PTPOP - A Mind Revolution
PTPOP - A Mind Revolution-Leading you out of the rabbit hole one grain of truth at a time-A production of
Peter Tompkins Productions LLC & Skating Bear Studios
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Welcome to PTPOP: A Mind Revolution, where the art of storytelling meets the quest for profound understanding. Hosted by the inquisitive and thought-provoking P.T. Pop, this podcast delves deep into the realms of psychology, philosophy, and the human experience. Each episode is an enlightening journey designed to challenge conventional thinking, inspire personal growth, and explore the intricacies of the mind.
PTPOP: A Mind Revolution is not just a podcast; it's a movement dedicated to unraveling the complexities of human consciousness and societal norms. With a blend of insightful interviews, compelling narratives, and introspective monologues, P.T. Pop guides listeners through a transformative experience that sparks curiosity and ignites a revolution of thought.
PTPOP - A Mind Revolution
Decoding Media Manipulation with Mike Williams
What if the world of popular music is a grand orchestration of subtle mind control? Join us as renowned Beatles conspiracy theorist and hypnotherapist Mike Williams unveils the hidden parallels between hypnotherapy and the music industry. With a career transition from corporate to a transformative 12-year practice in clinical and spiritual hypnosis, Mike shares his insights on how techniques used in hypnotherapy might be employed in the mainstream media and music to subtly influence the masses. From his beginnings in spiritual regression to recognizing patterns in media, Mike presents a thought-provoking exploration into the persuasive power embedded within everyday content.
We venture into the sensationalism of hurricane reporting, the psychological manipulation of media, and how it all ties back to the music industry. Is the public kept in a perpetual state of stress and fear to control behavior? Our conversation shifts to the Beatles, examining their role in shaping cultural norms and fan devotion. We draw parallels between music's ability to modify behavior and cult-like fanaticism, exploring how vibrational frequencies and acoustics, mastered by producers like George Martin, evoke powerful emotional responses. Personal anecdotes and historical perspectives reveal how music and media act as tools for social engineering, raising awareness of the subtle manipulative tactics in play.
The episode unfolds further as we analyze the influence of album covers, music design, and the power of celebrity in our lives. From iconic bands like the Beatles and the Rolling Stones to modern fandoms such as Taylor Swift's "Swifties," we question the role of musicians and celebrities as instruments of social engineering. As we unravel the impact of music on societal values and individual behavior, we stress the importance of awareness in fostering independent thought. Tune in for a stimulating conversation that challenges the conventional understanding of music and media's role in shaping our world.
Hey there, everybody. It's PT Pop here, with all four lobes of my brain securely bound behind my back, and welcome to another episode of PT Pop, A Mind Revolution, where I lead you out of the rabbit hole, one grain of truth at a time. And on tonight's show I've got a great guy, Mike Williams, author of Sage of Quay Radio, Beatles conspiracy theorist, world-renowned Beatles conspiracy theorist, and tonight we're going to talk about Mike's background as a hypnotherapist and how hypnotism may in fact be used in the production of popular music that we all listen to every day. Thanks for being on tonight, Mike. How's it going?
Speaker 3:It's going very well, Peter, and thank you so much for inviting me back to your show.
Speaker 2:Yeah, that's awesome. Thanks for being here, and I know this is kind of a deep topic, but I think you'd be the perfect person to talk to you about this. How did you get your start as a hypnotherapist?
Speaker 3:going back to 2009, I was uh looking for some good books on near-death experience, because I was always fascinated by it, and in my search for a good book, I stumbled upon another book that had to do with spiritual regression, hypnotic regression and past lives and life between lives, and that book was from the Michael Newton Institute, was from the Michael Newton Institute and the title of the book was Memories of the Afterlife.
Speaker 3:And so I read the write-up on Amazon and it interests me. So I decided let's give it a shot. So I didn't know anything about Michael Newton. I, of course, knew about reincarnation, but I didn't know much about past life regression, experiencing past lives through hypnosis. I mean, I heard of it, but I didn't have any level of expertise in it. So I bought the book and I read it. I think it's something like 32 case studies coming out of the Newton Institute.
Speaker 3:And when I got done reading the book, I was completely fascinated by it and I thought to myself I want to see if I can get myself one of these sessions. So I wound up connecting with a practitioner in Wilmington, north Carolina, which is about two hours from where I live. I live in the Raleigh area in North Carolina and I had my sessions in the fall of 2009. I had a past life regression and I had the next day a life between lives. So the difference is a past life regression is when you go into deep trance and you go back and you experience one of your past lives. A life between lives is that period of time in between your physical incarnation, so it's the time that you spend in the spirit world. So, to make a long story short, I had two great sessions. I had the past life on a Thursday and I had the life between lives, also referred to as an LBL, on Friday. So when I drove home after the Friday session, I was thinking this was an amazing experience.
Speaker 3:And a few weeks after that, I decided that I would like to train in this type of work, and so what I did was I contacted my practitioner. Her name is Brenda, and when I went to see Brenda for my sessions, I didn't know who she was. She was just a practitioner, that was. She was a referral on the Newton Institute's website, and she was a referral on the Newton Institute's website. And I asked her. I said, hey, do you know of any good schools where I can train to become a hypnotherapist? And she says, as a matter of fact, I do, she teaches, she taught. So I took her course, and I took her course in the early part of 2010. And it was a very exciting time. It was just something that I really, really wanted to train for. I thought my experience was great. I knew that the work would be great, and so, by June of 2010, I was completely certified, not only in clinical hypnosis, but also in past life regression.
Speaker 3:And that's when I started my practice in mid-2010. And I was in practice private practice for 12 years. I had a very busy practice and I did hundreds upon hundreds and hundreds of sessions, both spiritual sessions, which would be past lives and between lives, and also clinical hypnosis, helping people to quit smoking, vaping, drinking, all that stuff. So, um uh, I was board certified by the International Association of Counselors and Therapists and that's what I did for 12 years after my stint in the corporate world. So I spent 32 years in the corporate world, pete, and 12 years of private practice as a hypnotherapist overlapped because what I was doing was I was working to bridge to a new career once I retired and left the corporate world. So, yeah, and I retired from my practice in September of 2022. I felt 12 years was long enough. I was 63 at the time and my daughter was pregnant with our first grandchild, and my wife and I wanted to spend more time with the kids and to do other things, quite frankly, other than work.
Speaker 2:So you get into hypnotherapy. So at what point did you connect the dots between hypnotherapy, pop culture and music, and what music may be doing to the masses that the masses are unaware of?
Speaker 3:Well, I connected the dots early on, not so much with the music industry, but as far as mainstream news was concerned. Yeah. So, once I became trained in hypnosis and I was also um, a, a, um instructor, I was a hypnosis instructor. I was uh, uh with the international association of counselors and therapists, that's uh. My teaching was sanctioned by them and I worked actually with the person I went to go see for my first sessions, brenda. We became very good friends and colleagues and we worked together for almost a decade. So during that period of time early on I should say, but as time progressed I was able to apply my knowledge of hypnosis and techniques to other areas in our reality. But the news, the mainstream news media, was very, very obvious.
Speaker 2:What did you see in the mainstream media that stuck out to you?
Speaker 3:Repetition in the mainstream media that stuck out to you Repetition. So the key to hypnosis, the key to getting somebody to change their behavior, so hypnosis is really about behavior modification. So if we approach it from that perspective and so when you watch the news you're going to see a lot of repetition and the inner mind, or the subconscious mind, loves imagery.
Speaker 3:This is very very important, yeah, so let's just as an example, let's pick on a cable network like Fox News. So the first thing they're going to do is they're going to present some kind of conflict, some kind of tragedy, some kind of shooting, something that's disruptive, something that is dysfunctional, something that is worrisome to most people. So they set the table that way, and then what they'll do is they will have looped video that they will show over and over and over again, and a lot of people will ask gee, don't they have any more video than that? Why do they keep showing that loop? Well, the reason why they're showing that loop is because they're trying to pull you in and nail it into your inner mind. And nail it into your inner mind Now, if you think in terms of your mind having a hard drive, it's a very good analogy.
Speaker 3:So these files get written to the hard drive. So these loops, because the inner mind loves imagery, it's taking in this video, it's taking in whatever it is that they're showing you. They show it repeatedly, over and over and over again. But not only do they do that, but then they have the quote reporter or the anchor person talking, and what they're giving you is hypnotic suggestions, worry, concern, tragedy be fearful.
Speaker 2:And they do a tone of voice.
Speaker 3:Tone of voice.
Speaker 2:And the editing of the loop you're talking about. I've noticed this in films. I learned this on my own. It's very quick edits.
Speaker 2:Yes, it's like no more than three seconds of the guy laying bleeding on the ground. Then you cut to the car, then you cut to the building and crashed, and then back to the laying bleeding on the ground. Then you cut to the car, then you cut to the building and crashed, and then back to the guy leaning on the ground. And it's very fast, it's staccato. Is that right? Am I? Am I onto something there?
Speaker 3:Yes, no, that's exactly right and the other trick that they use is you'll see spinning logos, so Fox news will have this. Now, this is eye fixation. So when you people tend to watch the logo going around, what this does is this lulls you into a trance. So there's four basic trance states Beta, which is your waking state. Alpha, which is below beta. This is a light trance state. This is where you're at when you're watching TV, when you're watching a movie. Below that is theta. Theta would be when you go into hypnosis, deep meditation. And then delta, delta is sleep. So beta, alpha, theta, delta. So when you're watching television, you're watching Fox News, and you see that spinning logo and you're watching the loops and the reporter or the anchor person is giving you these hypnotic suggestions. You're being lulled into a trance state and now you're taking this all and you're in hypnosis. The other thing that they do, peter, is at the very bottom they will have a ticker tape which is showing stock prices.
Speaker 2:Right, or news current news or news right. Which all started on 9-11.
Speaker 3:And that has nothing to do with stock prices or the news. It's the same thing as the spinning logo. You're watching it go across the screen and you keep watching it and you're watching. It's like when you go to bed at night and you read a book. A lot of people will say I want to read a book at night to relax, but I can't get past a page or two before I feel sleepy. So this is the same thing that's going on. Now. The other thing that they do is they have the use of colors. So blue and red are very popular, are very popular. Yep, so, aside from being masonic colors, the blue lodge and the red lodge blue from the mind's perspective is received as very calming, the voice of reason.
Speaker 3:Don't worry, everything's under control yeah, so a lot of times you will see the uh, the reporter or the anchor person or somebody that they're interviewing will be wearing a blue shirt.
Speaker 2:Or they're with the background, they're bathed in blue light in the background.
Speaker 3:Yeah, exactly, or they'll wear a blue tie. So when? They bring somebody on. They have a blue tie, blue jacket on. They're talking to them. They're presenting this person as the voice of reason. This is the person that's going to have a calming effect. Everything's under control, no need to worry. Then they'll have people come on that will be dressed. A woman reporter or the anchor person might have a red dress on or the man will have a red tie on. Red is interpreted by the mind as be alert. Something is concerning. It means stop.
Speaker 2:It's passionate, it's worry. Okay.
Speaker 3:So it means all those things. That's how the mind interprets the two colors. So think of blue and red as on two opposite sides of the spectrum when it comes to how the mind interprets those colors. Even network news goes about setting the hypnosis session up for the person that's watching their television. Because, at the end of the day, that's exactly what it is, Pete, You're sitting down for a hypnosis session.
Speaker 2:Let me ask you something really quick about the news. Yeah, Local and national, they do death, murder, rape for 25 minutes. Then the very last story is a little puppy dog was found today in a bushel of hay and it was rescued. You know why do they? Is there any science to the way they end it with the soft puppy dog story?
Speaker 3:Or is that just a production thing?
Speaker 3:I think it's probably a production thing, and also so that they can say that they balance the scales between all the heavy dark stuff and look we gave you a little happy piece of footage here in a little segment, but the vast majority of what we watch, especially at the national level and even at the local level, has to do with stuff that's disruptive to our lives, things that we would be fearful of shootings, tragedy, all kinds of stuff. Every time a hurricane comes, what do they say? It could be the worst hurricane in 100 years. Every hurricane has that tagline. That's to get people all lathered up, get them concerned, getting them to run around like a bunch of chickens without their heads, heading out to the supermarket buying everything they could possibly get their hands on right.
Speaker 3:And then go home and wait for the storm, and in most cases that doesn't happen. Go home and wait for the storm, and in most cases that doesn't happen. Right, they're almost always never the hurricane of the century. So the point I'm trying to make. Is that it's all?
Speaker 3:or mostly all doom and gloom. And the reason why they do this is because that's exactly where they want people. They don't want people to be upbeat, because an upbeat person will be productive. They want you unproductive. They want you to be concerned. They want you to be stressed. That's why they're always giving you this. Aside from the fact that they gaslight people, everybody knows, as an example, that the job market, the economy, is terrible. Then they will get on TV and tell you that it's great Inflation is not that bad Employment numbers are up.
Speaker 3:This is another technique. It's another mind control technique to make you feel like there's something wrong with you. Yeah. I mean this person on the television is telling me the economy's good, inflation's not bad, everything's great. Yet my life doesn't seem to be clicking along very well.
Speaker 3:Yeah, yeah so this is what is referred to as gaslighting. So, to answer your question, what really got me looking? First, the first thing I looked at was the news and how it was being presented. And then, you know, as time went on, I was looking at other areas and ultimately I started taking a look at how it was presented in music. Music gets a little trickier because and I know we'll talk about this, because it's music and it's very difficult to convince people that music is being used as a way to create behavior modification, to program people to believe certain things, to behave certain ways. So that's a more difficult thing to get through. I think it's easier for people to see how the news is manipulating people's minds. It's a little more difficult to convince them that they're popular music or that bands are doing that.
Speaker 2:Sure and that's one thing I forgot to mention at the beginning was we're both Beatle fans.
Speaker 2:And when I was a kid, the Beatles consumed my life. I mean, it was almost instantaneous From the moment I heard I want to hold your hand and she loves you. I was obsessed and I stayed that way for a good 20 years, where I would actually get into fights with people, not physical fights but verbal altercations, defending my band and just buying anything I could relate to the Beatles, and it was all I thought about night and day. And then, as I woke up from this dream dream world Beatle dream world I said what was that all about? Why was I so obsessed with this music?
Speaker 2:And that's why I want to talk with you, because I want to see is there some type of hypnotic messages in these music? Is there a frequency that they're broadcasting in the recording studio, that they mix into the music that puts us, our brains, into some type of vortex or a retractor beam that locks us in? And that's where I am. I just wonder why all music is like this. It affects me. Most. Music used to affect me a great deal, not not anymore, though it's a opposite effect.
Speaker 3:I mean, now I'm irritated with music now as I'm older, which is strange it's the first thing we have to, I think, visit um is to go back to um, whatavistock is very good at. So Tavistock for those that don't know from a deep state perspective, tavistock is the propaganda and social engineering headquarters of the New World Order. The deep state, however or whatever label you want to apply to the shadow government and two things that they're very good at is creating cults and getting people to think in a childlike manner To keep adults from thinking critically, thinking like adults, in other words, having adult reasoning, adult logic. So what they want to do is they want to push that reasoning and logic down to a child's level.
Speaker 3:And I'm not folks, I'm not trying to be funny here or facetious. This is exactly what we do. Because when that happens, that's when adults have these emotional responses to things, so they have these knee-jerk reactions to defend their belief system, and their belief system is embedded in the cult or whatever it is that you're invested in. So, using the Beatles as an example, the Beatles are a cult. I call it Beatle-ism. The fan base is Legion. They are extremely loyal, extremely dedicated. They will defend the band to the end of days.
Speaker 2:Oh yes.
Speaker 3:And I was like that too, Peter I was the same as you. Yeah, I was. These arguments that I would get into about how great the Beatles music was and no band was better than them, and all that stuff.
Speaker 2:And I've run into that on my YouTube channel with people just going off on me Like who is this guy, what do you know? And I was like that once. I was just like oh God yeah.
Speaker 3:But that's the cult aspect of it, Peter. So put that in one little box. That's the cult piece of it. And then you have the reducing the thinking down to that of a child or an adolescent. So this is why you and I get the responses that we do when we present our videos on the beatles and we question the official narrative. What's happening is the child programming is coming out in these people and they're blowing a fuse, they're becoming irate. I mean you have to see some of the comments that I get. I mean they don't make it onto the video because you block these people, but they could be belligerent, nasty, and it's why.
Speaker 2:It's because you're questioning their belief system yeah, the foundation from which they were hypnotized. I think we were all hypnotized yeah and and somehow we were, uh, you feel threatened. Subconsciously, you feel threatened the foundation of your existence. My god, threaten the beatles or whoever your band is. I've seen you know guys in high school we'd get in these verbal screaming matches about death leopard versus the beatles or you know whoever the band was oh, the stones and the beatles were oh yeah, big one when I was growing up and oh yeah you know it almost wind up in a fist fight.
Speaker 2:Yeah crazy stuff, crazy stuff yeah.
Speaker 3:So you have to start from that perspective and the reason why I want to start there is because you have to understand that everything that goes on in the entertainment and the music business, that is not happenstance, it's not just rolling along organically and naturally and it's not coincidence that certain things are happening. It's all very, very planned out by and, for the sake of simplicity, I'll say the deep state and the various functions within the deep state, with Tavistock, like I said, being the center, the focal point for brainwashing and social engineering sure so they're going to pull out, uh, every rabbit they can out of the hat and and, and one of that.
Speaker 3:One of those rabbits is, uh, frequency and vibration, sound. So music is sound. I mean, it's frequency, it's vibration. Sure.
Speaker 3:And it's been long known for a very long time by those that study psychology and psychiatry that music has a tremendous impact on shaping people's emotions and their feelings and also can alter their behavior, their ways of thinking. Pete and I folks have a document that goes back to 1965. It has to do with the Beatles, hypnosis and communism and it was written back in 1965. It's a 20-page document. Maybe what I'll do, peter, I'll send you the link so people can download it and take a look for themselves.
Speaker 2:Okay, yeah, I've got it here too.
Speaker 3:Yeah, but in that document it clearly talks about how hypnosis excuse me, how music can be used to put people in a hypnotic state. Sure.
Speaker 3:And it talks about how this begins at very early ages, when we're kids. Oh yeah, certain songs and of course the 20-page article it's actually a small, I guess 20 pages would be a small pamphlet or whatever makes its way into the Beatles and the Beatles sound and all of that, and that there is a science behind popular music to transform the way people think and the way they react and the way they behave.
Speaker 2:So hypnosis is behavior modification and music is one of the tools in the toolbox to create behavior modification. Yeah, and the article touches on. The article says that the Beatles are basically a communist plot to undermine the youth and the family structure in america at the time. Um, through the use of these hypnotic beats and and frequencies and harmonies and uh, the article was kind of dissed because of the cold war between the two countries, communist russia and america. And I found it kind of fascinating because as you read it you're like now you understand if back then I can only imagine this guy probably got flack like crazy for being a lunatic, you know, because of mccarthyism and everything else that was going on at the time yeah.
Speaker 3:So, um, I know we don't want to major on this, but to explain that, uh, the communist, when they talk about a communist plot, what what they're really talking about is Marxism and, more specifically, we're talking about cultural Marxism. So cultural Marxism is the implementation of Marxism or communism in a subversive way, by subverting from within. By subverting from within, so essentially bringing the current system down by infiltrating the government organizations and so on to as Lenin communism. Going back to the Bolshevik revolution in the early 1900s and Russia, their tactic was violence, yes, but what happened in the 1920s and 30s? That was the formation of the Frankfurt School. The Frankfurt School is out of Frankfurt, germany, and it was a congregation of Marxist intellectuals. And so they went to their fellow Marxists and communists and said look this, hitting people in the head with a hammer, that's not going to work. Okay, so this violence is just going to turn. It's going to turn people off, and so we're not going to accomplish our goals.
Speaker 3:So the goal of the Frankfurt School was to have a more subdued approach to implementing Marxism, and one of their leading intellectuals there was a guy by the name of Max Horkheimer, and Max had said that they will implement Marxism in a very methodical, incremental way and in such a way that the population, the masses, won't even know.
Speaker 3:So that's why when they talk about the Beatles, that article from 1965 that you and I were just talking about when they talk about the Beatles and communism, they're really talking about the Beatles and the implementation of cultural Marxism, because the Beatles were one of those, one of those tools to bring about the change in a very subtle way. When I say subtle, I mean without the violence, without without revolution. It's a quiet revolution, it's a revolution that's taking place. At that took place very, very methodically. But the article, like you said, peter, I'm sure back in the day that guy probably got clobbered because they would have thought he was some kind of fringe lunatic. But now, having the hindsight of 60 years later and looking back 60 years, we could see that, uh, the people involved in that, in that article and that analysis, uh, they had a pretty good grasp on what was coming so what connection do you see or do you make between your education and your experience as as a hypnotherapist and what you hear and see in music?
Speaker 3:Well, what we're seeing in music is it's repetition number one. So, as I mentioned, repetition is very important to be able to program the mind. Human beings are programmable. I don't like saying that, but I was a master hypnotherapist and, as I mentioned, an instructor as well, and when I got into hypnosis I realized that we are programmable. As an example, let me just give you an example here. So people would come to see me and they were smokers and they would say Mike, I've tried everything, I've tried everything to stop smoking after two sessions within a week, so I would schedule two sessions within seven days, and after the second session they didn't smoke anymore.
Speaker 3:Wow. I had the same success with people that had problems with drinking, in particular binge drinking. Hypnosis is less effective if it's dependency or alcoholism, but if you're a binge drinker.
Speaker 3:in other words, you go out for the weekend and then, you black out, but you don't drink for two or three months after that. So you're doing this binge stuff. I had a very high success rate to get people to stop binge drinking, to get people to stop vaping, for people to lose weight, release weight very high success. So what does that tell you? It tells you that we're programmable. So how does that work? It works because think in terms of there's a hard drive in your mind and that hard drive has files, and for the smoker, there's a file written to the hard drive. It began when they first started smoking and every time they smoked every time, many times smoking is done because people want to relax. So when they want to relax or take a break, smoking is what they do.
Speaker 3:The more they did it. The bigger the file became. The bigger the file became, it now dictated their behavior and apply that to just about anything. So if somebody has a lack of confidence, it's the same thing. There was a moment in time where something happened where their confidence was questioned, or they felt that, or they were questioning their confidence, something where they felt like maybe they fell on their face. That file got written to the hard drive and now going forward. Anytime they were engaging in a situation or interacting in a situation where confidence was required and they were doubting themselves about whether they had the level of confidence and ability to get something done, that file was strengthened and it gets to the point where the person later on in their life says I don't have any confidence, I completely lack confidence. Sure.
Speaker 3:Right. So it's the same thing when we talk about music. So when we experience music, especially music that we like, it writes a file to that hard drive and so we have an appreciation for that particular band or that particular genre of music, and so we continue to buy records or CDs or stream or whatever. However you listen and we're listening, and listening and listening early on in your life is now being fed and enriched with continued inputs and reinforcement of that particular style of music, something that you enjoy. Okay. And so what happens now is you're in, you're completely bought in. So in the case of myself, you know I go back to the Beatles, so Beatles music when I was a kid you've heard me tell this story a hundred times, but I was nine years old when I was begging my father to take me to go see Yellow Submarine in 1968. At nine years old, I was already like this little Beatle freak. Oh, yeah, yeah.
Speaker 3:And so I love the Beatles, and so anytime a Beatles song came on, it reinforced my desire to love the Beatles, want to be like the Beatles, pick up and play guitar like the Beatles, on and on and on. So that's how it works. That's how it works with just about everything in our life the more we engage something, the more it feeds and reinforces those files. Sure. And then, like I said, it defines our behavior and in some cases, it will define who we are. Oh yeah.
Speaker 3:Oh yeah, the social scientists have known for a very, very long time that frequency and vibration has an effect on human beings, Because we are vibrational frequency-based beings Sure.
Speaker 2:Even the Earth has a frequency.
Speaker 3:That's right, the human residents and so there are frequencies that can be disruptive to us and then there are frequencies that will make us feel good.
Speaker 3:So it goes both ways.
Speaker 3:And some people may know who are watching this, but there was a man he's passed away now, His name is Alan Watt, and Alan, in an interview that I actually included in one of my big presentations I think it was the addendum going back a couple of years ago in one of my big presentations I think it was the addendum going back a couple of years ago and he talked about going back to the Beatles, how George Martin wasn't just a producer, but George Martin was skilled in acoustics and sound and how it affected the listener. So, in a way, when you think about it in those terms, aside from being a producer, George Martin was a social scientist, a social engineer. So, from the perspective of the Beatles, you had frequencies in the songs, the way the songs were written, the way the lyrics were presented. They would create these feelings within us. I know for me, Pete, whenever I listened to Sgt Pepper or the Magical Mystery Tour album, because of the psychedelic um genre sure the way the music was put together, the way the lyrics were put together.
Speaker 3:Um, I sensed color. I always said that the beetle sergeant pepper album and magical mystery tour always brought colors to my mind sure and uh, now, not everybody's going to experience that, but but I did so, uh, and I know other people who have, uh, in fact, a cat from the um supernatural beatles. She and I did an interview and she mentioned that the music had the same effect it's.
Speaker 2:It's funny you mentioned serge Pepper's because when I first heard it I was nine years old. This is 1974. Yeah, and I felt it was a dark album. I didn't see colors but as a child hearing it I was like it was very dark and morbid and weird cryptic type of music I've never liked the album Okay.
Speaker 2:And it had a weird I don't know what you call it evil feeling to it. I wouldn't call it evil when I was nine, but now I look back as a nine-year-old. It was like my least favorite Beatle record.
Speaker 3:That's interesting. So it had a different effect on you than it did for me. Now it's funny. You say that and I can kind of relate those types of feelings to the White Album. So when I listen to the White Album it's just that there's a different vibe, a different feeling, a different sense that I get from listening to the White Album than I did when I listened to Pepper or to Magical Mystery Tour.
Speaker 2:Now, do you think this is kind of a little off topic, but the album covers. As for those of you that didn't grow up with albums, we'd all sit and stare at the album while we listened to the records. So as you stare at Sgt Pepper, it's like this blood red cover with these psychedelic colors of their uniforms, their marching band uniforms. So do you think the colors?
Speaker 3:from that album stimulated colors in your brain and the white album with no color made you feel it was drab, because I think that the album designs have a definite effect, or used to in the old days yeah on every, every one of us that listen to music yeah, I mean to this day I can still look at the sergeant pepper album pete, and I like looking at it as much as I know about the beatles and what they're all about yeah, when I look at that album cover it's, you know, it's very appealing.
Speaker 3:And, yeah, and the white album was just this blank white album. We call it the white album, but actually the beatles didn't, uh, title the album the white album, it was just called the beatles. So, um, yeah, so so the colors, the type of music, how the music is written, the lyrics, the frequency of the music, this all comes into play and, like I mentioned, the social scientists, the social engineers out of Tavistock, they know how all of this works. And again, it's repetition, repeating, over and, over and over again. Some people will say to me well, are you saying every band that was let's just pick the classic rock era was in on?
Speaker 3:the game and I said no, I'm not saying that at all. What happens is they create a template. So the template would be the Beatles or the Rolling Stones. We'll just use them as an example. And so when other bands come into play and they get signed by the record labels, what do they do? Many of them emulate the Beatles, the, the, the beatles or the rolling stones. They emulate that, that sound. They emulate, uh, that approach to songwriting, maybe even, uh, how the lyrics are written and stuff like that. So, um, so that's the repetition part. Bands that are not even in on, you know, on the secret, although many are, you know, especially the, really, uh, the bands that have hit certain pinnacles or heights, uh, that other bands, you know, couldn't even touch, that's the, that's the repetition part, because they're emulating okay, okay.
Speaker 3:You know, and so they don't have to be in on the secret.
Speaker 2:Well, the repetition part would be the rhythms. The rhythms in the music are similar.
Speaker 3:Right.
Speaker 2:The structures of the songs are similar.
Speaker 3:Structures of the songs Yep Yep.
Speaker 2:The beat, the tempo, it's Stones who, beatles, kinks. Right, it's all very similar in in construction. Is that what you're saying?
Speaker 3:yes, yes, that's what I'm saying. And so, um, you know, we can go from the very popular bands even down to the one hit wonders. Right, some of the one hit wonders who are? You know, obviously they were, um, they were extremely influenced by, by the bigger bands like the Stones, the who, the Kinks, and so on.
Speaker 3:So the music business is a big tool in the toolbox of the social scientists, of the controllers of Tavistock. So it's used to manipulate, it's used to change behavior, it's used to change morals, ethics, lifestyles. Um, it's the whole pop culture bit. You know where they're. They're leading you and pushing you in a certain direction no-transcript Punk music, low life music. So what are they doing with that? Well, the punk scene was very dysfunctional. They were outliers from a societal perspective. So so they're conditioning a group of people, the young people, to connect with that, to be outliers, to be dysfunctional, to be anti this, anti that, and to push back on the existing structures in society and the culture. Right, and that's how they force change. This is cultural Marxism, by the way. This is right out of their handbook.
Speaker 3:But you know I'm just picking on on punk as an example. But you know we can look at, you know metal, we can look at grunge music, techno. You know techno, with the beat, you know the vibrations from the beat. It was very hypnotic, very hypnotic.
Speaker 2:Or trance music as well. Yeah, rap. Now you had mentioned different styles of music. Now I noticed, when I was a kid I was always trying to convince my mom that the Beatles were what she should listen to. And she grew up listening to Sinatra and all the big band stuff. She thought the Beatles were absolute crap, until she heard the song your Mother Should Know.
Speaker 3:Yeah.
Speaker 2:Which is a schleppy, you know, and my mother heard that she's like oh my God, that's wonderful. I always wondered if they incorporated that kind of music into the repertoire to pull in the World War II era people who were anti-Beatles, to try to soften them up. You got McCartney singing the ballads, you got Lennon appealing to the kids that are angry. George is the spiritual one, ringo is the goofy guy at the drums. It seemed like each person was like earth, wind and fire. They were each a different element to appeal to a large audience, and I think that's brilliant marketing. It can't, there's no way that can't be structured. It just they make it sound like it just happened. But I think they had paul in there to bring in people like my mom or my dad who were. They listened to the crooners.
Speaker 1:You know what I mean yeah, I mean, I could be completely wrong yeah, when I was, there was another one she liked.
Speaker 2:Yeah, it was another one she just loved.
Speaker 3:Yeah. Yeah, it could very well be, pete, that they slipped numbers in there to appeal to a portion or a segment of the population that they weren't overly focused on. But hey look, if we could pull a couple of people in that aren't there already, all the better. So I would say that that's very possible, that that's the reason why some of those songs were put together. I mean, somebody might argue well, paul or Billy liked to write those songs.
Speaker 2:Yeah, but he also wrote Hell of skelter yeah, which is allegedly about a slide, a children's ride in the park or something yeah so do you?
Speaker 2:so when I what I know about production, music production, if you listen to your early beetle stuff, the she loves you era you've got a lot of high. You've got a lot of high. You've got a lot of frequencies in that music. You've got the constant crash cymbal, the ride cymbal, ringo or the hi-hat. You've got that constant. And when I hear that now it drives my brain crazy Like I can't listen to it anymore. When I was a kid it creates hysteria in the brain.
Speaker 2:The high range of the cymbals, the driving beat. You don't really hear the bass too much in the old recordings and I noticed that some of their more popular songs are Paul singing in the higher range, which seems to be extremely popular. It seems like most pop songs. You've got a guy singing almost in a falsetto voice and I've always wondered if that was strategic too, because the frequency must engage the brain more than somebody like myself or james taylor that sings like a baritone or lower, lower range. It doesn't have the sexy appeal to the brain. Have you ever looked into anything like that?
Speaker 3:well frequencies. What I can do is um for this show. I printed out this article. It's from october of 2012 okay it's titled the power of music mind control by rhythmic sound okay okay, so let me just uh, I highlighted some areas.
Speaker 3:I think that this will answer your question, peter. So there was a psychologist who performed some research. Her name was annette schirmer and she published her findings at the Society of Neuroscience at a meeting in New Orleans, and she said that rhythmic sound not only coordinates the behavior of people in a group, it also coordinates their thinking. The mental processes of individuals in the group become synchronized. So when you think about, like Beatlemania if we apply Beatlemania to what I just read here, many, many Beatle fans, when they became Beatle fans, their mental processes, the individuals in the group became synchronized. They're part of the cult.
Speaker 3:Now this finding extends the well-known power of music to tap into brain circuits controlling emotion and movement, to actually control the brain circuitry of sensory perception. This discovery helps explain how drums unite tribes and ceremony. So think about that why armies march to bugle and drum into battle, why worship and ceremonies are infused by song, why speech is rhythmic. So think in terms of rap music as an example, punctuated by rhythms of emphasis on particular syllables and words, and perhaps why we dance. So think in terms of when we think about music. It's called the hook right, something that people will latch on to and even if they don't know the words to you know the verses of the song, they will know the hook, they will know the hook, they will know the chorus and they will sing that. Yeah.
Speaker 3:Right. So it goes on to say that the brain's decision-making was accelerated by the external auditory rhythm and heightened at precise points in synchrony with the beat. So what they're saying there is that the brain was very focused on the beat. So when, when, when the? Uh, the people that were in the subjects in the research, when they were listening to music when the beat was present, that's when they had heightened sensory perception. So whatever was going on at that time, that's what they focused on when that beat hit that point. So I thought this was a very interesting article and, um, and it explains a lot in a very it's only four pages as to how music can program people and how it can get them to behave. Uh, take individuals, essentially, and and create a hive mind mentality so that they all behave in a certain way, uh, in a like manner, way, um, um, we, we can even see that with, uh, with Beatlemania, right, I mean oh yeah.
Speaker 3:With, with the screaming girls. Yeah, um, you know why. Why? Why would the? Uh, why would the reaction be to? To scream at the top of your lungs and and in some cases they lost control of their bodily functions.
Speaker 2:Oh yeah, yeah, I mean, this is not-.
Speaker 3:Right, yeah, this is true. How did it get to that point where you got to such a frenzy that you're behaving and reacting this way? Was it because of the four guys that were dressed in suits and with mop tops? It had to do with the music you know suits and with mop tops.
Speaker 2:It had to do with the music. It it's. It's bizarre to to see, and could it be just like like a flock of birds. You see one bird going one direction, they all go in that direction. So if you see one girl screaming, they all think I'm supposed to do that. Or was there something in the music that was driving them insane at?
Speaker 3:that moment. Well, at Taylor Swift concerts, there have been reports of people who attended the concert to say that there were portions of the concert that they don't remember. There were songs they don't remember being played and, of course, this has to do with what's going on on stage.
Speaker 3:So you have the beat, you have the rhythmic part of the song going, you've got the frequency of the music. You have the lights, the lighting, flickering lights, strobe lighting, different color lights this all affects the mind, and so what happened to those people is that they tranced out during the concert. Now, when you're in trance, folks, that doesn't mean that you're lying on the ground and you passed out. You could be in a trance, standing up and looking like you're alive and well, but you're lost. You're lost in thought.
Speaker 3:You're someplace else. I mean think about here. Here's a good example For those of you who have kids, especially teenage boys, and they're upstairs playing their video games and they're so entrenched in what's going on in that video game that you call your son down for dinner and he doesn't hear you. It's not that he's ignoring you, he does not hear you.
Speaker 2:Yeah, he's gone mentally.
Speaker 3:He's gone.
Speaker 2:He's wrapped up in that game, that video game.
Speaker 3:Right. So then when you go upstairs, you're like hey, Billy, I've been calling you for dinner now for the last five minutes, Did you? Hear me. No, mom, I didn't hear you, so this is being in a trance state. So this is the same thing. If you go to a Taylor Swift concert or any one of these concerts, the possibility that something like this could happen is possible.
Speaker 2:Well, I'd imagine it triggers the endorphins. There's a variety of chemical reactions. You'd go into a trance state. I think a lot of. It's the way the music is structured and engineered and produced. I mean, you talked about the hook. Now a hook can be a chorus, it can be a guitar part, like in Daytripper. Right right.
Speaker 2:That hook in Day day tripper is just world known. Everybody knows that hook and it pulls you in. I remember hearing it as a kid, right, and just getting shivers, just oh, my god, I don't know why I hear it now and I've heard it so many times. I can't stand it. But the same thing with can't buy me love. I hate, hate for all you folks that listen to music beyond 1968. But I'm stuck in the 60s in my head. But Can't Buy Me Love. The hook is the chorus, right, and they start with the chorus for a reason because it grabs you, it pulls you in and it doesn't let go until the song is over. So I think you go into kind of a trance based on the ways the songs are structured and engineered.
Speaker 2:Yeah, Because if that song was sung in a lower range. It was like can't buy me love people, like oh, but paul's screaming it kind of, and I. I don't know what it does to the subconscious mind, but I think it grabs it pretty good yeah it, it pulls it in and uh, because it's exciting, it's, it's yeah right, it's at a higher pitch and it's exciting, it's, it's right, it's at a higher pitch and it's, it's bringing you in.
Speaker 3:It's uh, we would call it cutting through the mix, right Um sure. Right. So, and and the way it works is they they pull you in with the music and, uh, once you're bought into not just the Beatles, but, you know, pick any band that people follow today, Um, Taylor Swift has the Swifties. That's a cult. The Swifties are a cult. And so what happens is, once you're pulled in by the cult of celebrity and the cult of the music, then what happens is they can steer you because now they have followers. Oh yeah.
Speaker 3:Right. So with the Beatles, you get pulled into the music. You love the beatles, you know you're all, you're buying all their records. You're sitting there for hours listening to the music, like you said, staring at the album covers and all this, and then the beatles would come out, they do a press conference and they would say well, I think this and we think that. And so now what's happening is you know, because you're into that mind control, you're bored into the cult, you're invested in it. So now what they say, that they believe, now becomes your beliefs. Yes, yeah, you start to think in those terms as well, because, like, okay, you know, I didn't think of it that way, but you know, because Paul McCartney and John Lennon or Mick Jagger or Keith Richards are saying this, then you know I'm going to listen to this.
Speaker 3:This is why so many musicians and entertainers and celebrities are rolled out Anytime there's an agenda item that needs to be pushed. So I mean, the big one recently was the March 2020 event with the. You know the face coverings and the shots, right? Sure sure.
Speaker 3:I mean they rolled everybody out. I mean they rolled out McCartney, they rolled out, you know, they rolled everybody out.
Speaker 2:Every celebrity in the world, yeah.
Speaker 3:Every celebrity in the world. So why is that? That's because of the mind control. It's because it starts off as hypnosis and then then you're. You know, they've got your hook line and sinker, they've gotten to reel you in and now they become, they become your pied pipers. They're going to, they're going to tell you what it is that you should do not. Not do what you should believe, not believe where you should go, not go. And this is how they control the masses. Essentially, what they are is they are social engineering tools in human form.
Speaker 2:Exactly yeah. There are tools in their toolkit to manipulate each and every one of us and push different agendas?
Speaker 2:Yes, and all the other bands. But did they sit down specifically? Or does a producer take an unknowing band into the studio? Go, hey, I like this song, but let's arrange it like this because the producer knows that it's going to create a certain mental effect because they're trying to sell records number one. But I've always wondered if the producers and the engineers are the wizards behind the curtain trying to manipulate the masses. Like George Martin sat down and said let's put the chorus first because that's going to grab them, I don't think Paul and John sat down and said let's put the chorus first, if they even wrote that song. So there must be a whole science, either knowingly or unknowingly to the band, that's going on, to structure it a certain way so it will sell and, you know, get out to the masses.
Speaker 3:I'm going to bet that they have a very good understanding of the social science behind uh using music as a way to uh to shape society and to create behavior modification. I'm not saying every producer is schooled in this, but there are those, uh, I would say, the big names uh have a pretty good idea on how to go about doing this. And then it also goes back to what I was saying before the whole emulation piece of it. So it would go for producers too. So there will be producers. I'm going to assume there were producers that thought George Martin was the greatest thing since the light bulb as far as music production goes. Right, yeah.
Speaker 3:So they're going to emulate george martin style. How did george do this? How did george do that? You know all of that. So even if they are not schooled in um, in how to incorporate elements into the production of the music that is going, that's intended to, to affect people from a social engineering perspective, they're still doing it, because what they're doing is, you know they're they're mapping to a template of somebody who does do that. So they're bringing in elements of george martin into their production process and you know you can create it that way too. You know that. That's. That's the thing. There's a cascading effect as well.
Speaker 3:It's not just everybody has to be trained in this stuff you get a few, you get a few leaders right and then people follow and emulate those leaders right it's like it's the thing when they talk about self-help and they'll say pick somebody, If you want to be successful, pick somebody that you admire, somebody that's very successful, and then study them. We hear this all the time in self-help books. So what is that saying? It's saying be like them, do what they do. Be like them, do what they do, be like them. So I'm going to say that that little self-help technique is also applicable in the music industry.
Speaker 2:Well, if you listen to modern music, they just repeat the same thing over and over and over.
Speaker 2:I can't pinpoint a specific song, but anytime I hear a current song, it's just maybe one or two verses and then they repeat the chorus 10, 15 times or a certain phrase and I'm like they're just trying to condition people into feeling sad, yes, or feeling angry, or or I, you know, I was in the locker room the other day. I was working out, and there's music in the locker room and it's all classic rock and it was all. I started feeling really sad. I'm, you know, I'm taking a leak and I'm feeling sad. I'm like why am I taking, you know, feeling sad while I'm taking a leak? Well, here was a Journey song, one of these sad Journey songs that I went to high school listening to, from some girl broke up with me in 1982. And I'm sitting there feeling sad because you know what's his name Perry. Yeah.
Speaker 2:C Perry. I'm like, oh, it's because this Journey song is playing and I'm having a flashback mentally to 1982. And then I'm thinking why do I need music in the locker room? Right, it's everywhere. Music is everywhere. I went to a coffee shop the other day I don't know if you have them on the East Coast. It's called seven brew and it's a drive-through coffee shop and as you drive in you're just a wash in music from the pa system outside this coffee shop yeah uh, modern, modern, pop, rock, and I'm like why is there music everywhere we go?
Speaker 2:and I just have a theory that it's because they're constantly trying to manipulate us yes there's no need we have to have music everywhere. We've got it in the restaurants, in the bathrooms, in the drive-thrus and I think it's a tool they use. Gas stations too Pete, oh, yeah, yeah.
Speaker 3:Put a pump of gas At the pump.
Speaker 2:Isn't that crazy. And there's video screens now on the gas pumps, which I don't know why we have to watch video while we're. I don't know if you have those in the Carolinas, but it's just insane. I'm sorry I go off on these tangents because I finally have someone that I can talk to that understands this.
Speaker 3:No, no, it's great. It's great, Me too. You know, I mean a lot of times. I'm talking to myself when I do this stuff.
Speaker 2:Well, I don't know what your wife thinks of this, but I try to talk to Meg and try to show her, but I'm afraid if I show her too much she'll get depressed because she's still lost in it and it's her escape and I'm like I know if you bring somebody down too quick it could have devastating effects on mentally and emotionally. I believe, because when I started to realize all that was going on with the media and the music and movies and TV, I just it was like this horrifying moment oh wait, it's all a lie. And I know I don't know if that sounds paranoid or or or sick, but I think it is. I can't watch any. I can't. I hear Lester Holt come on NBC and I'm like change this channel. I cannot listen to that guy. He's just a mouthpiece for the CIA or whoever runs the news media.
Speaker 3:Yeah, no, it is all a lie and it's very difficult for people, to people who are, you know, in the matrix. I'll call it the matrix.
Speaker 2:Yeah, yeah.
Speaker 3:They live and breathe it and that's their reality and they think that that's how the world really works. But, uh, we have to come to grips with the fact that, uh, as an example, the media and that would be your cable news, your network news, it would be your magazines, it would be your radio, it would be a television, it would be your radio, it would be your television, it would be Netflix, it would be HBO, it would be Amazon Prime All of this stuff is controlled, all of the media in this country. I think the number now is down to five companies. Five companies control all of the media in the United States. I think in Australia it's something like two, but in any case, the point I'm trying to make is, uh, that means that five people if it's five companies these days used to be six, but I think it's five now that just means that five people at the top of these companies get together and decide what it is that they're going to tell you and not tell you, or how they're going to present.
Speaker 3:You know their stories. Uh, you have to understand, folks, that our media is. It's just propaganda. That's, that's all it is. It's propaganda, it's, it's there. Your television set is a hypnosis box.
Speaker 2:Oh yes, and even the way it refreshes the rate of refresh on the screen. The hertz puts your brain to a trance, and your iPhone too.
Speaker 3:Drops you down to alpha state. So alpha state is a trance state. In fact, we learn by going into trance state. Fact we learn by going into trance state. So, as an example, when you were a kid and you were in school, and let's just say you're sitting in the classroom and there's 30 kids in the class you being one of the 30 kids when the teacher was writing something up on the board or talking about something at the front of the classroom, did you pay any attention to any of the other 29 kids in the class? No, you will focus on what was being written on the board and or what the teacher was talking about.
Speaker 3:So when you're in a trance state and you're alpha state, what happens is you're basically excluding everything outside of you and your focus. It's your concentration and focus on whatever it is that you're paying attention to. That's how you learn. That's learning. We did the same thing when we were in college. We do the same thing when we're learning music or playing a song. We do the same thing when we engage in a hobby. We're very, very focused. It's a high level of concentration and we exclude everything else that's going on around us. It's like going back to the kid who's playing the video game Didn't hear his mother calling him to come down to dinner, right? So that is how the television works as well.
Speaker 3:Many many people get pulled into it and they are completely engulfed and invested in what it. Whatever it is that they're watching, whether it be the news or some reality TV show, and there's always, always, always an agenda. Always an agenda.
Speaker 3:If you know what to look for, you'll see that there's a repetition of agenda items that they want to push, that they want to condition the viewer to start to accept or not accept. So if there are certain things that they don't want you to believe in, or certain values that they don't want you to have, those things will be ridiculed in movies and TV shows and so on. On the other hand, if there's things that they want you to buy into, that they want you to support on behalf of their agenda, those things will be played up in a very positive way, and this goes on 24-7, 365 days a year, into perpetuity. This will go on forever. Oh yeah.
Speaker 3:Unless people wake up.
Speaker 2:I don't know if I got you off track. We covered a lot of ground here. Yeah, no whatever, I think I put a wrench into it because I think you were headed down one path and I went down someplace else.
Speaker 3:That's okay.
Speaker 2:But my phone's about to die. Here I think I'm just going to use the audio, okay, as I'd mentioned before, but that's more. I've just not wanted to edit video anymore. That's more. I've just not wanted to edit video anymore. I'm kind of done with the whole YouTube thing. They banned me for a little while and I'm just like is it worth getting upset about it anymore? But anyway, no, I was there something else. I don't know if I got you off track about the whole frequency thing and and music, cause we kind of went off in a couple of different directions.
Speaker 3:Well, I think we kind of covered it. It's important to understand that music is used as a tool to social engineer. Music is another way to put people into hypnosis, into a trance state, and to get certain messages across. So I'm just taking it from a very simplistic perspective. You're listening to the songs and there's the lyrics. Just take it from that perspective alone. So if you go back to the songs of the British Invasion classic rock, punk music just pick a genre and if you're constantly playing these songs, especially if you have a favorite artist, and most people do you're constantly listening to these songs, playing them over and over again. You're constantly listening to these lyrics. So them over and over again, you're constantly listening to these lyrics. So you've got.
Speaker 3:I read the piece before about the rhythmic aspects of music and, from a science perspective, there's no question. I mean, it's not a theory we absolutely know that music, because of frequency and repetition, will condition people. In fact, it was Bertrand Russell in that article that you and I talked about earlier, about the Beatles, hypnosis and communism, sure, where he was quoted. Bertrand Russell was an elite out of the UK and he was like an elite elite he had no use for the subjects. Everything needed to be run by the elites that. You know we can't make decisions for ourselves and so you know we need an elite class to do all of that for us. Very clearly said, going back to that article in 1965, that now again this is 60 years ago he's being quoted and saying that, uh um, verses put to music and repeated are extremely effective in shaping people and conditioning people to help the behavior modification along.
Speaker 2:Sure. So the rhythm, the backing track, is what gets you into the different state of mind in the subconscious. Right. And then the lyrics are the programming. Right.
Speaker 2:If they want you to feel happy or sad or angry, like acdc. It's just an angry, angry sound, right, I listen to that to work out too sometimes because it gets my blood pump, but it's a when you listen to it's very dark again, the singer singing really high up and it gets your brain like this frenzy. So I think the words I don't know what their words really tell you to do, but, uh, there must be some meaning behind some of these bands, words that they want you to listen to. Is that what you're getting to, though?
Speaker 3:yes, the words are what they're telling yeah, the lyrics, the lyrics are important yeah um, even if they're simple lyrics and even if you don't think they're important, you know a lot of songs will will, in a subliminal way, push sex, sex In subliminal ways. They will push anti-family types of values of just extreme dysfunction as far as a cohesive society goes. I mean, you know a lot of the rap artists. Their songs were filled with violence.
Speaker 2:Oh, yeah, yeah.
Speaker 3:And, of course, rap was created for the very purpose of infiltrating the inner cities and creating this dysfunctional society within the inner city population and creating violence. And none of this stuff is by chance. I mentioned in one of my shows Pete, going back several months ago. It was an article in AARP magazine which I don't read. I mean, I get it for the discounts but my wife and I go through the magazine to just kind of pull out all the propaganda. Aarp is loaded up with propaganda and fear tactics.
Speaker 2:Oh, is it really?
Speaker 3:Oh my God, I mean just to make the senior population very, very concerned and stressed out. It's just unbelievable, it really is, and they almost always have an entertainer or celebrity.
Speaker 2:Yes, yeah, ringo Starr was on it a couple months ago.
Speaker 3:Yes, and Samuel L Jackson is on the current one, and so, again, this goes to the Pied Pipers, this goes to the people that you're going to follow and listen to and they're going to say you should do this, you should do that, you should think about this, you should think about that. And that's basically to shape you, to kind of get you to fall in line and march along single file toward a particular objective or agenda.
Speaker 2:But the thing, the thing that with bertrand russell, that I, I now I agree with what he's saying, because back then america, post-war, was the, the nuclear family. They had the father who went to work, made enough money to support everybody, buy the house, have a car, have the food. Mother stayed at home. Life wasn't perfect, but for some reason kids wanted to rebel. But what were they rebelling against? They were rebelling against stability, good jobs, a good economy. Now, after all this rock music hit in the 60s, the entire American family fell apart.
Speaker 2:Both parents started working, divorces escalated, um, everything went to shit yes and that's how I you know I was, you know we were both in that scene, and so I think, whoever created rock and roll of the 60s, I think their plot worked, or their scheme worked to undermine the integrity of the American family and the Western culture.
Speaker 3:It was Tavistock with feeds coming in from the Frankfurt School, so the Frankfurt School and Tavistock basically came into being at the same time in the early 1920s. Okay.
Speaker 3:And all of these deep state entities. They're all interconnected. This is what people have to really understand. Um, they're not standalone, they're not out there, they're not islands unto themselves, they're all working together. And, uh, so you know, they knew exactly what they were doing, you, if you remember back in fact it's not even that long ago, but over the last 20, 30, 40 years, we would hear the term the culture wars.
Speaker 3:It's a culture war and I remember, you know, listening to this back in the seventies and the eighties and you know I didn't think anything of it. I was young. The culture was, you know, I didn't care.
Speaker 3:Yeah anything of it. I was young, the culture was I, you know, I didn't care, yeah, whatever you know. But as I got older and I got more into the research, I knew exactly what they were talking about. So when they talk about the culture wars, the question that should have been asked is what war? What cultures are at war? What I mean when you say culture wars, it's usually two people or two entities or two organizations fighting each other, right?
Speaker 3:Sure, but nobody ever asked that question. Nobody ever asked the question like well, who were the two cultures? Well, the one culture was what you were just talking about. It was the traditional family with a family nucleus mother and father and the kids and all that stuff. That's one culture. That was the predominant American culture going back before the counterculture of the 1960s. The other culture that was being implemented was the cultural Marxism through the implementation of pop culture, through the implementation of pop culture. So pop culture it's Netflix, it's your television, it's hot dogs, hamburgers, ball games. That's pop culture. Yeah, a nucleus. Uh, embedded in that for many families was, uh, an understanding of ancestral traditions. Going back to, let's say, if you were an italian family my, my mom is, she's italian. My father was, uh, welsh, irish, but we were brought up in an italian household, so we had a lot of traditional italian types of traditions in my household growing up okay and so you'd have that.
Speaker 3:You know, if you're french or german or mexican, I mean, just you know, pick a, uh, a particular heritage, um. But what the social scientists of tavistock and the frankfurt school needed to do was they needed to break that down. They needed to get rid of that, because if you have traditions and values outside of what they were looking to implement, then they can't implement their plan. So the whole cultural Marxist agenda was to systematically and methodically continue to bang away at the family nucleus. Oh yeah.
Speaker 3:And in order to get it to the point where it's dismantled and you mentioned, divorce rates now are up over 50%. Mothers and fathers are both working. The kids are in preschool, they're in afterschool. They've essentially have become detached from their families. The parents see the kids maybe very early in the morning, late in the evening, when mom and dad get home from work on the weekends. But mom and dad had a lot of errands to run on the weekends. So what happens is the kids then become essentially wards of the state and they are being raised by people outside the family.
Speaker 2:Exactly yeah.
Speaker 3:And I mean, what are the values of the people outside of the family? Are they the values of the mother and father? I mean, you don't know, what are they really being taught in afterschool? I mean we now see in schools, like in elementary schools and middle schools and even high schools, where they've gone with the and I use the word very loosely the curriculum and teaching little kids at five and six years old that there's really no such thing as a specific gender until you get to a certain point.
Speaker 3:This is all part of the process of breaking down. This is the cultural Marxist agenda that's in play. It has been in play for a long time Before it got to that. What they did was they had to get the mother out of the house, because most mothers back in the day were perfectly happy staying home taking care of the kids and taking care of the home while dad was out working and making sure everybody had a roof over their head. And everybody wants to say, well, the cultural Marxist and the far left aspect of society wants to say, oh, that's old fashioned. Things have changed. Yeah, you know things have changed and you know no, things have changed, not because it was old fashioned. Things would change because it was systematically attacked.
Speaker 2:Well, sure, I think what the communists and the Marxists did is they said okay, here's America, it's a massive country with multiple climates, and back then it was like 200 million people. We can't just park our ships off the shore and invade, and we can't nuke them, because the land won't be inhabitable. So how do we destroy them? Well, we'll infiltrate their police stations and their politicians and their White House.
Speaker 3:Academia.
Speaker 2:Academia will destroy the family. And look at us. I mean, people are so confused they don't know if they're boys or girls. They don't know what restroom to go in, they don't know. You know you can't afford anything now. I mean, if I was ever single, I don't know how I'd survive and how single people survive. So I think they've methodically destroyed our country without firing a shot is what I'm trying to say, and I think that's just what they're what they were trying to do, and I think they've succeeded yeah, it's, it's a whole problem reaction solution, right so?
Speaker 3:yeah it's to create the problem. There's going to be a reaction. People like you know I can't deal with this. I can't live. I can't afford this. I can't afford that. I can't afford food. A home can't afford that, I can't afford food or home.
Speaker 3:Yeah, yeah so on right, and then the solution is going to be well, we have to put this egalitarian system into place. Communism, right, marxism, but they'll refer to it as egalitarian, which it's not. Whenever you look at any communist structure around the world, it's not egalitarian. I mean, there's still an elite structure sitting on top of the masses, the population.
Speaker 2:Yeah.
Speaker 3:So the whole thing that this is ultimately going to be a system where everybody's going to be equal, it's just total nonsense. I mean, here's a quote from going back to the Frankfurt School. Now the other thing I should mention the Frankfurt School. The Rothschilds are from Frankfurt, germany, and Germany is a hotbed. Is a hotbed for, uh, for Marxism and uh, I mean we're not we'll get into it in this show because it's it's a discussion. But think about the Beatles in Hamburg, germany. Oh yeah.
Speaker 3:And and Hamburg. Hamburg is one of the um media capitals of Germany and it's about a five or six hour drive from the Frankfurt school. Wow, and it's about a five or six hour drive from the Frankfurt School, Wow, okay, and the Rothschilds, like I said, they hail from Frankfurt. But here's a quote from Max Horkheimer. Max was one of the quote intellectuals from the Frankfurt School, so I mentioned about how Lenin Marxism was really defined by violence and revolution.
Speaker 3:And the Frankfurt School, their version of Marxism was hey, we can't do that, we're not going to win anything by doing that, so we've got to do this very systematically and very subliminally. So this is a quote. The revolution won't happen with guns. Rather, it will happen incrementally, year by year, generation by generation. We will gradually infiltrate their educational institutions and their political offices, transforming them slowly into Marxist entities as we move towards universal egalitarianism. So they use the word egalitarianism, but the way they do this is to gaslight the population. They either tell you what you want to hear and then do the complete opposite. We see this all the time with politics.
Speaker 3:Oh, yeah, all the time with politics, or they will look to challenge your thinking to the point where you start to doubt yourself, you start to question yourself.
Speaker 3:And then what happens is then you start to self-sabotage. An example I use with this is when they went after the family nucleus, what the cultural Marxists did. Their program was to go to women through the media and to convince them that why do you want to be home? Is that what you really want to do? Do you really want to stay home and and take care of your kids and take care of the home? I mean?
Speaker 3:don't you want to do what your husband does? Don't you want to go out to work? Don't you want to do that? Now? A lot of women were perfectly happy with staying home, and yeah taking on a traditional role. But what happened was it was just it's repetition. We keep going back to repetition oh, yeah, it was beating them over the head over and, over and over again in the media in movies, in TV, in magazines like Parent Magazine Sitcoms, sitcoms.
Speaker 2:Yeah.
Speaker 3:Right. They just kept hammering away and hammering away to the point where women took the bait. A lot of women took the bait. Now, to help them take the bait, what they also did was to make it very difficult to own a home and have a life on one income. So I mean, if you can have a life and a decent home on one income, then well, one parent can stay home. But if you can't do that and you need two incomes to be able to do that, well, there you go. Now the mom has got to leave the home and go to work.
Speaker 3:I mean, people think that this is crazy stuff. They think that, oh, this is just conspiratorial stuff. This guy Mike, he's crazy.
Speaker 2:But Pete you see it now.
Speaker 3:The crazy part is the people that believe that this is all coincidence. You see it now. The crazy part is the people that believe that this is all coincidence. I mean, every day you wake up and you can systematically see, if you wake up, what's going on. You can see the levers they're pulling down or pulling up, the buttons that they're pushing, the switches that are going up and down to be able to maneuver and to manipulate.
Speaker 2:Well, I don't know if you follow Candace Owens. Do you follow her at all?
Speaker 3:Occasionally, I'll listen to her.
Speaker 2:Yes, Well, she's got this whole thing where she's discovered that Kamala Harris's father was a Marxist. I think it was her father or her grandfather it was. Her father was a Marxist. Kamala opposes this young lady with this woman. She claims was her grandmother, but Candace discovered that it wasn't her grandmother, it was help. It was a black woman that was help, or a maid.
Speaker 3:She said it was her mother.
Speaker 2:Yeah, she said it was her mother or her grandmother.
Speaker 3:Yes, and it wasn't her mother in her book.
Speaker 2:But anyway, Kamala's a Marxist. Yes. And she's oh no, I'm not. She goes out there and cackles and laughs and tries to gaslight us. But it turns out I'm seeing all of this now. It's like, okay, they're trying to get her into office so they can perpetuate what they've been doing for years. I don't know what trump is, um, but it's funny. When you start to see it all, you begin to go well, what do I? Just go live in the mountains and build a cabin. Or you see it everywhere.
Speaker 3:Most people don't even know what a Marxist is. They don't even know what it represents. Peter, that's the problem. So the term does not have the same impact as it used to have, because people don't understand the history.
Speaker 3:They don't understand going back to Karl Marx and understanding the Bolshevik revolution in Russia, understanding the Frankfurt School and everything else in between. But they have a lot of terms. So Marxist communist You'll hear some of these politicians. Hillary Clinton used to say that she was a progressive. Well, progressive is another term for Marxist. Sure, A progressive I mean in the minds of the average person means they're progressing, they're moving forward, right, and then they interpret that as moving forward to a better place. No, it doesn't mean that. It means to progress means moving forward. It doesn't mean you're moving forward to a better place.
Speaker 2:It doesn't mean that who knows where you're going to end up. They don't tell you where you're going to end up.
Speaker 3:Obama was the same thing Obama was a. Marxist progressive. Yeah, who knows where you're going to end up? They don't tell you where you're going to end up, so that's why they throw these little taglines out there, and that's how they pull people in, because they know that it's leading. They're going to lead it to the person to interpret what it means. They will never define what hope means. They will never define what their version of change means. They're going to leave it to you to interpret.
Speaker 2:Yeah, and a lot of their taglines I've seen are in marxist doctrine, I hope, and change is one of them, but some of the things, their mantras, are very marxist. Uh, I wish I could remember the one that kamala uses, but it's, it's, it's all a marxist um that kamala uses, but it's, it's, it's all a marxist.
Speaker 3:Um, yeah, I I, I know what you're saying. Yep, um, I I forgot what she says too but. I know what you're uh referring to.
Speaker 3:Yeah, but part of the cultural marxist uh game plan is to they create slogans yes, so if, if you research cultural marxism and you research the frankfurt school, you know, and these other entities that are involved in this, slogans are very important. Very important Because people grab onto slogans and you know, most people just parrot whatever it is that they hear from the television set. So slogans are very important for them to be able to push their agenda forward.
Speaker 2:This call center blues Gonna be the end of me. The guy sitting next to me, he's a real freak.
