00:38:33.420 might be controlled

00:38:34.180 in a major way

00:38:34.960 and so

00:38:36.000 they're doing a bit

00:38:36.600 of damage limitation

00:38:37.560 by trying to write it off

00:38:39.620 as something quite harmless

00:38:40.720 that's my impression

00:38:43.180 so what do you know

00:38:43.820 about music production

00:38:44.720 do you think

00:38:45.200 specific frequencies

00:38:46.320 or special effects

00:38:47.700 are intentionally

00:38:48.280 being used

00:38:48.980 well yeah

00:38:50.660 I don't know

00:38:51.980 a lot

00:38:52.600 about the production

00:38:53.680 process

00:38:54.100 from experience

00:38:55.300 but it's something

00:38:56.200 I have looked into

00:38:56.940 and

00:38:57.480 a document

00:38:59.020 that I've got here

00:38:59.760 which

00:39:00.100 is of great interest

00:39:01.640 concerns

00:39:02.600 the frequency

00:39:04.220 at which

00:39:05.220 popular music

00:39:06.620 pretty much

00:39:07.240 all music now

00:39:08.040 is recorded

00:39:09.000 the standard

00:39:09.760 tuning pitch

00:39:10.660 and it's

00:39:12.460 440 hertz

00:39:13.740 apparently

00:39:14.320 the document

00:39:16.760 that I just

00:39:17.240 printed off

00:39:17.660 earlier

00:39:18.000 refers to

00:39:19.740 432 hertz

00:39:21.980 being the

00:39:22.880 cosmic key

00:39:23.660 of the universe

00:39:24.500 the human body

00:39:25.820 is encoded

00:39:26.340 to receive music

00:39:27.300 to 432 hertz

00:39:28.560 because this is

00:39:29.200 the resonant

00:39:29.780 vibration

00:39:30.300 with the universe

00:39:31.540 and human cells

00:39:32.560 and it goes on

00:39:33.860 to say

00:39:34.240 that

00:39:34.880 the 440

00:39:36.300 frequency

00:39:36.960 was

00:39:37.840 reportedly

00:39:39.200 imposed

00:39:40.060 by the Nazi

00:39:41.140 Joseph Goebbels

00:39:42.260 Goebbels

00:39:42.940 in 1939

00:39:44.280 when it was

00:39:45.460 noticed

00:39:45.780 that a sharper

00:39:46.440 pitch

00:39:46.780 between 440

00:39:47.740 and 450 hertz

00:39:48.840 gave rise

00:39:49.820 to soldiers

00:39:50.420 in war

00:39:51.040 in a kind

00:39:51.740 of instability

00:39:52.360 and aggression

00:39:53.360 useful for

00:39:54.260 military purposes

00:39:55.040 and we're told

00:39:57.020 that ever since

00:39:57.800 then

00:39:58.120 the standard

00:39:58.880 tuning pitch

00:39:59.500 for pretty much

00:40:00.140 all recorded

00:40:00.680 music has been

00:40:01.420 440

00:40:02.080 which goes

00:40:03.260 against this

00:40:03.940 sort of

00:40:04.240 natural

00:40:04.680 harmonic

00:40:05.260 vibration

00:40:06.860 that resonates

00:40:08.860 with the

00:40:09.680 human mind

00:40:10.200 so it was

00:40:11.560 definitely

00:40:11.880 interesting

00:40:12.500 to hear

00:40:12.820 that

00:40:13.080 and I've

00:40:14.980 also

00:40:15.340 heard about

00:40:16.180 other

00:40:16.460 studio

00:40:16.920 techniques

00:40:17.540 where

00:40:18.620 frequencies

00:40:19.500 are deliberately

00:40:20.440 employed

00:40:20.980 that are

00:40:21.440 known

00:40:21.800 to

00:40:22.360 lead to

00:40:23.980 certain

00:40:24.360 emotional

00:40:25.160 reactions

00:40:25.680 in most

00:40:26.380 people

00:40:26.760 as in

00:40:27.660 negative

00:40:28.120 reactions

00:40:28.660 you know

00:40:28.960 not harmonic

00:40:29.880 pleasant ones

00:40:31.360 so that seems

00:40:33.320 to be another

00:40:34.020 part

00:40:34.440 of the agenda

00:40:35.660 and then you

00:40:36.480 also have

00:40:36.920 lyrics

00:40:37.480 with their

00:40:38.160 dumbing down

00:40:39.100 messages

00:40:39.720 getting you

00:40:40.480 obsessed with

00:40:41.100 materialism

00:40:41.980 and your

00:40:42.500 body

00:40:42.840 basically

00:40:43.380 well indeed

00:40:44.880 I mean to

00:40:45.620 listen to

00:40:46.160 the average

00:40:46.800 I don't even

00:40:47.880 call them

00:40:48.460 R&B and

00:40:49.140 hip-hop

00:40:49.380 records anymore

00:40:49.980 because they're

00:40:50.400 just corny

00:40:51.040 pop records

00:40:52.080 garbage

00:40:52.760 but you know

00:40:53.660 they're passed

00:40:54.520 off as that

00:40:55.020 and to listen

00:40:55.820 to the average

00:40:56.360 record now

00:40:56.960 by Rihanna

00:40:58.100 or Lady Gaga

00:40:59.220 or T-Pain

00:41:01.060 or Flo Rida

00:41:01.740 or sorry to say

00:41:02.780 Kanye West

00:41:03.640 now

00:41:04.100 and Lil Wayne

00:41:05.820 and Nicki Minaj

00:41:06.880 and Drake

00:41:07.300 and so many

00:41:07.780 others

00:41:08.060 your world

00:41:09.560 view

00:41:09.960 if you take

00:41:11.400 these lyrics

00:41:11.760 on board

00:41:12.280 is that

00:41:12.920 life consists

00:41:13.740 of buying

00:41:14.720 brands

00:41:15.320 being materialistic

00:41:18.280 spending money

00:41:19.480 going partying

00:41:21.300 in the club

00:41:21.760 staying out

00:41:22.260 all night

00:41:22.660 getting drunk

00:41:23.280 getting high

00:41:24.020 having promiscuous

00:41:25.380 unprotected sex

00:41:26.540 and not much

00:41:28.280 else

00:41:28.660 actually

00:41:30.140 because those

00:41:31.140 are the only

00:41:31.560 subjects that I

00:41:32.440 hear

00:41:32.760 cropping up

00:41:33.620 in the records

00:41:34.700 that are in

00:41:35.560 bars

00:41:36.000 clubs

00:41:36.640 daytime radio

00:41:37.880 shops

00:41:39.260 you can't get

00:41:41.320 away from it

00:41:41.900 that's all you hear

00:41:42.840 even eating out

00:41:43.720 in like a place

00:41:44.480 that I would think

00:41:45.020 would be like

00:41:45.540 an old folks

00:41:46.420 diner

00:41:46.940 I've heard

00:41:47.540 top 40

00:41:48.360 bad hip hop

00:41:49.480 this is just

00:41:50.480 wrong

00:41:50.940 I'm seeing people

00:41:51.820 that are like

00:41:52.180 my grandma's age

00:41:53.260 and they're listening

00:41:53.920 to this music

00:41:54.820 exactly

00:41:56.360 exactly

00:41:57.000 I mean

00:41:57.620 you had the record

00:41:58.680 by CeeLo Green

00:41:59.620 Forget You

00:42:00.920 was the radio version

00:42:01.960 everyone knows

00:42:03.100 what the street

00:42:03.500 version was

00:42:04.080 and you hear

00:42:04.860 that played

00:42:05.280 everywhere

00:42:05.640 with you know

00:42:06.320 families

00:42:06.760 and this

00:42:07.980 never used

00:42:08.740 to be allowed

00:42:09.360 to happen

00:42:09.820 and I don't

00:42:10.700 want to sound

00:42:11.320 like my dad

00:42:12.100 here or some

00:42:12.940 preacher or

00:42:14.020 something

00:42:14.280 I'm trying to

00:42:15.920 be responsible

00:42:16.540 about it

00:42:17.100 and you've got

00:42:17.960 to remember

00:42:18.300 the target

00:42:18.800 market for

00:42:19.540 this sort

00:42:19.840 of music

00:42:20.180 is teenagers

00:42:21.120 kids

00:42:22.400 and they're

00:42:24.080 listening to

00:42:24.460 records like

00:42:25.000 Rihanna's

00:42:25.520 S&M

00:42:26.080 which is talking

00:42:27.120 about bondage

00:42:27.920 masochism

00:42:28.820 you know

00:42:29.220 aimed at

00:42:29.920 15 year old

00:42:30.720 girls

00:42:31.060 is this

00:42:31.960 appropriate

00:42:32.480 lyrical content

00:42:33.300 why are radio

00:42:34.840 stations playing

00:42:35.540 this sort of

00:42:35.960 thing

00:42:36.160 Lady Gaga

00:42:37.140 Judas

00:42:37.720 she's in love

00:42:38.480 with Judas

00:42:38.980 you know

00:42:39.500 there's some

00:42:40.320 really sick

00:42:40.840 stuff going

00:42:41.400 on here

00:42:41.780 and people

00:42:43.080 people say

00:42:43.700 it's just

00:42:44.020 entertainment

00:42:44.580 you know

00:42:45.060 it's just

00:42:45.380 harmless fun

00:42:45.980 but why

00:42:47.700 are only

00:42:48.480 certain

00:42:48.980 lyrical

00:42:49.480 subjects

00:42:50.040 getting through

00:42:51.180 into

00:42:51.620 into records

00:42:52.380 that's right

00:42:52.900 I worked

00:42:53.580 in the music

00:42:54.040 business

00:42:54.400 I heard

00:42:55.240 lots of

00:42:55.860 good music

00:42:56.560 coming through

00:42:57.140 and it

00:42:57.680 never got

00:42:58.220 approved

00:42:58.780 exactly

00:43:00.260 it just

00:43:01.280 doesn't get

00:43:01.760 on the radio

00:43:02.220 music that

00:43:02.820 makes you

00:43:03.160 think or

00:43:03.720 feel

00:43:04.220 or it's

00:43:04.680 too

00:43:04.940 political

00:43:05.540 or spiritual

00:43:06.620 they're like

00:43:07.300 you know

00:43:08.480 there you go

00:43:09.500 there you go

00:43:10.120 actually something

00:43:11.080 very interesting

00:43:11.940 was when

00:43:12.480 Whitney Houston

00:43:12.940 died in

00:43:13.640 February of

00:43:14.140 this year

00:43:14.540 there were a

00:43:15.300 whole bunch

00:43:15.720 of DJ

00:43:16.320 tribute mixes

00:43:17.220 which always

00:43:17.900 happens whenever

00:43:18.460 an artist dies

00:43:19.200 you know

00:43:19.580 there were

00:43:19.860 500 Michael

00:43:20.980 Jackson mixes

00:43:21.640 out overnight

00:43:22.240 and I

00:43:24.040 heard so many

00:43:24.620 mixes of

00:43:25.080 Whitney Houston's

00:43:25.660 music

00:43:26.000 and

00:43:26.900 I came

00:43:27.740 to realise

00:43:28.500 that pretty

00:43:29.580 much every

00:43:30.280 single track

00:43:31.040 she ever

00:43:31.540 put out

00:43:32.040 was about

00:43:32.940 positivity

00:43:33.540 love

00:43:35.140 uplifting

00:43:36.580 inspirational

00:43:37.700 optimistic

00:43:38.500 stuff

00:43:39.000 almost without

00:43:41.260 exception

00:43:41.760 and a lot

00:43:43.720 of Michael

00:43:44.060 Jackson's

00:43:44.540 music was

00:43:45.600 along those

00:43:47.000 lines as well

00:43:47.640 particularly in

00:43:49.460 his latter

00:43:49.780 years

00:43:50.280 and it does

00:43:51.480 seem to be

00:43:52.100 that the

00:43:52.420 industry doesn't

00:43:53.120 like artists

00:43:53.900 that talk

00:43:54.740 about positive

00:43:55.400 empowering

00:43:56.080 uplifting

00:43:56.680 stuff

00:43:57.100 they only

00:43:57.960 like you

00:43:58.560 if you

00:43:59.080 talk about

00:43:59.600 materialism

00:44:00.540 and all

00:44:00.960 the rest

00:44:01.240 of it

00:44:01.520 we have

00:44:03.300 to get

00:44:03.500 into

00:44:03.680 auto-tune

00:44:04.360 really

00:44:04.860 again

00:44:05.600 auto-tune

00:44:07.140 is this

00:44:07.720 horrible

00:44:08.260 process

00:44:09.580 where a

00:44:11.220 singer's

00:44:11.600 voice is

00:44:12.200 plugged

00:44:12.660 through

00:44:13.120 a load

00:44:13.940 of software

00:44:14.420 and it

00:44:14.880 comes out

00:44:15.180 sounding like

00:44:15.620 a robot

00:44:16.060 and of course

00:44:16.880 everything

00:44:17.140 has a cover

00:44:17.620 story

00:44:18.020 and the

00:44:18.860 cover story

00:44:19.300 for auto-tune

00:44:20.020 is it

00:44:20.820 helps singers

00:44:21.580 hit the

00:44:22.100 desired notes

00:44:22.980 so if they're

00:44:23.760 not the best

00:44:24.160 singer in the

00:44:24.620 world

00:44:24.900 the program

00:44:26.180 realises what

00:44:27.340 note they're

00:44:27.860 trying to hit

00:44:28.420 and it

00:44:29.020 pitches the

00:44:29.460 voice up

00:44:29.880 or down

00:44:30.320 to meet

00:44:30.880 that note

00:44:31.380 but of course

00:44:32.260 the result

00:44:32.660 is it makes

00:44:33.080 them sound

00:44:33.340 like a

00:44:33.560 bloody robot

00:44:34.040 and this

00:44:35.960 process first

00:44:37.620 emerged in

00:44:38.180 about 2007

00:44:39.120 with the

00:44:39.900 artist T-Pain

00:44:40.700 and pretty

00:44:41.960 soon

00:44:42.380 everyone

00:44:43.280 was on it

00:44:44.100 Chris Brown

00:44:45.460 Flo Rida

00:44:46.560 Kanye West

00:44:47.660 made an

00:44:48.100 entire album

00:44:48.940 of auto-tune

00:44:50.260 tracks

00:44:50.480 and then

00:44:51.680 P. Diddy

00:44:52.100 said he was

00:44:52.460 going to do

00:44:52.720 the same

00:44:53.140 I wish Kanye

00:44:55.100 said he was

00:44:55.520 going to jump

00:44:55.840 off a cliff

00:44:56.360 and then

00:44:56.780 Puffy might

00:44:57.560 have done

00:44:57.760 as well

00:44:58.080 but everyone's

00:45:00.260 making auto-tune

00:45:01.180 records

00:45:01.520 and we're now

00:45:02.300 in 2012

00:45:03.040 five years

00:45:03.780 on

00:45:04.020 if it was

00:45:04.800 just a

00:45:05.060 passing trend

00:45:05.680 why is it

00:45:06.600 still in music

00:45:07.140 now

00:45:07.460 every DJ

00:45:08.720 every music

00:45:09.640 fan

00:45:09.980 every music

00:45:10.760 head you

00:45:11.160 speak to

00:45:11.680 hates it

00:45:12.600 it sounds

00:45:14.580 shite

00:45:15.240 but everyone

00:45:16.760 is using it

00:45:17.940 so what's

00:45:19.360 the agenda

00:45:19.800 there

00:45:20.140 my view

00:45:21.420 on it

00:45:21.760 is that

00:45:22.580 it links

00:45:23.980 in with

00:45:25.040 the automation

00:45:26.140 of society

00:45:27.220 generally

00:45:27.820 and this

00:45:29.180 reverence

00:45:29.760 for computers

00:45:30.600 and machinery

00:45:31.400 and electronic

00:45:32.140 ways of doing

00:45:32.800 things

00:45:33.180 you used to

00:45:34.000 be able to

00:45:34.300 call your

00:45:34.580 bank

00:45:34.980 and speak

00:45:35.640 to a human

00:45:36.080 being

00:45:36.440 now of course

00:45:37.580 you have to

00:45:37.920 go to a

00:45:38.340 robot system

00:45:39.040 and wait

00:45:39.400 for about

00:45:39.840 an hour

00:45:40.260 and a half

00:45:40.680 before you

00:45:41.160 can get

00:45:41.420 through to a

00:45:41.820 human

00:45:42.060 then you've

00:45:43.360 got speed

00:45:44.080 cameras everywhere

00:45:44.860 you've got

00:45:45.540 everything done

00:45:46.780 online

00:45:47.180 everything done

00:45:47.760 by internet

00:45:48.340 you're going

00:45:48.880 to the

00:45:49.120 supermarket

00:45:49.600 you have to

00:45:49.960 scan your

00:45:50.340 own groceries

00:45:50.860 now

00:45:51.240 and so I

00:45:53.280 think auto

00:45:53.780 tune

00:45:54.200 has been

00:45:55.300 designed

00:45:55.740 to fit in

00:45:56.480 alongside all

00:45:57.820 these other

00:45:58.360 methods of

00:45:59.340 electronic ways

00:46:00.900 of doing

00:46:01.200 things

00:46:01.640 as part of

00:46:02.920 a sort of

00:46:03.180 dehumanization

00:46:04.020 process

00:46:04.560 and I think

00:46:06.220 it works

00:46:06.700 in conjunction

00:46:07.340 with these

00:46:07.920 soulless

00:46:08.500 vacuous

00:46:09.320 spirit crushing

00:46:10.380 lyrics

00:46:10.980 that we hear

00:46:11.840 and it's

00:46:13.460 like you

00:46:13.740 said

00:46:13.940 it's

00:46:14.360 stripping

00:46:14.660 away

00:46:14.940 any

00:46:15.260 kind

00:46:15.760 of

00:46:16.000 essence

00:46:16.900 of soul

00:46:17.560 or humanity

00:46:18.300 and just

00:46:19.060 making everything

00:46:19.880 machine based

00:46:21.700 and computerized

00:46:22.800 and you listen

00:46:24.120 to these records

00:46:24.900 and they just

00:46:25.860 sound utterly

00:46:26.500 artificial

00:46:27.040 electronic

00:46:28.600 digital

00:46:29.300 soulless

00:46:30.400 you know

00:46:30.960 just not

00:46:31.920 human

00:46:32.380 in any way

00:46:33.200 that's my

00:46:34.560 view on

00:46:35.040 what auto

00:46:35.660 tune is being

00:46:36.140 used for

00:46:36.680 how else to

00:46:37.600 explain why

00:46:38.220 it's been

00:46:38.420 around for so

00:46:38.900 long

00:46:39.060 the future

00:46:39.820 music for the

00:46:40.720 monoculture

00:46:41.300 world

00:46:41.800 yeah

00:46:43.480 well

00:46:44.040 it's not a

00:46:45.480 good thing

00:46:45.900 really

00:46:46.220 but

00:46:47.720 I think

00:46:49.960 it's important

00:46:50.440 to keep

00:46:52.120 a positive

00:46:52.500 view of

00:46:52.980 things

00:46:53.280 to be honest

00:46:54.360 because

00:46:54.740 how much

00:46:56.980 worse can

00:46:57.700 things get

00:46:58.240 in music

00:46:58.880 well that's

00:46:59.440 what I was

00:46:59.720 going to

00:46:59.940 ask

00:47:00.300 well yeah

00:47:01.780 I think

00:47:02.760 things are

00:47:03.260 probably going

00:47:03.580 to get worse

00:47:04.000 before they

00:47:04.360 get better

00:47:04.780 but I think

00:47:05.840 it's very

00:47:06.140 important to

00:47:06.680 emphasize the

00:47:07.280 positive

00:47:07.560 in all

00:47:08.380 things really

00:47:08.880 because if

00:47:09.480 all we're

00:47:09.780 going to do

00:47:10.080 is say

00:47:10.500 the world

00:47:11.320 is messed

00:47:11.660 up

00:47:11.960 the music

00:47:12.920 game

00:47:13.280 isn't what

00:47:13.940 it was

00:47:14.260 it's been

00:47:14.540 hijacked

00:47:15.020 and it'll

00:47:15.280 never be

00:47:15.560 the same

00:47:15.860 again

00:47:16.180 how are we

00:47:17.560 going to

00:47:17.740 make anything

00:47:18.160 better

00:47:18.480 so what I

00:47:20.800 started doing

00:47:21.380 last year

00:47:22.020 was a series

00:47:23.420 of podcasts

00:47:24.140 focusing on

00:47:25.420 artists who

00:47:26.640 are addressing

00:47:27.260 all these

00:47:27.780 kind of

00:47:28.080 issues

00:47:28.480 concerning

00:47:29.600 not just

00:47:30.320 the conspiracy

00:47:30.940 if you want

00:47:31.400 to call it

00:47:31.740 that but

00:47:32.220 nature of

00:47:32.900 reality

00:47:33.340 consciousness

00:47:34.100 truth issues

00:47:35.620 and there

00:47:37.160 are still

00:47:37.660 a lot

00:47:38.120 of artists

00:47:38.480 out there

00:47:38.940 making

00:47:39.420 meaningful

00:47:39.980 very powerful

00:47:41.400 music

00:47:41.880 of course

00:47:42.240 you don't

00:47:42.480 hear them

00:47:42.760 on the radio

00:47:43.200 and you don't

00:47:43.840 hear them

00:47:44.060 in clubs

00:47:44.460 but why

00:47:44.960 would we want

00:47:45.980 to be on

00:47:46.460 their radio

00:47:47.020 stations

00:47:47.560 why do we

00:47:48.160 want their

00:47:48.780 stores

00:47:49.240 people have to

00:47:50.520 stop thinking

00:47:51.040 about that

00:47:51.540 in terms of

00:47:52.040 like I want

00:47:52.540 the record

00:47:52.900 deal

00:47:53.220 well exactly

00:47:55.540 and there's a

00:47:56.840 whole bunch

00:47:57.240 of artists

00:47:58.100 that are doing

00:47:58.600 some great

00:47:59.020 work out

00:47:59.460 there

00:47:59.660 so I

00:48:00.340 started a

00:48:00.880 series of

00:48:01.220 podcasts

00:48:01.580 last year

00:48:02.220 showcasing

00:48:03.120 these artists

00:48:03.780 and these

00:48:04.120 tracks

00:48:04.480 and they've

00:48:06.040 gone down

00:48:06.340 very well

00:48:06.860 on SoundCloud

00:48:07.800 and clearly

00:48:08.760 there's an

00:48:09.120 appetite for

00:48:09.960 this stuff

00:48:10.500 as a sort

00:48:11.040 of antidote

00:48:11.780 to all the

00:48:12.320 spirit crushing

00:48:13.780 garbage that

00:48:14.540 you hear on

00:48:14.880 mainstream radio

00:48:15.680 and it is

00:48:18.580 encouraging to

00:48:19.320 know that

00:48:19.660 there's a lot

00:48:19.980 of artists

00:48:20.520 that are very

00:48:21.540 switched on

00:48:22.140 and that know

00:48:22.940 what's happening

00:48:23.540 and are paying

00:48:24.780 attention to it

00:48:25.520 and want to

00:48:26.000 communicate it

00:48:26.580 to people

00:48:26.940 and I would

00:48:27.620 like to think

00:48:28.320 that in time

00:48:29.560 even the

00:48:30.840 dumbed down

00:48:31.660 masses

00:48:32.020 are going to

00:48:32.840 get so sick

00:48:33.560 of all this

00:48:34.160 clone garbage

00:48:36.460 that they hear

00:48:37.200 all the time

00:48:37.700 and are going

00:48:38.580 to want something

00:48:39.140 a bit different

00:48:39.700 and I like to

00:48:40.700 think that

00:48:41.220 that might

00:48:41.700 provide an

00:48:42.200 opportunity

00:48:42.520 for some

00:48:42.880 of this

00:48:43.060 more meaningful

00:48:44.040 stuff to

00:48:44.560 get through

00:48:45.040 that's true

00:48:45.900 after you

00:48:46.520 eat too

00:48:46.840 much junk

00:48:47.360 food

00:48:47.600 eventually

00:48:47.940 you're going

00:48:48.240 to want

00:48:48.460 a steak

00:48:49.380 unless you've

00:48:50.840 morphed into

00:48:51.440 some other

00:48:51.920 kind of weird

00:48:52.660 hybrid zombie

00:48:54.520 and you keep

00:48:55.680 eating the

00:48:56.180 skittles

00:48:56.740 and the

00:48:57.000 snickers

00:48:57.280 you know

00:48:57.700 yeah

00:48:59.260 yeah

00:49:00.060 but

00:49:00.640 it

00:49:01.620 you know

00:49:02.300 there's

00:49:02.700 encouragement

00:49:03.200 to be drawn

00:49:03.820 from the

00:49:04.140 fact that

00:49:04.800 there are

00:49:05.280 artists making

00:49:05.880 great music

00:49:06.460 and that's

00:49:08.300 what I'm

00:49:08.660 trying to put

00:49:09.080 out there

00:49:09.360 now

00:49:09.580 because it's

00:49:10.000 quite difficult

00:49:10.420 for me

00:49:10.780 actually

00:49:11.200 I've discovered

00:49:12.220 all this stuff

00:49:13.120 I now speak

00:49:14.260 about it

00:49:14.720 and I can

00:49:15.840 imagine I'm

00:49:16.280 not particularly

00:49:16.680 popular with

00:49:17.360 certain record

00:49:18.060 companies

00:49:18.440 and certain

00:49:19.020 you know

00:49:19.420 corporations

00:49:20.060 but I still

00:49:21.900 have to work

00:49:22.360 in the industry

00:49:22.820 because I'm

00:49:24.120 a music guy

00:49:24.680 I love music

00:49:25.520 I made the

00:49:26.720 decision many

00:49:27.500 years ago

00:49:27.960 to play it

00:49:29.180 and write about

00:49:29.900 it and be a

00:49:30.700 DJ and I

00:49:31.760 want to

00:49:31.940 continue doing

00:49:32.480 that but

00:49:33.220 obviously I

00:49:33.680 don't want to

00:49:34.160 peddle all

00:49:34.720 this horrible

00:49:36.000 garbage

00:49:36.660 there's enough

00:49:37.160 others doing

00:49:37.680 that and so

00:49:38.980 I try and

00:49:40.480 steer clear of

00:49:41.180 that and play

00:49:42.040 what I consider

00:49:43.000 to be good

00:49:43.460 music but

00:49:44.980 yeah it's a

00:49:46.140 difficult balancing

00:49:46.860 act to achieve

00:49:47.760 trying to alert

00:49:49.340 people to what I

00:49:50.380 believe is going

00:49:50.920 on while

00:49:51.980 continuing to

00:49:53.020 work in the

00:49:53.460 industry

00:49:53.800 well it's good

00:49:54.580 to do it and

00:49:55.140 maybe you can

00:49:55.600 talk about it a

00:49:56.320 little bit at the

00:49:56.800 radio station when

00:49:57.560 you're working

00:49:57.960 I'm sure you get

00:49:59.280 some good reactions

00:50:00.000 there yeah I

00:50:01.500 dropped the odd

00:50:02.220 little veiled

00:50:03.200 comment in just

00:50:04.140 to see what the

00:50:04.780 reaction is about

00:50:06.140 as far as I can

00:50:06.760 get away with

00:50:07.360 so just the last

00:50:08.340 question here for

00:50:09.060 you how do you

00:50:09.780 see pop culture

00:50:10.500 20 years from

00:50:11.320 now well

00:50:14.160 that's a good

00:50:15.980 one it kind of

00:50:17.900 ties in with

00:50:18.660 the other level

00:50:20.840 to what we're

00:50:22.200 talking about I

00:50:22.800 guess you hear

00:50:25.440 a lot of

00:50:27.100 commentators

00:50:28.180 researchers authors

00:50:29.140 speakers that

00:50:30.680 focus on

00:50:31.260 conspiracy theory

00:50:33.340 stuff for want

00:50:34.200 of a better

00:50:34.520 phrase you know

00:50:35.460 very much the

00:50:36.080 stuff that's

00:50:36.420 happening in

00:50:36.780 this 3d

00:50:38.040 5 sense

00:50:38.760 apparently

00:50:39.300 physical world

00:50:40.160 reality and

00:50:41.760 then you get a

00:50:42.420 lot of speakers

00:50:43.000 who you've had on

00:50:44.320 your programs of

00:50:45.060 course who talk

00:50:46.600 about consciousness

00:50:47.360 true nature of

00:50:48.400 reality and all

00:50:50.000 of that and I

00:50:52.560 think it's quite

00:50:53.060 rare that you get

00:50:54.720 people that join

00:50:55.800 all the dots and

00:50:56.600 bring these two

00:50:57.820 seemingly disparate

00:50:59.500 broad subjects

00:51:00.380 together and show

00:51:02.040 the connection

00:51:02.500 between them and

00:51:04.080 it's something that

00:51:05.420 I definitely can

00:51:07.700 see all this stuff

00:51:10.360 that's going on in

00:51:11.420 the real world

00:51:12.080 connects into

00:51:13.360 consciousness and

00:51:15.460 what reality really

00:51:16.640 is and who we

00:51:18.180 really are our true

00:51:19.820 form which is

00:51:21.020 spirit form not

00:51:22.200 physical form and

00:51:24.060 we hear so much

00:51:25.220 about this shift in

00:51:26.500 human consciousness

00:51:27.360 that's due towards

00:51:29.320 the end of this

00:51:29.840 year and from all

00:51:31.560 the evidence that

00:51:32.320 I've seen and

00:51:33.160 heard I very much

00:51:34.300 go along with

00:51:35.620 that and I very

00:51:37.300 much believe that

00:51:38.120 something along

00:51:39.000 those lines is due

00:51:39.880 and I would like to

00:51:40.920 think that more

00:51:42.040 and more people are

00:51:43.360 going to tap into

00:51:44.220 those vibrations

00:51:45.520 and are going to

00:51:47.420 start to see

00:51:47.940 themselves and the

00:51:48.860 world in a

00:51:50.000 radically different

00:51:50.620 way to how they

00:51:52.360 have previously

00:51:53.020 and I would like

00:51:54.840 to think that

00:51:55.660 given 20 years

00:51:57.380 that's going to

00:51:58.720 have an effect on

00:51:59.660 the way people are

00:52:00.660 expressing themselves

00:52:01.360 in music and the

00:52:03.020 sort of music that

00:52:03.680 people want to

00:52:04.140 listen to and it

00:52:05.940 would be nice to

00:52:06.540 think that you

00:52:08.740 know the demands

00:52:09.380 placed on music

00:52:10.860 makers in a few

00:52:13.080 years time are

00:52:14.520 going to be to

00:52:15.420 make meaningful

00:52:15.940 music that talks

00:52:16.940 about what's going

00:52:18.540 on which is

00:52:20.280 hopefully very

00:52:20.800 different to what's

00:52:21.340 happening this year

00:52:21.940 I mean there's

00:52:23.520 plenty of musicians

00:52:24.200 out there right

00:52:24.880 now that can just

00:52:26.120 start creating the

00:52:26.880 real music you

00:52:27.700 know emanate a new

00:52:28.580 kind of vibration

00:52:29.460 a new kind of

00:52:30.300 flow because that

00:52:31.020 can scorch you

00:52:32.060 know the hell

00:52:32.460 from the planet

00:52:33.060 and wake people

00:52:33.860 up for mind

00:52:34.340 control it can be

00:52:35.200 something that you

00:52:36.180 just kind of put

00:52:36.800 out into the

00:52:37.420 ether you know as

00:52:38.600 long as you're

00:52:39.100 playing your guitar

00:52:40.020 and kind of putting

00:52:40.620 out that vibration

00:52:41.420 out there I think

00:52:42.140 that it can help

00:52:42.700 usher in this new

00:52:43.660 kind of spirit it

00:52:44.960 doesn't matter if

00:52:45.660 people hear it the

00:52:46.420 fact is if you're

00:52:47.500 playing it and

00:52:48.220 you're putting out

00:52:48.800 that kind of energy

00:52:49.520 that's what matters

00:52:50.200 right now

00:52:50.680 absolutely you know

00:52:52.540 music in its

00:52:53.140 organic form can

00:52:54.860 have an amazing

00:52:55.440 effect on people

00:52:57.540 and the atmosphere

00:52:58.600 and you know the

00:52:59.900 vibrational frequencies

00:53:01.580 it's all this

00:53:02.840 artificial electronic

00:53:03.860 stuff that is doing

00:53:04.980 no good but yeah

00:53:06.740 you know there's so

00:53:07.640 many examples from

00:53:08.600 cultures throughout

00:53:10.000 the world and

00:53:10.740 throughout the ages

00:53:11.560 having used music

00:53:13.620 for therapeutic and

00:53:15.260 very positive and

00:53:16.260 healing kind of

00:53:17.360 means and yeah I

00:53:20.440 believe that we

00:53:21.040 will get back to

00:53:21.640 that I'm not sure

00:53:22.460 how long it's

00:53:23.040 going to take and

00:53:23.940 as I said sadly it

00:53:26.120 looks as if things

00:53:26.760 have to get worse

00:53:27.360 before they get

00:53:27.860 better but again

00:53:29.660 you've got the idea

00:53:30.960 of this new

00:53:32.540 vibrational shift

00:53:33.300 coming in and

00:53:34.500 human consciousness

00:53:35.780 tapping into it

00:53:36.780 humans in their

00:53:38.140 masses kind of being

00:53:40.140 a part of all of

00:53:40.820 that and who knows

00:53:42.820 what kind of effect

00:53:43.740 that's going to have

00:53:44.620 on how situations

00:53:47.400 are allowed to

00:53:48.980 manifest that's

00:53:50.200 right you know

00:53:50.620 you've got that

00:53:51.000 you've got the

00:53:51.320 control system

00:53:52.020 looking to impose

00:53:54.000 their agenda and

00:53:55.180 take it ever further

00:53:56.180 and you know so many

00:53:57.840 of your other guests

00:53:58.660 can talk about the

00:53:59.600 different facets of

00:54:01.320 that but you know

00:54:04.000 that agenda can only

00:54:05.460 be allowed to

00:54:06.480 physically manifest

00:54:07.220 given certain

00:54:08.880 vibrational frequencies

00:54:11.480 and certain

00:54:12.400 situations and if

00:54:15.000 they're not there

00:54:15.780 then their plans

00:54:17.620 are not going to

00:54:18.180 work out and

00:54:18.880 something else is

00:54:19.660 going to happen

00:54:20.000 instead so everyone

00:54:20.980 out there don't buy

00:54:21.880 these records for

00:54:22.700 your children well

00:54:24.940 there you go that's

00:54:26.200 it I mean they're

00:54:27.100 not good I've got

00:54:29.020 two young daughters

00:54:30.480 myself and I don't

00:54:31.540 like to think of

00:54:32.100 them listening to

00:54:32.660 this sort of stuff

00:54:33.260 when they're in

00:54:34.300 their teenage years

00:54:34.980 I like to think that

00:54:35.600 by then things will

00:54:36.760 be better but yeah

00:54:39.140 I think if people

00:54:40.620 have if this has

00:54:42.740 resonated with people

00:54:43.520 in any way then

00:54:44.900 one thing you can

00:54:46.040 do is just not

00:54:47.000 connect with this

00:54:48.940 agenda at all don't

00:54:49.980 don't have any

00:54:50.520 association with

00:54:51.180 these artists don't

00:54:52.180 listen to their

00:54:52.640 records don't watch

00:54:53.640 the videos just don't

00:54:55.260 cooperate with them

00:54:56.140 because you make an

00:54:57.960 energetic connection

00:54:59.060 with these artists

00:55:00.160 and these videos and

00:55:01.020 you're kind of

00:55:02.020 empowering their

00:55:03.860 ability to have any

00:55:05.700 effect whereas if

00:55:07.200 people in their

00:55:07.900 masses just refuse to

00:55:09.520 connect with them in

00:55:10.680 any way there goes

00:55:13.260 the power that's

00:55:14.140 awesome well give us

00:55:15.920 your website

00:55:16.640 okay well my main

00:55:19.220 website is mark

00:55:20.240 devlin.co.uk and

00:55:22.980 all the links are on

00:55:23.740 there to the

00:55:24.240 Facebook and the

00:55:24.880 Twitter and all the

00:55:25.600 rest of it the

00:55:26.920 SoundCloud page is

00:55:28.700 probably going to be

00:55:29.380 of interest to people

00:55:30.060 though that's where I

00:55:31.560 host all my podcasts

00:55:32.580 and there are I think

00:55:34.720 four volumes so far of

00:55:36.380 just music which is

00:55:38.060 where I'm introducing

00:55:38.720 music by switched on

00:55:40.680 visionary artists who

00:55:43.900 are making some great

00:55:44.620 statements with some

00:55:46.120 amazingly powerful

00:55:47.120 music and I've

00:55:48.680 recently stepped that

00:55:49.460 up to having chats

00:55:50.840 with relevant people

00:55:52.040 so I've got one on

00:55:53.360 there with David Icke

00:55:54.440 who knows a lot about

00:55:55.520 the music industry

00:55:56.140 actually very well

00:55:57.620 informed I've got a

00:55:59.000 former presenter from

00:56:00.400 BBC One Extra which

00:56:02.480 is the sister station to

00:56:03.500 Radio One here in the

00:56:04.500 UK by the name of

00:56:05.780 Nisha I've got M1 of

00:56:07.920 the group Dead Prez

00:56:08.800 hip-hop group and I've

00:56:11.000 just I've got one with

00:56:12.820 an artist from Yorkshire

00:56:14.000 called Imani Hikima who

00:56:16.200 makes great music and

00:56:17.700 I've just completed one

00:56:18.720 with a DJ called DJ

00:56:20.100 Storm and MC double L

00:56:22.380 and they're talking a lot

00:56:24.020 of sense a lot of sense

00:56:25.280 about what's happening

00:56:26.280 in the industry so

00:56:27.280 they're all hosted on

00:56:28.300 soundcloud.com slash

00:56:30.740 mark hyphen devlin so

00:56:33.860 the bit at the end there

00:56:35.140 is slash mark hyphen

00:56:36.940 devlin on SoundCloud

00:56:37.900 maybe one day we'll

00:56:39.300 have to put together a

00:56:40.380 good music festival one

00:56:41.820 that we want to attend

00:56:42.660 huh well maybe you

00:56:44.740 could perform on it

00:56:45.440 that's right okay well

00:56:47.000 since you're the DJ as

00:56:48.340 we say goodbye how about

00:56:49.300 you tell us about the

00:56:49.960 song we're about to

00:56:50.640 hear well the song is

00:56:52.900 by the artist I just

00:56:53.780 mentioned Imani Hikima

00:56:55.400 he's out of Bradford

00:56:56.380 Yorkshire north of

00:56:57.660 England this pretty much

00:56:59.880 sums it all up and it's

00:57:01.340 good to end on a

00:57:02.000 positive note as I said

00:57:03.180 you've got to remain

00:57:04.060 optimistic about how

00:57:05.820 it's all going to work

00:57:06.440 out and this track is

00:57:07.440 just great he's talking

00:57:08.260 about the awakening of

00:57:09.980 human consciousness and

00:57:11.800 how once you start to

00:57:14.040 awaken to these things

00:57:14.940 you never go back to

00:57:16.260 where you were so

00:57:17.000 robots rebellion

00:57:17.760 it's the robots rebellion

00:57:24.760 it's the robots rebellion

00:57:34.580 it's the robots rebellion

00:57:46.400 waking up by the million

00:57:58.940 it's the robots rebellion

00:58:00.780 it's the robots rebellion

00:58:05.600 it's the robots rebellion

00:58:09.660 it's the robots rebellion

00:58:11.520 You're waking up by the million

00:58:15.240 With trivia, they dumb you down

00:58:31.720 This weapon hardly makes a sound

00:58:36.740 And that's the way they get your mind

00:58:41.820 Unless you recognize the time

00:58:46.160 Of the robots' rebellion

00:58:49.440 Waking up by the million

00:58:54.360 It's the robots' rebellion

00:58:59.080 Waking up, shaking up, waking up by the million

00:59:06.480 Hypnotize, mesmerize the system

00:59:19.200 Pressurize, advertise, pacalize

00:59:22.300 Glamorize to traumatize

00:59:24.560 Will you realize

00:59:26.140 For far too long, understand

00:59:29.920 Looking for heaven catching hell

00:59:35.680 Take back your life and set it free

00:59:40.340 A robot's not the thing to be

00:59:44.640 It's the robots' rebellion

00:59:48.220 Waking up by the million

00:59:53.180 It's the robots' rebellion

00:59:57.860 Waking up, shaking up, waking up by the million

01:00:05.300 This time no one will put a stop

01:00:11.660 A thousand pets are gonna drive

01:00:16.620 This time no one will put a stop

01:00:21.360 Put a stop

01:00:22.620 Cause, cause, cause

01:00:24.720 It's the robots' rebellion

01:00:28.380 It's the robots' revolution

01:00:33.340 Now

01:00:34.840 That's a slow step

01:00:43.820 What are you thinking

01:00:43.860 What are you thinking

01:00:43.900 I'm assuming

01:00:44.500 You know

01:00:44.840 You know

01:00:45.540 I've seen

01:00:46.480 Try

01:00:47.640 You know

01:00:48.600 you know

01:00:49.800 Baby

01:00:50.000 Turn

01:00:50.900 You know

01:00:51.180 You know

01:00:51.780 I'm assuming

01:00:52.640 You know

01:00:52.740 You know

01:00:53.520 I'm assuming

01:00:53.760 You know

01:00:53.940 I'm guessing

01:00:55.540 You know

Radio 3Fourteen - August 29, 2012

Music of the Control System

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