December 10, 2025 • 32 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. Note: Some adult language.
Support the show: https://redpilledamerica.com/support/
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
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.
Speaker 2 (01:35):
Destroying property which can be replaced is not violent.
Speaker 3 (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?
I'm Patrick CARELCI and I'm Adriana Korti, and this is
Red Pilled America, a storytelling show.
Speaker 3 (02:07):
This is not.
Speaker 2 (02:08):
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 (02:21):
You can think of Red Pilled America as audio documentaries,
and we promise only one thing, the truth.
Speaker 4 (02:33):
Welcome to Red Pilled America.
Speaker 1 (02:44):
Bad ideas seem to be in high 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 Akierra the Dawn has done
just that.
Speaker 3 (03:20):
I was always way too ahead of.
Speaker 2 (03:21):
My time, That's Akira of the Dawn, and I was.
Speaker 3 (03:24):
Really wanting to not be too ahead of my time
so that I could make a bit of life for
my family.
Speaker 5 (03:28):
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 3 (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 Snowdonia, which is a valley
in Whales.
Speaker 3 (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.
You know.
Speaker 2 (04:20):
Kira actually took a liking to music while he was
still in the womb.
Speaker 3 (04:23):
Apparently I used to kick along in my mum's Tommy
to add him in the ants and tom Petty and
shit 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
(04:44):
really loved that I was interested and there was a
connection there, and he used to sit me down, you know,
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 shit
and I loved it.
Speaker 2 (05:01):
His father introduced him to artists like Billy Bragg, a
folk punk artist whose music was infused with socialist ideas.
Aspects of the artist's 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 3 (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 shit at me and shout faggot.
Speaker 2 (05:28):
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 3 (05:36):
They have this thing in the UK. It'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 3 (05:43):
You're not supposed to transcend your meager origins. If you're
working class upost 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 3 (05:58):
And my realization was that in the UK we got
a monarchy right 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 3 (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 motherfucker 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 3 (06:51):
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 shit and being quite clam
and talking about my actual life rather than pretending to
be some kind of gang banger 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 a Curra 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 I want to thank everyone
for coming to you tonight. You guys have been really
nice test in England since we got here.
Speaker 3 (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 a shit about to me in New York,
I realized because I had friends over there. But anyway,
so I thought, shit, maybe if I go to America,
they'll think I'm cool.
Speaker 2 (07:49):
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 Inner and 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.
Speaker 3 (08:10):
US, and 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 3 (08:32):
And they would do weird stuff like try and get
me to spend my money on cocaine, and I didn't
want to 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,
(08:52):
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.
Speaker 4 (09:07):
You know.
Speaker 2 (09:07):
He tried to ignore the dark side of the industry
and began making his first album.
Speaker 3 (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 fucking the same thing as
everyone else.
Speaker 1 (09:21):
You know.
Speaker 3 (09:22):
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 (09:33):
Bob Geldof was a songwriter and producer behind the hit
song do They Know It's Christmas?
Speaker 3 (09:38):
And they're like, you know, you need to change these lyrics,
and I was like, huh. Bust 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, shit,
if Bust Rhymes can't get his record put out here,
I 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 obsolete, and music sales were plummeting.
Speaker 3 (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 3 (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 3 (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. Akira
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 spoke word audio of
people that inspired him, people like famed comic book writer
Grant Morrison. As he evolved his sound, the glass dealing
(11:11):
of Great Britain's class system continued to bother him, so
he turned his eyes back to the US.
Speaker 3 (11:16):
In around twenty twelve to twenty thirteen, I came out
to 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've 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,
(11:37):
you look cool. What are you doing. We're going to
a party, come and do this party or whatever. And
I DJ'ed 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.
Speaker 6 (11:51):
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 3 (12:11):
And I was reading this Charles Pokowski 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 lets it be. I was like, oh shit, yeah,
good point. I don't need to be here in the UK,
where shit is 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 fucking there's princes and queens
(12:54):
and stupid shit running around like he's looking like like
I like he's medieval England or some shit. 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 kid's future? What do we want for our dynasty,
(13:15):
you know what I mean, what kind.
Speaker 2 (13:16):
Of environment America was calling.
Speaker 3 (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, while unwinded 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):
Life can be pretty stressful these days. You want to
know what makes me feel better? Licorice from the Licorice Guy.
Call me crazy, but it's true because I love licorice.
Longtime listeners of Bread Pilled America know that licorice is
my absolute favorite candy, and the very best licorice, hands down,
comes from the Licorice Guy. I know licorice, and it
(14:39):
doesn't get any better than this. What truly sets it
apart is its flavor and its freshness. The softness of
this licorice will blow your mind. I've never had anything
like it. The Licorice Guy offers jumbo gourmet licorice in
nostalgic seasonal flavors a red, blue, raspberry, cinnamon, watermelon, black,
and apple. Trust me, they are all delicious. What I
also love about the Liquorice Guy is that it's an
(15:01):
American family owned business, and you all know that I'm
a big proponent of supporting American companies. Right now, Red
Pilled America listeners get fifteen percent off when you enter
RPA fifteen at checkout. Visit Licoriceguide dot com and enter
RPA fifteen at checkout. That's licoricegui dot com. They ship daily,
treat yourself and those you love, and taste the difference
(15:26):
Welcome Back, 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
(15:50):
new genre of music.
Speaker 3 (15:54):
So when I was first thought 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 Jack 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, I'd
(16:15):
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
(16:36):
Hollywood and I was djaying and all these really boogie
like places, like where the Kardashians had go and shit
like that. You know, I'd come back from DJing. I've
been djaying. A whisky leaf is in my booth, just
like blowing smoke in my face all day and I
can't see shit, 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 Miley Sarrus
had stolen my charger and all this ridiculous shit, you know,
(16:57):
And 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're 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 and he was talking about the
(17:18):
importance of hierarchies of competence.
Speaker 5 (17:21):
You hear the egalitarian clarion call everywhere everything should be equal,
everything should be equally distributed.
Speaker 7 (17:29):
We should strive for equity.
Speaker 5 (17:30):
It's like wrong, what we want are just hierarchies of competence.
Speaker 7 (17:36):
Not everyone's a neurosurgeon.
Speaker 5 (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 cam but it says 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.
Speaker 7 (18:11):
There has to be a hierarchy of quality.
Speaker 5 (18:15):
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, 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. It's
not a reward for their intrinsic being. It's a calculated
(18:36):
move on your part to suck everything out of them
that's valuable as fast as you can.
Speaker 7 (18:42):
That's what a hierarchy of competence is for.
Speaker 3 (18:44):
He came on talking about that, the importance of hierarchies
of competency. 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 5 (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 hierarchies of competence.
Speaker 3 (19:41):
He's talking about the importance of picking an 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 (19:53):
We need to know who the competent people are and
we need to reward them, and even more importantly, we
need to tell young people, hey, there's some hierarchies.
Speaker 7 (20:00):
There's confidence out there.
Speaker 6 (20:03):
A thousand of them.
Speaker 5 (20:04):
Go be a plumber man, but be a good one,
you know, be an honest one. 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.
Speaker 7 (20:15):
Solve problem a problem.
Speaker 5 (20:22):
We need people to solve problems, solve problem.
Speaker 1 (20:26):
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 3 (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 3 (20:57):
I always knew that if you combine something with music,
you could integrate it way easier. 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.
Speaker 3 (21:18):
For a cure. My parents are both like socialist types,
you know. And I used to listen to Billy Bragg
when I was little.
Speaker 1 (21:23):
As we mentioned earlier, Billy Bragg is an English singer,
songwriter and far left activist that infused socialist ideas into
his music.
Speaker 3 (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, but
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,
a Coca Cola wanted to offer me shit 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 Coca Cola, but
(22:13):
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 wave,
and the new approach just flowed right out of them.
Speaker 3 (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 3 (23:20):
Yeah, and I realized. So I just realized very very
quickly the potential of power of it. And I took
James Talitis'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 3 (23:44):
And so I had this like cast of humans who
had all these various keys.
Speaker 1 (23:49):
You know.
Speaker 3 (23:49):
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 Watts
is saying other thing. And you look over there and
there's Marcus Aurelius from two thousand years ago, and he's
got this insight and Plato's over there and he thinks this.
And Robert Anson Wilson's over there and he thinks that,
(24:11):
and Terence mckennon's there and he thinks that. And I
had all these things and all these people who was interested.
Speaker 1 (24:14):
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 3 (24:30):
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 position,
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 fucking
a million times, and then you'll integrate that, you will
(25:14):
know it, you'll think about it, you'll think about it,
and then one day you'll be on the treadmill or
something you'll be like, oh shit, now I understand, you know.
I get people right to me every day saying 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 Iron Man. You don't start with Doctor Strange.
(25:37):
That's some weird shit, 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 (25:44):
He expanded out to other speakers like entrepreneur and investor
naval Ravi Kant, retired Navy seal Jacko Wheelink, and comedian
Joe Rogan.
Speaker 3 (25:56):
He's gone cloud, Gone cloud.
Speaker 8 (25:58):
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. That's the other thing
about it.
Speaker 7 (26:10):
Those I can't catch a break guys, get them the
fuck away from me. I can't be around those guys.
Speaker 6 (26:16):
I don't want to hear that show.
Speaker 3 (26:18):
I don't want to hear that shit. Fuck.
Speaker 1 (26:20):
Kira 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 7 (26:35):
Because everybody has bad breaks.
Speaker 8 (26:37):
I've had a shit ton of bad breaks, so you
know what I'd do, right, stay up data.
Speaker 1 (26:42):
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?
Speaker 3 (28:00):
Stories?
Speaker 2 (28:01):
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 (28:14):
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 3 (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 and 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 stray. Right on
(28:48):
the other 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 poopy 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, major cities all across America began
to burn, and Los Angeles was hit especially hard.
Speaker 2 (29:08):
In many moments of fear and violence throughout Los Angeles.
Speaker 7 (29:11):
Today, yes clashes all day between protesters and police.
Speaker 3 (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, It's
like what's going on? And I opened the door and
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 outside my
(29:38):
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 LA it
was an exciting place. You'd meet fun musicians, and none
of them gave U about any of this ideological stuff
(29:59):
that they care about. Now, at that point it was gone.
I remember those they had laughed 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 shit 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 band
ideas become so widespread in America. The answer is that
people with band 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 to our bloodstream. It's truly
the source of most of our problems. As a cure
of the dawns studio filled with smoke, these bad ideas
seeped into his home in more ways than one.
Speaker 3 (31:14):
You know, I'm go out there with my kids and
he's like, what's bullum? I don't like bullum? And He's like,
seeing there bla'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 shit
like 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 3 (31:31):
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 3 (31:39):
What is the way out? And that's again, part of
what I'm doing with Many Wave is creating the ways out.
I focus on the culture side of it, and I'm
actively making stuff that transcends political stuff and could be
useful too and enjoyed by anybody.
Speaker 1 (31:55):
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's an iHeartRadio original podcast.
It's produced by me Adrianna Cortez and Patrick Carelchi for
Informed Ventures. Now, our entire archive of episodes is only
(32:43):
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.
Speaker 2 (01:35):
Destroying property which can be replaced is not violent.
Speaker 3 (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?
I'm Patrick CARELCI and I'm Adriana Korti, and this is
Red Pilled America, a storytelling show.
Speaker 3 (02:07):
This is not.
Speaker 2 (02:08):
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 (02:21):
You can think of Red Pilled America as audio documentaries,
and we promise only one thing, the truth.
Speaker 4 (02:33):
Welcome to Red Pilled America.
Speaker 1 (02:44):
Bad ideas seem to be in high 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 Akierra the Dawn has done
just that.
Speaker 3 (03:20):
I was always way too ahead of.
Speaker 2 (03:21):
My time, That's Akira of the Dawn, and I was.
Speaker 3 (03:24):
Really wanting to not be too ahead of my time
so that I could make a bit of life for
my family.
Speaker 5 (03:28):
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 3 (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 Snowdonia, which is a valley
in Whales.
Speaker 3 (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.
You know.
Speaker 2 (04:20):
Kira actually took a liking to music while he was
still in the womb.
Speaker 3 (04:23):
Apparently I used to kick along in my mum's Tommy
to add him in the ants and tom Petty and
shit 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
(04:44):
really loved that I was interested and there was a
connection there, and he used to sit me down, you know,
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 shit
and I loved it.
Speaker 2 (05:01):
His father introduced him to artists like Billy Bragg, a
folk punk artist whose music was infused with socialist ideas.
Aspects of the artist's 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 3 (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 shit at me and shout faggot.
Speaker 2 (05:28):
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 3 (05:36):
They have this thing in the UK. It'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 3 (05:43):
You're not supposed to transcend your meager origins. If you're
working class upost 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 3 (05:58):
And my realization was that in the UK we got
a monarchy right 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 3 (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 motherfucker 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 3 (06:51):
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 shit and being quite clam
and talking about my actual life rather than pretending to
be some kind of gang banger 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 a Curra 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 I want to thank everyone
for coming to you tonight. You guys have been really
nice test in England since we got here.
Speaker 3 (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 a shit about to me in New York,
I realized because I had friends over there. But anyway,
so I thought, shit, maybe if I go to America,
they'll think I'm cool.
Speaker 2 (07:49):
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 Inner and 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.
Speaker 3 (08:10):
US, and 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 3 (08:32):
And they would do weird stuff like try and get
me to spend my money on cocaine, and I didn't
want to 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,
(08:52):
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.
Speaker 4 (09:07):
You know.
Speaker 2 (09:07):
He tried to ignore the dark side of the industry
and began making his first album.
Speaker 3 (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 fucking the same thing as
everyone else.
Speaker 1 (09:21):
You know.
Speaker 3 (09:22):
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 (09:33):
Bob Geldof was a songwriter and producer behind the hit
song do They Know It's Christmas?
Speaker 3 (09:38):
And they're like, you know, you need to change these lyrics,
and I was like, huh. Bust 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, shit,
if Bust Rhymes can't get his record put out here,
I 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 obsolete, and music sales were plummeting.
Speaker 3 (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 3 (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 3 (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. Akira
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 spoke word audio of
people that inspired him, people like famed comic book writer
Grant Morrison. As he evolved his sound, the glass dealing
(11:11):
of Great Britain's class system continued to bother him, so
he turned his eyes back to the US.
Speaker 3 (11:16):
In around twenty twelve to twenty thirteen, I came out
to 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've 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,
(11:37):
you look cool. What are you doing. We're going to
a party, come and do this party or whatever. And
I DJ'ed 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.
Speaker 6 (11:51):
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 3 (12:11):
And I was reading this Charles Pokowski 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 lets it be. I was like, oh shit, yeah,
good point. I don't need to be here in the UK,
where shit is 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 fucking there's princes and queens
(12:54):
and stupid shit running around like he's looking like like
I like he's medieval England or some shit. 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 kid's future? What do we want for our dynasty,
(13:15):
you know what I mean, what kind.
Speaker 2 (13:16):
Of environment America was calling.
Speaker 3 (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, while unwinded 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):
Life can be pretty stressful these days. You want to
know what makes me feel better? Licorice from the Licorice Guy.
Call me crazy, but it's true because I love licorice.
Longtime listeners of Bread Pilled America know that licorice is
my absolute favorite candy, and the very best licorice, hands down,
comes from the Licorice Guy. I know licorice, and it
(14:39):
doesn't get any better than this. What truly sets it
apart is its flavor and its freshness. The softness of
this licorice will blow your mind. I've never had anything
like it. The Licorice Guy offers jumbo gourmet licorice in
nostalgic seasonal flavors a red, blue, raspberry, cinnamon, watermelon, black,
and apple. Trust me, they are all delicious. What I
also love about the Liquorice Guy is that it's an
(15:01):
American family owned business, and you all know that I'm
a big proponent of supporting American companies. Right now, Red
Pilled America listeners get fifteen percent off when you enter
RPA fifteen at checkout. Visit Licoriceguide dot com and enter
RPA fifteen at checkout. That's licoricegui dot com. They ship daily,
treat yourself and those you love, and taste the difference
(15:26):
Welcome Back, 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
(15:50):
new genre of music.
Speaker 3 (15:54):
So when I was first thought 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 Jack 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, I'd
(16:15):
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
(16:36):
Hollywood and I was djaying and all these really boogie
like places, like where the Kardashians had go and shit
like that. You know, I'd come back from DJing. I've
been djaying. A whisky leaf is in my booth, just
like blowing smoke in my face all day and I
can't see shit, 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 Miley Sarrus
had stolen my charger and all this ridiculous shit, you know,
(16:57):
And 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're 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 and he was talking about the
(17:18):
importance of hierarchies of competence.
Speaker 5 (17:21):
You hear the egalitarian clarion call everywhere everything should be equal,
everything should be equally distributed.
Speaker 7 (17:29):
We should strive for equity.
Speaker 5 (17:30):
It's like wrong, what we want are just hierarchies of competence.
Speaker 7 (17:36):
Not everyone's a neurosurgeon.
Speaker 5 (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 cam but it says 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.
Speaker 7 (18:11):
There has to be a hierarchy of quality.
Speaker 5 (18:15):
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, 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. It's
not a reward for their intrinsic being. It's a calculated
(18:36):
move on your part to suck everything out of them
that's valuable as fast as you can.
Speaker 7 (18:42):
That's what a hierarchy of competence is for.
Speaker 3 (18:44):
He came on talking about that, the importance of hierarchies
of competency. 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 5 (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 hierarchies of competence.
Speaker 3 (19:41):
He's talking about the importance of picking an 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 (19:53):
We need to know who the competent people are and
we need to reward them, and even more importantly, we
need to tell young people, hey, there's some hierarchies.
Speaker 7 (20:00):
There's confidence out there.
Speaker 6 (20:03):
A thousand of them.
Speaker 5 (20:04):
Go be a plumber man, but be a good one,
you know, be an honest one. 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.
Speaker 7 (20:15):
Solve problem a problem.
Speaker 5 (20:22):
We need people to solve problems, solve problem.
Speaker 1 (20:26):
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 3 (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 3 (20:57):
I always knew that if you combine something with music,
you could integrate it way easier. 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.
Speaker 3 (21:18):
For a cure. My parents are both like socialist types,
you know. And I used to listen to Billy Bragg
when I was little.
Speaker 1 (21:23):
As we mentioned earlier, Billy Bragg is an English singer,
songwriter and far left activist that infused socialist ideas into
his music.
Speaker 3 (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, but
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,
a Coca Cola wanted to offer me shit 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 Coca Cola, but
(22:13):
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 wave,
and the new approach just flowed right out of them.
Speaker 3 (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 3 (23:20):
Yeah, and I realized. So I just realized very very
quickly the potential of power of it. And I took
James Talitis'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 3 (23:44):
And so I had this like cast of humans who
had all these various keys.
Speaker 1 (23:49):
You know.
Speaker 3 (23:49):
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 Watts
is saying other thing. And you look over there and
there's Marcus Aurelius from two thousand years ago, and he's
got this insight and Plato's over there and he thinks this.
And Robert Anson Wilson's over there and he thinks that,
(24:11):
and Terence mckennon's there and he thinks that. And I
had all these things and all these people who was interested.
Speaker 1 (24:14):
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 3 (24:30):
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 position,
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 fucking
a million times, and then you'll integrate that, you will
(25:14):
know it, you'll think about it, you'll think about it,
and then one day you'll be on the treadmill or
something you'll be like, oh shit, now I understand, you know.
I get people right to me every day saying 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 Iron Man. You don't start with Doctor Strange.
(25:37):
That's some weird shit, 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 (25:44):
He expanded out to other speakers like entrepreneur and investor
naval Ravi Kant, retired Navy seal Jacko Wheelink, and comedian
Joe Rogan.
Speaker 3 (25:56):
He's gone cloud, Gone cloud.
Speaker 8 (25:58):
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. That's the other thing
about it.
Speaker 7 (26:10):
Those I can't catch a break guys, get them the
fuck away from me. I can't be around those guys.
Speaker 6 (26:16):
I don't want to hear that show.
Speaker 3 (26:18):
I don't want to hear that shit. Fuck.
Speaker 1 (26:20):
Kira 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 7 (26:35):
Because everybody has bad breaks.
Speaker 8 (26:37):
I've had a shit ton of bad breaks, so you
know what I'd do, right, stay up data.
Speaker 1 (26:42):
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?
Speaker 3 (28:00):
Stories?
Speaker 2 (28:01):
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 (28:14):
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 3 (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 and 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 stray. Right on
(28:48):
the other 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 poopy 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, major cities all across America began
to burn, and Los Angeles was hit especially hard.
Speaker 2 (29:08):
In many moments of fear and violence throughout Los Angeles.
Speaker 7 (29:11):
Today, yes clashes all day between protesters and police.
Speaker 3 (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, It's
like what's going on? And I opened the door and
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 outside my
(29:38):
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 LA it
was an exciting place. You'd meet fun musicians, and none
of them gave U about any of this ideological stuff
(29:59):
that they care about. Now, at that point it was gone.
I remember those they had laughed 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 shit 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 band
ideas become so widespread in America. The answer is that
people with band 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 to our bloodstream. It's truly
the source of most of our problems. As a cure
of the dawns studio filled with smoke, these bad ideas
seeped into his home in more ways than one.
Speaker 3 (31:14):
You know, I'm go out there with my kids and
he's like, what's bullum? I don't like bullum? And He's like,
seeing there bla'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 shit
like 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 3 (31:31):
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 3 (31:39):
What is the way out? And that's again, part of
what I'm doing with Many Wave is creating the ways out.
I focus on the culture side of it, and I'm
actively making stuff that transcends political stuff and could be
useful too and enjoyed by anybody.
Speaker 1 (31:55):
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's an iHeartRadio original podcast.
It's produced by me Adrianna Cortez and Patrick Carelchi for
Informed Ventures. Now, our entire archive of episodes is only
(32:43):
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
Popular Podcasts
Las Culturistas with Matt Rogers and Bowen Yang
Ding dong! Join your culture consultants, Matt Rogers and Bowen Yang, on an unforgettable journey into the beating heart of CULTURE. Alongside sizzling special guests, they GET INTO the hottest pop-culture moments of the day and the formative cultural experiences that turned them into Culturistas. Produced by the Big Money Players Network and iHeartRadio.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.