Pulling Back the Curtain on Pop Culture’s Puppet Strings

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#MarkDevlin #MusicIndustryExposed #TruthPodcast

Ever notice how entire genres appear overnight, dominate culture, then vanish right on cue? We sit down with author and DJ Mark Devlin to map the machinery behind modern fame—gatekeepers, bloodlines, and media psyops—and why “No One’s Dad’s a Plumber” is more than a catchy title. Mark unpacks how elite networks shape who gets platformed, how humiliation and blackmail manufacture compliance, and why some artists rocket to household-name status while more gifted peers never cross the velvet rope. The throughline is uncomfortable but clarifying: trend cycles often serve agendas, not audiences.

We dive into the Beatles as a master case—abrupt touring stops, studio experimentation, and the BBC Radiophonic Workshop’s fingerprints—then widen the lens to the Copeland CIA lineage steering punk and new wave, and Madonna’s sprawling web of political and celebrity relations. Along the way, we examine how digital streaming, lossy compression, and algorithmic curation create new frontiers for subliminal influence. If sound is energy and delivery is everywhere—from your phone to the gas pump—then guarding your state becomes a daily discipline.

This isn’t a call to abandon art; it’s a call to claim it consciously. Learn the symbols, spot predictive programming, and notice when a song hijacks your mood. Once you can see the seams, you can love the music without swallowing the message. If you’re ready to rethink how culture gets made—and who it’s made for—press play, share this with a friend who still believes talent alone runs the charts, and tell us: what “coincidence” in pop culture can you not unsee? If this conversation hit home, subscribe, leave a review, and drop your take in the comments so we can keep the signal strong.

Chapters

• 0:00 Introducing Mark Devlin and Premise
• 2:50 Mark’s Awakening and Early Influences
• 6:55 Industry Periphery and Freedom to Speak
• 12:20 Secondhand Accounts of Rituals and Deals
• 17:10 Normalizing the “Unthinkable” and Evidence
• 22:30 Losing and Regaining Joy in Music
• 27:05 Beatles, PID, and Subliminal Messaging
• 34:20 Dark Corridors: Mind Control and Abuse
• 39:20 Media Psyops and Manufactured Narratives
• 45:10 Why “No One’s Dad’s a Plumber”
• 50:40 Case Studies: Copelands, Gatekeeping, Punk
• 56:45 Bloodlines, Mayors, and Royal Ties
• 1:02:40 Madonna’s Web of Elite Relations
• 1:09:10 Blackmail Machines and Humiliation Rituals

Transcript

SPEAKER_00: 0:11

And on today's show, I'm joined by Mark Devlin, a UK based DJ music journalist, an author who spent years pulling up the curtain on the darker side of the music industry. After a major awakening in 2010, Mark began exposing how pop culture is used as a tool for mass manipulation. And to that he's the author of the musical truth series, and his latest book I have right here. It's a great book. No one's Dad's a Plumber. I love this. I didn't get all the way through it, Mark. I apologize, got about 110 pages into it. But No One's Dad's a Plumber dives into the elite connections behind today's biggest stars. Get ready. I'm going in for a deep dive with Mark into fame, control, and the hidden forces. Shaping modern music. I thought we would do now. I've got your book here, and I I apologize, I got only into chapter seven.

SPEAKER_02: 1:11

I see lots of post-it notes there.

SPEAKER_00: 1:13

Yeah, yeah, I took lots of notes, and it's a fascinating book. It's an awesome book. And because of Mike Williams, I found out about you. And I think you've been on Mike's show, right?

SPEAKER_02: 1:23

I have, yeah. And Mike's been on mine a few times.

SPEAKER_00: 1:26

Yeah, yeah, and yeah. I uh I've always been kind of suspicious of things in entertainment, even when I was a little kid. But uh when did you first have your awakening when when you had suspicions about the new world of entertainment? Because I know you're a DJ, you're an author, and so you've had some inside connections with it just like I have.

SPEAKER_02: 1:50

Yeah, well, you might say I was a slow learner because it took me until round about 2008 to properly start paying attention to the real dynamics of what's happening in this world and who controls things. Up to that point, I was pretty much distracted by being a full-time DJ. So I was a club and radio DJ. I was fortunate enough to travel around all over the place doing gigs, up and down the UK, different countries. I did a bunch of radio shows, I wrote for some music magazines, and I thought that's what life was all about at that time. I thought life was just about music and clubs and parties, and I had no idea that there were hidden forces directing and controlling every aspect of our daily human lives. Didn't know about secret society networks, didn't know about mass mind control, didn't know about social engineering agendas, culture creation. I just assumed everything was organic. And I was very active in the rap and hip-hop field. And I just assumed that rappers like Jay-Z and notorious B.I.G. Biggie Smalls, you know, had got there through skill and hard work. And I didn't realize at that time that that's not how it works. The only way you get to those kind of positions is if you're hand selected for those roles by those parties that can make this sort of thing happen. But I did discover all this eventually, and it was a bitter pill to swallow, as it is for all of us, when we come to realise that the world is not what we thought it was. And it was through reading the books of David Icke, mainly, and I saw the first zeitgeist documentary film in 2008, and that really changed my outlook on things. And from that point, I just wanted to better comprehend the true nature of the industry that I'd been a part of. And I think I was quite fortunate in that I was never firmly embedded in the music industry. I see myself as having sort of skirted around the periphery of it. So I was a DJ and I did liaise with record companies, and I was on promo mailing lists for records. So the companies would send the records out to influential DJs, and they would try and get you to play them on the radio and play them out in clubs, and there'd be various incentives for that. And also having a radio show, I got to meet many of the artists whose music I was playing. So I got to interview some pretty big names in the sort of rap and hip-hop and RB field. But I never really considered myself part of the industry furniture, so I never worked directly for a record company, and I was always self-employed as a DJ and as a writer. So I think that's enabled me to be able to speak out about the stuff that goes on without getting myself into too much hot water. Okay. I think if I'd been an artist signed to one of these majors, or if I'd worked for a really big radio station like BBC Radio One, it would be much more difficult for me to speak out because they'd be looking out for me. I think doing what I do now, I'm considered relatively small fry, and I'm kind of flying under the radar, and I like it that way. So I definitely know a thing or two about what goes on, but I am much freer to express it than somebody who might have been a part of those things, I would say.

SPEAKER_00: 5:04

Did you ever run into any situations with record people, record executives where it made you sit back and go, Well, that was kind of weird. Did anything and the way they presented their artists, the way they approached you was any of it a little bit suspicious?

SPEAKER_02: 5:20

To be honest, not really. I can't recall any kind of situation where I went away thinking, oh, that was a bit weird. I mean, I hear these stories from other people. So since I've started doing this work, putting out my books and doing my podcasts and public talks, loads of artists and producers and music makers of all kinds have reached out to me and they've given me their stories, and they've all got tales to tell similar to that. So some of them have said there were, you know, secret rooms, hidden rooms in the local companies where they would go in for meetings and they'd see rituals going on in these rooms with hooded figures and such. And then other people have told me about how they were offered a big record deal. They'd exhibit some talent, and that had been picked up on by one of the industry spotters, and they'd been presented with this really tempting deal, and wealth and fame and prominence was dangled under their nose, but it was in return for sexual favours with the guy they were having the interview with.

SPEAKER_01: 6:25

Yeah.

SPEAKER_02: 6:25

And some of these people have said, well, all of them, actually, because nobody admits to it, all of these people said, That's not for me, thanks. That's not how I get down. And at that point, they're allowed to leave the room. And I think the assumption is if they try and tell anyone about it or blow the whistle on what they saw, nobody will believe them. They'll think they're crazy. So they're happy to let them walk through the door. It's only when you sign on the dotted line, you sign that contract, or you go through that door, when your soul is no longer your own. So, best advice is always never take the deal, because once you do, you're owned, your ass is theirs for the rest of your days. But if the deal is not for you or something feels not quite right, walk through the door, the door and they'll let you. So these are stories I've heard from other people. Didn't really see any weird stuff myself at the time, to be honest.

SPEAKER_00: 7:22

Before I forget, your website is DJMarkdevlin.com, and your book can be found on Amazon, which I bought it on Amazon. Sure. And and in post, I'll put your website throughout the whole thing, throughout the video here.

unknown: 7:35

Okay.

SPEAKER_00: 7:37

So when you know, I had a turning point. I've had little ones throughout my life. My big turning point was meeting, quote, meeting Mike Williams, who opened my eyes up to the Beatles, because I was a huge Beatles fan. I was just completely obsessed, even as a grown man. And I it's kind of embarrassing now to think about, but I woke up from it. Mike woke me up. And it took a while for me to understand it. So was there something that was really disturbing where you went, This is I can't look beyond this anymore. This it really does, there's something that jumped out at you that was a major like awakening.

SPEAKER_02: 8:16

It's really difficult for me to recall what my mindset was like prior to waking up to use that term, or just becoming aware of the way the world really is. Sure. My state of consciousness. I have to really work hard to recall what my consciousness was like when I was in normie land and I was just swallowing all the lies and going along to get along in society. I mean, it's the best part of 20 years now. But sometimes I can still put myself back in that state and remember what life was like. But I've been doing this for so long now that it just feels normal to know that the world is run by satanic psychopaths. And sometimes you can make the assumption that, well, everyone knows the world is run by satanic psychopaths, but they don't. And that's the problem. That's why they keep getting away with this stuff. Because most people would think the sort of things I write about and the sort of things you talk about and Mike Williams talks about are completely crazy and fanciful and can't possibly be true because they sound too outrageous.

SPEAKER_00: 9:18

Oh, yeah.

SPEAKER_02: 9:18

Yeah. In which case, you simply need to do the research and look at the evidence because there's no shortage of evidence if you're prepared to go there. You just need a mind and a will that is capable of uh looking into these things. So I forgot what the question was.

SPEAKER_00: 9:35

Oh no, I just there was a major event, that's something that really made you gobsmack. You went, well, I I can't see beyond this. Because since this has happened to me, I have a very hard time listening to music. I have a hard time watching movies. I'm analyzing the movies, I'm looking for symbols, hidden signs. You know, everything is now it's just like when I become a musician, I'm look- I'm a musician, so I take recordings apart, I take I do movies, I make documentaries, so I'm always analyzing the movies. How did they suit this? What lighting do they use? What microphones? Where was the boom mic? So now I'm like, what's what's the meaning behind this song? You know, does was there something that really has ruined your ability to enjoy music too?

SPEAKER_02: 10:14

Or was there something that yeah, I know exactly what you mean, because it's that way with me. I can still enjoy movies, but I do still see all the programming. And I realize why certain scenes were put in, why certain symbolism appears. When you do this research, it's inevitable that you begin to spot these things. And it's that way with music as well. There was a point where I completely fell out of love with music early on in my research journey. I had a hard time listening to music, like you just said, but I did get back on track and I reached a point where I considered that once you become aware of what popular music is really used for, mass mind control and the pushing of agendas and all this sort of thing. You get all that stuff into the conscious mind out of the subconscious, and that's where all the magic happens in the confines of the subliminal mind. That's why they use all this symbolism, that's why they use certain sound frequencies and production methods and back mass messages, because it speaks to the subliminal mind. And that can affect people's thoughts and perceptions and behaviors, even the way they speak, the way they dress, the way they interact with others. All of that can be going on without their conscious knowledge if the conscious mind is not engaged. But the minute you do engage the conscious mind and you recognize what's happening, you break that magician's spell, so to speak. So the magic with a K that was previously being perpetrated on you no longer works. And that's the point where if you choose, you can continue to enjoy music, even very controlled bands. So we mentioned the Beatles, and my research very early on led me to the Beatles. I was a fan of their music, always enjoyed their stuff. And I remember hearing about the Paul McCartney conspiracy theory, the Paul is dead thing, way back in the 80s when I was at school. There were some kids at school talking about it. Somebody brought the Abbey Road sleeve into school, and they were like, oh, because Paul's walking barefoot across this zebra crossing, it means he's dead. And at the time I had no idea what that meant, didn't understand symbolism. And I was like, that's just crazy, that's ridiculous. And I kind of parked it in the back of my mind for a couple of decades. And then it came back to bite me on the ass. When I started doing this research, the Paul is dead conspiracy, the idea that McCartney may have died in 1966, 9-11 of 66, and was replaced by an imposter named William Shepherd, known as Billy Shears, who's been playing the public role of Paul McCartney to this day, came back across my radar. And in my first musical truth book, I've got a 15,000-word chapter just on the Paul is Dead conspiracy and two extra chapters on the Beatles. So that was the dominant subject area for me at that time. And it just swallowed up hours and hours of my time. Not as many hours as Mike Williams, but a fair few. And that one was very difficult for me to deal with because it just threw a spanner in the works of everything I thought I knew about the Beatles and about Paul McCartney and the industry. And then further down the line, my research led me into some very dark subject areas. Because if you're gonna take this thing all the way and go wherever it leads you, inevitably you're gonna end up in some of these places. Oh, yeah. You can't adequately research the true nature of the controlled corporate music industry and what it's used for and what its real motives are without going into the subject area of trauma-based mind control and satanic ritual abuse. And people hearing for the first time that music, entertainment, a popular culture is linked to satanic ritual abuse and Satanism, would be very much inclined to scoff at it and say, that's ridiculous, you're crazy. But unfortunately, anyone doing the research, if they go far enough, is going to encounter these subject areas. Because these things are endemic throughout entertainment and popular culture. Not just the music industry, but Hollywood films, TV, any expression of popular culture, you will find these factors. Yeah, that was a pretty dark one for me to come across. And it gets even darker than that if you're prepared to go there, when you get into things like I don't know how censored we are, but a certain word beginning with A, this you know, compound which occurs within the adrenal glands, and which when consumed apparently brings longevity and youthful vitality. That's a pretty dark one when you get into that stuff. So you have to be a bit careful that you don't fall too far down too many dark and devastating rabbit holes when you get into all this stuff. There definitely needs to be a bit of safeguarding and firewalling in place. But I've been researching this stuff now for the best part of 20 years, and like I said earlier, it's difficult for me to recall how I used to see the world anymore. Yeah. Because I'm so far entrenched into this way of seeing the world, which as far as I'm concerned is the accurate way.

SPEAKER_00: 15:36

Have you in England are they covering the Charlie Kirk story uh here in the US, the murder of Charlie Kirk? Or the alleged murder?

SPEAKER_02: 15:45

Yeah, not as much as in America, but it's been all over the media here. It's been all over the alternative media as well, like the truther sort of outlets.

SPEAKER_00: 15:55

I've been really disturbed by it because I see all the symbolism in it. It's it's covered here like he's a messiah. It's it's crazy, it's absolutely insane here. And I just kind of I went numb when I saw it. I saw immediately how I wasn't caught up by the the graphicness of the murder. I was like, Well, this is all staged. But right, and it's it's I can't watch anything anymore because now I'm I'm awake to all of this.

SPEAKER_02: 16:20

And I'm guessing that I I think it was staged. I mean, people would disagree with me, but whenever you hear one individual's name all over the media, all over the world, all at the same time, and nobody else and nothing else is getting talked about, that's a psyop. Oh, yeah. That's the way they do it.

SPEAKER_01: 16:38

Oh yeah.

SPEAKER_02: 16:39

And interestingly, here in the UK, I've been doing a little uh sort of social experiment of my own, and I've been asking friends and associates if they had ever heard of Charlie Kirk prior to the news of his murder. And most people had never heard of the guy. I mean, I know we're in Britain and he's probably been paraded more in the media in America, but these people are truth researchers, they're authors and they're public speakers like me, so they've got their finger on the pulse of things and they're paying attention to what goes on in the world, and most of these people that I've asked had never heard of him. Imagine being famous for being dead. I mean, you get this in the hip-hop world. I remember the murder of Tupac Shakur back in 1996, and yeah, if you were into rap and hip-hop at that time, you knew who Tupac was, and he'd had a few hits and he was this notorious figure in the scene. But so many people only latched onto his music as a result of him having been allegedly assassinated, because I can't even be sure of that one. But it's amazing. There have been other rappers as well who only became famous after they got shot.

SPEAKER_01: 17:48

Oh, yeah.

SPEAKER_02: 17:49

So when that happens, in my book, I've I've seen too much, I've seen too many of these things. I know how cultural creation works, social engineering, mind control, organizations like the Tavistock Institute, the way behavioral scientists work to shape and mold and manipulate public thoughts and perceptions. And this event, unfortunately, bears all the hallmarks of that. I mean, if this guy had been genuine, he would have been kept out of the media. They wouldn't want people knowing about him. Exactly. It would have been covered up. Instead, we've had the opposite. So they want people to be outraged, they want them to be shocked, they want them to be saddened. They're deliberately cultivating those kinds of reactions.

SPEAKER_00: 18:31

So when when you came up with the idea for No One's Dad's a Plumber, I know this is the fourth book in this series, the Musical Truth series. What inspired this this book? What did you say to yourself, I've I've got to write about this? No one's No one's Dad's a Plumber.

SPEAKER_02: 18:47

Right. I was very much inspired by the work of David McGowan, who wrote the book We had Seen's Inside the Canyon.

SPEAKER_01: 18:54

Yeah.

SPEAKER_02: 18:55

As far as I'm concerned, this is a hugely influential book, and it's very important that people grasp.

SPEAKER_00: 19:04

There you go.

SPEAKER_02: 19:04

Yep, there you go. Well thumbed through by the looks of it.

SPEAKER_01: 19:07

Yeah.

SPEAKER_02: 19:08

Very important that people grasp the message that McGowan was putting across in that book. So, in a nutshell, he was from LA and he was a construction guy, had his own building company, but he was also a big fan of 60s music, late 60s, mid to late 60s, folk rock, country rock, uh psychedelic stuff, all the music that was popular in those times. And the story is that Dave went away on vacation one time and he had a book about Laurel Canyon by another author, and he was reading it on holiday. And in the book, the author made mention of a covert military research facility known as Lookout Mountain, which was located in the midst of Laurel Canyon. And Dave was aware that so many of the bands that were influential in the mid to late 1960s, that counterculture era, they shaped and molded the musical landscape of those times, emanated from Laurel Canyon or were drawn magnet-like for some reason to that neighborhood. And he thought, well, this is curious, I need to dig into this a bit when I get back off holiday. So he did that and he started looking into the backgrounds, the family backgrounds of these prominent musicians. And what he found, as detailed in that book, was that without exception, I used to say almost without exception, but there are no exceptions, the fathers of these prominent music makers who changed the culture of those times had direct connections into the military or expressions of military intelligence or government departments. And he thought to himself, well, this is a strange thing because prior to doing this research, I would have expected that the fathers of band members would have had regular working class jobs, like a builder or a plumber. But you don't you don't find that. And these military roles weren't kind of low-ranking foot soldier rank and file staff. These were senior generals, admirals, lieutenant colonels, very high ranking in the military. And Dave unfortunately passed away the year after putting out that book. So the book was based on a series of web articles that he'd collated. And he brought the book out in 2014. I interviewed him for my Good Vibrations podcast in 2014.

SPEAKER_00: 21:36

Oh, good. I because I I didn't discover him until after you had passed away and I didn't know he was gonna he had gone. I wanted you to bring him to the book.

SPEAKER_02: 21:43

I've got a show that I did with him from 2014. And then he died in 2015 on the 22nd of November, the anniversary of the Kennedy assassination. Yeah. 22 plus 11 is 33. 33 is a major calling card of Freemasons and other occult secret societies.

SPEAKER_00: 22:00

You think they had him killed?

SPEAKER_02: 22:03

Uh I have to reserve my suspicions.

SPEAKER_00: 22:07

Okay.

SPEAKER_02: 22:08

Yeah, yeah. I think his family made the statement that he had cancer, and you know, there's nothing suspicious in it. But again, I've seen a thing or two, and of all dates to have passed away on, it's a 33 date, which is occult signalling.

SPEAKER_01: 22:25

Yeah.

SPEAKER_02: 22:25

So he passed away of a fast-acting form of turbo cancer, reportedly. So that was him removed at the end of 2015. And I was very influenced by his book, and it caused me to want to do a bit of digging into some other genres. So I took it beyond just the 60s counterculture and started looking into punk, new wave, heavy metal, the new romantic scene, synth pop, dance music, hip-hop. And what I found was that same dynamic gets repeated in so many of these other genres. I'm not saying that literally everyone's dad is from the military, because you can find some working class jobs. But there's such a high incidence of family connections, not necessarily just the fathers, it could be grandfathers, uncles, ancestors who have these connections into expressions of the establishment that it's definitely a trend. And that's what colored the title of this book, No One's Dad's a Plumber. I wanted it to be a bit witty and uh a bit memorable and a bit of a conversation starter. So I'm not saying literally no one's dad's a plumber, but I think the title makes the point that you don't find as many plumbers, builders, lorry drivers as you might have expected to. But if you're looking to find governors and lord mayors and politicians, yeah, you'll find a whole load of those.

SPEAKER_00: 23:48

What are some examples of of artists, famous artists you found who have connections to the military or military intelligence?

SPEAKER_02: 23:57

One story that I love is that of the Copeland family. So Stuart Copeland was the drummer with the group The Police, and he had two brothers, Ian Copeland and Miles Copeland Jr. And they were all the sons of Miles Axe Copeland, who was a CIA career spy, and he was legendary within intelligence circles. All three of his sons were born in Beirut, which is a major CIA stronghold, and they were all put to use in the music industry. So between them, they ran record labels, they ran an artist booking company, artist management company, they had a show on MTV where they would only showcase acts signed to their own roster, and they had their own house band called The Police. And they were called the Police, with Stuart Copeland put in as the drummer, because their job was to police all the other artists that came through that genre. So in Musical Truth Volume 2, I've got a whole chapter on the punk and new wave scene in both Britain and America, and it becomes clear that the Copelands were gatekeepers for that scene. So that whole genre was highly controlled, and the powers that be wanted that music out there at that time because it fulfilled agendas that suited them at that time. This is why they keep rebooting the music scene every few years. They come out with these new styles and these new scenes and these new fads and trends and movements because it suits them to have this stuff being put out there at that time. And then after a few years, every fad or trend kind of fizzes out and dissipates and becomes replaced by something else. But with 70s and early 80s punk and new wave, it was very much the domain of the Copelands. So they were basically a CIA family, and the police were a CIA band, and they had such an influence over that whole scene. And there are many other examples. I've got um Peter Gabriel's ancestry from Genesis, and uh one of his ancestors, I think it was his grandfather, was the one time Lord Mayor of London, and Chris Martin from Coldplay, his uncle, I think it was, or may have been his grandfather, was once the Lord Mayor of Exeter in Devon. So this is the sort of thing you just keep finding time and time again. Chris Deberg, the Lady in Red singer, he's got links into royalty and good friend of mine, Dom Waterson, who does a podcast called Sheep Farm Studios with his brother Chris. They do a weekly show. I'm doing an event with them in London this weekend. Dom really digs into ancestry of these famous people, and he finds that so often they are descended from nobility, royalty, English kings. He's done John Lennon's ancestry, and he's found out that Lennon was descended from Welsh kings. Oh, I didn't know that. Yep, he's dug into the ancestry of Beyoncé, and Beyoncé is in the distant past descended from English royalty. And it's the same with so many of these artists. I mean, Dom's got many more examples than I have, and uh he shows the family tree, shows all the genealogy, and you can see that the reason so many of these people become famous is not down to whatever skill and talent they may have, or having crossed their fingers for good luck and done a bit of hobnobbing and networking along the way, but it's down entirely to their ancestry, genealogy, DNA, genes, the families that they come from. So new generations of the same family bloodlines that are deemed important are put into influential, prominent roles throughout history. And it doesn't have to be just in music. So you find many examples of famous musicians whose relatives or ancestors were very prominent in politics or in uh big business or science or medicine or some other expression of organized society. So it seems these people are handpicked for these roles, and they might take someone from a particular family bloodline and say, We're gonna make you a prominent politician, and then somebody else from that same bloodline will be told, we're gonna make you a really famous pop star. And so these careers are facilitated for them. And people have a really hard time with that, particularly when you touch on their favorite band. I get this all the time. People say to me, Yeah, I can see what you're saying, Mark, and you know, it makes sense that this dynamic is in place, but it doesn't apply to my favorite band. No, no, no, they got there under their own steam, or my favorite singer, no, he stayed outside of all of that. Unfortunately, a general rule of thumb is that if someone is famous and they're a household name and you've heard of them, if you went out there in the street and stopped 10 people and said, Have you heard of this person? And you get a 10 out of 10, then they've been placed there. Because we have a control system which is psychopathic and it's satanic, and also it's very clever, it's very smart, they've got their act together, they've got their game on lock, they're very efficient, they've got every aspect of our lives completely under domination. The idea that they could have done all that, but when it comes to music, this group here or this singer here just sort of slipped through the net, you know, and found his own way in and nobody noticed, and he went on to fill fill out stadiums and sell millions of albums, and nobody noticed that he'd gone his own way and didn't go through official routes, is ridiculous. And again, I know people get upset when you mention certain names because they may have enjoyed their music, but it is what it is. The evidence speaks for itself, and I think it's actually quite naive for somebody to say, Yes, I see it in 99% of cases, but not with. My favorite artist. That's a personal attachment to an artist that you've decided you like or a group you've decided you like. And it's just too much for you to bear to hear that they might not be who you thought they were. We've all had to go through it. I mean, with me, it was other DJs. So early days in my career, I used to look up to certain other DJs, radio DJs, club DJs. I now realize these people are not who I thought they were, and they didn't get there under their own steam, just through good luck and hard work. They were placed there, or they were given a helping hand up the ladder, uh, let's say, early on. And I've had to let go of my attachment to these people. And it's been hard. It's been painful because they used to be so inspirational for me. But we all have to go through it if we're going to go all the way, if we really want the truth of the matter.

SPEAKER_00: 30:56

Well, I've known men and women my whole life that are musicians, some extremely talented, far, far more talented than me, got close to becoming famous. But for some reason, they got overlooked by the record company. I had two friends. And I always thought that's kind of weird. How did this guy get overlooked? But somebody else who isn't as good looking or isn't as talented or doesn't have as much charisma somehow is now a household name. And I think that that explains it. And when you think about after the Beatles, I did an analysis of guitar sales prior to the British invasion, then guitar sales after. And it increased exponentially drums, bass, guitars, keyboards, everybody thought they're going to be a rock star. So think of all the millions of people in around the world that thought that, well, if the Beatles could do it or Jones could do it, I can do it. But it we've all been fooling ourselves for 60 years now, thinking we're going to become the next whatever it happens to be, author, musician, actor, ever. Do you agree with that?

SPEAKER_02: 32:00

If people think that famous individuals get their roles through pure talent alone, and that's all it comes down to, please explain to me how Madonna has been a film actress. Madonna is the worst actress in the world. She can't act. But it hasn't stopped her getting film roles. Why? Because she's someone that the system has wanted to promote. In my view, she's a slightly better singer than she is an actress, but she's still not the best singer in the world. We all know better singers than Madonna. We probably personally know friends that can sing better than Madonna. But the point is she's from one of these important bloodline families, and you're not. And that's she's there and you're here.

SPEAKER_00: 32:47

What are her connections? What's her bloodline? Do you know off the top of your head?

SPEAKER_02: 32:51

Oh, well, hers doesn't disappoint at all. So all the links come from her French-Canadian mother, whose name was Madonna Louise Fortam, so she took her first two names. And her father was named Tony Shacconi, so she became Madonna Louise Shicconi. And Tony worked for Chrysler in the military tank division. That was his job. And it's through the mother that all the interesting links come from. So I've got a family tree of Madonnas, which I've shown in many of my public talks. One way or another, she's related by blood as a cousin in most cases to George W. Bush. Oh Lord. Right. Barack Obama. So Obama and Bush are cousins. Bush's own presidential opponent in the 2004 election, John Kerry, they're cousins. So what a great choice that was for Americans. Hey folks, it's election time. Who do you choose? This cousin, who was a member of the Skull and Bones Elite Secret Society at Yale, or this cousin who was a member of the Skull and Bones Secret Society at Yale. Ain't democracy just great. We choose our leaders. So they're all cousins. George W. Bush is a cousin of Dick Cheney, his own vice president. And then Madonna is in the mix because she's a cousin of all of them. She's also related to Tom Hanks and Brad Pitt, so that's why they're famous actors. Also in the mix is Celine Dion, she's a cousin of Madonna. Lady Gargar is a cousin of Madonna. Ellen DeGenerate, the chat show host, is a cousin of Madonna. Or roads go through Madonna. Right? Justin Bieber is a cousin of Madonna. Justin Trudeau is a cousin of Madonna. So her bloodline is pretty prominent, and it all comes through the mother. You often find that the mothers are used as effectively brooding mares to keep the bloodline going. So you find some really interesting stuff. So Yoko Ono's mother, for example, was related to the one-time emperor of Japan.

SPEAKER_00: 34:59

Yes, I read that in your book.

SPEAKER_02: 35:01

Right, yeah. So Yoko is descended from Japanese royalty. And we find this so often with the mother's bloodline. Marianne Faithful, who passed away earlier this year, was very prominent in the 60s as a singer and actress. She was an associate of the Rolling Stones. And her mother is descended from the Saka Masok family bloodline, coming out of the Austro-Hungarian Empire. So you have the hotel Saka in Vienna, Austria, which was featured in the movie The Third Man. And then on the Masoc side of things, you have one of her ancestors who wrote the novel Venus Infurs. And it's from that that we get the term Masochism.

SPEAKER_00: 35:42

I was just going to say it sounds like it comes from that, yeah.

SPEAKER_02: 35:45

Right. For a certain, you know, sexual preference. So that's Marianne Faithful. And again, it's coming through her mother. Meanwhile, her father, Major Glynn Faithful, was a big Royal Air Force officer. So military links from the father, long-running generational family bloodline links from the mother. We find this so often. And so that's why Madonna's famous. That's why she's been promoted. There are way better actresses out there, way better singers, and we all know of them. You know, there are way better DJs out there than the ones that get promoted, the ones that I see at festivals and in big clubs and on the radio. I personally know other DJs who are way better than these people. But these ones have been selected and these ones haven't. It's nothing to do with talent, it's nothing to do with luck. It's often to do with bloodlines, not always. I mean, there are other ways into the industry. You can demonstrate just how much you want the fame and the prominence and the wealth. And if you're prepared to degrade your morals to a certain degree, you're in. That's where these parties come in. That's where these secret rooms and the record companies come in, where the rituals take place. That's where people like P. Diddy come in with all these crazy parties that we're hearing about in his mansions, these freak-offs.

SPEAKER_01: 37:06

Yeah.

SPEAKER_02: 37:06

The idea of those events is just like Jeffrey Epstein stuff, Epstein Island, L'Alita Express, is to get famous, powerful, influential, famous people along to these events, film them in lewd acts with who knows who doing who knows what, and then using that footage as blackmail leverage to make sure that they do what you want them to do and say what you want them to say. That's the purpose that these events serve. And many people who've become rich and famous and powerful would have been through an event like that. And so their career is facilitated for them. It happens a lot in politics, particularly British politics. So much sleaze in that walk of life. And that's the way so many of these people get their jobs. You know, they're totally inept in office and they're complete psychopaths, but that's kind of the point. That's why they're in those jobs, because they've been hand selected for them, and somewhere on a dusty shelf will be a tape with their name on it, which is being kept just in case it might one day be needed.

SPEAKER_00: 38:21

I see this a lot over over here. There's a quarterback that plays in the NFL for Cincinnati, and I saw a video of him in like a a pageant, a fashion show. This is a grown man wearing like a backless tuxedo. It almost looked like a dress. And it it obvious it was obvious to me it was a humiliation ritual for this guy. I don't know why he's really big name here in the States. But you see this, these humiliation rituals go on uh as part of all of it. And I saw this and went, whoa, that's a humiliation ritual, and everyone else thought it was funny, you know, he was just pulling off a gag. But no, why would a grown man I mean I understand there's men that you know cross-dress and stuff, but this wasn't cross-dressing, this was a published event for a grown man dressed in a backless tuxedo where he was kind of strutting down a runway. And do you see a lot of that in see the humiliation rituals that these organizations promote in everyday life or in the media?

SPEAKER_02: 39:25

Yeah, humiliation rituals are a big part of things. So people might recall that the comedian Dave Chappelle had something to say about this a few years ago. And he made the observation that when you think of all the major successful black Hollywood actors like Eddie Murphy, Wesley Snipes, Martin Lawrence, Will Smith, uh probably Denzel Washington at some point, they've all been required to dress up in drag, dress up as women, put a dress on at some point in their career. And it's a it's a demasculation exercise, and it's also humiliation. So it's not trying to just mock them, basically. And we get this with singers and musicians as well. So many male musicians have been photographed wearing women's clothes and turning up to award ceremonies in dresses and things like this. That's humiliation. Happens with politicians. There's a story involving Tony Blair going way back when he was apparently caught in a public toilet in an indecent act. The case went to court, and this is before he became leader of the Labour Party here in Britain in 1997. Case went to court, but he was allowed to appear in court under his middle names of Charles Linton. So they kept the name Tony Blair off the public record and out of the media. An individual named Charles Linton appeared in court accused of this lewd act. Wow. What's that all about? That has something to say about Tony Blair's upbringing. This is another thing that Sheep Farm have dug into, some of the public school situations that many of these famous people, particularly politicians, find themselves in. So you have the public school network. Here in the UK, we use the term public school to mean the opposite, basically. So it's not a school that's open to anyone. It basically means private school. This is one that you pay for, it's very expensive, and it keeps the riff-raff out. It makes sure that just the elites get in there. And these places are breeding grounds for future psychopaths. This is where all the politicians come from and the business leaders and such. And there are absolute horror stories about the sort of stuff that goes on in these places. You know, straight abuse, straight trauma at the hands of prefects, senior students, but also at the hands of tutors and headmasters. You know, there's canings and whippings and stuff like that, but there's also sexual abuse that goes on. And so these people get turned out of these public schools, and then they go on to somewhere like Oxford and Cambridge University, which is where, you know, the so-called elites get their education here in England. And there'll be more of the same going on there. And by the time they enter the world of work in whatever profession they've been slotted into, they've already undergone pain and trauma and you know uh this abuse, and they carry that with them. So that's the way they produce new generations of these people that they want to put into these influential roles.

SPEAKER_00: 42:40

How do you how do you see in the current media situation with digital streaming? How how is the same manipulation how is the the how are the elite using the current way of uh streaming and the internet, how are they using that to control people, manipulate their minds? I think you covered that a little bit.

SPEAKER_02: 43:01

Yeah, I mean they update and reboot their methods every so often, and clearly there's a lot more that can be achieved through digital electronic ways of doing things, particularly since the advent of the internet than would have gone on previously. So I've carried the story in my first book of a practice which apparently used to take place routinely within American record labels, and probably the same in Britain as well and around the world. And this is based on the testimonies of a guy who was known as John Todd, and his real name appears to have been Lance Collins. So he's from one of these important bloodline families. The Collins family is one of these names that keeps coming up, so-called Illuminati family. And sure enough, he was given a role in the American record industry, and he worked for various record labels and promotions companies, but he decided to break free of all of that, and he became a born-again Christian. And in the 1970s, he recorded a series of testimonials talking about some of the stuff that he'd experienced in the industry, and using a meeting with David Crosby, of Crosby Still Snatching Young and the Birds, as an anecdote to make the point. He spoke about this regular practice that he used to see all the time, where the master recording, the master tape of a new album that the record labels wanted to put out into the public in the form of a vinyl album back in those days, Analogue Technology, would get brought into this special room and they would bring in a coven of witches to perform a ceremony, a ritual, and place a dark curse on that master tape recording. The idea being that every copy that is then made of that master tape in the form of an album is going to go into people's homes and it's going to carry some of that energy with it because energy, frequency, and vibration is everywhere and makes up everything. So that's what was getting done in the 1970s, according to this guy whose evidence we have to go on, and that was in the analogue era. So now we're in the digital era where music is delivered in entirely different ways. Nobody's buying slabs of plastic now in cardboard sleeves with artwork on. Most young people are listening to music in the form of an MP3 on their phone. So gone is all the lavish artwork and all the wonderful stuff that used to go into that, and you just get a bloody icon on your screen, and that's it. And most young people are listening to it through these shitty little tinny speakers on their phone, and they think that's the way music is supposed to sound. So, first of all, it's a digital copy of the original performance of that music. It's not even the original recording, it's an approximation of it, a digital interpretation of what was once there. So it's not even authentic in the first place. And then, secondly, because it's electronic and digital, there are all kinds of things which could have been stripped into that recording on an unseen level without the conscious awareness of the listener. Because you can take stuff out in the MP3 encoding process, you start out with a full frequency range file, like a WAV or an AF file, and the software system that you use to create the MP3 strips away a lot of the data in that recording, with the aim of reducing the file size so it can be delivered more efficiently and held on a phone and such. So by the time you end up with the MP3, a whole load of stuff that was there in the original recording is gone. But unless you're a really skilled audiophile, you're not going to notice. You're not going to realize that a certain baseline is gone or a certain frequency is no longer there because it's indiscernible to most people's hearing. So that's what you can do that way around. Strip stuff out and no one notices. So you must be able to do it the other way around then. Put stuff in without anyone noticing. And it pays to keep in mind the true motives of those that control these industries. Are they really nice people that just want to help us all? They're big-hearted, they're they're kind, they've got compassion and empathy. Or are they complete psychopaths, abominations of humanity, monsters who want to subjugate, control, and enslave humanity and control our minds? Yes, I think that's probably it. So isn't that exactly the sort of thing that these types of people would do if they could? Well, the technology is there to enable them to do it. So I think it's a fairly safe assumption that they're already doing it. And they've been doing it for a very long time since the advent of the digital era and music being delivered in digital formats. So I think there's some really harmful, sinister stuff that's going into music that's put out there now. It's aimed at the youthful generation of these times because all the social engineering projects are aimed at the young people. They don't bother with people of our sort of age group because we're insignificant to them as far as they're concerned. They're just waiting for us to die off. They just want young people, young hearts, minds, souls. They're easily manipulated, they're malleable, they're quite naive in most cases, and that's why we all have a number done on us when we're young. I certainly did. I was fooled, I was mugged off, I was duped. I know better now, but I didn't know better at the time. It's young people they're after, and the the methods, the ways in which music is delivered to these young people, the platforms that are used, streaming being a good example, is how the job gets done in these times.

SPEAKER_00: 48:49

You had mentioned them putting information into this digital MP3s. I've always wondered, and I don't know if you know about this, if there's hidden frequencies that are like dog whistles to the human ear in mind. It puts a human in a trance because when and I can only refer to the Beatles. I look at the Beatle Mania, the hysteria of those girls when the Beatles were touring. Like, what's causing this? And what is causing this? This music, some of their music wasn't that good. When you step away from it, you go, that's not very not really a great song. So do you think there's something that they're mixing into everything that like a frequency that puts the brain in trance or anything like that?

SPEAKER_02: 49:30

It definitely would not surprise me to discover that's the case. The Beatles definitely tried to push the envelope in terms of sonic manipulation, or certainly in the second part of their career, because I see them as a group of two halves, two very distinct halves. And Mike Williams has made this observation as well. So when they first started out, they were very clean-cut and they were very likable, friendly chappies, you know, making these nice boy meets girl love songs, dressing in suits. But by the time you get to 1966, everything's starting to change. You got the song Tomorrow Never Knows, which is based on Timothy Leary's interpretation of the Tibetan Book of the Dead. So it's Eastern mysticism starting to creep in, and it's very trippy, very psychedelic, and it's paving the way for what was coming the next year, the Summer of Love, 1967, psychedelic counterculture. It was known to be coming because it was social engineers who created that scene. And the social engineers were working in cahoots with all the Hollywood film studios of the time, which is why all the movies started to change, and all the major record labels, which is why the music started to change. And so many bands adopted that psychedelic style. It wasn't just the Beatles, you know, the Rolling Stones went down that route with their album, Their Satanic Majesty's Request. And then you had new bands coming on the scene here in Britain, like the Pink Floyd, the forerunners to the Pink Floyd, most people know Dark Side of the Moon and such. When Pink Floyd first started out with their front man Sid Barrett, they were putting out very trippy, kind of LSD-laden psychedelic stuff. And that's the way the whole of culture went in 1967. And the Beatles were very prominent in leading that charge. And then after 1966, I mean, this is one for all these people that scoff at the idea that Paul McCartney was replaced in 1966. They say, oh, that's ridiculous. Well, why is it then that the Beatles stopped touring at the end of August 1966 with their concert in Candlestick Park, San Francisco? They only did one more gig after that, which was on the rooftop at Abbey Road in January 1969. They completely stopped touring. They toured non-stop from 1963 to 66, then just stopped. And then they became a studio band. And they were all about pushing the boundaries in terms of what could be achieved through Sonics. And a lot of this was done at the hands of Sir George Martin, the so-called Fifth Beatle, their famous producer. And prior to becoming the in-house producer for EMI Studios, George Martin had worked at the BBC, there's a red flag, radiophonic workshop. And this was a place which was concerned with testing out what could be achieved through the manipulation of sound. They were responsible for the very distinctive theme tune to the TV show Doctor Who, which first came along in 1963, with the use of an oscillator and all these strange, eerie kind of sounds. So George Martin was working at the BBC Radiophonic Workshop at that time, and he put out a record actually under the pseudonym of Ray Cathode. Quite Beatles-y as it goes. And so George Martin was learning his craft at the BBC Radiophonic Workshop. So the BBC is linked to British military intelligence, MI5, MI6. They're in bed with the Tabistock Institute, which is one of the major social engineering think tanks in London with their PSYOPs exported all around the world, coming soon to a city near you. And so don't trust anything or anyone that comes out of the BBC. Well, George Martin did. And then he became the producer for the Beatles. And reportedly they were putting all kinds of subliminals into their recordings. They were quite open about some of them. They spoke about it in interviews. John Lennon once commented, oh yeah, sure, you know, we were putting subliminal messages in our songs all the time. And as backmass messages, many of them are said to pertain to the replacement of McCartney. These little clues that were placed in the form of backwards messages, which cannot be discerned by the conscious mind, but the subconscious mind has no problem absorbing it and making sense of it. Because messages do not need to be delivered in a left to right, front to back linear fashion in order to make sense to the subliminal mind. It just soaks up everything like a sponge. And unless what it's absorbed is brought through to the conscious mind, it can manifest itself in all kinds of ways. It's where dreams come from, what we've absorbed through our subliminal, subconscious minds, and it can often drive our behaviors and our thought patterns and our value systems, unless we're consciously aware of what's being done, which is why it's so important that people get wise to the methods and the tactics that are being weaponized against all of us, so that again that magic spell can be broken. And then you can continue to enjoy music and movies if you choose, because I don't know about you or anyone else, but I think the world would be a pretty bleak place. Well, it already is, but even bleaker if we didn't have music and movies and distractions like that. I mean, I need them in my life, I do a lot of work, I consider and reflect upon big questions in life a lot, I do a lot of contemplating, and every now and again I just need to switch off from all of that. I need a release valve, I just need to chill and relax. And I do that sometimes with music, and I do it sometimes with watching movies. And I like to think that I'm not getting programmed by those things as much as somebody who has not studied these subject areas and doesn't know how mind control works and how the placing of messages aimed at the subconscious mind work. So the message is you can still enjoy popular culture if you want to, but it definitely pays to be street wise and savvy to uh what's being done to us.

SPEAKER_00: 55:49

How do you respond to people who dismiss these ideas as conspiracy theories?

SPEAKER_02: 55:55

Yeah, you hear this all the time. You really touch a nerve when it comes to talking about people's famous band uh favourite bands or music or films. So it's a double-edged sword because I think I have a much easier job than a lot of other people that are trying to blow the whistle on other aspects of what's being done to us. So I do a lot of conferences, and often there'll be 12, 15 speakers. I'm one of them, and I'm talking about the weaponization of music and popular culture, and then somebody else will be talking about geopolitical affairs. Somebody else might be talking about the banking financial scam and how money is all illusory and it's all a big con. Somebody else might be talking about personal sovereignty and the birth certificate fraud and things of this nature. Somebody else will be talking about natural health and medicine. Somebody else will be talking about, I don't know, maybe wars, you know, for foreign affairs and things like that. And a lot of these subjects, I think, many people find quite dusty and boring and they're not sexy, they're not exciting, they're a bit of a turn-off. But everyone wants to hear about the true nature of the music industry, in my experience. Even if they are going to try and deny the things you say, they still want to hear the things you say so that they can deny them. So when you're talking about music and Hollywood films and glossy sort of forms of entertainment like this, people do want to hear about it. I see them sit up straight in their chair and engage their line of sight and they're really paying attention to what I'm saying. So I think I've got an easy job in that regard because I get people's attention. And not to blow my own trumpet, but I've been at many conferences where the the audience levels are kind of dwindling and people are just out having a cigarette or you know, having a coffee or whatever, and then I come on, I'm announced, and the chairs fill up. And I'm not saying that's because I'm an amazing speaker, I'm saying it's because people are interested in my subject, and I find I have a full house. Everyone wants to hear my stuff. So that's the plus side of things. The minus side of things is what you just said. People are very prone to throw this stuff out if you touch a nerve by focusing on their particular holy cow, their favourite artist, their favourite actor, and then they'll argue with you all day long. I have people who I'm aligned with pretty much 99% of what they talk about. We're on the same page with the vast overwhelming majority of most of it. But when it comes to the Beatles, they are not having it for a second that they were anything but four regular working class lads from Liverpool who just happened to become as famous and as influential as they did through good luck and hard work alone. They're not having it that Paul McCartney could possibly have been replaced. Of course, it's the same guy we've had all along. And it doesn't matter that you'll hold up two photographs and in one he's got a very round face and he's a particular height, and the jawline looks a certain way, the eyes look a certain way, the eyebrows look a certain way, the hair parting is a certain way, the nose shape is a certain way, the ears are a certain way, and in the photo of the next guy, none of that stuff is the same. They'll still insist, no, no, it's the same man. And you think, are we actually seeing the same two photographs here? Because I'm looking at these two, and it's two different men, but they're not having it because to have to admit to themselves that Paul McCartney, their beloved uh Beetle, was replaced and it's not him, and they spent all those years and decades following somebody who's not who they thought he was, is so preposterous and so outrageous and so devastating to them that they'll do whatever it takes to block that out and not have to face up to that truth. Well, I've I've found it runs very deep.

SPEAKER_00: 59:57

I found the Beatles fans. at me being I'm still a fan, but they're some of the meanest people that you'll if you if you if you attack that story, they get for for people it's supposed to be about peace and love. They're some of the most vindictive, mean little creatures in the world when you try to take their band apart. It it's really you're really scary that some of the comments I've gotten from people around the world about that band.

SPEAKER_02: 1:00:23

Well I think it's the same with so many things. Have you ever seen a flat earth argument?

SPEAKER_01: 1:00:28

Oh yeah. Yeah.

SPEAKER_02: 1:00:29

Look at that stuff. I mean the way globeheads and flat earthers attack each other is just vicious.

SPEAKER_01: 1:00:37

Yeah.

SPEAKER_02: 1:00:38

Because because each side is attacking the very foundation of the other's entire value system, an entire perception of what this realm is.

SPEAKER_00: 1:00:49

Exactly.

SPEAKER_02: 1:00:50

And then to take it back to the start of our conversation the Charlie Kirk thing, some of the chat threads that I've seen running and some of the comments below videos and stuff, absolutely vicious people. You know, just just it's like they're at war with each other over this guy that none of them knew personally.

SPEAKER_01: 1:01:06

Yeah.

SPEAKER_02: 1:01:07

And they're just going by mainstream media reports of what happened to him. And in most cases or in many cases people had never actually heard of him prior to this event. And I think it's triggering these extreme reactions in so many people and they're getting aggressive, they're getting violent, they're getting really really hot under the collar. And the social engineers must love it. They must be pissing themselves in their gentlemen's clubs clicking champagne glasses and drinking to another campaign well executed. Yes, exactly. Because they've got the minds of the general public exactly where they want them. And they're behaving in exactly the way their behavioral scientists and their psychologists predicted they would what what do you hope readers take away from your book No One's Dad's a Plumber I see it as me fulfilling my obligation to put this information out there. What people make of it is their own business but I certainly hope it will cause them to sit up and pay attention to perhaps an aspect of organized society that they've not considered is as controlled as it actually is before. And I didn't actually plan to write this fourth book in the series. So there are three previous books in the Musical Truth series. I wrote the third one in the middle of the COVID nonsense in 2021 and I thought well that's it that's the trilogy that's all I need to do. But because by that point I'd become the go-to guy for information of this nature I was getting emails literally every day from people saying oh Mark have you seen this you've got look into this band look at this symbolism in this video look at this stage show look at what went on here look at who this guy's dad was and I started assembling all this information keeping a folder and collating all these little tidbits of information and eventually I ended up with about 700 bits of information and I thought I've got to do something with this. It can't just sit on my laptop and go nowhere because this is knowledge that people need to get access to and if nobody else is going to put this stuff out there I guess it's down to me and I guess there needs to be another book so that's why we have no one's dad's a plumber. It's information that didn't go into the first three books because I didn't know about it back then but it's information which is too valuable to be allowed to just drift off into the mists of time and be forgotten. It needed to be recorded for posterity needed to be put out there and as I say what people do with it is down to them. I just had to fulfill my obligation to get it out there and be that the conduit for that information.

SPEAKER_00: 1:03:56

How can the average how can the average listener protect themselves from the manipulation and the psychological manipulations through media and music what what do you what do you suggest?

SPEAKER_02: 1:04:08

Well I generally suggest what I mentioned earlier which is getting yourself up to up to speed with the methods that they use getting familiar with symbolism and how that works getting familiar with predictive programming messages with uh cultural conditioning through social engineering. And once you get a familiarity with the sort of methods that are used you start to see them everywhere like you said earlier. You can watch a film and a scene comes on or a character comes on you think I know why they inserted that in there because it's to push this message or to accelerate this agenda. And it becomes so easy to spot when you just break that spell and get the conscious mind operational. And the more people we have doing that the less the old tricks are going to work anymore. And if the old tricks that they've relied on for decades if not centuries aren't working the way they used to we could really find find ourselves going somewhere societally in terms of consciousness. The mind control has to go and the social conditioning through entertainment popular culture has to go. And it's only awareness of the ways in which it gets done which is going to achieve that. So I'm making my little contribution with my books and my talks and my podcasts it's my hope that many many more people out there we need hundreds of thousands if not millions of people communicating this information. And not everyone is cut out to be a podcaster I get that not everyone has to go on YouTube or these other platforms. Not everyone can write a book it's just not part of their skill set on a stage and addressing an audience but everyone can do something. Even if it's a conversation with a family member a particularly stubborn family member maybe a Paul McCartney fan yeah who's just not having it just keep hammering away at that person. Keep presenting them with the information with the evidence work away at them one day they might come round and then they'll speak to the people they know their friends and they'll say I used to completely deny this idea and completely reject it but guess what this is how I now see it and this is why this is the evidence. And the information then grows exponentially like that it starts to snowball. So we need more conversations around the water cooler at work about this sort of thing more conversations in the pub more conversations among friends and family members. See that's something I don't think I'm very good at I'm not really good at sitting down in a pub with an individual and having a conversation and trying to convince them I think I'm better at doing that with large audiences just putting information out to large numbers of people at a time but others out there are much better at engaging individually directly with one other person or a small group of other people and so conversations of that nature need to be happening everywhere. And if you're somebody that's become aware of the sort of information in this book and so many others then start communicating that to anyone that will listen. And that's the only way I see that things are ever going to change because it all starts with awareness. There can't be any change of the nature we want to see in so many areas of our lives if the awareness of the problem that's there in the first place is not recomm recognized. That's where it has to start.

SPEAKER_00: 1:07:31

That's excellent and I've noticed myself that music is everywhere like here in the States if you're pumping your gas there's music blaring out of the gas pump. So so one day I'm pumping gas and I started feeling sad. I'm like oh my am I feeling sad I was fine a second ago and here there's a song by Journey or something from my high school days this damn song it's in a minor key sad and I thought but it's this music why do we have to have music in the restaurants and the bathrooms and the it's everywhere now. And so I think if you're aware of what's going on in your surroundings where you are and and pay attention to your emotions and and you think well what's triggering this word emotion nine times out of ten for me it's the music. I can't listen to music much anymore it just it just really messes with my head and uh sends me to places.

SPEAKER_02: 1:08:22

So right well that's that's that's a big part of it as well. And that's why music has been weaponized because it's being recognized just how powerful it is. Oh yeah. You know it's a medium that can transport you back to a point in your life with such vivid clarity that it's as if you're living there in that moment. It is for me. Oh yeah I can hear a song from you know 1986 from my college days and I can remember who my friends were at the time what girl I fancied at the time what music was on the radio at the time what I was doing how I looked what I wore where I used to go what my car was all that stuff just from hearing a snippet of a song exactly very very powerful. And so that's why it's been weaponized it's been recognized how powerful a weapon it can be and it can be quite a dangerous weapon if our consciousness is not engaged and so it needs to be.

SPEAKER_00: 1:09:22

Exactly exactly well the book is No One is dead the Plumber and I urge all of you listening to get this it's a great book. Mark it's been great talking to you and so if another book coming out let me know. Do you have anything you want to promote or tell the people about where you're going to be appearing or anything like that.

SPEAKER_02: 1:09:42

Yeah cheers. Well my main website DJmarkdevlin.com is the hub for my various activities. So from there you've got links to where you can get the books. All my books are on Amazon I've got four volumes now in the Musical Truth series I started in 2016 so just coming up on the 10 year anniversary of that. I've also got two allegorical novels which I've written I call them Truth Fiction because it's kind of fiction but is actually truth dressed up as fiction. And they're called The Cause and the Cure and the gift and the curse and that's going to be a trilogy. So I'm writing the third novel in that series right now with a view to having that out by the end of February. So that's my next writing project. I've got audiobook versions of all those books as well which you can get on Audible and if anyone wants a copy of the audiobooks from me direct they're very welcome to send me an email and we can sort that out. So I'm on markdevlin2022 at protonmail dot com. In terms of mailing books out I don't mail books out to America Canada and most other parts of the world anymore simply because so many books just go astray. They go missing they get seized by customs. So my best advice to people in those parts of the world is just get it from Amazon. I know they're horrible but they're a good source for getting hold of books. In the UK and Europe I can mail books out. Other than that I do a lot of talks a lot of conferences most of those are in the UK occasionally I do overseas ones but details of all my various activities and also my podcast. I've got a conversation based podcast called Good Vibrations and I've got a conscious music message podcast which is where I showcase music makers who've really got something to say and have gone the independent route they're completely unplugged from the industry which means they're free to express themselves exactly as they see fit and there's some great music out there of this nature in all kinds of genres from rap to dance music to rock and I showcase all of that in the sound of freedom. So that archive is on mixcloud mixcloud.com and I also do a weekly uplifting Soulful house show called the sound of now which is also on mixcloud but the link to all of those is on djmarkdevlin.com well you are busy that is awesome I have left in life mate well no I'm the same way I you know I I sit here in this little room in my house and this is all I do.

SPEAKER_00: 1:12:12

I do my YouTube channel I make documentaries I I'm writing a book of fiction now that's roughly based off of reality about the corporate world and some people inside the corporate world want to bring it down. Just fiction guys in case the the feds are listening so it's it's this is all I've got too this is all I do and I'm diving deeper and deeper into it every day so I know the way well thanks so much and my my best wish is for you and your dad. Yeah no worries mate thank you and let me know let me know when your new book is done and if you can send me a link to the all the things you just mentioned or is it on your website?

SPEAKER_02: 1:12:54

So all the different if you just go if you just go to DJmarkdevlin.com okay that's like the one stop shop for all of it.

SPEAKER_00: 1:13:01

Alright I'll put links in in both the YouTube and the podcast and you can hear this on PT Papa Mind Revolution on Apple and all of the podcast platforms and it will also be on YouTube. Well Mark thanks so much for being on my show today I really appreciate it and your book is fascinating. This is Mark's book No One's Dad's a Plumber you can buy this on Amazon that's what I got my copy and that basically wraps up my conversation with Mark today Mark Devlin and uh basically had a deep thought provoking look into the hidden mechanics of the music industry and pop culture at large if this episode resonated with you please be sure to check out his latest book No One's Dad's a Plumber the link is in the description below and you can learn more about Mark's work at DJ Markdevlin.com and uh the older I get the more I more I think I know and I'm seeing how our culture is heavily heavily influenced by hidden hidden meanings in in much things that we consume as entertainment TV music movies books whatever it happens to be but as always thanks for watching thanks for listening and if you like this episode give me the thumbs up punch the subscribe button and leave a comment below with your thoughts what do you think about this what have you seen in culture that is uh you think is subliminally influencing you influencing influencing you or overtly so until next time stay curious stay awake keep questioning the narrative see y'all later hasta la vista baby would you like fries with that would you like fries with that