Decoding Media Manipulation with Mike Williams

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What if the world of popular music is a grand orchestration of subtle mind control? Join us as renowned Beatles conspiracy theorist and hypnotherapist Mike Williams unveils the hidden parallels between hypnotherapy and the music industry. With a career transition from corporate to a transformative 12-year practice in clinical and spiritual hypnosis, Mike shares his insights on how techniques used in hypnotherapy might be employed in the mainstream media and music to subtly influence the masses. From his beginnings in spiritual regression to recognizing patterns in media, Mike presents a thought-provoking exploration into the persuasive power embedded within everyday content.

We venture into the sensationalism of hurricane reporting, the psychological manipulation of media, and how it all ties back to the music industry. Is the public kept in a perpetual state of stress and fear to control behavior? Our conversation shifts to the Beatles, examining their role in shaping cultural norms and fan devotion. We draw parallels between music's ability to modify behavior and cult-like fanaticism, exploring how vibrational frequencies and acoustics, mastered by producers like George Martin, evoke powerful emotional responses. Personal anecdotes and historical perspectives reveal how music and media act as tools for social engineering, raising awareness of the subtle manipulative tactics in play.

The episode unfolds further as we analyze the influence of album covers, music design, and the power of celebrity in our lives. From iconic bands like the Beatles and the Rolling Stones to modern fandoms such as Taylor Swift's "Swifties," we question the role of musicians and celebrities as instruments of social engineering. As we unravel the impact of music on societal values and individual behavior, we stress the importance of awareness in fostering independent thought. Tune in for a stimulating conversation that challenges the conventional understanding of music and media's role in shaping our world.

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Episode Transcript

Speaker 2 (00:12):
Hey there, everybody.
It's PT Pop here, with all fourlobes of my brain securely
bound behind my back, andwelcome to another episode of PT
Pop, A Mind Revolution, where Ilead you out of the rabbit hole
, one grain of truth at a time.
And on tonight's show I've gota great guy, Mike Williams,

(00:33):
author of Sage of Quay Radio,Beatles conspiracy theorist,
world-renowned Beatlesconspiracy theorist, and tonight
we're going to talk aboutMike's background as a
hypnotherapist and how hypnotismmay in fact be used in the
production of popular music thatwe all listen to every day.

(00:53):
Thanks for being on tonight,Mike.
How's it going?

Speaker 3 (00:56):
It's going very well, Peter, and thank you so much
for inviting me back to yourshow.

Speaker 2 (01:00):
Yeah, that's awesome.
Thanks for being here, and Iknow this is kind of a deep
topic, but I think you'd be theperfect person to talk to you
about this.
How did you get your start as ahypnotherapist?

Speaker 3 (01:14):
going back to 2009, I was uh looking for some good
books on near-death experience,because I was always fascinated
by it, and in my search for agood book, I stumbled upon
another book that had to do withspiritual regression, hypnotic

(01:35):
regression and past lives andlife between lives, and that
book was from the Michael NewtonInstitute, was from the Michael
Newton Institute and the titleof the book was Memories of the
Afterlife.
And so I read the write-up onAmazon and it interests me.
So I decided let's give it ashot.

(01:58):
So I didn't know anything aboutMichael Newton.
I, of course, knew aboutreincarnation, but I didn't know
much about past life regression, experiencing past lives
through hypnosis.
I mean, I heard of it, but Ididn't have any level of
expertise in it.
So I bought the book and I readit.

(02:19):
I think it's something like 32case studies coming out of the
Newton Institute.
And when I got done reading thebook, I was completely
fascinated by it and I thoughtto myself I want to see if I can
get myself one of thesesessions.
So I wound up connecting with apractitioner in Wilmington,

(02:39):
north Carolina, which is abouttwo hours from where I live.
I live in the Raleigh area inNorth Carolina and I had my
sessions in the fall of 2009.
I had a past life regressionand I had the next day a life
between lives.
So the difference is a pastlife regression is when you go

(03:00):
into deep trance and you go backand you experience one of your
past lives.
A life between lives is thatperiod of time in between your
physical incarnation, so it'sthe time that you spend in the
spirit world.
So, to make a long story short,I had two great sessions.
I had the past life on aThursday and I had the life

(03:23):
between lives, also referred toas an LBL, on Friday.
So when I drove home after theFriday session, I was thinking
this was an amazing experience.
And a few weeks after that, Idecided that I would like to

(03:43):
train in this type of work, andso what I did was I contacted my
practitioner.
Her name is Brenda, and when Iwent to see Brenda for my
sessions, I didn't know who shewas.
She was just a practitioner,that was.
She was a referral on theNewton Institute's website, and
she was a referral on the NewtonInstitute's website.

(04:05):
And I asked her.
I said, hey, do you know of anygood schools where I can train
to become a hypnotherapist?
And she says, as a matter offact, I do, she teaches, she
taught.
So I took her course, and Itook her course in the early
part of 2010.
And it was a very exciting time.

(04:27):
It was just something that Ireally, really wanted to train
for.
I thought my experience wasgreat.
I knew that the work would begreat, and so, by June of 2010,
I was completely certified, notonly in clinical hypnosis, but
also in past life regression.

(04:48):
And that's when I started mypractice in mid-2010.
And I was in practice privatepractice for 12 years.
I had a very busy practice andI did hundreds upon hundreds and
hundreds of sessions, bothspiritual sessions, which would

(05:09):
be past lives and between lives,and also clinical hypnosis,
helping people to quit smoking,vaping, drinking, all that stuff
.
So, um uh, I was boardcertified by the International
Association of Counselors andTherapists and that's what I did
for 12 years after my stint inthe corporate world.

(05:30):
So I spent 32 years in thecorporate world, pete, and 12
years of private practice as ahypnotherapist overlapped
because what I was doing was Iwas working to bridge to a new
career once I retired and leftthe corporate world.

(05:53):
So, yeah, and I retired from mypractice in September of 2022.
I felt 12 years was long enough.
I was 63 at the time and mydaughter was pregnant with our
first grandchild, and my wifeand I wanted to spend more time
with the kids and to do otherthings, quite frankly, other

(06:14):
than work.

Speaker 2 (06:15):
So you get into hypnotherapy.
So at what point did youconnect the dots between
hypnotherapy, pop culture andmusic, and what music may be
doing to the masses that themasses are unaware of?

Speaker 3 (06:30):
Well, I connected the dots early on, not so much with
the music industry, but as faras mainstream news was concerned
.
Yeah.
So, once I became trained inhypnosis and I was also um, a, a

(06:54):
, um instructor, I was ahypnosis instructor.
I was uh, uh with theinternational association of
counselors and therapists,that's uh.
My teaching was sanctioned bythem and I worked actually with
the person I went to go see formy first sessions, brenda.
We became very good friends andcolleagues and we worked

(07:16):
together for almost a decade.
So during that period of timeearly on I should say, but as
time progressed I was able toapply my knowledge of hypnosis
and techniques to other areas inour reality.
But the news, the mainstreamnews media, was very, very

(07:38):
obvious.

Speaker 2 (07:39):
What did you see in the mainstream media that stuck
out to you?

Speaker 3 (07:42):
Repetition in the mainstream media that stuck out
to you Repetition.
So the key to hypnosis, the keyto getting somebody to change
their behavior, so hypnosis isreally about behavior
modification.
So if we approach it from thatperspective and so when you
watch the news you're going tosee a lot of repetition and the

(08:08):
inner mind, or the subconsciousmind, loves imagery.
This is very very important,yeah, so let's just as an
example, let's pick on a cablenetwork like Fox News.
So the first thing they'regoing to do is they're going to
present some kind of conflict,some kind of tragedy, some kind

(08:31):
of shooting, something that'sdisruptive, something that is
dysfunctional, something that isworrisome to most people.
So they set the table that way,and then what they'll do is
they will have looped video thatthey will show over and over
and over again, and a lot ofpeople will ask gee, don't they
have any more video than that?

(08:51):
Why do they keep showing thatloop?
Well, the reason why they'reshowing that loop is because
they're trying to pull you inand nail it into your inner mind
.
And nail it into your innermind Now, if you think in terms
of your mind having a hard drive, it's a very good analogy.

(09:13):
So these files get written tothe hard drive.
So these loops, because theinner mind loves imagery, it's
taking in this video, it'staking in whatever it is that
they're showing you.
They show it repeatedly, overand over and over again.
But not only do they do that,but then they have the quote

(09:34):
reporter or the anchor persontalking, and what they're giving
you is hypnotic suggestions,worry, concern, tragedy be
fearful.

Speaker 2 (09:50):
And they do a tone of voice.

Speaker 3 (09:52):
Tone of voice.

Speaker 2 (09:53):
And the editing of the loop you're talking about.
I've noticed this in films.
I learned this on my own.
It's very quick edits.
Yes, it's like no more thanthree seconds of the guy laying
bleeding on the ground.
Then you cut to the car, thenyou cut to the building and
crashed, and then back to thelaying bleeding on the ground.
Then you cut to the car, thenyou cut to the building and
crashed, and then back to theguy leaning on the ground.
And it's very fast, it'sstaccato.
Is that right?
Am I?
Am I onto something there?

Speaker 3 (10:11):
Yes, no, that's exactly right and the other
trick that they use is you'llsee spinning logos, so Fox news
will have this.
Now, this is eye fixation.
So when you people tend towatch the logo going around,
what this does is this lulls youinto a trance.
So there's four basic trancestates Beta, which is your

(10:33):
waking state.
Alpha, which is below beta.
This is a light trance state.
This is where you're at whenyou're watching TV, when you're
watching a movie.
Below that is theta.
Theta would be when you go intohypnosis, deep meditation.
And then delta, delta is sleep.
So beta, alpha, theta, delta.

(10:55):
So when you're watchingtelevision, you're watching Fox
News, and you see that spinninglogo and you're watching the
loops and the reporter or theanchor person is giving you
these hypnotic suggestions.
You're being lulled into atrance state and now you're
taking this all and you're inhypnosis.
The other thing that they do,peter, is at the very bottom

(11:19):
they will have a ticker tapewhich is showing stock prices.

Speaker 2 (11:23):
Right, or news current news or news right.
Which all started on 9-11.

Speaker 3 (11:29):
And that has nothing to do with stock prices or the
news.
It's the same thing as thespinning logo.
You're watching it go acrossthe screen and you keep watching
it and you're watching.
It's like when you go to bed atnight and you read a book.
A lot of people will say I wantto read a book at night to
relax, but I can't get past apage or two before I feel sleepy

(11:51):
.
So this is the same thingthat's going on.
Now.
The other thing that they do isthey have the use of colors.
So blue and red are verypopular, are very popular.
Yep, so, aside from beingmasonic colors, the blue lodge
and the red lodge blue from themind's perspective is received

(12:12):
as very calming, the voice ofreason.
Don't worry, everything's undercontrol yeah, so a lot of times
you will see the uh, thereporter or the anchor person or
somebody that they'reinterviewing will be wearing a
blue shirt.

Speaker 2 (12:27):
Or they're with the background, they're bathed in
blue light in the background.

Speaker 3 (12:31):
Yeah, exactly, or they'll wear a blue tie.
So when?
They bring somebody on.
They have a blue tie, bluejacket on.
They're talking to them.
They're presenting this personas the voice of reason.
This is the person that's goingto have a calming effect.
Everything's under control, noneed to worry.
Then they'll have people comeon that will be dressed.

(12:53):
A woman reporter or the anchorperson might have a red dress on
or the man will have a red tieon.
Red is interpreted by the mindas be alert.
Something is concerning.
It means stop.

Speaker 2 (13:13):
It's passionate, it's worry.
Okay.

Speaker 3 (13:16):
So it means all those things.
That's how the mind interpretsthe two colors.
So think of blue and red as ontwo opposite sides of the
spectrum when it comes to howthe mind interprets those colors
.
Even network news goes aboutsetting the hypnosis session up
for the person that's watchingtheir television.

(13:47):
Because, at the end of the day,that's exactly what it is, Pete
, You're sitting down for ahypnosis session.

Speaker 2 (13:56):
Let me ask you something really quick about the
news.
Yeah, Local and national, theydo death, murder, rape for 25
minutes.
Then the very last story is alittle puppy dog was found today
in a bushel of hay and it wasrescued.
You know why do they?
Is there any science to the waythey end it with the soft puppy

(14:17):
dog story?

Speaker 3 (14:26):
Or is that just a production thing?
I think it's probably aproduction thing, and also so
that they can say that theybalance the scales between all
the heavy dark stuff and look wegave you a little happy piece
of footage here in a littlesegment, but the vast majority
of what we watch, especially atthe national level and even at
the local level, has to do withstuff that's disruptive to our

(14:47):
lives, things that we would befearful of shootings, tragedy,
all kinds of stuff.
Every time a hurricane comes,what do they say?
It could be the worst hurricanein 100 years.
Every hurricane has thattagline.
That's to get people alllathered up, get them concerned,

(15:08):
getting them to run around likea bunch of chickens without
their heads, heading out to thesupermarket buying everything
they could possibly get theirhands on right.
And then go home and wait forthe storm, and in most cases
that doesn't happen.
Go home and wait for the storm,and in most cases that doesn't
happen.
Right, they're almost alwaysnever the hurricane of the

(15:33):
century.
So the point I'm trying to make.
Is that it's all?
or mostly all doom and gloom.
And the reason why they do thisis because that's exactly where
they want people.
They don't want people to beupbeat, because an upbeat person
will be productive.
They want you unproductive.
They want you to be concerned.
They want you to be stressed.

(15:54):
That's why they're alwaysgiving you this.
Aside from the fact that theygaslight people, everybody knows
, as an example, that the jobmarket, the economy, is terrible
.
Then they will get on TV andtell you that it's great
Inflation is not that badEmployment numbers are up.

(16:16):
This is another technique.
It's another mind controltechnique to make you feel like
there's something wrong with you.
Yeah.
I mean this person on thetelevision is telling me the
economy's good, inflation's notbad, everything's great.
Yet my life doesn't seem to beclicking along very well.

(16:38):
Yeah, yeah so this is what isreferred to as gaslighting.
So, to answer your question,what really got me looking?
First, the first thing I lookedat was the news and how it was
being presented.
And then, you know, as timewent on, I was looking at other
areas and ultimately I startedtaking a look at how it was

(17:01):
presented in music.
Music gets a little trickierbecause and I know we'll talk
about this, because it's musicand it's very difficult to
convince people that music isbeing used as a way to create
behavior modification, toprogram people to believe

(17:23):
certain things, to behavecertain ways.
So that's a more difficultthing to get through.
I think it's easier for peopleto see how the news is
manipulating people's minds.
It's a little more difficult toconvince them that they're
popular music or that bands aredoing that.

Speaker 2 (17:42):
Sure and that's one thing I forgot to mention at the
beginning was we're both Beatlefans.
And when I was a kid, theBeatles consumed my life.
I mean, it was almostinstantaneous From the moment I
heard I want to hold your handand she loves you.
I was obsessed and I stayedthat way for a good 20 years,

(18:03):
where I would actually get intofights with people, not physical
fights but verbal altercations,defending my band and just
buying anything I could relateto the Beatles, and it was all I
thought about night and day.
And then, as I woke up fromthis dream dream world Beatle
dream world I said what was thatall about?
Why was I so obsessed with thismusic?

(18:23):
And that's why I want to talkwith you, because I want to see
is there some type of hypnoticmessages in these music?
Is there a frequency thatthey're broadcasting in the
recording studio, that they mixinto the music that puts us, our
brains, into some type ofvortex or a retractor beam that
locks us in?
And that's where I am.
I just wonder why all music islike this.

(18:44):
It affects me.
Most.
Music used to affect me a greatdeal, not not anymore, though
it's a opposite effect.

Speaker 3 (18:50):
I mean, now I'm irritated with music now as I'm
older, which is strange it's thefirst thing we have to, I think
, visit um is to go back to um,whatavistock is very good at.
So Tavistock for those thatdon't know from a deep state
perspective, tavistock is thepropaganda and social

(19:13):
engineering headquarters of theNew World Order.
The deep state, however orwhatever label you want to apply
to the shadow government andtwo things that they're very
good at is creating cults andgetting people to think in a

(19:36):
childlike manner To keep adultsfrom thinking critically,
thinking like adults, in otherwords, having adult reasoning,
adult logic.
So what they want to do is theywant to push that reasoning and
logic down to a child's level.

(20:00):
And I'm not folks, I'm nottrying to be funny here or
facetious.
This is exactly what we do.
Because when that happens,that's when adults have these
emotional responses to things,so they have these knee-jerk
reactions to defend their beliefsystem, and their belief system

(20:23):
is embedded in the cult orwhatever it is that you're
invested in.
So, using the Beatles as anexample, the Beatles are a cult.
I call it Beatle-ism.
The fan base is Legion.
They are extremely loyal,extremely dedicated.
They will defend the band tothe end of days.

Speaker 2 (20:49):
Oh yes.

Speaker 3 (20:50):
And I was like that too, Peter I was the same as you
.
Yeah, I was.
These arguments that I wouldget into about how great the
Beatles music was and no bandwas better than them, and all
that stuff.

Speaker 2 (21:01):
And I've run into that on my YouTube channel with
people just going off on me Likewho is this guy, what do you
know?
And I was like that once.
I was just like oh God yeah.

Speaker 3 (21:14):
But that's the cult aspect of it, Peter.
So put that in one little box.
That's the cult piece of it.
And then you have the reducingthe thinking down to that of a
child or an adolescent.
So this is why you and I getthe responses that we do when we
present our videos on thebeatles and we question the

(21:38):
official narrative.
What's happening is the childprogramming is coming out in
these people and they're blowinga fuse, they're becoming irate.
I mean you have to see some ofthe comments that I get.
I mean they don't make it ontothe video because you block
these people, but they could bebelligerent, nasty, and it's why

(22:05):
.

Speaker 2 (22:06):
It's because you're questioning their belief system
yeah, the foundation from whichthey were hypnotized.
I think we were all hypnotizedyeah and and somehow we were, uh
, you feel threatened.
Subconsciously, you feelthreatened the foundation of
your existence.
My god, threaten the beatles orwhoever your band is.
I've seen you know guys in highschool we'd get in these verbal

(22:30):
screaming matches about deathleopard versus the beatles or
you know whoever the band was oh, the stones and the beatles
were oh yeah, big one when I wasgrowing up and oh yeah you know
it almost wind up in a fistfight.
Yeah crazy stuff, crazy stuffyeah.

Speaker 3 (22:47):
So you have to start from that perspective and the
reason why I want to start thereis because you have to
understand that everything thatgoes on in the entertainment and
the music business, that is nothappenstance, it's not just
rolling along organically andnaturally and it's not
coincidence that certain thingsare happening.

(23:08):
It's all very, very planned outby and, for the sake of
simplicity, I'll say the deepstate and the various functions
within the deep state, withTavistock, like I said, being
the center, the focal point forbrainwashing and social
engineering sure so they'regoing to pull out, uh, every

(23:34):
rabbit they can out of the hatand and, and one of that.
One of those rabbits is, uh,frequency and vibration, sound.
So music is sound.
I mean, it's frequency, it'svibration.
Sure.
And it's been long known for avery long time by those that

(23:56):
study psychology and psychiatrythat music has a tremendous
impact on shaping people'semotions and their feelings and
also can alter their behavior,their ways of thinking.
Pete and I folks have adocument that goes back to 1965.

(24:19):
It has to do with the Beatles,hypnosis and communism and it
was written back in 1965.
It's a 20-page document.
Maybe what I'll do, peter, I'llsend you the link so people can
download it and take a look forthemselves.

Speaker 2 (24:35):
Okay, yeah, I've got it here too.

Speaker 3 (24:37):
Yeah, but in that document it clearly talks about
how hypnosis excuse me, howmusic can be used to put people
in a hypnotic state.
Sure.
And it talks about how thisbegins at very early ages, when
we're kids.
Oh yeah, certain songs and ofcourse the 20-page article it's

(24:59):
actually a small, I guess 20pages would be a small pamphlet
or whatever makes its way intothe Beatles and the Beatles
sound and all of that, and thatthere is a science behind
popular music to transform theway people think and the way
they react and the way theybehave.

Speaker 2 (25:22):
So hypnosis is behavior modification and music
is one of the tools in thetoolbox to create behavior
modification.
Yeah, and the article toucheson.
The article says that theBeatles are basically a
communist plot to undermine theyouth and the family structure

(25:43):
in america at the time.
Um, through the use of thesehypnotic beats and and
frequencies and harmonies and uh, the article was kind of dissed
because of the cold war betweenthe two countries, communist
russia and america.
And I found it kind offascinating because as you read
it you're like now youunderstand if back then I can

(26:06):
only imagine this guy probablygot flack like crazy for being a
lunatic, you know, because ofmccarthyism and everything else
that was going on at the timeyeah.

Speaker 3 (26:14):
So, um, I know we don't want to major on this, but
to explain that, uh, thecommunist, when they talk about
a communist plot, what whatthey're really talking about is
Marxism and, more specifically,we're talking about cultural
Marxism.
So cultural Marxism is theimplementation of Marxism or

(26:36):
communism in a subversive way,by subverting from within.
By subverting from within, soessentially bringing the current
system down by infiltrating thegovernment organizations and so
on to as Lenin communism.

(27:02):
Going back to the Bolshevikrevolution in the early 1900s
and Russia, their tactic wasviolence, yes, but what happened
in the 1920s and 30s?
That was the formation of theFrankfurt School.
The Frankfurt School is out ofFrankfurt, germany, and it was a

(27:26):
congregation of Marxistintellectuals.
And so they went to theirfellow Marxists and communists
and said look this, hittingpeople in the head with a hammer
, that's not going to work.

(27:48):
Okay, so this violence is justgoing to turn.
It's going to turn people off,and so we're not going to
accomplish our goals.
So the goal of the FrankfurtSchool was to have a more
subdued approach to implementingMarxism, and one of their

(28:11):
leading intellectuals there wasa guy by the name of Max
Horkheimer, and Max had saidthat they will implement Marxism
in a very methodical,incremental way and in such a
way that the population, themasses, won't even know.

(28:33):
So that's why when they talkabout the Beatles, that article
from 1965 that you and I werejust talking about when they
talk about the Beatles andcommunism, they're really
talking about the Beatles andthe implementation of cultural
Marxism, because the Beatleswere one of those, one of those
tools to bring about the changein a very subtle way.

(28:55):
When I say subtle, I meanwithout the violence, without
without revolution.
It's a quiet revolution, it's arevolution that's taking place.
At that took place very, verymethodically.
But the article, like you said,peter, I'm sure back in the day
that guy probably got clobberedbecause they would have thought

(29:16):
he was some kind of fringelunatic.
But now, having the hindsightof 60 years later and looking
back 60 years, we could see that, uh, the people involved in
that, in that article and thatanalysis, uh, they had a pretty
good grasp on what was coming sowhat connection do you see or

(29:37):
do you make between youreducation and your experience as
as a hypnotherapist and whatyou hear and see in music?
Well, what we're seeing in musicis it's repetition number one.
So, as I mentioned, repetitionis very important to be able to

(29:58):
program the mind.
Human beings are programmable.
I don't like saying that, but Iwas a master hypnotherapist and
, as I mentioned, an instructoras well, and when I got into
hypnosis I realized that we areprogrammable.

(30:20):
As an example, let me just giveyou an example here.
So people would come to see meand they were smokers and they
would say Mike, I've triedeverything, I've tried

(30:51):
everything to stop smoking aftertwo sessions within a week, so
I would schedule two sessionswithin seven days, and after the
second session they didn'tsmoke anymore.
Wow.
I had the same success withpeople that had problems with
drinking, in particular bingedrinking.
Hypnosis is less effective ifit's dependency or alcoholism,

(31:13):
but if you're a binge drinker.
in other words, you go out forthe weekend and then, you black
out, but you don't drink for twoor three months after that.
So you're doing this bingestuff.
I had a very high success rateto get people to stop binge
drinking, to get people to stopvaping, for people to lose

(31:35):
weight, release weight very highsuccess.
So what does that tell you?
It tells you that we'reprogrammable.
So how does that work?
It works because think in termsof there's a hard drive in your
mind and that hard drive hasfiles, and for the smoker,

(31:57):
there's a file written to thehard drive.
It began when they firststarted smoking and every time
they smoked every time, manytimes smoking is done because
people want to relax.
So when they want to relax ortake a break, smoking is what
they do.
The more they did it.
The bigger the file became.
The bigger the file became, itnow dictated their behavior and

(32:20):
apply that to just aboutanything.
So if somebody has a lack ofconfidence, it's the same thing.
There was a moment in timewhere something happened where
their confidence was questioned,or they felt that, or they were
questioning their confidence,something where they felt like
maybe they fell on their face.
That file got written to thehard drive and now going forward

(32:42):
.
Anytime they were engaging in asituation or interacting in a
situation where confidence wasrequired and they were doubting
themselves about whether theyhad the level of confidence and
ability to get something done,that file was strengthened and
it gets to the point where theperson later on in their life

(33:03):
says I don't have any confidence, I completely lack confidence.
Sure.
Right.
So it's the same thing when wetalk about music.
So when we experience music,especially music that we like,
it writes a file to that harddrive and so we have an

(33:26):
appreciation for that particularband or that particular genre
of music, and so we continue tobuy records or CDs or stream or
whatever.
However you listen and we'relistening, and listening and
listening early on in your lifeis now being fed and enriched
with continued inputs andreinforcement of that particular

(33:56):
style of music, something thatyou enjoy.
Okay.
And so what happens now isyou're in, you're completely
bought in.
So in the case of myself, youknow I go back to the Beatles,
so Beatles music when I was akid you've heard me tell this
story a hundred times, but I wasnine years old when I was
begging my father to take me togo see Yellow Submarine in 1968.

(34:19):
At nine years old, I wasalready like this little Beatle
freak.
Oh, yeah, yeah.
And so I love the Beatles, andso anytime a Beatles song came
on, it reinforced my desire tolove the Beatles, want to be
like the Beatles, pick up andplay guitar like the Beatles, on

(34:40):
and on and on.
So that's how it works.
That's how it works with justabout everything in our life the
more we engage something, themore it feeds and reinforces
those files.
Sure.
And then, like I said, itdefines our behavior and in some
cases, it will define who weare.

(35:02):
Oh yeah.

(35:30):
Oh yeah, the social scientistshave known for a very, very long
time that frequency andvibration has an effect on human
beings, Because we arevibrational frequency-based
beings Sure.

Speaker 2 (35:36):
Even the Earth has a frequency.

Speaker 3 (35:37):
That's right, the human residents and so there are
frequencies that can bedisruptive to us and then there
are frequencies that will makeus feel good.
So it goes both ways.
And some people may know who arewatching this, but there was a
man he's passed away now, Hisname is Alan Watt, and Alan, in

(36:01):
an interview that I actuallyincluded in one of my big
presentations I think it was theaddendum going back a couple of
years ago in one of my bigpresentations I think it was the
addendum going back a couple ofyears ago and he talked about
going back to the Beatles, howGeorge Martin wasn't just a
producer, but George Martin wasskilled in acoustics and sound

(36:28):
and how it affected the listener.
So, in a way, when you thinkabout it in those terms, aside
from being a producer, GeorgeMartin was a social scientist, a
social engineer.
So, from the perspective of theBeatles, you had frequencies in

(36:51):
the songs, the way the songswere written, the way the lyrics
were presented.
They would create thesefeelings within us.
I know for me, Pete, whenever Ilistened to Sgt Pepper or the
Magical Mystery Tour album,because of the psychedelic um
genre sure the way the music wasput together, the way the

(37:12):
lyrics were put together.
Um, I sensed color.
I always said that the beetlesergeant pepper album and
magical mystery tour alwaysbrought colors to my mind sure
and uh, now, not everybody'sgoing to experience that, but
but I did so, uh, and I knowother people who have, uh, in

(37:36):
fact, a cat from the umsupernatural beatles.
She and I did an interview andshe mentioned that the music had
the same effect it's.

Speaker 2 (37:45):
It's funny you mentioned serge Pepper's because
when I first heard it I wasnine years old.
This is 1974.
Yeah, and I felt it was a darkalbum.
I didn't see colors but as achild hearing it I was like it
was very dark and morbid andweird cryptic type of music I've

(38:08):
never liked the album Okay.
And it had a weird I don't knowwhat you call it evil feeling to
it.
I wouldn't call it evil when Iwas nine, but now I look back as
a nine-year-old.
It was like my least favoriteBeatle record.

Speaker 3 (38:22):
That's interesting.
So it had a different effect onyou than it did for me.
Now it's funny.
You say that and I can kind ofrelate those types of feelings
to the White Album.
So when I listen to the WhiteAlbum it's just that there's a
different vibe, a differentfeeling, a different sense that

(38:44):
I get from listening to theWhite Album than I did when I
listened to Pepper or to MagicalMystery Tour.

Speaker 2 (38:59):
Now, do you think this is kind of a little off
topic, but the album covers.
As for those of you that didn'tgrow up with albums, we'd all
sit and stare at the album whilewe listened to the records.
So as you stare at Sgt Pepper,it's like this blood red cover
with these psychedelic colors oftheir uniforms, their marching
band uniforms.
So do you think the colors?

Speaker 3 (39:21):
from that album stimulated colors in your brain
and the white album with nocolor made you feel it was drab,
because I think that the albumdesigns have a definite effect,
or used to in the old days yeahon every, every one of us that
listen to music yeah, I mean tothis day I can still look at the
sergeant pepper album pete, andI like looking at it as much as

(39:43):
I know about the beatles andwhat they're all about yeah,
when I look at that album coverit's, you know, it's very
appealing.
And, yeah, and the white albumwas just this blank white album.
We call it the white album, butactually the beatles didn't, uh
, title the album the whitealbum, it was just called the
beatles.
So, um, yeah, so so the colors,the type of music, how the

(40:10):
music is written, the lyrics,the frequency of the music, this
all comes into play and, like Imentioned, the social
scientists, the social engineersout of Tavistock, they know how
all of this works.
And again, it's repetition,repeating, over and, over and

(40:31):
over again.
Some people will say to me well, are you saying every band that
was let's just pick the classicrock era was in on?
the game and I said no, I'm notsaying that at all.
What happens is they create atemplate.
So the template would be theBeatles or the Rolling Stones.

(40:53):
We'll just use them as anexample.
And so when other bands comeinto play and they get signed by
the record labels, what do theydo?
Many of them emulate theBeatles, the, the, the beatles
or the rolling stones.
They emulate that, that sound.

(41:13):
They emulate, uh, that approachto songwriting, maybe even, uh,
how the lyrics are written andstuff like that.
So, um, so that's therepetition part.
Bands that are not even in on,you know, on the secret,
although many are, you know,especially the, really, uh, the
bands that have hit certainpinnacles or heights, uh, that

(41:37):
other bands, you know, couldn'teven touch, that's the, that's
the repetition part, becausethey're emulating okay, okay.
You know, and so they don't haveto be in on the secret.

Speaker 2 (41:51):
Well, the repetition part would be the rhythms.
The rhythms in the music aresimilar.

Speaker 3 (41:55):
Right.

Speaker 2 (41:56):
The structures of the songs are similar.

Speaker 3 (41:58):
Structures of the songs Yep Yep.

Speaker 2 (42:00):
The beat, the tempo, it's Stones who, beatles, kinks.
Right, it's all very similar inin construction.
Is that what you're saying?

Speaker 3 (42:10):
yes, yes, that's what I'm saying.
And so, um, you know, we can gofrom the very popular bands
even down to the one hit wonders.
Right, some of the one hitwonders who are?
You know, obviously they were,um, they were extremely
influenced by, by the biggerbands like the Stones, the who,
the Kinks, and so on.

(42:33):
So the music business is a bigtool in the toolbox of the
social scientists, of thecontrollers of Tavistock.
So it's used to manipulate,it's used to change behavior,
it's used to change morals,ethics, lifestyles.

(42:54):
Um, it's the whole pop culturebit.
You know where they're.
They're leading you and pushingyou in a certain direction

(43:27):
no-transcript Punk music, lowlife music.
So what are they doing withthat?
Well, the punk scene was verydysfunctional.
They were outliers from asocietal perspective.

(43:51):
So so they're conditioning agroup of people, the young
people, to connect with that, tobe outliers, to be
dysfunctional, to be anti this,anti that, and to push back on
the existing structures insociety and the culture.
Right, and that's how theyforce change.

(44:12):
This is cultural Marxism, bythe way.
This is right out of theirhandbook.
But you know I'm just picking onon punk as an example.
But you know we can look at,you know metal, we can look at
grunge music, techno.
You know techno, with the beat,you know the vibrations from
the beat.
It was very hypnotic, veryhypnotic.

Speaker 2 (44:31):
Or trance music as well.
Yeah, rap.
Now you had mentioned differentstyles of music.
Now I noticed, when I was a kidI was always trying to convince
my mom that the Beatles werewhat she should listen to.
And she grew up listening toSinatra and all the big band
stuff.
She thought the Beatles wereabsolute crap, until she heard
the song your Mother Should Know.

Speaker 3 (44:50):
Yeah.

Speaker 2 (44:50):
Which is a schleppy, you know, and my mother heard
that she's like oh my God,that's wonderful.
I always wondered if theyincorporated that kind of music
into the repertoire to pull inthe World War II era people who
were anti-Beatles, to try tosoften them up.
You got McCartney singing theballads, you got Lennon

(45:11):
appealing to the kids that areangry.
George is the spiritual one,ringo is the goofy guy at the
drums.
It seemed like each person waslike earth, wind and fire.
They were each a differentelement to appeal to a large
audience, and I think that'sbrilliant marketing.
It can't, there's no way thatcan't be structured.

(45:32):
It just they make it sound likeit just happened.
But I think they had paul inthere to bring in people like my
mom or my dad who were.
They listened to the crooners.

Speaker 1 (45:44):
You know what I mean yeah, I mean, I could be
completely wrong yeah, when Iwas, there was another one she
liked.

Speaker 2 (45:49):
Yeah, it was another one she just loved.

Speaker 3 (45:51):
Yeah.
Yeah, it could very well be,pete, that they slipped numbers
in there to appeal to a portionor a segment of the population
that they weren't overly focusedon.
But hey look, if we could pulla couple of people in that

(46:11):
aren't there already, all thebetter.
So I would say that that's verypossible, that that's the
reason why some of those songswere put together.
I mean, somebody might arguewell, paul or Billy liked to
write those songs.

Speaker 2 (46:25):
Yeah, but he also wrote Hell of skelter yeah,
which is allegedly about a slide, a children's ride in the park
or something yeah so do you?
so when I what I know aboutproduction, music production, if
you listen to your early beetlestuff, the she loves you era
you've got a lot of high.
You've got a lot of high.
You've got a lot of frequenciesin that music.

(46:46):
You've got the constant crashcymbal, the ride cymbal, ringo
or the hi-hat.
You've got that constant.
And when I hear that now itdrives my brain crazy Like I
can't listen to it anymore.
When I was a kid it createshysteria in the brain.
The high range of the cymbals,the driving beat.
You don't really hear the basstoo much in the old recordings

(47:08):
and I noticed that some of theirmore popular songs are Paul
singing in the higher range,which seems to be extremely
popular.
It seems like most pop songs.
You've got a guy singing almostin a falsetto voice and I've
always wondered if that wasstrategic too, because the
frequency must engage the brainmore than somebody like myself
or james taylor that sings likea baritone or lower, lower range

(47:32):
.
It doesn't have the sexy appealto the brain.
Have you ever looked intoanything like that?

Speaker 3 (47:37):
well frequencies.
What I can do is um for thisshow.
I printed out this article.
It's from october of 2012 okayit's titled the power of music
mind control by rhythmic soundokay okay, so let me just uh, I
highlighted some areas.
I think that this will answeryour question, peter.

(47:57):
So there was a psychologist whoperformed some research.
Her name was annette schirmerand she published her findings
at the Society of Neuroscienceat a meeting in New Orleans, and
she said that rhythmic soundnot only coordinates the
behavior of people in a group,it also coordinates their

(48:19):
thinking.
The mental processes ofindividuals in the group become
synchronized.
So when you think about, likeBeatlemania if we apply
Beatlemania to what I just readhere, many, many Beatle fans,
when they became Beatle fans,their mental processes, the

(48:42):
individuals in the group becamesynchronized.
They're part of the cult.
Now this finding extends thewell-known power of music to tap
into brain circuits controllingemotion and movement, to
actually control the braincircuitry of sensory perception.
This discovery helps explainhow drums unite tribes and

(49:05):
ceremony.
So think about that why armiesmarch to bugle and drum into
battle, why worship andceremonies are infused by song,
why speech is rhythmic.
So think in terms of rap musicas an example, punctuated by
rhythms of emphasis onparticular syllables and words,

(49:28):
and perhaps why we dance.
So think in terms of when wethink about music.
It's called the hook right,something that people will latch
on to and even if they don'tknow the words to you know the
verses of the song, they willknow the hook, they will know
the hook, they will know thechorus and they will sing that.

(49:49):
Yeah.
Right.
So it goes on to say that thebrain's decision-making was
accelerated by the externalauditory rhythm and heightened
at precise points in synchronywith the beat.
So what they're saying there isthat the brain was very focused
on the beat.
So when, when, when the?

(50:12):
Uh, the people that were in thesubjects in the research, when
they were listening to musicwhen the beat was present,
that's when they had heightenedsensory perception.
So whatever was going on atthat time, that's what they
focused on when that beat hitthat point.

(50:32):
So I thought this was a veryinteresting article and, um, and
it explains a lot in a veryit's only four pages as to how
music can program people and howit can get them to behave.

(50:52):
Uh, take individuals,essentially, and and create a
hive mind mentality so that theyall behave in a certain way, uh
, in a like manner, way, um, um,we, we can even see that with,
uh, with Beatlemania, right, Imean oh yeah.
With, with the screaming girls.

(51:12):
Yeah, um, you know why.
Why?
Why would the?
Uh, why would the reaction beto?
To scream at the top of yourlungs and and in some cases they
lost control of their bodilyfunctions.

Speaker 2 (51:24):
Oh yeah, yeah, I mean , this is not-.

Speaker 3 (51:27):
Right, yeah, this is true.
How did it get to that pointwhere you got to such a frenzy
that you're behaving andreacting this way?
Was it because of the four guysthat were dressed in suits and
with mop tops?
It had to do with the music youknow suits and with mop tops.

Speaker 2 (51:52):
It had to do with the music.
It it's.
It's bizarre to to see, andcould it be just like like a
flock of birds.
You see one bird going onedirection, they all go in that
direction.
So if you see one girlscreaming, they all think I'm
supposed to do that.
Or was there something in themusic that was driving them
insane at?

Speaker 3 (52:06):
that moment.
Well, at Taylor Swift concerts,there have been reports of
people who attended the concertto say that there were portions
of the concert that they don'tremember.
There were songs they don'tremember being played and, of
course, this has to do withwhat's going on on stage.

(52:27):
So you have the beat, you havethe rhythmic part of the song
going, you've got the frequencyof the music.
You have the lights, thelighting, flickering lights,
strobe lighting, different colorlights this all affects the

(52:47):
mind, and so what happened tothose people is that they
tranced out during the concert.
Now, when you're in trance,folks, that doesn't mean that
you're lying on the ground andyou passed out.
You could be in a trance,standing up and looking like

(53:09):
you're alive and well, butyou're lost.
You're lost in thought.
You're someplace else.
I mean think about here.
Here's a good example For thoseof you who have kids,
especially teenage boys, andthey're upstairs playing their
video games and they're soentrenched in what's going on in
that video game that you callyour son down for dinner and he

(53:35):
doesn't hear you.
It's not that he's ignoring you, he does not hear you.

Speaker 2 (53:40):
Yeah, he's gone mentally.

Speaker 3 (53:41):
He's gone.

Speaker 2 (53:42):
He's wrapped up in that game, that video game.

Speaker 3 (53:44):
Right.
So then when you go upstairs,you're like hey, Billy, I've
been calling you for dinner nowfor the last five minutes, Did
you?
Hear me.
No, mom, I didn't hear you, sothis is being in a trance state.
So this is the same thing.
If you go to a Taylor Swiftconcert or any one of these
concerts, the possibility thatsomething like this could happen

(54:04):
is possible.

Speaker 2 (54:08):
Well, I'd imagine it triggers the endorphins.
There's a variety of chemicalreactions.
You'd go into a trance state.
I think a lot of.
It's the way the music isstructured and engineered and
produced.
I mean, you talked about thehook.
Now a hook can be a chorus, itcan be a guitar part, like in
Daytripper.
Right right.
That hook in Day day tripper isjust world known.

(54:28):
Everybody knows that hook andit pulls you in.
I remember hearing it as a kid,right, and just getting shivers
, just oh, my god, I don't knowwhy I hear it now and I've heard
it so many times.
I can't stand it.
But the same thing with can'tbuy me love.
I hate, hate for all you folksthat listen to music beyond 1968
.
But I'm stuck in the 60s in myhead.
But Can't Buy Me Love.

(54:49):
The hook is the chorus, right,and they start with the chorus
for a reason because it grabsyou, it pulls you in and it
doesn't let go until the song isover.
So I think you go into kind ofa trance based on the ways the
songs are structured andengineered.
Yeah, Because if that song wassung in a lower range.
It was like can't buy me lovepeople, like oh, but paul's

(55:12):
screaming it kind of, and I.
I don't know what it does tothe subconscious mind, but I
think it grabs it pretty goodyeah it, it pulls it in and uh,
because it's exciting, it's,it's yeah right, it's at a
higher pitch and it's exciting,it's, it's right, it's at a
higher pitch and it's, it'sbringing you in.

Speaker 3 (55:28):
It's uh, we would call it cutting through the mix,
right Um sure.
Right.
So, and and the way it works isthey they pull you in with the
music and, uh, once you'rebought into not just the Beatles
, but, you know, pick any bandthat people follow today, Um,
Taylor Swift has the Swifties.
That's a cult.
The Swifties are a cult.

(55:50):
And so what happens is, onceyou're pulled in by the cult of
celebrity and the cult of themusic, then what happens is they
can steer you because now theyhave followers.
Oh yeah.
Right.
So with the Beatles, you getpulled into the music.
You love the beatles, you knowyou're all, you're buying all
their records.
You're sitting there for hourslistening to the music, like you

(56:12):
said, staring at the albumcovers and all this, and then
the beatles would come out, theydo a press conference and they
would say well, I think this andwe think that.
And so now what's happening isyou know, because you're into
that mind control, you're boredinto the cult, you're invested
in it.
So now what they say, that theybelieve, now becomes your

(56:36):
beliefs.
Yes, yeah, you start to thinkin those terms as well, because,
like, okay, you know, I didn'tthink of it that way, but you
know, because Paul McCartney andJohn Lennon or Mick Jagger or
Keith Richards are saying this,then you know I'm going to
listen to this.
This is why so many musiciansand entertainers and celebrities

(56:57):
are rolled out Anytime there'san agenda item that needs to be
pushed.
So I mean, the big one recentlywas the March 2020 event with
the.
You know the face coverings andthe shots, right?
Sure sure.
I mean they rolled everybody out.
I mean they rolled outMcCartney, they rolled out, you

(57:18):
know, they rolled everybody out.

Speaker 2 (57:20):
Every celebrity in the world, yeah.

Speaker 3 (57:22):
Every celebrity in the world.
So why is that?
That's because of the mindcontrol.
It's because it starts off ashypnosis and then then you're.
You know, they've got your hookline and sinker, they've gotten
to reel you in and now theybecome, they become your pied
pipers.
They're going to, they're goingto tell you what it is that you

(57:42):
should do not.
Not do what you should believe,not believe where you should go
, not go.
And this is how they controlthe masses.
Essentially, what they are isthey are social engineering
tools in human form.

Speaker 2 (58:02):
Exactly yeah.
There are tools in theirtoolkit to manipulate each and
every one of us and pushdifferent agendas?
Yes, and all the other bands.

(58:23):
But did they sit downspecifically?
Or does a producer take anunknowing band into the studio?
Go, hey, I like this song, butlet's arrange it like this
because the producer knows thatit's going to create a certain
mental effect because they'retrying to sell records number
one.
But I've always wondered if theproducers and the engineers are

(58:44):
the wizards behind the curtaintrying to manipulate the masses.
Like George Martin sat down andsaid let's put the chorus first
because that's going to grabthem, I don't think Paul and
John sat down and said let's putthe chorus first, if they even
wrote that song.
So there must be a wholescience, either knowingly or
unknowingly to the band, that'sgoing on, to structure it a

(59:07):
certain way so it will sell and,you know, get out to the masses
.

Speaker 3 (59:13):
I'm going to bet that they have a very good
understanding of the socialscience behind uh using music as

(59:34):
a way to uh to shape societyand to create behavior
modification.
I'm not saying every produceris schooled in this, but there
are those, uh, I would say, thebig names uh have a pretty good
idea on how to go about doingthis.

(59:56):
And then it also goes back towhat I was saying before the
whole emulation piece of it.
So it would go for producerstoo.
So there will be producers.
I'm going to assume there wereproducers that thought George
Martin was the greatest thingsince the light bulb as far as
music production goes.

(01:00:16):
Right, yeah.
So they're going to emulategeorge martin style.
How did george do this?
How did george do that?
You know all of that.
So even if they are notschooled in um, in how to
incorporate elements into theproduction of the music that is
going, that's intended to, toaffect people from a social

(01:00:39):
engineering perspective, they'restill doing it, because what
they're doing is, you knowthey're they're mapping to a
template of somebody who does dothat.
So they're bringing in elementsof george martin into their
production process and you knowyou can create it that way too.
You know that.
That's.
That's the thing.

(01:00:59):
There's a cascading effect aswell.
It's not just everybody has tobe trained in this stuff you get
a few, you get a few leadersright and then people follow and
emulate those leaders rightit's like it's the thing when
they talk about self-help andthey'll say pick somebody, If

(01:01:21):
you want to be successful, picksomebody that you admire,
somebody that's very successful,and then study them.
We hear this all the time inself-help books.
So what is that saying?
It's saying be like them, dowhat they do.
Be like them, do what they do,be like them.
So I'm going to say that thatlittle self-help technique is

(01:01:42):
also applicable in the musicindustry.

Speaker 2 (01:01:44):
Well, if you listen to modern music, they just
repeat the same thing over andover and over.
I can't pinpoint a specific song, but anytime I hear a current
song, it's just maybe one or twoverses and then they repeat the
chorus 10, 15 times or acertain phrase and I'm like

(01:02:05):
they're just trying to conditionpeople into feeling sad, yes,
or feeling angry, or or I, youknow, I was in the locker room
the other day.
I was working out, and there'smusic in the locker room and
it's all classic rock and it wasall.
I started feeling really sad.
I'm, you know, I'm taking aleak and I'm feeling sad.
I'm like why am I taking, youknow, feeling sad while I'm
taking a leak?
Well, here was a Journey song,one of these sad Journey songs

(01:02:27):
that I went to high schoollistening to, from some girl
broke up with me in 1982.
And I'm sitting there feelingsad because you know what's his
name Perry.
Yeah.
C Perry.
I'm like, oh, it's because thisJourney song is playing and I'm
having a flashback mentally to1982.
And then I'm thinking why do Ineed music in the locker room?
Right, it's everywhere.
Music is everywhere.

(01:02:49):
I went to a coffee shop theother day I don't know if you
have them on the East Coast.
It's called seven brew and it'sa drive-through coffee shop and
as you drive in you're just awash in music from the pa system
outside this coffee shop yeahuh, modern, modern, pop, rock,
and I'm like why is there musiceverywhere we go?

(01:03:09):
and I just have a theory thatit's because they're constantly
trying to manipulate us yesthere's no need we have to have
music everywhere.
We've got it in the restaurants, in the bathrooms, in the
drive-thrus and I think it's atool they use.
Gas stations too Pete, oh, yeah, yeah.

Speaker 3 (01:03:25):
Put a pump of gas At the pump.

Speaker 2 (01:03:27):
Isn't that crazy.
And there's video screens nowon the gas pumps, which I don't
know why we have to watch videowhile we're.
I don't know if you have thosein the Carolinas, but it's just
insane.
I'm sorry I go off on thesetangents because I finally have
someone that I can talk to thatunderstands this.

Speaker 3 (01:03:45):
No, no, it's great.
It's great, Me too.
You know, I mean a lot of times.
I'm talking to myself when I dothis stuff.

Speaker 2 (01:03:52):
Well, I don't know what your wife thinks of this,
but I try to talk to Meg and tryto show her, but I'm afraid if
I show her too much she'll getdepressed because she's still
lost in it and it's her escapeand I'm like I know if you bring
somebody down too quick itcould have devastating effects
on mentally and emotionally.
I believe, because when Istarted to realize all that was

(01:04:14):
going on with the media and themusic and movies and TV, I just
it was like this horrifyingmoment oh wait, it's all a lie.
And I know I don't know if thatsounds paranoid or or or sick,
but I think it is.
I can't watch any.
I can't.
I hear Lester Holt come on NBCand I'm like change this channel

(01:04:36):
.
I cannot listen to that guy.
He's just a mouthpiece for theCIA or whoever runs the news
media.

Speaker 3 (01:04:43):
Yeah, no, it is all a lie and it's very difficult for
people, to people who are, youknow, in the matrix.
I'll call it the matrix.

Speaker 2 (01:04:54):
Yeah, yeah.

Speaker 3 (01:04:55):
They live and breathe it and that's their reality and
they think that that's how theworld really works.
But, uh, we have to come togrips with the fact that, uh, as
an example, the media and thatwould be your cable news, your
network news, it would be yourmagazines, it would be your
radio, it would be a television,it would be your radio, it
would be your television, itwould be Netflix, it would be

(01:05:17):
HBO, it would be Amazon PrimeAll of this stuff is controlled,
all of the media in thiscountry.
I think the number now is downto five companies.
Five companies control all ofthe media in the United States.
I think in Australia it'ssomething like two, but in any

(01:05:40):
case, the point I'm trying tomake is, uh, that means that
five people if it's fivecompanies these days used to be
six, but I think it's five nowthat just means that five people
at the top of these companiesget together and decide what it
is that they're going to tellyou and not tell you, or how
they're going to present.

(01:06:00):
You know their stories.
Uh, you have to understand,folks, that our media is.
It's just propaganda.
That's, that's all it is.
It's propaganda, it's, it'sthere.
Your television set is ahypnosis box.

Speaker 2 (01:06:19):
Oh yes, and even the way it refreshes the rate of
refresh on the screen.
The hertz puts your brain to atrance, and your iPhone too.

Speaker 3 (01:06:27):
Drops you down to alpha state.
So alpha state is a trancestate.
In fact, we learn by going intotrance state.
Fact we learn by going intotrance state.
So, as an example, when youwere a kid and you were in
school, and let's just sayyou're sitting in the classroom
and there's 30 kids in the classyou being one of the 30 kids
when the teacher was writingsomething up on the board or

(01:06:50):
talking about something at thefront of the classroom, did you
pay any attention to any of theother 29 kids in the class?
No, you will focus on what wasbeing written on the board and
or what the teacher was talkingabout.
So when you're in a trance stateand you're alpha state, what
happens is you're basicallyexcluding everything outside of

(01:07:10):
you and your focus.
It's your concentration andfocus on whatever it is that
you're paying attention to.
That's how you learn.
That's learning.
We did the same thing when wewere in college.
We do the same thing when we'relearning music or playing a
song.
We do the same thing when weengage in a hobby.
We're very, very focused.
It's a high level ofconcentration and we exclude

(01:07:33):
everything else that's going onaround us.
It's like going back to the kidwho's playing the video game
Didn't hear his mother callinghim to come down to dinner,
right?
So that is how the televisionworks as well.
Many many people get pulled intoit and they are completely
engulfed and invested in what it.

(01:07:54):
Whatever it is that they'rewatching, whether it be the news
or some reality TV show, andthere's always, always, always
an agenda.
Always an agenda.
If you know what to look for,you'll see that there's a
repetition of agenda items thatthey want to push, that they
want to condition the viewer tostart to accept or not accept.

(01:08:19):
So if there are certain thingsthat they don't want you to
believe in, or certain valuesthat they don't want you to have
, those things will be ridiculedin movies and TV shows and so
on.
On the other hand, if there'sthings that they want you to buy
into, that they want you tosupport on behalf of their

(01:08:39):
agenda, those things will beplayed up in a very positive way
, and this goes on 24-7, 365days a year, into perpetuity.
This will go on forever.
Oh yeah.
Unless people wake up.

Speaker 2 (01:08:54):
I don't know if I got you off track.
We covered a lot of ground here.
Yeah, no whatever, I think Iput a wrench into it because I
think you were headed down onepath and I went down someplace
else.

Speaker 3 (01:09:03):
That's okay.

Speaker 2 (01:09:06):
But my phone's about to die.
Here I think I'm just going touse the audio, okay, as I'd
mentioned before, but that'smore.
I've just not wanted to editvideo anymore.
That's more.
I've just not wanted to editvideo anymore.
I'm kind of done with the wholeYouTube thing.
They banned me for a littlewhile and I'm just like is it
worth getting upset about itanymore?
But anyway, no, I was theresomething else.

(01:09:27):
I don't know if I got you offtrack about the whole frequency
thing and and music, cause wekind of went off in a couple of
different directions.

Speaker 3 (01:09:37):
Well, I think we kind of covered it.
It's important to understandthat music is used as a tool to
social engineer.
Music is another way to putpeople into hypnosis, into a
trance state, and to get certainmessages across.

(01:10:00):
So I'm just taking it from avery simplistic perspective.
You're listening to the songsand there's the lyrics.
Just take it from thatperspective alone.
So if you go back to the songsof the British Invasion classic
rock, punk music just pick agenre and if you're constantly

(01:10:26):
playing these songs, especiallyif you have a favorite artist,
and most people do you'reconstantly listening to these
songs, playing them over andover again.
You're constantly listening tothese lyrics.
So them over and over again,you're constantly listening to
these lyrics.
So you've got.
I read the piece before aboutthe rhythmic aspects of music
and, from a science perspective,there's no question.

(01:10:49):
I mean, it's not a theory weabsolutely know that music,
because of frequency andrepetition, will condition
people.
In fact, it was BertrandRussell in that article that you
and I talked about earlier,about the Beatles, hypnosis and

(01:11:09):
communism, sure, where he wasquoted.
Bertrand Russell was an eliteout of the UK and he was like an
elite elite he had no use forthe subjects.
Everything needed to be run bythe elites that.
You know we can't makedecisions for ourselves and so

(01:11:31):
you know we need an elite classto do all of that for us.
Very clearly said, going backto that article in 1965, that
now again this is 60 years agohe's being quoted and saying
that, uh um, verses put to musicand repeated are extremely
effective in shaping people andconditioning people to help the

(01:11:58):
behavior modification along.

Speaker 2 (01:12:00):
Sure.
So the rhythm, the backingtrack, is what gets you into the
different state of mind in thesubconscious.
Right.
And then the lyrics are theprogramming.
Right.
If they want you to feel happyor sad or angry, like acdc.
It's just an angry, angry sound, right, I listen to that to

(01:12:21):
work out too sometimes becauseit gets my blood pump, but it's
a when you listen to it's verydark again, the singer singing
really high up and it gets yourbrain like this frenzy.
So I think the words I don'tknow what their words really
tell you to do, but, uh, theremust be some meaning behind some
of these bands, words that theywant you to listen to.

(01:12:42):
Is that what you're getting to,though?

Speaker 3 (01:12:44):
yes, the words are what they're telling yeah, the
lyrics, the lyrics are importantyeah um, even if they're simple
lyrics and even if you don'tthink they're important, you
know a lot of songs will will,in a subliminal way, push sex,
sex In subliminal ways.
They will push anti-familytypes of values of just extreme

(01:13:08):
dysfunction as far as a cohesivesociety goes.
I mean, you know a lot of therap artists.
Their songs were filled withviolence.

Speaker 2 (01:13:30):
Oh, yeah, yeah.

Speaker 3 (01:13:32):
And, of course, rap was created for the very purpose
of infiltrating the innercities and creating this
dysfunctional society within theinner city population and
creating violence.
And none of this stuff is bychance.

(01:13:53):
I mentioned in one of my showsPete, going back several months
ago.
It was an article in AARPmagazine which I don't read.
I mean, I get it for thediscounts but my wife and I go
through the magazine to justkind of pull out all the

(01:14:14):
propaganda.
Aarp is loaded up withpropaganda and fear tactics.

Speaker 2 (01:14:20):
Oh, is it really?

Speaker 3 (01:14:21):
Oh my God, I mean just to make the senior
population very, very concernedand stressed out.
It's just unbelievable, itreally is, and they almost
always have an entertainer orcelebrity.

Speaker 2 (01:14:35):
Yes, yeah, ringo Starr was on it a couple months
ago.

Speaker 3 (01:14:38):
Yes, and Samuel L Jackson is on the current one,
and so, again, this goes to thePied Pipers, this goes to the
people that you're going tofollow and listen to and they're
going to say you should do this, you should do that, you should
think about this, you shouldthink about that.
And that's basically to shapeyou, to kind of get you to fall

(01:15:02):
in line and march along singlefile toward a particular
objective or agenda.

Speaker 2 (01:15:04):
But the thing, the thing that with bertrand russell
, that I, I now I agree withwhat he's saying, because back
then america, post-war, was the,the nuclear family.
They had the father who went towork, made enough money to
support everybody, buy the house, have a car, have the food.
Mother stayed at home.
Life wasn't perfect, but forsome reason kids wanted to rebel

(01:15:26):
.
But what were they rebellingagainst?
They were rebelling againststability, good jobs, a good
economy.
Now, after all this rock musichit in the 60s, the entire
American family fell apart.
Both parents started working,divorces escalated, um,
everything went to shit yes andthat's how I you know I was, you

(01:15:47):
know we were both in that scene, and so I think, whoever
created rock and roll of the 60s, I think their plot worked, or
their scheme worked to underminethe integrity of the American
family and the Western culture.

Speaker 3 (01:16:03):
It was Tavistock with feeds coming in from the
Frankfurt School, so theFrankfurt School and Tavistock
basically came into being at thesame time in the early 1920s.
Okay.
And all of these deep stateentities.
They're all interconnected.
This is what people have toreally understand.

(01:16:23):
Um, they're not standalone,they're not out there, they're
not islands unto themselves,they're all working together.
And, uh, so you know, they knewexactly what they were doing,
you, if you remember back infact it's not even that long ago
, but over the last 20, 30, 40years, we would hear the term

(01:16:44):
the culture wars.
It's a culture war and Iremember, you know, listening to
this back in the seventies andthe eighties and you know I
didn't think anything of it.
I was young.
The culture was, you know, Ididn't care.
Yeah anything of it.
I was young, the culture was I,you know, I didn't care, yeah,
whatever you know.
But as I got older and I gotmore into the research, I knew
exactly what they were talkingabout.
So when they talk about theculture wars, the question that

(01:17:05):
should have been asked is whatwar?
What cultures are at war?
What I mean when you sayculture wars, it's usually two
people or two entities or twoorganizations fighting each
other, right?
Sure, but nobody ever asked thatquestion.
Nobody ever asked the questionlike well, who were the two

(01:17:28):
cultures?
Well, the one culture was whatyou were just talking about.
It was the traditional familywith a family nucleus mother and
father and the kids and allthat stuff.
That's one culture.
That was the predominantAmerican culture going back
before the counterculture of the1960s.
The other culture that wasbeing implemented was the

(01:17:50):
cultural Marxism through theimplementation of pop culture,
through the implementation ofpop culture.
So pop culture it's Netflix,it's your television, it's hot
dogs, hamburgers, ball games.
That's pop culture.
Yeah, a nucleus.

(01:18:22):
Uh, embedded in that for manyfamilies was, uh, an
understanding of ancestraltraditions.
Going back to, let's say, ifyou were an italian family my,
my mom is, she's italian.
My father was, uh, welsh, irish, but we were brought up in an
italian household, so we had alot of traditional italian types
of traditions in my householdgrowing up okay and so you'd
have that.
You know, if you're french orgerman or mexican, I mean, just

(01:18:43):
you know, pick a, uh, aparticular heritage, um.
But what the social scientistsof tavistock and the frankfurt
school needed to do was theyneeded to break that down.
They needed to get rid of that,because if you have traditions
and values outside of what theywere looking to implement, then

(01:19:07):
they can't implement their plan.
So the whole cultural Marxistagenda was to systematically and
methodically continue to bangaway at the family nucleus.
Oh yeah.
And in order to get it to thepoint where it's dismantled and
you mentioned, divorce rates noware up over 50%.
Mothers and fathers are bothworking.

(01:19:28):
The kids are in preschool,they're in afterschool.
They've essentially have becomedetached from their families.
The parents see the kids maybevery early in the morning, late
in the evening, when mom and dadget home from work on the
weekends.
But mom and dad had a lot oferrands to run on the weekends.
So what happens is the kidsthen become essentially wards of

(01:19:50):
the state and they are beingraised by people outside the
family.

Speaker 2 (01:19:55):
Exactly yeah.

Speaker 3 (01:19:57):
And I mean, what are the values of the people outside
of the family?
Are they the values of themother and father?
I mean, you don't know, whatare they really being taught in
afterschool?
I mean we now see in schools,like in elementary schools and
middle schools and even highschools, where they've gone with
the and I use the word veryloosely the curriculum and

(01:20:21):
teaching little kids at five andsix years old that there's
really no such thing as aspecific gender until you get to
a certain point.
This is all part of the processof breaking down.
This is the cultural Marxistagenda that's in play.
It has been in play for a longtime Before it got to that.

(01:20:43):
What they did was they had toget the mother out of the house,
because most mothers back inthe day were perfectly happy
staying home taking care of thekids and taking care of the home
while dad was out working andmaking sure everybody had a roof
over their head.
And everybody wants to say,well, the cultural Marxist and

(01:21:05):
the far left aspect of societywants to say, oh, that's old
fashioned.
Things have changed.
Yeah, you know things havechanged and you know no, things
have changed, not because it wasold fashioned.
Things would change because itwas systematically attacked.

Speaker 2 (01:21:24):
Well, sure, I think what the communists and the
Marxists did is they said okay,here's America, it's a massive
country with multiple climates,and back then it was like 200
million people.
We can't just park our shipsoff the shore and invade, and we
can't nuke them, because theland won't be inhabitable.
So how do we destroy them?
Well, we'll infiltrate theirpolice stations and their

(01:21:48):
politicians and their WhiteHouse.

Speaker 3 (01:21:51):
Academia.

Speaker 2 (01:21:52):
Academia will destroy the family.
And look at us.
I mean, people are so confusedthey don't know if they're boys
or girls.
They don't know what restroomto go in, they don't know.
You know you can't affordanything now.
I mean, if I was ever single, Idon't know how I'd survive and
how single people survive.
So I think they've methodicallydestroyed our country without

(01:22:17):
firing a shot is what I'm tryingto say, and I think that's just
what they're what they weretrying to do, and I think
they've succeeded yeah, it's,it's a whole problem reaction
solution, right so?

Speaker 3 (01:22:26):
yeah it's to create the problem.
There's going to be a reaction.
People like you know I can'tdeal with this.
I can't live.
I can't afford this.
I can't afford that.
I can't afford food.
A home can't afford that, Ican't afford food or home.
Yeah, yeah so on right, and thenthe solution is going to be
well, we have to put thisegalitarian system into place.
Communism, right, marxism, butthey'll refer to it as

(01:22:49):
egalitarian, which it's not.
Whenever you look at anycommunist structure around the
world, it's not egalitarian.
I mean, there's still an elitestructure sitting on top of the
masses, the population.

Speaker 2 (01:23:09):
Yeah.

Speaker 3 (01:23:09):
So the whole thing that this is ultimately going to
be a system where everybody'sgoing to be equal, it's just
total nonsense.
I mean, here's a quote fromgoing back to the Frankfurt
School.
Now the other thing I shouldmention the Frankfurt School.
The Rothschilds are fromFrankfurt, germany, and Germany

(01:23:31):
is a hotbed.
Is a hotbed for, uh, forMarxism and uh, I mean we're not
we'll get into it in this showbecause it's it's a discussion.
But think about the Beatles inHamburg, germany.
Oh yeah.
And and Hamburg.
Hamburg is one of the um mediacapitals of Germany and it's

(01:23:53):
about a five or six hour drivefrom the Frankfurt school.
Wow, and it's about a five orsix hour drive from the
Frankfurt School, Wow, okay, andthe Rothschilds, like I said,
they hail from Frankfurt.
But here's a quote from MaxHorkheimer.
Max was one of the quoteintellectuals from the Frankfurt
School, so I mentioned abouthow Lenin Marxism was really

(01:24:15):
defined by violence andrevolution.
And the Frankfurt School, theirversion of Marxism was hey, we
can't do that, we're not goingto win anything by doing that,
so we've got to do this verysystematically and very
subliminally.
So this is a quote.
The revolution won't happenwith guns.
Rather, it will happenincrementally, year by year,

(01:24:39):
generation by generation.
We will gradually infiltratetheir educational institutions
and their political offices,transforming them slowly into
Marxist entities as we movetowards universal egalitarianism
.
So they use the wordegalitarianism, but the way they
do this is to gaslight thepopulation.

(01:25:01):
They either tell you what youwant to hear and then do the
complete opposite.
We see this all the time withpolitics.
Oh, yeah, all the time withpolitics, or they will look to
challenge your thinking to thepoint where you start to doubt
yourself, you start to questionyourself.

(01:25:22):
And then what happens is thenyou start to self-sabotage.
An example I use with this iswhen they went after the family
nucleus, what the culturalMarxists did.
Their program was to go towomen through the media and to
convince them that why do youwant to be home?
Is that what you really want todo?

(01:25:43):
Do you really want to stay homeand and take care of your kids
and take care of the home?
I mean?
don't you want to do what yourhusband does?
Don't you want to go out towork?
Don't you want to do that?
Now?
A lot of women were perfectlyhappy with staying home, and
yeah taking on a traditionalrole.
But what happened was it wasjust it's repetition.

(01:26:05):
We keep going back torepetition oh, yeah, it was
beating them over the head overand, over and over again in the
media in movies, in TV, inmagazines like Parent Magazine
Sitcoms, sitcoms.

Speaker 2 (01:26:21):
Yeah.

Speaker 3 (01:26:21):
Right.
They just kept hammering awayand hammering away to the point
where women took the bait.
A lot of women took the bait.
Now, to help them take the bait, what they also did was to make
it very difficult to own a homeand have a life on one income.
So I mean, if you can have alife and a decent home on one

(01:26:46):
income, then well, one parentcan stay home.
But if you can't do that andyou need two incomes to be able
to do that, well, there you go.
Now the mom has got to leavethe home and go to work.
I mean, people think that thisis crazy stuff.
They think that, oh, this isjust conspiratorial stuff.
This guy Mike, he's crazy.

Speaker 2 (01:27:08):
But Pete you see it now.

Speaker 3 (01:27:13):
The crazy part is the people that believe that this
is all coincidence.
You see it now.
The crazy part is the peoplethat believe that this is all
coincidence.
I mean, every day you wake upand you can systematically see,
if you wake up, what's going on.
You can see the levers they'repulling down or pulling up, the
buttons that they're pushing,the switches that are going up
and down to be able to maneuverand to manipulate.

Speaker 2 (01:27:36):
Well, I don't know if you follow Candace Owens.
Do you follow her at all?

Speaker 3 (01:27:40):
Occasionally, I'll listen to her.

Speaker 2 (01:27:41):
Yes, Well, she's got this whole thing where she's
discovered that Kamala Harris'sfather was a Marxist.
I think it was her father orher grandfather it was.
Her father was a Marxist.
Kamala opposes this young ladywith this woman.
She claims was her grandmother,but Candace discovered that it

(01:28:02):
wasn't her grandmother, it washelp.
It was a black woman that washelp, or a maid.

Speaker 3 (01:28:07):
She said it was her mother.

Speaker 2 (01:28:09):
Yeah, she said it was her mother or her grandmother.

Speaker 3 (01:28:10):
Yes, and it wasn't her mother in her book.

Speaker 2 (01:28:14):
But anyway, Kamala's a Marxist.
Yes.
And she's oh no, I'm not.
She goes out there and cacklesand laughs and tries to gaslight
us.
But it turns out I'm seeing allof this now.
It's like, okay, they're tryingto get her into office so they
can perpetuate what they've beendoing for years.
I don't know what trump is, um,but it's funny.

(01:28:34):
When you start to see it all,you begin to go well, what do I?
Just go live in the mountainsand build a cabin.
Or you see it everywhere.

Speaker 3 (01:28:46):
Most people don't even know what a Marxist is.
They don't even know what itrepresents.
Peter, that's the problem.
So the term does not have thesame impact as it used to have,
because people don't understandthe history.
They don't understand going backto Karl Marx and understanding
the Bolshevik revolution inRussia, understanding the

(01:29:08):
Frankfurt School and everythingelse in between.
But they have a lot of terms.
So Marxist communist You'llhear some of these politicians.
Hillary Clinton used to saythat she was a progressive.
Well, progressive is anotherterm for Marxist.
Sure, A progressive I mean inthe minds of the average person

(01:29:35):
means they're progressing,they're moving forward, right,
and then they interpret that asmoving forward to a better place
.
No, it doesn't mean that.
It means to progress meansmoving forward.
It doesn't mean you're movingforward to a better place.

Speaker 2 (01:29:52):
It doesn't mean that who knows where you're going to
end up.
They don't tell you whereyou're going to end up.

Speaker 3 (01:29:57):
Obama was the same thing Obama was a.
Marxist progressive.
Yeah, who knows where you'regoing to end up?
They don't tell you whereyou're going to end up, so
that's why they throw theselittle taglines out there, and

(01:30:23):
that's how they pull people in,because they know that it's
leading.
They're going to lead it to theperson to interpret what it
means.
They will never define whathope means.
They will never define whattheir version of change means.
They're going to leave it toyou to interpret.

Speaker 2 (01:30:45):
Yeah, and a lot of their taglines I've seen are in
marxist doctrine, I hope, andchange is one of them, but some
of the things, their mantras,are very marxist.
Uh, I wish I could remember theone that kamala uses, but it's,
it's, it's all a marxist umthat kamala uses, but it's, it's
, it's all a marxist.

Speaker 3 (01:31:02):
Um, yeah, I I, I know what you're saying.
Yep, um, I I forgot what shesays too but.
I know what you're uh referringto.
Yeah, but part of the culturalmarxist uh game plan is to they
create slogans yes, so if, ifyou research cultural marxism
and you research the frankfurtschool, you know, and these
other entities that are involvedin this, slogans are very
important.
Very important Because peoplegrab onto slogans and you know,

(01:31:25):
most people just parrot whateverit is that they hear from the
television set.
So slogans are very importantfor them to be able to push
their agenda forward.

Speaker 2 (01:31:41):
This call center blues Gonna be the end of me.
The guy sitting next to me,he's a real freak.