0:00

hi friends today I'm excited to share my interview with Mike Williams from the excellent Paul is dead YouTube channel

0:06

but first this interview deserves important context which I think is timely given the recent appearance of

0:12

conspiracy researcher Ian Carroll on The Joe Rogan podcast it seems that conspiracy theories are going mainstream

0:19

which is great because that gives us an opportunity to talk about it first on a personal note as you've heard me say

0:25

many times God has blessed me with this platform your time and attention is a gift to me from you and also from him as

0:34

the person entrusted with shepherding that time and attention I must guide you towards truth while helping you avoid

0:40

potential pitfalls I consider that my responsibility which weighs a bit heavier on me with this interview

0:46

because Mike and I recorded this conversation in October his meticulous Research into the Beatles has revealed

0:52

how their rise wasn't simply artistic Evolution but part of a calculated cultural shift through extensive and

0:59

impressive documentation Mike demonstrates how record companies media outlets and cultural institutions

1:06

coordinated to transform not just music but Society itself and the Beatles

1:11

served as the most visible face of this transformation but after our interview I

1:16

discovered Mike's substack while his popular YouTube channels Focus exclusively on Beatles research his

1:22

substack reshares conspiracy content that Ventures into Fringe territory particularly regarding Israel and many

1:29

other topics I can't endorse and all this brings to mind a profound observation from Spencer Smith director

1:36

of the third Adam documentary series and recent podcast guest now Spencer is no

1:41

stranger to conspiracies himself and he says quote the end result of all

1:46

conspiracy Awakenings is a hatred for Israel and the desire to build a new golden age end quote now to be clear I

1:54

don't believe Mike is a hateful person I think that will be obvious about him from the interview and I don't think

1:59

having a negative view of any government on earth makes One automatically hateful either the issue instead lies in how

2:05

conspiracy thinking can lead those who consume it down increasingly dark paths we need to recognize this pattern that

2:12

many of us witnessed during Co and we see online today without a solid Biblical Christian faith as our anchor

2:18

conspiracy research typically pulls people toward destructive mindsets that may even be why conspiracy theory is

2:25

going mainstream as well it's clouding our ability to think and know what real this pattern of coordinated cultural

2:32

influence isn't new though what Mike documents about the Beatles is part of a much larger story throughout the 1950s

2:39

and before a network of writers artists philosophers institutions and government

2:45

agencies laid the groundwork for the massive cultural shifts of the 1960s Ian

2:50

Carroll even referenced this in his podcast with Joe Rogan here's a clip yeah so so check this out have you read

2:57

um strange scenes inside Laurel Canyon I started to read read it I have not finished it it's so I mean even just the

3:02

first chapter right so if you take that book's premise it's basically that before the hippie movement there was a

3:09

very powerful organized anti-war movement led by a bunch of Quakers a bunch of black activists a bunch of like

3:14

my dad was one of them and it was not this hippie Fringe thing it was a very powerful anti Vietnam protest and the

3:20

moment that LSD gets introduced it becomes all peace and love and he points out in that book how all of these like

3:27

Frank Zappa like lead members of the doors people organize the montere Pop Festival over and over and over like he

3:33

probably has two to three dozen examples specifically goes deep into they all just happen to move from wherever they

3:39

are all over the world into this area in La that is not a hot bed for music and

3:45

they all just start making music about peace and love and doing LSD and all of them have parents that are from Special

3:50

Forces intelligence operations Pentagon like some of the some of the musicians

3:55

themselves have backgrounds that look exactly like CIA operatives that were doing like Revolutions in Cuba and

4:01

overse who specific um like the lead singer of the B of the doors uh Jim

4:07

Morrison for example Frank Zappa for so Frank Zappa's one where his dad and his mom were both Frank Zappa's dad worked

4:14

at uh the base that is that was like the chemical weapons like where they did their chemical weapons research his dad

4:20

was a chemical weapons specialist in with like top secret clearances which is basically like when you read about what

4:27

his dad was it sounds a lot like what Mk KRA would be he's right Laurel Canyon was a major transformative source of

4:34

music culture in the 1960s but in the pantheon of culture shifting music greats The Beatles reign supreme

4:41

understanding their role in 20th century pop music is vital both the grasp how we arrived at our current cultural moment

4:48

and to recognize similar patterns unfolding today now scripture offers clear guidance for navigating these

4:54

Waters Proverbs 14:12 warns us quote there is a way that seems right to a man

5:01

but its end is the way of death end quote so we must remain alert to where our investigations are leading US 1

5:08

Peter 5:8 further commands us to quote be sober be vigilant because your

5:15

adversary the devil walks about like a roaring lion seeking whom he may devour

5:20

end quote now the Greek word Neo or sober specifically calls for moral alertness and discernment between good

5:27

and evil and in 1 Timothy 611 Paul directs us away from harmful fixations

5:33

quote but you oh man of God flee these things and pursue righteousness

5:38

godliness Faith love patience gentleness end quote these biblical principles are

5:45

especially relevant today as conspiracies move from the margins to the mainstream what began with Bill

5:51

Cooper and Art Bell on Late Night Radio has evolved into Joe Rogan and Alex Jones reaching Millions the word scop

5:58

has even entered everyday vocabulary and this rapid shift demands that we develop better discernment skills than ever

6:05

before and so I believe that thinking christianly about conspiracy research means four things first examining

6:13

evidence while remaining grounded in biblical truth second recognizing valuable insights without absorbing

6:19

harmful ideologies third using wisdom to shine Christ's light rather than fueling

6:25

darkness and fourth maintaining love and compassion for those still CAU in deception so as Christian men and women

6:32

let's gladly accept the sacrificial responsibility of keeping our passions in check and our minds clear when

6:39

darkness is revealed rather than responding with anger bitterness or even fear let's remember that God has given

6:45

us and our fallen sinful World a way out through the blood of Jesus Christ for

6:50

more insight on approaching conspiracy theories from a Christian perspective I recommend Doug Wilson's excellent blog

6:56

post on the topic which is linked in the show notes now please enjoy my complete unedited conversation with Mike Williams

7:03

as originally prepared for release in October thanks so much and God bless and

Main Podcast Start

7:08

not just the Beatles I mean we're talking about the Rolling Stones we're talking about the entire British Invasion so think about the British

7:16

Invasion think about how they coined that term the British Invasion I mentioned before that this all goes back

7:22

to Britain Tavistock British so it was the British Invasion

7:29

so another way of saying it is the Tavistock Invasion to begin the process of

7:37

systematically changing the the construct the societal and cultural construct within the United

7:52

States hello my name is Will Spencer and welcome to the will Spencer podcast this

Will's Introduction

7:57

is a weekly Show featuring in-depth conversations with authors leaders and influencers who help us understand our

8:03

changing World new episodes release every Friday okay so get this what if the most beloved band in history wasn't

8:11

just a music group but a sophisticated psychological operation designed to rewire an entire generation's mind I'm

8:18

talking about the Beatles a band I've never particularly liked but now understand represents something far more

8:24

Sinister than just another overrated musical act in 2020 I stumbled across a

8:29

YouTube documentary that blew my mind wide open it was Mike Williams 4-Hour Deep dive did the Beatles write all

8:36

their own music now I don't know how I found it maybe someone shared a link or I was down some internet rabbit hole

8:43

about the Paul's dead conspiracy those rabbit holes can be pretty wild as we all know but something about this

8:48

documentary was different when I hit play everything I thought I knew about pop culture started unraveling in real

8:55

time now look I'm the guy who's always gotten eye rolls when I say I can't stand the Beatles everyone loses their

9:02

mind my eighth grade graduation literally used imagine as our song talk

9:07

about forced cultural indoctrination right it's like we were programmed from day one to worship these four guys from

9:13

Liverpool but this documentary revealed something way bigger than just musical taste what if the Beatles were the first

9:20

and most successful experiment in Mass cultural engineering think about their trajectory they start as these seemingly

9:27

innocent mop topped kids singing bubble gum pop cleancut harmless parents love

9:32

them and then almost overnight they transform into these countercultural icons pushing psychedelic drugs Eastern

9:40

mysticism and radical social change it wasn't an accident it was a carefully

9:46

orchestrated plan imagine a plot so precise that it could take four seemingly innocent musicians and use

9:52

them to introduce a radical cultural shift to millions of unsuspecting people so if you ask me my Williams didn't just

10:00

make a documentary he uncovered a blueprint for how pop culture can fundamentally reshape Society how many

10:07

millions of people turned on tuned in and dropped out because of the Beatles how many doorways to cultural revolution

10:14

did they open and let's be real this wasn't just a one-time thing this became a template look at modern pop stars Katy

10:22

Perry Taylor Swift Britney Spears Miley Cyrus they all follow the same pattern

10:27

start innocent build an audience then gradually deconstruct everything that made them initially appealing The

10:34

Beatles were the original prototype the proof of concept for this entire model of cultural manipulation so since that

10:41

documentary Mike Williams has carved up the Beatles mythology like a psychedelic turkey exposing a level of cultural

10:48

manipulation that's both horrifying and fascinating his videos have been viewed millions of times and he's done

10:54

something most people wouldn't dare systematically dismantled one of the most protect narratives in modern music

11:01

history in fact he's done such a thorough job that he's actually retired from making Beatles videos instead

11:07

focusing on spreading the insights he's uncovered when I reached out to have him on the podcast several months ago I knew

11:13

more people needed to hear this story not just as music history but as a case study and how culture is truly

11:20

manufactured if you enjoy the will Spencer podcast thank you but let's be real this podcast isn't just another

11:26

show it's a conversation about things that actually matter so if you find Value in what you hear today I need

11:33

three things from you first subscribe hit that button like you mean it and make sure to click the Bell icon so you

11:39

don't miss future episodes second leave a real comment not a throwaway great video I want to hear your actual

11:46

thoughts what challenged you what made you think differently and third share this these conversations matter and if

11:53

something we discussed could help someone see the world differently you have a responsibility to pass it along

11:59

if you want to go deeper check out my substack subscriptions or buy me a coffee in the show notes every

12:05

contribution keeps this independent platform running because this isn't just about me this is about creating a space

12:11

for real conversations and my guest this week isn't just talking about the Beatles but revealing how four musicians

12:18

became one of the most sophisticated psychological operations of the 20th century from The Mike Williams Paul's

12:24

dead Channel please welcome Mike Williams

Interview Start

12:30

Mike thanks so much for joining me on the podcast today oh thank you very much will for inviting me and I'm looking

12:35

forward to the discussion you know I found your first uh did the Beatles write all their own music video four

12:42

years ago not too long after you published it and I had never really thought much about the beaters Beatles I

12:48

didn't much enjoy their music I couldn't figure out why they were such a big deal but then I watched your video and it just started unraveling a whole bunch of

12:54

different things for me and so now here we are four years later you've produced a whole ton of content around that and so it's a it's the perfect time to sync

13:01

up and and share this with my audience well especially you and I spoke before we got going with the show that I'm

13:07

retiring the research effective this November November 9th so it's a nice way

13:13

to to kind of wrap it up I can talk about it I can summarize it and uh give the audience a broad perspective on what

13:19

the research was all about yes so you've been doing this research for 8 years so what you put together in 2020 in April

13:26

of 2020 you are already halfway into the process correct yes yeah so the research

13:32

began in Earnest back in the latter part of 2016 so what happened was in early

13:40

2016 I bought this book it was a different Edition at the time it was the red cover it's the mmor of Billy shears

13:47

and I stumbled upon the book will I was on Amazon and I was I was just perusing

13:52

for books and um and it popped up as a recommendation and so I took a quick

13:59

look at it I I didn't know anything about the book I know nothing at the time I knew nothing about the author or the encoder Thomas you Harriet and so I

14:06

read the little write up on it and I thought well this looks interesting because I was aware of the Paula's dead conspiracy going back to when I was a

14:14

kid going back into the 1970s and uh and I didn't believe that

14:19

Paul McCartney was replaced I didn't believe Paul McCartney died um I knew

14:25

the rumor I knew the conspiracy but I thought that it was just a clever witty marketing Ploy pulled off by The Beatles

14:32

because that's how the Beatles are sold to us right they're very clever they're very witty and so I bought the book and

14:37

I started reading it and when I when I got into it I thought to myself this is unbelievable the first thing that hit me

14:45

is the amount of information in the book so when you read it you think to yourself okay the details and the

14:53

information are so deep that this has to have been written by or sourced from

15:01

somebody that is either within the inner circle and has knowledge of all of this

15:06

information or it was actually written by the person playing

15:14

the part of Paul McCartney which would be I refer to him as Billy shears and the reason why I call him Billy shears

15:20

is well that's that's what he calls himself the cover the book Billy shears and then on the Sergeant Pepper album

15:25

the title track is Sergeant Pepper's Lonely Hearts Club Band and then the second track is With a Little Help from

15:31

My Friends and in between the title track and With a Little Help from My Friends he introduces himself the one

15:37

and only Billy shears and a lot of people think that's Ringo because Ringo

15:42

sings the song but it's not it was a way uh in which they were able to

15:49

camouflage the clue and they they gave Ringo the song to

15:55

sing but they were actually The Beatles and Billy himself because Sergeant Peppers his album along with George

16:01

Martin their producer uh he was introducing himself in that album so that that was the first

16:07

album which he came out publicly uh playing the part of of Paul McCartney so

16:13

uh when I I bought the book I started reading it and I was having uh trying to get my head wrapped around what I was

16:20

reading and what it was telling me because it's so diametrically opposed to the official narrative it's a 180 degree

16:27

difference um but I could have done one of two things I could have just put the book

16:32

down and say this is just nonsense and I'm you know I'm not going to read any more of this I have better things to do

16:39

or let me take a closer look at what this book is saying and let me start some research to see if I can either

16:45

prove or disprove what the book is telling meh I decided to do the latter and uh I

16:53

was mentioning before we got started that uh I mentioned this to uh a friend of mine Sophia smallstorm at the time

16:58

sopia and I did a number of podcasts together and I just mentioned to her that uh I got this book and I was

17:04

telling her a little bit about it and then she said well Mike come on my podcast and talk about

17:10

it and I paused and I dragged my feet will because uh the book is 666

17:17

Pages yeah I remember you mentioning that yeah provocative page number yes a

17:23

very a very very strange amount of pages um and we may we can get into the occult

17:29

aspect of this a little bit later yes please um but I knew in order to do that

17:35

I would have to basically boil down 666 pages and organize it in a way that I

17:40

would be able to take the audience through it in two hours without getting completely lost in the

17:46

woods and uh I I just basically just pushed it off

17:51

and pushed it off so finally um I she convinced me to do it and that was back

17:57

in September of 16 I think it was September 12th and uh I didn't think I was going

18:03

to to do any more shows on it I figured this is a one-hot deal I read this book I'll I I'll do a presentation on it I'll

18:09

share my thoughts I'll tell you what's in the book and then what happened was um Mark

18:15

Devin contacted uh Sophia and and asked her for my email because he wanted to talk to me about the book as well so I I

18:23

told Mark okay um I'll come on your show and talk about it as well and it's really funny and I'll wrap this up

18:29

because I don't want to take up too much of your time giving this much background on how I got started but um I told Mark

18:36

in that show toward the uh the latter part of it famous last words I said and this will be the last interview that

18:42

I'll do on the Paul's dead Topic in the Beatles conspiracy and I couldn't have

18:47

been more wrong it just yes so that's the background um that's

18:53

how I got involved in it and one thing led to another and um and I was also as

18:59

I mentioned before we got started I was doing the research and presenting it in stages because um I I didn't want to

19:06

overwhelm the audience with so much information that was so contradictory to what they believed because what would

19:13

happen is they would just glaze over and you lose them yeah so I had to break it down in bite-sized chunks and I did that

19:20

o over the course of the eight years so what's so funny is in in that little

Beatles Myths and Transformation

19:25

short uh discussion of your the background how you got into this you've already touched on so many different

19:32

topics that I'm familiar with from having watched many hours of your work getting ready for this interview but

19:37

just how many pieces there are to this like I I don't know how many people today are aware that there was a rumor

19:43

in the mid-60s that Paul McCartney had passed away they're maybe not even aware of the two different kind of phases of

19:49

The Beatles where they had the sort of like pop rock band in the first half of the 60s and then the full-on Psychedelic

19:55

and the second half of the 60s and that the Paul is dead like that Paul's death may have come in between those two the

20:02

occult significance all the different pieces like all of this is wrapped up in a story that's come down you know kind

20:09

of Through the Ages as like these these icons That Changed music Forever The Beatles you know right but then all this

20:16

was exposed to you just because you were browsing on Amazon and it suggested a book to you and you're like I'll check

20:22

that out but but then instead of like just kind of taking it for for granted like oh that's cool and putting it on the Shelf you actually decide Ed to dive

20:29

in deeper and see what was really there like do you do you remember the thought that was kind of going through your mind

20:35

like huh I kind of want to look into this like what was what was happening in that particular moment that set you on

20:41

this path well I was a total Beetle freak will okay so okay so I I was

20:47

really really into the Beatles In fact um and I've I've mentioned this on a couple of interviews back in 1968 when I

20:53

was 9 years old I was born in 59 um I bugged

20:58

my my father and my mother to take me to the movie theater to go see yellow submarine that was released in 1968 and

21:05

my brother who's about 13 14 months younger than I am he was a little Beetle freak too so the two of us you know and

21:13

uh so finally we convinced my dad to take us and you know Dad sat there for 90 minutes in total

21:20

anguish and it was an animation and I was only 9 years old and I didn't realize that the the movie was an

21:26

animation the actual Beatles themselves didn't come out um until the last five

21:32

or 10 minutes of the uh of the film and so I was born and raised on the Beatles

21:38

from a musical perspective they're the reason why I started playing guitar they're the reason why I started writing

21:44

songs um all of that stuff and so when I read this I thought at first I thought

21:52

well this this can't possibly be true wow because we are so inundated with the official narrative so conditioned what I

22:01

explain to people is look um don't feel bad if you're having a hard time getting your head wrapped around this because

22:08

the brainwashing coming out of Tavistock and the Frankfurt School has been pounding us over the

22:14

head for 60 years yep that's a long time that that's six

22:20

Decades of conditioning and continuing to push the official narrative so it

22:25

becomes very difficult and quite honestly uh for so many people especially Boomers it's the soundtrack

22:32

of their life growing up yeah and so to reach in and try to pull something like

22:38

that out of your life a lot of people are not going to allow it they're not going to

22:44

let go They're gonna say nope you stay away from me you you lunatic yeah so um

22:51

but uh you know when I do the research will I do the research mostly uh for me

22:57

it's for my own curiosity mhm it's uh it's my own personal path to uh seek the

23:04

truth and um I like presenting my research now whether people agree with

23:10

it or not um that's up to them I've always said in many many many of my

23:16

presentations and and my interviews that I'm not here to convince anybody of anything I'm just presenting my

23:21

research and it's up to you uh to be able to decide where you want to go with

23:27

it if you don't want to do anything with it that's fine if you want to pursue it that's great as well because everybody

23:33

is on their own individual Journey so and I found a found that a long time ago will because I've been in the whole

23:39

alternative research uh game for a long time um that trying to convince people

23:46

of something when they're not ready is exhaustive yep and it's uh

23:53

basically an exercise in wheel spinning so that's how I approach it I'm I'm just going to present

23:59

what I found my findings my conclusions and you can agree with it or not so when you so when you read the book and you

24:05

started getting into the Memoirs of Billy shears who is Billy shears is the real name of the man who replaced Paul

24:12

McCartney when Paul McCartney died so the Memoirs of Billy shears if I understand it correctly are this is this

24:18

is 60 50 years later the man who replaced Paul McCartney who we know in

24:23

the public as Paul McCartney is disclosing to the public in a coded layered kind of way what actually went

24:30

on 60 years ago and so you're reading this in 2016 and you're just like you're just kind of like scratching your head

24:36

shaking your head like what's going on here where was the first place that you went what was the first step that you

24:41

took after reading this to begin doing your research oh boy that's a good question

24:48

um the first thing that I did was to create a collage of images of Paul

24:57

McCartney over time MH what Tavistock did and I'll explain

25:03

I'll get to the punchline first and then we we'll talk about the images yes what Tavistock did was to create a composite

25:10

Paul McCartney so On Any Given magazine cover any given

25:16

interview um images that you're going to find uh in newspapers or even

25:21

online it's a moment in time you're taking a look at that person and you're being told that's Paul mccardy

25:28

and the vast majority of the population are going to look at that and not

25:34

question it they're going to say well if it's not Paul McCartney who else is it right they just accept the fact that

25:40

it's Paul McCart it's like when you look at the Sergeant Pepper album cover that's the first album cover which we see Billy um that doesn't look like Paul

25:48

McCartney and a lot of people who subscribe to my channel will say when they first looked at that album they

25:53

were like something's really off about Paul McCartney M doesn't look like it

25:59

um but you're told that that is Paul McCartney so even though you're looking at the album cover and you're kind of

26:05

scratching your head you're thinking well okay it doesn't really look like him but who else would it be so okay

26:11

it's Paul McCartney so that's what Tavistock did so they created a composite of him

26:18

now uh to get around this composite what you have to do is is what I did go back

26:25

to the collage or go back to a montage of pictures and start like in 1962 go through 63 64 65 all the way through

26:33

let's just say through the 1970s into the 80s but let's just pick the beetle period 62 through 1970 when you line the

26:41

pictures up you can see that it's not the same person that the person playing Paul McCartney between 1962 and 66 is

26:50

not the same person that's playing the part of Paul McCartney from 1967 to 1970 there are different

26:58

some people will write me this it's very common for people to say you mean that they found somebody that looks

27:05

like him sounds like him sings Like Him plays like him and all of this stuff and

27:12

my response is look closely because they are not exact replicas Billy has a higher

27:20

forehead Billy has different ears Billy has a longer jawline uh coming down with his to his

27:26

chin and as I mentioned before we got started and I'll talk about this a little bit uh one of my um colleagues uh

27:33

Sally witty um she is also blind she's blind in her left eye MH uh about a year

27:41

and a half two years ago she figured out that Billy is blind in his right eye so he

27:47

only has sight in his left eye whereas Paul McCartney had two good eyes and uh

27:54

and Sally presented and as well as myself presented the the the uh the evidence to show that uh he is

28:02

indeed uh blind in his right eye and um and like I said Sally's a very very good

28:09

researcher she's exceptional and uh and being blind herself she was able to pick up on the telltale signs when somebody

28:16

has an ocular prosthetic and um Billy validated this

28:22

in an interview uh that he did there was this um there was this exhibit that was uh

28:30

that was out I guess a few months ago several months ago called eyes of the

28:35

storm and yes right yeah so he's on a Morning Show I think it was CBS and he's

28:42

going through the exhibit and he's you know the person's interviewing him and so they get to this one picture they're

28:49

looking at it on the wall and so the interviewer says to Billy you know that's that's quite a picture you have

28:54

to have an eye to take a picture like that so Billy looks at the picture he leans

29:01

forward clicks his left heel and says yeah my left

29:07

one H so there's a process in masonry that's referred to as masterfully

29:15

speaking so when a Mason masterfully speaks they can actually relay the truth

29:21

but they do it in an encoded way and most people don't know anything

29:27

about master speaking and they don't really know what it is that they're hearing or looking for and so it goes

29:33

right over their heads and so that's what Billy did during that exhibit and he you know when he said that yes it's

29:38

my left one he was uh he was giving a nod to Sally's research that yeah you

29:45

figured it out I am I I don't have sight in my left eye it's just my right eye and I had a

29:52

very similar situation we'll get to when we get to the music uh where he he uh massively spoke about their ability to

29:59

uh write all their own music and and record and play on all of their own tracks but we'll get to that when the

30:05

time is right perfect well you actually touched on a couple different things but just real quick one of the reasons I

30:10

find this so interesting is um I came to Christ in 20120 uh prior to that I

30:15

studied Western occultism for two years so I'm aware of uh occult teachings like

30:21

that was just something that was part of my life and so all the stuff is very real and it's very much out there I was

30:26

also in the uh in the dance and DJ world I was an underground house music DJ for

30:32

15 years right and so for me it was very interesting to look at uh what the world

30:37

that I was part of which is entirely a pi Piper world right and I got delivered from that it could tra it traced its

30:44

lineage all the way back to the 1960s that's where the Techno World essentially got its uh its its ideology

30:50

from and I worked in the music industry as well I was in a I was in a worked in a professional music studio helping out

30:56

Engineers for a couple years so reading and I'm listening to you I'm listening to your presentations and all of the

31:01

stuff is like clicking into place from my own life experience which is one of the reasons why it's been so fun to

31:06

watch your videos so so you mentioned a couple different things you mentioned Tavistock so let's unpack who they are

31:13

and and how they play into the picture the Tavistock Institute and then we can start talk about talking about the

31:18

songwriting because I think that'll play in quite nicely all right so what I'll do is uh let me just so I I catch all of

31:25

the the points here will for the audience please so what I'm going to

31:31

suggest to the audience I don't make any money on these books folks these are just books that

31:37

I've read to get started with Tavistock to understand especially uh the Deep state

31:43

in general um this book by John Coleman the committee of 300 the conspira

31:49

hierarchy it was this book based upon a clue dropped in

31:56

Memoirs that led me actually to this book the Coleman book where in this the committee of 300

32:04

Coleman explains that the Beatles were a creation of Tavistock now the book is

32:09

not about the Beatles the book is about the committee of 300 and the Deep State structure which Tavistock is part of

32:15

Club of Rome and so on um so that was a

32:20

piece too that um I had to investigate so you know what was Tavistock really

32:26

all about what is it that they do so another book that I recommend people

32:32

read is the tapest Institute by Daniel estulin social engineering the masses a

32:38

very good primer another book another Coleman book Dr Coleman Tavistock Institute of human

32:45

relations shaping the moral spiritual cultural political and economic decline of the United States of America it's

32:52

called that's tavestock Institute by Coleman yeah uh Dr John Coleman okay

32:57

great I'll make a note of that all this all this will be in the show notes for the uh for the audience now the reason

33:02

why I bring the books up is because there is no possible way that I

33:08

can explain every Nuance about Tavistock with the frankman school in an interview

33:14

I mean it takes a lot of research a lot of reading these types of books and taking

33:20

a deep dive but Tavistock is an internationalist organization that's responsible for implementing change

33:26

societal change behavior modification via brainwashing they were

33:31

founded in 1921 as the Tavistock Clinic they originated from Wellington house

33:38

now Wellington house was the World War I propaganda arm of the British military against the War uh with Germany

33:48

so from Wellington house which I said they were responsible for the propaganda

33:54

for World War I on behalf of the British that made its way and segue into

33:59

the Tavistock clinic in 1921 it was also known as the Freudian

34:07

Hilton due to Sigman Freud's daughter Dr Anna Freud becoming a leading figure so

34:14

Tavo is very much uh linked into

34:21

Freudian philosophy on Psychiatry as as is the Frankford school

34:28

by the way um it reports up through the committee of 300 again you can refer to

34:34

Dr Coleman's book The Conspirator hierarchy it collaborates with other internationalist think tanks and

34:41

theoreticians in other words the Fabian Society the Frankfurt School um the world economic Forum uh

34:49

the bil um the trilateral commission the Council on Foreign Relations the Bilderberg Group all of these

34:55

organizations are all tied into they're all part of the deep State control system and Tavistock is the Mind Control

35:05

social engineering headquarters for the Deep

35:10

State they were taken over in 1932 by Dr John Rowling

35:16

ree Reese uh he's a key figure he was a key figure in British Army intelligence

35:23

and during World War II Reese was a brigadier general and he was a top

35:28

psychiatric Warfare specialist for the British and so he

35:33

takes the helm at Tavistock in 1932 uh they have far-reaching influence

35:40

around governments NOS the private business sector meaning corporations public and private institutions mass

35:46

media Global think tanks uh the military education the music and entertainment industry Etc um

35:55

we mentioned you mentioned occultism um occultism is integrated within tavistock's psychological approaches to

36:02

manipulate and transform thinking and yeah um in fact Daniel estulin gets into

36:08

a bit of the occult aspect within Tavistock in in his book but we could talk more about occultism in a moment um

36:16

Tavistock became the psychological warfare arm of the British Military and intelligence services

36:22

so before it was Wellington house and then it like I said it migrated over

36:28

and it's still doing um psychological warfare for the Warfare for the British

36:33

in 1946 Tavistock was upgraded to make it the central laboratory for developing

36:39

hardcore brainwashing techniques so at this point what happened was like through the through people like Edward

Subverting America: A Historical Strategy

36:45

bernes who was tied into Tavistock they moved it from a what just say a Europe

36:53

Centric um focus and then during World War II and post World War II they set

37:00

their sights on the United States because in order to bring about a world

37:06

government and a one world religion they had to they had to conquer America they had

37:14

to break down the American way of life the Traditional Values um they had a specific Target on

37:22

Christianity and we could talk about that in a bit so it was a systematic

37:28

approach to take the United States and to subvert it from within and

37:35

collapse it and and for anybody who's doubting that just take a look around you today what's going on okay I mean

37:42

this is the this is the result of the Frankfurt School in tavestock these are

37:48

uh their principles these are their strategies that are being played out and

37:53

they are very very good at what they do I'm talking about Tavistock we can argue

37:59

that the frankfur school doesn't exist anymore but it's curriculum its

38:06

philosophy its ideology lives on and it's very very prominent in everything

38:11

that's going on in the world today um it Tavistock received a massive

38:18

infusion of funds from the Rockefeller foundation so to really get it going

38:24

going back to 1946 The Rock has dumped a bunch of money into Tavis stock to do

38:30

its social engineer social engineering in 1948 um

38:36

Reese became president of the UN linked World Federation of mental

38:41

health and the UN became a major conduit for British psychological warfare operations

38:48

so that's another thing that uh it's it's important to understand that this

38:54

whole deep State this whole shadow government is tightly linked and and these players

39:01

span multiple functions so we we just can't look at it as they're all living in silos it's

39:07

think of it as a horizontal and they're they're all integrated it's the world center for

39:12

Mass mind manipulation and social engineering activities it's a sophisticated organization that's used

39:18

to shape the destiny of the World by changing the paradigms of modern society it has control mechanisms in Academia

39:25

multimedia intelligence medicine especially the pharmaceutical industry mhm its range of disciplines include

39:32

anthropology economics organizational behavior political science

39:37

psychoanalysis psychology and sociology so that's that's a quick rundown on on

39:44

Tavistock and um it's a very important organization to dig into and research if

39:51

you really want to understand what's going on in the world why things are working or not

39:57

working the way they do um they're behind it so um how do they connect to the

40:06

Beatles like what role because you mentioned the Coleman book in the conspirators hierarchy Community 300 how

40:13

do what does what does he say the role that the Beatles played in connection with

40:18

Tavistock well the um Tavistock is part of its social

40:26

engineering they knew that music plays a very very important role in shaping

40:32

people's behavior shaping their morals the beliefs um and a lot of that came into

40:41

Tavistock from the Frankfurt School so the Frankfurt School was out of Germany

40:48

and it came into being at about the exact same time as Tavistock so the

40:55

Frankfurt School was very active in the 1920s and the

41:00

1930s um but it lived on past that like the individual

41:07

members that were uh part of the the Frankfurt School were still doing their social

41:15

engineering and their behavior modification implementing their uh behavior modification strategies beyond

41:22

that period of time so Frankford school let me just uh

41:27

I can go through some of the names here but let me just give you the the um it's because it's important to understand the

41:33

Frankfurt School as well it's very important because yes it is they are they are connected at the hip with Tavis

41:40

so um it Formed after World War 2 I should say World War I in 1923 by a

41:48

person by the name of um George lucx now George lucax was a communist

41:55

Bolshevik um and um he was very prominent in the field of

42:02

Communism back in his day and so what he did was he brought together a group of

42:09

intellectuals um Bolshevik and communist intellectuals and

42:14

intelligencia to start to Think Through how they were going to destroy western

42:19

civilization in order to bring about a one world government and this world this one world government is going to be a

42:26

Socialist Communist you know pick your word it's going to be controlling okay

42:31

sometimes people want to argue with socialism communism fascism at the end of the day it's it's control you're

42:37

going to be controlled you're not you're not going to be part of the elite class and uh so

42:42

you're going to have overlords so lucax was quoted saying who

42:48

will save us from Western civiliz civilization and one of their key components was to undermine Christianity

42:55

through an Abol I of culture to destroy the culture so if you destroy the

43:02

culture then we're going to be able to take out Christianity we're going to be able to take out Traditional Values and

43:09

part of the destruction of Traditional Values was to destroy the traditional family the family nucleus that was very

43:17

very key and to marginalize the the male or the Father

43:24

Figure um in in in a family this is why you have cartoons that came out like

43:30

Homer Simpson where he's depicted as adult well that's all

43:35

intentional and uh we can get into that a little bit too so the the Frankford school was comprised of Communists

43:41

fascists zionists uh uh freudians and uh anti-christian zealots they were

43:47

philosophers socialists and psychiatrists dedicated to destroying uh Western civiliz

43:53

Civilization uh they were co-sponsored directly by British intelligence we're going to one of the things when you do

43:59

the research you're going to find that all of this stuff still goes back to the

44:05

British and a lot of that is because at least in my opinion because

44:11

it goes back to the Rothchild Dynasty oh sure okay um Sigman Freud is a key

44:19

figure uh with the Frankfurt School as well as Tavistock um and and Sigman

44:24

Freud is considered the father of psychoanalysis the interesting thing about psycho psychoanalysis is that um

44:31

Freud had said that psychoanalysis is like a religion you can't prove it but you

44:37

accept it on faith okay so even they admit that their

44:43

all of their Psychiatry and their psychoanalysis um doesn't really have

44:50

any basis of science behind it but they're going to put it forth as if it's

44:55

scientific fact and they're going to sell it to to the

45:01

masses um yeah so psycho analysis cannot

45:06

clinically prove um that any important flan concept

45:11

really exists so this also I should also mention this uh will because I want to give credit where credit is

45:17

due another very good uh document on uh the Frankfurt School comes from the Schiller

45:24

Institute and all you have to do is just look them up on the internet and there's uh they go they go

45:31

back oh my God 20 30 years ago uh they have some great great research and

45:36

articles and the other one is from the Schiller Institute from cybernetics to Littleton techniques and mind control

45:41

they talk about the Frankford school and Tavis stock as well so uh so some of the information I have here I actually

45:48

called from uh those articles so during World War II I I

45:54

explained before that tavist set its sights on the United States starting around 1946 you know during the war and

46:01

then right after the war and the purpose of that was to start the the affront on the American way of life and to to tear

46:08

it down well interestingly enough um the frankfur school was shipped over to the

46:14

United States during World War II as well and they wound up uh you know some

46:20

of their storefronts were Columbia University Hollywood of course and uh

46:26

and government in fact one of their uh uh their members a very prominent member

46:31

was Herbert uh uh maruza maruza and uh

46:38

Herbert wound up working for the OSS which was the precursor to the CIA so many of them made their way into

46:46

very prominent positions within the United States government and um um

46:51

us uh government agencies and organizations

46:58

uh they were responsible also um for putting forth

47:04

the the premise that man is not made in the image of God this was a big thing with with the

47:12

Frankfurt School so it was they they really preached uh godlessness so they they wanted to strip

47:20

away the belief that um for example art is derived from the self-conscious

47:28

emulation of God the Creator so in other words that when you create art when you

47:34

create something that's something that is inherent in you as a Divine creation

47:39

of God that that creativity that creative

47:44

process they put forth the premise of the theory that create creativity does not emanate from a Divine

47:53

spark it Springs out of the culture so in other words your creativity is not

47:58

something that's come from God it's something that it comes from the culture because you exist you exist in the

48:04

culture so what you're really doing is you're aggregating the U the environment

48:09

around you and you're bringing that in and you're expressing that wow okay so

48:17

they also talked about that um uh they were very very focused on at least some

48:23

of them on um being liberated through erotica yep through sex so as we we go

48:32

into the Beat Movement the Beat Movement really were an extension of the Frankfurt School in Tavistock and and

48:37

the Beat Movement the Beats uh were um

48:43

themselves they I mean they declared themselves as hedonists kowak car yes kowak Ginsburg right and uh William S

48:52

Barrow who by the way is on the cover of the Sergeant Pepper album along with alist Cowley and and and and AC right

48:59

that's right so um they also said that an artist does not consciously create

49:05

work to uplift Society but unconsciously transmits the transmits the ideological

49:10

assumptions of the culture so again you're not doing work like I'm a musician I write songs I'm not writing

49:17

songs because I want to do I want to uplift uplift society and that's not coming to me because I have a Divine

49:22

connection spark with with God the Creator and Source no it's it's only because um you're operating in a certain

49:30

environment and that environment is what's feeding you right so what what they're really doing is they're they're downplay

49:37

they're downplaying the entire piece that has to do with your Divine

49:43

connection and they're relegating it down to a material physical world and

49:49

that's where it all exists so anybody who looks above

49:54

that no I mean you're I mean in their minds they're telling you don't get it so um well we can see this today

50:02

when they talk about classic literature like William Shakespeare and stuff like that they say oh Shakespeare was just a

50:07

product of his time he's just regurgitating the values of his and pick any number of artists not that there was

50:13

anything Transcendent going on oh he's just he was just embedded in the culture and that's what he was reflecting

50:18

amazing and they'll say the same thing about Beethoven yep and Bach I mean the great composers so um one of the things

50:25

that um they will they will uh preach is that entertainment replaced art so when

50:34

we talk about art the way art used to be like when I read these papers there was a a great point was made art was

50:41

something that was to be it was it was special you would look at a art a

50:48

creative piece and it wasn't something that was really in your daily life it

50:54

was something maybe you had to make a special trip to go see the art mhm um you had to uh you know you had to make

51:02

plans to to be able to have an appreciation of what it is that you were going to to see um but what they did was

51:10

they relegated the great art they they actually wed it down by

51:17

taking entertainment and propping it up H so so what happened was the the whole

51:24

art piece gets relegated to a shelf somewhere and now people view art as as

51:31

entertainment and entertainment is Art and that's a whole dumbing down effect because if we take a look at what

51:37

we're what's being pumped into our living rooms from an entertainment perspective or the movie screens or Netflix or

51:43

whatever it's it's that's nothing more than it's garbage okay yeah it's it's

51:50

it's trashed it's being pumped out and it's being assimilated in it's being

51:55

taken in by the person who doesn't know any better and they're being indoctrinated they're being brainwashed

52:02

to accept this stuff as acceptable and it's you know

52:07

that's the thing so I hope I'm making sense here art used to be here and

52:12

entertainment was down here and then what they did they pushed the art down and they raised the entertainment piece

52:17

up and this has created a you know a dumbing down effect uh which is just

52:24

absolutely incredible um they invented political correctness

52:30

which um they ensured permeated the entire education system and uh a very interesting piece

52:37

here that was in the uh in the piece in the the information I read from

52:42

the Schiller Institute is the the radio project from 1937 this is something that Theodor Dono was heavily involved and

52:50

Dono was with the Frankfurt School and I believe he was uh heavily involved with the whole uh Beatles project as well um

52:58

but the radio project was uh a Frankfurt School initiative that

53:05

was to test the the thesis that mass media can brainwash the masses and and one of the things they

53:12

point to was Orson Wells War of the Worlds where yeah it was pumped out to six million people and and many people

53:18

believed that it was real um even though there were times during the broadcast where they said

53:24

that this was not real you know it was a but people didn't hear that piece of it that that also taught

53:31

them something that also taught them that people wanted heard what they wanted to hear versus what it is that

53:37

you know they were told so they were told this was not real but people just kind of blew past that and

53:44

got all caught up in fact in the paper it said that many people didn't didn't

53:50

maybe think it was aliens but they thought it was the Germans that had invaded the United States okay this is

53:57

how this how wacky this stuff gets now it sounds it sounds a little crazy and we can laugh about it now but the thing

54:03

is these social scientists at Tavistock and the Frankfurt School and other organizations like the CIA because the

54:09

CIA by the way is um that's one of tavistock's clients is

54:15

the CIA this is spelled out in John Coleman's book what's happening is is they're learning from this MH and um

54:24

this this goes to a um a concept called cybernetics so cybernetics has to do

54:30

with where you have input and output right so it's a cycle so this is how AI

54:36

works as well so AI is really in in my view is is a concept uh that's has been

54:43

established based upon cybernetics so you have inputs and then when you input something you have an output that output

54:50

then gets rewired back in as an input so you have this cycle going it's learning

54:56

so so when we talk about machine learning when we talk about artificial intelligence learning this is what's

55:02

going on so back in the day of course they didn't have ai and have computers and everything else so their way of

55:08

being able to do this Loop of learning cybernetics was to do these types of

55:13

tests and they would make note of what the outcome was what the output was and then they would input it back in and

55:19

they would make adjustments to the model or the algorithm or the strategy until they got closer and closer to what it is

55:26

that they wanted as an end result this is why um polling is one of those

55:33

concept as Concepts as well so polls are not there to really measure where people

55:40

are at they're really there to measure how effective their conditioning and

55:45

brainwashing is so when a poll comes out a certain way and it's not exactly how

55:52

they want that poll to appear then they're going to step back and say okay let's go back to the drawing board let's

55:57

make a couple of adjustments and let's see if we can uh

56:03

get it to move more over here where we want it so that's that's another tactic that they used was polling and they

56:10

established the whole concept of uh public opinion polling and it was it was

56:15

used for it was really used to pulse the public and to feed the uh the the

56:22

conditioning and social engineering engine that's what polling was and still that's that's what it's used for

56:29

um they also had something called the authoritarian personality and this is really kind of interesting but the uh

56:35

the authoritarian personality by Frankfurt School by the Frankfurt School is defined as uh somebody basically

56:42

who's a critical thinker and can uh assess Things based upon using their

56:49

god-given gift of intellect and reason um that person was authoritative because

56:55

that person person would then say well I think certain things would work better this way or that way or we should change

57:02

this and change that maybe we should do this or do that um versus the hive mind

57:08

oh wow so it's kind of interesting the way they worded that so when we think about the authoritative personality author I should say the authoritarian

57:15

personality when I first was going through this and researching it I was thinking well I'm thinking in terms of an authoritative figure like a dictator

57:22

type of thing right now they were lowering down to the level of the individual so if you were a critical

57:29

thinker you were you you were problematic because you were cutting across the Grain and you were not going

57:36

with the flow and you were not in the hive mind so you were you would be

57:41

considered to be a problem you are putting together so so many pieces for me right now cuz I've heard of the

57:48

authoritarian personality and like you I always thought it referred to like a DI like a dictator the authoritarian

57:54

personality as being individual who makes critical distinctions between things that's considered authoritarian

58:01

in fact I'm dealing with this on Twitter right now because the the um the celebrity russle brand May perhaps you

58:07

know him yeah he's he's recently been making a big show about becoming Christian and he said a few things that

58:13

I've been challenging him on and so I have a lot of people supporting me but I have a lot of people that are getting

58:18

very very angry that are sort of that that are sort of they're not saying in so many words that I'm behaving in this

58:23

authoritarian personality way but they kind of are you know that I'm trying to make fine distinctions they're reacting

58:29

to the things that I'm saying trying to be Discerning about who this man is so I was wondering where that was coming from

58:35

and I understand that and it also helps me understand um the get woke go broke

58:41

phenomenon of like Star Wars so if you're if you're raised if you're T tutored and taught in a Frankfurt School

Cultural Creativity Critique: Regurgitation

58:48

mindset that teaches you you're only producing uh materials that are relevant to this cultural moment and that's your

58:54

only way of thinking of creating it then you're just going to regurgitate stuff that speaks to whatever cultural

59:00

Zeitgeist is going on and not believe that this responsibility that you've been given to create is a gift is a is a

59:07

chance to channel the Divine spark so naturally like people are trying to understand what how are these people

59:13

producing these garbage Star Wars Star Trek shows or or Lord of the Rings or

59:18

whatever name it how are they putting out trash with a straight face well because they don't actually believe that

59:24

they have a Divine spark of creativity all they know how to do is regurgitate what's in their environment so they're

59:30

doing what program so all these pieces I I've never looked into the Tavo Institute I mean I'm familiar with who

59:35

they are I'm familiar with the Frankfurt School I'm familiar with maruza and adorno and all of that but I didn't

59:40

understand that it goes back this far and I think that that's the important thing is that we're used to thinking of

59:46

the 60s as being the big debut of social engineering right those of us you know who are looking into these things it was

59:52

going on a long time before that yeah so Martin day social engineering with

59:58

social scientists I I explain has been going on for a century yeah okay so if we go back to

1:00:06

Wellington house and when Wellington house then morphed into the Tavistock clinic in 19 uh 21 I think I said the early 1920s

1:00:15

and we're in 2024 that's a 100 years yeah so they've had 100 Years of uh

1:00:22

really fine-tuning how they go about their business now just to finish up on the Frankfurt School will I don't want

1:00:28

to take up too much time here um one of um when they when you listen

1:00:34

to the to the to the Frankfurt School and you listen to uh maruza and adoro

1:00:40

and when you read that stuff you know they're very very slick and they're very nuanced in how they go about uh

1:00:46

presenting their message and their theories they're very very good at it and they're very

1:00:51

convincing so it'll come across as altruistic

1:00:56

egalitarian but when you take a step back it's gaslighting that's what it is

1:01:02

it's gaslighting yeah because if everything they were talking about was good then we

1:01:08

wouldn't be in the predicament we're in today that's right okay so um and now

1:01:15

here's here's another very interesting quote and this comes from bertron Russell who was a British elitist he was

1:01:20

a philosopher mathematician but he was I think he was with the Fabian Society which means he was big time into to

1:01:27

Eugenics but he said that uh and he was connected into the Frankfurt School as well probably in an adjunct way but he's

1:01:35

quoted as saying that um the objective is to produce an unshakable conviction that snow is

1:01:41

black so so so so this is how they were thinking and

1:01:46

um and then he went on to say that and then we have to assess how much cheaper

1:01:53

it would be how much more cost effective it would be to convince people that snow is gray so the point being is like if we

1:02:00

take a look at today right at what's going on today we're told that um there are more than two

1:02:07

genders right if we we just go down that path for a moment right and then we're told that men can have babies or they

1:02:15

can breastfeed and stuff like that that is trying to produce the unshakable

1:02:20

conviction that snow is black it's it's it makes no sense

1:02:26

it just it defies thinking it defies real science

1:02:32

yet there are people that will run with this and believe it so that type of

1:02:38

thinking that type of disposition that people will have this is all the result

1:02:44

of of Decades of uh Frankfurt School and Tavistock indoctrination and strategies

1:02:51

to to social engineer and to create behavior modification

1:02:57

um the Frankford school had this thing called critical theory and adoro was big into this that divides the masses into

1:03:04

two categories and I'm just smiling so you know right oh yeah there were oppressors and victims and the intent

1:03:10

was to destabilize society and to destroy the quote oppressive order so

1:03:15

and again they were very nuanced and very good at explaining who the oppressors

1:03:21

were and they weren't they may not have necessarily been oppressors but were going to convince you that you were

1:03:27

being oppressed so as an example the example I use is with traditional Family

1:03:33

Values the mom would would be home and uh she would care for the children and

1:03:39

and for the home and the father would go out and you know it was his responsibility to work and to provide um

1:03:47

and keep a roof over his family's head and so with feminism in the woman's

1:03:53

movement what the what Tavistock and the Frankfurt School did was to go about uh inundating through

1:04:00

the media because the media is their is their big you know that's their big stick

1:04:06

um going out and asking women uh you know do you really want to be home do

1:04:11

you really want to take care of kids don't you want to go do what your husband's doing don't you want to go to

1:04:17

work don't you want to do this don't you want to do that and and the truth of the matter is many women uh because I

1:04:23

believe it's actually built into our DNA as men and women to to have certain

1:04:30

responsibilities functions and ways of of um living our lives right agre

1:04:37

so a woman would say you know what uh my my job it's very important for me to

1:04:42

stay home and to watch the children and to nurture them and care for them and my

1:04:47

husband does the work and we work together as a husband and wife team and we make the household work that's what

1:04:54

we do and and uh but what they did was to convince women that you you don't

1:05:01

really want to do that you really don't so they were gaslighting them and they

1:05:07

you know through steady steady streams of of

1:05:12

propaganda um they just kept beating the drum and beating the drum and beating the drum and uh eventually what happened

1:05:20

was take a look at what happened folks what happened was most women a lot of women M left the

1:05:27

household they went to work the husband went to work the children now don't have

1:05:33

the FaceTime or the interaction with their biological parents anymore so they have to go to preschool they're in

1:05:39

school they after school and the parents um interaction with their children

1:05:44

happens in the evening when they both come home from work or it's on the weekends when it's a just a flurry of

1:05:49

activity because if you're working five days a week when you get to the weekend it's not just about the kids you got to do things you have to attend to the

1:05:56

household as well so the children then are separated from their parents they essentially

1:06:02

become Wards of the state and uh they are now being taught and nurtured by people outside of the family and this is

1:06:11

exactly what they wanted now the other thing that the controllers did was to um

1:06:17

they had other levers to make sure that they were able to push us along as an example they would increase the cost of

1:06:24

living so where whereas you know back in the 1950s as an example when you know my

1:06:29

parents I was born in 59 uh even going into the 1960s you can have a uh a one

1:06:37

parent working and the other parent staying home and you can make things work we we had we were you know I would

1:06:44

say we were you know blue a blue collar middle class on Long Island my father was a policeman mom stayed home but you

Critique of Societal Manipulation

1:06:51

know what we did okay we did okay but when they started raising the prices of everything and making it more uh

1:06:59

costly to live your life that forced a lot of the women out

1:07:04

because they couldn't pay the bills unless they had two incomes so I'm just bringing that up to say because I I

1:07:11

don't want people to think that there's a single lever they have lots of buttons and lots of levers that they push to to

1:07:18

manipulate Society in order to to push people in

1:07:23

directions that they want to push them so anyway so you understand the critical

1:07:28

theory so critical theory dissects existing social societal beliefs and criticizes them in a way to

1:07:35

redefine existing beliefs values and morals and stuff like that uh which they

1:07:41

will tell you that the oppressors are your governments they're your religions and these entities they

1:07:48

inhibit human potential so this goes back to the human potential movement of the 1960s that was spearheaded by Willis

1:07:56

Harmon and it was it was called really Under the Umbrella of the of the Aquarian

1:08:02

conspiracy you can see all the pie yeah please you can see all the pieces beginning to fit together of like how did we get in this mess and how far back

1:08:09

it goes oh it goes way back so here the Frankford School uh recommended the

1:08:15

creation of racial divides continual change to create confusion teaching sex and alternative sexual Lifestyles to

1:08:21

Children undermining the authority of schools and teachers promoting excessive drinking in drugs emptying churches

1:08:27

creating an unreliable legal system we see that in Spades uh creating dependency on the

1:08:34

state um ensuring that they control the media and uh and to encourage the

1:08:41

breakdown of the family I talked about their um their strategy to marginalize

1:08:46

the role of the father and to remove the parents as the primary

1:08:52

Educators and to offc the difference between genders this is something that is you know comes out of their playbook

1:08:59

and again like I said they're connected at the hippot Tavistock so they're very difficult to separate because these groups work

1:09:05

together um one person in particular was Kurt Luellen um he bounced back and forth

1:09:12

between Tavistock and and uh the Frankfurt School and he was a a big- Time social scientist back in the

1:09:19

day um beron Russell our friend beron Russell who is again really an adjunct

1:09:24

to the Frank school but he's a big time uh was a big- time elitist he's uh out

1:09:30

of Britain he's he's passed away now uh he's been gone about 50 years uh the use of music to promote

1:09:37

mental illness and Destroy Society verses or lyrics set to music and repeatedly in toned are very

1:09:44

effective to brainwash people so that's where the music industry and the entertainment industry Hollywood uh come

1:09:51

into play um I think it was adoro that said that that they could promote a

1:09:56

culture of pessimism and despair via the radio and television so again they could just pump this stuff into your into your

1:10:03

living rooms now think about that folks um every time you turn on your TV set does any good news ever come out at the

1:10:09

speaker it's always strategy tragedy it's always some kind of shooting it's always some kind of something bad it's

1:10:16

War something bad is always being pumped into your living room and that is what you're being

1:10:23

inundated with and um I you know I'm I'm a retired

1:10:29

hypnotherapist oh and so I'm very very familiar with with you know with hypnotherapy and uh the television set

1:10:37

uh the subconscious mind loves imagery so that's why when you watch

1:10:45

television you'll watch there'll be Loops being played looped imagery like if we picked 9911 with the plane hitting

1:10:51

the building they kept playing it over and over and over again the reason why they were doing that was because that

1:10:57

was that was conditioning that was mind control then what they did was they

1:11:03

added the post hypnotic suggestions to the imagery by continuing to talk about the tragedy to talk about

1:11:11

war to talk about death so you were associating these images now with very negative terms and

1:11:18

words and uh this is how they do it I mean the television the television is a

1:11:24

hypnosis box yep all right my friends so just just keep that in mind uh so okay

1:11:29

so and to finish up the Frankfurt School its Network extends into Eugenics

1:11:35

as you know I mean I guess the uh their buddies with the fabians population control sexual and family law reforms uh

1:11:42

they're inter seexual and family law reforms in other words changing it for the worst it is linked to publishing

1:11:48

houses all your books medical educational and research

1:11:53

establishments women's organizations marriage counseling governments Etc and I talked about uh cybernetics and the

1:12:00

whole study of the circular process of input and output and receiving feedback and then fine-tuning whatever it is that

1:12:07

you're working on from a cybernetic perspective so that's the Frankfurt School so and the reason why I took

1:12:13

everybody through that and Tavistock not just because will asked me is because

1:12:18

now you can have a better understanding when we talk about the music industry you can start to get your head

1:12:24

wrapped around The Beatles and not just the Beatles I mean we're talking about the Rolling Stones we're talking about

1:12:30

the entire British Invasion so think about the British Invasion think about

1:12:35

how they coined that term the British Invasion I mentioned before that this all goes back to

1:12:41

Britain Tavistock British so it was the British Invasion

1:12:48

so another way of saying it is the Tavistock Invasion to begin the process of syst

1:12:55

atically changing the the construct the societal and cultural construct within

1:13:00

the United States and also over in England as well and and the rest of the

1:13:06

world all right so um yeah so the Beatles did you want me to get into the Beatles yeah I you have

1:13:13

questions for me no I think that would probably be a good time I mean I think um my where I connect with all this is

1:13:20

spending a lot of time in the New Age and having you know unplugged all that I I don't know that I haven't read the

1:13:26

book The Aquarian conspiracy but in one of your videos you were talking about it I'm like yeah that was basically my whole life for 20 years so uh so that

1:13:33

was sort of my doorway into this stuff and I I kept finding that no matter where I walked in this kind of new age

1:13:40

world I would always end up in front of the Beatles right all roads in some sense lead to them so naturally when I

1:13:46

started watching your work and you started pulling on those threads that's when everything started to unravel and

1:13:51

open the door so much more so I think now would be a really great time to get to them yeah so Tavistock clearly understood as well

1:14:00

as bertron Russell and the Frankford school that music played a very very important role

1:14:06

very important role in conditioning people to formulate

1:14:13

belief systems you know there's an old saying your thoughts are not your own yeah and it it's so true really to the

1:14:20

audience take a step back and think are your thoughts your own think about where you receive your information

1:14:27

from and question it question everything because we've gotten to the

1:14:32

point today where it's just one gigantic propaganda and indoctrination machine

1:14:38

around us 247 every single day every single

1:14:43

day so when I see when I looked at the Beatles initially it focused on the

1:14:49

replacement of Paul McCartney and so I took you through that I looked at the the images and

1:14:55

and I you know pull the evidence together and trust me folks the guy that's playing Paul McCartney today is

1:15:01

not biological Paul mcari he's not the guy that you remember back from the early 1960s he is not I know people are

1:15:08

going to disagree with me and do me a favor if just go to my my YouTube channel lots

1:15:14

of lots of content on that I'm not going to spend a lot of time trying to convince people that just take a look at

1:15:19

it do you have one one video that I can send people to in particular that's about that one issue to yeah um I

1:15:27

actually did a video what I'll do will is um I can send it to you after the show I have a link I think it's called

1:15:32

The Beatles conspiracy 101 okay on my on my YouTube channel and it's only a one

1:15:39

minute short but what it does is it refers you to the description box to

1:15:44

specific shows which will help you to understand the flow of this Beatles

1:15:50

conspiracy great so you start here with replacing of Paul McCarty and then we make our way into

1:15:56

um the music piece of it did they write all their own music and play on all the recorded tracks the answer is no they

1:16:02

did not but I'll talk about that um so knowing what we know now about the

1:16:09

Frankfurt School in Tavistock they had to put a uh a musical phenomena in place

1:16:20

they had to they had a kick off something that was going to take the world by storm MH now what we need to

1:16:27

understand is that now I I have a I have a a

1:16:33

hypothesis okay and uh let me just start with this there are pictures on the internet

1:16:40

of Paul McCartney George Harrison and John lennin with bird cages with George Harrison and Paul McCartney the bird

1:16:46

cages are on their heads with John Lennon he's leaning up next to a bird cage with a Superman shirt which goes

1:16:52

back to nii and the Uber mench the superum the Superman right this is a concept of the

1:16:59

elites if we if we listen to um the world economic forum and we listen to uh

1:17:05

Yuval Harari talking about that they have achieved Godlike status now this is

1:17:10

what they're talking about they're talking see when they talk about this stuff today it all has history but you

1:17:19

have to know where it goes back to otherwise it just sounds like kookiness I mean it might still sound like cook

1:17:25

but you but at least you could tie it back to an ideology that these people are in love

1:17:31

with totally in love with so going back to the bird cages so bird cage

1:17:37

symbolism uh from a controller Illuminati you know pick your label uh

1:17:43

refers to mind control MK slaves and so when I took a look at

1:17:49

those pictures and and there are a lot of images of The Beatles engaged in occult symbolism MH now some people are

1:17:56

going to want to argue that because they were so young that they really didn't have an idea what they were doing they were doing they were just they were just

1:18:03

doing what they were told to do and that could very well be true but the point being is

1:18:08

that even though they may have been doing what they were told to do without any real knowledge of what it

1:18:15

meant the occult was still being communicated out symbolically mhm to not

1:18:21

only they're in a circle but also add as a a way of poking

1:18:26

the what they refer to they refer to us as the profane in the eye so since we don't really understand

1:18:33

what it means we're going to put it right out in front of you and it's it's it's a way it's a way

1:18:39

of them like I said it's a way of them poking fun at the fact that the masses are

1:18:45

unknowing so the Beatles arrive in Hamburg in August of

1:18:51

1960 and in August of 1960 they were they did not

1:18:58

have very good musician skills at all and they showed absolutely no

1:19:05

songwriting prowess zero how how old were they as well how old were John Ringo or in 1960 Paul would have been 18

1:19:13

John would have been 20 uh George was underage he was 17 that

1:19:19

was a problem in in uh when he was out there because he was underage eventually they worked around

1:19:25

that uh Ringo wasn't with them yet it was Pete Best in the Hamburg days Ringo didn't show up until 1962 when it was

1:19:32

announced in a mercy beat publication in August September of 1962 that Pete was

1:19:39

out and Ringo was in so the Beatles show up in August of 1960 and uh they're

1:19:44

brought there by their then manager Alan Williams and um they were they were not very good and

1:19:51

it's it's not my assessment if you listen to The Beatles themselves

1:19:56

especially Billy when he talks about the beetle period going back to Hamburg he will say that you know they weren't very

1:20:03

good musicians and uh they were very uh they're very rudimentary at Best in fact

1:20:09

uh there's an interview with Alan Williams from the uh the beetle documentary the Complete Beatles which

1:20:15

goes back to the 1980s which was the definitive doc a documentary about the Beatles until Anthology was released in

1:20:22

the 1990s where he says he was told by one of the clubs in Germany don't bring

1:20:28

that bum group The Beatles to Hamburg we have a good thing going here don't bring that bum group The Beatles here and I'll

1:20:36

talk about Germany too in a little bit you know because there's a big huge German connection to all of this stuff

1:20:41

and uh we'll talk about that a bit so anyway so what happens is you know the Beatles get to Hamburg and they're

1:20:48

playing at these clubs and they're playing you know seven hours a night they're living in squalor they were

1:20:54

hanging out uh in an old Cinema they were using that as basically their shelter uh in an interview that Pete

Beatles' Grueling Hamburg Experience

1:21:01

best did uh years ago he was being interviewed and he said you know the schedule the way it worked in Hamburg

1:21:06

was they would play in these clubs seven hours a night they would go back to you

1:21:12

know wherever they were hanging out you know the cinema and they would get up at 3:00 in

1:21:19

the afternoon mhm and they had to be back at the club at the venue at 6:00

1:21:26

so they had a three-hour window of time between the time they woke up and they had to be back at the club so there was no songwriting taking place there all

1:21:33

right they was just probably getting through their hangover and making their

1:21:38

way and you know Hamburg uh was a red light district lots of alcohol lots of

1:21:44

women um and so the Beatles have their stint in Hamburg and they return home in

1:21:50

December of 1960 completely dejected because absolutely nothing

1:21:56

transpired zipo nothing happened right so they came and they

1:22:01

went and then something happens in 1961 that something happens

1:22:08

is you know uh this is Tavistock now um really stepping up the

1:22:13

game for them the reason why they were doing Hamburg and they were doing all these gigs is

1:22:19

because um Tavistock needed to improve and enhance their performance

1:22:26

skills for when they were going to take the beetle Mania show

1:22:31

out live starting in late 1963 and going into early 1964 in the US so think of

1:22:40

hurg and all the gigs they were doing back in the Liverpool in the UK as boot

1:22:46

camp if you go on Wikipedia you take a look at the Beatles live

1:22:51

performances you will see that they were playing virtually every single day from

1:22:57

1961 through 1963 I mean they had they had a couple of days off here and there but they had

1:23:03

a gig every single day and in Hamburg they were there for weeks they might be there two three four weeks at a time and

1:23:09

they were playing virtually every night so the first question we have to ask ourselves is and this question was

1:23:15

actually pointed out by a friend of mine uh Peter Tomkins uh Pete's u YouTube channel PT po I he interviewed me and I

1:23:22

interviewed Pete and and pizza musician too he goes Mike how are they getting all these gigs mhm how are they getting

1:23:30

all these gigs so so 61 um they start getting all of these

1:23:37

gigs and they're playing and uh and then they meet uh Brian Epstein in uh I think

1:23:43

it was uh November November 9th of 1961 so he goes to see them at the

1:23:49

cavern Club so again remember the time frame August 196 to December of 1960

1:23:55

nothing happens mhm then January of 1961 um up through November of 1961

1:24:04

they're doing all these gigs and they just happen to meet up with Brian Epstein who went to go see them at the

1:24:09

cavern club and he says you know he loved them and he wanted to sign them to a contract okay and during this period

1:24:17

of time the Beatles are doing nothing but cover tunes that's all they're doing is is cover tunes they're not doing

1:24:23

original music are a bar and club band that does cover music

1:24:29

yep then on January 1st of

1:24:35

1962 they wind up at Deca records to do a

1:24:42

demo 15 songs 12 covers and three non-descript

1:24:48

originals and these three Originals never made their way onto any of their albums that they released as a unit I

1:24:56

think maybe one or two of the songs maybe the a third song as well maybe all three I have to go back and check uh are

1:25:02

represented on the Anthology release which came out in the

1:25:07

1990s so now we have to ask ourselves okay so hold on a second here so August of 1960 they're in

1:25:14

Hamburg there you know nothing happens and then from January 1st

1:25:20

through let's say December 31st of 1961 you're doing all these gigs they

1:25:25

meet up with uh Epstein Epstein meets up with them then they get a demo with Deca

1:25:33

records a major label who even knows who they are right

1:25:39

so Deca turns him down Deca says no not interested so then Brian Epstein takes

1:25:46

tapes to George Martin and I think this was in February of 62 so a month later and he plays the tapes for George Martin

1:25:52

and George Martin says well if you're asking me to judge them by what you're showing me here I'm not

1:25:59

interested he said that George Martin says that in your videos there's a direct quote of his com from his lips

1:26:05

where he says exactly those words yeah he he's direct quotes I I mean these are

1:26:10

interviews that I have watched where George Martin you talked frankly about

1:26:17

um about this I mean of course he would he would say that and then he would revert back to the accolades that that's

1:26:24

something that's very common in the Beatles Story you'll hear there's another uh story with uh Norman Smith

1:26:30

who was their engineer uh from please please me their first uh parlophone UK release and by

1:26:37

the way their parone albums are their official albums not the US capital releases and he was with him through uh

1:26:43

Rubber Soul and in 1971 in a magazine called new music

1:26:49

express he said they were they were terrible in the studio mhm that they f failed in the

1:26:55

studio and uh and he was not impressed by them at all so you know you get these

1:27:01

stories and you have to say to yourself okay let's set aside all the feel-good Happy Talk stories and let's understand

1:27:07

why these things were said I mean is it revelation of the method are they putting the truth out

1:27:14

there so that they could say well I told you the truth but you just decided that you didn't want to hear it right or pay

1:27:19

attention to it or grab on to it right so anyway um so George turns them down

1:27:25

and then they sign a contract with Emi 5 months later in June of

1:27:31

1962 right so the question becomes well what what changed between February and June of 1962 they a bum group that no

1:27:38

one likes and then suddenly they suddenly they get signed right and and George Martin had said that they had

1:27:44

nothing behind them and the best song he could find from them was love me do and

1:27:50

that's even that's even if they wrote that song um and interesting because

1:27:55

going back to the documentary I mentioned earlier will uh the Complete Beatles the 1980s documentary in that

1:28:01

documentary it says that uh between 1956 and 1962 Paul McCart John lennin either

1:28:08

individually or together wrote 100 songs together uh 100 songs either

1:28:13

individually or together and um so the first question

1:28:19

you got to ask yourself is and the documentary also says although they weren't recorded

1:28:24

okay fine they didn't record them that's that's very you know that's very convenient okay but let's just set that

1:28:31

aside and say okay they you know you told us that they wrote 100 songs so when they get to George Martin how could

1:28:37

he say that they had nothing behind them and the best thing the best song he could find from them is Love Me Do and

1:28:43

he knew it was not the big hit he was looking for in fact in an interview that uh I

1:28:50

think that it was from the documentary uh produced by George Martin he's having a discuss with his son Giles who

1:28:55

actually U George passed a baton to as far as the entire uh Beetle Enterprise

1:29:01

that George Martin was involved and his his his son Giles is now U he has all of

1:29:08

that uh you know he says I you know I liked them and they they had great personalities but I thought their music

1:29:13

was rubbish and then he and his son have a chuckle over that and so there's a lot

1:29:20

of stuff out there I have another interview uh where George Martin says that um it it wasn't obvious that they

1:29:27

were songwriters and that their songs were awful right so now for those of you who

1:29:35

are Beetle fans right now and you want to you want to break your your monitor because of the things I'm saying just

1:29:41

just go watch the presentations and you can listen to George Martin say this himself okay

1:29:47

I'm not saying this I'm not George Martin said these things it's like Quincy Jones said that uh uh Paul

1:29:55

McCartney and Ringo Star were no playing bleepers mfers yeah mfers going

1:30:02

back and that was an article in Spin Magazine people said oh he he retracted that he never retracted that he never

1:30:09

what he apologized for was airing it out yeah okay so we have these types of

1:30:16

things going on have the Norman Smith article we have George Martin you have Quincy Jones talking about all this and

1:30:22

um so then they get signed and of course again they they don't have anything behind them but

1:30:30

yet they signed in June of 1962 and they released their first album Please Please Me nine months later with eight

1:30:38

original Lenin M mcartney songss six covers eight

1:30:44

Originals so they went from Zero to

1:30:49

Hero in in nine months signing with Emi George Martin didn't want to sign him

1:30:55

now some people would say well how come he signed them um I believe it was told he was told

1:31:03

that he had to sign them it came from above him so he he worked for a guy

1:31:09

Oscar Prius excuse me he worked for excuse me Len wood Oscar Prius was uh had George's

1:31:18

position with parone before uh Oscar retired now George took over the parlophone label I think he was was 29

1:31:24

years old in 1955 so th this tells you you know that he was he was a mover and a Shaker they

1:31:31

were moving George Martin a law and not to say that GE George was very talented

1:31:36

okay I he's very talented man so he was moving along but yeah 29 years old for

1:31:42

Emi to to give him his own label to manage the the parone label that's that's impressive that's very impressive

1:31:49

and so um and then the CEO of I at the time was Joseph

1:31:55

Lockwood sir Joseph Lockwood so I think what happened was that maybe perhaps

1:32:01

George was not completely on board with uh The Beatles as to what they were

1:32:08

going to become so in February he says no and

1:32:13

then later on shortly after I should say he receives a phone call this is

1:32:19

actually explained in Memoirs he received a phone call from upstairs that said you got to take him on mhm and when

1:32:25

he first took him on here's another thing he didn't work with them directly

1:32:30

he didn't want to work with them he delegated it to one of his assistants

1:32:35

Ron Richards who later on um who did Ron work with oh Ron was spent a lot of

1:32:42

years working with the holes buddy H so Ron takes the Beatles into the studio to see what he can get

1:32:49

out of them and he can't get anything out of them and they did some they did some recordings and so

1:32:56

um the way The Story Goes the playback is shown to uh to George Martin and uh

1:33:03

to uh Brian Epstein and whoever else was there and

1:33:09

uh that resulted in a second phone call to George Morton that

1:33:15

said you can't delegate this you have to work with them

1:33:22

directly so you have have to do your magic to make this work George um so now we have them nine

1:33:32

months after they get signed they come out with an album they they just magically come up with eight original

1:33:38

Tunes when before that they couldn't find nine months earlier they couldn't find even one really um and then they're a bum group

1:33:45

they're a bum group that are disin you know they their their music is rubbish their uh their their Studio output is

1:33:53

low quality and people don't want to work with them and then magically they keep getting moved along the chain from

1:34:01

all these different gigs and Hamburg to all these auditions and demos like they're failing upwards is what you're

1:34:07

saying right that they're in they're succeeding in spite of themselves yeah

1:34:14

okay so and the other thing I should mention also is starting in 1962 I think

1:34:19

it was 62 um they start getting these gigs with the

1:34:25

BBC live at the BBC gigs so now you have to think to yourself okay wow how did

1:34:32

that happen well that's somebody's pushing buttons behind the scenes that's that's how that's working you you you

1:34:38

were turned down by Deca you were turned down by George Martin from Emi and then right after that the BBC says yeah yeah

1:34:46

come on come on on to our BBC live at the BBC shows right and by the way they weren't live folks okay they were they

1:34:54

were recorded they were pre-recorded and they were able to do um takes and

1:35:00

overdubs and I did a whole show on this and then they were released like two or three weeks later so they were actually

1:35:06

Studio Productions and I did a show on this will where I I sincerely doubt that

1:35:12

the Beatles are actually performing the instrumentals on those BBC recordings they did the vocals but I don't believe

1:35:19

that they were doing the instrumentals that was done by Studio players but we'll get to that in a moment can we

1:35:26

take a side step real quick to talk about two things so the first thing I want to do is kind of unpack who George

1:35:31

Martin is because we've said his name number of times and the role of a of a studio producer Studio engineer in

1:35:38

crafting the sound of a band because from my time in this in the uh in the studio world in the musicians world I

1:35:45

heard George Martin's name held up with reverence as the guy who in basically

1:35:50

invented everything that Engineers do today right there was a moment when engineering became a straight technical

1:35:56

kind of thing to being a creative art right and so George Martin was the guy who started that in fact he's called the

1:36:02

fifth Beetle so let's let's talk about who George Martin is right now just to set some context about how important it

1:36:08

was that he rejected them and then this same guy within a year took them back on

1:36:13

let's talk about him for a minute yeah so a producer as you know will um is really um calls the

1:36:22

shots as far as recording goes and uh how the songs are going to be

1:36:28

arranged how the songs are going to sound the direction um the the whole nine yards

1:36:33

it's the whole presentation and packaging of what this particular album these songs are going to be about that's

1:36:40

why when the director of an album like a film director of an album kind of yes right so he's the main man or main woman

1:36:47

and that's why uh the story that it's it's it's in the beetle

1:36:52

official narrative that says that um George Martin and I have an interview where he

1:36:58

says this he went out looking for songs for them in other words he was pulling in songs that were written by other people in fact the mercy beat article I

1:37:05

mentioned before August September of 1962 says that the Beatles are flying to London to record songs that were um

1:37:12

specifically written for the group given to them by their recording manager their

1:37:17

producer George marttin it didn't say to record songs written by them it said

1:37:23

they were write they were recording songs that were written for them and there's a there's a you know

1:37:29

there's this story that goes around that says that the Beatles pushed back on George Martin and said know we don't

1:37:36

want to do other people's music we want to write our own music and I I keep telling people you

1:37:42

know when people bring that up I said look please put your thinking cap on you're a band that just got signed you

1:37:47

got turned down twice you're in you're in the studio with a big name producer George Martin

1:37:53

was the head of the parlophone label at that time he wasn't just a producer he was the head of the

1:38:00

parlophone label reporting up through Joseph Lockwood these four guys were not going

1:38:07

to tell him anything right not going to tell him anything it was

1:38:13

George that was calling the shot so all these stories about you know how the Beatles had so much uh input into what

1:38:20

was going on I mean I'm not saying that they didn't have disc with George Martin it might have said what about this what

1:38:25

about that but but you know when the buck stopped with George Martin he was the guy he was the guy and

1:38:34

what's interesting is he left Emi because he was having a lot of he was having how should I say this I

1:38:41

want to put it in the proper context he was bumping heads with his immediate boss Len wood and George didn't feel

1:38:47

when he was at Emi that he was being compensated appropriately that he should have been making more

1:38:54

money and evidently Len didn't agree so they were they were um they

1:39:01

were they were locking horns and uh so George eventually uh left Emi and uh the way The Story Goes what

1:39:09

I've read my research is you know Lenwood tried to pull him back he started his own recording

1:39:16

studio um air air

1:39:21

Studios and what's interesting about that is even after he started his own

1:39:27

Studio basically an independent Studio owner and producer he was still back at Emi with

1:39:34

the Beatles oh wow that's you know that's that's very interesting The

1:39:40

Beatles were under contract with Emi but this independent producer George

1:39:46

Martin was there who he was a former employee of

1:39:51

Emi and there was some horn locking between him and and Len wood Len wood eventually

1:39:59

uh left Emi or retired as so but the point I'm trying to make is obviously

1:40:05

George Martin was very very important to the operation very

1:40:11

important could they have brought a different producer in sure it could have this happens all the

1:40:17

time um but no he he stayed so there's a reason why he was there and obviously if

1:40:24

you look back at his legacy now uh George Martin and the Beatles it's it's

1:40:29

synonymous you can't really talk about the Beatles without talking about George Martin and vice versa you can't talk

1:40:35

about George without having a discussion about the Beatles yep right so that's

1:40:43

that's George I mean he uh he was he really controlled that band and

1:40:49

again folks my research right he controlled that band band and he handled

1:40:55

them uh from the beginning of 1962 right up through revolver

1:41:00

mhm and um that was his era and then once uh Billy came in

1:41:07

because Paul McCartney was out of the picture he was replaced in uh starting in late 1966 going into Sergeant Pepper

1:41:14

because Sergeant Pepper was Billy's album working with George Martin The other the other Beatles were really pretty much spectators at that point in

1:41:21

fact George Martin mentioned it in interview I think it was a 1990 interview with Bernie Goldberg don't

1:41:26

don't hold me to the date but it was a long time ago and in that interview Billy as Paul McCartney Is Telling

1:41:33

Bernie Goldberg who was interviewing him that George um George Harrison was a no-show for the pepper sessions mhm I

1:41:41

heard that too he said that he was putting a pool in or something and Billy

1:41:47

said you know it was it was you know sketchy because you're supposed to show up for the sessions so that calls into

1:41:53

question well if George was a no- show for the sergeant pepper sessions and he's credited for playing

1:42:01

guitar on the tracks well who was really playing guitar on those tracks right right you have it's just a logical it's

1:42:08

not me saying George didn't show up for the sergeant pepper sessions it's Billy Paul McCartney telling us that and again

1:42:14

I I have this interview in a number of my um my presentations so anyway when it's when

1:42:22

pepper came Billy actually was sharing the production and the know the whole

1:42:28

managing of the band with George Martin and I I think personally George

1:42:35

was more disciplined and structured in his approach Billy I think was a little more

1:42:40

loose and so the reason why I say that is because when we get to the White Album

1:42:46

sessions um George Martin walked out and went on vacation went on holiday

1:42:53

and basically like good luck Lads I you know I'm I'm not going to deal with this

1:42:59

so you do what you need to do and I'm heading out so um so the and again the

1:43:05

reason why I'm telling that story is because we could see there was a transition of um of management if you will within the

1:43:13

band from George over to Billy because Billy really became the deao manager

1:43:20

Handler uh of The Beatles taking them in the

1:43:27

direction that he wanted them to go and that started with Billy being responsible for setting the stage with

1:43:34

the Beatles for the Psychedelic era yes with the release of Sergeant Pepper and kicking off the summer of love and he

1:43:40

was also behind the Monteray Pop Festival a lot of people don't know that he didn't play or perform there as Paul

1:43:45

McCartney but he was working closely with like John Phillips which of course the whole Monterey Pop Festival is tied

1:43:52

into the CIA and the distribution of LSD MH where uh

1:43:57

local law enforcement was was told to to stand down as the CIA was handing out

1:44:02

acid to the people who attended the uh the concert so so sorry go ahead no no go

1:44:09

Ahad so I think I think the the the context that all this is happening in today you in a sense or or is that the

1:44:16

beatle story as is handed down to us by the official narrative is as a supernatural one right like you you're

1:44:23

you're forced to believe that from 1960 or 1962 to

1:44:29

1969 these going nowhere you know poor playing you know band members you know

1:44:34

who just basically are grinding out extended cover cover sessions in Germany

1:44:39

somehow produced under incredibly tight time frames like legendary Quality Music

1:44:47

featuring skills of performance that were outside of their ability drawing in you know Musical Theory aspects that

1:44:54

none of them were trained in while being while while you know while there's documented interviews and statements

1:45:01

that yeah they were basically bums as a band and we're supposed to believe that

1:45:07

that band somehow produced you know almost magically this music that defined

1:45:13

an era when there's no evidence to substantiate this that that's what actually happened there is there really

1:45:19

is no evidence the only evidence uh and it's not evidence it's storytelling it's the official narrative it's it's the

1:45:25

propaganda it's it's the the conditioning that comes through um official stories and that's what people

1:45:32

you know they grab on to look I always tell folks will The Beatles narrative I call it the

1:45:39

Cinderella story yeah who doesn't love it it's a great story right it's a story

Rise of The Beatles: Early Years

1:45:45

that says that these Four workingclass Lads from Liverpool connect with Brian

1:45:50

Epstein who uh runs a record store his family owns the record store um and then

1:45:57

he winds up getting them signed to Emi under the tutelage of a producer like George Martin and then they go on to

1:46:03

unprecedented Fame and Fortune and again if we re if you recap what you and I

1:46:08

were just talking about they had nothing and then once they got to uh with please

1:46:14

pleas me their first album um then they released another album in November of that year year um

1:46:21

with the Beatles so they went from not being songwriters not being a great band

1:46:28

to then producing in 1963 two two albums Please Please Me and

1:46:35

with the Beatles each one of those albums has eight songs so 16 original uh compositions by The Beatles and uh

1:46:44

12 uh cover tunes six on each album okay so how was that progress how was that

1:46:51

happening how is that happen right so then we get to 1964 and by the way the Beatles were on

1:46:57

the hook for two albums a year that was the agreement that they had with with Emi so you know none of this one album a

1:47:04

year or one album every two years they had to produce two albums a year again coming from a band that showed no

1:47:10

songwriting aptitude and that were mediocre at best as musicians they were they were bar and Club Band MH but when

1:47:18

you listen to The Beatles recordings that's not a bar and Club Band you're listening to I have the I actually have

1:47:23

backing tracks that were given to me by a friend of mine Patrick o Carol and uh I you when you listen to

1:47:30

the backing tracks without the vocals it's very clear what you're hearing there you're hearing session players

1:47:35

playing on those tracks and you're hearing also different styles of guitar playing there's different drum different drumming Styles different bass playing

1:47:42

Styles which means that different um session

1:47:48

musicians were attending different recording sessions and so so their particular style was being reflected on

1:47:56

on that song now in some cases the same session players were playing on many tracks so you're going to hear the same

1:48:01

style but it does change up so then what happens is when when they get to

1:48:07

1964 by the way they arrive in America on February 7th of 1964 which breaks down that that that

1:48:14

date is encoded with 9911 February is 2 7 is n 1964 in numerology N9 is zero

1:48:22

because any time anything times 9 reduces to 9 so 1964 becomes 1064 1 plus

1:48:29

6 plus 4 is 11 it's a 911 and code to date so that gets back into the occult aspects of the The Beatles were totally

1:48:34

immersed in the occult totally immersed in crism in in theic principles so now

1:48:43

they release A Hard Day's Night that album that has 13 original tracks on it

1:48:50

there were 13 tracks in total so now they were able to produce 13 original

1:48:58

songs for hard days night while they were touring news conferences and the filming

1:49:07

of the movie A Hard Days night was sandwiched in between the recording periods the

1:49:12

dates of recording the album so they were they were on a film set and that

1:49:18

was sandwiched in between the the recording that was getting done for the

1:49:24

album mhm then they get to uh the second album

1:49:30

for 1964 Beatles for sale it goes back to eight Originals six co uh covers and

1:49:37

then it get into 1965 and that's HP and HP has 14 album tracks of which 12 are

1:49:44

original compositions so it's you have to it's really really important to understand

1:49:50

folks what their what their schedule was like hectic doesn't even explain it they

1:49:57

were in and out of hotel rooms they were doing world tours they were in Australia they were in the US they were in Japan

1:50:04

they were playing in Europe flying everywhere news conferences two films

1:50:11

when they did help they when the help album when they were recording that the same situation we had with the hard days

1:50:17

night the filming of the H movie was sandwiched in between the recording period for the

1:50:24

record how was all this stuff getting done and then I have an interview that John lennin gave it was um was in the UK

1:50:31

independent they published it a couple of years ago where he said on the set

1:50:36

of help they were in a fog a haze of marijuana of weed yep and that Richard Lester the director

Beatles Songwriting: On-Set Sobriety Limitations

1:50:45

who's the same director for a hard days night uh had to wrap everything up

1:50:50

pretty much by noon midday because beyond that they were useless they were so

1:50:57

stoned so there was no there was no writing of Music taking

1:51:02

place on film sets and the proof of that is in in August 1965 excuse me August August 5th 1966

1:51:10

interview with the BBC uh with John and Paul Paul McCartney

1:51:16

said that the Beatles did not write songs in between albums Maybe one or two and when he said

1:51:23

maybe maybe could mean zero mhm he said they wrote in great big batches whenever

1:51:29

they had to do an album so that meant 12 14 songs and the BBC reporter it's

1:51:36

interesting the interviewer he says to Paul McCartney once he says this he says he says well it seems almost quite

1:51:43

impossible to me to just bang out 12 Songs in a short period of time and then

1:51:49

John Lennon chimes in and says well you know it it is it times yeah right figure so and in that

1:51:57

interview Paul McCartney says it took them weeks weeks to write just one song

1:52:03

and he was talk and the album they were talking about is revolver because they had the interview on August 5th of

1:52:11

1966 and that's when revolver was was released they were talking about revolver so if it took them weeks to

1:52:17

write one song for revolver and we'll get to you know Rubber Soul that's when we get into the whole

1:52:23

situation where Rubber Soul is the Silver Bullet that in my view takes the Beatles

1:52:31

narrative and turns it upside down on its head yeah so anyway so so they get

1:52:37

to 1965 and help and then you know we get into Rubber Soul and now they're on

1:52:43

the hook for that recording session over a 30-day period of time from October

1:52:49

11th they arrive in the studio on October 11th recording starts on October 12th they finish up late in the evening

1:52:54

going into the early morning hours of November 12th and they are on the hook for

1:53:00

16 songs impossible and they came into the studio with essentially no backlog

1:53:07

of Music they said the Beatles came in empty that's the official narrow they

1:53:13

came in empty and um so

1:53:18

that's see I didn't know anything about the Rubber Soul story will M um I I mean I was like everybody else

1:53:25

I just you know I just didn't pay attention to the time periods how it was recorded when they when we're told it

1:53:30

was recorded and all that stuff and so I found this series deconstructing The

1:53:35

Beatles Scott Fryman is the uh the author of the series Scott's you know he's a musicologist he's a very um uh

1:53:44

he's very well credentialed but you know he presents The Beatles official narrative now whether he believes it or not I don't know but you know this is

1:53:52

what he he does with the deconstructing uh series and something told me a little bird whispered to my head

1:53:59

Mike picked the Rubber Soul DVD don't pick the other ones just pick

1:54:05

the Rubber Soul one so you know being a musician myself and having recorded and written songs for a long time when I I

1:54:11

put the pop the DVD in we got 15 minutes into it and they told the backstory of The Beatles coming off their

1:54:17

tour um then had a six- week break in which they did not write any music that's in Mark Lewis and book Mark

1:54:22

Lewis's book says that six week period of time between when the tour ended on August 31st of 65 to when they arrived

1:54:29

in the studio on October 11th of 1965 they had no work and if anybody

1:54:34

thinks that songwriting is not work I have something to you know to say

1:54:39

about that yeah so anyway I want to ask you about that actually but please go ahead oh so they entered the

1:54:46

studio with uh with no material now some people people will want to argue that

1:54:51

they had a little bit of this they had a little bit of uh we can work it out they had a little bit of Michelle you know um

1:54:57

but here's the thing having a little bit of something my my when people bring that

1:55:03

up because what that is is rationalization if you're if you're a songwriter and and a musician and you're

1:55:10

really objective and you're honest if somebody said to you I need

1:55:16

you to write learn in other words teach the other band members

1:55:23

rehearse arrange and record 10 12 14 or 16 songs

1:55:31

in 30 days you're gonna like okay you know what that's not going to happen forget

1:55:38

that's not going to happen no and that's what happened with Rubber Soul uh will when I went in there and I looked at

1:55:44

that and when you take a look

1:55:49

at um how the songs were pumped out it was conveyor belt stuff yeah it was day

1:55:55

one day two day three day four day five you know nobody nobody

1:56:03

nobody writes songs and gets them rehearsed and arranged like that nobody

1:56:12

nobody because you know I don't know if you're familiar with being in a band being a musician or you were in the

1:56:17

music business yeah but what I try to explain to people is when you go in when you write

1:56:23

music it is a very it's a creative process that takes

1:56:28

time and it's not just about writing music that's where a lot of people you know they get hung up oh I'm I can write

1:56:35

people I can people write me to say well I can write that many songs in 30 days are you writing good

1:56:40

songs right all right it's it's one thing the Beatles have pretty much all

1:56:47

topshelf songs on Rubber Soul we might argue one or two maybe you know you know

1:56:53

a little weak but let's just say of the 14 12 really really solid song some of them are great songs

1:57:00

um it's not it's not an album of one good song and 13 filler tracks right

1:57:07

that's that's the point that people have to understand rubber Sol is considered one of their pivotal albums it's it's a

1:57:13

it's an album which is considered to have really changed the dynamic within popular music MH now some will argue

1:57:20

that you know Dylan set the stage for a soul and that and that's and that's probably true although Bob in a early

1:57:26

2000 interview with Ed Bradley on uh 60 Minutes talked about how you know he

1:57:32

made a deal with the chief commander okay he let the he let the cat

1:57:37

out of the bag can I can I comment on that real quick that interview so so I've heard that clip before they made a

1:57:44

deal with the chief commander of this world you know this world the next one right this Bob Dylan way but I've heard

1:57:49

that before but it's what he said afterwards that was so interesting cuz Ed Bradley asked him could you do that

1:57:56

now he said no he said no I couldn't do that now I can do other things but I couldn't do that now I'd never heard

1:58:02

that part of it before that to me was the truly damning part of it it's like he had a deal to get this done the

1:58:08

legendary songs and everything else is riding on that and how many musicians are like that they've been around we

1:58:13

know their names they've been around for decades they had great stuff happening in a defined period of time and then

1:58:19

that period of time ended and they never did anything think good again I think of You2 cuz You2 is more of my generation

1:58:25

it's like they had this swing of incredible albums up to the 9s and then everything they did after that like

1:58:30

completely forgettable so i' never heard that portion of the of the Dylan interview that kind of speaks to that

1:58:36

yeah and then and then you know and Bob said and then Ed Bradley says well why you why do you still do it he goes

1:58:41

because I have to hold up my end of the bargain that's right so he's so you know

1:58:46

Bob didn't say well I'm going to hold up my end of the bargain as long as I still can pump out great

1:58:52

tunes no he he basically said I had my I had my I had my time my period of time

1:58:58

where I was cranking out you know the the classic Dylan pieces and after that it just kind of waned um but he's what

1:59:07

he was saying is I'm still on the hook I'm still on the hook for this stuff you know so so with so going back

1:59:13

to Rubber Soul um I just took people through it and I said the rate and

1:59:19

Pace just doesn't work and in a J

1:59:25

196 6 interview yeah this was about a year well a little less than a year

1:59:30

after Rob Soul was put out uh The Beatles were at uh at the

1:59:35

Hilton in Japan and they were asked about their musicianship and Paul

1:59:42

McCartney said you know we've always said we're not very good musicians we're adequate at best right and he also said

1:59:49

that in the BBC interview two months later on August 5th of 1966 so here's the

1:59:55

thing folks to get songs pumped out the way they did cranking him out one after

2:00:02

another within 30 days for Rubber Soul you cannot be an adequate musician

2:00:08

that's right you've got to be you've got to be on top of your game you have to be

2:00:15

a crack Studio player you just you're knocking it out I mean there is

2:00:22

no there is no room for error let's just put it that way and what it's telling us also the songwriting process during

2:00:28

Rubber Soul is everything they touched turned to Gold there was no false starts there

2:00:34

were no songs that they got stuck on there was nothing that they said aside everything they started to write they

2:00:40

completed not just the music but the lyrics as well now anybody

2:00:46

who wants to give a crack at writing lyrics to a song go go give it a show and let me

2:00:53

tell you what I mean it's it's going to take time to write lyrics and even after you write the lyrics what'll happen is once you go into record and you're

2:01:00

singing the doing the vocals you're going to do the vocals and then you know as you're singing a particular lyric

2:01:06

that you wrote you're like you know what I don't like the way that's phrased I I that just does not the

2:01:14

metering or whatever it just doesn't it doesn't roll right so you know what you pull it

2:01:21

back I've got a change that line I've got to change that phrase of that lyric that's what I've got to do to make this

2:01:26

work that's how the process works M they want you to think that Beatles just jumped into the studio put their guitars

2:01:33

on and knocked it out and you the other thing I try to explain will and if you you've worked in studio so you know

2:01:39

this guitar players I'm a guitar player when I record a

2:01:45

song I will go through four or five different guitars to get the sound that

2:01:51

I'm looking for that I want to hear on the

2:01:57

recording okay it's not a matter of me just picking up one guitar and say oh this will do it it also you're also testing out

2:02:06

your amps what kind of tone am I getting on that amplifier oh yeah the microphone

2:02:12

the the microphones even you know just getting the sound checks the sound checks to set up the drums and everything else could take a couple

2:02:18

hours to do that yeah okay drums have got to be tuned right drums have to be tuned if the

2:02:24

drums are not tuned then it's it's not going s sound right with the song and then you get into the whole um the whole

2:02:31

piece of collaboration with your bandmates there's always discussion there A lot of times there's

2:02:39

arguments sometimes you got to take a break because you know you got into a heated argument with one of your band

2:02:44

members because you you can't disagree you just can't get to agree on something

2:02:49

I'm just saying there's a whole dynamic there that is completely not discussed not addressed with rubba soul they want

2:02:57

they want you to believe that it was just a magical moment that because of the Beatles they can do you mentioned

2:03:02

before Supernatural things Philip Norman who's the an author

2:03:08

who's written about the Beatles that's what he is quoted as saying the Beatles were a supernatural

2:03:14

Force but that's also the story that they're selling that's the story that they're selling to the fans that they're

2:03:20

Supernatural they're they're way above anything ever before and what's really

2:03:26

unfortunate about that will is I've told I have a lot of musicians songwriters I even have uh some producers and sound

2:03:34

Engineers I I know because they've communicated with me Offline that subscribe to my channel and I said to

2:03:41

them you know what you know what the worst part of this to me is that the Beatles were not great musicians they were not great

2:03:47

songwriters um yet you're trying to strive to that

2:03:53

level of songwriting and performance when the fact is they didn't do that

2:04:00

amen you're listening to people like Bernard pie on drums Ronnie verl on

2:04:05

drums Allan White on drums um Andy White on drums Vic flick on guitar Big Jim

2:04:14

Sullivan on guitar Jimmy pagee on guitar Eric Clapton on guitar that's what

2:04:19

you're listening to that's what you're listening to so when when you're an aspiring musician or even

2:04:26

uh an experienced musician and you're wondering how come I can't get to certain levels and you're beating yourself up because you know you can't

2:04:32

achieve Beatles status The Beatles never achieved that status because the Beatles aren't on those recorded sessions

2:04:39

especially between 1962 and 66 in fact a friend of

2:04:44

mine uh uh worked for and was a good friend of Dan peak of the band America

2:04:52

Amer okay okay Dan was one of the founding members and um George Martin produced

2:05:01

America okay so my friend my friend wrote me and he told me he said Mike just so you know Dan told

2:05:09

me that Jimmy pagee played the lead guitar on I saw

2:05:15

her standing there okay and

2:05:22

with with Ronnie verell Ronnie verell was a um Studio drummer um after I

2:05:29

released my April 2020 presentation did the Beatles write all the wrong music I was contacted by one of his

2:05:36

relatives and Ronnie was was her

2:05:41

Godfather and she said to me Mike now that the cat's out of the bag

2:05:46

um Ronnie drummed on beetle songs as well yep uh I have I have a another friend of

2:05:53

mine well actually more of a an acquaintance but I know who he is he's another

2:05:58

researcher he was doing work for a professional drummer out of the

2:06:04

UK and this and I can't I won't say who this person is because I don't want to drag him into the fry sure I'm sure he

2:06:10

won't appreciate it but um my friend said to him um went to his Studio he was

2:06:16

doing some work in his studio and he was kidding around with him and he said hey are you a better drummer than Ringo Star

2:06:23

and so this guy says I am and uh and

2:06:28

then my friend said you know um there's a uh a thing out there that says that

2:06:35

Ringo wasn't drumming on on the Beatle albums especially between 62 and

2:06:40

66 and um this guy told him was true that um he said that Bernard perie was a

2:06:47

very good friend of his now Bernard is a longtime session player and since the late 70s he said that he drummed on 21

2:06:53

Beetle tracks and in an early 2000 interview um that he did with Red Bull he went

2:07:00

through great detail about how that worked and his involvement in that so um

2:07:07

you know so there are people that know um a friend of mine and I consider Mike

2:07:12

Stock A friend of mine know Mike is a uh very very

2:07:20

um a great songwriter out of the UK and he he wrote a lot of songs uh in the in

2:07:27

the 1980s uh and I guess into the 1990s he's still doing songwriting he's in his 70s now I think his early 70s

2:07:35

um and uh Mike told me that in the early 80s he

2:07:42

was doing some work with Billy it was some kind of collaboration or whatever I think he worked with him two or three

2:07:47

times and he walked into the studio uh uh and Billy was playing

2:07:53

guitar right-handed Paul McCartney was a lefty Paul's Lefty so so Billy's naturally

2:07:59

right-handed he had to teach himself to play Lefty um so and it's not impossible folks a lot of people thinking no you

2:08:05

know how could he teach himself to play Lefty look at some of these Beetle tribute bands I think the guy in the in the beetle tribute band Fab 4 which is a

2:08:12

very popular Beatles tribute band here in the states um that guy I forgot his

2:08:18

name he's righty he taught himself to play Lefty so he could play the part of Paul McCartney on stage in that Beatles

2:08:24

tribute band The Fab Four which by the way they're very good uh tribute band um so anyway the other problem with rubber

2:08:30

soul and I know I'm eating up a lot of your time here no no this is great there's a problem with the

2:08:36

manufacturing process the time frame the cycle time for the manufacturing process

2:08:42

so if you can't go to if you can't or you refuse to get over the hump about the whole ability to write 12 14 or 16

2:08:51

songs in 30 days there's a manufacturing bit of it so when I was doing the

2:08:57

um when I was doing the presentation I was pulling it together doing the research I was working with somebody

2:09:04

that has been in the music business for a very long time and very familiar with the vinyl pressing

2:09:12

process and so the beetle story tells us

2:09:18

that George Martin finished up the um sequencing the order in which the

2:09:24

songs are going to play on side a and side B of the album sequencing is very important by

2:09:29

the way the order that songs are on an album is not it's not halfhazard it's

2:09:36

calculated to ensure that um there's the proper uh amount of dead wax at the end

2:09:43

near the label because as as a as a uh an LP as a needle or stylus goes across

2:09:49

an album when it gets closer and closer to the spindle there is the the possibility

2:09:55

the propensity for Distortion mhm right so to avoid that um

2:10:03

especially when you're talking about the big labels um they're going to make sure that they have that album factored out

2:10:10

properly so that you don't get that possibility of distortion toward let's

2:10:16

say the last track or two on an album anyway so he doesn't finish the the

2:10:21

sequencing until the 16th of November but we're told that they cut the um the

2:10:28

final monol lacer now the lacquer is what is used to start the pressing process

2:10:34

okay um and in order to have the records out in stores by December 3rd of 1965

2:10:43

now remember the lacquers cut on November 17th it's the day after George did the sequencing from the 17th to

2:10:49

December 3rd of 1965 two and a half weeks so we're to believe that they

2:10:57

pressed all of those albums within two and a half weeks and got them into retail on December 3rd of

2:11:04

65 so somebody might say well maybe that is possible but here's the problem no

2:11:10

it's not without the sequencing being complete you cannot

2:11:17

print the centa labels of the album because the center labels have the names

2:11:23

of the songs in sequenced order you also cannot print the album

2:11:31

jackets which have the names of the songs on the back of the jacket the back of the cover in sequenced

2:11:39

order so there is no way that if George finished the sequencing on the

2:11:47

16th that they were able to start pressing records on the 17th the

2:11:53

18th the absolute latest and I believe they started pressing on the 17th but it's possible

2:12:00

it could have went into the next day there's no way because they would not have the cental labels and the jackets

2:12:06

in house so what does that tell us so but somebody would say but Mike it got

2:12:13

done yes it did get done and you know how it got done it got done this

2:12:19

way the labels and the jacket they were all

2:12:25

already in the works already in production being printed weeks before

2:12:31

the Beatles showed up in the studio before the Beatles showed up in the studio all

2:12:36

that work was underway how could that possibly be because George Martin had professional

2:12:44

songwriters writing the songs and I believe he was one of them I believe Theodor Dono may have been one of them

2:12:51

as well some people say that odono wrote all the music I don't subscribe to that odono was a pretty busy guy with the Frankfurt School so I think I think

2:12:57

odono and and and George Martin what they did I think they were working together in fact I'm almost positive

2:13:04

they were working together Rono oono out of the Frankfurt School actually probably at that point reporting up

2:13:09

through Tavistock um or writing some of the music George Martin was doing the

2:13:14

arranging um but I think they had probably a staff of five to six crack songwriters

2:13:21

that were turning out um the Beatle songs and um one of the people that I

2:13:27

was working with during the uh the research of the presentation back in

2:13:32

April exceptional musician they they took they took a listen to the songs and

2:13:37

they were saying there are two distinct Styles at play two songwriting Styles

2:13:42

and he said he believed what they were doing was one group was responsible for writing John Lennon Style songs and

2:13:50

another group two or three were responsible for writing Paul McCartney style types of songs so that's how they

2:13:57

were they probably managed or at least that's a possibility so anyway so the songs were

2:14:05

written pre-written George Martin then while the Beatles were out

2:14:10

touring making movies doing press conferences and gallivanting

2:14:17

around he had the uh the studio musicians booked at Emi Studios and

2:14:22

recorded the songs mhm so when the Beatles came in to do Rubber Soul on

2:14:29

October 11th of 1965 with recording starting on October 12th what they were

2:14:35

doing was recording the vocals to the completed instrumental

2:14:41

tracks the instrumental tracks were already done think of it as like singing

2:14:47

karaoke so George Martin worked with them to get the vocals down they had to

2:14:53

learn the songs and I'm I'm I'm sure the songs came in with a guide vocal oh something they could listen

2:15:00

along to to learn they could listen to maybe maybe guide harmonies and that was their job their job was to listen to

2:15:08

that and to get it down the other the other red flag with

2:15:14

all of the recording is that we're told that not one basic Rhythm track took more than five takes to nail down that's

2:15:21

silly that's crazy it's because like when you go to the when you go to the White Album The White Album if you take

2:15:27

a look at uh you know Mark Lewis's books on Mark's books I have two of them um we're talking about dozens and dozens

2:15:33

and dozens of takes yeah for songs on The White Album but yet when we go back

2:15:38

three years in time back to to Robert Soul we're told that not one

2:15:44

song took more than five takes to get the basic Rhythm tracks down that's that's absurd AB that they had just written

2:15:51

they wrote the song like a couple days before and like okay we're just okay that's all done polished it's awesome

2:15:57

let's run it and then we can knock it out in five takes okay maybe you can do that once but 16 times in in 30 days and

2:16:07

have to hit the have to hit the deadline because the printing press needs the stuff forget it right and what Paul said

2:16:14

remember what Paul said in those two interviews back in in Japan in June of 66 and August of 19 um 66 at the BBC he

2:16:22

said we're not very good musicians right and you know that would have to be a lie that would have to be a lie they have to

2:16:28

say we get in the studio and we kill it that's who we are we show up that because that's what they would have to

2:16:33

say if it were true we get in the studio and we crank out 16 top shelf songs five

2:16:39

takes out the door and then we're on tour we're the best musicians that have ever lived is what he would be saying

2:16:45

now like ah we're okay like that's not what he would be saying right that's right that's right and and the thing is

2:16:50

too you know there was a lot of um um thought given to the the sound the production and all that stuff you know

2:16:57

that takes time as well uh when you think about what effects are we going to use on this song what effects Go on the

2:17:03

guitar what effects mixing and all that stuff exactly so this is the thing you know so what happens is you wind up

2:17:09

getting into you know people who don't understand the process want to debate you and it gets frustrating sometimes I

2:17:17

know it gets frustrating sometimes you know I I have to admit but but the thing is I I try to do my best to uh to try to

2:17:23

point them in the right direction I don't want to repeat myself I'll point you to presentations I did where I've

2:17:28

explained this and you know you can go listen for it to yourself so anyway the the point being is Will um so the

2:17:34

manufacturing process didn't work either because there's no way all of that stuff the labels the center labels and the

2:17:40

album jackets uh could have been printed uh and ready to go on the 17th when

2:17:45

George Martin just finished up the song sequencing on the 16th and here's the thing when you press press an album the

2:17:52

cental label gets pressed at the exact same time as the vinyl is being pressed mhm it's the it's the same process so

2:18:01

you can't even argue that oh well they put the labels on later no you don't put the labels on later the labels get

2:18:07

pressed at the same time that the vinyl is being pressed and then right after that they go right into the into the

2:18:13

jackets they get packaged and they get staged for distribution and then it goes

2:18:19

out to the retail outlets and back in the day what we have to remember is there were no big box stores all these

2:18:25

shipments had to go out to all these little mom and pop retail outlets record stores in order to get Rubber Soul on

2:18:31

the shelves in time for Christmas that's why they had to hit December 3rd because they had to make sure they had it in stores for for Christmas release

2:18:39

otherwise Emi would have been out a tremendous amount of money that's the convicting that was one

Beatles' Recording Deadline Skepticism

2:18:44

of the many convicting things for me is Emi has invested millions of dollars in

2:18:50

196 money right not even millions of dollars today we're talking 1960s money

2:18:55

to make sure the Beatles who are the biggest deal in the universe to make sure that their Christmas album hits

2:19:00

stores on time right otherwise they're out and so you're telling me that the

2:19:06

Beatles walked into the studio 45 days before the deadline from Emi having

2:19:13

millions of dollars with zero songs written and Emi is just trusting that they're going to show up in the studio

2:19:19

and they're going to write the lyrics lyrics they're going to write the music they're going to learn the lyrics and the music to perform it it's going to

2:19:25

get recorded mixed mastered sequenced and pressed all within 45 days or this

2:19:31

giant record company with the biggest band in the universe right now is going to be out millions of dollars I'm sorry

2:19:36

that's not how reality works that's not how reality works exactly exactly exactly yeah so and the other thing too

2:19:42

um um I should mention is we going back to the Musicians uh back in 1968 I think

2:19:48

it was July of 1968 Glenn Campbell who was with the Wrecking Crew so The Wrecking Crew was responsible for just

2:19:54

about all of the pop music recordings in the 70s 60s and 70s in the United States

2:20:00

also going into the into the UK and the UK had their version of The Wrecking Crew you know session musicians that

2:20:06

were going from Studio to Studio playing on different artists records but uh in

2:20:13

July of 1968 Glenn Campbell who was a unbelievable fabulous guitar player a

2:20:18

virtuoso was co-hosting the mother's brother's Comedy Hour and he's introducing cream that would be Eric

2:20:25

Clapton Ginger Baker and Jack Bruce and during that introduction to cream he

2:20:31

says these guys were the cream of the crop they were top Studio musicians and

2:20:36

they played on records for the Beatles The Rolling

2:20:41

Stones Tom Jones the Smothers Brothers themselves so it was very interesting that we had um Glen Campbell letting the

2:20:49

cat out of the bag unintentionally I mean I'm sure it just rolled off his lips because all of these guys know each

2:20:54

other Glen Campbell knows Eric clap clap knows him it's just one big club and so he's just he's just giving out the truth

2:21:02

and it probably just eluded him now the other point I want to make will you talked about getting all this stuff done

2:21:08

in 45 days and Emi would have been just I mean it would have been a big gigantic

2:21:14

problem a lot of people would have lost their jobs if the Beatles didn't crank out that album that's right is um

2:21:21

oh there was the point I was going to make it was it was on that uh oh so I mentioned before that they were on the

2:21:27

hook for two albums a year so 1963 with everything going on they still found time to write music 1964 two albums a

2:21:35

film still found time to write original music for those albums 1965 the beginning of 65 they put out help able

2:21:42

to crank out 12 uh original tracks for the help album by the way I'm not even

2:21:49

counting the singles they put out okay I'm just talking about the album tracks right now then something happened after help

2:21:56

everybody fell asleep at the switch everybody nodded off because evidently didn't dawn on them

2:22:04

that they were responsible for on the hook for another album later in the year for Christmas in October of 65 per their

2:22:12

contract might want to get on that so so how how is it how is it that the Beatles

2:22:18

nobody was pulsing them like as an example after help was done you could see they take a little break or whatever

2:22:24

and then you would assume Brian Epstein who was their manager would say hey guys

2:22:30

uh we got studio time booked in October so uh how many songs we need Brian I

2:22:37

don't know 14 16 songs okay we'll get right on that right evidently that

2:22:42

conversation never took place and if you take it a step further George Martin

2:22:48

would have had that conversation as well so George would have either had that conversation with Brian Epstein hey how

2:22:53

are they doing on the songs because we've got to get things nailed down in October or he would have contacted the

2:23:01

Beatles themselves and said hey Lads how we coming along with those 14 to 16 songs

2:23:07

what we haven't started George so the thing is

2:23:12

what yeah right so so the so the thing is to to believe that for the first

2:23:20

um Five albums that they found all the time the or I should say the time needed

2:23:26

to create original music for those albums to record them but something happened

2:23:33

where I don't know I mean it it just didn't happen after help everybody just decided they weren't going to do

2:23:39

anything they weren't going to do any songwriting and you know we're GNA okay

2:23:45

well that's fine then we're just going to have to write from scratch in the studio it's a ridic ridiculous story

2:23:51

it's ridiculous the reason why the Beatles didn't write anything from between help and Robert soul is because

2:23:57

they weren't writing the music it was being written by professional songwriters and some people you know

2:24:03

they will folks will say well who are these songwriters that I I don't know who the songwriters are nobody's going

2:24:08

to know who these songwriters are it's it's a you have to understand the Beatles are a deep State psychological

2:24:14

operation that were put in play they were they were the first band with the with the mission to social engine near

2:24:20

the world mhm and it's it's it would be like asking um

2:24:27

you know give us the whole Lowdown on some other big conspiracy who were who

2:24:33

were the shooters in the JFK how come we don't know that how come nobody has said anything you have you

2:24:39

have to put it in those terms it's it's just too big and uh and because it's so

2:24:44

big and because it's so important anytime you watch a documentary about the Beatles anytime

2:24:50

you read an article about the Beatles what is it that they always say in every single one of those articles or those um

2:24:56

presentations The Beatles were a cultural phenomenon they changed

2:25:03

culture that itself should tell you what was going on there they changed culture

2:25:09

culture was not the same music was not the same after the Beatles The Beatles were the foundation that Tavistock and

2:25:15

the Frankfurt School established that all other genres of music were built upon and the reason for different genres of

2:25:22

music is because they know they've got to move on and then they've got to touch a different population a different

2:25:28

generation a different demographic and think about punk in the 1970s yeah what's a punk a punk is a low

2:25:36

life go look it up in the dictionary punk music Low Life

2:25:43

music you know so and think of the other other terms Grunge music grunge that's

2:25:49

an interesting term as well and uh so the thing I I tell my

2:25:56

audience will is the music and entertainment business is completely controlled Cradle to grave yeah Cradle

2:26:03

to grave you know and it people will say well does that mean everybody is in on it no it doesn't mean that there are

2:26:09

those that are born into the system and they get very prominent roles like Billy shears which by the way in the book he

2:26:15

says his name is William Shepard some people think his name is William Campbell um

2:26:20

I had a person come on a great researcher Stacy she believes his his bloodline actually goes back it's blue

2:26:28

blood going back to the Douglas Hamilton and Percy

2:26:33

Bloodlines in Scotland and if anybody's interested I'll I'll give um send the link over to

2:26:41

will take a look at that presentation because Stacy does an unbelievable job and it's very very compelling I mean can

2:26:48

I say you know definitively that is true no I can't say that but it's very very compelling she did a great great job of

2:26:55

of um breaking it down so that's that's the Beetles you know

2:27:00

um social engineering and um they like I mentioned uh will they

2:27:08

Crowley's fingerprints as far as his thma his eon of

2:27:14

Horus is all over them and I don't mean the Beatles individually although

2:27:20

clearly when you read the Memoir if you read the Memoirs of Billy shears it's very clear that Billy himself is an occultist MH but the other band members

2:27:28

you know I'm going to say that they were probably aware of occultism but they

2:27:33

didn't have the depth of knowledge um of the of the inner circle around them you know what they were

2:27:41

putting how they were encasing them in occultism yeah as an example uh

2:27:46

Crowley's book 77 is a one pager and it it talks about

2:27:54

applying your pure will right it's y it's uh it's very clear and it said

2:28:00

that's anybody that gets in the way of of someone applying your pure will their pure will you can kill them and at the

2:28:08

very end he says the Slaves Shall Serve this is in his book 77 now Crites want

2:28:13

to argue with me and say no he he he was writing he book 77 and his work is

2:28:19

intended for everybody he wanted to free Humanity from the shackles of the um the

2:28:25

pisan age the age of Oppression just like the Frankfurt School talking about

2:28:31

oppressors and victims Crowley's eon of Pisces Falls right in line with

2:28:38

that and then moving to the Age of Enlightenment which would be the age of Aquarius which is his eon of Horus The

2:28:45

Beatles are the pie Pipers of the Eon of Horus and in fact the word pi means

2:28:52

multicolored look at the Sergeant Pepper album cover and look at how they're dressed they're multicolored Yep they're

2:28:58

telling you they are the pi Pipers and when we talk about Crowley we're talking

2:29:03

about the cult of dianis and we're talking about the cult of pan and what that's all about is do it

2:29:09

sh do it uh do it without do shall yeah

2:29:15

right will um and it's also the Nike uh tagline uh just do it it's the old 60s

2:29:23

uh phrase if it feels good do it and before the Beatles it goes back

2:29:29

to like the um we talked about it before the the beat the Beat Movement the

2:29:35

Hedonism um you know and it goes and they always tie the uh the the the um

2:29:41

the Beat Movement into jazz now I'm not picking on jazz music okay but jazz is

2:29:47

about jazz is about improv improvisation yeah about solo

2:29:52

performance and yes and it's it's about um breaking out of the the

2:29:59

structures and and improvising and that's why like when you watch I watched an interview one time with uh

2:30:06

kowak and uh they introduced it in the beginning and there was jazz music

2:30:12

played and and you'll see that a lot in a lot of these movies where they back in the 50s and the early 60s where they

2:30:18

where they depict the beat you're always going to get jazz music so they were making a tie in into that as well and

2:30:24

like I said I I'm I'm not going to beat up on jazz music I have some jazz records okay so but I'm just saying that

2:30:30

they they they like to make these connections that's what they like to do because they're you know not only are

2:30:36

they trying to manipulate you and and and create behavior modification through social engineering but they're also

2:30:43

communicating to their inner circle with with the stuff with their symbolism and how they present it's so it's so many

2:30:50

pieces to it it's so complicated it's so interlined and music plays such a central role in American and Western

2:30:57

culture today particularly pop music and that in many ways began with the Beatles

2:31:02

like I described The Beatles as the spearhead and this was originally my interest in them it seemed to me that

2:31:07

they were the spearhead that was thrust into American and Western culture that then allowed Eastern mysticism to flow

2:31:13

in Freely especially when they went over to India with Maharishi Mah rash Yogi they were the ones that really brought

2:31:20

Eastern mysticism to the consciousness of the baby boomer generation in the second half of the 1960s now the the

2:31:26

stage had been set for that for a hundred years leading up to that point going all the way back to the transcendentalists and and much more

2:31:33

Madame latki and the and even Crowley yeah the world parliament of religions

2:31:38

just real quick about Crowley in the 1970s musicians became much more overt

2:31:44

about their interest in him David David Bowie was talking about the 1970s saying it was just a crowd esque you know kind

2:31:51

of time he said that on camera the the le le Zeppelin bought I think Jimmy Paige bought one of crowy houses to

Beatles' Rise: Organic or Engineered?

2:31:58

record an album in so so it was the pivot point was the Beatles right and so

2:32:05

and so Rubber Soul it seems to me that that was really the that last moment

2:32:10

where they were elevated to this position of Internet massive International prominence on the back of

2:32:17

essentially being cultivated up that chain you bring in the you know the best songwriters whose names we'll never know

2:32:23

the best musicians to produce in quote unquote a short miraculous time frame though it wasn't an album that shift

2:32:29

that truly shifted things so we're supposed to believe that it was this organic Supernatural magical phenomenon

2:32:36

or it was highly engineered highly polished put together and these four

2:32:41

young Lads were just the face of it who came and sang a few bars and just rote it and wrote it all to fame it's got to

2:32:47

be one of the other right are we going to believe in fantasy are we going to believe that our world is this

2:32:53

organically evolving series of kind of Miracles that produce this culture we're in today or are we going to say like no

2:32:59

this has been engineered specifically and it all crystallizes in a way around the mythology of The Beatles CU if you

2:33:06

look at them you say oh it's just it's just coincidence and happen stance and miracles or was this an engineered

2:33:12

phenomenon that was highly effective to produce the cultural shift that they needed to and unraveling that I didn't

2:33:20

realize how important this question is but it really does get back to the center of the 1960s myth in many

2:33:26

powerful ways yeah the beatle story I I tell when I have conversations with folks I said

2:33:32

it's it's in a it's an adult fairy tale yeah it really is it's it's no different I say that kids have an

2:33:40

easier kids accept Santa Claus not being real far better than adults except being

2:33:48

told that the Beatles were not real in fact John lennin in an interview that he did back in the early

2:33:54

1970s I think it was 1971 with Rolling Stone magazine said the Beatles were a myth he said that

2:34:01

Paul McCartney was a myth he said Dylan was a myth and he also said that we were Craftsmen he said we were by the time we

2:34:09

got to the United States we were old hands at this stuff and what he was saying was they were groomed and

2:34:15

handled to play the part that they played on on the world stage that's what

2:34:22

he was saying and you know in a lot of ways I I mean I'm not I'm not advocating that John Lennon had a lot of had a lot of faults there's no question about it

2:34:29

but sure but but Lennon also he had moments where he was letting

2:34:35

stuff out of the bag you know because I I think all of that time all of those years of being

2:34:41

having your head in a vice because that's really what it's like after a while sometimes I things

2:34:47

just come out you know he wrote the song played the song um on his imagin album how do you sleep which is the

2:34:53

quintessential Paul McCartney Paul's Dead song oh really yes listen to the

2:34:59

song how do you sleep off the Imagine album okay and listen to with now now

2:35:05

that you know more about the conspiracy listen to what he's saying and what he's singing about in that

2:35:10

song it's a very very telling piece of work um anyway but going to your point

2:35:18

uh will Beatles are very important to

2:35:23

the controller's agenda to break down Traditional Values to attack

2:35:30

traditional religion in particular Christianity which the controllers

2:35:35

really put the pedal to the metal in 1962 the date we're given in Memoirs is September 11th 1962 September 11th is a

2:35:43

very a culted date it's a day that's considered to be a day of War whether it be physical or Psy pschological

2:35:50

War um and uh when you look at bands today during interviews and

2:35:57

documentaries they almost always go back to the Beatles as an influence is always

2:36:04

a reference back to them because the because the Beatles are a cult and

2:36:11

Tavistock is very good at creating Cults and they're also very good at reducing

2:36:17

adult thinking adult critical thinking that down to that of a child because when you

2:36:24

get an adult down to childlike thinking what happens is they they no longer logic and

2:36:30

reason the proper way in a critical way they come from a they come from a

2:36:35

position of emotion they're very emotional and we see this all the time

2:36:41

and when people become emotional they lash out they become belligerent they become nasty they name

2:36:47

call and you know all they want to do is is is to get back in their comfort

2:36:53

zone they don't want to critically think and that's what Tavistock does with these bands they did it with the Beatles

2:36:59

I mean when I look at the comment section underneath a official narrative official

2:37:07

story Beetle documentary or video read the comments these are adults

2:37:14

these are boomers these are people who are 60 70 maybe even 80 years old and and the comments they're just they're

2:37:21

like teenagers yeah just gushing about this

2:37:28

and that and you know because what what Tavistock wants to do is to take them back to an earlier time to back to an

2:37:34

earlier age so that you don't and get you lost in fantasy to get you lost in

2:37:39

escapism so that you don't focus on the real issues the real things that are going on in the

2:37:44

world and again it's not just the Beatles well they want entertainment industry they want to go back to the

2:37:50

houseon youth right in the in in a cloud of potm smoke and falling in love in the

2:37:55

Grass at Woodstock when everything when the future was open and we were all free

2:38:01

and we let go of everything that had formed the foundation of civilization leading up until that moment and you

2:38:07

know it was good back then before we had to go to work and get jobs and have responsibility we were the Revolution

2:38:13

and they want to go back into that into that moment still they don't want to acknowledge they like they want I can

2:38:19

understand why they don't look I want to believe an adult fantasy too right I want to believe you know that all the

2:38:25

things that I love came about by some miracle they came down from heaven and I don't want to see how the sausage gets

2:38:30

made but you know what the creative process for anyone who engages in it is difficult it's dirty it's messy being a

2:38:37

professional artist in any regard whether it be a painter or a musician or a filmmaker or whatever is grueling

2:38:45

difficult and requires a lot of sacrifice and there's no romance to it God will you you produce a beautiful

2:38:50

result but it's not pretty and it's not a miracle right and that's adulthood so to look at the fantasy of The Beatles

2:38:57

and say no it was the supernatural Force it's like can we grow up now please can we look at what happened and see where

2:39:03

that led us there they're you know they're like um their worship is Gods right so we have the lower level gods

2:39:10

and that's what your entertainers your celebrities your musicians your artists and your um uh Silicon Valley you know

2:39:19

people like Elon Musk that's what they are okay they're they're put there so that you

2:39:25

idolize them and worship them they become P Pipers and you follow them that's why they have

2:39:31

followers okay right that's why they call them followers so the thing is uh

2:39:37

you know look for me will I look at this this is an individual Journey um and for my soul my soul's

2:39:46

development um it's very important another like I mentioned earlier they

2:39:51

want you disconnected from Source they want you disconnected from God MH because um that gets in their way they

2:39:59

cannot get things done if if you have a

2:40:05

belief and a Creator a God or Source they they just you know um because they

2:40:12

don't want that they why is that because they want to be the gods as I mentioned earlier Yuval Harari says we have become

2:40:19

gods Gods mhm through their technology and you are a hackable animal

2:40:24

I am a God you are ack a hackable animal right and that's why they've been plugging away a transhumanism uh for 20 years now and

Rise of Transhumanism Skepticism

2:40:33

that that's that's the thing you know time they think time is on their

2:40:38

side I mean at least I think they thought that I think now they've reached a point where they're seeing that more

2:40:44

and more people are waking up and questioning things

2:40:49

so I think the the Easy Street uh is not as easy as it used to be I'm not saying

2:40:56

that you know they're getting a tremendous amount of push back but I think that they sense that uh more and

2:41:02

more questions are being asked even if somebody's not fully fully attuned to or awake to everything I took everybody

2:41:09

through here they know something is wrong and they know something is broken

2:41:15

very broken and uh people are starting to ask you know know some very important

2:41:21

questions you know so do you have time for a couple more questions cuz you brought up a few things Okay cool so um

2:41:28

so the the first thing that I wanted to ask about is maybe now in this context now that we have the stage set that of

2:41:34

the The Beatles trajectory from 1960 in Hamburg up to 1965 Rubber Soul like it's

2:41:40

a 5year period where they go from a bum group to producing legendary culture defining music while touring and doing

2:41:46

all the stuff the fantasy and into revolver which was the album after rubber and it was around that point between I

2:41:52

guess it was revolver and uh and Sergeant Peppers that Paul McCartney dies right and so maybe we can talk

2:41:59

about that pivot point and then after Billy shears comes in to replace Paul McCartney different looking dude on the

2:42:04

cover of of Sergeant Peppers that's when they take this psychedelic shift and that's I look at that as saying the

2:42:11

American culture had been prepared to receive the the the alternative values

2:42:17

of of the of the East right Christianity had been so and and Traditional Values had been so upended had been so SED it

2:42:24

was basically suspended in midair at this point that then they just came in and they inserted these other foundations and that I look at that as

2:42:30

being associated with uh the Paul McCartney death so maybe we can talk about that a little bit Yeah so the

2:42:36

thing with the Paul Paul McCartney's death I mean the prevailing Theory says that he was killed in a car crash which you know um

2:42:43

that's maybe um I lean more toward um because

2:42:49

this stuff gets very dark folks yeah uh it does it gets very dark I'm just going to forewarn you but I believe it's very

2:42:56

possible that um Paul McCartney his dying was a ritual sacrifice yep and um

2:43:04

in the book Memoirs talks about this it's called death for Success now we were talking about Bob Dylan earlier

2:43:11

right and Bob making a deal with the chief commander for his success

2:43:16

um take a look at uh all of the people that are in a 27 Club and it's not just

2:43:21

the 27 Club I mean um there are other musicians that died at different ages

2:43:27

but the 27 Club is very interesting so we have the death of Jim Morrison uh Brian Wilson allegedly drowning in a

2:43:34

pool and I was watching a documentary which at the time his girlfriend at the time never never bought that story she

2:43:40

said Brian Wilson um um Brian Wilson uh Brian Jones Brian Wilson is with the

2:43:45

Beach Boys Brian Jones of the stones died died um from drowning and and his

2:43:52

his girlfriend said he was a very good swimmer so she said you know I I don't

2:43:57

buy that story at all um and then we have people

2:44:03

like uh John botam dying from Leed Zeppelin now we know Jimmy Paige was heavily heavily into thma and Alis

2:44:10

Crowley yes he was um Jimmy um Robert Plant almost died I think he lost one of

2:44:17

his children I think MH I have to check that one I have to remember um but Robert Plant has had

2:44:25

some serious stuff happen in his life which you know you could say to yourself does this have something to do with

2:44:31

being attached to all of this dark occultism um Eric Jordan's Michael

2:44:38

Jordan's father died yep Eric clap lost his son Connor MH um the who lost Keith

2:44:47

Moon uh let's see uh P Diddy Notorious BIG right Tupac yep yep so I mean so we

2:44:55

can just go through this stuff and people will argue and say oh you know this this stuff just happens but if

2:45:01

if you look at the entertainment industry which includes the music industry and you take a look at how many people die young that's right okay it's

2:45:09

it's extremely disproportionate okay I mean we people will say well it's because of the drugs

2:45:15

and it's because of the alcohol and it's because of the lifestyle well I'm not going to say that not a contributor but

2:45:20

the sex drugs and rock and roll bit that's all part of the breaking down of

2:45:28

society that whole sex drugs and rock and roll which I know a lot of you subscribe to because you think that you

2:45:33

know Keith Richards is the coolest thing in the world okay coolest guy in the world not my not the listeners to my

2:45:38

show but yes many people no I'm just saying I me there's gonna be people on my show I I have I have Stones fans like

2:45:44

oh the stones were organic don't don't be putting them in the same group as The Beetles and I'm telling you okay um the

2:45:51

whole sex drugs and rock and roll thing if you're buying into that then you've

2:45:56

been brainwashed because there's nothing people will say to me no Mike you're wrong drugs make you more creative

2:46:02

absolutely wrong drugs do not make you more creative when you when you are being

2:46:10

creative and you're working in a studio I'll talk from a musician standpoint in songwriting you have to have a clear

2:46:16

mind you can't you can't be you can't be

2:46:22

whacked right you can't be stoned you can't be drunk doing what it is that you

2:46:28

need to get done it's not going to work if that were true then why is it that so many of these rock stars have got had to

2:46:35

go to Rehabilitation rehab to get themselves cleaned up you you want an

2:46:41

example Aerosmith oh yeah they lived and breathed the sex drugs and rock and roll

2:46:46

life and they had to clean up their rack because what will they tell you they will tell you because if we didn't it

2:46:52

was over MH it was over right so this is the thing you know

2:46:59

um so the lifestyle yeah I mean that that that that can contribute to it but

2:47:04

that doesn't mean it's still not part of the dark occultism because the sex drugs and rock and roll that whole like

2:47:11

Mythos is part of the occult aspect of all of this mhm it's part of the

2:47:17

propaganda the conditioning the brainwashing that they're selling to the masses so I I didn't mean to go off on a

2:47:24

diet tribe there no no well sorry no that's fine so this is this leads into the discussion of what happened with

2:47:29

Paul like the Paul died what did he just randomly die in a car crashed and it was covered up or was it a ritual one of the

2:47:36

first perhaps ritual sacrifices for Fame and Fortune because I from from my own

2:47:43

experience I know more about the Beatles the second half of the Beatles than I did about the first I sort of had heard

2:47:49

a little bit about help and all that and I think I'd never really heard or understood the significance of Rubber

2:47:54

Soul until I started watching your videos I knew about the White Album I knew about Sergeant Peppers right that's

2:48:00

all the stuff that I was familiar with that's the stuff that at least for me carried on Through the Ages and that was

2:48:06

post biological Paul and that's what that's the stuff that really cemented them as true culture Shapers Rubber Soul

2:48:14

and revolver were great albums but it's the it's the Eastern influence it's the exper exp imentation it's the drugs it's

2:48:20

all of this that's what I remember the Beatles for not having lived through that era and so that doesn't come about

2:48:27

Again by accident no none of these none of these Stars they're not organic none

2:48:32

of them right no they're not they're not I mean and you're on a good point because just just um a lot of

2:48:39

researchers who do this work will will only focus on the replacement of Paul McCartney from 19 late 66 on basically

2:48:46

calling out that Billy is not Paul McCartney mhm that's okay that's important that's important to cover that but in order to

2:48:54

get to that point in order to get to the Psychedelic era in order to get to all the uh the social engineering that they

2:49:00

were involved in that they were putting across to their fans into into the to the

2:49:05

masses you had to understand the setup how did they get there how how did

2:49:12

they have the the momentum and the progress to be able to get to the point where they had that much clout yeah yep

2:49:20

and the thing is and they had and they still had they and I'm not I'm not downplaying the amount of clout they had from 62 to 60 through 66 though I mean

2:49:28

because that was what they did what Tavis did was to to do things incrementally because they knew that

2:49:34

they could not just they couldn't come out with Sergeant Pepper in 1962 or 63 it just wasn't going to work so they

2:49:40

started very very methodically so the first album Please Please Me with the Beatles just straightforward rock and

2:49:47

roll numbers with you know know eight uh original compositions six covers that

2:49:53

people were familiar hearing it was a process of acclamation and a process of people assimilating and taking it in and

2:50:00

it was a a slow uh incremental transformation from where

2:50:08

people used to be let's just pick up a time 1960 to where they were at by the time

2:50:14

they got to 1966 like one of the things I point out to folks to your point will take a look at what Society was

2:50:23

like in 1960 fast forward to 1969 and you've got

2:50:30

Woodstock in less than 10 years they took it from the the cultural and

2:50:37

societal Norms of 1960 to Woodstock that's how quickly it

2:50:43

progressed in fact Woodstock was we talked before about uh the the the Aquarian conspiracy that was uh uh the

2:50:51

tagline for that was it was uh it said Woodstock and I believe it said an Aquarian exhibition yes it did so they

2:51:00

just pop that right in there and because people don't really understand what is you know the Aquarian exib they don't

2:51:05

ask any questions I don't what do they don't ask what does that mean why is that there they just read it and then

2:51:11

they move on but they always signal all the time

2:51:17

they're they're always signaling they're always putting symbols out there they're always you know communicating out and

2:51:23

you just have to have the knowledge at least some level of knowledge to be able to to pick up on it so um so I think I

2:51:31

think to help you with your I think the question you're asking me is a whole lot of social engineering had

2:51:39

to take place between 62 and and 66 to set the stage for

2:51:44

pepper and Magical Mystery Tour and The White Album and then you know going out to um ABY

2:51:52

Road and and let it be but Sergeant Pepper was pivotal it it was

2:52:00

really instrumental uh when it came out it just blew people away and it really

2:52:07

defined the summer of love and the counterculture at that point in [Music]

2:52:13

time and then you have also oh sorry go ahead no good I'm good well so I

Let It Be: Myth and Reality

2:52:18

remember in your presentations you talked about let it be about was it was

2:52:23

it set back or get back set that's right setback yeah right yeah the shows I've been watching so the that get the get

2:52:31

back documentary I think was was about what was happening with the production

2:52:36

of let it be so we have this Mythos that in 1965 they get into the studio with no

2:52:42

allegedly with no songs written or recorded and in 30 days they bang out 16 original Tunes then they get back

2:52:49

together for Let It Be at the end like with addition like their nyear season

2:52:55

musicians at this point to try and do something similar at the very end of their career as they're as they're

2:53:00

breaking up I guess the story that I've heard I don't know if it's true is that John had gotten together with Yoko Ono

2:53:06

and Yoko Ono was breaking up the group I don't know you know I don't know if that's true or not but then they they

2:53:11

tried to they try to get capture quote unquote lightning in a bottle again what happened during the recording of that

2:53:16

album let it be I'll give you my opinion was a

2:53:22

was a failure it was a total failure and it was Billy's idea Paul

2:53:27

McCartney's idea to to do Let It Be and a reason why I believe that he wanted to

2:53:34

do it was because he knew that there was no documented genuine footage of them

2:53:43

composing and writing songs in the studio everything was

2:53:49

um told in books and uh you'll get videos on YouTube where uh you'll hear playing or

2:53:58

you you're being told that that's them rehearsing or that's them writing or

2:54:03

whatever it may be but there's no footage it's Stills set against

2:54:09

audio and look folks I'm going to tell you audio can be created audio can be

2:54:14

manipulated let me run some examples by and we'll get back to let it be this audio that you're listening to How do

2:54:20

you know that it's not the studio musicians that

2:54:27

are doing takes for the songs that they're recording for George Martin how do you know that I mean you you can't

2:54:33

see who's playing guitar who's on drums who's playing bass who's playing keyboards you can't see any of that

2:54:38

you're just listening to audio how do you know it's not the Beatles practicing the songs that they

2:54:45

were taught to take out on the road the the songs that the Beatles took out on the road are songs that they were taught

2:54:52

they would go to Emi Studios and they would learn these songs and all George Martin had to do or

2:55:00

Norman Smith was to push the record button because they knew that this audio

2:55:08

was going to make its way out now how did they know that because they put that audio out I'm convinced of that I mean there's

2:55:16

there's times where there there's bootlegs and stuff like that but I think with the Beatles a lot of that stuff was

2:55:22

intentionally leaked the third example would be how do you know that it wasn't somebody within Emi I

2:55:30

don't want to say George Martin it could be George Martin it could be uh Norman Smith um at the time like Norman was

2:55:36

their their engineer between uh please please me and um um Robert

2:55:41

soul that they weren't editing and putting tapes together audio together

2:55:47

for the sole purpose of creating that impression so so the thing is the

2:55:53

question I've asked my audience to ponder is this when they wented to go do Rubber Soul they knew it was a herculine

2:55:58

task they knew it was Monumental and if they can pull it off it would be the most incredible achievement

2:56:06

really in music in pop music 16 songs in 30

2:56:13

days where was the film crew how come nobody how come nobody thought to bring

2:56:18

a camera into the session and I don't mean a still camera okay I'm talking about coming in and and taking fly

2:56:25

footage film of them doing their thing Zippo if they're that good if they're

2:56:32

that good and you would want to document it I would think hey we're gonna we're gonna take on something here that probably nobody's ever

2:56:39

done and um so let's document this thing let's for for historical purposes alone

2:56:44

let's document it not done not done mhm so then you know so Billy knows that

2:56:50

this they don't have this so he says okay let's go um let's do Let It Be

2:56:56

let's do the get back sessions and let's bring a film crew with us and uh let's let's film what goes

2:57:05

on and unfortunately what happened was nothing happened so when you watch the

2:57:11

original film that came out in the 1970s um it was a very

2:57:18

I I went and saw the film okay in the movie theaters it was to me it was depressing because I was watching this

2:57:23

band that I put up on a pedestal and I wasn't seeing magic the film was

2:57:29

grainy um that it was it was plotting you really didn't see anything really

2:57:35

getting done uh there was a lot of you know I don't know it was just a slow

2:57:41

plotting film and not a whole lot got done and the premise of Let It Be was they were going to do 14 songs I think I

2:57:49

believe it was 14 12 to 14 songs and they said they were going to get that done write the songs in two weeks then

2:57:56

they were going to do two live performances and after the live performance those live performance was

2:58:02

would make their way into a TV special MH okay what wound up happening was the two

2:58:10

weeks ended up becoming a month the whole month of January it's

2:58:16

supposed to be the first two weeks of January so the whole month of January goes by and what did they wind up doing they wound up doing five songs on the

2:58:24

rooftop of the Apple building playing to who to playing to nobody they're playing on a rooftop the

2:58:31

only person people that can see them were people that were in buildings where they could look out

2:58:37

their window and look down at the rooftop the sound that at the street

2:58:42

level was completely distorted because it's the the the sound is echoing off the building

2:58:49

yeah so this whole thing with Let It Be where people want to say you know look what

2:58:55

they did they didn't do anything and and the other thing that you're not told is that recording for the Let It Be

2:59:02

songs went on after January of 1969 bumping right

2:59:08

up into early 1970 a lot of people don't know that

2:59:14

Paul McCartney Billy erased John Lennon's bass trck and re-recorded

2:59:19

it um they don't know that um

2:59:25

um um yeah John came in and had to went in and redid his vocal

2:59:34

afterwards um George came in and redid his vocal for For You Blue later

2:59:40

on a lot of people don't know that the song iy mine that is on the uh

2:59:46

album was a minute and a half of something that George wrote and Phil Spectre who was the producer at the time

2:59:54

did some producer Studio magic and editing and put the song together so that it would flow out to about three

3:00:02

minutes uh the song Across the Universe was not written during the get back

3:00:08

sessions or afterwards that song is from 1968 uh we're told that uh one after

3:00:15

909 was written back in the early 1960s and um I I I I question that

3:00:23

honestly um one after 909 is Crowley's law of reversal doing things

3:00:32

backwards one after 909 so the um the book of the law was

3:00:40

published in 1909 oh wow so the one after 909 is

3:00:49

909 and then the one it's it's it's it's C Crowley's law reversal so all of this

3:00:57

stuff I mean I I don't know so you've got two songs I'll let it be that weren't even written during the uh from

3:01:04

from January 69 on you had um for some reason Phil Specta put two filler tracks

3:01:11

on there Maggie May and um dig it which are just throwaway

3:01:19

tracks so when you put it in into that context you have to ask yourself what

3:01:24

did they accomplish with Let It Be they didn't accomplish anything that brings me

3:01:30

to uh something that Billy said which validated my research into whether they

3:01:37

wrote all their wrong music or not so he did an interview I think it was on ABC this one and he he starts talking about Let

3:01:44

It Be and he he he talks about how I'm going to paraphrase here that it was an

3:01:50

impossible task to get those songs written within a

3:01:55

month month's period of time so here you have the guy that most people believe is

3:02:01

Paul mccardy telling you they couldn't do it an impossible task that was in

3:02:09

1969 that was four years

3:02:15

after Rubber Soul in in October of 1965 let's just say three and

3:02:21

a half years later so they were able to do it in 1965 but they couldn't do it in 1969 when they should have been better

3:02:33

musicians right they should have been better songwriters they have all that

3:02:39

experience under their belt they have all of these albums under their belt all of the studio work allegedly under their

3:02:44

belt and it and and Billy's telling us he well you know it was Frankly Speaking it was an

3:02:50

impossible task they weren't even touring they had stopped touring at that point as well yes they sto right after

3:02:57

uh 1966 they stopped they stopped doing it and they dedicated their time to the studio and uh part of that reason is

3:03:04

probably because um if they had put Billy on stage I mean it could have been

3:03:10

problematic uh who's that so uh doesn't look like

3:03:16

Paul so you know it's um Let It Be was an interesting thing

3:03:21

but you know you got the the fan club uh will sit there and talk about how great it is and yes and Peter Jackson when he

3:03:28

did the get back a documentary he made the G look like an

3:03:33

S set back who set goes back to the it goes back to the Egyptian mythology goes

3:03:40

back to the uh uh of to Osiris Isis who by the way way uh was

3:03:48

known as a great magician it goes back to Horus the Savior God and set the god of darkness

3:03:56

and destruction yep so that's why when the

3:04:02

um when the uh World economic Forum came out and called it the great

3:04:08

reset they're talking about the set is back chaos is back darkness is back

3:04:18

and when they did set back what Peter Jackson was telling us

3:04:23

is set the god of Darkness chaos dysfunction is back and the only way

3:04:31

that you get out of this is the savior god Horus is going to have to battle set

3:04:37

and set as his uncle and uh it's the it's the

3:04:43

uh it's the light versus the Dark Battle that's that's the that's where they're going with this

3:04:50

thing that's that's what they were that's what they were projecting out this is what they believe because their belief system you talk about Crowley and

3:04:57

you talk about everything else about the control system we're the whole system's occulted we're

3:05:03

we're we're yeah being we're being governed and administered to by

3:05:10

occultists and it goes back to the Babylon Mysteries the Babylonian Mysteries it goes back to the Egyptian

3:05:15

Mysteries yes it does that is their uh belief system that's their spiritual

3:05:21

center that's why you see so much Egyptian mythology excuse me Egyptian symbolism it's everywhere here's an

3:05:29

example go look at a a Dodge Ram truck no look at the emblem this symbol

3:05:36

on the back you think that's a ram that's baffet look at Tesla look at the back it

3:05:44

looks like a tea right you're supposed to believe it's a t it's baffet take a close look at it the T on a on a

3:05:52

Tesla cars look at the back uh trunk okay right it's supposed to be a t but

3:05:58

when you look at it knowing what you know tell me that that's not a depiction

3:06:05

of bamet oh I see what you mean hold on I'm gonna I'm gonna um I'm gonna I'm gonna I'll I'll share my screen so

3:06:13

everyone who's looking can see what you're looking at so hold on and look at all the Sun logos

3:06:19

Walmart you know Fidelity Fidelity Investments so sharing

3:06:25

my screen you can you can kind of like I've I've never noticed that before yeah like but yeah I I can look at this and I

3:06:33

can actually see like Ram's horns yeah pull up offet you're going to see that the the whole if you pull up offet

3:06:40

you'll see you'll have the horns and then you have the like the the Chevron or the pointed yeah pick the first

3:06:48

yeah here we go on Wikipedia yeah take a look at Bam's face

3:06:53

uhuh you've got the horns and you've got this triangular facial structure

3:06:59

yeah yeah I can see that well I mean you pointed out one of your videos like the um the similarities between um uh oh

3:07:07

sorry I changed I changed uh I changed windows and I didn't click over but anyway you pointed out the similarities

3:07:13

between um between the the Google Gmail logo and the Masonic apron there are all

3:07:19

kinds of things that do this and I think all that stuff is real and let me just say from my time studying occultism I

3:07:25

was part of a mystery school you know taking one week one lesson per week over the course of two years like this was a

3:07:30

dedicated practice they take their ties to Egypt very seriously all of occultism

3:07:36

all of Western occultism is said to have issued from her Hermes trismus you know this this great Egyptian master who

3:07:44

received the Emerald Tablet and took all this wisdom and the simp form and broke it into all these different P pictograms

3:07:50

it's all based on visualization it's all based on symbols 100% based on symbols

3:07:55

that they really do believe this they really do issue everything back to Egypt and so the the one ey sign that you

3:08:02

mentioned like the great reset the one I signed is actually the Eye of Horus right this yeah so yeah anyway yes yes

3:08:09

thank you for saying that thank you for saying that that's all part of it when I talk about it um a lot of people get it because more and more people are getting

3:08:15

it but a lot of people I just you know they think you're crazy when when you talk about you know how it all goes back to Egyptian the Egyptian Mysteries and

3:08:23

Egyptian mythology and in fact if you look on the help album the UK release

3:08:28

even the American release but go back to the help album pull that up UK release those are all Alisa

3:08:36

Crowley oh yeah that you get one yeah you get into that one of your presentations yeah yes in my

3:08:42

presentation on on the Beatles uh and occultism and what it's doing is it's

3:08:48

it's it's telling the story of Osiris Isis set and Horus yeah that's what it's

3:08:53

doing and um I mean you can go look Ona I'll share the screen on this so

3:09:00

people can see what we're what we're talking about so let's see Beatles

3:09:07

Help um you see hopefully everyone can see this

3:09:13

now you see the Beatles doing these poses I you pointed this out I looked at

3:09:19

this and I thought this was semaphor you know like waving of flags but no it's not semaphor at all they're not spelling

3:09:24

out help with their arms at all you can find every one every one of these ritual

3:09:29

symbols on theopedia you know Alice's religion of the Lima they have their own

3:09:36

online encyclopedia it's called theopedia you could find all of these

3:09:42

under the uh the ritual signs so and also if you look at the uh the

3:09:48

second release um uh with the Beatles it's all oneeyed symbolism it's got the shadow effect going on the ALB you know

3:09:56

I'll pull that up with the Beetles so everyone can see it like all this stuff is I mean it sounds silly it's an

3:10:03

overused phrase but it really is it really is like hiding in plain sight like they really they really are telling

3:10:09

you like what's up that's Spotify well the reason why a lot of people blow through it uh will is because people

3:10:15

have accepted it as part of popcorn culture they do and um and and by the way pop culture is the culture that was

3:10:22

handed to you by Frankfurt the Frankfurt School in Tavistock your true culture would be your ancestral culture the

3:10:29

culture like if you're Spanish or if you're Italian or if you're Mexican or if you're German or if you're Russian

3:10:34

you have a a traditional culture that goes back um for your your Bloodlines

3:10:40

and your your ancestry well one of the things that they had to do was erase that that's right they gave us pop

3:10:49

culture pop culture this is what pop culture is Netflix Hot Dogs

3:10:55

beer okay that's pop culture folks yeah they they did the same thing in in China

3:11:01

the great L forward they erased traditional Chinese culture they preserved some cultural artifacts but

3:11:06

then presented Chinese culture as beginning in the mid 20th century as you know with with some things that They

3:11:12

carried over but everything that existed before they they had to erase they destroyed a whole millions of people to

3:11:18

make that entire way of life go go away and so people will gladly talk about we have communism coming here to America

3:11:24

indeed we do and we can see how communism behaved around the world erasing their own traditional cultures

3:11:30

we had it here it just looked a little different because we don't have as long a a lineage as a country right right and

3:11:37

you know it's interesting um there are people that want to

3:11:43

um they want to think that you know first of all I think all all all the world is a stage okay sure and so when

3:11:50

we even when we look at Russia and a lot of people want to put a lot of their eggs in the basket with Russia you know

3:11:56

the good guys and everything else but a lot of people don't know and the reason why I know this is because I'm um I I

3:12:03

watched these videos that have to do with life in Russia right and uh to this

3:12:08

day there's still statues of Lenin sure very prominent so you have to ask so

3:12:14

that's that's the Bolsheviks so you have to ask ask yourself

3:12:20

um why is it still there I mean the Bolshevik Revolution was a bloody bloody

3:12:26

uh Revolution um that instilled bolshevism into uh into Russia

3:12:32

which ultimately became the Soviet Union so it's just stuff like that you know you really have to watch everything is

3:12:39

my point well you have to just keep your eye on everything and uh as I said before ask a lot of

3:12:46

questions MH so just uh just one more question

3:12:52

sure sort of in two halves so I want to talk about how things wound down with George Harrison for his last album

3:12:59

brainwash because I watched one of your videos that had this I had seen one yesterday I watched another one today

3:13:04

and I took another look at that album cover and I was like oh my gosh I see it and then also what happened with John

3:13:09

lennin because John lennin was murdered um why cuz obviously I I Feel Like These

3:13:15

are associated I think that it was just a random nut job like the the lone

3:13:20

probably a lone gunman right but like I I just don't think it was a coincidence maybe we can talk about the end of their lives because I guess Ringo is still

3:13:26

around but no one really thinks about him very much and then Billy shears is still around pretending you know laring

3:13:31

as Paul McCartney but but it seems like something happened with Ringo and John lenon particularly at the end of their

3:13:37

lives oh we mean George oh yeah uh sorry that's okay oh yeah well um we'll start

3:13:45

with lenon first um lennin there is there is a I want to say

3:13:52

there's I don't even call it a conspiracy there's a there speculation that John lennin was was looking to uh spill the beans

3:14:00

and this actually uh was in a conversation an old interview I heard that somebody was having with John

3:14:06

Coleman and I don't know if Coleman agreed with it or not but you know this this was what was being bed around um

3:14:13

and I don't know if that's the case or not I really don't like I mentioned earlier John there were cracks in the dam where

3:14:20

he would say things that I'm pretty sure he shouldn't have been saying like

3:14:26

he he was just kind of like pushing the envelope on certain things yeah and uh like the song how do you sleep I'm sure

Lennon, McCartney, and Myths Discussed

3:14:32

when he came out with that song that that was probably like like you really shouldn't have done

3:14:37

that um and then when when when talking in in an interview with um Rolling Stone

3:14:44

in 1971 where he said you know we were Craftsman which is an illusion excuse not an illusion but along with saying

3:14:49

that they're very good at their craft he's alluding to Freemasonry because they're referred to as the Craft um but

3:14:56

he was like I mentioned before McCartney's a myth Dylan's a myth um and

3:15:02

the Beatles are a myth I mean he you know he's going about his business saying saying stuff like that now it's

3:15:09

possible in the book it tells us in Memoirs that the Paul McCartney and John Leonard entered into a fian bargain in

3:15:15

October of 1963 and

3:15:20

um it's possible uh that John

3:15:26

uh that was a consequence of entering into that bargain uh Paul went first if

3:15:32

we're to believe there was a ritual sacrifice and people who you understand that this stuff does go on you know if

3:15:38

you don't believe it that's okay it's it's I always tell people it doesn't really matter what you believe because

3:15:43

you don't run anything it's the people that are running the show and they're crazy their crazy Concepts and ideology

3:15:50

and their occultism that you know are unfortunately uh behind the steering wheel but um you can watch any watch any

3:15:57

award music award show performance you know whether the Grammys or MTV video

3:16:02

it's all like you're telling me that they're just yeah it's just it's just play acting like you really don't think

3:16:08

that these Traditions that go back like aliser Crowley like he talked about the stuff and and uh uh uh uh spirit cooking

3:16:16

right like they who talk about this stuff this is like they might be make believing for the for the award show but

3:16:22

there are people who really believe this stuff yes they believe this stuff and and the reason why they introduce it

3:16:27

like that is to it's to normalize it is to bring it into the right it's to bring it into the mainstream like when you

3:16:32

watch like he was saying any of these shows these ceremonies the Olympics you're seeing pyramids eyes you're

3:16:38

seeing all kinds of stuff okay all seeing eyes but I think John um now in a book um I don't have it here with me

3:16:45

is's a book uh titled Lenin prophecy and the author is Joseph neod and and Joseph

3:16:52

um I think he published a book back in 2008 if I'm not mistaken he makes a very

3:16:57

good case in in my mind I mean it's there's nothing concrete but he believes

3:17:03

that lennin entered into uh a fian bargain in December of

3:17:08

1960 remember when I said that when the Beatles came back from Hamburg nothing

3:17:14

happened and it's just right so so he speculates that he may have entered into

3:17:20

a fan bargain in December of 1960 and he goes into a lot more detail I'm going to summarize this because of time and

3:17:27

that his fian bargain had a 20year time frame so his his Runway was

3:17:34

20 years so December of 1960 to December of 1980 when he when he was assassinated

3:17:41

that's the 20-year period of time in fact in the book he gives an example of a uh a a fian bargain uh the actual

3:17:49

wording it's it's it's very interesting read to be honest with you so that's

3:17:55

that's Lennon's piece of it and um with George

3:18:01

Harrison you know there was an attempt on George's life I think it was in

3:18:07

1999 at his estate frier Park person broke in at 3:00 a.m. in the morning he

3:18:14

was 33 years old at I think it was 3:30 a.m. there's your 33s George was 56

3:18:22

which is 11 right so this person breaks in and proceeds to uh uh try to stab

3:18:28

George to death I don't know if you ever heard this story and the only thing that saved George was his

3:18:35

wife um was at home and she was able to

3:18:41

uh ward off to you know to to uh get this guy to back off

3:18:47

I think something I think she used a uh fireplace mantle iron or whatever okay

3:18:53

poker whatever I whatever you call them to to uh to be able to save George's

3:18:58

life now in the book it tells us that that in some of these occult

3:19:05

circles there's this thing where there's Overkill or it's like you know let's

3:19:11

let's you know for the sake of like

3:19:17

doing it I guess to maybe like really nail it down I don't know I'm just telling you what the book is saying um

3:19:25

but it's it's no secret that um George there was conflict between George and Billy and it went on for it

3:19:32

went on for a long time I mean I would say for at least 10 years or so after the Beatles broke up

3:19:39

um so I so I hope I'm answering your question if I'm not just yeah so well

3:19:45

just directing people to the brainwash album as well which was the last album All right so the brainwash okay so the yeah okay the brainwashed album is

3:19:52

George's last album MH I'll pull that up and um it's a very telling Elm so what

3:19:59

George was doing as he knew he was probably near end of

3:20:05

life was to let everybody know what the Beatles were all about so

3:20:11

you if Will pulls it up I'll no I'll do screen a little bit um

3:20:17

it's a very interesting album so here there that's it right there so first of all look at the title and

3:20:23

when you look at the title you see brainwashed and you see the word

3:20:28

rain capital r and then you have lowercase a I and

3:20:33

N now at at first glance you might think to yourself well you know I don't think

3:20:39

that means anything however in Daniel esten's

3:20:45

book he talks about Rainman and Rainman is another depiction

3:20:54

of Diablo devil Satan making a deal with the F and

3:21:02

bargain so yep brainwashed so the question becomes is George telling us something about rain

3:21:10

now you you'll see this also uh Beetle pictures where they they have umbrellas

3:21:16

over there heads so rain or Rainman is also depicted with

3:21:21

umbrellas many times you're going to see music videos that have umbrellas there's rain

3:21:29

um that's possibly alluding to a fan bargain that that particular

3:21:37

Entertainer artist celebrity band has entered into so that's one piece of it

3:21:44

okay so that's and I realize that one's a little loose okay A little nebulous

3:21:49

and it's a little hard to get your head wrapped around but just think about it right but more importantly if you take a

3:21:55

look at the five dummies so George depicts five crash dummies and it's

3:22:01

interesting that he used crash dummies which says that you know they

3:22:06

were just bodies they were they were filling a role there were it was a role

3:22:12

that they were groomed to to do and and uh that's what they did now what you

3:22:18

don't see here I'll I'll find a better image but that shows it the Shadows the Shadows

3:22:25

yeah so what you're going to to see if if Will's able to find a better image of the uh the album the full album cover so

3:22:32

you see five crash dummies so what does the five crash dummies represent it represents Paul McCartney John lennin

3:22:40

George Harrison Ringo Star and Billy as the other beetle

3:22:46

here's the I I think I found one it's actually it's actually surprisingly hard to find yes it is hard to find I'm I'm

3:22:53

sh I'm actually shocked by that because it's cut off okay but I did find I did find a gatefold one so you can actually

3:22:59

see it now yeah so all right so if you that's that's a CD thing so this is

3:23:06

not the same as the album but in any case that be that as it may if you have

3:23:11

the actual original vinyl album what you're going to see is you have the five

3:23:17

dummies but the Shadows only sure show four bodies

3:23:24

mhm so what what is that telling us it's telling us as I mentioned before there there were five beetles because Billy

3:23:31

was a beetle but you believe there were only four because you believe there's

3:23:37

only there's only been one Paul mcari Paul has always been Paul and then what we're shown is the TV

3:23:44

set and what the TV V set is showing you as a one of the dummies has it right in

3:23:50

front of them they're talking about the TV as brainwashing there it is I found it

3:23:56

finally thanks for your patience while I find this one let's see no I know it's hard to find because I tried to find it

3:24:02

at one point two there it is that's a better one yeah there you go five dummies four

3:24:10

heads four heads all right and then you have the TV screen and take a look at the TV screen what you have is Stars so

3:24:18

stars represent what you have it's it's the pentagram that's that's number

3:24:24

one and it it also represents stars represent

3:24:30

illumination at night Lucy in the Sky with Diamonds people will say well that

3:24:36

song you know forget about the the the nonsense story that it was Julian Lennon that drew a picture and John Lennon

3:24:42

asked his son what is that oh that's Lucy in the Sky with Diamonds that's that's a nonsense story

3:24:47

it it has two re two uh meanings it's LSD MH Lucy the Sky with Diamonds the

3:24:54

other one is a nickname for Lucifer is Lucy Lucy in the Sky with Diamonds

3:25:00

Lucifer in the Sky with Diamonds okay so there's a lot being

3:25:06

said here um and George's album cover on on

3:25:11

on his album cover he's and this is his last album um

3:25:18

I I think it's uh I think it's very important for

3:25:23

people to um to look at it and try to understand it can I can I add something

3:25:29

to that real quick that I just noticed it's not it did not appear to be on the vinyl version but I see it I don't know

3:25:35

what version this is the one that was we were looking at earlier that was cut off maybe it's the CD version if you look down in the lower right hand corner you

3:25:41

see two things you see George Harrison's signature but then there's the oh symbol

3:25:47

and a cross right next to it yeah that's first of all I'm not okay with that but

3:25:52

second like it's really provocative especially because um he George Harrison was the one who's saying was it Hari

3:25:58

Krishna Hallelujah you know trying to trying to merge these yeah exactly exactly so he so again there's there's

3:26:06

the the way that maybe Christian values hadn't been fully subverted in America yet cuz that's a that's a

3:26:12

multigenerational process that we're still in many ways at the tail end of so but like to say that no all these

3:26:17

religions all these religions are one right like uh Hari Krishna Hinduism essentially and Christianity really

3:26:23

they're pointing to the same thing and George Harrison was the was the was the guy who embodied that in fact he seemed

3:26:30

like the guy who always really genuinely bought the Eastern mysticism thing wasn't it didn't they didn't a couple of

3:26:36

The Beatles go home because they found that the Maharishi mares Yogi had Lusty thoughts or something like that like

3:26:42

what happened with that yeah so what happened they went to India and that's when we're told that they wrote 30 songs for The White Album which is another

3:26:48

nonsense story but um they go out to India Ringo was there for two weeks because you know he he just couldn't

3:26:54

deal with the food evidently um ever since he was a kid stomach he had

3:27:00

stomach problems and everything else you they they said that he was there for two weeks Billy left after a month uh the

3:27:05

only two that stuck it out for for two months was uh George Harrison and uh and and John lennin and uh the Maharishi had

"Dear Prudence" Inspiration Story

3:27:13

the hots for um Mia sister who is their Prudence oh I don't know if that's her

3:27:20

real name but the song Dear Prudence supposedly uh written about Mia faroh's

3:27:27

sister who was there with them because she was so into the meditation that she never left wherever she was meditating

3:27:33

and they they would always find her there so de you know won't you come out to play in other words won't you stop meditating and come out to play I that's

3:27:40

that's the story that's told um so no The Beatles were not there uh all there

3:27:47

uh for the same period of time like I said Ringo cut out after two weeks Billy was gone after a month he had business

3:27:54

dealings I think on the west coast uh out in La if I recall

3:27:59

correctly and um George and John stayed and then they had become uh disenchanted

3:28:07

with the Maharishi because they realized that this allegedly spiritual person was uh actually you know chasing women as

3:28:16

all the gurus were so yeah anyway yeah um yes I mean

3:28:25

it's uh it's quite a story you know a lot of the stories that were told about the Beatles are very they're Fantastical

3:28:32

stories and you really have to you really have to uh

3:28:37

forgo logic and reasoning to to believe them yes you know uh another story just

3:28:44

quickly here will is we're told that on some unknown date in May of 1968 before

3:28:49

The White Album sessions that the Beatles went to uh George Harrison's

3:28:55

Bungalow and they created what is referred to as the eer tapes the eer demos oh and that they recorded 27 Demos

3:29:03

in one day folks yeah you're not going to

3:29:09

record 27 Demos in one day I I am sorry not going to happen Okay and we're told

3:29:15

that they wrote 30 something songs in India uh uh as a setup going into the

3:29:21

White Album sessions you know you didn't write they didn't write 30 songs in India Billy was gone after a month Ringo

3:29:27

didn't really write anything by the way on the song um on the White Album that's his

3:29:34

um uh oh geez I'm I'm drawing a blank here on the song in any case um it's his

3:29:41

song and uh he doesn't drum on it Billy actually does the drumming on the song

3:29:47

that's that's kind of interesting yeah you know um and then George and and and

3:29:54

and John were out there for the for two months but you know they they weren't writing music I mean first of all they had all of these activities they had to

3:30:00

do with the Maharishi and and they had to meditate and do this and do that and they went down there with an Entourage

3:30:07

so to think that you know they were actually sitting down and banging out lenon and McCartney and a little bit of

3:30:13

George Harrison banging out 30 songs it's just not reasonable yeah not realistic especially

3:30:19

especially because they didn't pull it off for let it be as we talked about here they are at the end of their career

3:30:25

they couldn't do it right right I mean I mean going back to please please me the first album we're told that they

3:30:30

recorded 10 of the 14 songs in one day at Emi Studios forget it in some kind of

3:30:36

11 hour session no it's it's not forget it no and if people believe that stuff

3:30:42

and again people who believe it are people that usually do not understand the process of writing music and

3:30:48

recording music and all that stuff but on the other hand there are people musicians that I

3:30:54

know that they refuse to give up the story

3:31:00

even though they should know better they refuse to take a step back and say you know what I I'm a songwriter or I'm a

3:31:06

musician and I I do recording and so on let me take a look at this it they won't do it they just want to shut it out and

3:31:13

a lot and and people will also ask me I keep saying a lot of people because there were a lot of people that ask me these questions after eight years

3:31:19

they'll say well how come some of these big YouTube channels these music and guitar channels and stuff like that that

3:31:26

you know they don't talk about it I said why I said I'll tell you why I said

3:31:31

because if there's one channel that's has something like four million

3:31:37

subscribers I like the guy he's very knowledgeable in in music in fact I put

3:31:42

some sometimes I put his stuff up on my blog but and I'm not gonna say who it is

3:31:47

all right because I I really do think he's a good guy but if he started talking about

3:31:53

started questioning the official Narrative of The Beatles that four million subscriber base that he has he'll have

3:32:01

14 yeah in a matter of a week because people don't want to hear it people

3:32:08

don't want to hear it they they will not entertain it so what what does that mean

3:32:14

when you have 100 ,000 subscribers a million subscribers 2 million 3 million 4 million you know what that is that's a

3:32:21

paycheck that's what that is that's a paycheck and so they could lose a lot of

3:32:29

money by you know not going along with the official

3:32:34

narrative and so what do they do you know even if they do know better and maybe some of them do they go along

3:32:40

to get along because hey I don't want to lose that paycheck it's the same thing we went through with the whole Co thing

3:32:46

yep the doctors that hung in there that hey I I you know I've got medical loans

3:32:52

you know school loans I I I I can't open my mouth I'm not GNA open my my mouth I'm just going to go along with this

3:32:57

thing and you know I'm just going to do I'm just doing what I'm told that was the right that was pretty much the line

3:33:03

doing what I'm told it's it's prevalent it's everywhere it's people won't they won't walk from

3:33:11

the money if the truth is going to cause

3:33:16

them to lose money some people will and God bless those people but a lot of people no they

3:33:24

won't do it and I'm not saying it's an easy decision to make because if you've got a family you've got a home you've

3:33:29

got all of this stuff that you've got to take care of you know um you got yourself in a position where if you say

3:33:34

something you can jeopardize all that yeah I mean I understand it but my point is that's why a lot of them won't talk

3:33:41

about it mhm so maybe we can yeah maybe we can

3:33:46

maybe we can close on on this then we can talk about cuz one of the questions I did want to ask you I'm not a musician

3:33:52

I for those who are just listening Mike you have you have an acoustic guitar and you have an electric guitar and you have

3:33:57

on the wall behind you looks like you've got a keyboard there with a Boston record you've got a uh it looks like

3:34:02

you've got some some cables back there so you are and hanging from the wall so you are actually a musician um when you

3:34:10

and and some of sometimes you'll put your music at the end of some of your videos and also on your YouTube channel which I'll link in the show notes when

3:34:16

you look at the story or when you first started cracking the story of The Beatles um and you know how hard you

3:34:22

work to write a song or record a song arrange a song how much is involved with that process really unless someone has

3:34:28

been in a studio you really don't know how hard it is to record a song just how much goes into setup and micing and

3:34:35

arranging and mixing and all and mastering how much goes into just one song not to mention the writing process

3:34:40

are you I I felt this in myself maybe I don't mean to I don't mean to say that this is how you would feel but my

3:34:46

question was were you offended as a musician to look at the way the Beatles were held up for have as being these

3:34:53

legendary musicians when everything was provided for them and they were essentially bums and you have so many

3:34:59

hardworking musicians trying to grind out you know tracks that they're proud of right without the elevation of an

3:35:06

entire industry and culture behind them do you look at that and like it's because I was kind of offended but maybe

3:35:12

maybe from a music musician's perspective it's a little different I wouldn't say I was

3:35:18

offended um I would say that I just walked from it in other words the

3:35:24

luster was completely gone and I just assessed it and sized it for what it was

3:35:31

that um they were not what we were told they were and uh

3:35:38

so that was that and to be honest with you it made me more appreciative

3:35:46

of my writing songs and and recording songs because as I mentioned earlier in

3:35:51

the show will um many musicians and songwriters are striving for that

3:35:57

unachievable for a lot of people that unachievable level of beetle uh genius

3:36:03

and creativity you know with the music and all that stuff what in fact you know

3:36:08

I know now know and many other people know that they didn't do that yep so

3:36:14

what that does is that kind of that corrects the bar so whereas your your bar is up here way up here and you're

3:36:21

looking to get get there and you know and and you're really you

3:36:26

know downplaying your own abilities to a certain extent your own skill level

3:36:32

because you're measuring it against something that you think actually

3:36:38

happened right um no so when when when I when I figured it all out that bar P

3:36:45

went away and I I just got comfortable with you know what um hey I'm just going to

3:36:53

do my thing okay I don't claim to be the greatest songwriter in the world I don't claim to be the greatest uh guitar

3:37:00

player musician in the world okay but I think I'm pretty good at what I do at

3:37:06

creating music and I'm just I'm comfortable with that you got to be comfortable in your own

3:37:12

skin um with where you're at with your abilities and your skill okay and not

3:37:19

chase a ghost because that's what the Beatles a lot of people do they chasing a ghost a lot of musicians and songwriters

3:37:28

so that's that's where I kind of landed with it um I don't I really don't pay them any mind

3:37:34

anymore every time I see something come out with them um I watch it usually it

3:37:41

winds up with a a chuckle because I I can see exact ly what's going on what's

3:37:48

being positioned um and and I and I know it's

3:37:53

it's nothing more than manipulation it's deception you know and um they got to

3:38:00

keep the Boomers in the boat you know I mean so that that's why all this stuff they keep releasing stuff

3:38:06

and yeah you know I mean we're Way Beyond continuing to release Beetle

3:38:11

stuff and Beetle records and remastering and remixing and all that stuff the B hasn't existed in 54

3:38:19

years and they still turning out this stuff so that tells you right there that this is very important because we're

3:38:26

we're half a century into this thing and they're still TR trying to crank out merch and products because

3:38:33

it's a cash cow as well it feeds the Beast so that's I mean that's where I I

3:38:38

I landed with it I mean um I can listen to the music and have an appreciation now sure for the the

3:38:46

craftsmanship that went behind the songwriting behind the

3:38:52

musicianship and the production I can appreciate that and why because before I knew any better that's how I

3:38:59

learned that's how I learned music by listening to Beetle music thinking it was the Beatles but I could still go

3:39:05

back and listen to what they were doing or whoever was doing it and have an appreciation for it but as far as the

3:39:12

four guys themselves or the Five Guys no yeah you can still enjoy the sounds you

3:39:17

can still enjoy the music for what it is because it still exists just detach it from the mythology it doesn't have to be

3:39:24

about these four guys like this is a this is a beautiful album This is a powerful album it's an evocative album

3:39:30

you know this song has a personal attachment to me but just take it away from the guys throw away the social

3:39:35

engineering and enjoy the music for what it is it's like the monkeys right everybody say I love monkey songs right

3:39:42

I love some of the songs the monkeys did Last Train to Clarksville you know great Song and people are okay with that

3:39:48

because they know that the monkeys were not the musicians behind the recording they know that you

3:39:56

know it was Studio guys it was The Wrecking Crew and so on so people have no problem accepting that they could

3:40:02

still call it a monkey album they could still say I love the monkeys I love the monkeys music it's fine so that's that's

3:40:08

exactly how we should we should look at the Beatles look at the Beatles as

3:40:16

a a much larger play than the monkeys but it's the same exact

3:40:24

model and uh so if everybody got their heads around that they could still say I really like the Beatles music without

3:40:31

getting so emotionally invested in defending a belief system that

3:40:40

is believing in something that's a myth MH you know you have to put in the

3:40:45

proper perspective is all I'm saying and I and I know I mean I I'm I'm fighting a losing battle

3:40:51

here because uh the the fan base the cult is

3:40:57

Legion and you know look tip of a hat to Tav a stock in the Frankfurt School for

3:41:02

what they did I mean it was it was absolutely it was absolutely brilliant and uh you know to this day very you

3:41:09

know not a whole lot of people understand it that they're they're still

3:41:16

sucking up and loving the uh the Cinderella

3:41:21

story well that's why that's why your work is so valuable and as I think as we started out talking you're winding down

3:41:29

this project after eight years and going to leave the material out there for people to enjoy so what's what's next

3:41:35

for for Mike Williams after after the Magical Mystery Tour of your own yeah so

Reviving 40-Year-Old Demos

3:41:41

look I you know I'm I'm going to be 66 years old in a couple of months and uh I've got two

3:41:46

grandchildren and I have a beautiful wife and uh my daughter and my son-in-law and I have my family my mom

3:41:53

is up in age you know she's uh mom's pushing almost 90 years old and you know

3:41:58

I I I have uh lots of really good stuff to do with my family and my friends and

3:42:07

uh and actually right now um I'm engaged in a music project which I I have named

3:42:14

the yes year project so the yester year project is uh my brother and I are going

3:42:21

back and re-recording music that we uh wrote and

3:42:27

recorded back over 40 years ago as de okay as demos the songs were never

3:42:34

published I mean published from the standpoint of if they went out as demos to record companies and record labels to

3:42:40

see if we can get signed or to have or to get the music published but needless to say know that didn't happen but we

3:42:46

wrote a lot of we wrote a lot of really good songs in my in my opinion and so I said to my brother I said look I I don't

3:42:53

I don't want these songs to sit on a shelf and collect dust let's go back and

3:43:00

let's just resurrect them let's let's let's re-record the songs and let's

3:43:06

let's produce them uh let's not make exact replicas let's

3:43:12

reimagine the songs retain in the original essence of the song and The Melodies but let's give

3:43:18

it a flavor that is us today us in our 60s you know let's what would those songs

3:43:25

sound like if Mike and Paul did those did these songs today and that's what we're doing and uh we've got four songs

3:43:32

under our belt right now and I'm looking to get uh 12 to 15 of those songs done by year end

3:43:39

2025 you're not going to get them all done in 30 days in the yeah it's not not

3:43:45

gonna happen not gonna happen yeah see that's the thing right here's a case where the songs are already

3:43:52

written if somebody said to me can you bang out 16 of your old songs re-record

3:43:58

them in 30 days I'd be like no I'm not I'm not doing not doing could I do I

3:44:03

don't even know if I can do it because there just you know the whole process of rethinking the songs and redoing them

3:44:10

and and and the whole like how are you going to produce them I mean it's it's no so anyway yeah so we're hoping to get

3:44:17

you know a dozen or so of the songs out we have more of them but I said let's let's just pick Let's just pick a dozen

3:44:25

songs if we get a little past that a little below that that's okay but let's just put a a plan out there so that's what we're doing right now well if you

3:44:31

put as much care and thoughtfulness into uh your music work as you have into your Beatles presentations I think they're

3:44:37

going to be pretty amazing so um thank you for all the work that youve yeah thank you for all the work and all the

3:44:43

the the years of Labor and research effort that you've put in to uh to that work uh it's definitely blessed me and

3:44:50

for everyone listening like everything we've talked about is basically scratching the surface of the amount of material that you've produced and so um

3:44:57

if anyone wants to learn more where would you like to send them to to hear to to watch the videos and then perhaps

3:45:02

also to listen to your music because I want to make sure that you're rewarded for in in uh for people learning what

3:45:09

you have to say musically as well yeah so just go to My Hub website it's Sage of quay s a g f QA y.com AG of quay.com

3:45:18

and if you go there you're going to see a little pale yellow box in the middle of the website and there's links to all

3:45:25

of my platforms and one of those links takes you to my music website labor oflm

3:45:30

music.com and um you get a little bio on me you know from a a music perspective and

3:45:37

you'll see the yeser year project and you'll be able to listen to four of those songs that we have completed to

3:45:43

date uh um and a bunch of the other songs that you know I've I've recorded over time um I have two compilation

3:45:50

albums out there it's called a decade of rockers and a decade of uh blues and ballads that um spans the time period

3:45:57

between 2013 and 2023 um so I mean just just take a listen it's rock it's classic rock I

3:46:04

call it retro rock you so uh probably for people my age you'll you'll have an appreciation

3:46:11

for it you know but uh it's okay that's my thing you know class rock guy awesome

3:46:17

well praise God for you and your work sir thank you so much for all your devoted labors and and may God bless

3:46:22

your next uh your next Endeavors with music and your family thank you will thank you very much it was a pleasure speaking with you thank you sir