Hidden agendas in the music industry

In this conversation, Mark Devlin, a British DJ and author known for exposing hidden agendas in the music industry, discusses the intricate relationship between music, mind control, and the darker aspects of the entertainment world. He reflects on his personal journey with music, the impact of social engineering, and the tragic stories of iconic artists like Michael Jackson and Prince. The chat also covers the 27 Club, the role of subliminal messaging, and the importance of awareness in navigating the entertainment landscape.

https://www.ukcolumn.org/video/hidden-agendas-in-the-music-industry

Episode Transcript

(00:38):
Mark Devlin, thank you for joining me in the trenches.
What's up brother? Good to be with you.
I was taking my dogs this morning to the Parlour and I was
listening to some old school punk rock Livingtons and No
Effects. I'm not sure if you're a punk
rock guy yourself, but I guess what I want to ask you is what's
in your playlist right now? Well, that's a very good

(00:59):
question. In terms of punk rock, I was
never really a big fan of the genre.
I do remember a lot about it because I grew up in the 1970s
and I can remember a friend of mine when we were both 7 went
out and bought the Sex Pistols. And I can't remember what the A
side was, but the B side was frigging in the rigging.
And it's very, it's a very dirty, smutty sailors sort of

(01:23):
song. And he had to keep it a secret
from his dad. His mum knew that he bought the
record. She gave him the money that he
had to keep it a secret from hisdad because he would have gone
mad and said, well, taken a hammer and broken it up
probably. So that's one of my memories of
the punk era and I could remember all those bands coming
through in the late 70s and stuff.

(01:43):
I remember hearing him play on the radio, but I was never
really into that. I was more of a black music guy.
So I was into pop music, whatever was in the charts up
until my teenage years. And then a school friend turned
me on to black dance music in the mid 80s.
So this was soul, funk, early rap and hip hop, early house
music and I've got into all of that and when I became ADJ that

(02:07):
was the route that I took. I played primarily R&B, hip hop,
reggae and that took me all overthe world.
As we were just talking about off air.
I've been to South Africa a few times to DJ, but just this week
I've been assembling a 1985 mix.So what I've done for the past
couple of summers is gone back 40 years in time and done a

(02:29):
really long mix of the best soulful dance tunes of that
year. So I'm on 1985 and I was
researching some of the tunes last night and wow, what some
great music around that year. So last night I was playing
Sheila E, the belle of Saint Mark from her album The
Glamorous Life. And Sheila E was a protege of
Prince and in her music you can hear Prince's influence majorly

(02:52):
because he wrote the tunes and produced them.
And it's just fantastic music. Prince put out such phenomenal
output in the mid 80s. Just love all his stuff.
And there was also a song by Ready For the World from 1985
called Oh Sheila, which is like a tribute to Sheila E and that's
very funky, that sort of Minneapolis funk sound, very

(03:13):
much in a Prince style. So in a long winded way of
answering your question, that's the sort of stuff I've been
listening to lately. Lots of 80s, lots of 80s dance
music. Chatting to somebody like you
though, I find quite depressing because I don't want to know
about the dark side of an industry that is otherwise so

(03:34):
entertaining. It's a double edged sword doing
this work because I'm still a music fan.
I can't live without music. And early on, when I put out my
first Musical Truth book, which was based on my first five years
worth of research into the true nature of the music industry and
what it's really used for, I didstop listening to music for a

(03:55):
while because I got pissed off at all these revelations that
were coming through about any ofthese artists and these bands
and these styles and even DJs that I'd enjoyed.
And so there was a period where I turned my back on all of that
and I thought, I'm just going tolisten to podcasts and speech
based output and, you know, inform myself on stuff.
And after a few months of doing that, I found I was really

(04:17):
wallowing in doom and gloom. A lot of the speech based
podcasts were very heavy and dense and not particularly good
for the spirit, not good for themental health.
And I found I had to turn back to music and I had to either
gravitate towards music which appeared to fall outside of
these industry agendas. And the soulful house genre for
me has achieved that. So I listen to a lot of soulful,

(04:41):
uplifting dance music and a lot of it is gospel infused.
A lot of it draws on old disco tunes from the 70s and to my
ears and my thinking, that is very bright, positive,
uplifting, feel good music, which has stayed outside of the
usual agendas. So I do listen to a lot of that,
but I also do listen to a lot ofthe artists and bands that I

(05:02):
expose because whatever the case, wherever they came from
and whatever the ultimate agendawas in them being put out there,
it is still great music. These artists were top of their
field for a reason, because theywere great.
We can speculate on where they got their training and you know
how they got into the game in the 1st place, but it's still

(05:24):
fantastic output. And so I do still listen to
music by the artists that I talkabout and I'm able to separate
the artist and the art, the music from whatever the agenda
may have been, whatever the detail behind these artists.
So it's important that we do inform ourselves because if
we're being mass mind controlled, and if we're having

(05:45):
our viewpoints and our perspectives and our thoughts
and our behaviours even dictatedby social engineers through
popular culture and entertainment which has been
weaponized against us, we need to be aware of that.
And we need to get that into theconscious mind where it can be
properly processed and comprehended.
But we can also continue to enjoy the music if we choose,

(06:07):
because now we've got all this stuff out of the subconscious
mind, which is where the controllers rely on it working
its magic and doing its thing. And when it's in the conscious
mind, you know what's going on and it can't then affect you.
That's what I've always argued. People disagree with me on this
and they say, oh, you should, you should turn your back on
these bands. They're not good for you and

(06:28):
it's not great to listen to their music.
But now I can't live without music.
I know many other people can't. And there's no reason why you
can't continue to enjoy these artists output.
But that's the thing, Mark. Music has been part of the human
condition. Whatever.
That's right. And I'm reminded of a comment
which I bring up often in interviews.

(06:48):
There was a show called How Dance Music Changed the World
and it was aired on BBC Four, those nice people at the BBC in
2017 and they interviewed Moby. And he said, if we were doing
this interview 10,000 years ago,someone might ask, what do you
think is compelling these peopleto dance around this campfire in

(07:10):
a ceremonial fashion, in a tribal fashion?
Well, some sort of shaman beats out a rhythm on animal skin drum
and the fire light flickers in their eyes and they're under the
influence of plant medicine, which has changed their
consciousness. He said.
You've just described a situation 10,000 years ago.

(07:33):
And last night in the club, a word to that effect.
And what he was doing was drawing parallels between
ancient tribal civilizations whowould have held events just like
that, where they would have danced around a fire at night
and they would have been under the influence of plant medicine.
There'd been a shaman administering that.

(07:54):
There'd be somebody bashing out a rhythm and they'd be dancing
in a communal fashion. That's what happens in
nightclubs. That's what happened in the
early days of raves and acid house warehouse parties, which
got the whole electronic dance music scene going in the UK.
If you think about it, all thoseelements were there.
There's the mind altering drugs,which in the case of electronic

(08:16):
dance music is primarily MDMA, known as ecstasy.
You've got the the music, the rhythm, the music provides the
rhythm and music seems to speak to us in a very deep, inherent,
primal way. It seems to be built into the
very fabric of what it is to be human, to gravitate towards
music and rhythm. And that's why the weaponization

(08:39):
of certain music genres has beenso successful, because the
controllers know, they're behavioural scientists, they're
anthropologists, they know how the human mind works, the human
psyche and how to get into it and manipulate it.
And they know that we naturally gravitate towards a sense of
rhythm. And then you've got the communal
aspect. So in that tribal example, you

(09:02):
know, all the folk from the community are getting together
and all partaken in this ceremony.
And in the modern dance music version you've got loads of
young people all coming together.
It's not much of a party when there's five people in the room,
but if you've got 500 people in the room now you've got a party
because everyone's pooling theirconsciousness and everyone's

(09:22):
responding to the music in the same way.
If they're under the influence of mind altering drugs, they're
having the similar kind of experiences at the same time.
And another aspect is the icons and the motifs, the visual
aspect. So these are very important and
they always were a big part of acid house culture and dance
music. When the Super clubs got going,

(09:43):
there'd be all kinds of signs and symbols and sigils, which is
another thing that speaks very deeply to the human psyche.
And so the controllers, I would argue the social engineers who
got their hands on the dance music scene very early on and
steered off in certain desired directions, understood all this

(10:03):
and they knew that the visual aspect is very important, the
mind altering aspect is very important, and the communal
aspect and the rhythmic aspect is very important.
So all those elements have been present and it's been a very
successful operation. I think we can conclude.
I remember the Satanic Panic andhow my folks were so worried.

(10:25):
You know, thanks to our church and our community.
Which music, you know, we were listening to and everything was
satanic and evil and, and then that all fell away in the 90s.
And I look back at that now and some of those songs, and it's
funny. Well, it makes me laugh when I
think back to those days of the Satanic Panic, which I remember

(10:46):
well, 1980s, and that seems to have been triggered by a lot of
these heavy metal, heavy rock groups.
And there was actually a case, there was a case in 1990, which
is fairly late in the timeline involving Judas Priest, British
heavy rock group. And there was a court case
centred around these two young men in America who had allegedly

(11:08):
discerned a bat masked message in a Judas Priest recording.
So when the record was played backwards, apparently one of the
lyrics came out as simply do it,do it.
And these young men interpreted this as kill yourself.
And so they went out and got drunk, so the story goes, and

(11:29):
they had a shotgun and one of them shot himself and died
straight away. The other one shot himself and
died later in hospital. And the case went to court and
the prosecution was trying to argue that the Judas Priest
record had caused these two young men to to do that.
And the case got thrown out. It was rejected, but it did put
into the public consciousness the idea that there could be bat

(11:51):
masked messages in recordings, and there absolutely are.
My researchers thrown this up. So there are bat mask messages
which are put in deliberately bythe artist, by the producers.
They know what they're doing. They've specifically created and
placed that message. But there are also bat mask
messages which find their way into recordings without

(12:12):
necessarily the conscious knowledge of the artist or
producers. This is where we start to get
into esoteric sort of supernatural realms.
And it's absolutely a thing. You know, I've been researching
it for years and totally this goes on.
But what does make me laugh is all these heavy rock groups are
associated with the Satanic Panic and, and, you know, really

(12:33):
bad music and church folk. You know, Christians condemn all
this stuff and say it's the workof the devil and stuff.
But if you look at the output ofmany of these pop princesses of
recent years, Miley Cyrus, Lady Gaga, Katy Perry, Britney
Spears, Taylor Swift, and you examine their videos, Rihanna,

(12:55):
Beyoncé, these are way more satanic than ever.
Have any heavy rock grip from the 1970s if you know what
you're looking for. I was talking earlier about
visuals, icons and motifs and you find stuff everywhere in the
videos by those artists I've just mentioned, which are
heavily satanic and dark, occultand prima, Sonic and esoteric,

(13:20):
all kinds of ancient signs and symbols.
You have icons and motifs pertaining to satanic ritual
abuse, trauma based mind controlwhich is absolutely everywhere,
and little calling cards of the so called Illuminati.
You know the control system thatwe have presiding over organised
society. They like to place their little
signs and symbols everywhere, and it's an announcement to

(13:44):
those with the eyes to see that this artist, if it pops up in a
pop princesses video, is owned and controlled.
So a great resource for this is the Vigilant Citizen website.
I've learned so much from that vigilantcitizen.com very early
on in my research. I used to spend a lot of time
going through that website and the guy does a great job of
breaking down all these signs and symbols and what they

(14:05):
actually mean. So the average Rihanna or Miley
Cyrus video is way more satanic in my view than anything from
Black Sabbath or Judas Priest. That's the big joke.
But it is, it is very obvious now when you look at stuff and
you happen to see the symbolismsand you see the ritualistic

(14:28):
stuff that they do. Katy Perry is very obvious.
Well, not a whole lot of it is going to be them because all
these artists are going to be MKUltrait.
All these artists are mind controlled, so many of them go
through it from early childhood.If they're unfortunate enough to
be born into the wrong family, they undergo all this stuff from

(14:49):
a very early age because it's already known at that point that
they're going to be famous and successful and they're going to
get inserted into culture. This is what so many people
won't accept, but there's so much evidence to show this is
the case. And in my books, I provide all
the citations and resources to show where I got this
information from. But there are also those who

(15:11):
might not be born into a family which is involved in
generational satanic ritual abuse.
And they might simply get to a point where they're about to
make it big in the industry. And for whatever reason, they've
been selected as an artist that the controllers think they can
work with and use to exploit andmanipulate the public.

(15:32):
And they might undergo mind control at that point to keep
them in line. So this is where they get
subjected to horrific trauma andit causes the mind to dissociate
from reality because it's the only way the mind has of dealing
with the horrors that it's experiencing.
So it causes the mind to shatterinto different compartments and

(15:57):
it tries to tuck away the traumaand the horror into these
compartments that it's created. But the manipulators have
realised that each of these compartments, they're called
alters within mind control programming, can be given its
own identity and it can be brought forward at will by the

(16:20):
use of a trigger word or phrase or sound or pattern or colour.
And that's the point where that altar takes over the personality
of the individual. Great example we have.
Probably the best one is the interview that Britney Spears
did with Diane Sawyer many yearsago, 2003, where in the middle
of the interview, Sawyer seems to utter a mind control trigger

(16:43):
phrase and Britney dissociates. She starts to go into one of
these altars and she's behaving very strangely, starts to cry.
And then she kind of pulls herself together and snaps back
into the front altar. And this is what they do.
This is why they have alter egos.
Many years ago there was Nicki Minaj, the rapper who used to
have this alter ego called RomanZelanski and she used to become

(17:06):
Roman on stage and she would transform into a male.
Effectively. She said Roman is this gay male
and he takes her over and he makes her do all kinds of things
that she wouldn't normally do. And Beyoncé used to say this
about her Sasha Fierce alter ego.
She said, oh, there's so many things I wouldn't do, but Sasha

(17:27):
Fierce takes over and controls me and and then I can just
become her and do all this stuff.
And this is classic indication of mind control.
Altars taken over. Lady Gaga used to have an altar
called Victor Calderon, which again, was a male.
So she became a male. Many people think she is lad
Gaga. Lots of debate on that.

(17:49):
But the point The point is you have artists who quite openly
say they've got these other personalities.
What about Slim Shady? Eminem.
Early on he became Slim Shady and Slim Shady is this guy that
murders his baby mother and doesdrugs and all kinds of crazy
stuff, Murder and mayhem. But then he becomes Marshall

(18:10):
Mathers again, which is a his original personality.
So there's a lot of it around when you know what you're
looking for. Bono's got this alter ego called
Mephisto, and on stage he puts on a pair of devil horns, so
he's not even trying to hide it and just becomes like this
devilish satanic figure. So this is all MK Ultra, which

(18:31):
is everywhere in the industry, and it's the way artists are
kept in line. Because an artist has undergone
mind control and who can be skilfully handled by a
programmer is more likely to stick to agendas and adhere to
what's required of them than someone that's in control of
their own mind and is fiercely creative and individual.

(18:53):
They don't want that. They want artists that are
absolutely under the thumb of those that control the industry.
The thing is that I feel sorry for for some of them, like
Britney Spears for example. I mean, she clearly is having
some sort of tug of war internally.
Yeah, well, I do as well. It's very easy to hate on these
artists. Particularly.

(19:14):
I used to find myself hating Nicki Minaj because of her
output. You know the the foul language.
And it's just awful. Yeah, and, and Cardi B is the
same. She's like a reboot of Nicki
Minaj. And these are aimed at young
people. This is the thing.
You know, at the time I had two young daughters and I realised
that this kind of output is aimed at them, their age group,

(19:34):
their demographic, you know, allthese pop princesses and, and
even rappers like Nicki Minaj and Cardi B, They're aimed at
prepubescent girls effectively, you know, the fan bases, but
target fanbase is probably like 9 to 15, something like that.
And I used to hate the fact thatNicki Minaj was putting out all
this disgusting depraved material.

(19:55):
But then I came to realise that it's not actually her fault if
she's been born into satanic ritual abuse and she's undergone
all these horrors. Who knows what she's been
through. Who knows what these people go
through? The level of of trauma and
horror. So we really should pity them
and have some sympathy for them rather than hate on them.
If you're going to hate on anyone, hate on the managers,

(20:17):
hate on the executives that run these record companies, they're
the ones that are pushing these agendas.
They're the ones that are selecting these artists and
dictating what they're going to be used for.
So that's where to direct your scorn, if anywhere.
Do you think everybody had Michael Jackson wrong back in
the day? Well personally I do and I was

(20:40):
thinking about him this morning because tomorrow is the
anniversary of his reported death, 25th of June, which is
anti Christmas as celebrated by Satanists.
So whereas the rest of us celebrate Christmas on the 25th
of December, and in the NorthernHemisphere, that's marking the
symbolic death and rebirth of the sun at that time of year.

(21:02):
So the sun reaches its lowest point as viewed on the horizon
on the 21st going into the 22nd of December.
And then it's said to symbolically die and it's in the
tomb for three days. Where have I heard that before?
And then on the morning of the third day, which is the dawn on
the 25th of December, it rises and it's slowly, very gradually

(21:27):
starts to rise a little bit moreeach day until it reaches its
high point, it's apex at the summer solstice, which we've
just passed. So we're celebrating the rebirth
of the life giving properties ofthe sun.
Satanists do everything in reverse.
They take that which is inherentto nature and creation and turn
it on its head. So they celebrate at the

(21:49):
opposite time of year, which is the summer solstice, because at
that point the sun has reached its high point in the sky, it's
apex, and it's slowly starting to decline from that point on a
little bit more each day all theway down to the 25th of
December. It's the opposite for you guys
in South Africa, of course. And so they're celebrating death

(22:11):
and decay, which is what they'reall about.
And so it's interesting that on the 25th of June, we're told
Michael Jackson suddenly passed away at the hands of his
physician. And that happened to be the
birthday of George Michael, who was a label mate of his on Sony.
So both those artists went up against the paymasters, the
overlords at the Sony Corporation, and tried to take

(22:32):
them on in legal battles. Didn't end well for either of
them. And then exactly 6 months later,
from his birthday and from Michael Jackson's checkout day,
George Michael dies in 2016, Christmas Day turns up dead last
Christmas I gave you my heart. And he dies of heart failure on
Christmas Day. So there's all kinds of
synchromysticism there going on with the dates and the numbers.

(22:56):
But with Michael Jackson, I personally feel that he is
someone who would have been mindcontrolled from early childhood,
put into it by his father, who wanted to make stars of all his
children. And I think Joe Jackson,
Michael's father, would have been approached by the industry
early on. Reportedly he wanted to be a

(23:18):
performer himself, but he was never able to make it.
So I think what happened was he was made an offer whereby the
industry said to him, we'll makeyou rich and successful through
your kids. So you've got to make stars of
your kids. They've got become performers.
They're going to have to train rigidly, obsessively and become

(23:39):
these great dancers, singers. And that would have been the
point where they would have beenput into probably MK Ultra to
keep them in line and to make them great performers.
This is something that happens as a result of the programming.
It seems to turn them into like performing robots.
They become the very best dancers, the very best singers,
the very best actors. If you think of some of the most

(24:01):
accomplished Hollywood actors, I'm sure a lot of those
performances are coming through the trauma of of the MK Ultra.
And in the case of actors, they're actually slipping into
these altars. So people say somebody like
Johnny Depp, for example, or Robert De Niro, they seem to
become the characters they're portraying.

(24:22):
This is something you hear very often.
They change their appearance, they change their mannerisms.
I think they're slipping into altars that have been prepared
for them. But getting back to music and
the Jackson family, I think that's what happened to all
those kids early on. And Michael was selected as the
most recognisable member of the family to become a solo star.

(24:43):
And of course, he became a majorrecording artist, shifting
millions and millions of units. But I think he reached a point
where his mind control programming was starting to wear
off and some of his inherent personality, humanity, was
starting to bleed through. And so he was starting to make
comments in public, which you can imagine the controllers

(25:06):
weren't too happy about. Yeah, it became a threat.
Yeah, exactly. They don't like that when
artists start to make statementsoff their own back from their
own minds, they become a threat and they have to be removed or
dissipated one way or another. I think that's what happened

(25:28):
with Bob Marley. People ask me about Bob Marley
all the time. I think Bob Marley was a
genuine, sincere artist, an activist, and he was putting out
meaningful message music which was really connecting with
people, and he became a threat. So he got taken out ultimately
by the CIA. We're told that he broke his toe
playing football and it went cancerous and spread through his

(25:49):
body, but there's evidence to show that the CIA actually
knocked him off. Also, John Lennon.
People argue with me all day on John Lennon, but I personally.
Feel Intel. Yeah, I think he had also become
a threat because of the nature of his music and his activism.
So he had to be removed. And with Michael Jackson, he was
starting to go the same way overan extended period, many years,

(26:11):
but he was making comments whichwouldn't have gone down too
well. He spoke about how the history
books have been manipulated through his his story project.
You know, that's what that was all about.
And he spoke out about the industry, the true nature of it.
He went up against Sony. He described Tommy Mottola, the
one time CEO of Sony. So yeah, Michael criticised

(26:35):
Tommy Mottola, who was the one time husband of Mariah Carey and
I think probably mind control handler and he called him the
devil, didn't mince his words. And he described the Sony
Corporation as evil. And he said to people don't
believe everything you hear in the media because they
manipulate stuff and change stuff.
So I think they fired a couple of warning shots at him in the

(26:59):
form of those cases where he wasalleged accused of, you know,
messing around with minors. And the first one, I think,
almost destroyed him, but he wasable to make a comeback.
And then the second one that gotsent his way was intended as a
very serious reminder of what they could do.

(27:21):
It was their way of saying, remember how powerful we are?
We can destroy you. You've got to stop saying what
you're saying, doing what you'redoing.
You've got to start getting backin line.
So he was about to do that series of This Is It concerts
kicking off in Wembley in 2009. And then on the 25th of June, we

(27:42):
get the news that sadly, he diedfrom an overdose of fentanyl
administered by Conrad Murray, his doctor, right?
And that's it. That's the end of Michael.
So people speculate for days. Of course, it's very murky
waters when you start to research this sort of material
because every time an artist passes away, there are going to

(28:02):
be accusations of them having faked their death.
And I think from looking at manyexamples, this does happen
sometimes. I think that's what happened
with Jim Morrison. I think that's what happened
with Elvis Presley. And it may be what happened with
Tupac and possibly David Bowie. But when it comes to Michael

(28:22):
Jackson, people point to this interview that was done by Larry
King of CNN the day after Michael is said to have died
with a guy named Dave. Dave, you familiar with him?
The name rings a bell, but I can't remember.
Well, his real name is said to be Dave Rothenberg, and he was

(28:43):
said to have been a burns victim.
So the story is his father was very abusive and he set him on
fire when he was a kid, and he suffered horrific burns, and he
had to have skin grafts and all kinds of surgery.
And so it changed his appearance.
And he looked like this melting plastic on his face, you know?
And Michael is said to have befriended him when he was a kid

(29:08):
because Michael liked children, not in that way, but he liked
the company of children. And then on this CNN show, they
wheeled out this guy, Dave Rothenberg, who wanted to be
known by the name Dave Dave. And he was giving tribute to his
friend Michael Jackson, who'd just passed.
And what so many people drew attention to is the fact that
Dave, Dave's voice sounded exactly like Michael Jackson's.

(29:32):
And he looked like a man under heavy disguise, like it was
prosthetic surgery. And so people are speculating on
whether that could actually havebeen Michael.
And it was like a goodbye message to the world for those
with the eyes to see. And he'd been allowed to
disappear off into obscurity. So I've got a few problems with
that. I don't know how that would have

(29:54):
worked, because if Michael had really pissed off the industry
overlords and become a threat, they're not going to have
allowed him to have faded off into a witness protection
programme. And you can only fake your death
successfully and fade away with the complicity of military
intelligence. There's no way you'd pull it off
without them being in on it. So, I don't know, I, I leaned

(30:17):
towards Michael actually dying when we're told he did as a
result of him having become sucha threat, such a loose cannon,
such a an unknown variable that he just had to be removed.
And what made Michael's case an even tougher the one is that he
was born a black man and died a white woman.

(30:42):
It's a sad joke. On there, something went on
there, didn't it? In my.
The point is, yeah, the point is, is that that whole thing
also just made everything more difficult for him.
Yeah, I mean, there's all sorts of possibilities when it comes
to why he changed his appearancein that way.
So I've got a story in the new book which goes all the way back

(31:04):
to his filming of this Pepsi commercial in early 1984 when
his hair caught fire. So there was a a firework that
went off and it landed in his hair or, or some debris landed
in his hair and set it on fire and he suffered really bad
burns. So it's interesting, you know,
you've got the Dave Dave story involving burns.
And it was from that point forward that Michael's

(31:25):
appearance started to change slowly.
So I think he was having all kinds of surgery to correct the
damage that was done through that incident.
And it just got more and more radical.
Some people feel he was replaced.
I don't know. If you look at Michael Jackson
in his latter years where he's pale white and he's got straight

(31:47):
black hair. If you compare an image like
that with Michael Jackson from his off the wall era 1979, where
he's clearly fully a black man with dark skin and black hair,
there's no way anyone would lookat that picture of Michael when
he's all pale and white and go, oh, that's Michael Jackson if

(32:08):
they hadn't been told that's Michael Jackson.
So we only accept that was Michael Jackson because the
media has constantly put him outthere and said, oh, look, look
how his appearance is changing. He's getting paler and he's
changed his nose to look less like his father to sort of
distance himself from him. So who knows what happened
there? Like I say, it's murky waters
with this kind of research. It is possible they swapped him

(32:30):
out. I really don't know.
It's it's it's not an easy one to put your finger on.
And you have many researchers who claim to have all the
answers. I'm always suspicious of these
people who claim they've got it all clear cut and they've got it
all nailed and their theory on things is correct.
They say, oh, this happened and this happened, and that's false
and this is true. Nobody can be that sure.

(32:53):
If you weren't actually a part of that inner circle where these
events happened and you're looking in from the outside,
nobody can have that level of certainty.
So when people claim to have gotit all figured out, that's ego
coming in. The point I was alluding to
earlier is that Michael suspect that something was wrong with
the industry and he wanted out and the whole world just

(33:16):
completely misunderstood him. And now we look back in
hindsight and we go, yeah, he was correct.
Yeah, exactly. Hindsight is a wonderful thing.
And it's the same with Prince. You know, the story of Prince
very much echoes that of MichaelJackson.
There's so many parallels there.You know, Prince got into legal

(33:37):
battles with his record label, Warner Brothers, and he was
trying to expose some of their practises and withdraw himself
from their clutches in just the same way as Michael did with
Sony. And, you know, it didn't end
well for Prince, again, if we accept the official story, which
is that he died in an elevator, which is highly symbolic when

(33:57):
you get into occult realms because an elevator symbolises a
portal between this 3D physical reality and the spirit world.
And according to some, when the elevator is going down, that's
taking you down to hell, if, if you want that metaphor.
And then when it's sending, it'sgoing to heaven to put a
religious slant on it. Prince himself made a comment

(34:20):
about the elevator, according toLA Reid, an industry executive
who was interviewed in the wake of Prince's death.
And he said that Prince had oncesaid to him, do you know what an
elevator symbolises? And LA Reid said, no, what is
it? And Prince said, oh, it's a
portal between different worlds,different realms.
And in Let's Go Crazy, Prince's song, he says we're not going to

(34:43):
let the elevator bring us down. Words to that effect, he
mentions the elevator. And so highly symbolic that he
turned up dead in an elevator atthe age of 57 on the 21st of
April 2016, the 90th birthday ofthe Queen of England.
Quite the coincidence. And so that's Prince gone,

(35:03):
Michael Jackson gone. There are two threats to the
industry gone. A third one would be George
Michael, who was also on the Sony record label, like Michael
Jackson. And just like Michael Jackson
and Prince, George Michael became highly critical of the
industry and it's practises and the Sony Corporation.
And I've actually got a lot of respect in hindsight for George

(35:24):
Michael. I never used to enjoy his music.
Oh WAM was amazing. Yeah, yeah, WAM was better.
Wam's music was was bright and colourful and and great for the
80s. But I never really liked George
Michael's solo material. I thought it's quite
pretentious. But I've really come to respect
him as an individual because there was an episode of the BB

(35:47):
CS hard talk that he did with Tim Sebastian in 2003.
And it was in the wake of Bush and Blair launching their
incursions into Iraq, the so called second Gulf War.
And George Michael had been highly critical of Bush and
Blair. He had a single chord, I think

(36:07):
it was called Wag the Dog, wherehe got cartoon depictions of
Bush and Blair in very unflattering positions.
And George Michael curated this video because he didn't like
their policies when it came to war mongering.
So in this episode he's asked about that and he displays a
high level of knowledge and a high level of personal

(36:27):
integrity, and he was bringing up subjects that no other artist
was. I like to think that if George
Michael had been around during the COVID era, he would have had
a thing or two to say about it. I think he probably would about
the how the whole thing was a big bloody scam, but he was

(36:48):
obviously neutralised way beforethat.
And it would have been interesting to hear what Prince
would have had to say about COVID as well.
I often wonder about this John Lennon, if he'd still been
around, what would he have said?Would he have gone along with it
all or would he have felt compelled to speak out?
Bob Marley, I think these artists would have spoken out.
So with George Michael I, I do now respect him as a man and he

(37:10):
took part in a great sketch withRicky Gervais where he was just
lampooning himself, just self effacing.
And it's great to see people do that because there's obviously
no ego there, no pretentiousness.
They're prepared to send themselves up and it's just a
shame that all these great artists get taken out and we get
left with all the shit ones, theboring ones, the compliant ones,

(37:34):
all the interesting ones go, youknow, the very best music from
over the decades is from deceased artists.
That's the sad factor there. A lot of this conversation
though is around mind control and artists themselves being
controlled and manipulated. But it does expand into more
dangerous territory. I mean, look what's going on now

(37:56):
with P Diddy. Yeah, well, it is dangerous in
terms of the things he's being accused of.
So he's currently on trial and officially it's for racketeering
and child sex trafficking, whichis bad enough.
But on top of that, there have been accusations for years that
he's been running Jeffrey Epstein style blackmail

(38:19):
operations through his various mansion parties, free coughs, as
they're called, sex orgies. And this is where the rich and
the famous and the powerful celebrities, business leaders,
politicians are said to attend these parties just as they did
on Epstein Island. And they're curated by Diddy and

(38:41):
all kinds of stuff goes on. You don't even want to imagine
what goes on. You know, it involves sex
slaves, women that have been drugged.
It involves minors, and reportedly many of these famous
people that whose names we're going to know get up to all this
stuff at these parties and it gets filmed.

(39:02):
And that footage gets used as blackmail leverage to make sure
they stay in line and they don'tstray from the agenda that's
been set out for them. And if they do, they're reminded
that this footage exists and that it can be made public at
any time, and that's their career destroyed.
So this stuff is not making it into the court case, but there

(39:24):
have been multiple accusations that Diddy has been running this
sort of operation. And I think he would have
imagined that he was untouchable.
I think when they arrested him at the end of 2024 and they
stuck him in the Metropolitan Detention Centre in Brooklyn,
reportedly New York's worst gaol, he probably couldn't

(39:44):
believe what was happening to him because I'm sure he would
have thought he was untouchable.He could do anything he wanted
because he was so blatant and soflagrant in his interviews and
his videos. There's a video of him, you've
probably seen it with Justin Bieber.
You know, he took Justin Bieber under his wing and he's got this
video where he says we're going to go crazy.
I've got custody, custody of Justin for the weekend.

(40:08):
And it's going to be every 15 year old's dream.
We're going to do all kinds of crazy stuff that I can't really
talk about on video. What does that mean?
You know, and he's being open about it, about the fact that he
can't talk about it and. Earlier, he had lived with
Usher, a young Usher. The singer had lived with Diddy
when he was a miner. What's that all about?

(40:28):
Moved in with him. And he's open about that as
well. And there's a video where Diddy
has sat with his mother, Janice Combs, and they're both sharing
an IV drip. And Diddy says, oh, you know,
we, we went a bit crazy at the party last night.
So we're just rehydrating. What does that mean with his

(40:50):
mother? And his mother looks like,
frankly, a hooker. She's got her hair and nails
done and stuff, and she's in this revealing outfit, and it's
like Diddy's trying to pimp her out.
He said, this is my mom, you know, she's a beautiful woman.
She's single. Like he's trying to pimp out his
own mother. So he was quite blatant about a
lot of this stuff, which is why I think he thought he was
untouchable. And they probably allowed him to

(41:13):
think he was untouchable, but they came for him in the end for
whatever reason. Maybe they thought he was too
much for liability. Maybe they just wanted to take
the heat off of some other areasof where things were going on,
and they wanted to direct attention over to what Diddy had
been accused of. And they're just throwing him
under the bus now. And this is what happens when

(41:34):
you get into bed with psychopaths and Satanists.
Don't be surprised if they turn on you because they're
psychopaths and Satanists. It's what they do.
What about R Kelly? You know, a few years before did
he? We got all these stories of R
Kelly being involved in similar activities, running a sort of
mind control sex cult with kept women.

(41:56):
And they went for him as well. He got away with it for many
years, ran that operation for a long time, but in the end they
went for him and he's in gaol. Reportedly he's just overdosed
in gaol somehow and he's in prison hospital.
So if you're not from one of these important bloodline
families, which is a big part ofthings, if you're born into one

(42:18):
of these generational families, then you can have a position
made available for you. You can have a facilitated
career. But if you somehow come into the
industry from elsewhere outside of one of these families, and
you somehow sort of work your way up with a bit of assistance,
will they select you as a chosenone?
Never be surprised if they turn on you, because that's what they

(42:40):
do. And right now, Jay-Z is probably
spending a lot of time in the bathroom.
Have you heard Kanye's *** Hail Hitler?
What do you make of that? And what do you make of Kanye?
I think they are doing similar things to him to what they did

(43:01):
with Michael Jackson. They're trying to smear his
image and his name. And I think this is because
Kanye is a very obvious candidate for MK Ultra mind
control. Over the years he's displayed
many traits of having undergone this.
He's displayed many traits of the programme is starting to
break down and his real self starting to come through.

(43:23):
And many of the so called incoherent rants that he's made
publicly, the mainstream media has branded him as crazy and
outspoken and braggadocious and all this.
But he was actually speaking a lot of truth and I think he was
trying to get the truth out there.
And often after one of these rants, he disappears from the

(43:44):
public eye for some time. And this smacks of him being
sent back to the MK Ultra lab tohave his programming topped up.
I think in recent times, the waters have been muddied by the
fact that they've been using doubles.
It's not Kanye. So you'll see what is alleged to
be Kanye in public doing an interview.
There's that one where he's in acar and he's he's got the window

(44:07):
wound down and he's talking to some reporter through the window
of his car. Have you seen that one from
about? Three or four years ago.
Yeah, and he's saying that Hollywood and the entertainment
industry sacrifices family members, which is a pretty
outrageous statement, but it's not Kanye.
That's not him. I'm not saying that they've got

(44:28):
rid of him because the real Kanye seems to reappear from
time to time, but they're they're using doubles.
And I think they are systematically trying to destroy
his public image and his credibility through things like
this Nazi business. And you know, if you think about
some of the most extreme things that an artist can say and do to

(44:51):
make the public turn on them andhate them, then Kanye's been
doing all of that. But is it really him?
Is it him being directed to do so in a mind controlled state?
Or is it double S replacements that they're using to literally
put words into his mouth? So he's a very complex
character, not easy to work out what's going on there.

(45:13):
I do suspect that they would like to have taken him out.
They would like to have overdosed him or suicided him,
but it would be just too obvious.
If something happened to him now, it would be too obvious
that they took him out. So sometimes they they can't do
that, so they have to destroy them instead, just destroy their

(45:34):
character. I remember in the early 2000s I
went to a Prodigy show and it was phenomenal.
Firstly, I think Prodigy are amazing, or they were amazing in
terms of the music production. But I remember during the gig

(45:56):
they had this long sort of section of repetitive music for
about 15 minutes where it was just the same thing, looping,
and there was this strong smell of marijuana in the air.
So people were clearly smoking. Yeah, that puts me in mind of
that infamous Travis Scott concert at Astro World a few

(46:20):
years ago where a bunch of youngpeople died and observers.
Researchers have suggested it was some sort of sacrificial
ritual. But Travis Scott was behaving
very strangely at that event. He was up on some sort of plinth
or podium. And while this skirmish was
going on, which killed these young people, he appeared to go

(46:43):
into a trance. Like, his eyes glazed over.
And he was just rattling off this mantra, which is like sort
of speaking in tongues, just this horrific nonsense sound,
almost as if he'd been taken over by demonic entities and he
was channelling them. So I think they were some very

(47:03):
dark elements to that event. And also U2 did a big concert at
the the Dome. What's the name of it?
Is it called the Dome in Las Vegas?
This new venue that's opened there and it is a huge Dome and
it's got a big eye on the top ofit, like an all seeing eye.
So it's like an announcement. This is a an owned venue and

(47:27):
I've got some footage of a show that they did where I think it's
before they came on, they just put out a whole load of
subliminal messages. They're being flashed up on the
screen in huge lettering for split seconds at a time.
So it's going straight into the subconscious mind, which soaks
everything up like a sponge thatit sees and experiences.
And it was all kinds of messages, just phrases and

(47:47):
words. Well, this repetitive music was
playing. So they're messing with the the
mind state of the the audience. The audience are being used as
experimental Lab Rats and Guineapigs.
They think they're just going toa concert to hear some great
music, but they're actually being manipulated in all kinds
of very deep psychological ways.And it's probably the same at

(48:13):
that event that you just mentioned by The Prodigy, who
must have been selected and elevated in their career because
there were lots of acts that emerged at the start of the rave
era. There's only a few that got to
the level of the Prodigy. So you know.
But they were very good. Right.
Well, if if that's your musical bag, yeah, I I like some of

(48:38):
their stuff a lot. A lot of it was too hardcore for
me. I didn't really like that
completely hardcore rave stuff. I liked it more soulful, I
guess. But the Prodigy were, yeah, a,
a, a group that were placed there.
Clearly I'm I'm my mind goes to what happened to Keith Flint

(48:58):
from that group. Yes, right.
Yes, yes, yes, just a few years ago.
Yeah. So Keith Flint turned up dead
very suddenly in suspicious circumstances.
This happens a lot in the industry.
And a consistent factor is that I can't remember what they said
about Keith. Was it that he took his own life
or was that an overdose? I can't remember.

(49:18):
Get confused sometimes with all these.
It was one or the other. Anyway, the night before he
turned up dead, he was out dining and socialising with
friends and he was said to be ingreat spirits, so he didn't come
across as somebody that was tired of life or was doing
copious amounts of drugs. And we hear this so often.

(49:39):
Dolores O'riordan of the Cranberries turned up dead in a
bathtub in the Hilton Hotel, Park Lane, London, in early
2018, said to be an overdose, and she also had been out with
friends. She'd been making plans for the
future. She was working on a new album
project and some live shows and stuff.

(50:00):
So she didn't strike you as somebody that was tired of life.
Same thing. With yeah, yeah.
And that girl, what's her name now?
They tried to take me to rehab and I said no, no, no.
Amy Winehouse. Yes.
Amy Winehouse same way said to have overdosed, even though
friends and family say that she'd been clean for a long
time. Age 27.

(50:21):
Aged 27, part of the 27 Club. And it's often very vague when
they tell you an artist has passed away.
They don't often go into the fine detail of what killed them.
They just intimate or imply thatit was some sort of overdose.
But it's it's never very clear. I mean, what did Jim Morrison
die of? If you, if you ask the average

(50:42):
person, oh, what did Jim Morrison die of?
They'll probably say, oh, some sort of overdose, but they won't
know exactly what. Whitney Houston, you know, what
did she die of? It's some sort of overdose, but
we don't know what. And they just seem to rely on
the public's perception of the music business as being full of
drugs and alcohol and crazy lifestyles.

(51:04):
So when an artist turns up dead,most people just chalk it up as
rock'n'roll lifestyle. You know, these these music
artists, what are they like? And they just forget it.
And I've often sort of quipped that if the same amount of
plumbers turned up dead as musicians do, people would be
saying, what the hell is going on, man?

(51:26):
Why are all these plumbers dying?
There's plumbers dying everywhere.
This needs investigating. What's happening.
All these plumbers are dying, but nobody says that about
musicians. They just get away with it with
musicians, right? Jimi Hendrix also died at age
27. Well, so many artists did.

(51:48):
The 27 Club is this large collective of musicians who
turned up dead at the age of 27.It's always suspicious
circumstances. There's Brian Jones of The
Rolling Stones, 27, drowned in his swimming pool in the grounds
of his cottage in Sussex in 1969, and then two years to the

(52:11):
day after that. That was 3rd of July 1969.
Two years to the day after that,3rd of July 1971, is when Jim
Morrison supposedly turned up dead in his bathtub in his Paris
apartment, and he was age 27. In 1970, you had Jimi Hendrix
turned up dead at the age of 27,loosely intimated that he'd

(52:31):
choked on some barbiturates and drowned in his own vomit.
But what actually happened is Jimi Hendrix was taken out at
the hands of his manager, Michael Jeffrey, who was a
British military intelligence operative masquerading as a
music industry manager. And Janis Joplin died just a a

(52:52):
few weeks after Jimi Hendrix in October of 1970.
She was 20. Was that a ham sandwich?
Now that was Mamacas Elliot. Sorry, wrong, wrong one.
Mamacas was 34, but Janis Joplinwas 27, and that's chalked up as
a heroin overdose. And then you've got Amy
Winehouse. She was 27.
Kurt Cobain said to have shot himself.

(53:15):
He was 27. Robert Johnson, the Blues
musician going all the way back to the 1930s, he was 27.
And always suspicious circumstances.
I mean it's it's always going tobe suspicious when a 27 year old
dies because 27 is not a naturalage to die at.
Mark, what's the moral of the story?

(53:35):
I mean, we could be out all day chatting about this stuff.
It's giving you the. Abridged versions of all of
these, Believe me, because if I went into all versions, we'd be
here for about 10 hours. Well, exactly So what is the
moral of the story? I would say people need to be
very consciously aware that music, entertainment, popular

(53:58):
culture is not there for their fun and enjoyment.
They think it is. And it can be a lot of fun and
very enjoyable to listen to music, watch movies, watch TV
shows. But the truth of the matter is
that these vehicles are there tomind control people and get them

(54:18):
thinking and behaving in certainways in line with other social
and engineering agendas which operate in an organised society.
So, for example, some some agendas we've got running right
now include climate change, thatwhole scam.
And when you look back at Hollywood movies of recent

(54:39):
years, you'll find the ideas of climate change and this big
threat to humanity have been very slyly placed into the
narrative of many of these filmsand TV shows.
We've got the transhumanist agenda, the merging of humanity
and technology. And for decades now, films and
music videos also have been presenting ideas of robots,

(55:01):
androids, digital, electronic ways of doing things, technology
being the future. These ideas have been slow
dripped into the consciousness of the general public through
entertainment, so that when these things start to become a
reality in people's lives, they're going to be much more
readily accepted because there'salready a familiarity with these

(55:22):
ideas, with these themes throughwhat people have soaked up
through entertainment, popular culture.
There's also the predictive programming element, which is
where aspects of an event which is known to be coming are placed
into films, TV shows, music videos and such in the years and
decades leading up to it. So 911 is a great example.

(55:45):
Before COVID came along, that was the best example.
We had so many music videos and TV shows and films depicting
aspects of what happened on September 11th, 2001, which
would have been soaked up into the consciousness of the viewing
public. So people need to be very
consciously aware of what these industries are used for.

(56:05):
And once you are consciously aware, the magic tricks and the
spells and the clever psychological trickery is no
longer going to have the same effect on you, because now it's
out of the subconscious mind andnow you know what you're dealing
with. And at this point, if you
choose, you can continue to watch movies and TV shows and

(56:25):
listen to music. I have many people who write to
me and they say, Mark, I've looked at your work and the work
of other researchers, and I can no longer stand to listen to
these major artists, these household names, and I can no
longer stand to watch mainstreamHollywood movies because all I
see is the programming. And I respect that.
If that's a decision that peoplemake, then I totally get why

(56:47):
they would choose that stance. But I personally can't live
without music and I personally enjoy watching films.
And I don't feel that these things are affecting me anymore
because now I'm aware of what they're there for and I can spot
the agendas. I can be watching a movie and I

(57:07):
might be enjoying the narrative on a on a surface level, but I
can spot the programming. I know why they've put that
particular line in or there's this character's undertaking
these behaviours. You know, it just becomes
obvious to you when you know what you're looking at.
So the takeaway from all this, Iwould say is just be very aware
of what these vehicles are really used for and know that

(57:31):
you're dealing with some very dark and dangerous stuff going
on behind the scenes. It pays to be aware of that if
you're a parent, it pays to talkto your children about this when
they're of an age where they canhandle it and make them aware of
things like symbolism and what they're putting into so called
music now, which, you know, a lot of the output now is

(57:53):
horrific to my ears, especially with auto tune and all these
production methods, digital, electronic, just horrible,
unnatural. But talk to your children about
it and get some conversations going in that age group.
Because one thing I've noticed is my work goes down very well
with a certain demographic, and it tends to be 50 to 70 year

(58:17):
olds, but I have a lot of trouble connecting with people
under 40. They just don't seem to.
They don't come to my talks, they don't engage with me.
Younger people are the ones thatare in the crosshairs of the
social engineers. They're the ones they go in
after, not the 50 to 70 year olds.

(58:37):
So it's very important this information gets circulated
among younger age groups. And so I'd love to see more
young people, teenagers, having discussions of this nature,
getting hold of this information, this material, and
talking to their friends, their groups about it and getting
awareness within that demographic of occult symbolism

(58:59):
and programming and social engineering agendas and such.
That's the real challenge, getting through to younger
people. So I think we can all play a
role in that. So if you're someone that
accepts all of this and you knowthat it's real and you've got a
way of getting through to younger people, if you've got
children or grandchildren, get some conversations going in that
age group because that's where it's really needed.

(59:23):
Mark, how can I follow your work?
My main website is DJ markdevlin.com so there's links
from there to all my other stuff.
I've got a YouTube channel, it'smy 4th, just about hanging on in
there. My books are available on
Amazon, so I can mail out personal signed copies of my

(59:43):
books, but I tend to only do that within Europe because if I
try to send them further afield,America, Australia, Africa, they
just got missing. They get seized by customs and
it's just such a ball ache that I generally say to people in
that part of the world, those parts of the world get the books
from Amazon. It's just easier.

(01:00:04):
So you'll find all my books there.
Musical Truth, volumes 1-2 and three.
I've just brought out a fourth volume, which is this one.
No one's Dad's a Plumber. So that's the title of it, and
that one is now available. And there's audio book versions
of the first three Musical Truths.
And I've yet to do the audio book version of that, but I'll
be doing that by the end of the year.

(01:00:25):
And so, yeah, many podcasts out there.
I've done so many podcasts, videos, presentations.
But if you go to djmarkdevlin.com, you'll find it
all from there. Mark Devlin, thank you for
joining me in the trenches. No worries man, great show.