Pulling Back the Curtain on Pop Culture’s Puppet Strings

Send us a text

Purchase Marks Book. https://a.co/d/6iDkrc9

#MarkDevlin #MusicIndustryExposed #TruthPodcast

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

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

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

Support the show

Skating Bear Studios

Episode Transcript

SPEAKER_00 (00:11):
And on today's show, I'm joined by Mark Devlin, a UK
based DJ music journalist, anauthor who spent years pulling
up the curtain on the darkerside of the music industry.
After a major awakening in 2010,Mark began exposing how pop
culture is used as a tool formass manipulation.

(00:32):
And to that he's the author ofthe musical truth series, and
his latest book I have righthere.
It's a great book.
No one's Dad's a Plumber.
I love this.
I didn't get all the way throughit, Mark.
I apologize, got about 110 pagesinto it.
But No One's Dad's a Plumberdives into the elite connections

(00:53):
behind today's biggest stars.
Get ready.
I'm going in for a deep divewith Mark into fame, control,
and the hidden forces.
Shaping modern music.
I thought we would do now.
I've got your book here, and I Iapologize, I got only into
chapter seven.

SPEAKER_02 (01:11):
I see lots of post-it notes there.

SPEAKER_00 (01:13):
Yeah, yeah, I took lots of notes, and it's a
fascinating book.
It's an awesome book.
And because of Mike Williams, Ifound out about you.
And I think you've been onMike's show, right?

SPEAKER_02 (01:23):
I have, yeah.
And Mike's been on mine a fewtimes.

SPEAKER_00 (01:26):
Yeah, yeah, and yeah.
I uh I've always been kind ofsuspicious of things in
entertainment, even when I was alittle kid.
But uh when did you first haveyour awakening when when you had
suspicions about the new worldof entertainment?
Because I know you're a DJ,you're an author, and so you've
had some inside connections withit just like I have.

SPEAKER_02 (01:50):
Yeah, well, you might say I was a slow learner
because it took me until roundabout 2008 to properly start
paying attention to the realdynamics of what's happening in
this world and who controlsthings.
Up to that point, I was prettymuch distracted by being a
full-time DJ.
So I was a club and radio DJ.
I was fortunate enough to travelaround all over the place doing

(02:12):
gigs, up and down the UK,different countries.
I did a bunch of radio shows, Iwrote for some music magazines,
and I thought that's what lifewas all about at that time.
I thought life was just aboutmusic and clubs and parties, and
I had no idea that there werehidden forces directing and
controlling every aspect of ourdaily human lives.

(02:33):
Didn't know about secret societynetworks, didn't know about mass
mind control, didn't know aboutsocial engineering agendas,
culture creation.
I just assumed everything wasorganic.
And I was very active in the rapand hip-hop field.
And I just assumed that rapperslike Jay-Z and notorious B.I.G.
Biggie Smalls, you know, had gotthere through skill and hard

(02:54):
work.
And I didn't realize at thattime that that's not how it
works.
The only way you get to thosekind of positions is if you're
hand selected for those roles bythose parties that can make this
sort of thing happen.
But I did discover all thiseventually, and it was a bitter
pill to swallow, as it is forall of us, when we come to
realise that the world is notwhat we thought it was.

(03:16):
And it was through reading thebooks of David Icke, mainly, and
I saw the first zeitgeistdocumentary film in 2008, and
that really changed my outlookon things.
And from that point, I justwanted to better comprehend the
true nature of the industry thatI'd been a part of.
And I think I was quitefortunate in that I was never
firmly embedded in the musicindustry.

(03:39):
I see myself as having sort ofskirted around the periphery of
it.
So I was a DJ and I did liaisewith record companies, and I was
on promo mailing lists forrecords.
So the companies would send therecords out to influential DJs,
and they would try and get youto play them on the radio and
play them out in clubs, andthere'd be various incentives

(03:59):
for that.
And also having a radio show, Igot to meet many of the artists
whose music I was playing.
So I got to interview somepretty big names in the sort of
rap and hip-hop and RB field.
But I never really consideredmyself part of the industry
furniture, so I never workeddirectly for a record company,
and I was always self-employedas a DJ and as a writer.

(04:20):
So I think that's enabled me tobe able to speak out about the
stuff that goes on withoutgetting myself into too much hot
water.
Okay.
I think if I'd been an artistsigned to one of these majors,
or if I'd worked for a reallybig radio station like BBC Radio
One, it would be much moredifficult for me to speak out

(04:41):
because they'd be looking outfor me.
I think doing what I do now, I'mconsidered relatively small fry,
and I'm kind of flying under theradar, and I like it that way.
So I definitely know a thing ortwo about what goes on, but I am
much freer to express it thansomebody who might have been a

(05:01):
part of those things, I wouldsay.

SPEAKER_00 (05:04):
Did you ever run into any situations with record
people, record executives whereit made you sit back and go,
Well, that was kind of weird.
Did anything and the way theypresented their artists, the way
they approached you was any ofit a little bit suspicious?

SPEAKER_02 (05:20):
To be honest, not really.
I can't recall any kind ofsituation where I went away
thinking, oh, that was a bitweird.
I mean, I hear these storiesfrom other people.
So since I've started doing thiswork, putting out my books and
doing my podcasts and publictalks, loads of artists and
producers and music makers ofall kinds have reached out to me

(05:41):
and they've given me theirstories, and they've all got
tales to tell similar to that.
So some of them have said therewere, you know, secret rooms,
hidden rooms in the localcompanies where they would go in
for meetings and they'd seerituals going on in these rooms
with hooded figures and such.
And then other people have toldme about how they were offered a

(06:03):
big record deal.
They'd exhibit some talent, andthat had been picked up on by
one of the industry spotters,and they'd been presented with
this really tempting deal, andwealth and fame and prominence
was dangled under their nose,but it was in return for sexual
favours with the guy they werehaving the interview with.

SPEAKER_01 (06:25):
Yeah.

SPEAKER_02 (06:25):
And some of these people have said, well, all of
them, actually, because nobodyadmits to it, all of these
people said, That's not for me,thanks.
That's not how I get down.
And at that point, they'reallowed to leave the room.
And I think the assumption is ifthey try and tell anyone about
it or blow the whistle on whatthey saw, nobody will believe
them.

(06:45):
They'll think they're crazy.
So they're happy to let themwalk through the door.
It's only when you sign on thedotted line, you sign that
contract, or you go through thatdoor, when your soul is no
longer your own.
So, best advice is always nevertake the deal, because once you
do, you're owned, your ass istheirs for the rest of your

(07:07):
days.
But if the deal is not for youor something feels not quite
right, walk through the door,the door and they'll let you.
So these are stories I've heardfrom other people.
Didn't really see any weirdstuff myself at the time, to be
honest.

SPEAKER_00 (07:22):
Before I forget, your website is
DJMarkdevlin.com, and your bookcan be found on Amazon, which I
bought it on Amazon.
Sure.
And and in post, I'll put yourwebsite throughout the whole
thing, throughout the videohere.

unknown (07:35):
Okay.

SPEAKER_00 (07:37):
So when you know, I had a turning point.
I've had little ones throughoutmy life.
My big turning point wasmeeting, quote, meeting Mike
Williams, who opened my eyes upto the Beatles, because I was a
huge Beatles fan.
I was just completely obsessed,even as a grown man.
And I it's kind of embarrassingnow to think about, but I woke

(07:58):
up from it.
Mike woke me up.
And it took a while for me tounderstand it.
So was there something that wasreally disturbing where you
went, This is I can't lookbeyond this anymore.
This it really does, there'ssomething that jumped out at you
that was a major like awakening.

SPEAKER_02 (08:16):
It's really difficult for me to recall what
my mindset was like prior towaking up to use that term, or
just becoming aware of the waythe world really is.
Sure.
My state of consciousness.
I have to really work hard torecall what my consciousness was
like when I was in normie landand I was just swallowing all

(08:38):
the lies and going along to getalong in society.
I mean, it's the best part of 20years now.
But sometimes I can still putmyself back in that state and
remember what life was like.
But I've been doing this for solong now that it just feels
normal to know that the world isrun by satanic psychopaths.
And sometimes you can make theassumption that, well, everyone

(09:00):
knows the world is run bysatanic psychopaths, but they
don't.
And that's the problem.
That's why they keep gettingaway with this stuff.
Because most people would thinkthe sort of things I write about
and the sort of things you talkabout and Mike Williams talks
about are completely crazy andfanciful and can't possibly be
true because they sound toooutrageous.

SPEAKER_00 (09:18):
Oh, yeah.

SPEAKER_02 (09:18):
Yeah.
In which case, you simply needto do the research and look at
the evidence because there's noshortage of evidence if you're
prepared to go there.
You just need a mind and a willthat is capable of uh looking
into these things.
So I forgot what the questionwas.

SPEAKER_00 (09:35):
Oh no, I just there was a major event, that's
something that really made yougobsmack.
You went, well, I I can't seebeyond this.
Because since this has happenedto me, I have a very hard time
listening to music.
I have a hard time watchingmovies.
I'm analyzing the movies, I'mlooking for symbols, hidden
signs.
You know, everything is now it'sjust like when I become a
musician, I'm look- I'm amusician, so I take recordings

(09:58):
apart, I take I do movies, Imake documentaries, so I'm
always analyzing the movies.
How did they suit this?
What lighting do they use?
What microphones?
Where was the boom mic?
So now I'm like, what's what'sthe meaning behind this song?
You know, does was theresomething that really has ruined
your ability to enjoy music too?

SPEAKER_02 (10:14):
Or was there something that yeah, I know
exactly what you mean, becauseit's that way with me.
I can still enjoy movies, but Ido still see all the
programming.
And I realize why certain sceneswere put in, why certain
symbolism appears.
When you do this research, it'sinevitable that you begin to
spot these things.

(10:35):
And it's that way with music aswell.
There was a point where Icompletely fell out of love with
music early on in my researchjourney.
I had a hard time listening tomusic, like you just said, but I
did get back on track and Ireached a point where I
considered that once you becomeaware of what popular music is

(10:57):
really used for, mass mindcontrol and the pushing of
agendas and all this sort ofthing.
You get all that stuff into theconscious mind out of the
subconscious, and that's whereall the magic happens in the
confines of the subliminal mind.
That's why they use all thissymbolism, that's why they use
certain sound frequencies andproduction methods and back mass

(11:20):
messages, because it speaks tothe subliminal mind.
And that can affect people'sthoughts and perceptions and
behaviors, even the way theyspeak, the way they dress, the
way they interact with others.
All of that can be going onwithout their conscious
knowledge if the conscious mindis not engaged.
But the minute you do engage theconscious mind and you recognize

(11:44):
what's happening, you break thatmagician's spell, so to speak.
So the magic with a K that waspreviously being perpetrated on
you no longer works.
And that's the point where ifyou choose, you can continue to
enjoy music, even verycontrolled bands.
So we mentioned the Beatles, andmy research very early on led me

(12:07):
to the Beatles.
I was a fan of their music,always enjoyed their stuff.
And I remember hearing about thePaul McCartney conspiracy
theory, the Paul is dead thing,way back in the 80s when I was
at school.
There were some kids at schooltalking about it.
Somebody brought the Abbey Roadsleeve into school, and they
were like, oh, because Paul'swalking barefoot across this
zebra crossing, it means he'sdead.

(12:28):
And at the time I had no ideawhat that meant, didn't
understand symbolism.
And I was like, that's justcrazy, that's ridiculous.
And I kind of parked it in theback of my mind for a couple of
decades.
And then it came back to bite meon the ass.
When I started doing thisresearch, the Paul is dead
conspiracy, the idea thatMcCartney may have died in 1966,
9-11 of 66, and was replaced byan imposter named William

(12:50):
Shepherd, known as Billy Shears,who's been playing the public
role of Paul McCartney to thisday, came back across my radar.
And in my first musical truthbook, I've got a 15,000-word
chapter just on the Paul is Deadconspiracy and two extra
chapters on the Beatles.
So that was the dominant subjectarea for me at that time.
And it just swallowed up hoursand hours of my time.

(13:13):
Not as many hours as MikeWilliams, but a fair few.
And that one was very difficultfor me to deal with because it
just threw a spanner in theworks of everything I thought I
knew about the Beatles and aboutPaul McCartney and the industry.
And then further down the line,my research led me into some
very dark subject areas.
Because if you're gonna takethis thing all the way and go

(13:36):
wherever it leads you,inevitably you're gonna end up
in some of these places.
Oh, yeah.
You can't adequately researchthe true nature of the
controlled corporate musicindustry and what it's used for
and what its real motives arewithout going into the subject
area of trauma-based mindcontrol and satanic ritual

(13:57):
abuse.
And people hearing for the firsttime that music, entertainment,
a popular culture is linked tosatanic ritual abuse and
Satanism, would be very muchinclined to scoff at it and say,
that's ridiculous, you're crazy.
But unfortunately, anyone doingthe research, if they go far

(14:19):
enough, is going to encounterthese subject areas.
Because these things are endemicthroughout entertainment and
popular culture.
Not just the music industry, butHollywood films, TV, any
expression of popular culture,you will find these factors.
Yeah, that was a pretty dark onefor me to come across.

(14:41):
And it gets even darker thanthat if you're prepared to go
there, when you get into thingslike I don't know how censored
we are, but a certain wordbeginning with A, this you know,
compound which occurs within theadrenal glands, and which when
consumed apparently bringslongevity and youthful vitality.

(15:02):
That's a pretty dark one whenyou get into that stuff.
So you have to be a bit carefulthat you don't fall too far down
too many dark and devastatingrabbit holes when you get into
all this stuff.
There definitely needs to be abit of safeguarding and
firewalling in place.
But I've been researching thisstuff now for the best part of

(15:22):
20 years, and like I saidearlier, it's difficult for me
to recall how I used to see theworld anymore.
Yeah.
Because I'm so far entrenchedinto this way of seeing the
world, which as far as I'mconcerned is the accurate way.

SPEAKER_00 (15:36):
Have you in England are they covering the Charlie
Kirk story uh here in the US,the murder of Charlie Kirk?
Or the alleged murder?

SPEAKER_02 (15:45):
Yeah, not as much as in America, but it's been all
over the media here.
It's been all over thealternative media as well, like
the truther sort of outlets.

SPEAKER_00 (15:55):
I've been really disturbed by it because I see
all the symbolism in it.
It's it's covered here like he'sa messiah.
It's it's crazy, it's absolutelyinsane here.
And I just kind of I went numbwhen I saw it.
I saw immediately how I wasn'tcaught up by the the graphicness
of the murder.
I was like, Well, this is allstaged.
But right, and it's it's I can'twatch anything anymore because

(16:18):
now I'm I'm awake to all ofthis.

SPEAKER_02 (16:20):
And I'm guessing that I I think it was staged.
I mean, people would disagreewith me, but whenever you hear
one individual's name all overthe media, all over the world,
all at the same time, and nobodyelse and nothing else is getting
talked about, that's a psyop.
Oh, yeah.
That's the way they do it.

SPEAKER_01 (16:38):
Oh yeah.

SPEAKER_02 (16:39):
And interestingly, here in the UK, I've been doing
a little uh sort of socialexperiment of my own, and I've
been asking friends andassociates if they had ever
heard of Charlie Kirk prior tothe news of his murder.
And most people had never heardof the guy.
I mean, I know we're in Britainand he's probably been paraded

(17:00):
more in the media in America,but these people are truth
researchers, they're authors andthey're public speakers like me,
so they've got their finger onthe pulse of things and they're
paying attention to what goes onin the world, and most of these
people that I've asked had neverheard of him.
Imagine being famous for beingdead.
I mean, you get this in thehip-hop world.
I remember the murder of TupacShakur back in 1996, and yeah,

(17:25):
if you were into rap and hip-hopat that time, you knew who Tupac
was, and he'd had a few hits andhe was this notorious figure in
the scene.
But so many people only latchedonto his music as a result of
him having been allegedlyassassinated, because I can't
even be sure of that one.
But it's amazing.
There have been other rappers aswell who only became famous

(17:47):
after they got shot.

SPEAKER_01 (17:48):
Oh, yeah.

SPEAKER_02 (17:49):
So when that happens, in my book, I've I've
seen too much, I've seen toomany of these things.
I know how cultural creationworks, social engineering, mind
control, organizations like theTavistock Institute, the way
behavioral scientists work toshape and mold and manipulate
public thoughts and perceptions.
And this event, unfortunately,bears all the hallmarks of that.

(18:10):
I mean, if this guy had beengenuine, he would have been kept
out of the media.
They wouldn't want peopleknowing about him.
Exactly.
It would have been covered up.
Instead, we've had the opposite.
So they want people to beoutraged, they want them to be
shocked, they want them to besaddened.
They're deliberately cultivatingthose kinds of reactions.

SPEAKER_00 (18:31):
So when when you came up with the idea for No
One's Dad's a Plumber, I knowthis is the fourth book in this
series, the Musical Truthseries.
What inspired this this book?
What did you say to yourself,I've I've got to write about
this?
No one's No one's Dad's aPlumber.

SPEAKER_02 (18:47):
Right.
I was very much inspired by thework of David McGowan, who wrote
the book We had Seen's Insidethe Canyon.

SPEAKER_01 (18:54):
Yeah.

SPEAKER_02 (18:55):
As far as I'm concerned, this is a hugely
influential book, and it's veryimportant that people grasp.

SPEAKER_00 (19:04):
There you go.

SPEAKER_02 (19:04):
Yep, there you go.
Well thumbed through by thelooks of it.

SPEAKER_01 (19:07):
Yeah.

SPEAKER_02 (19:08):
Very important that people grasp the message that
McGowan was putting across inthat book.
So, in a nutshell, he was fromLA and he was a construction
guy, had his own buildingcompany, but he was also a big
fan of 60s music, late 60s, midto late 60s, folk rock, country
rock, uh psychedelic stuff, allthe music that was popular in

(19:31):
those times.
And the story is that Dave wentaway on vacation one time and he
had a book about Laurel Canyonby another author, and he was
reading it on holiday.
And in the book, the author mademention of a covert military
research facility known asLookout Mountain, which was

(19:51):
located in the midst of LaurelCanyon.
And Dave was aware that so manyof the bands that were
influential in the mid to late1960s, that counterculture era,
they shaped and molded themusical landscape of those
times, emanated from LaurelCanyon or were drawn magnet-like
for some reason to thatneighborhood.

(20:12):
And he thought, well, this iscurious, I need to dig into this
a bit when I get back offholiday.
So he did that and he startedlooking into the backgrounds,
the family backgrounds of theseprominent musicians.
And what he found, as detailedin that book, was that without
exception, I used to say almostwithout exception, but there are
no exceptions, the fathers ofthese prominent music makers who

(20:36):
changed the culture of thosetimes had direct connections
into the military or expressionsof military intelligence or
government departments.
And he thought to himself, well,this is a strange thing because
prior to doing this research, Iwould have expected that the
fathers of band members wouldhave had regular working class

(20:58):
jobs, like a builder or aplumber.
But you don't you don't findthat.
And these military roles weren'tkind of low-ranking foot soldier
rank and file staff.
These were senior generals,admirals, lieutenant colonels,
very high ranking in themilitary.

(21:19):
And Dave unfortunately passedaway the year after putting out
that book.
So the book was based on aseries of web articles that he'd
collated.
And he brought the book out in2014.
I interviewed him for my GoodVibrations podcast in 2014.

SPEAKER_00 (21:36):
Oh, good.
I because I I didn't discoverhim until after you had passed
away and I didn't know he wasgonna he had gone.
I wanted you to bring him to thebook.

SPEAKER_02 (21:43):
I've got a show that I did with him from 2014.
And then he died in 2015 on the22nd of November, the
anniversary of the Kennedyassassination.
Yeah.
22 plus 11 is 33.
33 is a major calling card ofFreemasons and other occult
secret societies.

SPEAKER_00 (22:00):
You think they had him killed?

SPEAKER_02 (22:03):
Uh I have to reserve my suspicions.

SPEAKER_00 (22:07):
Okay.

SPEAKER_02 (22:08):
Yeah, yeah.
I think his family made thestatement that he had cancer,
and you know, there's nothingsuspicious in it.
But again, I've seen a thing ortwo, and of all dates to have
passed away on, it's a 33 date,which is occult signalling.

SPEAKER_01 (22:25):
Yeah.

SPEAKER_02 (22:25):
So he passed away of a fast-acting form of turbo
cancer, reportedly.
So that was him removed at theend of 2015.
And I was very influenced by hisbook, and it caused me to want
to do a bit of digging into someother genres.
So I took it beyond just the 60scounterculture and started

(22:47):
looking into punk, new wave,heavy metal, the new romantic
scene, synth pop, dance music,hip-hop.
And what I found was that samedynamic gets repeated in so many
of these other genres.
I'm not saying that literallyeveryone's dad is from the
military, because you can findsome working class jobs.

(23:09):
But there's such a highincidence of family connections,
not necessarily just thefathers, it could be
grandfathers, uncles, ancestorswho have these connections into
expressions of the establishmentthat it's definitely a trend.
And that's what colored thetitle of this book, No One's
Dad's a Plumber.
I wanted it to be a bit wittyand uh a bit memorable and a bit

(23:31):
of a conversation starter.
So I'm not saying literally noone's dad's a plumber, but I
think the title makes the pointthat you don't find as many
plumbers, builders, lorrydrivers as you might have
expected to.
But if you're looking to findgovernors and lord mayors and
politicians, yeah, you'll find awhole load of those.

SPEAKER_00 (23:48):
What are some examples of of artists, famous
artists you found who haveconnections to the military or
military intelligence?

SPEAKER_02 (23:57):
One story that I love is that of the Copeland
family.
So Stuart Copeland was thedrummer with the group The
Police, and he had two brothers,Ian Copeland and Miles Copeland
Jr.
And they were all the sons ofMiles Axe Copeland, who was a
CIA career spy, and he waslegendary within intelligence

(24:21):
circles.
All three of his sons were bornin Beirut, which is a major CIA
stronghold, and they were allput to use in the music
industry.
So between them, they ran recordlabels, they ran an artist
booking company, artistmanagement company, they had a
show on MTV where they wouldonly showcase acts signed to

(24:43):
their own roster, and they hadtheir own house band called The
Police.
And they were called the Police,with Stuart Copeland put in as
the drummer, because their jobwas to police all the other
artists that came through thatgenre.
So in Musical Truth Volume 2,I've got a whole chapter on the
punk and new wave scene in bothBritain and America, and it

(25:05):
becomes clear that the Copelandswere gatekeepers for that scene.
So that whole genre was highlycontrolled, and the powers that
be wanted that music out thereat that time because it
fulfilled agendas that suitedthem at that time.
This is why they keep rebootingthe music scene every few years.

(25:25):
They come out with these newstyles and these new scenes and
these new fads and trends andmovements because it suits them
to have this stuff being put outthere at that time.
And then after a few years,every fad or trend kind of
fizzes out and dissipates andbecomes replaced by something
else.
But with 70s and early 80s punkand new wave, it was very much

(25:47):
the domain of the Copelands.
So they were basically a CIAfamily, and the police were a
CIA band, and they had such aninfluence over that whole scene.
And there are many otherexamples.
I've got um Peter Gabriel'sancestry from Genesis, and uh
one of his ancestors, I think itwas his grandfather, was the one

(26:09):
time Lord Mayor of London, andChris Martin from Coldplay, his
uncle, I think it was, or mayhave been his grandfather, was
once the Lord Mayor of Exeter inDevon.
So this is the sort of thing youjust keep finding time and time
again.
Chris Deberg, the Lady in Redsinger, he's got links into
royalty and good friend of mine,Dom Waterson, who does a podcast

(26:33):
called Sheep Farm Studios withhis brother Chris.
They do a weekly show.
I'm doing an event with them inLondon this weekend.
Dom really digs into ancestry ofthese famous people, and he
finds that so often they aredescended from nobility,
royalty, English kings.
He's done John Lennon'sancestry, and he's found out

(26:54):
that Lennon was descended fromWelsh kings.
Oh, I didn't know that.
Yep, he's dug into the ancestryof Beyoncé, and Beyoncé is in
the distant past descended fromEnglish royalty.
And it's the same with so manyof these artists.
I mean, Dom's got many moreexamples than I have, and uh he
shows the family tree, shows allthe genealogy, and you can see

(27:17):
that the reason so many of thesepeople become famous is not down
to whatever skill and talentthey may have, or having crossed
their fingers for good luck anddone a bit of hobnobbing and
networking along the way, butit's down entirely to their
ancestry, genealogy, DNA, genes,the families that they come
from.

(27:37):
So new generations of the samefamily bloodlines that are
deemed important are put intoinfluential, prominent roles
throughout history.
And it doesn't have to be justin music.
So you find many examples offamous musicians whose relatives
or ancestors were very prominentin politics or in uh big

(28:00):
business or science or medicineor some other expression of
organized society.
So it seems these people arehandpicked for these roles, and
they might take someone from aparticular family bloodline and
say, We're gonna make you aprominent politician, and then
somebody else from that samebloodline will be told, we're
gonna make you a really famouspop star.

(28:22):
And so these careers arefacilitated for them.
And people have a really hardtime with that, particularly
when you touch on their favoriteband.
I get this all the time.
People say to me, Yeah, I cansee what you're saying, Mark,
and you know, it makes sensethat this dynamic is in place,
but it doesn't apply to myfavorite band.
No, no, no, they got there undertheir own steam, or my favorite
singer, no, he stayed outside ofall of that.

(28:44):
Unfortunately, a general rule ofthumb is that if someone is
famous and they're a householdname and you've heard of them,
if you went out there in thestreet and stopped 10 people and
said, Have you heard of thisperson?
And you get a 10 out of 10, thenthey've been placed there.
Because we have a control systemwhich is psychopathic and it's

(29:08):
satanic, and also it's veryclever, it's very smart, they've
got their act together, they'vegot their game on lock, they're
very efficient, they've gotevery aspect of our lives
completely under domination.
The idea that they could havedone all that, but when it comes
to music, this group here orthis singer here just sort of

(29:31):
slipped through the net, youknow, and found his own way in
and nobody noticed, and he wenton to fill fill out stadiums and
sell millions of albums, andnobody noticed that he'd gone
his own way and didn't gothrough official routes, is
ridiculous.
And again, I know people getupset when you mention certain
names because they may haveenjoyed their music, but it is

(29:51):
what it is.
The evidence speaks for itself,and I think it's actually quite
naive for somebody to say, Yes,I see it in 99% of cases, but
not with.
My favorite artist.
That's a personal attachment toan artist that you've decided
you like or a group you'vedecided you like.
And it's just too much for youto bear to hear that they might
not be who you thought theywere.

(30:13):
We've all had to go through it.
I mean, with me, it was otherDJs.
So early days in my career, Iused to look up to certain other
DJs, radio DJs, club DJs.
I now realize these people arenot who I thought they were, and
they didn't get there undertheir own steam, just through
good luck and hard work.
They were placed there, or theywere given a helping hand up the

(30:36):
ladder, uh, let's say, early on.
And I've had to let go of myattachment to these people.
And it's been hard.
It's been painful because theyused to be so inspirational for
me.
But we all have to go through itif we're going to go all the
way, if we really want the truthof the matter.

SPEAKER_00 (30:56):
Well, I've known men and women my whole life that are
musicians, some extremelytalented, far, far more talented
than me, got close to becomingfamous.
But for some reason, they gotoverlooked by the record
company.
I had two friends.
And I always thought that's kindof weird.
How did this guy get overlooked?
But somebody else who isn't asgood looking or isn't as

(31:19):
talented or doesn't have as muchcharisma somehow is now a
household name.
And I think that that explainsit.
And when you think about afterthe Beatles, I did an analysis
of guitar sales prior to theBritish invasion, then guitar
sales after.
And it increased exponentiallydrums, bass, guitars, keyboards,
everybody thought they're goingto be a rock star.

(31:39):
So think of all the millions ofpeople in around the world that
thought that, well, if theBeatles could do it or Jones
could do it, I can do it.
But it we've all been foolingourselves for 60 years now,
thinking we're going to becomethe next whatever it happens to
be, author, musician, actor,ever.
Do you agree with that?

SPEAKER_02 (32:00):
If people think that famous individuals get their
roles through pure talent alone,and that's all it comes down to,
please explain to me how Madonnahas been a film actress.
Madonna is the worst actress inthe world.

(32:21):
She can't act.
But it hasn't stopped hergetting film roles.
Why?
Because she's someone that thesystem has wanted to promote.
In my view, she's a slightlybetter singer than she is an
actress, but she's still not thebest singer in the world.
We all know better singers thanMadonna.
We probably personally knowfriends that can sing better
than Madonna.
But the point is she's from oneof these important bloodline

(32:44):
families, and you're not.
And that's she's there andyou're here.

SPEAKER_00 (32:47):
What are her connections?
What's her bloodline?
Do you know off the top of yourhead?

SPEAKER_02 (32:51):
Oh, well, hers doesn't disappoint at all.
So all the links come from herFrench-Canadian mother, whose
name was Madonna Louise Fortam,so she took her first two names.
And her father was named TonyShacconi, so she became Madonna
Louise Shicconi.
And Tony worked for Chrysler inthe military tank division.

(33:12):
That was his job.
And it's through the mother thatall the interesting links come
from.
So I've got a family tree ofMadonnas, which I've shown in
many of my public talks.
One way or another, she'srelated by blood as a cousin in
most cases to George W.
Bush.
Oh Lord.
Right.
Barack Obama.

(33:33):
So Obama and Bush are cousins.
Bush's own presidential opponentin the 2004 election, John
Kerry, they're cousins.
So what a great choice that wasfor Americans.
Hey folks, it's election time.
Who do you choose?
This cousin, who was a member ofthe Skull and Bones Elite Secret

(33:54):
Society at Yale, or this cousinwho was a member of the Skull
and Bones Secret Society atYale.
Ain't democracy just great.
We choose our leaders.
So they're all cousins.
George W.
Bush is a cousin of Dick Cheney,his own vice president.
And then Madonna is in the mixbecause she's a cousin of all of
them.
She's also related to Tom Hanksand Brad Pitt, so that's why

(34:18):
they're famous actors.
Also in the mix is Celine Dion,she's a cousin of Madonna.
Lady Gargar is a cousin ofMadonna.
Ellen DeGenerate, the chat showhost, is a cousin of Madonna.
Or roads go through Madonna.
Right?
Justin Bieber is a cousin ofMadonna.
Justin Trudeau is a cousin ofMadonna.

(34:40):
So her bloodline is prettyprominent, and it all comes
through the mother.
You often find that the mothersare used as effectively brooding
mares to keep the bloodlinegoing.
So you find some reallyinteresting stuff.
So Yoko Ono's mother, forexample, was related to the
one-time emperor of Japan.

SPEAKER_00 (34:59):
Yes, I read that in your book.

SPEAKER_02 (35:01):
Right, yeah.
So Yoko is descended fromJapanese royalty.
And we find this so often withthe mother's bloodline.
Marianne Faithful, who passedaway earlier this year, was very
prominent in the 60s as a singerand actress.
She was an associate of theRolling Stones.
And her mother is descended fromthe Saka Masok family bloodline,

(35:23):
coming out of theAustro-Hungarian Empire.
So you have the hotel Saka inVienna, Austria, which was
featured in the movie The ThirdMan.
And then on the Masoc side ofthings, you have one of her
ancestors who wrote the novelVenus Infurs.
And it's from that that we getthe term Masochism.

SPEAKER_00 (35:42):
I was just going to say it sounds like it comes from
that, yeah.

SPEAKER_02 (35:45):
Right.
For a certain, you know, sexualpreference.
So that's Marianne Faithful.
And again, it's coming throughher mother.
Meanwhile, her father, MajorGlynn Faithful, was a big Royal
Air Force officer.
So military links from thefather, long-running
generational family bloodlinelinks from the mother.
We find this so often.

(36:07):
And so that's why Madonna'sfamous.
That's why she's been promoted.
There are way better actressesout there, way better singers,
and we all know of them.
You know, there are way betterDJs out there than the ones that
get promoted, the ones that Isee at festivals and in big
clubs and on the radio.
I personally know other DJs whoare way better than these

(36:28):
people.
But these ones have beenselected and these ones haven't.
It's nothing to do with talent,it's nothing to do with luck.
It's often to do withbloodlines, not always.
I mean, there are other waysinto the industry.
You can demonstrate just howmuch you want the fame and the
prominence and the wealth.
And if you're prepared todegrade your morals to a certain

(36:51):
degree, you're in.
That's where these parties comein.
That's where these secret roomsand the record companies come
in, where the rituals takeplace.
That's where people like P.
Diddy come in with all thesecrazy parties that we're hearing
about in his mansions, thesefreak-offs.

SPEAKER_01 (37:06):
Yeah.

SPEAKER_02 (37:06):
The idea of those events is just like Jeffrey
Epstein stuff, Epstein Island,L'Alita Express, is to get
famous, powerful, influential,famous people along to these
events, film them in lewd actswith who knows who doing who
knows what, and then using thatfootage as blackmail leverage to

(37:29):
make sure that they do what youwant them to do and say what you
want them to say.
That's the purpose that theseevents serve.
And many people who've becomerich and famous and powerful
would have been through an eventlike that.
And so their career isfacilitated for them.
It happens a lot in politics,particularly British politics.

(37:49):
So much sleaze in that walk oflife.
And that's the way so many ofthese people get their jobs.
You know, they're totally ineptin office and they're complete
psychopaths, but that's kind ofthe point.
That's why they're in thosejobs, because they've been hand
selected for them, and somewhereon a dusty shelf will be a tape

(38:12):
with their name on it, which isbeing kept just in case it might
one day be needed.

SPEAKER_00 (38:21):
I see this a lot over over here.
There's a quarterback that playsin the NFL for Cincinnati, and I
saw a video of him in like a apageant, a fashion show.
This is a grown man wearing likea backless tuxedo.
It almost looked like a dress.
And it it obvious it was obviousto me it was a humiliation

(38:44):
ritual for this guy.
I don't know why he's really bigname here in the States.
But you see this, thesehumiliation rituals go on uh as
part of all of it.
And I saw this and went, whoa,that's a humiliation ritual, and
everyone else thought it wasfunny, you know, he was just
pulling off a gag.
But no, why would a grown man Imean I understand there's men
that you know cross-dress andstuff, but this wasn't

(39:05):
cross-dressing, this was apublished event for a grown man
dressed in a backless tuxedowhere he was kind of strutting
down a runway.
And do you see a lot of that insee the humiliation rituals that
these organizations promote ineveryday life or in the media?

SPEAKER_02 (39:25):
Yeah, humiliation rituals are a big part of
things.
So people might recall that thecomedian Dave Chappelle had
something to say about this afew years ago.
And he made the observation thatwhen you think of all the major
successful black Hollywoodactors like Eddie Murphy, Wesley

(39:46):
Snipes, Martin Lawrence, WillSmith, uh probably Denzel
Washington at some point,they've all been required to
dress up in drag, dress up aswomen, put a dress on at some
point in their career.
And it's a it's a demasculationexercise, and it's also
humiliation.
So it's not trying to just mockthem, basically.

(40:09):
And we get this with singers andmusicians as well.
So many male musicians have beenphotographed wearing women's
clothes and turning up to awardceremonies in dresses and things
like this.
That's humiliation.
Happens with politicians.
There's a story involving TonyBlair going way back when he was

(40:29):
apparently caught in a publictoilet in an indecent act.
The case went to court, and thisis before he became leader of
the Labour Party here in Britainin 1997.
Case went to court, but he wasallowed to appear in court under
his middle names of CharlesLinton.
So they kept the name Tony Blairoff the public record and out of

(40:53):
the media.
An individual named CharlesLinton appeared in court accused
of this lewd act.
Wow.
What's that all about?
That has something to say aboutTony Blair's upbringing.
This is another thing that SheepFarm have dug into, some of the
public school situations thatmany of these famous people,
particularly politicians, findthemselves in.

(41:14):
So you have the public schoolnetwork.
Here in the UK, we use the termpublic school to mean the
opposite, basically.
So it's not a school that's opento anyone.
It basically means privateschool.
This is one that you pay for,it's very expensive, and it
keeps the riff-raff out.
It makes sure that just theelites get in there.
And these places are breedinggrounds for future psychopaths.

(41:38):
This is where all thepoliticians come from and the
business leaders and such.
And there are absolute horrorstories about the sort of stuff
that goes on in these places.
You know, straight abuse,straight trauma at the hands of
prefects, senior students, butalso at the hands of tutors and
headmasters.
You know, there's canings andwhippings and stuff like that,

(42:00):
but there's also sexual abusethat goes on.
And so these people get turnedout of these public schools, and
then they go on to somewherelike Oxford and Cambridge
University, which is where, youknow, the so-called elites get
their education here in England.
And there'll be more of the samegoing on there.
And by the time they enter theworld of work in whatever

(42:21):
profession they've been slottedinto, they've already undergone
pain and trauma and you know uhthis abuse, and they carry that
with them.
So that's the way they producenew generations of these people
that they want to put into theseinfluential roles.

SPEAKER_00 (42:40):
How do you how do you see in the current media
situation with digitalstreaming?
How how is the same manipulationhow is the the how are the elite
using the current way of uhstreaming and the internet, how
are they using that to controlpeople, manipulate their minds?
I think you covered that alittle bit.

SPEAKER_02 (43:01):
Yeah, I mean they update and reboot their methods
every so often, and clearlythere's a lot more that can be
achieved through digitalelectronic ways of doing things,
particularly since the advent ofthe internet than would have
gone on previously.
So I've carried the story in myfirst book of a practice which
apparently used to take placeroutinely within American record

(43:25):
labels, and probably the same inBritain as well and around the
world.
And this is based on thetestimonies of a guy who was
known as John Todd, and his realname appears to have been Lance
Collins.
So he's from one of theseimportant bloodline families.
The Collins family is one ofthese names that keeps coming
up, so-called Illuminati family.
And sure enough, he was given arole in the American record

(43:48):
industry, and he worked forvarious record labels and
promotions companies, but hedecided to break free of all of
that, and he became a born-againChristian.
And in the 1970s, he recorded aseries of testimonials talking
about some of the stuff thathe'd experienced in the
industry, and using a meetingwith David Crosby, of Crosby

(44:14):
Still Snatching Young and theBirds, as an anecdote to make
the point.
He spoke about this regularpractice that he used to see all
the time, where the masterrecording, the master tape of a
new album that the record labelswanted to put out into the
public in the form of a vinylalbum back in those days,
Analogue Technology, would getbrought into this special room

(44:35):
and they would bring in a covenof witches to perform a
ceremony, a ritual, and place adark curse on that master tape
recording.
The idea being that every copythat is then made of that master
tape in the form of an album isgoing to go into people's homes
and it's going to carry some ofthat energy with it because

(44:58):
energy, frequency, and vibrationis everywhere and makes up
everything.
So that's what was getting donein the 1970s, according to this
guy whose evidence we have to goon, and that was in the analogue
era.
So now we're in the digital erawhere music is delivered in
entirely different ways.
Nobody's buying slabs of plasticnow in cardboard sleeves with

(45:23):
artwork on.
Most young people are listeningto music in the form of an MP3
on their phone.
So gone is all the lavishartwork and all the wonderful
stuff that used to go into that,and you just get a bloody icon
on your screen, and that's it.
And most young people arelistening to it through these
shitty little tinny speakers ontheir phone, and they think

(45:44):
that's the way music is supposedto sound.
So, first of all, it's a digitalcopy of the original performance
of that music.
It's not even the originalrecording, it's an approximation
of it, a digital interpretationof what was once there.
So it's not even authentic inthe first place.
And then, secondly, because it'selectronic and digital, there

(46:05):
are all kinds of things whichcould have been stripped into
that recording on an unseenlevel without the conscious
awareness of the listener.
Because you can take stuff outin the MP3 encoding process, you
start out with a full frequencyrange file, like a WAV or an AF
file, and the software systemthat you use to create the MP3

(46:28):
strips away a lot of the data inthat recording, with the aim of
reducing the file size so it canbe delivered more efficiently
and held on a phone and such.
So by the time you end up withthe MP3, a whole load of stuff
that was there in the originalrecording is gone.
But unless you're a reallyskilled audiophile, you're not

(46:50):
going to notice.
You're not going to realize thata certain baseline is gone or a
certain frequency is no longerthere because it's indiscernible
to most people's hearing.
So that's what you can do thatway around.
Strip stuff out and no onenotices.
So you must be able to do it theother way around then.
Put stuff in without anyonenoticing.

(47:10):
And it pays to keep in mind thetrue motives of those that
control these industries.
Are they really nice people thatjust want to help us all?
They're big-hearted, they'rethey're kind, they've got
compassion and empathy.
Or are they completepsychopaths, abominations of
humanity, monsters who want tosubjugate, control, and enslave

(47:33):
humanity and control our minds?
Yes, I think that's probably it.
So isn't that exactly the sortof thing that these types of
people would do if they could?
Well, the technology is there toenable them to do it.
So I think it's a fairly safeassumption that they're already
doing it.
And they've been doing it for avery long time since the advent

(47:55):
of the digital era and musicbeing delivered in digital
formats.
So I think there's some reallyharmful, sinister stuff that's
going into music that's put outthere now.
It's aimed at the youthfulgeneration of these times
because all the socialengineering projects are aimed
at the young people.
They don't bother with people ofour sort of age group because
we're insignificant to them asfar as they're concerned.

(48:18):
They're just waiting for us todie off.
They just want young people,young hearts, minds, souls.
They're easily manipulated,they're malleable, they're quite
naive in most cases, and that'swhy we all have a number done on
us when we're young.
I certainly did.
I was fooled, I was mugged off,I was duped.
I know better now, but I didn'tknow better at the time.
It's young people they're after,and the the methods, the ways in

(48:41):
which music is delivered tothese young people, the
platforms that are used,streaming being a good example,
is how the job gets done inthese times.

SPEAKER_00 (48:49):
You had mentioned them putting information into
this digital MP3s.
I've always wondered, and Idon't know if you know about
this, if there's hiddenfrequencies that are like dog
whistles to the human ear inmind.
It puts a human in a trancebecause when and I can only
refer to the Beatles.
I look at the Beatle Mania, thehysteria of those girls when the

(49:12):
Beatles were touring.
Like, what's causing this?
And what is causing this?
This music, some of their musicwasn't that good.
When you step away from it, yougo, that's not very not really a
great song.
So do you think there'ssomething that they're mixing
into everything that like afrequency that puts the brain in
trance or anything like that?

SPEAKER_02 (49:30):
It definitely would not surprise me to discover
that's the case.
The Beatles definitely tried topush the envelope in terms of
sonic manipulation, or certainlyin the second part of their
career, because I see them as agroup of two halves, two very
distinct halves.
And Mike Williams has made thisobservation as well.
So when they first started out,they were very clean-cut and

(49:52):
they were very likable, friendlychappies, you know, making these
nice boy meets girl love songs,dressing in suits.
But by the time you get to 1966,everything's starting to change.
You got the song Tomorrow NeverKnows, which is based on Timothy
Leary's interpretation of theTibetan Book of the Dead.
So it's Eastern mysticismstarting to creep in, and it's

(50:14):
very trippy, very psychedelic,and it's paving the way for what
was coming the next year, theSummer of Love, 1967,
psychedelic counterculture.
It was known to be comingbecause it was social engineers
who created that scene.
And the social engineers wereworking in cahoots with all the
Hollywood film studios of thetime, which is why all the

(50:36):
movies started to change, andall the major record labels,
which is why the music startedto change.
And so many bands adopted thatpsychedelic style.
It wasn't just the Beatles, youknow, the Rolling Stones went
down that route with theiralbum, Their Satanic Majesty's
Request.
And then you had new bandscoming on the scene here in
Britain, like the Pink Floyd,the forerunners to the Pink

(50:56):
Floyd, most people know DarkSide of the Moon and such.
When Pink Floyd first startedout with their front man Sid
Barrett, they were putting outvery trippy, kind of LSD-laden
psychedelic stuff.
And that's the way the whole ofculture went in 1967.
And the Beatles were veryprominent in leading that
charge.
And then after 1966, I mean,this is one for all these people

(51:21):
that scoff at the idea that PaulMcCartney was replaced in 1966.
They say, oh, that's ridiculous.
Well, why is it then that theBeatles stopped touring at the
end of August 1966 with theirconcert in Candlestick Park, San
Francisco?
They only did one more gig afterthat, which was on the rooftop
at Abbey Road in January 1969.

(51:42):
They completely stopped touring.
They toured non-stop from 1963to 66, then just stopped.
And then they became a studioband.
And they were all about pushingthe boundaries in terms of what
could be achieved throughSonics.
And a lot of this was done atthe hands of Sir George Martin,
the so-called Fifth Beatle,their famous producer.

(52:05):
And prior to becoming thein-house producer for EMI
Studios, George Martin hadworked at the BBC, there's a red
flag, radiophonic workshop.
And this was a place which wasconcerned with testing out what
could be achieved through themanipulation of sound.
They were responsible for thevery distinctive theme tune to

(52:28):
the TV show Doctor Who, whichfirst came along in 1963, with
the use of an oscillator and allthese strange, eerie kind of
sounds.
So George Martin was working atthe BBC Radiophonic Workshop at
that time, and he put out arecord actually under the
pseudonym of Ray Cathode.

(52:49):
Quite Beatles-y as it goes.
And so George Martin waslearning his craft at the BBC
Radiophonic Workshop.
So the BBC is linked to Britishmilitary intelligence, MI5, MI6.
They're in bed with theTabistock Institute, which is
one of the major socialengineering think tanks in
London with their PSYOPsexported all around the world,

(53:11):
coming soon to a city near you.
And so don't trust anything oranyone that comes out of the
BBC.
Well, George Martin did.
And then he became the producerfor the Beatles.
And reportedly they were puttingall kinds of subliminals into
their recordings.
They were quite open about someof them.
They spoke about it ininterviews.

(53:32):
John Lennon once commented, ohyeah, sure, you know, we were
putting subliminal messages inour songs all the time.
And as backmass messages, manyof them are said to pertain to
the replacement of McCartney.
These little clues that wereplaced in the form of backwards
messages, which cannot bediscerned by the conscious mind,
but the subconscious mind has noproblem absorbing it and making

(53:54):
sense of it.
Because messages do not need tobe delivered in a left to right,
front to back linear fashion inorder to make sense to the
subliminal mind.
It just soaks up everything likea sponge.
And unless what it's absorbed isbrought through to the conscious
mind, it can manifest itself inall kinds of ways.

(54:15):
It's where dreams come from,what we've absorbed through our
subliminal, subconscious minds,and it can often drive our
behaviors and our thoughtpatterns and our value systems,
unless we're consciously awareof what's being done, which is
why it's so important thatpeople get wise to the methods

(54:35):
and the tactics that are beingweaponized against all of us, so
that again that magic spell canbe broken.
And then you can continue toenjoy music and movies if you
choose, because I don't knowabout you or anyone else, but I
think the world would be apretty bleak place.
Well, it already is, but evenbleaker if we didn't have music

(54:58):
and movies and distractions likethat.
I mean, I need them in my life,I do a lot of work, I consider
and reflect upon big questionsin life a lot, I do a lot of
contemplating, and every now andagain I just need to switch off
from all of that.
I need a release valve, I justneed to chill and relax.
And I do that sometimes withmusic, and I do it sometimes

(55:20):
with watching movies.
And I like to think that I'm notgetting programmed by those
things as much as somebody whohas not studied these subject
areas and doesn't know how mindcontrol works and how the
placing of messages aimed at thesubconscious mind work.
So the message is you can stillenjoy popular culture if you

(55:42):
want to, but it definitely paysto be street wise and savvy to
uh what's being done to us.

SPEAKER_00 (55:49):
How do you respond to people who dismiss these
ideas as conspiracy theories?

SPEAKER_02 (55:55):
Yeah, you hear this all the time.
You really touch a nerve when itcomes to talking about people's
famous band uh favourite bandsor music or films.
So it's a double-edged swordbecause I think I have a much
easier job than a lot of otherpeople that are trying to blow
the whistle on other aspects ofwhat's being done to us.

(56:16):
So I do a lot of conferences,and often there'll be 12, 15
speakers.
I'm one of them, and I'm talkingabout the weaponization of music
and popular culture, and thensomebody else will be talking
about geopolitical affairs.
Somebody else might be talkingabout the banking financial scam
and how money is all illusoryand it's all a big con.

(56:38):
Somebody else might be talkingabout personal sovereignty and
the birth certificate fraud andthings of this nature.
Somebody else will be talkingabout natural health and
medicine.
Somebody else will be talkingabout, I don't know, maybe wars,
you know, for foreign affairsand things like that.
And a lot of these subjects, Ithink, many people find quite

(57:00):
dusty and boring and they're notsexy, they're not exciting,
they're a bit of a turn-off.
But everyone wants to hear aboutthe true nature of the music
industry, in my experience.
Even if they are going to tryand deny the things you say,
they still want to hear thethings you say so that they can
deny them.

(57:20):
So when you're talking aboutmusic and Hollywood films and
glossy sort of forms ofentertainment like this, people
do want to hear about it.
I see them sit up straight intheir chair and engage their
line of sight and they're reallypaying attention to what I'm
saying.
So I think I've got an easy jobin that regard because I get
people's attention.
And not to blow my own trumpet,but I've been at many

(57:43):
conferences where the theaudience levels are kind of
dwindling and people are justout having a cigarette or you
know, having a coffee orwhatever, and then I come on,
I'm announced, and the chairsfill up.
And I'm not saying that'sbecause I'm an amazing speaker,
I'm saying it's because peopleare interested in my subject,
and I find I have a full house.
Everyone wants to hear my stuff.

(58:04):
So that's the plus side ofthings.
The minus side of things is whatyou just said.
People are very prone to throwthis stuff out if you touch a
nerve by focusing on theirparticular holy cow, their
favourite artist, theirfavourite actor, and then
they'll argue with you all daylong.
I have people who I'm alignedwith pretty much 99% of what

(58:28):
they talk about.
We're on the same page with thevast overwhelming majority of
most of it.
But when it comes to theBeatles, they are not having it
for a second that they wereanything but four regular
working class lads fromLiverpool who just happened to
become as famous and asinfluential as they did through

(58:50):
good luck and hard work alone.
They're not having it that PaulMcCartney could possibly have
been replaced.
Of course, it's the same guywe've had all along.
And it doesn't matter thatyou'll hold up two photographs
and in one he's got a very roundface and he's a particular
height, and the jawline looks acertain way, the eyes look a
certain way, the eyebrows look acertain way, the hair parting is
a certain way, the nose shape isa certain way, the ears are a

(59:13):
certain way, and in the photo ofthe next guy, none of that stuff
is the same.
They'll still insist, no, no,it's the same man.
And you think, are we actuallyseeing the same two photographs
here?
Because I'm looking at thesetwo, and it's two different men,
but they're not having itbecause to have to admit to
themselves that Paul McCartney,their beloved uh Beetle, was

(59:37):
replaced and it's not him, andthey spent all those years and
decades following somebody who'snot who they thought he was, is
so preposterous and sooutrageous and so devastating to
them that they'll do whatever ittakes to block that out and not
have to face up to that truth.
Well, I've I've found it runsvery deep.

SPEAKER_00 (59:57):
I found the Beatles fans.
at me being I'm still a fan, butthey're some of the meanest
people that you'll if you if youif you attack that story, they
get for for people it's supposedto be about peace and love.
They're some of the mostvindictive, mean little
creatures in the world when youtry to take their band apart.
It it's really you're reallyscary that some of the comments

(01:00:19):
I've gotten from people aroundthe world about that band.

SPEAKER_02 (01:00:23):
Well I think it's the same with so many things.
Have you ever seen a flat earthargument?

SPEAKER_01 (01:00:28):
Oh yeah.
Yeah.

SPEAKER_02 (01:00:29):
Look at that stuff.
I mean the way globeheads andflat earthers attack each other
is just vicious.

SPEAKER_01 (01:00:37):
Yeah.

SPEAKER_02 (01:00:38):
Because because each side is attacking the very
foundation of the other's entirevalue system, an entire
perception of what this realmis.

SPEAKER_00 (01:00:49):
Exactly.

SPEAKER_02 (01:00:50):
And then to take it back to the start of our
conversation the Charlie Kirkthing, some of the chat threads
that I've seen running and someof the comments below videos and
stuff, absolutely viciouspeople.
You know, just just it's likethey're at war with each other
over this guy that none of themknew personally.

SPEAKER_01 (01:01:06):
Yeah.

SPEAKER_02 (01:01:07):
And they're just going by mainstream media
reports of what happened to him.
And in most cases or in manycases people had never actually
heard of him prior to thisevent.
And I think it's triggeringthese extreme reactions in so
many people and they're gettingaggressive, they're getting
violent, they're getting reallyreally hot under the collar.

(01:01:28):
And the social engineers mustlove it.
They must be pissing themselvesin their gentlemen's clubs
clicking champagne glasses anddrinking to another campaign
well executed.
Yes, exactly.
Because they've got the minds ofthe general public exactly where
they want them.
And they're behaving in exactlythe way their behavioral
scientists and theirpsychologists predicted they

(01:01:49):
would what what do you hopereaders take away from your book
No One's Dad's a Plumber I seeit as me fulfilling my
obligation to put thisinformation out there.
What people make of it is theirown business but I certainly
hope it will cause them to situp and pay attention to perhaps
an aspect of organized societythat they've not considered is

(01:02:13):
as controlled as it actually isbefore.
And I didn't actually plan towrite this fourth book in the
series.
So there are three previousbooks in the Musical Truth
series.
I wrote the third one in themiddle of the COVID nonsense in
2021 and I thought well that'sit that's the trilogy that's all
I need to do.
But because by that point I'dbecome the go-to guy for

(01:02:36):
information of this nature I wasgetting emails literally every
day from people saying oh Markhave you seen this you've got
look into this band look at thissymbolism in this video look at
this stage show look at whatwent on here look at who this
guy's dad was and I startedassembling all this information
keeping a folder and collatingall these little tidbits of
information and eventually Iended up with about 700 bits of

(01:02:59):
information and I thought I'vegot to do something with this.
It can't just sit on my laptopand go nowhere because this is
knowledge that people need toget access to and if nobody else
is going to put this stuff outthere I guess it's down to me
and I guess there needs to beanother book so that's why we

(01:03:20):
have no one's dad's a plumber.
It's information that didn't gointo the first three books
because I didn't know about itback then but it's information
which is too valuable to beallowed to just drift off into
the mists of time and beforgotten.
It needed to be recorded forposterity needed to be put out

(01:03:42):
there and as I say what peopledo with it is down to them.
I just had to fulfill myobligation to get it out there
and be that the conduit for thatinformation.

SPEAKER_00 (01:03:56):
How can the average how can the average listener
protect themselves from themanipulation and the
psychological manipulationsthrough media and music what
what do you what do you suggest?

SPEAKER_02 (01:04:08):
Well I generally suggest what I mentioned earlier
which is getting yourself up toup to speed with the methods
that they use getting familiarwith symbolism and how that
works getting familiar withpredictive programming messages
with uh cultural conditioningthrough social engineering.
And once you get a familiaritywith the sort of methods that

(01:04:29):
are used you start to see themeverywhere like you said
earlier.
You can watch a film and a scenecomes on or a character comes on
you think I know why theyinserted that in there because
it's to push this message or toaccelerate this agenda.
And it becomes so easy to spotwhen you just break that spell
and get the conscious mindoperational.
And the more people we havedoing that the less the old

(01:04:53):
tricks are going to workanymore.
And if the old tricks thatthey've relied on for decades if
not centuries aren't working theway they used to we could really
find find ourselves goingsomewhere societally in terms of
consciousness.
The mind control has to go andthe social conditioning through

(01:05:16):
entertainment popular culturehas to go.
And it's only awareness of theways in which it gets done which
is going to achieve that.
So I'm making my littlecontribution with my books and
my talks and my podcasts it's myhope that many many more people
out there we need hundreds ofthousands if not millions of
people communicating thisinformation.

(01:05:38):
And not everyone is cut out tobe a podcaster I get that not
everyone has to go on YouTube orthese other platforms.
Not everyone can write a bookit's just not part of their
skill set on a stage andaddressing an audience but
everyone can do something.
Even if it's a conversation witha family member a particularly
stubborn family member maybe aPaul McCartney fan yeah who's

(01:06:02):
just not having it just keephammering away at that person.
Keep presenting them with theinformation with the evidence
work away at them one day theymight come round and then
they'll speak to the people theyknow their friends and they'll
say I used to completely denythis idea and completely reject
it but guess what this is how Inow see it and this is why this
is the evidence.

(01:06:22):
And the information then growsexponentially like that it
starts to snowball.
So we need more conversationsaround the water cooler at work
about this sort of thing moreconversations in the pub more
conversations among friends andfamily members.
See that's something I don'tthink I'm very good at I'm not
really good at sitting down in apub with an individual and

(01:06:43):
having a conversation and tryingto convince them I think I'm
better at doing that with largeaudiences just putting
information out to large numbersof people at a time but others
out there are much better atengaging individually directly
with one other person or a smallgroup of other people and so
conversations of that natureneed to be happening everywhere.

(01:07:04):
And if you're somebody that'sbecome aware of the sort of
information in this book and somany others then start
communicating that to anyonethat will listen.
And that's the only way I seethat things are ever going to
change because it all startswith awareness.
There can't be any change of thenature we want to see in so many
areas of our lives if theawareness of the problem that's

(01:07:27):
there in the first place is notrecomm recognized.
That's where it has to start.

SPEAKER_00 (01:07:31):
That's excellent and I've noticed myself that music
is everywhere like here in theStates if you're pumping your
gas there's music blaring out ofthe gas pump.
So so one day I'm pumping gasand I started feeling sad.
I'm like oh my am I feeling sadI was fine a second ago and here
there's a song by Journey orsomething from my high school
days this damn song it's in aminor key sad and I thought but

(01:07:55):
it's this music why do we haveto have music in the restaurants
and the bathrooms and the it'severywhere now.
And so I think if you're awareof what's going on in your
surroundings where you are andand pay attention to your
emotions and and you think wellwhat's triggering this word
emotion nine times out of tenfor me it's the music.
I can't listen to music muchanymore it just it just really

(01:08:17):
messes with my head and uh sendsme to places.

SPEAKER_02 (01:08:22):
So right well that's that's that's a big part of it
as well.
And that's why music has beenweaponized because it's being
recognized just how powerful itis.
Oh yeah.
You know it's a medium that cantransport you back to a point in
your life with such vividclarity that it's as if you're
living there in that moment.

(01:08:43):
It is for me.
Oh yeah I can hear a song fromyou know 1986 from my college
days and I can remember who myfriends were at the time what
girl I fancied at the time whatmusic was on the radio at the
time what I was doing how Ilooked what I wore where I used
to go what my car was all thatstuff just from hearing a

(01:09:04):
snippet of a song exactly veryvery powerful.
And so that's why it's beenweaponized it's been recognized
how powerful a weapon it can beand it can be quite a dangerous
weapon if our consciousness isnot engaged and so it needs to
be.

SPEAKER_00 (01:09:22):
Exactly exactly well the book is No One is dead the
Plumber and I urge all of youlistening to get this it's a
great book.
Mark it's been great talking toyou and so if another book
coming out let me know.
Do you have anything you want topromote or tell the people about
where you're going to beappearing or anything like that.

SPEAKER_02 (01:09:42):
Yeah cheers.
Well my main websiteDJmarkdevlin.com is the hub for
my various activities.
So from there you've got linksto where you can get the books.
All my books are on Amazon I'vegot four volumes now in the
Musical Truth series I startedin 2016 so just coming up on the
10 year anniversary of that.
I've also got two allegoricalnovels which I've written I call

(01:10:04):
them Truth Fiction because it'skind of fiction but is actually
truth dressed up as fiction.
And they're called The Cause andthe Cure and the gift and the
curse and that's going to be atrilogy.
So I'm writing the third novelin that series right now with a
view to having that out by theend of February.
So that's my next writingproject.
I've got audiobook versions ofall those books as well which

(01:10:27):
you can get on Audible and ifanyone wants a copy of the
audiobooks from me directthey're very welcome to send me
an email and we can sort thatout.
So I'm on markdevlin2022 atprotonmail dot com.
In terms of mailing books out Idon't mail books out to America
Canada and most other parts ofthe world anymore simply because

(01:10:48):
so many books just go astray.
They go missing they get seizedby customs.
So my best advice to people inthose parts of the world is just
get it from Amazon.
I know they're horrible butthey're a good source for
getting hold of books.
In the UK and Europe I can mailbooks out.
Other than that I do a lot oftalks a lot of conferences most
of those are in the UKoccasionally I do overseas ones

(01:11:11):
but details of all my variousactivities and also my podcast.
I've got a conversation basedpodcast called Good Vibrations
and I've got a conscious musicmessage podcast which is where I
showcase music makers who'vereally got something to say and
have gone the independent routethey're completely unplugged
from the industry which meansthey're free to express

(01:11:32):
themselves exactly as they seefit and there's some great music
out there of this nature in allkinds of genres from rap to
dance music to rock and Ishowcase all of that in the
sound of freedom.
So that archive is on mixcloudmixcloud.com and I also do a
weekly uplifting Soulful houseshow called the sound of now

(01:11:53):
which is also on mixcloud butthe link to all of those is on
djmarkdevlin.com well you arebusy that is awesome I have left
in life mate well no I'm thesame way I you know I I sit here
in this little room in my houseand this is all I do.

SPEAKER_00 (01:12:12):
I do my YouTube channel I make documentaries I
I'm writing a book of fictionnow that's roughly based off of
reality about the corporateworld and some people inside the
corporate world want to bring itdown.
Just fiction guys in case thethe feds are listening so it's
it's this is all I've got toothis is all I do and I'm diving

(01:12:33):
deeper and deeper into it everyday so I know the way well
thanks so much and my my bestwish is for you and your dad.
Yeah no worries mate thank youand let me know let me know when
your new book is done and if youcan send me a link to the all
the things you just mentioned oris it on your website?

SPEAKER_02 (01:12:54):
So all the different if you just go if you just go to
DJmarkdevlin.com okay that'slike the one stop shop for all
of it.

SPEAKER_00 (01:13:01):
Alright I'll put links in in both the YouTube and
the podcast and you can hearthis on PT Papa Mind Revolution
on Apple and all of the podcastplatforms and it will also be on
YouTube.
Well Mark thanks so much forbeing on my show today I really

(01:13:21):
appreciate it and your book isfascinating.
This is Mark's book No One'sDad's a Plumber you can buy this
on Amazon that's what I got mycopy and that basically wraps up
my conversation with Mark todayMark Devlin and uh basically had

(01:13:44):
a deep thought provoking lookinto the hidden mechanics of the
music industry and pop cultureat large if this episode
resonated with you please besure to check out his latest
book No One's Dad's a Plumberthe link is in the description
below and you can learn moreabout Mark's work at DJ

(01:14:06):
Markdevlin.com and uh the olderI get the more I more I think I
know and I'm seeing how ourculture is heavily heavily
influenced by hidden hiddenmeanings in in much things that
we consume as entertainment TVmusic movies books whatever it

(01:14:28):
happens to be but as alwaysthanks for watching thanks for
listening and if you like thisepisode give me the thumbs up
punch the subscribe button andleave a comment below with your
thoughts what do you think aboutthis what have you seen in
culture that is uh you think issubliminally influencing you

(01:14:48):
influencing influencing you orovertly so until next time stay
curious stay awake keepquestioning the narrative see
y'all later hasta la vista babywould you like fries with that

(01:15:12):
would you like fries with that