December 10, 2025 • 33 mins
Many Americans seem to be brainwashed by odd beliefs. How did this happen…how have bad ideas become so widespread? To find the answer, we follow the story of Akira the Don – an artist that found himself under the spell of ideas that held him back…and how he finally broke free.
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Speaker 1 (00:03):
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with the show. This episode was originally broadcast in March nineteenth,
(01:09):
twenty twenty one. I often find myself saying, what did
they just say? If you spend any time on social
media or watching the news or just listening to people,
you get the feeling that bad ideas are pretty widespread.
Speaker 3 (01:28):
All white people are racists, Not all boys have a penis,
and not all girls have a vagina. Destroying property which
can be replaced is not violent.
Speaker 4 (01:39):
We have to say yes to socialism, to the word
and everything. The fact that as a nation we celebrate
Abraham Lincoln's birthday and have whitewashed the exploits of a racist.
Speaker 1 (01:48):
Many Americans seem to be brainwashed by odd beliefs. How
did this happen? How have bad ideas become so widespread?
Speaker 2 (02:00):
I'm Patrick Carelchi and I'm Adriana Cotes, And this is.
Speaker 1 (02:04):
Red Pilled America, a storytelling show.
Speaker 2 (02:08):
This is not another talk show covering the day's news.
We're all about telling stories.
Speaker 1 (02:13):
Stories. Hollywood doesn't want you to hear stories.
Speaker 2 (02:16):
The media mocks stories about everyday Americans that the globalist ignore.
Speaker 1 (02:22):
You can think of Red Pilled America as audio documentaries,
and we promise only one thing, the truth. Welcome to
Red Pilled America. Bad ideas seem to be in high
(02:46):
circulation no matter where you turn. People appear to be
brainwashed by a system of beliefs that are simply an American.
How did this happen? How have bad ideas become so widespread.
To find the answer, We're going to follow the story
of an artist that found himself under this spell of
ideas that held him back and how he finally broke free.
Speaker 2 (03:13):
In our hyper connected, copycat world. It isn't often that
someone creates something novel, but Akira the Dawn has done
just that.
Speaker 4 (03:20):
I was always way too ahead of my time, That's
Akira the Dawn, and I was really wanting to not
be too ahead of my time so that I could
make a better life for my family. You know.
Speaker 2 (03:29):
The good looking, bleach blonde DJ music producer has been
pioneering a type of music that takes the words of
thought leaders like Jordan Peterson, Elon Musk and Scott Adams
and marries them with low fi hip hop beats that
matches the rhythm of their speech. The result is a
message infused music he calls meaning wave and it's a
sound that was a long time in the making. Akira
(03:52):
the Dawn entered this world from across the Pond.
Speaker 4 (03:54):
I was born in the Midlands, the middle bit of
the UK.
Speaker 2 (03:58):
When he was around two years old, his family moved
to the small community of Snowdon, which is a valley
in Whales.
Speaker 4 (04:05):
And everyone spoke Welsh and no one spoke English, so
I was a bit confused. But it was cool because
you know, it was very beautiful and everything looked like
Lord of the Rings. It was very very small. The
first school I went to, you had two years taught
in one class because there was just hardly anyone there.
Speaker 5 (04:19):
You know.
Speaker 2 (04:20):
Kira actually took a liking to music while he was
still in the womb.
Speaker 4 (04:23):
Apparently I used to kick along in my mum's Tommy
to add him in the ants and tom Petty and
like that. I would like start kicking like rhythmically when
that stuff would come on. My dad was really into music,
and you know, as you always look up to your dad,
you know he was he was a bit of a
sort of distant kind of guy sometimes, but with music,
you know, when he would sit there and play music
and I was really interested, Like he really loved that
(04:44):
I was interested and there was a connection there, and
he used to sit me down here. He took me
up to the attic. I remember I was like seven.
He'd be like, get out a box of Motown records
and be like, all right, son, this is Motown, or
like a box of like new wave or punk records
and be like, this is punk or this is whatever
you know. And I treasured that and I loved it.
Speaker 2 (05:01):
His father introduced him to our like Billy Bragg, a
folk punk artist whose music was infused with socialist ideas.
Aspects of the artist ideology were seated in his brain
at a young age, and they formed the lens through
which he'd see the world as he grew up. He
was drawn to youth music and the look that accompanied it,
but in his neighborhood that style was considered an oddity.
Speaker 4 (05:23):
Listia in the UK, I'd walk it around and people'd
stop a car and wind down the window and throw
some at me and shout.
Speaker 2 (05:29):
But it wasn't just his look that was causing him grief.
There was also something about the nature of the British
system that began to knock him as well.
Speaker 4 (05:37):
They have this thing in the UK's like you're not
supposed to get above your station.
Speaker 2 (05:40):
Akira's parents were both born in UK slums.
Speaker 4 (05:43):
You're not supposed to transcend your meager origins. If you're
working class, you first to stay there, you know what
I mean. They have this tall poppy syndrome thing.
Speaker 2 (05:50):
The tall poppy syndrome is a phenomenon where people mock
those who think highly of themselves. In essence, they're cutting
down the tall poppy.
Speaker 4 (05:58):
And my realization was that in the UK we got
a monarchy, right, So there's this level that you can
never transcend, and you know it's there, so on a
subconscious level, you always know that you ain't shit, really
and you should just stay where you are.
Speaker 2 (06:11):
It was likely this class structure that pushed a cure
to daydream about the States.
Speaker 4 (06:15):
I was always just fascinated by America and it always
kind of stood for the things that I believed in America.
It's like any could be president, is what they tell you.
So a waitress in America is always on their way
to something great, and that's why they treat you nice.
In the UK, a waitress will spit in your drink
and glare at you because they're just they know that
that's where they are forever, and that's that.
Speaker 2 (06:36):
As his sixteenth birthday approached, Akira left home and embarked
on a series of adventures in the UK. He dabbled
in music journalism, then eventually picked up music making. He
was creating hip hop music that just wasn't being made
at the time, and the Brits weren't really digging his vibe.
Speaker 4 (06:52):
I was making weird rap music and it was like
people like me weren't supposed to make rap music at
that point. I was kind of doing rock influenced stuff
and wearing like makeup and being quite glad and talking
about my actual life rather than pretending to be some
kind of gang bangor or something, you know, which at
that time just wasn't done.
Speaker 2 (07:10):
Of course, white artists rapping about things other than the
hood would later become a popular hip hop niche, but
in the late nineties, Akira the Dawn was ahead of
the times. By the turn of the millennium, he wasn't
sure where he should go with his music next. That's
when an American rock band began to make waves in
his neck of the woods.
Speaker 5 (07:28):
Thanks again, I want to thank everyone for coming to
you tonight.
Speaker 3 (07:33):
You guys have been really nice to test in England
since we got here.
Speaker 4 (07:36):
You know, the Strokes really blew up in the UK
because people in the UK were like, hey, these guys
are really cool. They're American, Oh my goodness, but no
one gave it about them in New York, I realized
because I had friends over there. But anyway, so I thought,
maybe if I go to America, they'll think I'm cool.
Speaker 2 (07:50):
The idea percolated. Akira continued pushing his career in the UK.
He made a mixtape in two thousand and three and
released it online when no one else was doing it.
It got over a million downloads, so from the boost
from this internet hype. In two thousand and four, Akira
decided to take the plunge. He begged his bank into
lending him money to buy a plane ticket to the
(08:10):
US and.
Speaker 4 (08:11):
I arrived in Miami with no money whatsoever, And within
two weeks I was being signed to Interscope Records, and
Jimmy Ivan from in a Scope was telling me that
I was going to do some rap music what the
Beatles did to rock music.
Speaker 2 (08:26):
After he signed to the label, Akira says he immediately
began to see the strange economics of the music industry.
Speaker 4 (08:32):
And they would do weird stuff like try and get
me to spend my money on cocaine and I didn't
want it because I didn't want to do any cocaine,
and they were really perturbed by this, and then they
would do weird stuff, like if I had to go
to an airport, they'd hire a limo. I'd be like,
I don't need a limo, and they're like, just take
the limo. It's like aye, and all this weird stuff,
and you know, it's their money. They pretend it's your money,
(08:53):
but it's all alone, right, and they do this weird stuff,
like they want you to record in their recording studios,
so they like double dip on the money. They didn't
want to allow me to spend my advanced money on
building a home studio. They were trying to stop me
doing that because they wanted to retain complete control over
everything you're doing. You know.
Speaker 2 (09:08):
He tried to ignore the dark side of the industry
and began making his first album.
Speaker 4 (09:12):
It was about being an individual. It was about the
importance of being an individual. It was about standing up
for your individuality in the face of the world that
wants to turn you into the same thing as everyone else,
you know. To me, then what happened was they didn't
like my lyrics, you know, and they wanted me to
change the lyrics. I had a song call thanks for
all the aids, you know, So it was like talking
about Bob Geldof and Live Aid being hypocrites and stuff.
Speaker 2 (09:34):
Bob Geldof was a songwriter and producer behind the hit
song do They Know It's Christmas?
Speaker 4 (09:39):
And they're like, you know, you need to change these lyrics,
and I was like, huh. Buster Rhymes was on that
record label at that time, and he'd recorded three albums
for them and they wouldn't put them out. They didn't
like his lyrics either, you know. I was like, Buster
Rhymes can't get his record put out here? I ain't
what am I doing.
Speaker 2 (09:55):
As Akira was seeing the realities of corporate music making,
the entire industry was imploding. The MP three was making
the CD opsolete, and music sales were plummeting.
Speaker 4 (10:05):
Just in this short time I was with them, most
of their A and R department got sacked. It was
just as the whole NAPSTERA thing was really kicking in.
Speaker 2 (10:12):
So after about a year of trying to work with
the corporate system, Akira decided he wanted out.
Speaker 4 (10:17):
One of my songs was in that movie My Super
Ex Girlfriend. So I took the money I got from
that and I bought the rights to the album back
and went independent. And then since then was this long
process of kind of building this independent machinery and essentially
building a kind of parallel music industry.
Speaker 2 (10:32):
Music industry was collapsing, but at the same time, the
technology was removing the need for a major record label.
Speaker 4 (10:39):
I was one of the first people like making records
without machinery and distributing them and having a career and
being able to survive just doing that outside of that machine.
Speaker 2 (10:48):
So he decided to get back to his roots. Kire
of the Dawn returned to the UK and continued making music.
He plugged away for about seven years, building a parallel
music industry. He also began experimenting with his sound by
infusing hip hop beats with the spoken word audio of
people that inspired him, people like famed comic book writer
Grant Morrison. As he evolved his sound, the glass deealing
(11:11):
of Great Britain's class system continued to bother him, so
he turned his eyes back to the US.
Speaker 4 (11:17):
In around twenty twelve twenty thirteen, I came out of
Vegas because Grant Morrison, who's a comic book writer, he
had this festival out in Vegas and he had me
and Gerard Way from my Chemical Romance come out and
do the music. And I dropped in on my friend,
an old friend of mine who lived in Los Angeles,
on the way back, and I'd just had such a
wonderful time, and it'd be like I just walked down
the street and people had stop their cars and be like, hey,
(11:38):
you look cool. What are you doing. We're going to
a party, Come and do this party or whatever. And
I DJed a few places and everyone loved it, and
everyone was just so nice. All these crazy ideas I
had and my general sort of sunny, optimistic disposition was
met warmly. But in the UK, they ain't like them.
Speaker 2 (12:04):
Juxtaposing his life experience in Great Britain with what he'd
experienced in Los Angeles reminded him of something he'd recently read.
Speaker 4 (12:11):
And I was reading this Charles Pukowski short story collection
at the time, and there's a story where he talks
about he goes to some orgy and like someone tries
to stab him or something, and like he tries to
get with a girl and then a guy tries to
jump in, and he's not happy about this, and he
has all this and he ends up. He has some
messed up time, and he goes back and he vomits
all over his house and he goes to bed, wakes
(12:34):
up the next afternoon it's like midday. He gets up,
he takes a piss, he goes back to bed. He
draws the blinds and says, life is as kind as
you let it be. I was like, oh, yeah, good point.
I don't need to be here in the UK, which
it's miserable and people throw bricks at me and I'm
constantly banging my head against the wall and everyone thinks
what I'm doing is weird, and like it's raining all
the time, and there's princes and queens a stupid running
(12:56):
around like he's looking like like I said, like it's
medieval England or something like I could go over there
where it's sunny, and everyone seems like excited to do things,
you know what I mean. And so that's what I did.
I was like, I had to work with my wife
and we just had a kid, and it was like,
you know, what do we want for our future? What
do we want for our kids future? What do we
want for our dynasty? You know what I mean? What
(13:16):
kind of environment.
Speaker 2 (13:18):
America was calling.
Speaker 4 (13:20):
We agreed that it was the right thing to do.
It was a hard thing to do. Getting into this
country legally is very very difficult and very very expensive,
and staying here for any period of time it's very
very difficult and very very expensive. And you know, I
didn't have anything going on, and I didn't have any money.
I came over here, and I slept on a friend's
sofa and got DJ gigs and just kind of like
(13:40):
built myself up, and while my wife and son spent
most of the first year sleeping in like a small
room at her mum's house, while I got enough working
things together so I could then get them out here,
and eventually we were able to get our first one
bedroom flat.
Speaker 2 (13:56):
Now in America, he felt the freedom to experiment more
with his music until one night we Fling after Miley
Cyrus stole his phone charger, he stumbled on a sound
that he'd been unconsciously developing for fifteen years, and in
the process, he'd practically invent a new genre of music.
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Speaker 4 (15:27):
Welcome back.
Speaker 1 (15:28):
So a cur of the don got tired of the
class structure of the UK that created a permanent glass
ceiling for the common man After a trip to America,
he decided to move his family to the States and
continue to experiment with his music until one night, while
unwinding after Miley Cyrus stole his phone charger, he stumbled
on a sound that he'd been unconsciously developing for fifteen years,
and in the process, he'd practically invent a new genre
(15:51):
of music.
Speaker 4 (15:54):
So when I was first thought and I was making
these mixtypes, there'd be some rap songs and I'd be rapping,
and then i'd have a beat, and then i'd just
like put like at Kirby, who's the guy who invented
the Marvel Universe, and you know, I'd put him just
talking for three minutes. People used to do stuff like
that on rap albums for like fifteen seconds. You know,
it'd be like a skit, or it'd be a bit
at the beginning of a song. But I'd be like,
(16:15):
I'd just do like the whole thing. I'd have like
a three four minute thing, and i'd have a guy,
you know, a sample of someone talking, and I'd make
it a bit rhythmic, sometimes like chop bits of it
up so it almost had like a chorus or something.
So that was just something I always did occasionally. And
then in twenty seventeen, I think it was I was
djaying in Hollywood and I was djaying and all these
(16:37):
really boogie like places, like where the Kardashians had go
in there. You know, I'd come back from DJing. I've
been djaying. A whisk leaf is in my booth, just
like blowing smoke in my face all day and I
can't see and I'm like, I come back at like
three four in the morning and I'm like stone from
whisker leaf as secondhand smoke, and like Mighty Sarrus had
stolen my charger and all this ridiculous, you know. And
(16:58):
I'd come back and you try and decompress from that
ridiculous world. You've got a wife and a kid, you know,
and like, you know, engaging in being responsible grown up
and you're surrounded by this Hollywood lunacy and it's quite weird.
So decompressing from that, I'd always come back and I
put on lectures and stuff. I'd have to speak projector
and I'll put on lectures and Jordan Peterson comes on
(17:18):
and he was talking about the importance of hierarchies of competence.
Speaker 3 (17:21):
You hear the egalitarian clarion call everywhere. Everything should be equal,
Everything should be equally distributed.
Speaker 5 (17:29):
We should strive for equity.
Speaker 3 (17:30):
It's like wrong, what we want are just hierarchies of competence.
Speaker 5 (17:36):
Not everyone's a neurosurgeon.
Speaker 3 (17:38):
If your father has a brain tumor, you probably want
a hierarchy of competence for neurosurgeons so you can pick
the one that's the best so that he might not die.
That's what a hierarchy of competence is for. For the postmodernists,
there's no hierarchy that isn't based on power. Well, because
they think the world runs on power, and that's why
they're willing to use power to get what they want
(17:59):
because it's the only thing they believe in. But a
valid hierarchy of competence, it's God, we need those things, man.
We need the best plumbers, We need the best contractors,
We need the best carpenters, we need the best lecturers.
There has to be a hierarchy of quality, not only
so that we know who the best are and can
reward them properly, but so that we can reward them
so they keep being the best. It's like, you know,
(18:22):
if if you have a great educator, if you have
a great leader, if you have a great thinker, you
want to reward them so they keep thinking and they
keep educating so they can tell you something.
Speaker 5 (18:33):
It's not a reward for their intrinsic being.
Speaker 3 (18:36):
It's a calculated move on your part to suck everything
out of them that's valuable as fast as you can.
Speaker 5 (18:42):
That's what a hierarchy of competence is for.
Speaker 4 (18:44):
He came on talking about that, the importance of hierarchies
and competence, and you know, he's like, be a plumber,
you know, be a good one. We don't need people
to cause problems, you know, we need people to sell problems.
Speaker 3 (18:55):
If you're going to be a plumber man, be a
good plumber, because otherwise all you do is go out
there and cause trouble. We don't need people to cause
more trouble. We need people to solve problems, you know.
And so you can be a tradesman, and you can
be can make a lot of money as a trades person.
It's a bloody, reliable, honorable, forthright, productive way of making
a living. And there is a hell of a lot
(19:16):
of difference between a working man who knows what he's doing,
and one who doesn't both in terms of skill and ethics, right,
and you work with someone who knows what they're doing,
it's a bloody pleasure. They tell you what they're gonna do,
they tell you how much it will cost, they go
and do it. It works, and you pay them perfect
everyone's happy. And that's what happens when you have genuine
(19:36):
hierarchies of competence.
Speaker 4 (19:41):
He's talking about the importance of picking and honest things
to do and doing it really, really well. And I
really resonated with my half stone self at four o'clock
in the morning, and I was like, I need to
turn that into a song immediately, and I turned it
into a song.
Speaker 5 (19:54):
We need to know who the competent people are and
we need to reward them. And even more importantly, we.
Speaker 3 (19:58):
Need to tell young people, hey, there's some hierarchies of.
Speaker 5 (20:01):
Confidence out there, click.
Speaker 4 (20:03):
A thousand of them.
Speaker 5 (20:05):
Go be a plumber.
Speaker 3 (20:05):
Man, but be a good one, you know, be an
honest one, because.
Speaker 5 (20:08):
Otherwise all you do is go out there and cause trouble.
We don't need people to cause more trouble.
Speaker 3 (20:13):
We need people to solve problems.
Speaker 2 (20:15):
Solve problem a problem.
Speaker 5 (20:22):
We need people to solve problems.
Speaker 1 (20:24):
Solve problem Plenty of hip hop artists have used short
spoken word samples in their music, and electronic music producers
like David August occasionally employed the technique as well. But
what a Cure of the Dawn was doing was a
much bigger commitment to the style. He was learning that
there was an inherent rhythm in the way good speakers spoke.
He'd also rediscovered something he'd learned as a teenager.
Speaker 4 (20:47):
I realized very early that music was incredibly powerful.
Speaker 1 (20:50):
Before he'd left school when he was sixteen, he'd record
himself reading his class notes over ambient music, then played
them back when he went to sleep.
Speaker 4 (20:57):
I always knew that if you combine something with music,
you could integrate it way. It was like this hack.
Speaker 1 (21:04):
In other words, if you could fuse a meaningful statement
with music, you could hack the human brain and implant ideas,
powerful ideas. Marrying this realization with this new approach to
music caused an awakening moment for a Cure.
Speaker 4 (21:19):
My parents are both like socialist types, you know, and
we used to listen Billy Bragg when I was little.
Speaker 1 (21:24):
As we mentioned earlier, Billy Bragg is an English singer,
songwriter and far left activist that infused socialist ideas into
his music.
Speaker 4 (21:31):
And I used to love Billy Bragg, these wonderful melodies
and this ridiculous voice, Billy Bragg singing about like just
how just the very concept of making money is inherently
evil while simultaneously being a rich rock star. Obviously, he's
just basically he just brainwashed me into being broke for
most of my life. But you don't think about it
when you were a kid, you know what I mean.
And then it goes in, and then it just wires
you into this thing, and you just I had such
(21:52):
a terrible association with money and success that I realized
in retrospect I completely sabotaged my own career multiple times
every time I started to get to a certain level.
At one point, Coca Cola wanted to offer me loads
of money to use one of my songs, and I
was like, oh, that's evil. You know, any kind of
opportunity that would come along. And I'm not saying now,
by the way, that I would give my music to
(22:12):
Coca Cola, but I'm saying that I would just outhand
reject any kind of situation that would come close to
getting me anywhere near any kind of monetary success purely
out of the programming, most of which was done through music.
On programming myself from this ridiculous ideology that I was
programmed with through music was one of the most difficult
things I ever did.
Speaker 1 (22:36):
Akira saw that if put in the wrong hands, marrying
a catchy melody with a bad message could spread evil,
but this same technique could also be used as a
force for good. It was a life altering realization. If
he could use the same approach but instead saturate his
music with positive motivational affirmations, it could improve humanity. He
(22:59):
knew he was onto something. Akira called his music meaning way,
and the new approach just flowed right out of them.
Speaker 4 (23:05):
It was very very simple, joyful process, and it came
out just like I had it in my mind, you know.
And then people liked it. People really liked it, and
I was like, Okay, I'll do some more of this.
So I did some more of that, and people loved it.
Speaker 1 (23:17):
He produced other songs using Jordan Peterson's messages.
Speaker 4 (23:20):
Yeah, and I realized, So I just realized very very
quickly the potential of power of it, and I took
James Holtis's device to just go all in and refine
this and just how could I make it more and
more powerful? And I had this whole grand narrative I
wanted to go through. That was essentially the school I
wanted to go to.
Speaker 1 (23:37):
From an early age, Akira enjoyed the superhero universes of
comic books. He wanted to create something similar for his
motivational music.
Speaker 4 (23:44):
And so I had this like cast of humans who
had all these various keys. You know. I used to
think about it like sort of shoulder angels, Like you're
out there in the world and like you get the
cartoon angel pop up. You know, you have a situation
where you look over there and Jordan Peterson's saying this,
and you look over there and Jocko Willinks saying that,
and you look over there and Alan what's his saying?
And the other thing and you look over there and
there's Marcus Aurelius from two thousand years ago and he's
(24:07):
got this insight. And Plato's over there and he thinks this.
And Robert Anson Wilson's over there and he thinks that.
And Terence mckennon's there and he thinks that, and I
had all these things and all these people who was interested.
Speaker 1 (24:15):
In He viewed them all as his cast of superheroes
that he wanted others to learn from. Their teachings represented
a kind of school he wanted to attend. But to
tell this grand narrative, he thought there needed to be
a progression.
Speaker 4 (24:31):
And I knew I couldn't just do it all straight away.
I approached it a bit like the way that the
Marvel Universe. I basically I realized that what I wanted
to build this meaning wave universe that was going to
tell this epic story and essentially integrate the wisdom of
the ages into this psychotechnology which people could use to
integrate all of this stuff that normally you'd have to
(24:53):
be one person studying a whole lifetime to get. But
I realized this was an opportunity right now, at this
juncture in history for his essentially to become superhumans by
being able to do that Neo and the matrix posison,
I know, kung fu thing you can literally do that
you could put You can listen to a podcast once
or twice, right, but if you turn that podcast into
a pop song, you could listen to that thing a
million times, and then you'll integrate that, you will know it,
(25:15):
you'll think about you'll think about it, and then one
day you'll be on the treadmill or something you'll be like, oh,
now I understand, you know. I get people right to
me every day saying, oh, I've been listening to this Alan,
what's album of yours? For two years. I just worked
out I just understood what he meant or whatever, you know.
So anyway, it was like, Okay, that's what I'm doing,
and I'm going to tell this story, and there's these
things I need to get to and I've got to
do it. And in order it's got to be fair.
I've got to the way the Marvel Universe start with
(25:35):
Iron Man. You don't start with doctor Strange. That's some weird, right.
You start with something that's relatable and feels like it
could happen in the world, you know, So I start
with Jordan Peterson.
Speaker 1 (25:45):
He expanded out to other speakers like entrepreneur and investor
naval Ravi Kant, retired navy seal Jacko Wheelink, and comedian
Joe Rogan.
Speaker 6 (25:54):
Right, he's gone cloud, gone cloud, and everybody's different, everybody's similar,
but everybody's different, and your attitude has a giant effect,
not just on your life, but on other people's lives
around you.
Speaker 5 (26:09):
That's the other thing about it. Those I can't catch
a break guys, get them away from me. I can't
be around those guys, around those I don't want to
hear that. I don't want to hear that.
Speaker 1 (26:20):
Akira discovered a powerful mind hack that many with perverted
ideologies have been using for decades to program the masses,
and that hack is if you imbue a catchy tune
with a message, that message is quietly seated in the
mind of the listener.
Speaker 5 (26:35):
Because everybody has bad breaks. I've had a ton of
bad breaks, so you know what.
Speaker 3 (26:40):
I did, stay out data.
Speaker 1 (26:43):
Seeing this phenomenon was part of my personal awakening when
I realized how the media, Hollywood, and music industries used
racial tensions to gain power. It made me revisit the
content I'd consume throughout the years, and one band from
my college days stuck out, a group called Brand Nubian.
This nineties hip hop band spoke about empowering the black community,
(27:03):
a seemingly positive message about a culture I felt connected
to through growing up in an all black neighborhood. As
a young twenty year old, I knew every word of
their debut album, One for All, But when I revisited
the album two decades later, I'd realized that while mouthing
their lyrics, I was actually rapping about the demise of
American culture, and I didn't even realize it. Brand Nubian
(27:25):
talked about the white man as the devil that needed
to basically be destroyed. I really wasn't even paying attention
to the meaning of the song. I just thought it
sounded cool. And you see, that's why it's so important
to imbue movies, books, and music with positive messages, because
these stories go on to create American culture. The ideology
that Brand Nubian got white folks to sing would become
(27:48):
the same ideology that justified the Black Lives Matter riots
of twenty twenty, and it would be that ideology that
would force Akira to make another major life decision.
Speaker 2 (27:59):
Do you want to hear Red Pilled America stories ad free?
Then become a backstage subscriber. Just log onto Redpilled America
dot com and click Join in the top menu. Join
today and help us save America one story at a time.
Speaker 1 (28:13):
Welcome back to red pilled America as a cure. The
Dawn was expanding on his meaning wave universe. From his
studio in downtown Los Angeles, he began to see the
signs that everything that he loved about the city of
angels was about to change.
Speaker 4 (28:27):
I had a studio in downtown Los Angeles, and by
the time I left there, the place was just swarming
with smackheads and crackheads and philth and horror the guy
there would be. I'd literally like, step out of my studio.
There's a guy pooping in the street. I remember the
first time I saw that guy. I'll look across the
road and there's a fashion show going on, you know,
and they're filming this fashion strala. Right on the other
(28:48):
side of the road is a sneaker still called Nice Kicks,
and people are queuing up to get this new yeezy drop.
And then in the middle of the road there's a
guy pooping and everyone's pretending that guy isn't there, And
I thought, this kind of says everything about what's going
on with the city. You know.
Speaker 1 (29:01):
A few years later, me your cities all across America
began to burn, and Los Angeles was hit especially hard
in many moments of fear and violins throughout Los Angeles today.
Speaker 5 (29:11):
Yes, clashes all day between protesters and police.
Speaker 4 (29:17):
The protests turned violent as police vehicles were set on
fire near Pan Pacific Park in the Fairfax District. I'm
doing a live stream. I'm in Melrose, and my son
and wife come up and they're scared, you know. I
was like, what's going on? And I opened the door
and in my studio fills with smoke, and there's a
building just over there. They've set fire to the whole building.
You know. I look out my window and there's literally
(29:38):
outside my window these Antifa types, so like organizing. They've
got their cars parked there. They're pulling all their shit
out there and all that type of thing. You know.
I live off Melrose. It was like the shopping censor
of Los Angeles. Everyone goes there to get their cool clothes,
you know. I used to go down there and I'd
meet members of Odd Future. When I first came to it,
it was an exciting place. You'd meet fun musicians and
none of them gave U about any of this ideological
(29:59):
stuff that they care about. Now. At that point it
was gone. I remember those they'd laugh at the idea
of racism. It was just like kids of every different
kind of denomination and they like rot music, rap music, everything.
They thought that was some dumb that their parents cared about,
and they didn't give a shit about it. And to
watch that forced back into culture and weaponized. It's such
an aggressive fashion. Between late late twenty twelve and then
(30:20):
what it became in twenty twenty, it was just an
incredible thing to win it because it was gone amongst us.
Speaker 1 (30:40):
Which leads us back to the question how have bad
ideas become so widespread in America. The answer is that
people with bad ideas got monopoly control of the machines
that feed our minds. These anti American forces took control
of Hollywood, the media, the publishing industry, education and music,
(31:01):
and then pumped their poison in to our bloodstream. It's
truly the source of most of our problems. As a
Cira of the Dawns studio filled with smoke, these bad
ideas seeped into his home in more ways than one.
Speaker 4 (31:14):
You know, I'm out there with my kids and he's like,
what's bullum? I don't like bullum? And he's like, seeing
there bla I'm written on everything and people. These people
are smashing everything, and they're all pissed off and angry,
and I'm like, I shouldn't be having to explain this
to my seven year old.
Speaker 1 (31:27):
Within a matter of months, he packed up his family
and moved to Texas.
Speaker 4 (31:30):
And my son is able to run around outside and
breathe like a human being.
Speaker 1 (31:35):
Now, Akira is busy creating music to help reverse the damage.
Speaker 4 (31:39):
What is the way out? And as again, part of
what I'm doing with Maining Wave is creating the ways out.
I focus on the Koshia side of it, and I'm
actively making stuff that transcends political stuff and could be
useful too and enjoyed by anybody.
Speaker 1 (31:54):
As Andrew Breitbart once said, politics is downstream of culture.
Every time you hear about another ridiculous cultural norm, understand
that the only way out of this mess is to create.
To create stories, create films, create books, create music, create
the things that define our culture, and imbue those things
with truth. Then flood Americans with that antidote, because the
(32:17):
ideological poison plaguing American minds doesn't stand a chance against
the truth.
Speaker 2 (32:23):
To support a cure of the dawn. Visit his website
meaningwave dot com. Well, you'll find an awesome album called
The User Interface for Reality that was inspired by a
Red Pilled America episode. Red Pilled America is an iHeartRadio
original podcast. It's produced by me Adriana Cortez and Patrick
Carelchi for Informed Ventures. Now, our entire archive of episodes
(32:43):
is only available to our backstage subscribers. To subscribe, visit
Redpilled America dot com and click support in the topmenu.
Thanks for listening.
This is Red Pilled America. Hey guys, there's still time
to buy some RPA holiday gifts. Just go to Redpilled
America dot com and click shop at the top of
the menu.
Speaker 2 (00:16):
We've got some great deals on the perfect gifts for
the Patriots in your life.
Speaker 1 (00:23):
We're selling a physical version of both the Fighter series
and the Woke Army series. You can get both series
on an RPA branded flash drive.
Speaker 2 (00:31):
Consider getting these for maybe someone in your life who
needs a lesson in the real story of Richard Nixon
and the origin of Wokeness.
Speaker 1 (00:38):
And we have a bunch of other things at the
shop as well, including hats, candles, t shirts, a book,
a gift certificate, membership to the show, and a bunch
of other things. Go to Redpilled America dot com and
click shop in the topmenu. That's Red Pilled America dot
com and click shop at the top menu. Now on
with the show. This episode was originally broadcast in March nineteenth,
(01:09):
twenty twenty one. I often find myself saying, what did
they just say? If you spend any time on social
media or watching the news or just listening to people,
you get the feeling that bad ideas are pretty widespread.
Speaker 3 (01:28):
All white people are racists, Not all boys have a penis,
and not all girls have a vagina. Destroying property which
can be replaced is not violent.
Speaker 4 (01:39):
We have to say yes to socialism, to the word
and everything. The fact that as a nation we celebrate
Abraham Lincoln's birthday and have whitewashed the exploits of a racist.
Speaker 1 (01:48):
Many Americans seem to be brainwashed by odd beliefs. How
did this happen? How have bad ideas become so widespread?
Speaker 2 (02:00):
I'm Patrick Carelchi and I'm Adriana Cotes, And this is.
Speaker 1 (02:04):
Red Pilled America, a storytelling show.
Speaker 2 (02:08):
This is not another talk show covering the day's news.
We're all about telling stories.
Speaker 1 (02:13):
Stories. Hollywood doesn't want you to hear stories.
Speaker 2 (02:16):
The media mocks stories about everyday Americans that the globalist ignore.
Speaker 1 (02:22):
You can think of Red Pilled America as audio documentaries,
and we promise only one thing, the truth. Welcome to
Red Pilled America. Bad ideas seem to be in high
(02:46):
circulation no matter where you turn. People appear to be
brainwashed by a system of beliefs that are simply an American.
How did this happen? How have bad ideas become so widespread.
To find the answer, We're going to follow the story
of an artist that found himself under this spell of
ideas that held him back and how he finally broke free.
Speaker 2 (03:13):
In our hyper connected, copycat world. It isn't often that
someone creates something novel, but Akira the Dawn has done
just that.
Speaker 4 (03:20):
I was always way too ahead of my time, That's
Akira the Dawn, and I was really wanting to not
be too ahead of my time so that I could
make a better life for my family. You know.
Speaker 2 (03:29):
The good looking, bleach blonde DJ music producer has been
pioneering a type of music that takes the words of
thought leaders like Jordan Peterson, Elon Musk and Scott Adams
and marries them with low fi hip hop beats that
matches the rhythm of their speech. The result is a
message infused music he calls meaning wave and it's a
sound that was a long time in the making. Akira
(03:52):
the Dawn entered this world from across the Pond.
Speaker 4 (03:54):
I was born in the Midlands, the middle bit of
the UK.
Speaker 2 (03:58):
When he was around two years old, his family moved
to the small community of Snowdon, which is a valley
in Whales.
Speaker 4 (04:05):
And everyone spoke Welsh and no one spoke English, so
I was a bit confused. But it was cool because
you know, it was very beautiful and everything looked like
Lord of the Rings. It was very very small. The
first school I went to, you had two years taught
in one class because there was just hardly anyone there.
Speaker 5 (04:19):
You know.
Speaker 2 (04:20):
Kira actually took a liking to music while he was
still in the womb.
Speaker 4 (04:23):
Apparently I used to kick along in my mum's Tommy
to add him in the ants and tom Petty and
like that. I would like start kicking like rhythmically when
that stuff would come on. My dad was really into music,
and you know, as you always look up to your dad,
you know he was he was a bit of a
sort of distant kind of guy sometimes, but with music,
you know, when he would sit there and play music
and I was really interested, Like he really loved that
(04:44):
I was interested and there was a connection there, and
he used to sit me down here. He took me
up to the attic. I remember I was like seven.
He'd be like, get out a box of Motown records
and be like, all right, son, this is Motown, or
like a box of like new wave or punk records
and be like, this is punk or this is whatever
you know. And I treasured that and I loved it.
Speaker 2 (05:01):
His father introduced him to our like Billy Bragg, a
folk punk artist whose music was infused with socialist ideas.
Aspects of the artist ideology were seated in his brain
at a young age, and they formed the lens through
which he'd see the world as he grew up. He
was drawn to youth music and the look that accompanied it,
but in his neighborhood that style was considered an oddity.
Speaker 4 (05:23):
Listia in the UK, I'd walk it around and people'd
stop a car and wind down the window and throw
some at me and shout.
Speaker 2 (05:29):
But it wasn't just his look that was causing him grief.
There was also something about the nature of the British
system that began to knock him as well.
Speaker 4 (05:37):
They have this thing in the UK's like you're not
supposed to get above your station.
Speaker 2 (05:40):
Akira's parents were both born in UK slums.
Speaker 4 (05:43):
You're not supposed to transcend your meager origins. If you're
working class, you first to stay there, you know what
I mean. They have this tall poppy syndrome thing.
Speaker 2 (05:50):
The tall poppy syndrome is a phenomenon where people mock
those who think highly of themselves. In essence, they're cutting
down the tall poppy.
Speaker 4 (05:58):
And my realization was that in the UK we got
a monarchy, right, So there's this level that you can
never transcend, and you know it's there, so on a
subconscious level, you always know that you ain't shit, really
and you should just stay where you are.
Speaker 2 (06:11):
It was likely this class structure that pushed a cure
to daydream about the States.
Speaker 4 (06:15):
I was always just fascinated by America and it always
kind of stood for the things that I believed in America.
It's like any could be president, is what they tell you.
So a waitress in America is always on their way
to something great, and that's why they treat you nice.
In the UK, a waitress will spit in your drink
and glare at you because they're just they know that
that's where they are forever, and that's that.
Speaker 2 (06:36):
As his sixteenth birthday approached, Akira left home and embarked
on a series of adventures in the UK. He dabbled
in music journalism, then eventually picked up music making. He
was creating hip hop music that just wasn't being made
at the time, and the Brits weren't really digging his vibe.
Speaker 4 (06:52):
I was making weird rap music and it was like
people like me weren't supposed to make rap music at
that point. I was kind of doing rock influenced stuff
and wearing like makeup and being quite glad and talking
about my actual life rather than pretending to be some
kind of gang bangor or something, you know, which at
that time just wasn't done.
Speaker 2 (07:10):
Of course, white artists rapping about things other than the
hood would later become a popular hip hop niche, but
in the late nineties, Akira the Dawn was ahead of
the times. By the turn of the millennium, he wasn't
sure where he should go with his music next. That's
when an American rock band began to make waves in
his neck of the woods.
Speaker 5 (07:28):
Thanks again, I want to thank everyone for coming to
you tonight.
Speaker 3 (07:33):
You guys have been really nice to test in England
since we got here.
Speaker 4 (07:36):
You know, the Strokes really blew up in the UK
because people in the UK were like, hey, these guys
are really cool. They're American, Oh my goodness, but no
one gave it about them in New York, I realized
because I had friends over there. But anyway, so I thought,
maybe if I go to America, they'll think I'm cool.
Speaker 2 (07:50):
The idea percolated. Akira continued pushing his career in the UK.
He made a mixtape in two thousand and three and
released it online when no one else was doing it.
It got over a million downloads, so from the boost
from this internet hype. In two thousand and four, Akira
decided to take the plunge. He begged his bank into
lending him money to buy a plane ticket to the
(08:10):
US and.
Speaker 4 (08:11):
I arrived in Miami with no money whatsoever, And within
two weeks I was being signed to Interscope Records, and
Jimmy Ivan from in a Scope was telling me that
I was going to do some rap music what the
Beatles did to rock music.
Speaker 2 (08:26):
After he signed to the label, Akira says he immediately
began to see the strange economics of the music industry.
Speaker 4 (08:32):
And they would do weird stuff like try and get
me to spend my money on cocaine and I didn't
want it because I didn't want to do any cocaine,
and they were really perturbed by this, and then they
would do weird stuff, like if I had to go
to an airport, they'd hire a limo. I'd be like,
I don't need a limo, and they're like, just take
the limo. It's like aye, and all this weird stuff,
and you know, it's their money. They pretend it's your money,
(08:53):
but it's all alone, right, and they do this weird stuff,
like they want you to record in their recording studios,
so they like double dip on the money. They didn't
want to allow me to spend my advanced money on
building a home studio. They were trying to stop me
doing that because they wanted to retain complete control over
everything you're doing. You know.
Speaker 2 (09:08):
He tried to ignore the dark side of the industry
and began making his first album.
Speaker 4 (09:12):
It was about being an individual. It was about the
importance of being an individual. It was about standing up
for your individuality in the face of the world that
wants to turn you into the same thing as everyone else,
you know. To me, then what happened was they didn't
like my lyrics, you know, and they wanted me to
change the lyrics. I had a song call thanks for
all the aids, you know, So it was like talking
about Bob Geldof and Live Aid being hypocrites and stuff.
Speaker 2 (09:34):
Bob Geldof was a songwriter and producer behind the hit
song do They Know It's Christmas?
Speaker 4 (09:39):
And they're like, you know, you need to change these lyrics,
and I was like, huh. Buster Rhymes was on that
record label at that time, and he'd recorded three albums
for them and they wouldn't put them out. They didn't
like his lyrics either, you know. I was like, Buster
Rhymes can't get his record put out here? I ain't
what am I doing.
Speaker 2 (09:55):
As Akira was seeing the realities of corporate music making,
the entire industry was imploding. The MP three was making
the CD opsolete, and music sales were plummeting.
Speaker 4 (10:05):
Just in this short time I was with them, most
of their A and R department got sacked. It was
just as the whole NAPSTERA thing was really kicking in.
Speaker 2 (10:12):
So after about a year of trying to work with
the corporate system, Akira decided he wanted out.
Speaker 4 (10:17):
One of my songs was in that movie My Super
Ex Girlfriend. So I took the money I got from
that and I bought the rights to the album back
and went independent. And then since then was this long
process of kind of building this independent machinery and essentially
building a kind of parallel music industry.
Speaker 2 (10:32):
Music industry was collapsing, but at the same time, the
technology was removing the need for a major record label.
Speaker 4 (10:39):
I was one of the first people like making records
without machinery and distributing them and having a career and
being able to survive just doing that outside of that machine.
Speaker 2 (10:48):
So he decided to get back to his roots. Kire
of the Dawn returned to the UK and continued making music.
He plugged away for about seven years, building a parallel
music industry. He also began experimenting with his sound by
infusing hip hop beats with the spoken word audio of
people that inspired him, people like famed comic book writer
Grant Morrison. As he evolved his sound, the glass deealing
(11:11):
of Great Britain's class system continued to bother him, so
he turned his eyes back to the US.
Speaker 4 (11:17):
In around twenty twelve twenty thirteen, I came out of
Vegas because Grant Morrison, who's a comic book writer, he
had this festival out in Vegas and he had me
and Gerard Way from my Chemical Romance come out and
do the music. And I dropped in on my friend,
an old friend of mine who lived in Los Angeles,
on the way back, and I'd just had such a
wonderful time, and it'd be like I just walked down
the street and people had stop their cars and be like, hey,
(11:38):
you look cool. What are you doing. We're going to
a party, Come and do this party or whatever. And
I DJed a few places and everyone loved it, and
everyone was just so nice. All these crazy ideas I
had and my general sort of sunny, optimistic disposition was
met warmly. But in the UK, they ain't like them.
Speaker 2 (12:04):
Juxtaposing his life experience in Great Britain with what he'd
experienced in Los Angeles reminded him of something he'd recently read.
Speaker 4 (12:11):
And I was reading this Charles Pukowski short story collection
at the time, and there's a story where he talks
about he goes to some orgy and like someone tries
to stab him or something, and like he tries to
get with a girl and then a guy tries to
jump in, and he's not happy about this, and he
has all this and he ends up. He has some
messed up time, and he goes back and he vomits
all over his house and he goes to bed, wakes
(12:34):
up the next afternoon it's like midday. He gets up,
he takes a piss, he goes back to bed. He
draws the blinds and says, life is as kind as
you let it be. I was like, oh, yeah, good point.
I don't need to be here in the UK, which
it's miserable and people throw bricks at me and I'm
constantly banging my head against the wall and everyone thinks
what I'm doing is weird, and like it's raining all
the time, and there's princes and queens a stupid running
(12:56):
around like he's looking like like I said, like it's
medieval England or something like I could go over there
where it's sunny, and everyone seems like excited to do things,
you know what I mean. And so that's what I did.
I was like, I had to work with my wife
and we just had a kid, and it was like,
you know, what do we want for our future? What
do we want for our kids future? What do we
want for our dynasty? You know what I mean? What
(13:16):
kind of environment.
Speaker 2 (13:18):
America was calling.
Speaker 4 (13:20):
We agreed that it was the right thing to do.
It was a hard thing to do. Getting into this
country legally is very very difficult and very very expensive,
and staying here for any period of time it's very
very difficult and very very expensive. And you know, I
didn't have anything going on, and I didn't have any money.
I came over here, and I slept on a friend's
sofa and got DJ gigs and just kind of like
(13:40):
built myself up, and while my wife and son spent
most of the first year sleeping in like a small
room at her mum's house, while I got enough working
things together so I could then get them out here,
and eventually we were able to get our first one
bedroom flat.
Speaker 2 (13:56):
Now in America, he felt the freedom to experiment more
with his music until one night we Fling after Miley
Cyrus stole his phone charger, he stumbled on a sound
that he'd been unconsciously developing for fifteen years, and in
the process, he'd practically invent a new genre of music.
Speaker 1 (14:18):
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Speaker 4 (15:27):
Welcome back.
Speaker 1 (15:28):
So a cur of the don got tired of the
class structure of the UK that created a permanent glass
ceiling for the common man After a trip to America,
he decided to move his family to the States and
continue to experiment with his music until one night, while
unwinding after Miley Cyrus stole his phone charger, he stumbled
on a sound that he'd been unconsciously developing for fifteen years,
and in the process, he'd practically invent a new genre
(15:51):
of music.
Speaker 4 (15:54):
So when I was first thought and I was making
these mixtypes, there'd be some rap songs and I'd be rapping,
and then i'd have a beat, and then i'd just
like put like at Kirby, who's the guy who invented
the Marvel Universe, and you know, I'd put him just
talking for three minutes. People used to do stuff like
that on rap albums for like fifteen seconds. You know,
it'd be like a skit, or it'd be a bit
at the beginning of a song. But I'd be like,
(16:15):
I'd just do like the whole thing. I'd have like
a three four minute thing, and i'd have a guy,
you know, a sample of someone talking, and I'd make
it a bit rhythmic, sometimes like chop bits of it
up so it almost had like a chorus or something.
So that was just something I always did occasionally. And
then in twenty seventeen, I think it was I was
djaying in Hollywood and I was djaying and all these
(16:37):
really boogie like places, like where the Kardashians had go
in there. You know, I'd come back from DJing. I've
been djaying. A whisk leaf is in my booth, just
like blowing smoke in my face all day and I
can't see and I'm like, I come back at like
three four in the morning and I'm like stone from
whisker leaf as secondhand smoke, and like Mighty Sarrus had
stolen my charger and all this ridiculous, you know. And
(16:58):
I'd come back and you try and decompress from that
ridiculous world. You've got a wife and a kid, you know,
and like, you know, engaging in being responsible grown up
and you're surrounded by this Hollywood lunacy and it's quite weird.
So decompressing from that, I'd always come back and I
put on lectures and stuff. I'd have to speak projector
and I'll put on lectures and Jordan Peterson comes on
(17:18):
and he was talking about the importance of hierarchies of competence.
Speaker 3 (17:21):
You hear the egalitarian clarion call everywhere. Everything should be equal,
Everything should be equally distributed.
Speaker 5 (17:29):
We should strive for equity.
Speaker 3 (17:30):
It's like wrong, what we want are just hierarchies of competence.
Speaker 5 (17:36):
Not everyone's a neurosurgeon.
Speaker 3 (17:38):
If your father has a brain tumor, you probably want
a hierarchy of competence for neurosurgeons so you can pick
the one that's the best so that he might not die.
That's what a hierarchy of competence is for. For the postmodernists,
there's no hierarchy that isn't based on power. Well, because
they think the world runs on power, and that's why
they're willing to use power to get what they want
(17:59):
because it's the only thing they believe in. But a
valid hierarchy of competence, it's God, we need those things, man.
We need the best plumbers, We need the best contractors,
We need the best carpenters, we need the best lecturers.
There has to be a hierarchy of quality, not only
so that we know who the best are and can
reward them properly, but so that we can reward them
so they keep being the best. It's like, you know,
(18:22):
if if you have a great educator, if you have
a great leader, if you have a great thinker, you
want to reward them so they keep thinking and they
keep educating so they can tell you something.
Speaker 5 (18:33):
It's not a reward for their intrinsic being.
Speaker 3 (18:36):
It's a calculated move on your part to suck everything
out of them that's valuable as fast as you can.
Speaker 5 (18:42):
That's what a hierarchy of competence is for.
Speaker 4 (18:44):
He came on talking about that, the importance of hierarchies
and competence, and you know, he's like, be a plumber,
you know, be a good one. We don't need people
to cause problems, you know, we need people to sell problems.
Speaker 3 (18:55):
If you're going to be a plumber man, be a
good plumber, because otherwise all you do is go out
there and cause trouble. We don't need people to cause
more trouble. We need people to solve problems, you know.
And so you can be a tradesman, and you can
be can make a lot of money as a trades person.
It's a bloody, reliable, honorable, forthright, productive way of making
a living. And there is a hell of a lot
(19:16):
of difference between a working man who knows what he's doing,
and one who doesn't both in terms of skill and ethics, right,
and you work with someone who knows what they're doing,
it's a bloody pleasure. They tell you what they're gonna do,
they tell you how much it will cost, they go
and do it. It works, and you pay them perfect
everyone's happy. And that's what happens when you have genuine
(19:36):
hierarchies of competence.
Speaker 4 (19:41):
He's talking about the importance of picking and honest things
to do and doing it really, really well. And I
really resonated with my half stone self at four o'clock
in the morning, and I was like, I need to
turn that into a song immediately, and I turned it
into a song.
Speaker 5 (19:54):
We need to know who the competent people are and
we need to reward them. And even more importantly, we.
Speaker 3 (19:58):
Need to tell young people, hey, there's some hierarchies of.
Speaker 5 (20:01):
Confidence out there, click.
Speaker 4 (20:03):
A thousand of them.
Speaker 5 (20:05):
Go be a plumber.
Speaker 3 (20:05):
Man, but be a good one, you know, be an
honest one, because.
Speaker 5 (20:08):
Otherwise all you do is go out there and cause trouble.
We don't need people to cause more trouble.
Speaker 3 (20:13):
We need people to solve problems.
Speaker 2 (20:15):
Solve problem a problem.
Speaker 5 (20:22):
We need people to solve problems.
Speaker 1 (20:24):
Solve problem Plenty of hip hop artists have used short
spoken word samples in their music, and electronic music producers
like David August occasionally employed the technique as well. But
what a Cure of the Dawn was doing was a
much bigger commitment to the style. He was learning that
there was an inherent rhythm in the way good speakers spoke.
He'd also rediscovered something he'd learned as a teenager.
Speaker 4 (20:47):
I realized very early that music was incredibly powerful.
Speaker 1 (20:50):
Before he'd left school when he was sixteen, he'd record
himself reading his class notes over ambient music, then played
them back when he went to sleep.
Speaker 4 (20:57):
I always knew that if you combine something with music,
you could integrate it way. It was like this hack.
Speaker 1 (21:04):
In other words, if you could fuse a meaningful statement
with music, you could hack the human brain and implant ideas,
powerful ideas. Marrying this realization with this new approach to
music caused an awakening moment for a Cure.
Speaker 4 (21:19):
My parents are both like socialist types, you know, and
we used to listen Billy Bragg when I was little.
Speaker 1 (21:24):
As we mentioned earlier, Billy Bragg is an English singer,
songwriter and far left activist that infused socialist ideas into
his music.
Speaker 4 (21:31):
And I used to love Billy Bragg, these wonderful melodies
and this ridiculous voice, Billy Bragg singing about like just
how just the very concept of making money is inherently
evil while simultaneously being a rich rock star. Obviously, he's
just basically he just brainwashed me into being broke for
most of my life. But you don't think about it
when you were a kid, you know what I mean.
And then it goes in, and then it just wires
you into this thing, and you just I had such
(21:52):
a terrible association with money and success that I realized
in retrospect I completely sabotaged my own career multiple times
every time I started to get to a certain level.
At one point, Coca Cola wanted to offer me loads
of money to use one of my songs, and I
was like, oh, that's evil. You know, any kind of
opportunity that would come along. And I'm not saying now,
by the way, that I would give my music to
(22:12):
Coca Cola, but I'm saying that I would just outhand
reject any kind of situation that would come close to
getting me anywhere near any kind of monetary success purely
out of the programming, most of which was done through music.
On programming myself from this ridiculous ideology that I was
programmed with through music was one of the most difficult
things I ever did.
Speaker 1 (22:36):
Akira saw that if put in the wrong hands, marrying
a catchy melody with a bad message could spread evil,
but this same technique could also be used as a
force for good. It was a life altering realization. If
he could use the same approach but instead saturate his
music with positive motivational affirmations, it could improve humanity. He
(22:59):
knew he was onto something. Akira called his music meaning way,
and the new approach just flowed right out of them.
Speaker 4 (23:05):
It was very very simple, joyful process, and it came
out just like I had it in my mind, you know.
And then people liked it. People really liked it, and
I was like, Okay, I'll do some more of this.
So I did some more of that, and people loved it.
Speaker 1 (23:17):
He produced other songs using Jordan Peterson's messages.
Speaker 4 (23:20):
Yeah, and I realized, So I just realized very very
quickly the potential of power of it, and I took
James Holtis's device to just go all in and refine
this and just how could I make it more and
more powerful? And I had this whole grand narrative I
wanted to go through. That was essentially the school I
wanted to go to.
Speaker 1 (23:37):
From an early age, Akira enjoyed the superhero universes of
comic books. He wanted to create something similar for his
motivational music.
Speaker 4 (23:44):
And so I had this like cast of humans who
had all these various keys. You know. I used to
think about it like sort of shoulder angels, Like you're
out there in the world and like you get the
cartoon angel pop up. You know, you have a situation
where you look over there and Jordan Peterson's saying this,
and you look over there and Jocko Willinks saying that,
and you look over there and Alan what's his saying?
And the other thing and you look over there and
there's Marcus Aurelius from two thousand years ago and he's
(24:07):
got this insight. And Plato's over there and he thinks this.
And Robert Anson Wilson's over there and he thinks that.
And Terence mckennon's there and he thinks that, and I
had all these things and all these people who was interested.
Speaker 1 (24:15):
In He viewed them all as his cast of superheroes
that he wanted others to learn from. Their teachings represented
a kind of school he wanted to attend. But to
tell this grand narrative, he thought there needed to be
a progression.
Speaker 4 (24:31):
And I knew I couldn't just do it all straight away.
I approached it a bit like the way that the
Marvel Universe. I basically I realized that what I wanted
to build this meaning wave universe that was going to
tell this epic story and essentially integrate the wisdom of
the ages into this psychotechnology which people could use to
integrate all of this stuff that normally you'd have to
(24:53):
be one person studying a whole lifetime to get. But
I realized this was an opportunity right now, at this
juncture in history for his essentially to become superhumans by
being able to do that Neo and the matrix posison,
I know, kung fu thing you can literally do that
you could put You can listen to a podcast once
or twice, right, but if you turn that podcast into
a pop song, you could listen to that thing a
million times, and then you'll integrate that, you will know it,
(25:15):
you'll think about you'll think about it, and then one
day you'll be on the treadmill or something you'll be like, oh,
now I understand, you know. I get people right to
me every day saying, oh, I've been listening to this Alan,
what's album of yours? For two years. I just worked
out I just understood what he meant or whatever, you know.
So anyway, it was like, Okay, that's what I'm doing,
and I'm going to tell this story, and there's these
things I need to get to and I've got to
do it. And in order it's got to be fair.
I've got to the way the Marvel Universe start with
(25:35):
Iron Man. You don't start with doctor Strange. That's some weird, right.
You start with something that's relatable and feels like it
could happen in the world, you know, So I start
with Jordan Peterson.
Speaker 1 (25:45):
He expanded out to other speakers like entrepreneur and investor
naval Ravi Kant, retired navy seal Jacko Wheelink, and comedian
Joe Rogan.
Speaker 6 (25:54):
Right, he's gone cloud, gone cloud, and everybody's different, everybody's similar,
but everybody's different, and your attitude has a giant effect,
not just on your life, but on other people's lives
around you.
Speaker 5 (26:09):
That's the other thing about it. Those I can't catch
a break guys, get them away from me. I can't
be around those guys, around those I don't want to
hear that. I don't want to hear that.
Speaker 1 (26:20):
Akira discovered a powerful mind hack that many with perverted
ideologies have been using for decades to program the masses,
and that hack is if you imbue a catchy tune
with a message, that message is quietly seated in the
mind of the listener.
Speaker 5 (26:35):
Because everybody has bad breaks. I've had a ton of
bad breaks, so you know what.
Speaker 3 (26:40):
I did, stay out data.
Speaker 1 (26:43):
Seeing this phenomenon was part of my personal awakening when
I realized how the media, Hollywood, and music industries used
racial tensions to gain power. It made me revisit the
content I'd consume throughout the years, and one band from
my college days stuck out, a group called Brand Nubian.
This nineties hip hop band spoke about empowering the black community,
(27:03):
a seemingly positive message about a culture I felt connected
to through growing up in an all black neighborhood. As
a young twenty year old, I knew every word of
their debut album, One for All, But when I revisited
the album two decades later, I'd realized that while mouthing
their lyrics, I was actually rapping about the demise of
American culture, and I didn't even realize it. Brand Nubian
(27:25):
talked about the white man as the devil that needed
to basically be destroyed. I really wasn't even paying attention
to the meaning of the song. I just thought it
sounded cool. And you see, that's why it's so important
to imbue movies, books, and music with positive messages, because
these stories go on to create American culture. The ideology
that Brand Nubian got white folks to sing would become
(27:48):
the same ideology that justified the Black Lives Matter riots
of twenty twenty, and it would be that ideology that
would force Akira to make another major life decision.
Speaker 2 (27:59):
Do you want to hear Red Pilled America stories ad free?
Then become a backstage subscriber. Just log onto Redpilled America
dot com and click Join in the top menu. Join
today and help us save America one story at a time.
Speaker 1 (28:13):
Welcome back to red pilled America as a cure. The
Dawn was expanding on his meaning wave universe. From his
studio in downtown Los Angeles, he began to see the
signs that everything that he loved about the city of
angels was about to change.
Speaker 4 (28:27):
I had a studio in downtown Los Angeles, and by
the time I left there, the place was just swarming
with smackheads and crackheads and philth and horror the guy
there would be. I'd literally like, step out of my studio.
There's a guy pooping in the street. I remember the
first time I saw that guy. I'll look across the
road and there's a fashion show going on, you know,
and they're filming this fashion strala. Right on the other
(28:48):
side of the road is a sneaker still called Nice Kicks,
and people are queuing up to get this new yeezy drop.
And then in the middle of the road there's a
guy pooping and everyone's pretending that guy isn't there, And
I thought, this kind of says everything about what's going
on with the city. You know.
Speaker 1 (29:01):
A few years later, me your cities all across America
began to burn, and Los Angeles was hit especially hard
in many moments of fear and violins throughout Los Angeles today.
Speaker 5 (29:11):
Yes, clashes all day between protesters and police.
Speaker 4 (29:17):
The protests turned violent as police vehicles were set on
fire near Pan Pacific Park in the Fairfax District. I'm
doing a live stream. I'm in Melrose, and my son
and wife come up and they're scared, you know. I
was like, what's going on? And I opened the door
and in my studio fills with smoke, and there's a
building just over there. They've set fire to the whole building.
You know. I look out my window and there's literally
(29:38):
outside my window these Antifa types, so like organizing. They've
got their cars parked there. They're pulling all their shit
out there and all that type of thing. You know.
I live off Melrose. It was like the shopping censor
of Los Angeles. Everyone goes there to get their cool clothes,
you know. I used to go down there and I'd
meet members of Odd Future. When I first came to it,
it was an exciting place. You'd meet fun musicians and
none of them gave U about any of this ideological
(29:59):
stuff that they care about. Now. At that point it
was gone. I remember those they'd laugh at the idea
of racism. It was just like kids of every different
kind of denomination and they like rot music, rap music, everything.
They thought that was some dumb that their parents cared about,
and they didn't give a shit about it. And to
watch that forced back into culture and weaponized. It's such
an aggressive fashion. Between late late twenty twelve and then
(30:20):
what it became in twenty twenty, it was just an
incredible thing to win it because it was gone amongst us.
Speaker 1 (30:40):
Which leads us back to the question how have bad
ideas become so widespread in America. The answer is that
people with bad ideas got monopoly control of the machines
that feed our minds. These anti American forces took control
of Hollywood, the media, the publishing industry, education and music,
(31:01):
and then pumped their poison in to our bloodstream. It's
truly the source of most of our problems. As a
Cira of the Dawns studio filled with smoke, these bad
ideas seeped into his home in more ways than one.
Speaker 4 (31:14):
You know, I'm out there with my kids and he's like,
what's bullum? I don't like bullum? And he's like, seeing
there bla I'm written on everything and people. These people
are smashing everything, and they're all pissed off and angry,
and I'm like, I shouldn't be having to explain this
to my seven year old.
Speaker 1 (31:27):
Within a matter of months, he packed up his family
and moved to Texas.
Speaker 4 (31:30):
And my son is able to run around outside and
breathe like a human being.
Speaker 1 (31:35):
Now, Akira is busy creating music to help reverse the damage.
Speaker 4 (31:39):
What is the way out? And as again, part of
what I'm doing with Maining Wave is creating the ways out.
I focus on the Koshia side of it, and I'm
actively making stuff that transcends political stuff and could be
useful too and enjoyed by anybody.
Speaker 1 (31:54):
As Andrew Breitbart once said, politics is downstream of culture.
Every time you hear about another ridiculous cultural norm, understand
that the only way out of this mess is to create.
To create stories, create films, create books, create music, create
the things that define our culture, and imbue those things
with truth. Then flood Americans with that antidote, because the
(32:17):
ideological poison plaguing American minds doesn't stand a chance against
the truth.
Speaker 2 (32:23):
To support a cure of the dawn. Visit his website
meaningwave dot com. Well, you'll find an awesome album called
The User Interface for Reality that was inspired by a
Red Pilled America episode. Red Pilled America is an iHeartRadio
original podcast. It's produced by me Adriana Cortez and Patrick
Carelchi for Informed Ventures. Now, our entire archive of episodes
(32:43):
is only available to our backstage subscribers. To subscribe, visit
Redpilled America dot com and click support in the topmenu.
Thanks for listening.
Hosts And Creators
Adryana Cortez
Patrick Courrielche
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