Episode 222
MIKE WILLIAMS - How The Beatles Broke the West: Engineering Cultural Collapse with Pop Music
Mike Williams, the creator of the Paul is Dead YouTube channel, unravels the intricate tapestry of the Beatles' cultural significance, which he argues extends far beyond mere musical innovation.
Through meticulous documentation and analysis, Mike posits that the ascent of the Beatles was not merely a product of artistic evolution, but rather a calculated orchestration by record companies and media entities aimed at reshaping societal values.
This episode explores how the Beatles became the face of a broader cultural manipulation, as well as the challenges of discerning truth in an era where conspiracy theories are becoming mainstream.
And we explore the implications of this narrative, particularly in the context of modern pop culture and the role of music as a tool for social engineering.
DOUG WILSON ON CONSPIRACIES
TAKEAWAYS
- The Beatles' rise was part of a calculated cultural shift orchestrated by Tavistock and other institutions.
- "Rubber Soul" marked a pivotal shift, elevating the Beatles through manufactured music and songwriting support.
- The Beatles' narrative reflects Tavistock's strategy, emphasized by symbols of occultism and mass cultural engineering.
- Laurel Canyon highlighted a larger story of music's role in societal transformation, as explained by Ian Carroll.
- Claims of the Beatles writing their own music are questioned, citing professional songwriters behind their hits.
- The documentary "The Complete Beatles" hints at engineering behind Beatles' success via producer George Martin.
CONNECT WITH MIKE
MENTIONED IN THIS EPISODE
- "The Memoirs of Billy Shears" by Thomas Uharriet
- "The Conspirators Hierarchy" by Thomas Coleman
- "Tavistock Institute" by Daniel Estulin
- "The Beatles Conspiracy 101"
- "Billy Shears Bloodlines: Presentation
- "How Do You Sleep?" by John Lennon
🌟 The Will Spencer Podcast was formerly known as "The Renaissance of Men."
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Transcript
Hi, friends.
Speaker A:Today I'm excited to share my interview with Mike Williams from the excellent Paul is Dead YouTube channel.
Speaker A:But first, this interview deserves important context, which I think is timely given the recent appearance of conspiracy researcher Ian Carroll on the Joe Rogan podcast.
Speaker A:It seems that conspiracy theories are going mainstream, which is great because that gives us an opportunity to talk about it.
Speaker A:First, on a personal note, as you've heard me say many times, God has blessed me with this platform.
Speaker A:Your time and attention is a gift to me from you and also from him.
Speaker A:As the person entrusted with shepherding that time and attention, I must guide you towards truth while helping you avoid potential pitfalls.
Speaker A:I consider that my responsibility, which weighs a bit heavier on me with this interview.
Speaker A:Because Mike and I recorded this conversation in October, his meticulous research into the Beatles has revealed how.
Speaker A:How their rise wasn't simply artistic evolution, but part of a calculated cultural shift.
Speaker A:Through extensive and impressive documentation, Mike demonstrates how record companies, media outlets, and cultural institutions coordinated to transform not just music, but society itself.
Speaker A:And the Beatles served as the most visible face of his transformation.
Speaker A:But after our interview, I discovered Mike's substack.
Speaker A:While his popular YouTube channels focus exclusively on Beatles research, his his substack reshares conspiracy content that ventures into fringe territory, particularly regarding Israel and many other topics I can't endorse.
Speaker A:And all this brings to mind a profound observation from Spencer Smith, director of the Third Adam documentary series and recent podcast guest.
Speaker A:Now, Spencer is no stranger to conspiracies himself, and he says, quote, the end result of all conspiracy awakenings is a hatred for Israel and the desire to build a new golden age.
Speaker A:End quote.
Speaker A:Now, to be clear, I don't believe Mike is a hateful person.
Speaker A:I think that will be obvious about him from the interview.
Speaker A:And I don't think having a negative view of any government on earth makes one automatically hateful either.
Speaker A:The issue instead lies in how conspiracy thinking can lead those who consume it down increasingly dark paths.
Speaker A:We need to recognize this pattern that many of us witnessed during COVID and we see online today.
Speaker A:Without a solid biblical Christian faith as our anchor, conspiracy research typically pulls people toward destructive mindsets.
Speaker A:That may even be why conspiracy theory is going mainstream as well.
Speaker A:It's clouding our ability to think and know what's real.
Speaker A:This pattern of coordinated cultural influence isn't new, though.
Speaker A:What Mike documents about the Beatles is part of a much larger story.
Speaker A: Throughout the: Speaker A:Ian Carroll even referenced this in his podcast with Joe Rogan.
Speaker A:Here's a clip.
Speaker B:Yeah, so.
Speaker B:So check this out.
Speaker B:Have you read Strange Scenes Inside Laurel Canyon?
Speaker A:I started to read it.
Speaker A:I have not finished it.
Speaker B:It's so.
Speaker B:I mean, even just the first chapter, right?
Speaker B:So if you take that book's premise, it's basically that before the hippie movement, there was a very powerful organized anti war movement led by a bunch of Quakers, a bunch of black activists, a bunch of like my dad was one of them.
Speaker B:And it was not this hippie fringe thing.
Speaker B:It was a very powerful anti Viet protest.
Speaker B:And the moment that LSD gets introduced, it becomes all peace and love.
Speaker B:And he points out in that book how all of these people, like Frank Zappa, like lead members of the Doors people, organize the Monterey Pop Festival over.
Speaker A:And over and over.
Speaker B:Like he probably has two to three dozen examples.
Speaker B:Specifically he goes deep into.
Speaker B:They all just happen to move from wherever they are all over the world into this area in LA that is not a hotbed for music.
Speaker B:And they all just start making music about peace and love and doing lsd.
Speaker B:And all of them have parents that, that are from Special Forces Intelligence Operations Pentagon.
Speaker B:Like some of the, some of the musicians themselves have backgrounds that look exactly like CIA operatives that were doing like revolutions in Cuba and over in specific, like the lead singer of the B of the Doors, Jim Morrison, for example, Frank Zappa.
Speaker B:So Frank Zappa is one where his dad and his mom were both.
Speaker B:Frank Zappa's dad worked at the base that is, that was like the chemical weapons, like where they did their chemical weapons research.
Speaker B:His dad was a chemical weapons specialist in like top secret clearances, which is basically like when you read about what his dad was, it sounds a lot like what MK Ultra would be.
Speaker A:He's right.
Speaker A: ource of music culture in the: Speaker A:But in the pantheon of culture shifting music greats, the Beatles reign supreme.
Speaker A:Understanding their role in 20th century pop music and is vital both to grasp how we arrived at our current cultural moment and to recognize similar patterns unfolding today.
Speaker A:Now, scripture offers clear guidance for navigating these waters.
Speaker A: Proverbs: Speaker A:End quote.
Speaker A:So we must remain alert to where our investigations are leading us.
Speaker A:First Peter, chapter 5, verse 8 further commands us to, quote, be sober, be vigilant, because your adversary, the devil, walks about like a roaring lion, seeking whom he may devour.
Speaker A:End quote.
Speaker A:Now, the Greek word nepho, or sober, specifically calls for moral alertness and discernment between good and evil.
Speaker A:And in 1 Timothy 6, 11, Paul directs us away from harmful fixations.
Speaker A:But you, O man of God, flee these things and pursue righteousness, godliness, faith, love, patience, gentleness.
Speaker A:These biblical principles are especially relevant today as conspiracies move from the margins to the mainstream.
Speaker A:What began with Bill Cooper and Art Bell on late night radio has evolved into Joe Rogan and Alex Jones reaching millions.
Speaker A:The word psyop has even entered everyday vocabulary.
Speaker A:And this rapid shift demands that we develop better discernment skills than ever before.
Speaker A:And so I believe that thinking Christianly about conspiracy research means four things.
Speaker A:First, examining evidence while remaining grounded in biblical truth.
Speaker A:Second, recognizing valuable insights without absorbing harmful ideologies.
Speaker A:Third, using wisdom to shine Christ's light rather than fueling darkness.
Speaker A:And fourth, maintaining love and compassion for those still caught in deception.
Speaker A:So as Christian men and women, let's gladly accept the sacrificial responsibility of keeping our passions in check and our minds clear when darkness is revealed.
Speaker A:Rather than responding with anger, bitterness, or even fear, let's remember that God has given us and our fallen, sinful world a way out through the blood of Jesus Christ.
Speaker A:For more insight on approaching conspiracy theories from a Christian perspective, I recommend Doug Wilson's excellent blog post on the topic, which is linked in the show notes.
Speaker A:Now please enjoy my complete, unedited conversation with Mike Williams as originally prepared for release in October.
Speaker A:Thanks so much and God bless.
Speaker A:Hello, my name is Will Spencer, and welcome to the Will Spencer Podcast.
Speaker A:This is a weekly show featuring in depth conversations with authors, leaders and influencers who help us understand our changing world?
Speaker A:New episodes release every Friday.
Speaker A:Okay, so get this.
Speaker A:What if the most beloved band in history wasn't just a music group, but a sophisticated psychological operation designed to rewire an entire generation's mind?
Speaker A:I'm talking about the Beatles.
Speaker A:A band I've never particularly liked but now understand represents something far more sinister than just another overrated musical act.
Speaker A: In: Speaker A:It was Mike Williams Four Hour Deep Dive.
Speaker A:Did the Beatles write all of their own music now?
Speaker A:I don't know how I found it.
Speaker A:Maybe someone shared a link or I was down some Internet rabbit hole about the Paula's Dead conspiracy.
Speaker A:Those rabbit holes can be pretty wild, right?
Speaker A:But something about this documentary was different.
Speaker A:When I hit play, everything I thought I knew about pop culture started unraveling in real time.
Speaker A:Look, I'm the guy who's always gotten eye rolls.
Speaker A:When I say I can't stand the Beatles, everyone loses their mind.
Speaker A:My 8th grade graduation literally used Imagine as our song.
Speaker A:Talk about forced cultural indoctrination.
Speaker A:It's like we were programmed from day one to worship these four guys from Liverpool.
Speaker A:But Mike Williams documentary revealed something way bigger than just musical taste.
Speaker A:What if the Beatles were the first and most successful experiment in mass cultural engineering?
Speaker A:Think about their trajectory.
Speaker A:They start as these seemingly innocent mop topped kids singing bubblegum pop, clean cut, harmless parents love them.
Speaker A:And then almost overnight, they transform into these countercultural icons pushing psychedelic drugs, Eastern mysticism and radical social change.
Speaker A:It wasn't an accident.
Speaker A:It was a carefully orchestrated plan.
Speaker A:Imagine a plot so precise that it could take four seemingly innocent musicians and use them to induce a radical cultural shift to millions of unsuspecting people.
Speaker A:So if you ask me, Mike Williams didn't just make a documentary.
Speaker A:He uncovered a blueprint for how pop culture can fundamentally reshape society.
Speaker A:How many millions of people turned on, tuned in and dropped out because of the Beatles?
Speaker A:How many doorways to cultural revolution did they open?
Speaker A:And let's be real, this wasn't a one time thing.
Speaker A:This became a template.
Speaker A:Look at modern pop stars.
Speaker A:Katy Perry, Taylor Swift, Britney Spears, Miley Cyrus.
Speaker A:They all follow the same pattern.
Speaker A:Start innocent, build an audience, then gradually deconstruct everything that made them initially appealing.
Speaker A:The Beatles were the original prototype, the proof of concept for this entire model of cultural manipulation.
Speaker A:Since that documentary, Mike Williams has carved up the Beatles mythology like a psychedelic turkey, exposing a level of cultural manipulation that's both horrifying and fascinating.
Speaker A:His videos have been viewed millions of times and he's done something that most people wouldn't dare.
Speaker A:Systematically dismantled one of the most protected narratives in modern music history.
Speaker A:In fact, he.
Speaker A:He's done such a thorough job that he's actually retired from making Beatles videos, instead focusing on spreading the insights he's uncovered.
Speaker A:When I reached out to have Mike on the podcast several months ago, I knew more people needed to hear this story.
Speaker A:Not just as music history, but as a case study in how culture is truly manufactured.
Speaker A:If you enjoy the Will Spencer podcast, thank you.
Speaker A:Now look, this isn't just another podcast.
Speaker A:This is a movement to rebuild the foundations of of Western Christian culture.
Speaker A:And you play a critical role.
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Speaker A:And my guest this week isn't just talking about the Beatles, but revealing how four musicians became one of the most sophisticated psychological operations of the 20th century.
Speaker A:From the Mike Williams Paul is Dead channel, please welcome Mike Williams.
Speaker A:Mike, thanks so much for joining me on the podcast today.
Speaker C:Oh, thank you very much, Will, for inviting me.
Speaker C:And I'm looking forward to the discussion.
Speaker A:You know, I found your first did the Beatles write all their own music video four years ago, not too long after you published it.
Speaker A:And I had never really thought much about the Beatles.
Speaker A:I didn't much enjoy their music.
Speaker A:I couldn't figure out why they were such a big deal.
Speaker A:But then I watched your video and it just started unraveling a whole bunch of different things for me.
Speaker A:And so now here we are four years later.
Speaker A:You've produced a whole ton of content around that.
Speaker A:And so it's the perfect time to sync up and share this with my audience.
Speaker C:Well, especially you and I spoke before we got going with the show that I'm retiring the research, effective this November, November 9th.
Speaker C:So it's a nice way to kind of wrap it up.
Speaker C:I can talk about it, I can summarize it and give the audience a broad perspective on what the research was all about.
Speaker A:Yeah.
Speaker A:So you've been doing this research for eight years.
Speaker A: So what you put together in: Speaker C:Yes.
Speaker C:Yeah.
Speaker C: st back in the latter part of: Speaker C: So what happened was in early: Speaker C:It was a different edition at the time.
Speaker C:It was a red cover.
Speaker C:It's the Memoirs of Billy Shears.
Speaker C:And I stumbled upon the book Will.
Speaker C:I was on Amazon and I was just perusing for books and it popped up as a recommendation.
Speaker C:And so I took a quick look at it.
Speaker C:I didn't know anything about the Book I know nothing.
Speaker C:At the time, I knew nothing about the author or the encoder.
Speaker C:Thomas, you Harriot.
Speaker C: was a kid going back into the: Speaker C:And I didn't believe that Paul McCartney was replaced.
Speaker C:I didn't believe Paul McCartney died.
Speaker C:I knew the rumor, I knew the conspiracy, but I thought that it was just a clever and witty marketing ploy pulled off by the Beatles, because that's how the Beatles are sold to us, right?
Speaker C:They're very clever, they're very witty.
Speaker C:And so I bought the book and I started reading it.
Speaker C:And when I got into it, I thought to myself, this is unbelievable.
Speaker C:The first thing that hit me is the amount of information in the book.
Speaker C:So when you read it, you think to yourself, okay, the details and the information are so deep that this has to have been written by or sourced from somebody that is either within the inner circle and has knowledge of all of this information.
Speaker C:Or it was actually written by the person playing the part of Paul McCartney, which would be.
Speaker C:I refer to him as Billy Shears.
Speaker C:And the reason why I call him Billy Shears is.
Speaker C:Well, that's, that's what he calls himself.
Speaker C:The COVID of the book Billy Shears.
Speaker C:And then on the sergeant Pepper album, the title track is sergeant Pepper's Lonely Hearts Club Band.
Speaker C:And then the second track is With A Little Help From My Friends.
Speaker C:And in between the title track and With A Little Help from My Friends, he introduces himself, the one and only Billy Shears.
Speaker C:And a lot of people think that's Ringo because Ringo sings the song, but it's not.
Speaker C:It was a way in which they were able to camouflage the clue and they gave Ringo the song to sing.
Speaker C:But they were actually the Beatles and Billy himself, because sergeant Pepper's his album, along with George Martin, their producer, he was introducing himself in that album.
Speaker C:So that was the first album which he came out publicly playing the part of Paul McCartney.
Speaker C:So when I bought the book, I started reading it and I was trying to get my head wrapped around what I was reading and what it was telling me because it's so diametrically opposed to the official narrative.
Speaker C:It's a 180 degree difference.
Speaker C:But I could have done one of two things.
Speaker C:I could have just put the book down and say, this is just nonsense and I'm not going to read any more of this.
Speaker C:I have better things to do.
Speaker C:Or let me take A closer look at what this book is saying and let me start some research to see if I can either prove or disprove what the book is telling me.
Speaker C:I decided to do the latter.
Speaker C:And I was mentioning before we got started that I mentioned this to a friend of mine, Sophia Smallstorm.
Speaker C:At the time, Sophia and I did a number of podcasts together.
Speaker C:And I just mentioned to her that I got this book and I was telling her a little bit about it and then she said, well, Mike, come on my podcast and talk about it.
Speaker C:And I paused and I dragged my feet, Will, because The book is 666 pages.
Speaker A:Yeah, I remember you mentioning that.
Speaker A:Yeah.
Speaker A:Provocative page number.
Speaker C:Yes.
Speaker C:A very, very strange amount of pages.
Speaker C:And maybe we can get into the occult aspect of this a little bit later.
Speaker A:Yes, please.
Speaker C:But I knew in order to do that, I would have to Basically boil down 666 pages and organize it in a way that I would be able to take the audience through it in two hours without getting completely lost in the woods.
Speaker C:And I just basically just pushed it off and pushed it off.
Speaker C:So finally she convinced me to do it.
Speaker C: that was back In September of: Speaker C:And I didn't think I was going to do any more shows on it.
Speaker C:I figured this is a one shot deal.
Speaker C:I read this book, I'll do a presentation on it, I'll share my thoughts, I'll tell you what's in the book.
Speaker C:And then what happened was Mark Devlin contacted Sophia and asked her for my email because he wanted to talk to me about book as well.
Speaker C:So I told Mark, okay, I'll come on your show and talk about it as well.
Speaker C:And it's really funny.
Speaker C:And I'll wrap this up because I don't want to take up too much of your time giving this much background on how I got started.
Speaker C:But I told Mark in that show, toward the latter part of it, famous last words, I said, and this will be the last interview that I'll do on the Paul is Dead topic and the Beatles conspiracy.
Speaker C:And I couldn't have been more wrong.
Speaker C:So that's the background.
Speaker C:That's how I got involved in it.
Speaker C:And one thing led to another and, and also as I mentioned before we got started, I was doing the research and presenting it in stages because I didn't want to overwhelm the audience with so much information that was so contradictory to what they believed because what would happen is they would just glaze over and you lose them.
Speaker C:So I had to break it down in bite sized chunks.
Speaker C:And I did that over the course of the eight years.
Speaker A:So what's so funny is in, in that little short discussion of your, the background, how you got into this, you've already touched on so many different topics that I'm familiar with from having watched many hours of your work getting ready for this interview.
Speaker A:But just how many pieces there are to this.
Speaker A:Like, I, I don't know how many people today are aware that there was a rumor in the mid-60s that Paul McCartney had passed away.
Speaker A:They're maybe not even aware of the two different kind of phases of the Beatles where they had this sort of like pop rock band in the first half of the 60s and then the full on psychedelic in the second half of the 60s and that the Paul is dead.
Speaker A:Like the Paul's death may have come in between those two.
Speaker A:The occult significance, all these different pieces, like all of this is wrapped up in a story that's come down, you know, kind of through the ages as like these, these icons that changed music forever.
Speaker A:The Beatles, you know.
Speaker A:Right.
Speaker A:But then all this was exposed to you just because you were browsing on Amazon and it suggested a book to you and you're like, I'll check that out.
Speaker A:But then instead of just kind of taking it for granted, like oh, that's cool and putting it on the shelf, you actually decided to dive in deeper and see what was really there.
Speaker A:Do you remember the thought that was kind of going through your mind like, huh, I kind of want to look into this.
Speaker A:What was happening in that particular moment that set you on this path?
Speaker C:Well, I was a total beetle freak, Will.
Speaker C:So, okay, so I was really, really into the Beatles.
Speaker C:In fact, I've mentioned this on a couple of interviews.
Speaker C: Back in: Speaker C: ubmarine that was released in: Speaker C:And my brother, who's about 13, 14 months younger than I am, he was a little beetle freak too.
Speaker C:So the two of us, you know, and so finally we convinced my dad to take us.
Speaker C:And you know, dad sat there for 90 minutes in total anguish.
Speaker C:And it was an animation and I was only nine years old and I didn't realize that the movie was an animation.
Speaker C:The actual Beatles themselves didn't come out until the last five or ten minutes of the, of the film.
Speaker C:And so I was born and raised on the Beatles.
Speaker C:From a musical perspective, they're the reason why I started Playing guitar.
Speaker C:They're the reason why I started writing songs, all of that stuff.
Speaker C:And so when I read this, I thought.
Speaker C:At first, I thought, well, this can't possibly be true, because we are so inundated with the official narrative, so conditioned that what I explained to people is, look, don't feel bad if you're having a hard time getting your head wrapped around this, because the brainwashing coming out of Tavistock and the Frankfurt School has been pounding us over the head for 60 years.
Speaker C:That's a long time.
Speaker C:That's six decades of conditioning and continuing to push the official narrative.
Speaker C:So it becomes very difficult.
Speaker C:And quite honestly, for so many people, especially boomers, it's the soundtrack of their life growing up.
Speaker C:And so to reach in and try to pull something like that out of your life, a lot of people are not going to allow it.
Speaker C:They're not going to let go.
Speaker C:They're going to say, nope, you stay away from me, you lunatic.
Speaker C:But when I do the research, Will, I do the research?
Speaker C:Mostly for me.
Speaker C:It's for my own curiosity.
Speaker C:It's my own personal path to seek the truth.
Speaker C:And I like presenting my research.
Speaker C:Now, whether people agree with it or not, that's up to them.
Speaker C:I've always said in many, many, many of my presentations and my interviews that I'm not here to convince anybody of anything.
Speaker C:I'm just presenting my research, and it's up to you to be able to decide where you want to go with it.
Speaker C:If you don't want to do anything with it, that's fine.
Speaker C:If you want to pursue it, that's great as well, because everybody is on their own individual journey.
Speaker C:And I found out a long time ago, Will, because I've been in the whole alternative research game for a long time, that trying to convince people of something when they're not ready is exhaustive.
Speaker C:Yep.
Speaker C:And it's basically an exercise in wheel spinning.
Speaker C:So that's how I approach it.
Speaker C:I'm just going to present what I found, my findings, my conclusions, and you can agree with it or not.
Speaker A:So when you read the book and you started getting into the memoirs of Billy Shears, who is.
Speaker A:Billy Shearers is the real name of the man who replaced Paul McCartney when Paul McCartney died.
Speaker A:So the memoirs of Billy Shearers, if I understand it correctly, are.
Speaker A:This is 60, 50 years later.
Speaker A:The man who replaced Paul McCartney, who we know in the public as Paul McCartney, is disclosing to the public in a coded, layered kind of way what actually went on 60 years ago.
Speaker A: And so you're reading this in: Speaker A:You're just kind of like, scratching your head, shaking your head, like, what's going on here?
Speaker A:Where was the first place that you went?
Speaker A:What was the first step that you took after reading this to begin doing your research?
Speaker C:Oh, boy, that's a good question.
Speaker C:The first thing that I did was to create a collage of Images of Paul McCartney over time, what Tavistock did.
Speaker C:And I'll explain.
Speaker C:I'll get to the punchline first, and then we'll talk about the images.
Speaker C:What Tavistock did was to create a composite Paul McCartney.
Speaker C:So on any given magazine cover, any given interview, images that you're going to find in newspapers or even online, it's a moment in time.
Speaker C:You're taking a look at that person, and you're being told, that's Paul McCartney.
Speaker C:And the vast majority of the population are going to look at that and not question it.
Speaker C:They're going to say, well, if it's not Paul McCartney, who else is it?
Speaker C:They just accept the fact that.
Speaker C:That it's Paul McCartney.
Speaker C:It's like when you look at the Sergeant Pepper album cover, that's the first album cover in which we see Billy, that doesn't look like Paul McCartney.
Speaker C:And a lot of people who subscribe to my channel will say, when they first looked at that album, they were like, something's really off about Paul McCartney.
Speaker C:Doesn't look like him.
Speaker C:But you're told that that is Paul McCartney.
Speaker C:So even though you're looking at the album cover and you kind of scratching your head, you're thinking, well, okay, it doesn't really look like him, but who else would it be?
Speaker C:So, okay, it's Paul McCartney.
Speaker C:So that's what Tavistock did.
Speaker C:So they created a composite of him.
Speaker C:Now, to get around this composite, what you have to do is what I did.
Speaker C: of pictures and start like in: Speaker C: through: Speaker C: laying Paul McCartney between: Speaker C:There are differences.
Speaker C:Some people will write me this.
Speaker C:It's very common for people to say, you mean that they found somebody that looks like him, sounds like him, sings like him, plays like him, all of this stuff.
Speaker C:And my response is, look closely, because they are not exact replicas.
Speaker C:Billy has a higher forehead.
Speaker C:Billy has different ears.
Speaker C:Billy has a longer jawline coming down to his chin.
Speaker C:And as I mentioned before we got started, and I'll talk about this a little bit, one of my colleagues, Sally Witty, she is also blind.
Speaker C:She's blind in her left eye.
Speaker C:About a year and a half, two years ago, she figured out that Billy is blind in his right eye.
Speaker C:So he only has sight in his left eye, whereas Paul McCartney had two good eyes.
Speaker C:And Sally presented and, as well as myself, presented the evidence to show that he is indeed blind in his right eye.
Speaker C:And like I said, Sally's a very, very good researcher.
Speaker C:She's exceptional.
Speaker C:And being blind herself, she was able to pick up on the telltale signs when somebody has an ocular prosthetic.
Speaker C:And Billy validated this in an interview that he did.
Speaker C:There was this exhibit that was out, I guess, a few months ago, several months ago, called Eyes of the Storm.
Speaker C:And.
Speaker C:Yes, right.
Speaker C:So he's on a morning show, I think it was cbs, and he's going through the exhibit, and the person's interviewing him.
Speaker C:And so they get to this one picture.
Speaker C:They're looking at it on the wall.
Speaker C:And so the interviewer says to Billy, you know, that's quite a picture.
Speaker C:You have to have an eye.
Speaker C:Take a picture like that.
Speaker C:So Billy looks at the picture, he leans forward, clicks his left heel, and says, yeah, my left one.
Speaker C:So there's a process in masonry that's referred to as masterfully speaking.
Speaker C:So when a Mason masterfully speaks, they can actually relay the truth, but they do it in an encoded way.
Speaker C:And most people don't know anything about masterfully speaking.
Speaker C:And they don't really know what it is that they're hearing or looking for.
Speaker C:And so it goes right over their heads.
Speaker C:And so that's what Billy did during that exhibit.
Speaker C:And he, you know, when he said that, yes, it's my left one, he was giving a nod to Sally's research that, yeah, you figured it out.
Speaker C:I am.
Speaker C:I don't have sight in my left eye.
Speaker C:It's just my right eye.
Speaker C:And I had a very similar situation.
Speaker C:We'll get to it when we get to the music where he massively spoke about their ability to write all their own music and record and play on all of their own tracks.
Speaker C:But we'll get to that one.
Speaker C:The time is right.
Speaker A:Perfect.
Speaker A:Well, you actually touched on a couple different things, but Just real quick.
Speaker A: esting is I came to Christ in: Speaker A:Prior to that, I studied Western occultism for two years.
Speaker A:So I'm aware of occult teachings.
Speaker A:Like that was just something that was part of my life.
Speaker A:And so all this stuff is very real and it's very much out there.
Speaker A:I was also in the.
Speaker A:In the dance and DJ world.
Speaker A:I was an underground house music DJ for 15 years.
Speaker A:Right.
Speaker A:And so for me, it was very interesting to look at what the world that I was a part of, which is entirely a Pied Piper world, Right.
Speaker A:And I got delivered from that.
Speaker A: neage all the way back to the: Speaker A:That's where the techno world essentially got its, Its.
Speaker A:Its ideology from.
Speaker A:And I worked in the music industry as well.
Speaker A:I was in a.
Speaker A:I was in a.
Speaker A:Worked in a professional music studio helping out engineers for a couple years.
Speaker A:So I'm reading and I'm listening to you.
Speaker A:I'm listening to your presentations and, and all of this stuff is like clicking into place from my own life experience, which is one of the reasons why it's been so fun to watch your videos.
Speaker A:So you mentioned a couple different things.
Speaker A:You mentioned Tavistock.
Speaker A:So let's unpack who they are and how they play into the picture.
Speaker A:The Tavistock Institute, and then we can start talking about the songwriting, because I think that'll play in quite nicely.
Speaker C:All right, so what I'll do is.
Speaker C:Let me just.
Speaker C:So I catch all of the.
Speaker C:The points here will, for the audience, please.
Speaker C:So what I'm going to suggest to the audience, I don't make any money on these books, folks.
Speaker C:These are just books that I've read to get started with Tavistock, to understand especially the deep state in general.
Speaker C:This book by John Coleman, the committee of 300, the conspirators, hierarchy.
Speaker C:It was this book based upon a clue dropped in memoirs that led me actually to this book, the Coleman book, where in this, the committee of 300, Coleman explains that the Beatles were a creation of Tavistock.
Speaker C:Now, the book is not about the Beatles.
Speaker C:The book is about the committee of 300 and the deep state structure which Tavistock is part of, Club of Rome and so on.
Speaker C:So that was a piece too, that I had to investigate.
Speaker C:So what was Tavistock really all about?
Speaker C:What is it that they do?
Speaker C:So another book that I recommend people read is the Tavistock Institute by Daniel Esterland.
Speaker C:Social Engineering, the Masses, A very good primer.
Speaker C:Another book, another Coleman book, Dr.
Speaker C:Coleman, Tavistock Institute of Human Shaping the Moral, Spiritual, Cultural Political and economic decline of the United States of America.
Speaker A:That's Tavistock Institute by Coleman.
Speaker C:Yeah, Dr.
Speaker C:John Coleman.
Speaker A:Make a note of that.
Speaker A:All this will be in the show notes for the audience.
Speaker C:Now, the reason why I bring the books up is because there is no possible way that I can explain every nuance about Tavistock or the Frankfurt School in an interview.
Speaker C:I mean, it takes a lot of research, a lot of reading these types of books and taking a deep dive.
Speaker C:But Tavistock is an internationalist organization that's responsible for implementing change, societal change, behavior modification via brainwashing.
Speaker C: They were founded in: Speaker C:They originated from Wellington House.
Speaker C:Now, Wellington House was the World War I propaganda arm of the British military against a war with Germany.
Speaker C: into the Tavistock Clinic in: Speaker C:It was also known as the Freudian Hilton due to Sigmund Freud's daughter, Dr.
Speaker C:Anna Freud, becoming a leading figure.
Speaker C:So Tavistock is very much linked into Freudian philosophy on psychiatry, as is the Frankfurt School.
Speaker C:By the way, it reports up through the committee of 300.
Speaker C:Again, you can refer to Dr.
Speaker C:Coleman's book, the Conspirators Hierarchy.
Speaker C:It collaborates with other internationalist think tanks and theoreticians.
Speaker C:In other words, the Fabian Society, the Frankfurt School, the World Economic Forum, the Trilateral Commission, Council on Foreign Relations, the Bilderberg Group, all of these organizations are all tied in.
Speaker C:They're all part of the deep state control system.
Speaker C:And Tavistock is the mind control social engineering headquarters for the deep state.
Speaker C: They were taken over in: Speaker C:John Rawling Riis.
Speaker C:He's a key figure.
Speaker C:He was a key figure in British army intelligence and During World War II, Reese was a Brigadier General and he was a top psychiatric warfare specialist for the British.
Speaker C: akes the helm at Tavistock in: Speaker C:They have far reaching influence throughout governments, NGOs, the private business sector, meaning corporations, public and private institutions, mass media, global think tanks, the military, education, the music and entertainment industry, etc.
Speaker C:You mentioned occultism.
Speaker C:Occultism is integrated within Tavistock's psychological approaches to manipulate and transform thinking.
Speaker C:And in fact, Daniel Echelon gets into a bit of the occult aspect within Tavistock in his book.
Speaker C:But we could talk more about occultism in a moment.
Speaker C:Tavistock became the psychological warfare arm of the British military and intelligence services.
Speaker C:So before it was Wellington House, and then like I Said it migrated over and it's still doing psychological warfare for the British.
Speaker C: In: Speaker C:So at this point, what happened was like through the, through people like Edward Bernays, who was tied into Tavistock, they moved it from a, let's just say a Europe centric focus.
Speaker C:And then During World War II and post World War II, they set their sights on the United States because in order to bring about a world government and a one world religion, they had to conquer America.
Speaker C:They had to break down the American way of life, the traditional values.
Speaker C:They had a specific target on Christianity.
Speaker C:We could talk about that in a bit.
Speaker C:So it was a systematic approach to take the United States and to subvert it from within and collapse it.
Speaker C:And for anybody who's doubting that, just take a look around you today, what's going on?
Speaker C:Okay.
Speaker C:I mean, this is the result of the Frankfurt School in Tavistock.
Speaker C:These are their principles, these are their strategies that are being played out.
Speaker C:And they are very, very good at what they do.
Speaker C:And I'm talking about Tavistock.
Speaker C:We can argue that the Frankfurt School doesn't exist anymore, but its curriculum, its philosophy, its ideology lives on and it's very, very prominent in everything that's going on in the world today.
Speaker C:Tavistock received a massive infusion of funds from the Rockefeller Foundation.
Speaker C: y get it going, going back to: Speaker C: In: Speaker C:And the UN became a major conduit for British psychological warfare operations.
Speaker C:So that's another thing that it's important to understand that this whole deep state, this whole shadow government is tightly linked and these players span multiple functions.
Speaker C:So we just can't look at it as they're all living in silos.
Speaker C:It's think of it as a horizontal and they're all integrated.
Speaker C:It's the world's center for mass mind manipulation, social engineering activities.
Speaker C:It's a sophisticated organization that's used to shape the destiny of the world by changing the paradigms of modern society.
Speaker C:It has control mechanisms in academia, multimedia, intelligence, medicine, especially the pharmaceutical industry.
Speaker C:Its range of disciplines include anthropology, economics, organizational behavior, political science, psychoanalysis, psychology and sociology.
Speaker C:So that's a quick rundown on Tavistock.
Speaker C:And it's a very important organization to dig into and research if you really want to understand what's going on in the world, why things are Working or not working the way they do, they're behind it.
Speaker A:So how do they connect to the Beatles?
Speaker A:Like what role?
Speaker A:Because you mentioned the Coleman book and the conspirators, hierarchy, community 300.
Speaker A:What does he say, the role that the Beatles played in connection with Tavistock?
Speaker C:Well, the Tavistock is part of its social engineering.
Speaker C:They knew that music plays a very, very important role in shaping people's behavior, shaping their morals, their beliefs.
Speaker C:And a lot of that came into Tavistock from the Frankfurt School.
Speaker C:So the Frankfurt School was out of Germany, and it came into being at about the exact same time as Tavistock.
Speaker C: School was very active in the: Speaker C:Like the individual members that were part of the Frankfurt School were still doing their social engineering and their behavior modification, implementing their behavior modification strategies beyond that period of time.
Speaker C:So Frankfurt School.
Speaker C:Let me just.
Speaker C:I can go through some of the names here, but let me just give you the.
Speaker C:Because it's important to understand the Frankfurt School as well.
Speaker C:It's very important because, yes, it is.
Speaker C:They are connected at the hip with Tavistock.
Speaker C: I should say World War I, in: Speaker C:Now, George Lukacs was a communist Bolshevik, and he was very prominent in the field of communism back in his day.
Speaker C:And so what he did was he brought together a group of intellectuals, Bolshevik and communist intellectuals and intelligentsia, to start to think through how they were going to destroy Western civilization in order to bring about a one world government.
Speaker C:And this one world government is going to be a socialist communist.
Speaker C:You know, pick your word.
Speaker C:It's going to be controlling.
Speaker C:Okay?
Speaker C:Sometimes people want to argue with socialism, communism, fascism.
Speaker C:At the end of the day, it's control.
Speaker C:You're going to be controlled.
Speaker C:You're not going to be part of the elite class.
Speaker C:And so you're going to have overlords.
Speaker C:So Lukacs was quoted as saying, who will save us from Western civilization?
Speaker C:And one of their key components was to undermine Christianity through an abolition of culture, to destroy the culture.
Speaker C:So if you destroy the culture, then we're going to be able to take out Christianity.
Speaker C:We're going to be able to take out traditional values.
Speaker C:And part of the destruction of traditional values was to destroy the traditional family, the family nucleus.
Speaker C:That was very, very key, and to marginalize the male or the father figure in a family.
Speaker C:This is why you have cartoons that came out like Homer Simpson where he's depicted as adult well, that's all intentional and we can get into that a little bit too.
Speaker C:So the Frankfurt School was comprised of Communists, fascists, Zionists, Freudians and anti Christian Christian zealots.
Speaker C:They were philosophers, socialists and psychiatrists dedicated to destroying Western civilization.
Speaker C:Civilization.
Speaker C:They were co sponsored directly by British Intelligence.
Speaker C:We're going to.
Speaker C:One of the things, when you do the research, you're going to find that all of this stuff still goes back to the British.
Speaker C:And a lot of that is because, at least in my opinion, because it goes back to the Rothschild dynasty.
Speaker C:Sure, okay.
Speaker C:Sigmund Freud is a key figure with the Frankfurt School as well as Tavistock.
Speaker C:And Sigmund Freud is considered the father of psychoanalysis.
Speaker C:Now, the interesting thing about psychoanalysis is that Freud had said that psychoanalysis is like a religion.
Speaker C:You can't prove it, but you accept it on faith.
Speaker C:Okay?
Speaker C:So even they admit that all of their psychiatry and their psychoanalysis doesn't really have any basis of science behind it, but they're going to put it forth as if it's scientific fact and they're going to sell it to the masses.
Speaker C:So psychoanalysis cannot clinically prove that any important Freudian concept really exists.
Speaker C:So this also.
Speaker C:I should also mention this, Will, because I want to give credit where credit is due.
Speaker C:Another very good document on the Frankfurt School comes from the Shiller Institute.
Speaker C:And all you have to do is just look them up on the Internet and they go back, oh my God, 20, 30 years ago.
Speaker C:They have some great, great research and articles.
Speaker C:And the other one is from the Shiller Institute, from cybernetics to Littleton techniques and mind control.
Speaker C:They talk about the Frankfurt School and Tavistock as well.
Speaker C:So some of the information I have here I actually culled from those articles.
Speaker C: United states starting around: Speaker C:And the purpose of that was to start the affront on the American way of life and to tear it down.
Speaker C:Well, interestingly enough, the Frankfurt School was shipped over to the United States during World War II as well.
Speaker C:And they wound up.
Speaker C:Some of their storefronts were Columbia University, Hollywood, of course, and government.
Speaker C:In fact, one of their members, a very prominent member, was Herbert.
Speaker A:Marcuse.
Speaker C:Marcuse and Herbert wound up working for the oss, which was the precursor to the CIA.
Speaker C:So many of them made their way into very prominent positions within the United states government and U.S.
Speaker C:government agencies and organizations.
Speaker C:They were responsible also for putting forth the premise that man is not Made in the image of God.
Speaker C:This was a big thing with the Frankfurt School.
Speaker C:So they really preached godlessness.
Speaker C:So they wanted to strip away the belief that, for example, art is derived from the self conscious emulation of God the Creator.
Speaker C:So in other words, that when you create art, when you create something that's something that is inherent in you as a divine creation of God, that creativity, that creative process.
Speaker C:They put forth the premise of the theory that creativity does not emanate from a divine spark, it springs out of the culture.
Speaker C:So in other words, your creativity is not something that's come from God.
Speaker C:It's.
Speaker C:It's something that, it comes from the culture because you exist in the culture.
Speaker C:So what you're really doing is you're aggregating the environment around you and you're bringing that in and you're expressing that.
Speaker C:Okay.
Speaker C:So they also talked about that they were very, very focused on, at least some of them, on being liberated through erotica, through sex.
Speaker C:So as we go into the Beat movement, the Beat movement really were an extension of the Frankfurt School.
Speaker C:In Tavistock and the Beat movement, the Beats were themselves.
Speaker C:I mean, they declared themselves as hedonists.
Speaker A:Kerouac.
Speaker C:Yes, Kerouac.
Speaker C:Ginsburg.
Speaker C:And William S.
Speaker C:Burroughs, who, by the way, is on the COVID of the Sergeant Pepper album along with Aleister Crowley and A.C.
Speaker C:that's right.
Speaker C:So they also said that an artist does not consciously create work to uplift society, but unconsciously transmits the ideological assumptions of the culture.
Speaker C:So again, you're not doing work like, I'm a musician, I write songs.
Speaker C:I'm not writing songs because I want to do.
Speaker C:I want to uplift society.
Speaker C:And that's not coming to me because I have a divine connection, spark with God, the Creator and source.
Speaker C:No, it's only because you're operating in a certain environment and that environment is what's feeding you.
Speaker C:So what they're really doing is they're downplaying the entire piece that has to do with your divine connection.
Speaker C:And they're relegating it down to a material, physical world.
Speaker C:And that's where it all exists.
Speaker C:So anybody who looks above that.
Speaker C:No, I mean in their minds, they're telling you, you don't get it.
Speaker A:So, well, we can see this today.
Speaker A:When they talk about classic literature like William Shakespeare and stuff like that, they say, oh, Shakespeare was just a product of his time.
Speaker A:He's just regurgitating the values of his pick.
Speaker A:Any number of artists.
Speaker A:Not that there was anything transcendent going on.
Speaker A:Oh, he was just embedded in the culture.
Speaker A:And that's what he was reflecting.
Speaker A:Amazing.
Speaker C:I'll say the same thing about Beethoven and Bach.
Speaker C:I mean, the great composers.
Speaker C:So one of the things that they will preach is that entertainment replaced art.
Speaker C:So when we talk about art the way art used to be, like when I read these papers, a great point was made.
Speaker C:Art was something that was to be.
Speaker C:It was special.
Speaker C:You would look at a art, a creative piece, and it wasn't something that was really in your daily life.
Speaker C:It was something maybe you had to make a special trip to go see the art.
Speaker C:You had to, you know, you had to make plans to be able to have an appreciation of what it is that you were going to see.
Speaker C:But what they did was they relegated the great art.
Speaker C:They actually watered it down by taking entertainment and propping it up.
Speaker C:So what happened was the whole art piece gets relegated to a shelf somewhere.
Speaker C:And now people view art as entertainment and entertainment is art.
Speaker C:And that's a whole dumbing down effect.
Speaker C:Because if we take a look at what's being pumped into our living rooms from an entertainment perspective, or the movie screens or Netflix or whatever, that's nothing more than it's garbage, okay?
Speaker C:It's trash.
Speaker C:It's being pumped out and it's being assimilated in.
Speaker C:It's being taken in by the person who doesn't know any better.
Speaker C:And they're being indoctrinated, they're being brainwashed to accept this stuff as acceptable.
Speaker C:And that's the thing.
Speaker C:So I hope I'm making sense here.
Speaker C:Art used to be here and entertainment was down here.
Speaker C:And then what they did, they pushed the art down and they raised the entertainment piece up.
Speaker C:And this has created a, you know, a dumbing down effect which is absolutely incredible.
Speaker C:They invented political correctness which they ensured permeated the entire education system.
Speaker C: ute is the radio project from: Speaker C:This is something that Theodore Adorno was heavily involved in.
Speaker C:Adorno was with the Frankfurt School, and I believe he was heavily involved with the whole Beatles project as well.
Speaker C:But the radio project was a Frankfurt School initiative that was to test the thesis that mass media can brainwash the masses.
Speaker C:And one of the things they point to was Orson Welles, War of the Worlds, where it was pumped out to 6 million people.
Speaker C:And many people believed that it was real, even though there were times during the broadcast where they said that this was not real.
Speaker C:But people didn't hear that piece of it.
Speaker C:And that Also taught them something that also taught them that people heard what they wanted to hear versus what it is that they were told.
Speaker C:So they were told this was not real, but people just kind of blew past that and got all caught up.
Speaker C:In fact, in the paper, it said that many people didn't maybe think it was aliens, but they thought it was the Germans that had invaded the United States.
Speaker C:Okay, this is how wacky this stuff gets.
Speaker C:Now.
Speaker C:It sounds.
Speaker C:It sounds a little crazy and we can laugh about it now.
Speaker C:But the thing is these social scientists at Tavistock and the Frankfurt School and other organizations like the CIA, because the CIA, by the way, is.
Speaker C:That's one of Tavistock's clients is the CIA.
Speaker C:This is spelled out in John Coleman's book.
Speaker C:What's happening is they're learning from this.
Speaker C:And this goes to a.
Speaker C:A concept called cybernetics.
Speaker C:So cybernetics has to do with where you have input and output, right?
Speaker C:So it's a cycle.
Speaker C:So this is how AI works as well.
Speaker C:So AI is really, in my view, is a concept that has been established based upon cybernetics.
Speaker C:So you have inputs, and then when you input something, you have an output.
Speaker C:That output then gets rewired back in as an input.
Speaker C:So you have this cycle going.
Speaker C:It's learning.
Speaker C:So when we talk about machine learning, when we talk about artificial intelligence learning, this is what's going on.
Speaker C:So back in the day, of course, they didn't have AI and have computers and everything else.
Speaker C:So their way of being able to do this loop of learning cybernetics was to do these types of tests and they would make note of what the outcome was, what the output was, and then they would input it back in and they would make adjustments to the model or the algorithm or the strategy until they got closer and closer to what it is that they wanted as an end result.
Speaker C:This is why polling is one of those concept as concepts as well.
Speaker C:So polls are not there to really measure where people are at.
Speaker C:They're really there to measure how effective their conditioning and brainwashing is.
Speaker C:So when a poll comes out a certain way and it's not exactly how they want that pole to appear, then they're going to step back and say, okay, let's go back to the drawing board, let's make a couple of adjustments and let's see if we can get it to move more over here where we want it.
Speaker C:So that's, that's another tactic that they use was polling.
Speaker C:And they established a whole concept of public opinion polling.
Speaker C:And it was, it was Used for.
Speaker C:It was really used to pulse the public and to feed the, the, the conditioning and social engineering engine.
Speaker C:That's what polling was and still is.
Speaker C:That's, that's what it's used for.
Speaker C:They also had something called the authoritarian personality.
Speaker C:And this is really kind of interesting, but the, the authority.
Speaker C:Authoritarian personality by Frankfurt School.
Speaker C:By the Frankfurt School is defined as somebody basically who's a critical thinker and can assess things based upon using their God given gift of intellect and reason.
Speaker C:That person was authoritative because that person would then say, well, I think certain things would work better this way or that way.
Speaker C:Oh, we should change this and change that.
Speaker C:Maybe we should do this or do that versus the hive mind.
Speaker A:Oh, wow.
Speaker C:So it's kind of interesting the way they worded that.
Speaker C:So when we think about the authoritative personality, I should say the authoritarian personality, when I first was going through this and researching it, I was thinking, well, I'm thinking in terms of an authoritative figure, like a dictator type of thing.
Speaker C:Right.
Speaker C:They were lowering it down to the level of the individual.
Speaker C:So if you were a critical thinker, you were problematic because you were cutting across the grain and you were not going with the flow and you were not in the hive mind.
Speaker C:So you would be considered to be a problem.
Speaker A:You are putting together so many pieces for me right now because I've heard of the authoritarian personality.
Speaker A:And like you, I always thought it referred to like a dictator with the authoritarian personality as being an individual who makes critical distinctions between things that's considered authoritarian.
Speaker A:In fact, I'm dealing with this on Twitter right now because the celebrity Russell Brand may perhaps you know him, he's recently been making a big show about becoming Christian and he said a few things that I've been challenging him on.
Speaker A:And so I have a lot of people supporting me, but I have a lot of people that are getting very, very angry that are sort of, that are sort of.
Speaker A:They're not saying in so many words that I'm behaving in this authoritarian personality way, but they kind of are that I'm trying to make fine distinctions.
Speaker A:They're reacting to the things that I'm saying, trying to be discerning about who this man is.
Speaker A:And so I was wondering where that was coming from.
Speaker A:And I understand that.
Speaker A:And it also helps me understand the get woke, go broke phenomenon of like Star Wars.
Speaker A:So if you're raised, if you're tutored and taught in a Frankfurt school mindset that teaches you you're only producing materials that are relevant to this cultural moment and that's your only way of thinking of creativity, then you're just going to regurgitate stuff that speaks to whatever cultural zeitgeist is going on and not believe that this responsibility that you've been given to create is a gift, is a chance to channel the divine spark.
Speaker A:So naturally, people are trying to understand how are these people producing these garbage Star Wars, Star Trek shows, or Lord of the Rings or whatever, name it.
Speaker A:How are they putting out trash with a straight face?
Speaker A:Well, because they don't actually believe that they have a divine spark of creativity.
Speaker A:All they know how to do is regurgitate what's in their environment.
Speaker A:So they're doing what they're programmed.
Speaker A:So all of these pieces, I've never looked into the Tavistock Institute.
Speaker A:I mean, I'm familiar with who they are.
Speaker A:I'm familiar with the Frankfurt School, I'm familiar with Marcuse and Adorno and all of that.
Speaker A:But I didn't understand that it goes back this far.
Speaker A:And I think that that's the important thing is that we're used to thinking of the 60s as being the big debut of social engineering.
Speaker A:Right.
Speaker A:Those of us, you know, who are looking to these things, it was going on a long time before that.
Speaker C:Yeah.
Speaker C:So modern day social engineering with social scientists, I explained, has been going on for a century.
Speaker A:Yeah.
Speaker C:Okay.
Speaker C: , I think I said the early: Speaker C:So they've had a hundred years of really fine tuning how they go about their business.
Speaker C:Now, just to finish up on the Frankfurt School, Will, I don't want to take up too much time here.
Speaker C:When you listen to the Frankfurt School and you listen to Marcuse and Adorno and when you read that stuff, you know, they're very, very slick and they're very nuanced in how they go about presenting their message and their theories.
Speaker C:They're very, very good at it and they're very convincing.
Speaker C:So it'll come across as altruistic, it's egalitarian, but when you take a step back, it's gaslighting.
Speaker C:That's what it is, it's gaslighting.
Speaker C:Because if everything they were talking about was good, then we wouldn't be in the predicament we're in today.
Speaker C:That's right.
Speaker C:Okay.
Speaker C:And now here's another very interesting quote, and this comes from Bertrand Russell, who was a British elitist.
Speaker C:He was a philosopher Mathematician, but he was.
Speaker C:I think he was at the Fabian Society, which means he was big time into eugenics.
Speaker C:But he said that.
Speaker C:And he was connected into the Frankfurt School as well, probably in an adjunct way.
Speaker C:But he's quoted as saying that the objective is to produce an unshakable conviction that snow is black.
Speaker C:So this is how they were thinking.
Speaker C:And then he went on to say that.
Speaker C:And then we have to assess how much cheaper it would be, how much more cost effective it would be to convince people that snow is gray.
Speaker C:So the point being is, if we take a look at today, right, what's going on today, we're told that there are more than 2 genders.
Speaker C:If we just go down that path for a moment, and then we're told that men can have babies or they can breastfeed and stuff like that, that is trying to produce the unshakable conviction that snow is black.
Speaker C:It makes no sense.
Speaker C:It defies thinking.
Speaker C:It defies real science.
Speaker C:Yet there are people that will run with this and believe it.
Speaker C:So that type of thinking, that type of disposition that people will have, this is all the result of decades of Frankfurt School and Tavistock indoctrination and strategies to social engineer and to create behavior modification.
Speaker C:The Frankfurt School had this thing called critical theory, and Adorno was big into this, that divides the masses into two categories.
Speaker C:And I'm just smiling.
Speaker C:So, you know, right.
Speaker A:Oh, yeah.
Speaker C:There were oppressors and victims, and the intent was to destabilize society and to destroy the, quote, oppressive order.
Speaker C:So.
Speaker C:And again, they were very nuanced and very good at explaining who the oppressors were.
Speaker C:And they may not have necessarily been oppressors, but they were going to convince you that you were being oppressed.
Speaker C:So as an example, the example I use is with traditional family values, the mom would be home, and she would care for the children and for the home, and the father would go out, and it was his responsibility to work and to provide and keep a roof over his family's head.
Speaker C:And so with feminism in the women's movement, what Tavistock and the Frankfurt School did was to go about inundating through the media, because the media is their big, you know, that's their big stick.
Speaker C:Going out and asking women, you know, do you really want to be home?
Speaker C:Do you really want to take care of kids?
Speaker C:Don't you want to go do what your husband's doing?
Speaker C:Don't you want to go to work?
Speaker C:Don't you want to do this?
Speaker C:Don't you want to do that?
Speaker C:And the Truth of the matter is, many women, because I believe it's actually built into our DNA as men and women to have certain responsibilities, functions, and ways of living our lives, right?
Speaker C:So a woman would say, you know what?
Speaker C:My job, it's very important for me to stay home and to watch the children and to nurture them and care for them.
Speaker C:And my husband does the work, and we work together as a husband and wife team, and we make the household work.
Speaker C:That's what we do.
Speaker C:But what they did was to convince women that you don't really want to do that.
Speaker C:You really don't.
Speaker C:So they were gaslighting them, and they, you know, through steady, steady streams of propaganda, they just kept beating the drum and beating the drum and beating the drum.
Speaker C:And eventually what happened was.
Speaker C:Take a look at what happened, folks.
Speaker C:What happened was most women, a lot of women left the household.
Speaker C:They went to work, the husband went to work.
Speaker C:The children now don't have the facetime or the interaction with their biological parents anymore.
Speaker C:So they have to go to preschool, they're in school, after school.
Speaker C:And the parents interaction with their children happens in the evening when they both come home from work, or it's on the weekends when it's just a flurry of activity.
Speaker C:Because if you're working five days a week, when you get to the weekend, it's not just about the kids.
Speaker C:You got to do things.
Speaker C:You have to attend to the household as well.
Speaker C:So the children then are separated from their parents.
Speaker C:They essentially become wards of the state.
Speaker C:And they are now being taught and nurtured by people outside of the family.
Speaker C:And this is exactly what they wanted.
Speaker C:Now, the other thing that the controllers did was to.
Speaker C:They had other levers to make sure that they were able to push us along.
Speaker C:As an example, they would increase the cost of living.
Speaker C: hereas, you know, back in the: Speaker C: , even going into the: Speaker C:We had.
Speaker C:We were, you know, I would say we were, you know, blue.
Speaker C:Blue collar, middle class on Long Island.
Speaker C:My father was a policeman.
Speaker C:Mom stayed home.
Speaker C:But you know what?
Speaker C:We did okay.
Speaker C:We did okay.
Speaker C:But when they started raising the prices of everything and making it more costly to live your life, that forced a lot of the women out because they couldn't pay the bills unless they had two incomes.
Speaker C:So I'm just bringing that up to say, because I don't want people to think that there's a Single lever.
Speaker C:They have lots of buttons and lots of levers that they push to manipulate society in order to push people in directions that they want to push them.
Speaker C:So anyway, so do you understand the critical theory?
Speaker C:So critical theory dissects existing societal beliefs and criticizes them in a way to redefine existing beliefs, values and morals and stuff like that, which they will tell you that the oppressors are your governments, they're your religions, and these entities, they inhibit human potential.
Speaker C: man potential movement of the: Speaker A:Yeah, please.
Speaker A:You can see all the pieces beginning to fit together of like, how did we get in this message and how far back it goes?
Speaker C:Oh, it goes way back.
Speaker C:So here the Frankfurt School recommended the creation of racial divides, continual change to create confusion, teaching sex and alternative sexual lifestyles to children, undermining the authority of schools and teachers, promoting excessive drinking and drugs, emptying churches, creating an unreliable legal system.
Speaker C:See that in spades.
Speaker C:Creating dependency on the state, ensuring that they control the media and to encourage the breakdown of the family.
Speaker C:I talked about their strategy to marginalize the role of the father and to remove the parents as the primary educators and to obfuscate the difference between genders.
Speaker C:This is something that comes out of their playbook.
Speaker C:And again, like I said, they're connected at the hip with Tavistock, so they're very difficult to separate because these groups work together.
Speaker C:One person in particular was Kurt Llewellyn.
Speaker C:He bounced back and forth between Tavistock and the Frankfurt School.
Speaker C:And he was a big time social scientist back in the day.
Speaker C:Bertrand Russell, our friend Bertrand Russell, who was again, really an adjunct to the Frankfurt School, but he's a big time.
Speaker C:Was a big time elitist.
Speaker C:He's out of Britain.
Speaker C:He's passed away now.
Speaker C:He's been gone about 50 years.
Speaker C:The use of music to promote mental illness and destroy society.
Speaker C:Verses or lyrics set to music and repeatedly intoned are very effective to brainwash people.
Speaker C:So that's where the music industry and the entertainment industry, Hollywood, come into play.
Speaker C:I think it was Adorno that said that they could promote a culture of pessimism and despair via the radio and television.
Speaker C:So again, they could just pump this stuff into your living rooms.
Speaker C:Now think about that, folks.
Speaker C:Every time you turn on your TV set, does any good news ever come out of the speaker?
Speaker C:It's always tragedy.
Speaker C:It's always some kind of shooting.
Speaker C:It's always some kind of something bad.
Speaker C:It's war.
Speaker C:Something bad is always being pumped into your living room and that is what you're being inundated with.
Speaker C:And I'm a retired hypnotherapist and so I'm very, very familiar with hypnotherapy and the television set.
Speaker C:The subconscious mind loves imagery.
Speaker C:So that's why when you watch television, you'll watch, there'll be loops being played, looped imagery, like if we pick 9, 11 with the plane hitting the building.
Speaker C:They kept playing it over and over and over again.
Speaker C:The reason why they were doing that was because that was conditioning, that was mind control.
Speaker C:Then what they did was they added the post hypnotic suggestions to the imagery by continually.
Speaker C:To talk about the tragedy, to talk about war, to talk about death.
Speaker C:So you were associating these images now with very negative terms and words.
Speaker C:And this is how they do it.
Speaker C:I mean, the television.
Speaker C:The television is a hypnosis box.
Speaker C:Yep.
Speaker C:All right, my friend.
Speaker C:So just, just keep that in mind.
Speaker C:So, okay, so.
Speaker C:And to finish up, the Frankfurt School, its network extends into eugenics, as you know, I mean, I guess they're buddies with the Fabians.
Speaker C:Population control, sexual and family law reforms.
Speaker C:They're intersexual and family law reforms.
Speaker C:In other words, changing it for the worst.
Speaker C:It is linked to publishing houses, all your books, medical, educational and research establishments, women's organizations, marriage counseling, governments, et cetera.
Speaker C:And I talked about cybernetics and the whole study of the circular process of input and output and receiving feedback and then fine tuning whatever it is that you're working on from a cybernetic perspective.
Speaker C:So that's the Frankfurt School.
Speaker C:So.
Speaker C:And the reason why I took everybody through that and Tavistock, not just because Will asked me, is because now you can have a better understanding.
Speaker C:When we talk about the music industry, you can start to get your head wrapped around the Beatles.
Speaker C:And not just the Beatles.
Speaker C:I mean, we're talking about the Rolling Stones, we're talking about the entire British Invasion.
Speaker C:So think about the British Invasion.
Speaker C:Think about how they coined that term, the British Invasion.
Speaker C:I mentioned before that this all goes back to Britain.
Speaker C:Tavistock, British.
Speaker C:So it was the British Invasion.
Speaker C:So another way of saying it is the Tavistock Invasion.
Speaker C:To begin the process of systematically changing the construct, a societal and cultural construct within the United States and also over in England as well, and the rest of the world.
Speaker C:So, yeah.
Speaker C:So the Beatles.
Speaker C:Did you want me to get into the Beatles?
Speaker C:Yeah.
Speaker C:Did you have questions for me?
Speaker A:No, I think that would probably be a good time.
Speaker A:I mean, I think where I connect with all this is spending a lot of time in the New Age and having unplugged all of that.
Speaker A:I don't know that I haven't read the book the Aquarian Conspiracy, but in one of your videos you were talking about it.
Speaker A:I'm like, yeah, that was basically my whole life for 20 years.
Speaker A:So that was sort of my doorway into this stuff.
Speaker A:And I kept finding that no matter where I walked in this kind of New age world, I would always end up in front of the Beatles.
Speaker A:Right.
Speaker A:All roads, in some sense, lead to them.
Speaker A:So naturally, when I started watching your work and you started pulling on those threads, that's when everything started to unravel and open the door so much more.
Speaker A:So I think now would be a really great time to get to them.
Speaker C:Yeah.
Speaker C:So Tavistock clearly understood, as well as Bertrand Russell and the Frankfurt School, that music played a very, very important role, very important role in conditioning people to formulate belief systems.
Speaker C:There's an old saying, your thoughts are not your own.
Speaker C:And it's so true, really, to the audience, take a step back and think.
Speaker C:Are your thoughts your own?
Speaker C:Think about where you receive your information from and question it.
Speaker C:Question everything.
Speaker C:Because we've gotten to the point today where it's just one gigantic propaganda and indoctrination machine around us 247 every single day.
Speaker C:Every single day.
Speaker C:So when I looked at the Beatles, initially it focused on the replacement of Paul McCartney.
Speaker C:And so I took you through that, I looked at the images and, and I pulled the evidence together.
Speaker C: remember back from the early: Speaker C:He is not.
Speaker C:I know people are going to disagree with me and do me a favor, just go to my YouTube channel.
Speaker C:Lots of content on that.
Speaker C:I'm not going to spend a lot of time trying to convince people that.
Speaker C:Just take a look at it.
Speaker A:Do you have one video that I can send people to in particular that's about that one issue?
Speaker C:Yeah, I actually did a video.
Speaker C:What I'll do will, is I can send it to you after the show.
Speaker C:I have a link, I think it's called the Beatles Conspiracy 101 on my YouTube channel.
Speaker C:And it's only a one minute short.
Speaker C:But what it does is it refers you to the description box to specific shows which will help you to understand the flow of this Beatles conspiracy.
Speaker C:So you start here with replacing a Paul McCarty, and then we make our way into the music piece of it.
Speaker C:Did they write all their own music and play on all the recorded tracks.
Speaker C:The answer is no, they did not.
Speaker C:But I'll talk about that.
Speaker C:So knowing what we know now about Frankfurt School and Tavistock, they had to put a musical phenomena in place.
Speaker C:They had to kick off something that was going to take the world by storm.
Speaker C:Now, what we need to understand is that now I have a hypothesis.
Speaker C:Okay?
Speaker C:And let me just start with this.
Speaker C:There are pictures on the Internet of Paul McCartney, George Harrison and John Lennon with bird cages.
Speaker C:But George Harrison and Paul McCartney, the bird cages are on their heads with John Lennon, he's leaning up next to a birdcage with a Superman shirt, which goes back to Nietzsche and the Ubermensch, the superhuman, the superman.
Speaker C:Right?
Speaker C:This is a concept of the elites.
Speaker C:If we listen to the World Economic Forum and we listen to Yuval Harari talking about that, they have achieved godlike status.
Speaker C:Now, this is what they're talking about.
Speaker C:They're talking.
Speaker C:See, when they talk about this stuff today, it all has history, but you have to know where it goes back to.
Speaker C:Otherwise it just sounds like kookiness.
Speaker C:It might still sound like kookiness, but at least you could tie it back to an ideology that these people are in love with, Totally in love with.
Speaker C:So, going back to the birdcages.
Speaker C:So birdcage symbolism from a controller, Illuminati, you know, pick.
Speaker C:Your label refers to mind control.
Speaker C:MK slaves.
Speaker C:And so when I took a look at those pictures, and there are a lot of images of the Beatles engaged in occult symbolism.
Speaker C:Now, some people are going to want to argue that because they were so young, that they really didn't have an idea what they were doing.
Speaker C:They were doing.
Speaker C:They were just.
Speaker C:They were just doing what they were told to do.
Speaker C:And that could very well be true.
Speaker C:But the point being is that even though they may have been doing what they were told to do without any real knowledge of what it meant, the occult was still being communicated out symbolically to not only their inner circle, but also as a way of poking what they refer to.
Speaker C:They refer to us as the profane in the eye.
Speaker C:So since we don't really understand what it means, we're going to put it right out in front of you.
Speaker C:It's a way of them.
Speaker C:Like I said, it's a way of them poking fun at the fact that the masses are unknowing.
Speaker C: rrive in Hamburg in August of: Speaker C: And in August of: Speaker C:And they showed absolutely no songwriting prowess.
Speaker A:0 how old were they as well?
Speaker A:How old were John, Ringo or John Paul?
Speaker C:Paul would have been 18, John would have been 20.
Speaker C:George was underage, he was 17.
Speaker C:That was a problem when he was out there because he was underage eventually they worked around that Ringo wasn't with him yet.
Speaker C:It was Pete Best in the Hamburg days.
Speaker C: Ringo didn't show up until: Speaker C: Beatles show up in August of: Speaker C: eatles which goes back to the: Speaker C:We have a good thing going here, don't bring that bum group, the Beatles here.
Speaker C:And I'll talk about Germany too in a little bit because there's a big huge German connection to all of this stuff and we'll talk about that a bit.
Speaker C:So anyway, so what happens is the Beatles get to Hamburg and they're playing at these clubs and they're playing seven hours a night.
Speaker C:They're living in squalor, they were hanging out in an old cinema.
Speaker C:They were using that as basically their shelter.
Speaker C:In an interview that Pete Best did years ago, he was being interviewed and he said the schedule, the way it worked in Hamburg was they would play in these clubs seven hours a night.
Speaker C:They would go back to wherever they were hanging out, the cinema and they would get up at 3 o'clock in the afternoon and they had to be back at the club at the venue at 6 o'clock so they had a three hour window of time between the time they woke up and they had to be back at the club so there was no songwriting taking place there.
Speaker C:It was just probably getting through their hangover and making their way and you know, Hamburg was a red light district, lots of alcohol, lots of women.
Speaker C: ey return home in December of: Speaker C:Nothing happened.
Speaker C:So they came and they went.
Speaker C:And then something happens.
Speaker C: In: Speaker C: ow out live, starting in late: Speaker C:So think of Hamburg and all the gigs they were doing back in Liverpool and the UK as boot camp.
Speaker C: rtually every single day from: Speaker C:I mean, they had.
Speaker C:They had a couple of days off here and there, but they had a gig every single day.
Speaker C:And in Hamburg, they were there for weeks, might be there two, three, four weeks at a time, and they were playing virtually every night.
Speaker C:So the first question we have to ask ourselves is, and this question was actually pointed out by a friend of mine, Peter Tompkins, Pete's YouTube channel, PT Pop.
Speaker C:He interviewed me and I interviewed Pete.
Speaker C:And Pete's a musician too.
Speaker C:He goes, mike, how are they getting all these gigs?
Speaker C:How were they getting all these gigs?
Speaker C: th of: Speaker C:So he goes to see them at the Cavern Club.
Speaker C: remember the timeframe August: Speaker C:Okay?
Speaker C:And during this period of time, the Beatles are doing nothing but cover tunes.
Speaker C:That's all they're doing is Covertunes.
Speaker C:They're not doing original music.
Speaker C:They are a bar and club band that does cover music.
Speaker C: st of: Speaker C:15 songs, 12 covers, and three nondescript originals.
Speaker C:And these three originals never made their way onto any of their albums that they released as a unit.
Speaker C:I think maybe one or two of the songs, maybe a third song as well.
Speaker C: elease, which came out in the: Speaker C:So now we have to ask ourselves, okay, so hold On a second here.
Speaker C: So August of: Speaker C: st of: Speaker C:They meet up with Epstein, Epstein meets up with them.
Speaker C:Then they get a demo with Decca Records, a major label, who even knows who they are, right?
Speaker C:So Decca turns them down.
Speaker C:Decca says, no, not interested.
Speaker C:So then Brian Epstein takes tapes to George Martin, and I think this was in February of 62, so a month later, and he plays the tapes for George Martin.
Speaker C:And George Martin says, well, if you're asking me to judge them by what you're showing me here, I'm not interested.
Speaker A:He said that?
Speaker A:George Martin says that in your videos.
Speaker A:There's a direct quote coming from his lips where he says exactly those words.
Speaker C:Yeah, it's direct quotes.
Speaker C:I mean, these are interviews that I have watched where George Martin talked frankly about this.
Speaker C:I mean, of course he would say that and then he would revert back to the accolades.
Speaker C:That's something that's very common in the Beatles story.
Speaker C:You'll hear there's another story with Norman Smith, who was their engineer from Please Please Me, the first Parlophone UK release.
Speaker C:And by the way, their Parlor phone albums are their official albums, not the US Capitol releases.
Speaker C:And he was with them through Rubber soul.
Speaker C: And in: Speaker C:So you get these stories and you have to say to yourself, okay, let's set aside all the feel good happy talk stories and let's understand why these things were said.
Speaker C:I mean, is it revelation of the method?
Speaker C:Are they putting the truth out there so that they could say, well, I told you the truth, but you just decided that you didn't want to hear it, right?
Speaker C:Or pay attention to it or grab onto it, right?
Speaker C: five months later, in June of: Speaker C: between February and June of: Speaker A:They're a bum group that no one likes, and then suddenly they.
Speaker A:Suddenly they get signed, right?
Speaker C:And George Martin had said that they had nothing behind them and the best song he could find from them was Love Me Do.
Speaker C:And that's even if they wrote that song.
Speaker C: ll, the complete Beatles, the: Speaker C: umentary it says that between: Speaker C:100 songs, either individually or together.
Speaker C:And so the first question you got to ask yourself, and the documentary also says, although they weren't recorded, okay, fine, they didn't record them.
Speaker C:That's.
Speaker C:That's very, you know, that's very convenient.
Speaker C:Okay, but let's just set that aside and say, okay, they, you know, you told us that they wrote 100 songs.
Speaker C:So when they get to George Morton, how could he say that they had nothing behind them?
Speaker C:And the best thing, the best song he could find from them is Love Me Do.
Speaker C:And he knew it was not the big hit he was looking for.
Speaker C:In fact, in an interview that.
Speaker C:I think that it was from the documentary produced by George Martin, he's having a discussion with his son Giles, who actually George passed a baton to.
Speaker C:As far as the entire Beatle enterprise that George Martin was involved in, his son Giles is now.
Speaker C:He has all of that.
Speaker C:He says, I like them, and they had great personalities, but I thought their music was rubbish.
Speaker C:And then he and his son have a chuckle over that.
Speaker C:And so there's a lot of stuff out there.
Speaker C:And have another interview where George Martin says that it wasn't obvious that they were songwriters and that their songs were awful.
Speaker C:Right.
Speaker C:So now for those of you who are Beatle fans right now and you want to break your monitor because of the things I'm saying, just go watch the presentations and you can listen to George Martin say this himself.
Speaker C:Okay?
Speaker C:I'm not saying this.
Speaker C:George Martin said these things.
Speaker C:It's like Quincy Jones said that Paul McCartney and Ringo Starr were.
Speaker C:No playing bleepers.
Speaker A:MFers.
Speaker C:Yeah, MFers.
Speaker C:Going back.
Speaker C:And that was an article in Spin magazine.
Speaker C:People said, oh, he retracted that.
Speaker C:He never retracted that.
Speaker C:What he apologized for was airing it out.
Speaker C:Yeah.
Speaker C:Okay.
Speaker C:So we have these types of things going on.
Speaker C:So we have the Norman Smith article, we have George Martin, you have Quincy Jones talking about all this.
Speaker C: ut yet they signed in June of: Speaker C:So they went from zero to hero in nine months, signing with EMI.
Speaker C:George Martin didn't want to sign him.
Speaker C:Now, some people would say, well, how come he signed them?
Speaker C:I believe he was told that he had to sign them.
Speaker C:It came from above him.
Speaker C:So he worked for a guy, Oscar Prius.
Speaker C:Excuse me.
Speaker C:He worked for.
Speaker C:Excuse me, Len Wood.
Speaker C:Oscar Prius had George's position with Parlophone before Oscar retired.
Speaker C:Now, George took over the Parlor Phone label.
Speaker C: years old in: Speaker C:So this tells you that he was a mover and a shaker.
Speaker C:They were moving George Martin along.
Speaker C:Not to say that George was very talented.
Speaker C:Very talented man.
Speaker C:So he was Moving along, but 29 years old for EMI to give him his own label, to manage the Parlor Phone label.
Speaker C:That's impressive.
Speaker C:That's very impressive.
Speaker C:And then the CEO of EMI at the time was Joseph Lockwood.
Speaker C:Sir Joseph Lockwood.
Speaker C:So I think what happened was that maybe, perhaps George was not completely on board with the Beatles as to what they were going to become.
Speaker C:So in February, he says no.
Speaker C:And then later on, shortly after, I should say, he receives a phone call.
Speaker C:This is actually explained in Memoirs.
Speaker C:He received a phone call from upstairs that said, you got to take them on.
Speaker C:And when he first took him on, here's another thing, he didn't work with them directly.
Speaker C:He didn't want to work with them.
Speaker C:He delegated it to one of his assistants, Ron Richards, who later on.
Speaker C:Who did Ron work with?
Speaker C:Oh, Ron spent a lot of years working with the Hollies.
Speaker C:So Ron takes the Beatles into the studio to see what he can get out of them, and he can't get anything out of.
Speaker C:And they did some recordings.
Speaker C:And so the way the story goes, the playback is shown to George Martin and to Brian Epstein and whoever else was there.
Speaker C:And that resulted in a second phone call to George Martin that said, you can't delegate this.
Speaker C:You have to work with them directly.
Speaker C:So you have to do your magic to make this work, George.
Speaker C:So now we have them nine months after they get signed, they come out with an album, they just magically come up with eight original tunes, when before that they couldn't find.
Speaker C:Nine months earlier, they couldn't find even one, really.
Speaker A:And then a bum group.
Speaker A:They're a bum group that are dis.
Speaker A:You know, they're.
Speaker A:Their music is rubbish.
Speaker A:Their.
Speaker A:Their.
Speaker A:Their studio output is low quality and people don't want to work with them.
Speaker A:And then magically they keep getting moved along the chain from all these different gigs in Hamburg to all these auditions and demos, like they're failing upwards, is what you're saying, Right?
Speaker C:They're succeeding in spite of themselves.
Speaker A:Yeah.
Speaker C:Okay.
Speaker C: mention also is, starting in: Speaker C:So now you have to think to yourself, okay, well, how did that happen?
Speaker C:Well, that's.
Speaker C:Somebody's pushing buttons behind the scenes.
Speaker C:That's.
Speaker C:That's how that's working.
Speaker C:You were turned down by deca.
Speaker C:You were turned down by George Martin from emi.
Speaker C:And then right after that, the BBC says, yeah, yeah, come on, come on up to our BBC live at the BBC shows.
Speaker C:And by the way, they weren't live, folks, okay?
Speaker C:They were.
Speaker C:They were recorded, they were prerecorded, and they were able to do takes and overdubs.
Speaker C:And I did a whole show on this.
Speaker C:And then they were released like two or three weeks later.
Speaker C:So they were actually studio productions.
Speaker C:And I did a show on this, Will, where I sincerely doubt that the Beatles are actually performing the instrumentals on those BBC recordings.
Speaker C:They did the vocals, but I don't believe that they were doing the instrumentals.
Speaker C:That was done by studio players.
Speaker C:But we'll get to that in a moment.
Speaker A:Can we take a sidestep real quick to talk about two things?
Speaker A:So the first thing I want to do is kind of unpack who George Martin is, because we've said his name a number of times, and the role of a studio producer, a studio engineer in crafting the sound of a band.
Speaker A:Because from my time in the studio world and the musicians world, I heard George Martin's name held up with reverence as the guy who basically invented everything that engineers do today.
Speaker A:There was a moment when engineering became a straight technical kind of thing to being a creative art.
Speaker A:And so George Martin was the guy who started that.
Speaker A:In fact, he's called the fifth Beatle.
Speaker A:So let's talk about who George Martin is right now, just to set some context about how important it was that he rejected them.
Speaker A:And then this same guy, within a year, took them back on.
Speaker A:Let's talk about him for a minute.
Speaker C:Yeah, So a producer, as you know, Will is, really calls the shots as far as recording goes and how the songs are going to be arranged, how the songs are going to sound, the direction, the whole nine yards.
Speaker C:It's the whole presentation and packaging of what this particular album, these songs are going to be about.
Speaker A:That's why when the director of an album, like a film director of an album, kind of.
Speaker C:Yes, yes.
Speaker C:Right.
Speaker C:So he's the main man or main woman.
Speaker C:And that's why the story that it's, it's.
Speaker C:It's in the Beatle official narrative that says that George Martin and I have an interview where he says this.
Speaker C:He went out looking for Songs for them.
Speaker C:In other words, he was pulling in songs that were written by other people.
Speaker C: d before August, September of: Speaker C:It didn't say to record songs written by them.
Speaker C:It said they were right, they were recording songs that were written for them.
Speaker C:And there's a, there's a.
Speaker C:You know, there's this story that goes around that says that the Beatles pushed back on George Martin and said, no, we don't want to do other people's music, we want to write our own music.
Speaker C:And I keep telling people, you know, when people bring that up, I said, look, please put your thinking cap on.
Speaker C:You're a band that just got signed, you got turned down twice, you're in the studio with a big name producer.
Speaker C:George Martin was the head of the Parlor Phone label at that time.
Speaker C:He wasn't just a producer, he was the head of the Parlor Phone label, reporting up through Joseph Lockwood.
Speaker C:These four guys were not going to tell him anything, right?
Speaker C:Not going to tell him anything.
Speaker C:It was George that was calling the shots.
Speaker C:So all these stories about how the Beatles had so much input into what was going on, I mean, I'm not saying that they didn't have discussions with George Martin.
Speaker C:It might have said, what about this, what about that?
Speaker C:But when the bucks stopped with George.
Speaker A:Martin, he was the guy.
Speaker C:He was the guy.
Speaker C:And what's interesting is he left EMI because he was having a lot of.
Speaker C:He was having.
Speaker C:How should I say this?
Speaker C:I want to put it in the proper context.
Speaker C:He was bumping heads with his immediate boss, Len Wood.
Speaker C:And George didn't feel when he was at EMI that he was being compensated appropriately, that he should have been making more money.
Speaker C:And evidently Len didn't agree, so they were locking horns.
Speaker C:George eventually left emi, and the way the story goes, what I've read, my research is Len Wood tried to pull him back.
Speaker C:He started his own recording studio, Air A I R Studios.
Speaker C:And what's interesting about that is even after he started his own studio, basically an independent studio owner and producer, he was still back at EMI with the Beatles.
Speaker C:Oh, wow, that's very interesting.
Speaker C:The Beatles were under contract with emi, but this independent producer, George Martin was there.
Speaker C:Who?
Speaker C:He was a former employee of emi and there was some horn locking between him and Len Wood.
Speaker C:Len Wood eventually left emi, retired or so.
Speaker C:But the point they're trying to make is Obviously, George Martin was very, very important to the operation.
Speaker C:Very important.
Speaker C:Could they have brought a different producer in?
Speaker C:Sure, it could have.
Speaker C:This happens all the time.
Speaker C:But no, he stayed.
Speaker C:So there's a reason why he was there.
Speaker C:And obviously, if you look back at his legacy now, George Martin and the Beatles is.
Speaker C:It's synonymous.
Speaker C:You can't really talk about the Beatles without talking about George Martin, and vice versa.
Speaker C:You can't talk about George without having a discussion about the Beatles.
Speaker C:So that's George.
Speaker C:I mean, he really controlled that band.
Speaker C: ed them from the beginning of: Speaker C:And that was his era.
Speaker C: was replaced starting in late: Speaker C:Working with George Martin, the other Beatles were really pretty much spectators at that point.
Speaker C: n interview, I think it was a: Speaker C:And in that interview, Billy, as Paul McCarty, is telling Bernie Goldberg, who was interviewing him, that George Harrison was a no show for the Pepper sessions.
Speaker C:Heard that too.
Speaker C:He said that he was putting a pool in or something.
Speaker C:And Billy said, you know, it was sketchy because you're supposed to show up for the sessions.
Speaker C:So that calls into question, well, if George was a no show for the sergeant Pepper sessions and he's credited for playing guitar on the tracks, well, who was really playing guitar on those tracks?
Speaker C:Right, right.
Speaker C:You have.
Speaker C:It's just a logical.
Speaker C:It's not me saying George didn't show up for the Sergeant Pepper Sessions.
Speaker C:It's Billy, Paul McCarty telling us that.
Speaker C:And again, I have this interview in a number of my presentations.
Speaker C:So anyway, when Pepper came, Billy actually was sharing the production and the whole managing of the band with George Martin.
Speaker C:And I think personally, George was more disciplined and structured in his approach.
Speaker C:Billy, I think, was a little more loose.
Speaker C:And so.
Speaker C:And the reason why I say that is because when we get to the White Album sessions, George Martin walked out and went on vacation, went on holiday, and basically, good luck, lads.
Speaker C:I'm not going to deal with this.
Speaker C:So you do what you need to do.
Speaker C:And I'm heading out.
Speaker C:And again, the reason why I'm telling that story is because we could see there was a transition of.
Speaker C:Of management, if you will, within the band from George over to Billy, because Billy really became the de facto manager Handler of the Beatles, taking them in the direction that he wanted them to go.
Speaker C:And that started with Billy being responsible for setting the stage with the Beatles for the psychedelic era with the release of sergeant Pepper and kicking off the Summer of Love.
Speaker C:And he was also behind the Monterey Pop Festival.
Speaker C:A lot of people don't know that he didn't play or perform there as Paul McCarty, but he was working closely with like John Phillips, which of course the whole Monterey Pop Festival is tied into the CIA and the distribution of lsd where local law enforcement was told to stand down as the CIA was handing out acid to the people who attended the concert.
Speaker A:Sorry, go ahead.
Speaker C:No, no, go ahead.
Speaker A:So I think the context that all this is happening in today, in a sense, is that the Beatles story, as is handed down to us by the official narrative, is a supernatural one, right?
Speaker A: e forced to believe that from: Speaker A:While there's documented interviews and statements that yeah, they were basically bums as a band and we're supposed to believe that that band somehow produced almost magically this music that defined an era when there's no evidence to substantiate this, that that's what actually happened.
Speaker C:There really is no evidence, the only evidence.
Speaker C:And it's not evidence, it's storytelling.
Speaker C:It's the official narrative, it's the propaganda, it's the conditioning that comes through official stories.
Speaker C:And that's what people they grab onto.
Speaker C:Look, I always tell folks, well, the Beatles narrative, I call it the Cinderella story, who doesn't love it?
Speaker C:It's a great story, right?
Speaker C:It's a story that says that these four working class lads from Liverpool connect with Brian Epstein who runs a record store or his family owns the record store, and then he winds up getting them signed to EMI under the tutelage of a producer like George Martin, and then they go on to unprecedented fame and fortune.
Speaker C:And again, if we, if you recap what you and I were just talking about, they had nothing.
Speaker C:And then once they got to with Please, Please Me, their first album, then they released another album in November of that year with the Beatles.
Speaker C: at band, to then producing in: Speaker C:And with the Beatles, each one of those albums has eight songs.
Speaker C:So 16 original compositions by the Beatles and 12 cover tunes, six on each album.
Speaker C:Okay, so how was that progress?
Speaker C:How was that happening?
Speaker C:How was that happening?
Speaker C: Right, so then we get to: Speaker C:That was the agreement that they had with emi.
Speaker C:So, you know, none of this one album a year or one album every two years, they had to produce two albums a year.
Speaker C:Again, coming from a band that showed no songwriting aptitude and that were mediocre at best as musicians, they were a bar and club band.
Speaker C:But when you listen to the Beatles recordings, that's not a bar and club band you're listening to.
Speaker C:I actually have backing tracks that were given to me by a friend of mine, Patrick O'Carroll.
Speaker C:And when you listen to the backing tracks without the vocals, it's very clear what you're hearing there.
Speaker C:You're hearing session players playing on those tracks.
Speaker C:And you're hearing also different styles of guitar playing.
Speaker C:There's different drumming, different drumming styles, different bass playing styles, which means that different session musicians were attending different recording sessions and so their particular style was being reflected on on that song.
Speaker C:Now, in some cases, the same session players were playing on many tracks, so you're going to hear the same style, but it does change up.
Speaker C: t happens is when they get to: Speaker C: So: Speaker C:1 plus 6 plus 4 is 11.
Speaker C:It's a 9, 11 and coded date.
Speaker C:So that gets back into the occult aspects of the.
Speaker C:The Beatles were totally immersed and the occult totally immersed in Crowleyism, in thelemic principles.
Speaker C:So now they release A Hard Day's Night, that album that has 13 original tracks on it.
Speaker C:There are 13 tracks in total.
Speaker C:So now they were able to produce 13 original songs for Hard Day's Night while they were touring news conferences and the filming of the movie.
Speaker C:A Hard Day's Night was sandwiched in between the recording periods, the dates of recording the album.
Speaker C:So they were.
Speaker C:They were on a film set and that was sandwiched in between the recording that was getting done for the album.
Speaker C: y get to the second album for: Speaker C:And Help has 14 album tracks, of which 12 are original compositions.
Speaker C:So it's.
Speaker C:You have to, it's really, really important to understand folks what their, what their schedule was like.
Speaker C:Hectic, doesn't even explain it.
Speaker C:They were in and out of hotel rooms, they were doing world tours, they were in Australia, they were in the us, they were in Japan, they were playing in Europe, flying everywhere, news conferences, two films.
Speaker C:When they did Help, the Help album, when they were recording, that same situation we had with the Hard Day's Night, the filming of the Help movie was sandwiched in between the recording period for the record, how was all this stuff getting done?
Speaker C:And then I have an interview that John Lennon gave, it was in the uk, Independent, they published it a couple of years ago, where he said on the set of Help, they were in a fog, a haze of marijuana, weed, and that Richard Lester, the director, was the same director for A Hard Day's Night, had to wrap everything up pretty much by noon, midday, because beyond that they were useless, they were so stoned.
Speaker C:So there was no writing of music taking place on film sets.
Speaker C: he proof of that in an August: Speaker C:And when he said maybe, maybe could mean zero, he said they wrote in great big batches whenever they had to do an album.
Speaker C:So that meant 12, 14 songs.
Speaker C:And the BBC reporter, it's interesting, the interviewer, he says to Paul McCartney, once he says this, he says, well, seems almost quite impossible to me to just bang out 12 songs in a short period of time.
Speaker C:And then John Lennon chimes in and says, well, it is at times, yeah, right, go figure.
Speaker C:And in that interview, Paul McCartney says it took them weeks, weeks to write just one song and the album they were talking about is Revolver.
Speaker C: th of: Speaker C:They were talking about Revolver.
Speaker C:So if it took them weeks to write one song for Revolver, we'll get to Rubber Soul.
Speaker C:That's when we get into the whole situation where Rubber Soul is the silver bullet.
Speaker C:That in my view, takes the Beatles narrative and turns it upside down on its head.
Speaker C: ah, so anyway, so they get to: Speaker C:Recording starts on October 12th.
Speaker C:They finish up late in the evening, going into the early morning hours of November 12th.
Speaker C:And they are on the hook for 16 songs.
Speaker C:And they came into the studio with essentially no backlog of music.
Speaker C:They said the Beatles came in empty.
Speaker C:That's the official narrative.
Speaker C:Came in empty.
Speaker C:And so that's.
Speaker C:See, I didn't know anything about the Rubber Soul story, Will.
Speaker C:I mean, I was like everybody else.
Speaker C:I just, you know, I just didn't pay attention to the time periods, how it was recorded, when they, when we're told it was recorded and all that stuff.
Speaker C:And so I found the series Deconstructing the Beatles.
Speaker C:Scott Freeman is the, the author of this series.
Speaker C:Scott's, you know, he's a musicologist, he's a very, he's very well credentialed.
Speaker C:But, you know, he presents the Beatles official narrative.
Speaker C:Now, whether he believes it or not, I don't know.
Speaker C:But, you know, this is what he does with the deconstructing series.
Speaker C:And something told me a little bird whispered in my head, Mike, pick the Rubber Soul dvd.
Speaker C:Don't pick the other ones, just pick the Rubber Soul one.
Speaker C:So being a musician myself and having recorded and written songs for a long time, when I popped the DVD in, I got 15 minutes into it and they told the backstory of the Beatles coming off their tour, then had a six week break in which they did not write any music.
Speaker C:That's in Mark Lewison's book.
Speaker C: th of: Speaker C:And if anybody thinks that songwriting is not work, I have something to say about that.
Speaker C:So anyway, I want to ask you.
Speaker A:About that actually, but please go ahead.
Speaker C:So they entered the studio with no material.
Speaker C:Now, some people will want to argue that they had a little bit of this.
Speaker C:They had a little bit of we can work it out.
Speaker C:They had a little bit of Michelle, you know, but here's the thing, having a little bit of something when people bring that up, because what that is is rationalization.
Speaker C:If you're a songwriter and musician and you're really objective and you're honest, if somebody said to you, I need you to write, learn, in other words, teach the other band members, rehearse, arrange and record 10, 12, 14 or 16 songs in 30 days, you're gonna be like, okay, you know what?
Speaker C:That's not gonna happen.
Speaker C:It's not gonna happen.
Speaker C:And that's what happened with Rubber Soul, Will.
Speaker C:When I went in there and I looked at that, and when you take a look at how the songs were pumped out, it was conveyor belt stuff.
Speaker C:It was day one, day two, day three, day four, day five.
Speaker C:You know, nobody, nobody, nobody writes songs and gets them rehearsed and arranged like that.
Speaker C:Nobody, nobody.
Speaker C:Because, you know, I don't know if you're familiar with being in a band, being a musician, or you were in the music business.
Speaker C:Yeah, but what I try to explain to people is when you go in, when you write music, it is a very.
Speaker C:It's a creative process that takes time.
Speaker C:And it's not just about writing music.
Speaker C:That's where a lot of people, you know, they get hung up.
Speaker C:Oh, I can write people.
Speaker C:I got people write me and say, oh, I can write that many songs in 30 days.
Speaker C:Are you writing good songs?
Speaker C:Right.
Speaker C:All right, it's one thing.
Speaker C:The Beatles have pretty much all top shelf songs on Rub Assault.
Speaker C:We might argue one or two maybe, you know, you know, a little weak.
Speaker C:But let's just say of the 14, 12 really, really solid songs, some of them are great songs.
Speaker C:It's not.
Speaker C:It's not an album of one good song and 13 filler tracks.
Speaker A:Right.
Speaker C:That's.
Speaker C:That's the point that people have to understand.
Speaker C:Rubber Soul is considered one of their pivotal albums.
Speaker C:It's a.
Speaker C:It's an album which is considered to have really changed the dynamic within popular music.
Speaker C:Now, some will argue that Dylan set the stage for Rubber Soul, and that's probably true.
Speaker C: Although Bob, in an early: Speaker C:Okay, he let the cat out of the bag.
Speaker A:Can I comment on that real quick?
Speaker A:So I've heard that clip before.
Speaker A:They made a deal with the chief commander of this World.
Speaker A:This World, the next one.
Speaker A:Right.
Speaker A:This Bob Dylan way.
Speaker A:But I've heard that before.
Speaker A:But it's what he said afterwards that was so interesting because Ed Bradley asked him, could you do that now?
Speaker A:He said, no.
Speaker A:He said, no, I couldn't do that.
Speaker A:Now I can do other things, but I couldn't do that now.
Speaker A:I'd never heard that part of it before.
Speaker A:That, to me, was the truly damning part of it.
Speaker A:It's like he had a deal to get this done.
Speaker A:The legendary songs and everything else is riding on that.
Speaker A:And how many musicians are like that?
Speaker A:They've been around.
Speaker A:We know their names.
Speaker A:They've been around for decades.
Speaker A:They had great stuff happening in a defined period of time.
Speaker A:And then that period of time ended and they never did anything good again.
Speaker A:I think of U2 because U2 is more of my generation, where it's like they had this swing of incredible albums up to the 90s, and then everything they did after that, like, completely forgettable.
Speaker A:So I never heard that portion of the.
Speaker A:Of the Dylan interview that kind of speaks to that.
Speaker C:Yeah.
Speaker C:And then.
Speaker C:And then, you know, and Bob said.
Speaker C:And then Ed Bradley says, well, why do you still do it?
Speaker C:He goes, because I have to hold up my end of the bargain.
Speaker A:Right?
Speaker C:So he's.
Speaker C:So, you know, Bob didn't say, well, I'm going to hold up my end of the bargain as long as I still pump out great tunes.
Speaker C:No, he basically said, I had my.
Speaker C:I had my.
Speaker C:I had my time.
Speaker C:My period of time where I was cranking out, you know, the classic Dylan pieces.
Speaker C:And after that, it just kind of waned.
Speaker C:But what he was saying is, I'm still on the hook.
Speaker C:I'm still on the hook for this stuff.
Speaker C:So going back to Rubber Soul, I just took people through it and I said, the rate and pace just doesn't work.
Speaker C: And in a June: Speaker C:Well, a little less than a year after Rubber Soul was put out, the Beatles were at the Hilton in Japan and they were asked about their musicianship.
Speaker C:And Paul McCartney said, We've always said we're not very good musicians.
Speaker C:We're adequate at best.
Speaker A:Right?
Speaker C: th of: Speaker C:So here's the thing, folks.
Speaker C:To get songs pumped out the way they did, cranking him out one after another within 30 days for rubber Soul, you cannot be an adequate musician.
Speaker A:That's right.
Speaker C:You've got to be.
Speaker C:You've got to be on top of your game.
Speaker C:You have to be a crack studio player.
Speaker C:You're knocking it out.
Speaker C:I mean, there is no room for error, let's just put it that way.
Speaker C:And what it's telling us, also the songwriting process during Rubber Soul is everything they touched turned to gold.
Speaker C:There was no false starts.
Speaker C:There were no songs that they got stuck on.
Speaker C:There was nothing that they set aside.
Speaker C:Everything they started to write, they completed.
Speaker C:Not just the music, but the lyrics as well.
Speaker C:Now, anybody who wants to give a crack at writing lyrics to a song, go.
Speaker C:Go give it a shot.
Speaker C:And let me tell you what I mean, it's going to take time to write lyrics.
Speaker C:And even after you Write the lyrics.
Speaker C:What will happen is once you go into record and you're singing, doing the vocals, you're gonna do the vocals.
Speaker C:And then you know, as you're singing a particular lyric that you wrote, you're like, you know what?
Speaker C:I don't like the way that's phrased.
Speaker C:That just does not.
Speaker C:The metering or whatever, it just doesn't.
Speaker C:Doesn't roll right.
Speaker C:So you know what?
Speaker C:You pull it back.
Speaker C:I've gotta change that line.
Speaker C:I've gotta change that phrase or that lyric.
Speaker C:That's what I've gotta do to make this work.
Speaker C:That's how the process works.
Speaker C:They want you to think that Beatles just jumped into the studio, put their guitars on and knocked it out.
Speaker C:And the other thing I try to explain, Will, and if you've worked in studio, so you know this.
Speaker C:Guitar players.
Speaker C:I'm a guitar player.
Speaker C:When I record a song, I will go through four or five different guitars to get the sound that I'm looking for that I want to hear on the recording.
Speaker C:Okay.
Speaker C:It's not a matter of me just picking up one guitar and say, oh, this'll do.
Speaker C:You also testing out your amps.
Speaker C:What kind of tone am I getting on that amplifier?
Speaker A:Oh, yeah, the microphone.
Speaker C:The microphones even, you know, just getting the sound checks.
Speaker C:The sound checks to set up the drums and everything else.
Speaker C:Could take a couple hours to do that.
Speaker C:Yeah.
Speaker C:Okay.
Speaker C:Drums have got to be tuned right now.
Speaker C:Drums have to be tuned.
Speaker C:If the drums are not tuned, then it's not going to sound right with the song.
Speaker C:And then you get into the whole.
Speaker C:The whole piece of collaboration with your bandmates.
Speaker C:There's always discussion.
Speaker C:A lot of times there's arguments.
Speaker C:Sometimes you got to take a break because you got into a heated argument with one of your band members.
Speaker C:Because you can't disagree.
Speaker C:You just can't get to agree on something.
Speaker C:I'm just saying there's a whole dynamic there that is completely not discussed, not addressed with Rubber Soul.
Speaker C:They want you to believe that it was just a magical moment that because of the Beatles, they can do.
Speaker C:You mentioned before supernatural things.
Speaker C:Philip Norman, who's an author, who's written about the Beatles, that's what he is quoted as saying.
Speaker C:The Beatles were a supernatural force.
Speaker C:But that's also the story that they're selling.
Speaker C:That's the story that they're selling to the fans, that they're supernatural.
Speaker C:They're way above anything ever before.
Speaker C:And what's really unfortunate about that, Will, is I've told.
Speaker C:I have a lot of musicians Songwriters.
Speaker C:I even have some producers and sound engineers I know because they've communicated with me offline.
Speaker C:They subscribe to my channel.
Speaker C:And I said to them, you know what?
Speaker C:The worst part of this to me is that the Beatles were not great musicians, they were not great songwriters.
Speaker C:Yet you're trying to strive to that level of songwriting and performance when the fact is they didn't do that.
Speaker A:Amen.
Speaker C:You're listening to people like Bernard Purdy on drums, Ronnie Verrell on drums, Alan White on drums, Andy White on drums, Vic Flick on guitar, Big Jim Sullivan on guitar, Jimmy Page on guitar, Eric Clapton on guitar.
Speaker C:That's what you're listening to.
Speaker C:That's what you're listening to.
Speaker C:So when.
Speaker C:When you're an aspiring musician or even an experienced musician, and you're wondering, how come I can't get to certain levels and you're beating yourself up because you know you can't achieve Beatles status.
Speaker C: sessions, especially between: Speaker C:In fact, a friend of mine worked for and was a good friend of Dan Peak of the band America.
Speaker A:Okay?
Speaker C:Okay.
Speaker C:Dan was one of the founding members and George Martin produced America.
Speaker C:So my friend wrote me and he told me, he said, mike, just so you know, Dan told me that Jimmy Page played the lead guitar on I Saw Her Standing There.
Speaker C:Okay, and with.
Speaker C:With Ronnie Verrell.
Speaker C:Ronnie Verrell was a studio drummer.
Speaker C: After I released my April: Speaker C:I was contacted by one of his relatives, and Ronnie was her godfather.
Speaker C:And she said to me, mike, now that the cat's out of the bag, Ronnie drummed on Beatles songs as well.
Speaker C:I have another friend of mine, or actually more of a.
Speaker C:An acquaintance, but I know who he is.
Speaker C:He's another researcher.
Speaker C:He was doing work for a professional drummer out of the uk and this.
Speaker C:And I can't.
Speaker C:I won't say who this person is because I don't want to drag him into the fray.
Speaker C:I'm sure he won't appreciate it.
Speaker C:But my friend said to him, went to a studio, was doing some work in a studio, and he was kidding around with him, and he said, hey, are you a better drummer than Ringo Starr?
Speaker C:And so this guy says, I am.
Speaker C:And then my friend said, you know, there's a thing out there that says that Ringo wasn't drumming on the Beatle albums, especially between 62 and 66.
Speaker C:And this guy told him was true that he said that Bernard Purdy was a Very good friend of his.
Speaker C:Now, Bernard is a longtime session player and since the late 70s he said that he drummed on 21 Beatle tracks.
Speaker C: And in an early: Speaker C:So there are people that know a friend of mine, and I consider Mike Stock a friend of mine.
Speaker C: a lot of songs in the, in the: Speaker C:He's in his 70s now, I think his early 70s.
Speaker C:And Mike told me that in the early 80s he was doing some work with Billy.
Speaker C:It was some kind of collaboration or whatever.
Speaker C:I think he worked with him two or three times.
Speaker C:And he walked into the studio and Billy was playing guitar right handed.
Speaker A:Paul McCartney was a lefty.
Speaker C:Paul's lefty.
Speaker C:So Billy's naturally right handed.
Speaker C:He had to teach himself to play lefty.
Speaker C:And it's not impossible, folks.
Speaker C:A lot of people thinking, how could he teach himself to play lefty?
Speaker C:Look at some of these Beatle tribute bands.
Speaker C:I think the guy in the, in the Beatle tribute band Fab Four, which is a very popular Beatles tribute band here in the States, that guy, I forgot his name.
Speaker C:He's righty.
Speaker C:He taught himself to play lefty so he could play the part of Paul McCartney on stage in that Beatles tribute band, the Fab Four, which by the way, they're a very good tribute band.
Speaker C:So anyway, the other problem with Rubber Soul, and I know I'm eating up a lot of your time here.
Speaker A:No, no, this is great.
Speaker C:There's a problem with the manufacturing process, the time frame, the cycle time for the manufacturing process.
Speaker C:So if you can't go to.
Speaker C:If you can't or you refuse to get over the hump about the whole ability to write 12, 14 or 16 songs in 30 days, there's the manufacturing bit of it.
Speaker C:So when I was doing the, when I was doing the presentation, I was pulling it together, doing the research.
Speaker C:I was working with somebody that has been in the music business for a very long time and very familiar with the vinyl pressing process.
Speaker C:And so the Beatles story tells us that George Martin finished up the sequencing the order in which the songs are going to play on side A and side B of the album.
Speaker C:Sequencing is very important, by the way, the order that songs are on an album is not.
Speaker C:It's not haphazard.
Speaker C:It's calculated to ensure that there's the Proper amount of dead wax at the end near the label.
Speaker C:Because as an lp, as a needle or stylus goes across an album, when it gets closer and closer to the spindle, there is the possibility of the propensity for distortion, right?
Speaker C:So to avoid that, especially when you're talking about the big labels, they're going to make sure that they have that album factored out properly so that you don't get that possibility of distortion toward, let's say, the last track or two on an album.
Speaker C:Anyway, so he doesn't finish the sequencing until the 16th of November, but we're told that they cut the final mono lacquer.
Speaker C: rd of: Speaker C:Now, remember, the lacquers cut on November 17th.
Speaker C:It's the day after George did the sequencing.
Speaker C: rd of: Speaker C:So we're to believe that they pressed all of those albums within two and a half weeks and got them into retail on December 3rd of 65.
Speaker C:Somebody might say, well, maybe that is possible.
Speaker C:But here's the problem.
Speaker C:Without the sequencing being complete, you cannot print the center labels of the album, because the center labels have the names of the songs in sequenced order.
Speaker C:You also cannot print the album jackets, which have the names of the songs on the back of the jacket, the back of the COVID in sequenced order.
Speaker C:So there is no way that if George finished the sequencing on the 16th, that they were able to start pressing records on the 17th, the 18th, the absolute latest.
Speaker C:And I believe they started pressing on the 17th.
Speaker C:But it's possible it could have went into the next day.
Speaker C:There's no way, because they would not have the center labels and the jackets in house.
Speaker C:So what does that tell us?
Speaker C:But somebody would say, but, Mike, it got done.
Speaker C:Yes, it did get done.
Speaker C:And you know how it got done?
Speaker C:It got done this way.
Speaker C:The labels and the jacket, they were all already in the works, already in production, being printed weeks before the Beatles showed up in the studio.
Speaker C:Before the Beatles showed up in the studio, all that work was underway.
Speaker C:How could that possibly be?
Speaker C:Because George Martin had professional songwriters writing the songs.
Speaker C:And I believe he was one of them.
Speaker C:I believe Theodore Adorno may have been one of them as well.
Speaker C:Some people say that Adorno wrote all the music.
Speaker C:I don't subscribe to that.
Speaker C:Adorno was a pretty busy guy with the Frankfurt school.
Speaker C:So I think Adorno and George Martin, what they Did I think they were working together.
Speaker C:In fact, I'm almost positive they were working together.
Speaker C:Adorno out of the Frankfurt School, actually probably at that point reporting up through Tavistock or writing some of the music.
Speaker C:George Martin was doing the arranging.
Speaker C:But I think they had probably a staff of five to six crack songwriters that were turning out the Beatles songs.
Speaker C:And one of the people that I was working with during the research of the presentation back in April, exceptional musician.
Speaker C:They, they took a list of the songs and they were saying there are two distinct styles at play, two songwriting styles.
Speaker C:And he said he believed what they were doing was one group was responsible for writing John Lennon style songs and another group, two or three were responsible for writing Paul McCartney style types of songs.
Speaker C:So that's how they probably managed it, or at least that's a possibility.
Speaker C:So anyway, so the songs were written, pre written George Martin then while the Beatles were out touring, making movies, doing press conferences and gallivanting around, he had the studio musicians booked at EMI Studios and recorded the songs.
Speaker C: th of: Speaker C:The instrumental tracks were already done.
Speaker C:Think of it as like singing karaoke.
Speaker C:So George Martin worked with them to get the vocals down.
Speaker C:They had to learn the songs.
Speaker C:And I'm sure the songs came in with a guide vocal.
Speaker A:Well, something they could listen along to.
Speaker C:To learn that something could listen to maybe guide harmonies.
Speaker C:And that was their job.
Speaker C:Their job was to listen to that and to get it down.
Speaker C:The other red flag with all of the recording is that we're told that not one basic rhythm track took more than five takes to nail down.
Speaker A:That's silly.
Speaker C:That's crazy.
Speaker C:It's because, like, when you go to the.
Speaker C:When you go to the White Album.
Speaker C:The White Album, if you take a look at Mark Lewison's books, on Mark's books, I have two of them.
Speaker C:We're talking about dozens and dozens and dozens of takes for songs on the White Album.
Speaker C:But yet when we go back three years in time, back to Rubber Soul, we're told that not one song took more than five takes to get the basic rhythm tracks down.
Speaker C:That's absurd.
Speaker A:That's pretty absurd that they had just written.
Speaker A:They wrote the song a couple days before and like, okay, we're just, okay, that's all done, polished, it's awesome.
Speaker A:Let's run it and then we can knock it out in five takes.
Speaker A:Okay, maybe you can do that.
Speaker A:Once, but 16 times in 30 days and have to hit the, have to hit the deadline because the printing press needs the stuff.
Speaker A:Forget it.
Speaker C:Right?
Speaker C: , in August of: Speaker A:Right.
Speaker C:And you know, that would have to be a lie.
Speaker A:That would have to be a lie.
Speaker A:They'd have to say we get in the studio and we kill it.
Speaker A:That's who we are.
Speaker A:We show up.
Speaker A:Because that's what they would have to say if it were true.
Speaker A:We get into the studio and we crank out 16 top shelf songs, five takes out the door and then we're on tour.
Speaker A:We're the best musicians that have ever lived is what he would be saying.
Speaker A:Not like, ah, we're okay.
Speaker A:Like that's not what he would be saying.
Speaker C:Right, that's right.
Speaker C:That's right.
Speaker C:And the thing is too, you know, there was a lot of thought given to the, the sound, the production and all that stuff.
Speaker C:You know, that takes time as well when you think about what effects are we going to use on this song?
Speaker C:What effects go on the guitar mixing and all that stuff.
Speaker C:Exactly.
Speaker C:So this is the thing, you know, so what happens is you wind up getting into, you know, people who don't understand the process want to debate you.
Speaker C:And it gets frustrating sometimes.
Speaker C:I know it gets frustrating sometimes, you know, I have to admit.
Speaker C:But.
Speaker C:But the thing is I try to do my best to try to point them in the right direction.
Speaker C:I don't want to repeat myself.
Speaker C:I'll point you to presentations I did where I've explained this and you can go listen for it to yourself.
Speaker C:So anyway, the point being as well, so the manufacturing process didn't work either because there's no way all that stuff, the labels, the center labels and the album jackets could have been printed and ready to go on the 17th when George Martin just finished up the song sequencing on the 16th.
Speaker C:And here's the thing, when you press an album, the center label gets pressed at the exact same time as the vinyl is being pressed.
Speaker C:It's the same process.
Speaker C:So you can't even argue that.
Speaker C:Oh well, they put the labels on later.
Speaker C:No, you don't put the labels on later.
Speaker C:The labels get pressed at the same time that the vinyl is being pressed.
Speaker C:And then right after that they go right into the jackets, they get packaged and they get staged for distribution and then it goes out to the retail outlets.
Speaker C:And back in the day, what we have to remember is there were no big box stores.
Speaker C:All these shipments had to go out to all these little mom and pop retail outlets, record stores, in order to get rubber sole on the shelves in time for Christmas.
Speaker C:That's why they had to hit December 3, because they had to make sure they had it in stores for Christmas release.
Speaker C:Otherwise EMI would have been out a tremendous amount of money.
Speaker A:That's the convicting.
Speaker A: vested millions of dollars in: Speaker A: f dollars Today we're talking: Speaker A:Otherwise they're out.
Speaker A:And so you're telling me that the Beatles walked into the studio 45 days before the deadline from EMI, having millions of dollars with zero songs written and EMI is just trusting that they're going to show up in the studio and they're going to write the lyrics, they're going to write the music, they're going to learn the lyrics and the music to perform it.
Speaker A:It's going to get recorded, mixed, mastered, sequenced and pressed all within 45 days or this giant record company with the biggest band in the universe right now is going to be out millions of dollars.
Speaker A:I'm sorry, that's not how reality works.
Speaker A:That's not how reality works.
Speaker A:Exactly, exactly, exactly.
Speaker C: back to the musicians back in: Speaker C:So the Wrecking Crew was responsible for just about all of the pop music recordings in the 70s, 60s and 70s in the United States.
Speaker C:Also going into the, into the uk and the UK had their version of the Wrecking Crew, you know, session musicians that were going from studio to studio playing on different artists records.
Speaker C: But In July of: Speaker C:That would be Eric Clapton, Ginger Baker and Jack Bruce.
Speaker C:And during that introduction to Cream, he says, these guys were the cream of the crop.
Speaker C:They were top studio musicians and they played on records for the Beatles, the Rolling Stones, Tom Jones, the Smothers Brothers themselves.
Speaker C:So it was very interesting that we had Glenn Campbell letting the cat out of the bag unintentionally.
Speaker C:I mean, I'm sure it just rolled off his lips because all of These guys know each other like Glen Campbell knows Eric Clapton, Clapton knows him.
Speaker C:It's just one big club.
Speaker C:And so he's just, he's just giving out the truth.
Speaker C:And it probably just eluded him.
Speaker C:Now, the other point I want to make, Will, you talked about getting all this stuff done in 45 days, and Emi would have been just.
Speaker C:I mean, it would have been a big, gigantic problem.
Speaker C:A lot of people would have lost their jobs if the Beatles didn't crank out that album.
Speaker A:That's right.
Speaker C:Is there was the point I was going to make.
Speaker C:I was.
Speaker C:Was on that.
Speaker C:Oh.
Speaker C:So I mentioned before that they were on the hook for two albums a year.
Speaker C: So: Speaker C:1964, two albums, a film, still found time to write original music for those albums.
Speaker C:1965, the beginning of 65, they put out help.
Speaker C:Able to crank out 12 original tracks for the Help album.
Speaker C:By the way, I'm not even counting the singles they put out, okay?
Speaker C:I'm just talking about the album tracks right now.
Speaker C:Then something happened after Help.
Speaker C:Everybody fell asleep at the switch.
Speaker C:Everybody nodded off because evidently it didn't dawn on them that they were responsible for or on the hook for another album later in the year for Christmas in October of 65, per their contract.
Speaker A:Might want to get on that.
Speaker C:So how is it that the Beatles, nobody was pulsing them, like as an example, after Help was done, you could see they take a little break or whatever, and then you would assume Brian Epstein, who was their manager, would say, hey, guys, we got studio time booked in October.
Speaker C:So how many songs we need, Brian?
Speaker C:I don't know, 14, 16 songs.
Speaker C:Okay, we'll get right on that.
Speaker C:Right.
Speaker C:Evidently, that conversation never took place.
Speaker C:And if you take it a step further, George Martin would have had that conversation as well.
Speaker C:So George Martin would have either had that conversation with Brian Epstein, hey, how are they doing on the songs?
Speaker C:Because we've got to get things nailed down in October.
Speaker C:Or he would have contacted the Beatles themselves and said, hey, lads, how are we coming along with those 14 to 16 songs?
Speaker C:What?
Speaker C:We haven't started, George.
Speaker C:So the thing is.
Speaker A:You what?
Speaker C:Right, so.
Speaker C:So, so the thing is to believe that for the first five albums that they found all the time, that or I should say the time needed to create original music for those albums, to record them.
Speaker C:But something happened.
Speaker C:Where?
Speaker C:I don't know.
Speaker C:I mean, it just didn't happen after Help.
Speaker C:Everybody just decided they weren't going to do anything, they weren't going to do any songwriting and you know, we're gonna, okay, well that's fine then we're just going to have to write from scratch in the studio.
Speaker C:It's a ridiculous story.
Speaker C:It's ridiculous.
Speaker C:The reason why the Beatles didn't write anything from between Help and Rubber Soul is because they weren't writing the music.
Speaker C:It was being written by professional songwriters.
Speaker C:And some people, you know, folks will say, well, who are these songwriters?
Speaker C:I don't know who the songwriters are.
Speaker C:Nobody's going to know who these songwriters are.
Speaker C:You have to understand the Beatles are a deep state psychological operation that were put in play.
Speaker C:They were the first band with the mission to social engineer the world.
Speaker C:And it would be like asking.
Speaker A:Give.
Speaker C:Us the whole lowdown on some other big conspiracy.
Speaker C:Who were, who were the shooters in the jfk?
Speaker C:How come we don't know that?
Speaker C:How come nobody has said anything yet?
Speaker C:You have to put it in those terms.
Speaker C:It's just too big.
Speaker C:And because it's so big and because it's so important, anytime you watch a documentary about the Beatles, anytime you read an article about the Beatles, what is it that they always say in every single one of those articles or those presentations?
Speaker C:The Beatles were a cultural phenomenon.
Speaker C:They changed culture.
Speaker C:That itself should tell you what was going on there.
Speaker C:They changed culture.
Speaker C:Culture was not the same.
Speaker C:Music was not the same after the Beatles.
Speaker C:The Beatles were the foundation that Tavistock and the Frankfurt School established that all other genres of music were built upon.
Speaker C:And the reason for different genres of music is because they know they've got to move on and then they've got to touch a different population, a different generation, a different demographic.
Speaker C: I think about punk in the: Speaker C:What's a punk?
Speaker C:A punk is a low life.
Speaker C:Go look it up in the dictionary.
Speaker C:Punk music, low life music.
Speaker C:And think of the other terms, grunge music.
Speaker C:Grunge, that's an interesting term as well.
Speaker C:And so the thing I tell my audience will is the music and entertainment business is completely controlled.
Speaker C:Cradle to grave.
Speaker C:Cradle to grave.
Speaker C:And people will say, well, does that mean everybody is in on it?
Speaker C:No, it doesn't mean that.
Speaker C:There are those that are born into the system and they get very prominent roles like Billy Shears, which by the way, in the book he says his name is William Shepard.
Speaker C:Some people think his name is William Campbell.
Speaker C:I had a person come on a great researcher, Stacy, she believes his bloodline actually goes back, it's blue blood, going back to the Douglas Hamilton and Percy bloodlines in Scotland.
Speaker C:And if anybody's interested, I'LL send the link over to Will, take a look at that presentation because Stacy does an unbelievable job and it's very, very compelling.
Speaker C:I mean, can I say, you know, definitively that is true?
Speaker C:No, I can't say that, but it's very, very compelling.
Speaker C:She did a great, great job of, of breaking it down.
Speaker C:So that's, that's the Beatles, you know, social engineering.
Speaker C:And they, like I mentioned, will they.
Speaker C:Crowley's fingerprints, as far as his Thelema, his Aeon of Horus is all over them.
Speaker C:And I don't mean the Beatles individually, although clearly when you read the memoir, if you read the memoirs of Billy Shears, it's very clear that Billy himself is an occultist.
Speaker C:But the other band members, I'm going to say that they were probably aware of occultism, but they didn't have the depth of knowledge of the inner circle around them, what they were putting, how they were encasing them in occultism.
Speaker C:As an example, Crowley's book 77 is a one pager and it talks about applying your pure will.
Speaker C:Right?
Speaker C:It's very clear.
Speaker C:And it said that anybody that gets in the way of someone applying their pure will, you can kill them.
Speaker C:And at the very end he says, the slaves shall serve.
Speaker C:This is in his book 77.
Speaker C:Now probably ites want to argue with me and say no.
Speaker C:He was writing book 77 and his work is intended for everybody.
Speaker C:He wanted to free humanity from the shackles of the Piscean Age, the age of oppression.
Speaker C:Just like the Frankfurt School talking about oppressors and victims, Crowley's Aeon of Pisces falls right in line with that.
Speaker C:And then moving to the Age of Enlightenment, which would be the Age of Aquarius, which is his Aeon of Horus.
Speaker C:The Beatles are the Pied Pipers of the Aeon of Horus.
Speaker C:And in fact, the word Pied means multicolored.
Speaker C:Look at the sergeant Pepper album cover and look at how they're dressed.
Speaker C:They're multicolored.
Speaker C:They're telling you they are the Pied Pipers.
Speaker C:And when we talk about Crowley, we're talking about the cult of Dionysus and we're talking about the cult of Pan.
Speaker C:And what that's all about is do what shout will do without.
Speaker C:Do what thou do without shout.
Speaker C:Yeah, right, well, and it's also the Nike tagline, just do it.
Speaker C:It's the old 60s phrase, if it feels good, do it.
Speaker C:And before the Beatles, it goes back to like the, we talked about it before the, the beat.
Speaker C:The Beat movement, the Hedonism you know, and it goes.
Speaker C:And they always tie the, the, the beat movement into jazz.
Speaker C:Now I'm not picking on jazz music.
Speaker C:Okay, we can.
Speaker C:Jazz is about.
Speaker C:Jazz is about improvisation.
Speaker C:Improvisation, yeah.
Speaker A:It's about solo performance.
Speaker C:Yes.
Speaker C:It's about breaking out of the structures and improvising.
Speaker C:And that's why like when you watch.
Speaker C:I watched an interview one time with Kerouac and they introduced it in the beginning and there was jazz music played.
Speaker C:And you'll see that a lot in a lot of these movies where they.
Speaker C:Back in the 50s and the early 60s where they, where they pick the beatniks, you're always going to get jazz music.
Speaker C:So they were making a tie into that as well.
Speaker C:And like I said, I'm not going to beat up on jazz music.
Speaker C:I have some jazz records.
Speaker C:Okay, so.
Speaker C:But I'm just saying that they like to make these connections.
Speaker C:That's what they like to do.
Speaker C:Because they're, you know, not only are they trying to manipulate you and create behavior modification through social engineering, but they're also communicating to their inner circle with, with stuff, with their symbolism and how they present.
Speaker A:There are so many pieces to it.
Speaker A:It's so complicated.
Speaker A:It's so interlinked.
Speaker A:And music plays such a central role in American and Western culture today, particularly pop music.
Speaker A:And that in many ways began with the Beatles.
Speaker A:I described the Beatles as the Spearhead.
Speaker A:And this was originally my interest in them.
Speaker A:It seemed to me that they were the spearhead that was thrust into American and Western culture.
Speaker C:They.
Speaker A:That then allowed Eastern mysticism to flow in freely.
Speaker A:Especially when they went over to India with Maharishi Maharash Yogi.
Speaker A: ion in the second half of the: Speaker A:Now the stage had been set for that for a hundred years leading up to that point, going all the way back to the Transcendentalists and much more.
Speaker A:In Madame Vlavatsky and the Crowley.
Speaker A:Yeah, the World Parliament of Religions.
Speaker A:Just real quick about Crowley.
Speaker A: In the: Speaker A: d Bowie was talking about the: Speaker A:He said that on camera.
Speaker A:The, the Led Zeppelin bought, I think Jimmy Page bought one of Crowley's houses to record an album in.
Speaker A:So, so it was.
Speaker A:The pivot point was the Beatles, right.
Speaker A:And so.
Speaker A:And so Rubber Soul.
Speaker A:It seems to me that that was really that.
Speaker A:That last moment where they were elevated to this position of Internet Massive international prominence.
Speaker A:On the back of essentially being cultivated up that chain, you bring in the best, you know, the best songwriters whose names we'll never know, the best musicians to produce, in quote unquote, a short, miraculous timeframe.
Speaker A:Though it wasn't an album, that shift that truly shifted things.
Speaker A:So we're supposed to believe that it was this organic, supernatural, magical phenomenon, or it was highly engineered, highly polished, put together, and these four young lads were just the face of it, who came and sang a few bars and just wrote it and wrote it all to fame.
Speaker A:It's got to be one or the other, right?
Speaker A:Are we going to believe in fantasy?
Speaker A:Are we going to believe that our world is this organically evolving series of kind of miracles that produce this culture we're in today?
Speaker A:Or are we going to say, like, no, this has been engineered specifically?
Speaker A:And it all crystallizes in a way around the mythology of the Beatles, because if you look at them, you say, oh, it's just coincidence and happenstance and miracles.
Speaker A:Or was this an engineered phenomenon that was highly effective to produce the cultural shift that they needed to.
Speaker A:And unraveling that.
Speaker A: get back to the center of the: Speaker C:Yeah, the Beatles story I tell, when I have conversations with folks, it's an adult fairy tale.
Speaker C:Yeah, it really is.
Speaker C:It's no different.
Speaker C:I say that kids have an easier.
Speaker C:Kids accept Santa Claus not being real far better than adults accept being told that the Beatles were not real.
Speaker C: that he did back in the early: Speaker C:He said that Paul McCartney was a myth.
Speaker C:He said Dylan was a myth.
Speaker C:And he also said that we were craftsmen.
Speaker C:He said we were.
Speaker C:By the time we got to the United States, we were old hands at this stuff.
Speaker C:And what he was saying was they were groomed and handled to play the part that they played on the world stage.
Speaker C:That's what he was saying.
Speaker C:And, you know, in a lot of ways, I mean, I'm not advocating.
Speaker C:John Lennon had a lot of.
Speaker C:Had a lot of faults, there's no question about it.
Speaker C:But Lennon also, he had moments where he was letting stuff out of the bag, you know, because I think all of that time, all of those years of being.
Speaker C:Having your head in a vice, because that's really what it's like after a while, sometimes things just come out.
Speaker C:You know, he wrote the song, he played the Song on his Imagine album, How do youo Sleep, which is the quintessential Paul McCartney, Paul is dead song.
Speaker A:Oh, really?
Speaker C:Yes.
Speaker C:Listen to the song how do youo Sleep off the Imagine album and listen to.
Speaker C:Now that you know more about the conspiracy, listen to what he's saying and what he's singing about in that song.
Speaker C:It's a very, very telling piece of work anyway.
Speaker C: put the pedal to the metal in: Speaker C: ,: Speaker C:September 11 is a very occulted date.
Speaker C:It's a day that's considered to be a day of war, whether it be physical or psychological war.
Speaker C:And when you look at bands today during interviews and documentaries, they almost always go back to the Beatles as an influence, is always a reference back to them.
Speaker C:Because the Beatles are a cult.
Speaker C:Tavistock is very good at creating cults.
Speaker C:And they're also very good at reducing adult thinking, adult critical thinking, that down to that of a child.
Speaker C:Because when you get an adult down to childlike thinking, what happens is they no longer logic and reason the proper way in a critical way.
Speaker C:They come from a position of emotion.
Speaker C:They're very emotional, and we see this all the time.
Speaker C:And when people become emotional, they lash out, they become belligerent, they become nasty, they name call.
Speaker C:And all they want to do is to get back in their comfort zone.
Speaker C:They don't want to critically think.
Speaker C:And that's what Tavistock does with these bands.
Speaker C:They did it with the Beatles.
Speaker C:I mean, when I look at the comments section underneath a official narrative, official story, beetle, documentary or video.
Speaker C:Read the comments.
Speaker C:These are adults.
Speaker C:These are boomers.
Speaker C:These are people who are 60, 70, maybe even 80 years old.
Speaker C:And the comments, they're just.
Speaker C:They're like teenagers just gushing about this and that.
Speaker C:And, you know, because what.
Speaker C:What Tavistock wants to do is to take them back to an earlier time, to go back to an earlier age, so that you don't.
Speaker C:And get you lost in fantasy, to get you lost in escapism, so that you don't focus on the real issues, the real things that are going on in the world.
Speaker C:Again, it's not just the Beatles.
Speaker C:Well, they want to go back to the entertainment industry.
Speaker A:They want to go back to the halcyon youth, right.
Speaker A:In a cloud of pot smoke and falling in love in the grass at Woodstock, when everything.
Speaker A:When the future was open and we were all free.
Speaker A:And we let go of everything that had formed the foundation of civilization leading up until that moment.
Speaker A:And, you know, it was good back then, before we had to go to work and get jobs and have responsibility.
Speaker A:We were the revolution.
Speaker A:And they want to go back into that, into that moment still they don't want to acknowledge.
Speaker A:I can understand why they don't.
Speaker A:Look, I want to believe in adult fantasy too, right?
Speaker A:I want to believe, you know, that all the things that I love came about by some miracle.
Speaker A:They came down from heaven.
Speaker A:And I don't want to see how the sausage gets made.
Speaker A:But you know what?
Speaker A:The creative process for anyone who engages in it is difficult.
Speaker A:It's dirty, it's messy.
Speaker A:Being a professional artist in any regard, whether it be a painter or a musician or a filmmaker or whatever, is gruelingly difficult and requires a lot of sacrifice.
Speaker A:And there's no romance to it.
Speaker A:God willing, you produce a beautiful result, but it's not pretty and it's not a miracle, right?
Speaker A:And that's adulthood.
Speaker A:So to look at the fantasy of the Beatles and say, no, it was the supernatural force, it's like, can we grow up now, please?
Speaker A:Can we look at what happened and see where that led us?
Speaker C:Their worship is gods, right?
Speaker C:So we have the lower level gods.
Speaker C:And that's what your entertainers, your celebrities, your musicians, your artists and your Silicon Valley people like Elon Musk.
Speaker C:That's what they are, okay?
Speaker C:They're put there so that you idolize them and worship them.
Speaker C:They become Pied Pipers and you follow them.
Speaker C:That's why they have followers, okay?
Speaker A:Right.
Speaker C:That's why they call them followers.
Speaker C:So the thing is, you know, look, for me, will I look at this?
Speaker C:This is an individual journey.
Speaker C:And for my soul, my soul's development, it's very important.
Speaker C:Another, like I mentioned earlier, they want you disconnected from source.
Speaker C:They want you disconnected from God because that gets in their way.
Speaker C:They cannot get things done if you have a belief in a creator or God or Source.
Speaker C:They just, you know, because they don't want that.
Speaker C:Why is that?
Speaker C:Because they want to be the gods.
Speaker C:As I mentioned earlier, Yuval Harari says we have become gods through their technology.
Speaker A:And you are a hackable animal.
Speaker A:I am a God.
Speaker A:You are a hack.
Speaker C:You are a hackable animal, right?
Speaker C:And that's why they've been plugging away at transhumanism for 20 years now.
Speaker C:And that's the thing, you know, time, they think time is on their side.
Speaker C:I mean, at least I think they thought that.
Speaker C:I think now they've reached a point where they're seeing that more and more people are waking up and questioning things.
Speaker C:So I think the easy street is not as easy as it used to be.
Speaker C:I'm not saying that they're getting a tremendous amount of pushback, but I think that they sense that more and more questions are being asked.
Speaker C:Even if somebody's not fully, fully attuned to or awake to everything I took everybody through here, they know something is wrong and he knows something is broken, very broken.
Speaker C:And people are starting to ask some very important questions.
Speaker A:Do you have time for a couple more questions?
Speaker A:Because you brought up a few things.
Speaker A:Okay, cool.
Speaker A: f the Beatles trajectory from: Speaker C:And into Revolver, which was the album after Rubber Soul.
Speaker A:And it was around that point between, I guess it was revolver and Sergeant Peppers, that Paul McCartney dies.
Speaker A:And so maybe we can talk about that pivot point.
Speaker A:And then after Billy Shears comes in to replace Paul McCartney, different looking dude on the COVID of Sergeant Pepper's, that's when they take this psychedelic shift.
Speaker A:And that's.
Speaker A:I look at that as saying the American culture had been prepared to receive the alternative values of the east, that Christianity had been so.
Speaker A:And traditional values had been so upended, had been so subverted.
Speaker A:It was basically suspended in midair at this point that then they just came in and they inserted these other foundations.
Speaker A:And I look at that as being associated with the Paul McCartney death.
Speaker A:So maybe we can talk about that a little bit.
Speaker C:Yeah, so the thing with Paul McCartney's death, I mean, the prevailing theory says that he was killed in a car crash, which, you know, that's maybe I lean more toward.
Speaker C:Because this stuff gets very dark, folks.
Speaker C:It does, it gets very dark.
Speaker C:I'm just going to forewarn you.
Speaker C:I believe it's very possible that Paul McCartney, his dying was a ritual sacrifice.
Speaker C:And in the book Memoirs talks about this.
Speaker C:It's called Death for Success.
Speaker C:And we were talking about Bob Dylan earlier, right?
Speaker C:And Bob making a deal with the chief commander for his success.
Speaker C:Take a look at all of the people that are in a 27 club.
Speaker C:And it's not just a 27 club.
Speaker C:I mean, there are other musicians that died at different ages, but the 27 club is very interesting.
Speaker C:So we have the death of Jim Morrison.
Speaker C:Brian Wilson allegedly drowning in a pool.
Speaker C:And I was watching a documentary which at the time, his girlfriend at the time never, never bought that story.
Speaker C:She said, brian Wilson.
Speaker C:Brian Wilson.
Speaker C:Brian Jones.
Speaker C:Brian Wilson is with the Beach Boys.
Speaker C:Brian Jones of the Stones died from drowning.
Speaker C:And his.
Speaker C:His girlfriend said he was a very good swimmer.
Speaker C:So she says, you know, I don't buy that story at all.
Speaker C:And then we have people like John Bonham dying from Led Zeppelin.
Speaker C:Now we know Jimmy Page was heavily, heavily into Thelema and Aleister Crowley.
Speaker A:He was.
Speaker C:Jimmy.
Speaker C:Robert Plant almost died.
Speaker C:I think he lost one of his children.
Speaker C:I think to check that one, I have to remember.
Speaker C:But Robert Plant has had some serious stuff happen in his life, which you could say to yourself, does this have something to do with being attached to all of this dark occultism?
Speaker A:Eric Clapper, Michael Jordan's father, died.
Speaker C:Yep.
Speaker C:Eric Clappins lost his son Connor.
Speaker C:The who lost Keith Moon.
Speaker A:Let's see.
Speaker A:P.
Speaker A:Diddy, Notorious B.I.G.
Speaker A:right, Tupac.
Speaker A:Yep, yep.
Speaker C:So, I mean, so we can just go through this stuff and people will argue and say, oh, this stuff just happens.
Speaker C:But if you look at the entertainment industry, which includes the music industry, and you take a look at how many people die young.
Speaker A:That's right.
Speaker C:Okay.
Speaker C:It's extremely disproportionate.
Speaker C:Okay.
Speaker C:People will say, well, it's because of the drugs and it's because of the alcohol and it's because of the lifestyle.
Speaker C:Well, I'm not going to say that's not a contributor.
Speaker C:But the sex, drugs and rock and roll bit, that's all part of the breaking down of society.
Speaker C:That whole sex, drugs and rock and roll, which I know a lot of you subscribe to because you think that, you know, Keith Richards is the coolest thing in the world.
Speaker C:Okay?
Speaker C:Coolest guy in the world.
Speaker A:Not the listeners to my show.
Speaker A:But, yes, many people do.
Speaker C:I'm just saying there's going to be people on my show.
Speaker C:I mean, I have Stones fans like, oh, the Stones were organic.
Speaker C:Don't.
Speaker C:Don't be putting them in the same group as the Beatles.
Speaker C:And I'm telling you, okay, the whole sex, drugs and rock and roll thing, if you're buying into that, then you've been brainwashed because there's nothing people will say to me, no, Mike, you're wrong.
Speaker C:Drugs make you more creative.
Speaker C:Absolutely wrong.
Speaker C:Drugs do not make you more creative.
Speaker C:When you are being creative and you're working in a studio.
Speaker C:I'll talk from A musician standpoint in songwriting, you have to have a clear mind.
Speaker C:You can't be whacked, right?
Speaker C:You can't be stoned, you can't be drunk doing what it is that you need to get done.
Speaker C:It's not going to work.
Speaker C:If that were true, then why is it that so many of these rock stars have had to go to rehabilitation, rehab to get themselves cleaned up?
Speaker C:You want an example?
Speaker C:Aerosmith, they lived and breathed sex, drugs and rock and roll life.
Speaker C:And they had to clean up their act because what will they tell you?
Speaker C:They will tell you because if we didn't, it was over.
Speaker C:It was over, right?
Speaker C:So this is the thing, you know, so the lifestyle.
Speaker C:Yeah.
Speaker C:I mean, that can contribute to it, but that doesn't mean it's still not part of the dark occultism.
Speaker C:Because the sex, drugs and rock and roll, that whole mythos is part of the occult aspect of all of this.
Speaker C:It's part of the propaganda, the conditioning and the brainwashing that they're selling to the masses.
Speaker C:So I didn't mean to go off on a diatribe there.
Speaker A:No, no, Will, sorry, no, that's fine.
Speaker A:So this leads into the discussion of what happened with Paul.
Speaker A:Like, Paul died.
Speaker A:Did he just randomly die in a car crash and it was covered up, or was it a ritual, one of the first, perhaps ritual sacrifices for fame and fortune?
Speaker A:Because I, from my own experience, I know more about the Beatles, the second half of the Beatles, than I did about the first.
Speaker A:I sort of had heard a little bit about Help and all that, and I think I'd never really heard or understood the significance of Rubber Soul until I started watching your videos.
Speaker A:I knew about the White Album, I knew about sergeant Pepper's.
Speaker A:Right.
Speaker A:That's all the stuff that I was familiar with.
Speaker A:That's the stuff that, at least for me, carried on through the ages.
Speaker A:And that was post biological Paul.
Speaker A:And that's the stuff that really cemented them as true culture shapers.
Speaker A:Rubber Soul and Revolver were great albums, but it's the Eastern influence, it's the experimentation, it's the drugs, it's all of this.
Speaker A:That's what I remember the Beatles for, not having lived through that era.
Speaker A:And so that doesn't come about again by accident.
Speaker A:None of these, none of these stars, they're not organic.
Speaker A:None of them.
Speaker C:No, they're not.
Speaker C:They're not.
Speaker C:I mean, and you're on a good point because just, just a lot of researchers who do this work will only focus on the replacement of Paul McCartney from 19 late 66 on basically calling out that Billy is not Paul McCartney.
Speaker C:That's okay.
Speaker C:That's important.
Speaker C:That's important to cover that.
Speaker C:But in order to get to that point, in order to get to the psychedelic era, in order to get to all the social engineering that they were involved in, that they were putting across to their fans and to the masses, you had to understand the setup.
Speaker C:How did they get there?
Speaker C:How did they have the momentum and the progress to be able to get to the point where they had that much clout?
Speaker C:Yep.
Speaker C:And the thing is.
Speaker C:And they had.
Speaker C:And they still had.
Speaker C:And I'm not downplaying the amount of clout they had from 62 to 60 to 66, though.
Speaker C:I mean, because that was what they did.
Speaker C:What Tavistock did was to do things incrementally because they knew that they could not just.
Speaker C: e out with Sergeant Pepper in: Speaker C:It just wasn't going to work.
Speaker C:So they started very, very methodically, so that the first album, Please Please Me with the Beatles, just straightforward rock and roll numbers with, you know, eight original compositions, six covers that people were familiar hearing.
Speaker C:It was a process of acclimation and a process of people assimilating and taking it in.
Speaker C:And it was a slow, incremental transformation from where people used to be.
Speaker C:Let's just pick a.
Speaker C: A time,: Speaker C: k at what society was like in: Speaker C: Fast forward to: Speaker C: ultural and societal norms of: Speaker C:That's how quickly it progressed.
Speaker C:In fact, Woodstock was.
Speaker C:We talked before about the Aquarian conspiracy.
Speaker C:That was the tagline for that.
Speaker C:Was it was.
Speaker C:It said Woodstock, and I believe it said an Aquarian exhibition.
Speaker A:Yes, it did.
Speaker C:So they just popped that right in there.
Speaker C:And because people don't really understand what is the Aquarian exhibition, they don't ask any questions.
Speaker C:They don't ask, what does that mean?
Speaker C:Why is that there?
Speaker C:They just read it and then they move on.
Speaker C:But they always signal all the time.
Speaker C:They're always signaling.
Speaker C:They're always putting symbols out there, they're always communicating out.
Speaker C:And you just have to have the knowledge, at least some level of knowledge, to be able to pick up on it.
Speaker C:So I think, to help you with your.
Speaker C:I think the question you're asking me is a whole lot of social engineering had to take place between 62 and 66 to set the stage for Pepper and Magical Mystery Tour and the White Album and then going out to Abbey Road and Let It Be.
Speaker C:But sergeant Pepper was pivotal.
Speaker C:It was really instrumental when it came out.
Speaker C:It just blew people away and it really defined the summer of Love and the counterculture at that point in time.
Speaker A:And then you have also.
Speaker A:Oh, sorry, go ahead.
Speaker C:No, no, go ahead, I'm good.
Speaker A:Well, so I remember in your presentations you talked about Let It Be about was it setback or get back.
Speaker A:That's right, setback.
Speaker A:Yeah.
Speaker A:Right, yeah.
Speaker A:So the shows I've been watching, so the Get Back documentary, I think was about what was happening with the production of Let It Be.
Speaker A: o we have this mythos that in: Speaker A:Then they get back together for Let It Be at the end with additional.
Speaker A:They're nine year seasoned musicians at this point to try and do something similar at the very end of their career as they're.
Speaker A:As they're breaking up.
Speaker A:I guess the story that I've heard, I don't know if it's true, is that John had gotten together with Yoko Ono and Yoko Ono was breaking up the group.
Speaker A:I don't know, I don't know if that's true or not.
Speaker A:But then they try to capture lightning in a bottle again.
Speaker A:What happened during the recording of that.
Speaker C:Album, Let It Be, I'll give you my opinion, was a failure.
Speaker C:It was a total failure.
Speaker C:And it was Billy's idea, Paul McCarty's idea to do Let It Be.
Speaker C:And the reason why I believe that he wanted to do it was because he knew that there was no documented, genuine footage of them composing and writing songs in the studio.
Speaker C:Everything was told in books.
Speaker C:And you'll get videos on YouTube where you'll hear playing or you're being told that that's them rehearsing or that's them writing or whatever it may be.
Speaker C:But there's no footage, it's stills set against audio.
Speaker C:And look, folks, I'm going to tell you, audio could be created, audio can be manipulated.
Speaker C:Let me run some examples by you and we'll get back to Let It Be.
Speaker C:This audio that you're listening to, how do you know that it's not the studio musicians that are doing takes for the songs that they're recording for George Martin?
Speaker C:How do you know that?
Speaker C:I mean, you can't see who's playing guitar, who's on drums, who's playing bass, who's playing keyboards.
Speaker C:You can't see any of that.
Speaker C:You're just listening to audio.
Speaker C:How do you know it's not the Beatles practicing the songs that they were taught to take out on the road?
Speaker C:The songs that the Beatles took out on the road are songs that they were taught.
Speaker C:They would go to EMI Studios and they would learn these songs.
Speaker C:And all George Martin had to do, or Norman Smith, was to push the record button because they knew that this audio was going to make its way out.
Speaker C:Now, how did they know that?
Speaker C:Because they put that audio out.
Speaker C:I'm convinced of that.
Speaker C:I mean, there's.
Speaker C:There's times where there's.
Speaker C:There's bootlegs and stuff like that.
Speaker C:But I think with the Beatles, a lot of that stuff was intentionally leaked.
Speaker C:The third example would be, how do you know that it wasn't somebody within emi?
Speaker C:I don't want to say George Martin.
Speaker C:It could be George Martin.
Speaker C:It could be Norman Smith at the time.
Speaker C:Like, Norman was their.
Speaker C:Their engineer between Please Please Me and Rubber Soul, that they weren't editing and putting tapes together, audio together, for the sole purpose of creating that impression.
Speaker C:So the thing is, the question I've asked my audience to ponder is this.
Speaker C:When they went in to go do Rubber Soul, they knew it was a herculean task.
Speaker C:They knew it was monumental.
Speaker C:And if they could pull it off, it would be the most incredible achievement, really, in music and pop music.
Speaker C:16 songs in 30 days.
Speaker C:Where was the film crew?
Speaker C:How come nobody.
Speaker C:How come nobody thought to bring a camera into the session?
Speaker C:And I don't mean a still camera, okay?
Speaker C:I'm talking about coming in and taking fly footage, film of them doing their thing.
Speaker C:Zippo.
Speaker A:If they're that good.
Speaker C:If they're that good and you would want to document it, I would think, hey, we're going to take on something here that probably nobody's ever done.
Speaker C:And so let's document this thing.
Speaker C:Let's.
Speaker C:For historical purposes alone, let's document it.
Speaker C:Not done.
Speaker C:Not done.
Speaker C:So then, you know, so Billy knows that this.
Speaker C:They don't have this.
Speaker C:So he says, okay, let's go.
Speaker C:Let's do Let It Be.
Speaker C:Let's do the Get Back sessions and let's bring a film crew with us and film what goes on.
Speaker C:And unfortunately, what happened was nothing happened.
Speaker C: nal film that came out in the: Speaker C:I went and saw the film in the movie theaters.
Speaker C:It was.
Speaker C:To me, it was depressing because I was watching this band that I put up on a pedestal and I wasn't seeing magic.
Speaker C:The film was grainy, it was plotting.
Speaker C:You really didn't see anything really getting done.
Speaker C:There was a lot of, I don't know, it was just a slow plotting film and not a whole lot got done.
Speaker C:And the premise of Let It Be was they were going to do 14 songs.
Speaker C: I believe it was: Speaker C:And they said they were going to get that done, write the songs in two weeks.
Speaker C:Then they were going to do two live performances.
Speaker C:And after the live performance, those live performance would make their way into a TV special.
Speaker C:Okay.
Speaker C:What wound up happening was the two weeks ended up becoming a month.
Speaker C:The whole month of January supposed to be the first two weeks of January.
Speaker C:So the whole month of January goes by.
Speaker C:And what did they wind up doing?
Speaker C:They wound up doing five songs on the rooftop of the Apple Building.
Speaker C:Playing to who?
Speaker C:Playing to nobody.
Speaker C:They're playing on a rooftop.
Speaker C:The only person people that can see them were people that were in buildings where they could look out their window and look down at the rooftop.
Speaker C:The sound at the street level was completely distorted because the sound is echoing off the buildings.
Speaker C:So this whole thing with Let It Be where people want to say, look what they did.
Speaker C:They didn't do anything.
Speaker C: ongs went on after January of: Speaker C:A lot of people don't know that Paul McCartney, Billy erased John Lennon's bass track and re recorded it.
Speaker C:They don't know that John came in and had to went in and redid his vocal.
Speaker C:Afterwards, George came in and redid his vocal for for you Blue later on.
Speaker C:A lot of people don't know that the song I Me Mine that is on the album was a minute and a half of something that George wrote.
Speaker C:And Phil Spector, who was the producer at the time, did some producer studio magic and editing and put the song together so that it would flow out to about three minutes.
Speaker C:The song across the Universe was not written during the Get Back sessions or afterwards.
Speaker C: That song is from: Speaker C: was written back in the early: Speaker C:And I question that honestly.
Speaker C:One after 909 is Crowley's law of reversal.
Speaker C:Doing things backwards.
Speaker C:One after 909.
Speaker C: k of the law was published in: Speaker A:Oh wow.
Speaker C:So the one after 9:09 is 9:09 and then the one it's Crowley's law of Reversal.
Speaker C:So all of this stuff, I mean, I don't know.
Speaker C:So you've got two songs on Let It Be that weren't even written during the.
Speaker C:From January 69 on, you had, for some reason, Phil Spector put two filler tracks on there, Maggie Mae and Dig it, which would just throw away tracks.
Speaker C:So when you put it into that context, you have to ask yourself, what did they accomplish with Let It Be?
Speaker C:They didn't accomplish anything.
Speaker C:That brings me to something that Billy said which validated my research into whether they wrote all the raw music or not.
Speaker C:So he did an interview, I think it was on abc, the one.
Speaker C:And he starts talking about Let It Be, and he talks about how.
Speaker C:I'm going to paraphrase here, that it was an impossible task to get those songs written within a month.
Speaker C:Month's period of time.
Speaker C:So here you have the guy that most people believe is Paul McCarty telling you they couldn't do it.
Speaker C:An impossible task.
Speaker C: That was in: Speaker C: ter Rubber Soul in October of: Speaker C: So they were able to do it in: Speaker C:When they should have been better musicians.
Speaker C:Right.
Speaker C:They should have been better songwriters.
Speaker C:They have all that experience under their belt.
Speaker C:They have all of these albums under their belt.
Speaker C:All of the studio work allegedly under their belt.
Speaker C:And Billy's telling us, hey, well, you know, it was.
Speaker C:Frankly speaking, it was an impossible task.
Speaker A:They weren't even touring.
Speaker A:They had stopped touring at that point as well.
Speaker C: Yeah, right after: Speaker C:They stopped doing it.
Speaker C:And they dedicated their time to the studio.
Speaker C:And part of that reason is probably because if they had put Billy on stage, I mean, it could have been problematic.
Speaker C:Who's that?
Speaker A:So doesn't look like Paul.
Speaker C:So, you know, it's.
Speaker C:Let It Be was an interesting thing, but, you know, you got.
Speaker C:The fan club will sit there and talk about how great it is.
Speaker C:And.
Speaker C:Yes, and Peter Jackson, when he did the Get Back documentary, he made the G look like an S set back who Set goes back to the Egyptian mythology, goes back to the.
Speaker C:Up to Osiris, Isis, who, by the way, was known as a great magician.
Speaker C:It goes back to Horus, the savior God and set, the God of darkness and destruction.
Speaker C:So that's why when the.
Speaker C:When the World Economic Forum came out and called it the Great Reset, they're talking about the set is back, chaos is back, darkness is back.
Speaker C:And when they did Set back, what Peter Jackson was telling us is Set, the God of darkness, chaos, dysfunction, is back.
Speaker C:And the only way that you get out of this is the savior God.
Speaker C:Horus is going to have to battle Set, and Set is his uncle.
Speaker C:And it's the light versus the dark battle.
Speaker C:That's where they're going with this thing.
Speaker C:That's what they were projecting out.
Speaker C:This is what they believe.
Speaker C:Because their belief system.
Speaker C:You talk about Crowley and you talk about everything else, about the control system.
Speaker C:The whole system's occulted.
Speaker C:We're being governed and administered to by occultists.
Speaker C:And it goes back to the Babylon mysteries, the Babylonian mysteries, it goes back to the Egyptian mysteries.
Speaker C:That is their belief system.
Speaker C:That's their spiritual center.
Speaker C:That's why you see so much Egyptian mythology.
Speaker C:Excuse me, Egyptian symbolism.
Speaker C:It's everywhere.
Speaker C:Here's an example.
Speaker C:Go look at a Dodge Ram truck.
Speaker C:Look at the emblem.
Speaker C:This symbol on the back.
Speaker C:You think that's a Ram?
Speaker C:That's Baphomet.
Speaker C:Look at Tesla.
Speaker C:Look at the back.
Speaker C:It looks like a T, right?
Speaker C:You're supposed to believe with the T.
Speaker C:It's Baphomet.
Speaker C:Take a close look at it.
Speaker C:The T on a Tesla cars.
Speaker C:Look at the back trunk.
Speaker A:Okay, right.
Speaker C:It's supposed to be a T.
Speaker C:But when you look at it, knowing what you know, tell me that that's not a depiction of Baphomet.
Speaker A:Oh, I see what you mean.
Speaker A:Hold on.
Speaker A:I'm gonna.
Speaker A:I'm gonna.
Speaker A:I'm gonna.
Speaker A:I'll share my screen so everyone who's looking can see what you're looking at.
Speaker A:So hold on.
Speaker C:And look at all the sun logos, Walmart, you know, Fidelity.
Speaker C:Fidelity Investments.
Speaker A:So sharing my screen, you can kind of like.
Speaker A:I've never noticed that before, but, yeah, I can look at this and I can actually see, like, Ram's horns.
Speaker C:Yeah, we'll pull up off of it.
Speaker C:You're going to see that.
Speaker C:The whole.
Speaker C:If you pull up off of it, you'll see.
Speaker C:You'll have the horns and then you have the.
Speaker C:Like the chevron or the pointed.
Speaker C:Pick the first one there.
Speaker A:Yeah.
Speaker A:Here we go.
Speaker A:On Wikipedia.
Speaker C:Yeah.
Speaker C:Take a look at Baphomet's face.
Speaker C:You've got the horns and you've got this triangular facial structure.
Speaker A:Yeah, yeah, I can see that.
Speaker A:Well, I mean, you pointed out in one of your videos, like, the similarities between.
Speaker A:Oh, sorry, I changed Windows and I didn't click over, but anyway, you pointed out the similarities between.
Speaker A:Between the Google Gmail logo and the Masonic apron.
Speaker A:There are all kinds of things that do this and I think all that stuff is real.
Speaker A:And let me just say from my time studying occultism, I was part of a mystery school, you know, taking one week, one lesson per week over the course of two years.
Speaker A:Like this was a dedicated practice.
Speaker A:They take their ties to Egypt very seriously.
Speaker A:All of occultism, all of Western occultism is said to have issued from Hermes Trismegistus.
Speaker A:You know, this, this great Egyptian master who received the Emerald Tablet and took all this wisdom in the simple form and broke it into all these different pictograms.
Speaker A:It's all based on visualization, it's all based on symbols.
Speaker A:100% based on symbols that they really do believe this.
Speaker A:They really do issue everything back to Egypt.
Speaker A:And so the, the one eye sign that you mentioned, like the great reset, the one eye sign is actually the eye of Horus, right?
Speaker C:Yes, yes, thank you for saying that.
Speaker C:Thank you for saying that.
Speaker A:That's all part of it.
Speaker C:When I talk about it.
Speaker C:A lot of people get it because more and more people are getting it.
Speaker C:But a lot of people, they just, they think you're crazy when you talk about, you know, how it all goes back to Egyptian, the Egyptian mysteries and Egyptian mythology.
Speaker C:And in fact, if you look on the Help album, the UK release, even the American release, but go back to the Help album.
Speaker A:Yeah, let me pull that up.
Speaker C:UK release.
Speaker C:Those are all Aleister Crowley.
Speaker A:Oh yeah, that.
Speaker A:You get one of those.
Speaker A:Yeah, you get into that.
Speaker A:One of your presentations.
Speaker A:Yeah, yes.
Speaker C:And my presentation on the Beatles and occultism.
Speaker C:And what it's doing is it's telling the story of Osiris, Isis, Set and Horus.
Speaker C:That's what it's doing.
Speaker C:And I mean you can go look.
Speaker A:On Thelema, got a screen on this so people can see what we're talking about.
Speaker A:So let's see, you see, hopefully everyone can see this now.
Speaker A:See the beetles doing these poses.
Speaker A:And you pointed this out.
Speaker A:I looked at this and I thought this was semaphore, you know, like waving of flags.
Speaker A:But no, it's not semaphore at all.
Speaker A:They're not spelling out help with their arms at all.
Speaker C:You can find every one of these rituals symbols on thelemapedia.
Speaker C:You know, Alice, the Crowley's religion of Thelema.
Speaker C:They have their own online encyclopedia, it's called Thalima Pedia.
Speaker C:You could find all of these under the ritual signs.
Speaker C:So and also if you look at the Beatles second release with the Beatles, it's all one eyed symbolism.
Speaker C:It's got the shadow effect going on.
Speaker C:You know, pull that up with the.
Speaker A:Beatles so everyone can see it.
Speaker A:Like, all this stuff is.
Speaker A:I mean, it sounds silly, it's an overused phrase, but it really is.
Speaker A:It really is.
Speaker A:Like hiding in plain sight.
Speaker A:Like, they really are telling you, like, what's up?
Speaker A:That's Spotify.
Speaker C:Well, the reason why a lot of people blow through it will, is because people have accepted it as part of pop culture.
Speaker A:They do.
Speaker C:And by the way, pop culture is the culture that was handed to you by Frankfurt, the Frankfurt School in Tavistock.
Speaker C:Your true culture would be your ancestral culture.
Speaker C:The culture.
Speaker C:Like if you're Spanish or if you're Italian or if you're Mexican or if you're German or if you're Russian, you have a traditional culture that goes back for your bloodlines and your ancestry.
Speaker C:Well, one of the things that they had to do was erase that, and they gave us popular culture.
Speaker C:This is what pop culture is.
Speaker C:Netflix, hot dogs, beer.
Speaker C:Okay, that's pop culture, folks.
Speaker A:Yeah.
Speaker A:They did the same thing in China.
Speaker A:The Great Leap Forward.
Speaker A:They erased traditional Chinese culture.
Speaker A:They preserved some cultural artifacts, but then presented Chinese culture as beginning in the mid 20th century with some things that they carried over, but everything that existed before that, they had to erase.
Speaker A:It destroyed whole millions of people to make that entire way of life go away.
Speaker A:And so people will gladly talk about, we have communism coming here to America.
Speaker A:Indeed we do.
Speaker A:And we can see how communism behaved around the world, erasing their own traditional cultures.
Speaker A:We had it here.
Speaker A:It just looked a little different because we don't have as long a lineage as a country.
Speaker C:Right, right.
Speaker C:And, you know, it's interesting.
Speaker C:There are people that want to.
Speaker C:They want to think that, you know, first of all, I think all.
Speaker C:All the world is a stage.
Speaker A:Okay, sure.
Speaker C:And so when we.
Speaker C:Even when we look at Russia and a lot of people want to put a lot of their eggs in the basket with Russia, you know, the good guys and everything else, but a lot of people don't know.
Speaker C:And the reason why I know this is because I'm.
Speaker C:I watch these videos that have to do with life in Russia.
Speaker C:Right.
Speaker C:And to this day, there's still statues of Lenin very prominent.
Speaker C:So you have to ask, so that's.
Speaker C:That's the Bolsheviks.
Speaker C:So you have to ask yourself, why is it still there?
Speaker C:I mean, the Bolshevik Revolution was a bloody, bloody revolution that instilled Bolshevism into.
Speaker C:Into Russia, which ultimately became the Soviet Union.
Speaker C:So it's just stuff like that.
Speaker C:You really have to Watch everything is my point.
Speaker C:Well, you have to just keep your eye on everything and as I said before, ask a lot of questions.
Speaker A:Just one more question, sort of in two halves.
Speaker A:So I want to talk about how things wound down with George Harrison for his last album, Brainwash, because I watched one of your videos that had this.
Speaker A:I had seen one yesterday.
Speaker A:I watched another one today, and I took another look at that album cover and I was like, oh, my gosh, I see it.
Speaker A:And then also, what happened with John Lennon?
Speaker A:Because John Lennon was murdered.
Speaker A:Why?
Speaker A:Because obviously I feel like these are associated.
Speaker A:I don't think that it was just a random nut job like the.
Speaker A:The lone.
Speaker A:Probably a lone gunman.
Speaker A:Right?
Speaker A:But like, I just don't think it was a coincidence.
Speaker A:Maybe we can talk about the end of their lives because I guess Ringo's still around, but no one really thinks about him very much.
Speaker A:And then Billy Shears is still around pretending, you know, LARPing as Paul McCartney.
Speaker A:But.
Speaker A:But it seems like something happened with Ringo and John Lennon, particularly at the end of their lives.
Speaker C:Oh, what do you mean, George?
Speaker A:Oh, yeah, Sorry, George.
Speaker C:That's okay.
Speaker C:Oh, yeah.
Speaker C:Well, we'll start with Lennon first.
Speaker C:Lenin.
Speaker C:There is.
Speaker C:There is.
Speaker C:I want to say there's.
Speaker C:I don't even call it a conspiracy.
Speaker C:There's a speculation that John Lennon would.
Speaker C:Was.
Speaker C:Was looking to spill the beans.
Speaker C:And this actually was in a conversation, an old interview I heard that somebody was having with John Coleman.
Speaker C:And I don't know if Coleman agree with it or not, but, you know, this.
Speaker C:This was what was being bantered around.
Speaker C:And I don't know if that's the case or not.
Speaker C:I really don't.
Speaker C:Like I mentioned earlier, John, there were cracks in the dam where he would say things that I'm pretty sure he shouldn't have been saying.
Speaker C:He was just kind of like pushing the envelope on certain things.
Speaker C:And like the song how do youo Sleep.
Speaker C:I'm sure when he came out with that song that that was probably like.
Speaker C:Like he really shouldn't have done that.
Speaker C: terview with rolling stone in: Speaker C:Excuse, not an illusion.
Speaker C:But along with saying that they're very good at their craft, he's alluding to Freemasonry because they're referred to as the craft.
Speaker C:But he was, like I mentioned before, McCartney's a myth, Dylan's a myth, and the Beatles are a myth.
Speaker C:He's going about his business saying stuff like that now.
Speaker C: austian bargain in October of: Speaker C:And it's possible that John that was a consequence of entering into that bargain.
Speaker C:Paul went first.
Speaker C:If we're to believe there was a ritual sacrifice and people who understand that the stuff does go on, if you don't believe it, that's okay.
Speaker C:I always tell people it doesn't really matter what you believe because you don't run anything.
Speaker C:It's the people that are running the show and they're crazy.
Speaker C:Their crazy concepts and ideology and their occultism that are, you know, are unfortunately behind the steering wheel.
Speaker A:But you can watch any, watch any award music award show performance, you know, whether the Grammys or MTV Video.
Speaker A:It's all like, you're telling me that they're just.
Speaker A:Yeah, it's just, it's just play acting.
Speaker A:Like you really don't think that these traditions that go back like Aleister Crowley, like he talked about the stuff and, and spirit cooking, right?
Speaker A:Like there are people who talk about this stuff.
Speaker A:This is like they might be make believing for the, for the award show, but there are people who really believe this stuff.
Speaker C:Yes, they believe this stuff.
Speaker C:And the reason why they introduce it like that is to normalize it is to bring it into the right, it's to bring it into the mainstream.
Speaker C:Like when you watch like he was saying any of these shows, these ceremonies, the Olympics, you're seeing pyramids eyes.
Speaker C:He's seeing all kinds of stuff.
Speaker C:Okay, all seeing eyes.
Speaker C:But I think John now in a book, I don't have it here with me, there's a book titled Lenin Prophecy and the author is Joseph Kneesgoda.
Speaker C: k he published a book back in: Speaker C:He makes a very good case in my mind.
Speaker C: Falcon bargain in December of: Speaker C:Remember when I said that when the Beatles came back from Hamburg, nothing happened, it was just right.
Speaker C: ustian bargain in December of: Speaker C:And he goes into a lot more detail.
Speaker C:I'm going to summarize this because of time and that his Faustian Bargain had a 20 year time frame.
Speaker C:So his Runway was 20 years.
Speaker C: So December of: Speaker C:That's the 20 year period of time.
Speaker C:In fact, in the book he gives an example of a Faustian bargain.
Speaker C:The actual wording it's very interesting read, to be honest with you.
Speaker C:So that's Lenin's piece of it.
Speaker C:And with George Harrison, you know, there was an attempt on George's life.
Speaker C: I think it was in: Speaker C:Harrison broke in at 3:00am in the morning.
Speaker C:He was 33 years old at, I think it was 3:30am here's your 33s.
Speaker C:George was 56, which is 11.
Speaker C:Right.
Speaker C:This person breaks in and proceeds to try to stab George to death.
Speaker C:I don't know if you ever heard this story.
Speaker C:And the only thing that saved George was his wife was at home and she was able to ward off to, you know, to get this guy to back off.
Speaker C:I think she used a fireplace mantle, iron or whatever, poker, whatever, whatever you call to.
Speaker C:To.
Speaker C:To be able to save George's life.
Speaker C:Now, in the book, it tells us that.
Speaker C:That in some of these occult circles there's this thing where there's overkill or it's like, you know, let's.
Speaker C:Let's, you know, for the sake of, like, doing it, I guess maybe, like really nail it down.
Speaker C:I don't know.
Speaker C:I'm just telling you what the book is saying.
Speaker C:But it's no secret that George.
Speaker C:There was conflict between George and Billy and it went on for a long time.
Speaker C:I mean, I would say for at least 10 years or so after the Beatles broke up.
Speaker C:So I hope I'm answering your question.
Speaker C:If I'm not just.
Speaker A:Yeah, so just directing people to the Brainwash album as well, which was the last album.
Speaker C:Okay, so the Brain.
Speaker C:Yeah, okay.
Speaker C:The Brainwashed album is George's last album.
Speaker A:I'll pull that up.
Speaker C:And it's a very telling album.
Speaker C:So what George was doing, as he knew he was probably near end of life, was to let everybody know what the Beatles were all about.
Speaker C:So if Will pulls it up, I'll do the screen, share it a little bit.
Speaker C:It's a very interesting album.
Speaker C:So that's it right there.
Speaker C:So first of all, look at the title.
Speaker C:And when you look at the title, you see Brainwashed.
Speaker C:And you see the word rain, capital R.
Speaker C:And then you have lowercase A, I and N.
Speaker C:Now, at first glance, you might think to yourself, well, I don't think that means anything.
Speaker C:However, in Daniel Echelon's book, he talks about Rain man.
Speaker C:And Rain man is another depiction of Diablo, Devil, Satan making a deal with the Falcon bargain.
Speaker C:So brainwashed.
Speaker C:So the question becomes, is George telling us something about rain?
Speaker C:Now you'll see this also Beatle Pictures where they're.
Speaker C:They have umbrellas over their heads.
Speaker C:So rain, or Rain man is also depicted with umbrellas.
Speaker C:Many times you're going to see music videos that have umbrellas.
Speaker C:There's rain.
Speaker C:That's possibly alluding to a fian bargain that that particular entertainer, artist, celebrity, band has entered into.
Speaker C:So that's one piece of it.
Speaker C:Okay.
Speaker C:So that's.
Speaker C:And I realize that one's a little loose.
Speaker C:Okay.
Speaker C:A little nebulous, and it's a little hard to get your head wrapped around.
Speaker C:But just think about it.
Speaker C:Right?
Speaker C:But more importantly, if you take a look at the Five Dummies.
Speaker C:So George depicts five Crash Dummies.
Speaker C:It's interesting that he used Crash Dummies, which says that, you know, they were just bodies.
Speaker C:They were filling a role.
Speaker C:There was a role that they were groomed to do, and that's what they did.
Speaker C:Now, what you don't see here, I'll.
Speaker A:Find a better image, but that shows the shadows.
Speaker C:The shadows, yeah.
Speaker C:So what you're going to see, if Will's able to find a better image of the album, full album cover.
Speaker C:So you see five crash dummies.
Speaker C:So what does the five crash dummies represent?
Speaker C:It represents Paul McCartney, John Lennon, George Harris and Ringo Starr.
Speaker C:And Billy as the other beetle.
Speaker A:I think I found one.
Speaker A:It's actually surprisingly hard to find.
Speaker C:Yes, it is hard to find.
Speaker A:I'm actually shocked by that because it's cut off.
Speaker A:Okay.
Speaker A:But I did find.
Speaker A:I did find a gatefold one.
Speaker A:So you can actually see it now.
Speaker A:Yeah.
Speaker C:So, all right, so if you.
Speaker C:That's a CD thing.
Speaker C:So this is not the same as the album.
Speaker C:But in any case, be that as it may, if you have the actual original vinyl album, what you're going to see is you have the five Dummies, but the shadows only show four bodies.
Speaker C:So what is that telling us?
Speaker C:It's telling us, as I mentioned before, there were five Beatles because Billy was a Beatle.
Speaker C:But you believe there were only four because you believe there's only been one.
Speaker C:Paul McCarty.
Speaker C:Paul has always been Paul.
Speaker C:And then what we're shown is the TV set.
Speaker C:And what the TV set is showing you as one of the dummies has it right in front of them.
Speaker C:They're talking about the TV as brainwashing.
Speaker A:There it is.
Speaker A:I found it finally.
Speaker A:Thanks for your patience while I find this one.
Speaker C:So I know it's hard to find because I tried to find it at 1.2.
Speaker A:There it is.
Speaker A:That's a better one.
Speaker A:Yeah, there you go.
Speaker A:Five dummies.
Speaker A:Four heads.
Speaker C:Four heads.
Speaker A:All right?
Speaker C:And then you have the TV screen.
Speaker C:And take a look at the TV screen.
Speaker C:What you have is stars.
Speaker C:So stars represent what you have.
Speaker C:It's.
Speaker C:It's the pentagram that's number one.
Speaker C:And it also represents.
Speaker C:Stars represent illumination at night.
Speaker C:Lucy in the sky with Diamonds.
Speaker C:People will say, well, that song.
Speaker C:Forget about the nonsense story that it was Julian Lennon that drew a picture and John Lennon asked his son, what is that?
Speaker C:Oh, that's Lucy in the sky with Diamonds.
Speaker C:That's a nonsense story.
Speaker C:It has two meanings.
Speaker C:It's lsd, Lucy in the sky with Diamonds.
Speaker C:The other one is a nickname for Lucifer is Lucy.
Speaker C:Lucy in the sky with Diamonds.
Speaker C:Lucifer in the sky with diamonds.
Speaker C:Okay, so there's a lot being said here in George's album cover.
Speaker C:On his album cover, he's.
Speaker C:This was his last album.
Speaker C:I think it's very important for people to, to look at it and try to understand it.
Speaker A:Can I add something to that real quick that I just noticed?
Speaker A:It did not appear to be on the vinyl version, but I see it.
Speaker A:I don't know what version this is.
Speaker A:The one that we were looking at earlier that was cut off.
Speaker A:Maybe it's the CD version.
Speaker A:If you look down in the lower right hand corner, you see two things.
Speaker A:You see George Harrison's signature, but then there's the ohm symbol and a cross right next to it.
Speaker A:Yeah, that's.
Speaker A:First of all, I'm not okay with that.
Speaker A:But second, like, it's really provocative, especially because he, George Harrison was the one who sang.
Speaker A:Was it Hari Krishna, Hallelujah.
Speaker A:You know, trying to, Trying to merge these two.
Speaker A:Yeah, exactly, exactly.
Speaker A:So he.
Speaker A:So again, there's, there's the, the way that maybe Christian values hadn't been fully subverted in America yet.
Speaker A:Because that's a, that's a multi generational process that we're still in many ways at the tail end of.
Speaker A:So.
Speaker A:But like to say that, no, all these religions, all these religions are one, right?
Speaker A:Like Hare Krishna, Hinduism essentially, and Christianity, really, they're pointing to the same thing.
Speaker A:And George Harrison was the, was the, was the guy who embodied that.
Speaker A:In fact, he seemed like the guy who always really genuinely bought the Eastern mysticism thing, wasn't it?
Speaker A:Didn't they.
Speaker A:Didn't a couple of the Beatles go home because they found that the Maharishi, Maharish yogi had lusty thoughts or something like that?
Speaker A:Like, what happened with that?
Speaker C:Yeah, so what happened?
Speaker C:They went to India and that's when we're Told that they wrote 30 songs of the White Album, which is another nonsense story, but they go out to India.
Speaker C:Ringo was there for two weeks because, you know, he, he just couldn't deal with the food.
Speaker C:Evidently ever since he was a kid, stomach, he had stomach problems and everything else.
Speaker C:They said that he was there for two weeks.
Speaker C:Billy left after a month.
Speaker C:The only two that stuck it out for two months was George Harrison and, and, and John Lennon and the Maharishni had the hots for Mia Farrow's sister who was there, Prudence.
Speaker C:I don't know if that's her real name, but the song Dear Prudence supposedly written about Mia Farrow's sister, who was there with them because she was so into the meditation that she never left.
Speaker C:Wherever she was meditating, they would always find her there.
Speaker C:So won't you come out to play?
Speaker C:In other words, won't you stop meditating and come out to play?
Speaker C:I mean, that's, that's the story that's told.
Speaker C:So no, the Beatles were not there.
Speaker C:All there for the same period of time.
Speaker C:Like I said, Ringo cut out after two weeks.
Speaker C:Billy was gone after a month.
Speaker C:He had business dealings, I think on the west coast, out in la, if I recall correctly.
Speaker C:And George and John stayed and then they had become disenchanted with the Maharishi because they realized that this allegedly spiritual person was actually, you know, chasing women.
Speaker A:As all gurus were.
Speaker C:Anyway.
Speaker C:Yeah, yes.
Speaker C:I mean it's, it's quite a story.
Speaker C:A lot of the stories that we're told about the Beatles are.
Speaker C:They're fantastical stories and you really have to, you really have to forego logic and reasoning to believe them.
Speaker C:Yes.
Speaker C: n some unknown date in May of: Speaker C:The Esser demos, and that they recorded 27 demos in one day, folks.
Speaker C:Yeah, you're not going to record 27 demos in one day.
Speaker C:I am, sorry.
Speaker C:Not going to happen.
Speaker C:Okay.
Speaker C:And we're told that they wrote 30 something songs in India as a setup going into the White Album sessions.
Speaker C:You didn't write, they didn't write 30 songs in India.
Speaker C:Billy was gone after a month.
Speaker C:Ringo didn't really write anything, by the way, on the song on the White Album.
Speaker C:That's his.
Speaker C:Oh, geez, I'm drawing a blank here on the song.
Speaker C:In any case, it's his song and he doesn't drum on it.
Speaker C:Billy actually does the drumming on the song.
Speaker C:That's kind of interesting.
Speaker C:And then George and John were out there for two months, but they weren't writing music.
Speaker C:I mean, first of all, they had all of these activities.
Speaker C:They had to do the Maharishi and they had to meditate and do this and do that, and they went down there with an entourage.
Speaker C:So to think that, you know, they were actually sitting down and banging out Lennon and McCartney and a little bit of George Harrison banging out 30 songs.
Speaker C:Just not reasonable.
Speaker A:Yeah.
Speaker C:Not realistic.
Speaker A:Especially.
Speaker A:Especially because they didn't pull it off for Let It Be, as we talked about, here they are at the end of their career.
Speaker A:They couldn't do it.
Speaker C:Right, right.
Speaker C:I mean.
Speaker C:I mean, going back to Please Please Me, the first album, we're told that they recorded 10 of the 14 songs in one day at EMI studios.
Speaker A:Forget it.
Speaker C:In some kind of 11 hour session.
Speaker C:No, it's, it's not.
Speaker C:Forget it.
Speaker C:No.
Speaker C:And if people believe that stuff, and again, people who believe it are people that usually do not understand the process of writing music and recording music and all that stuff.
Speaker C:But on the other hand, there are people, musicians that I know, that they refuse to give up the story, even though they should know better.
Speaker C:They refuse to take a step back and say, you know what, I'm a songwriter or I'm a musician and I do recording and so on.
Speaker C:Let me take a look at this.
Speaker C:They won't do it.
Speaker C:They just want to shut it out.
Speaker C:And people will also ask me, I keep saying a lot of people, because there are a lot of people that ask me these questions after eight years.
Speaker C:They'll say, well, how come some of these big YouTube channels, these music and guitar channels and stuff like that, they don't talk about it.
Speaker C:I said, why?
Speaker C:I said, I'll tell you why.
Speaker C:I said, because there's one channel that has something like 4 million subscribers.
Speaker C:I like the guy, he's very knowledgeable in music.
Speaker C:In fact, sometimes I put his stuff up on my blog.
Speaker C:But I'm not going to say who it is, all right?
Speaker C:Because I really do think he's a good guy.
Speaker C:But if he started talking about, started questioning the official narrative of The Beatles, that 4 million subscriber base that he has, he'll have 14 in a matter of a week.
Speaker C:Because people don't want to hear it.
Speaker C:People don't want to hear it.
Speaker C:They will not entertain it.
Speaker C:So what does that mean when you have 100,000 subscribers, a million subscribers, 2 million, 3 million, 4 million.
Speaker C:You know what that is?
Speaker C:That's a paycheck.
Speaker C:That's what that is.
Speaker C:That's a paycheck.
Speaker C:And so they could lose a lot of money by not going along with the official narrative.
Speaker C:And so what do they do?
Speaker C:Even if they do know better, and maybe some of them do, they go along to get along because, hey, I don't want to lose that paycheck.
Speaker C:It's the same thing we went through with the whole Covid thing.
Speaker A:Yep.
Speaker C:The doctors that hung in there, that, hey, I, I, you know, I've got medical loans, you know, school loans.
Speaker C:I can't open my mouth.
Speaker C:I'm not going to open my mouth.
Speaker C:I'm just going to go along with this thing and, you know, I'm just going to do.
Speaker C:I'm just doing what I'm told.
Speaker C:That was the right.
Speaker C:That was pretty much the line, doing what I'm told.
Speaker C:It's prevalent.
Speaker C:It's everywhere.
Speaker C:People won't.
Speaker C:They won't walk from the money if the truth is going to cause them to lose money.
Speaker C:Some people will, and God bless those people.
Speaker C:But a lot of people, no, they won't do it.
Speaker C:And I'm not saying it's an easy decision to make, because if you've got a family, you've got a home, you've got all of this stuff that you've got to take care of, you know, you got yourself in a position where if you say something, you can jeopardize all that.
Speaker C:Yeah, I mean, I understand it, but my point is that's why a lot of them won't talk about it.
Speaker A:So maybe we can.
Speaker A:Yeah, maybe we can.
Speaker A:Maybe we can close on.
Speaker A:On this then, and we can talk about.
Speaker A:Because one of the questions I did want to ask you.
Speaker A:I'm not a musician.
Speaker A:For those who are just listening, Mike, you have an acoustic guitar and you have an electric guitar, and you have.
Speaker A:On the wall behind you, looks like you've got a keyboard there with a Boston record.
Speaker A:You've got a.
Speaker A:It looks like you've got some.
Speaker A:Some cables back there.
Speaker A:So you are.
Speaker A:And hanging from the wall.
Speaker A:So you are actually a musician.
Speaker A:When you.
Speaker A:And some of.
Speaker A:Sometimes you'll put your music at the end of some of your videos and also on your YouTube channel, which I'll link in the show notes.
Speaker A:When you look at the story or when you first started cracking the story of the Beatles and you know, how hard you work to write a song or record a song, arrange a song, how much is involved with that process, really, unless someone has been in a studio.
Speaker A:You really don't know how hard it is to record a song.
Speaker A:Just how much goes into setup and miking and arranging and mixing and all and mastering, how much goes into just one song.
Speaker A:Not to mention the writing process.
Speaker A:Are you, I, I felt this to myself maybe.
Speaker A:I don't mean to, I don't mean to say that this is how you would feel, but my question was, were you offended as a musician to look at the way the Beatles were held up for have as being these legendary musicians when everything was provided for them and they were essentially bums.
Speaker A:And you have so many hard working musicians trying to grind out, you know, tracks that they're proud of, right.
Speaker A:Without the elevation of an entire industry and culture behind them.
Speaker A:Do you look at that and like, because I was kind of offended, but maybe, maybe from a musician, musician's perspective it's a little different.
Speaker C:I would say I was offended, I would say that I just walked from it.
Speaker C:In other words, the luster was completely gone and I just assessed it and size it for what it was that they were not what we were told they were.
Speaker C:And so that was that.
Speaker C:And to be honest with you, it made me more appreciative of my writing songs and recording songs because as I mentioned earlier in the show, Will, many musicians and songwriters are striving for that unachievable for a lot of people, that unachievable level of Beatle genius and creativity with the music and all that stuff, when in fact I now know and many other people know that they didn't do that.
Speaker C:So what that does is that corrects the bar.
Speaker C:So whereas your bar is up here, way up here, you're looking to get there and you're really downplaying your own abilities to a certain extent, your own skill level because you're measuring it against something that you think actually happened, right?
Speaker C:No.
Speaker C:So when, when I, when I figured it all out, that bar up here went away and I, I just got comfortable with, you know what, hey, I'm just gonna do my thing, okay?
Speaker C:I don't claim to be the greatest songwriter in the world.
Speaker C:I don't claim to be the greatest guitar player musician in the world, okay?
Speaker C:But I think I'm pretty good at what I do at creating music and I'm just, I'm comfortable with that.
Speaker C:You got to be comfortable in your own skin, with where you're at with your abilities and your skill, okay?
Speaker C:And not chase a ghost.
Speaker C:Because that's what the Beatles, a lot of people do.
Speaker C:They're Chasing a ghost.
Speaker C:A lot of musicians and songwriters.
Speaker C:So that's where I kind of landed with it.
Speaker C:I don't.
Speaker C:I really don't pay them any mind anymore.
Speaker C:Every time I see something come out with them, I watch it.
Speaker C:Usually it winds up with a chuckle because I can see exactly what's going on, what's being positioned, and I know it's nothing more than manipulation.
Speaker C:It's deception.
Speaker C:And they got to keep the boomers in the boat, you know, I mean, so that.
Speaker C:That's why all this stuff, they keep releasing stuff and.
Speaker C:Yeah, you know, I mean, we're way beyond continuing to release Beatles stuff and Beatle records and remastering and remixing and all that stuff.
Speaker C:The band hasn't existed in 54 years, and they're still turning out this stuff.
Speaker C:So that tells you right there that this is very important because we're half a century into this thing and they're still trying to crank out merch and products because it's a cash cow as well.
Speaker C:It feeds the beast.
Speaker C:So that's.
Speaker C:I mean, that's where I landed with it.
Speaker C:I mean, I can listen to the music and have an appreciation now for the craftsmanship that went behind the songwriting, behind the musicianship and the production.
Speaker C:I can appreciate that.
Speaker C:And why?
Speaker C:Because before I knew any better, that's how I learned.
Speaker C:That's how I learned music, by listening to Beatle music thinking it was the Beatles.
Speaker C:But I could still go back and listen to what they were doing or whoever was doing it, and have an appreciation for it.
Speaker C:But as far as the four guys themselves or the five guys, no, yeah.
Speaker A:You can still enjoy the sounds.
Speaker A:You can still enjoy the music for what it is because it still exists.
Speaker A:Just detach it from the mythology.
Speaker A:It doesn't have to be about these four guys.
Speaker A:Like, this is a beautiful album.
Speaker A:This is a powerful album.
Speaker A:It's an evocative album.
Speaker A:Or this song has a personal attachment to me.
Speaker A:But just take it away from the guys, throw away the social engineering and enjoy the music for what it is.
Speaker C:It's like the Monkees, right?
Speaker C:Everybody can say, I love monkey songs, right?
Speaker C:I love some of the songs.
Speaker C:The Monkees did Last Train to Clarksville.
Speaker C:Great song.
Speaker C:And people are okay with that because they know that the Monkees were not the musicians behind the recording.
Speaker C:They know that it was studio guys, it was the Wrecking Crew and so on.
Speaker C:So people have no problem accepting that.
Speaker C:They can still call it a Monkees album.
Speaker C:They can still say, I love the Monkees.
Speaker C:I love the Monkees.
Speaker C:Music, it's fine.
Speaker C:So that's exactly how we should look at the Beatles.
Speaker C:Look at the Beatles as a much larger play than the Monkeys, but it's the same exact model.
Speaker C:And so if everybody got their heads around that, they could still say, oh, I really like the Beatles music.
Speaker C:Without getting so emotionally invested in defending a belief system that is believing in something that's a myth.
Speaker C:Now you have to put into the proper perspective is all I'm saying.
Speaker C:And I know, I mean, I'm fighting a losing battle here because the fan base, the cult is legion.
Speaker C:And look, tip of a hat to Tavistock in the Frankfurt School for what they did.
Speaker C:I mean, it was absolutely brilliant.
Speaker C:And until this day, not a whole lot of people understand it.
Speaker C:They're still sucking up and loving the Cinderella story.
Speaker A:Well, that's why your work is so valuable.
Speaker A:And I think as we started out talking, you're winding down this project after eight years and going to leave the material out there for people to enjoy.
Speaker A:So what's next for Mike Williams after the magical mystery tour of your own?
Speaker C:Yeah, so look, I'm going to be 66 years old in a couple of months and I've got two grandchildren and I have a beautiful wife and my daughter and my son in law and I have my family, my mom is up in age, mom's pushing, almost 90 years old.
Speaker C:And I have lots of really good stuff to do with my family and my friends.
Speaker C:And actually right now I'm engaged in a music project which I have named the Yesteryear Project.
Speaker C:So the Yesteryear Project is my brother and I are going back and re recording music that we wrote and recorded back over 40 years ago as demos.
Speaker C:Okay, as demos.
Speaker C:The songs were never published, I mean published from the standpoint of if they went out as demos to record companies and record labels to see if we can get signed or to have, or to get the music published.
Speaker C:But needless to say that, you know, that didn't happen.
Speaker C:But we wrote a lot of, we wrote a lot of really good songs, in my, in my opinion.
Speaker C:And so I said to my brother, I said, look, I don't, I don't want these songs to sit on a shelf and collect dust.
Speaker C:Let's go back and let's just resurrect them.
Speaker C:Let's rerecord the songs and let's produce them.
Speaker C:Let's not make exact replicas, let's reimagine the songs, retaining the original essence of the song and the melodies, but let's give it a flavor that is us today.
Speaker C:Us in our 60s.
Speaker C:You know, let's.
Speaker C:What would those songs sound like if Mike and Paul did those.
Speaker C:Did these songs today?
Speaker C:And that's what we're doing.
Speaker C:And we've got four songs under our belt right now.
Speaker C: those songs done by year end,: Speaker A:You're not going to get them all done in 30 days in the studio.
Speaker C:Yeah, not going to happen.
Speaker C:Not going to happen.
Speaker C:Yeah.
Speaker C:See, that's the thing, right?
Speaker C:Here's a case where the songs are already written.
Speaker C:If somebody said to me, can you bang out 16 of your old songs, rerecord them in 30 days?
Speaker C:I'd be like, no, I'm not.
Speaker C:I'm not doing that.
Speaker C:Could I do.
Speaker C:I don't even know if I can do it because there's just, you know, the whole process of rethinking the songs and redoing them and the whole, like, how are you going to produce them?
Speaker C:I mean, it's.
Speaker C:No.
Speaker C:So anyway, yeah, so we're hoping to get a dozen or so of the songs out.
Speaker C:We have more of them, but I said, let's just pick a dozen songs.
Speaker C:If you get a little past that, a little below that, that's okay.
Speaker C:But let's just put a plan out there.
Speaker C:So that's what we're doing right now.
Speaker A:Well, if you put as much care and thoughtfulness into your music work as you have into your Beatles presentations, I think they're going to be pretty amazing.
Speaker A:So thank you for all the work that you've done.
Speaker A:Yeah, thank you for all the work and all the years of labor and research and effort that you've put in to that work.
Speaker A:It's definitely blessed me.
Speaker A:And for everyone listening, everything we've talked about is basically scratching the surface of the amount of material that you've produced.
Speaker A:And so if anyone wants to learn more, where would you like to send them to watch the videos and then perhaps also to listen to your music?
Speaker A:Because I want to make sure that you're rewarded for.
Speaker A:For.
Speaker A:In.
Speaker A:In for people learning what you have to say musically as well.
Speaker C:Yeah, so just go to my hub website.
Speaker C:It's sageofque s a g-e o f q u a y.com sageofque.com and if you go there, you're going to see a little pale yellow box in the middle of the website and there's links to all of my platforms and one of those links takes you to my music website, laboroflovemusic.com and you get a little bio on me, you know, from a music perspective.
Speaker C:And you'll see the Yesteryear project, and you'll be able to listen to four of those songs that we have completed to date and a bunch of the other songs that, you know, I've recorded over time.
Speaker C:I have two compilation albums out there.
Speaker C: spans the time period between: Speaker C:So, I mean, just take a listen.
Speaker C:It's rock.
Speaker C:It's classic rock.
Speaker C:I call it retro rock.
Speaker C:So probably for people my age, you'll have an appreciation for it, but it's okay.
Speaker C:That's my thing.
Speaker C:Classic rock, guy.
Speaker A:Well, praise God for you and your work, sir.
Speaker A:Thank you so much for all your devoted labors.
Speaker A:And may God bless your next endeavors with music and your family.
Speaker C:Thank you.
Speaker C:Well, thank you very much.
Speaker C:It was a pleasure speaking with you.
Speaker A:Thank you, sir.
