Classic Rock Was Occult Mind Control. Here's the Proof

I grew up around classic rock. We had a record player, whether it was Pink Floyd or Zeppelin or Frank Zappa. But I think that there's a lot of folks that see, especially post-COVID, that there is this very diabolical agenda and that there is some sort of small group of people that are ill-intentioned, just to put it very lightly, yet they haven't made that connection to the massive social engineering and, you could almost say, satanic campaign that started in the 60s and the 70s through the music industry. What was the driver behind the Beatles' success and popularity in America? I don't think the Beatles were winning participants in this engineering, if you will. If you go down into a subway or even on the street and you'll see these incredibly talented buskers, musicians, and maybe you ask yourself, as I do often, why isn't that person famous? They're so talented. They're so good. I've never seen someone play the instrument the way they do. Why aren't they performing at Carnegie Hall or why don't they have a huge record deal? And then you see some people that do make it to the top and you ask yourself, why? Why them? In some cases, the machine, let's call it, gets behind a particular group. It could just be the record company, an A&R representative from EMI in the Beatles' case. Let's call them the elites. The elites can be individuals who have more money than God. They can be institutions, intelligence groups, think tanks like the Tavistock Institute. They've recognized that if you want to influence society, if you want to perhaps even manipulate or steer a particular cohort, let's say the youth, teenagers, what's more powerful? Culture or politics? It's culture. I mean, we can sit down and listen to a three-hour speech delivered on the Senate floor by Chuck Schumer and probably it's not going to do much. But a three-minute pop song can have enormous influence. Look at what happened to the youth culture in America after the Beatles arrived in 1964. The length of their hair got longer, the clothes they wore, the way they started to question authority. The youth of America followed in almost lockstep with the Beatles, which begs the question, was this engineered? Was this by design? Again, not from the Beatles' perspective. They wanted what all young musicians want. They wanted fame and they wanted to perform and they wanted record deals and they wanted wealth. And they got all of that. But the people, the machine, let's say, behind the Beatles, there is a certain school of thought that you could look through this prism at American history ever since 1781 all the way up to the present as an attempt by the British to reestablish control over their lost colony. You could look at the War of 1812. You could look at the Civil War where the British bankers were funding both sides in the Civil War. The Crash of 29, again, you know, the Bank of London and so forth. So this British invasion, including the Beatles and the Rolling Stones and the Kinks, were an attempt to reestablish control through culture. So instead of fighting with muskets and redcoats, now the British decided they were going to use Rickenbacker guitars, melodies and catchy riffs because they understood particularly the power of music and how certain chords, certain musical notes, certain melodies can and will bypass the intellectual mind and evoke certain emotions. Certain chords can produce melancholy. Certain chords can produce aggression. We know these things. The Tavistock Institute studied these things after the Second World War. This is the Beatles in 1960s. You see these young girls that were probably very well-controlled and well-behaved. During this concert, there's just an unleashing of just this madness, this behavior, screaming and wanting to get closer and, you know, you're right though in saying, do you influence through culture or politics? And it was the idea that politics is downstream from culture. And so if you can take control of the culture, it gives you immense power. What are some indicators or piece of information that would indicate that the Tavistock Institute was involved or that would kind of start to reveal some of these shadowy figures and agendas behind them? There's no smoking gun document or photograph of some MI6 agent handing John Lennon a guitar and saying, here, you know, go take back America. Marshall McLuhan, the great media communications guru who coined the term the Media Minutes and the Message, believed that the arts were controlled by secret societies. We can substitute elites or MI6 or the Crown or the Tavistock Institute, if you will, for secret societies. We do know after the Second World War, the Tavistock Institute kind of reframed their parameters and instead of treating shell-shock veterans, they started looking at how to influence mass psychology or social engineering through advertising and through popular culture, including music. There's also some academics who came from the Frankfurt School. And one of the names that pops up is, again and again, is Theodore Adorno. He did understand the power of music to bypass the intellectual mind. He was a Marxist, as many of the academics from the Frankfurt School were, hated popular culture. He hated popular music. He probably even hated what the Beatles were doing. Who better to understand, particularly the repetitiveness of popular music and the Beatles and those certain guitar riffs and harmonies and so forth, the repetitiveness, how powerful that can be? Who better to understand that than someone like Theodore Adorno? The whole idea of this repetitiveness, we can find this in MKUltra, for example. And there's something called psychic driving. In the late 1950s, up here in Canada, in Montreal, at the Allen Memorial Hospital and McGill University, there was a CIA-funded program that was led by Dr. Ewan Cameron. This has been proven in court. Victims were compensated for this. And Cameron basically was victimizing young women, most or all of whom were probably suffering from postpartum depression. So they came to the hospital, they came to the Institute looking for help. What Ewan Cameron and his aides did, basically, was give these women massive doses of LSD, essentially wiped their memories, subjected them to this psychic driving technique. And that's where you put, it can be a message, it can be musical notes, it can be just about anything on an endless loop. So they'd be playing this over and over. It's basically psychological torture, but it's also a way of fracturing the psyche. That technique of psychic driving seems almost as if that's been sort of repackaged, turned on its head and offered up to society as popular music. They took this knowledge of human brainwashing and being able to fracture the mind, which is a key part of MKUltra programs. And they basically then used that and used, I guess, the music as the medium for that to carry that same programming to the masses, drug them up, give them the music, give them the light shows. Exactly. And to what end? To help subvert an entire culture, the American youth, to lead them to start questioning authority, which the Beatles' music certainly did at a certain point. To normalize drug use, to question other institutions, including the family, that is sort of a trauma. And we know that a lot of the scientists that were exfiltrated into the United States after the Second World War through Operation Paperclip, they also wanted these scientists that were working on MKUltra in Germany. They brought them over and they understood the importance of trauma in fracturing the psyche. Once you fracture a psyche, we used to call it multiple personality disorder, but you can compartmentalize the mind. And certain parts of the mind can only be accessed by, let's call them a handler. And they may have trigger words or sentences or music or maybe a snippet from a film like The Wizard of Oz. So what was the trauma in 1964? Well, America was only three months removed from the assassination of John F. Kennedy. There's no question that traumatized not only the youth, many Americans were traumatized by that. Even if you didn't particularly, you know, vote Democrat, the idea of a president being murdered in plain view that way in such a grotesque fashion was a trauma. Was trauma followed by the psychic driving and the MKUltra techniques and the brainwashing that the Beatles brought to those shores? I think you could argue, yes. Music was developed initially to essentially influence production from workers. They understood that certain musical notes and musical passages can affect your nervous system. It can affect your heart rate. And yes, it can affect blood pressure. It can affect your mood, of course, and it can affect output production. And so they had audio programmers who were producing music specifically for that purpose, to motivate people to produce more efficiently, to produce faster, to produce better products. Interesting. Makes perfect sense. When the Charlie Kirk assassination happened, for a lot of younger people, he was their JFK. He was the first cultural icon that really spoke to them, really kind of hit them in a way that moved them. And you saw the response and just purely looking at the effect of what happened. I looked at that as a mass trauma event, the MKUltra trauma event that was targeting the younger people, that many of them weren't alive. Loch Ness, Boleskin House. It was isolated. He bought it there because he wanted to perform a very elaborate occult ritual called the Abrameline Operation. And it required complete isolation, it required solitude, it required months of discipline, of fasting. The end game of this operation was to summon sort of the ultimate personal guardian angel, is what he would call it. I would call it a demon. And here's Page at the house itself. Yeah, that's Boleskin House. There are ways to influence people subliminally. And so when you get into, say, some of the Zeppelin songs, you play them backwards and you have these other messages. What do you have to say about that? What's your research shown you about some of the subliminal messaging within this kind of music? Well, I would say most of the power of music in terms of influencing happens at the subconscious level. The conscious mind is, you know, the tip of the iceberg. It's what lies beneath, obviously, that these elites, let's call them our secret societies, if you're more comfortable with that, or some might say the Illuminati, that's what they're interested in. What lies beneath and how do we manipulate that? Spoiler alert, I don't believe Paul McCartney died in November of 1966 and was replaced by a body double, because in order to believe that, you have to believe they found someone who looked remarkably, almost identical to Paul McCartney, but also was a left-handed bass player, but who was arguably more talented than the original. If you look at Paul McCartney pre-66, yes, he wrote yesterday, arguably, you know, the most covered song in popular music history, but if you look at the body of work after 66, which would be attributed to the faux Paul, it's even greater, you know, hey Jude, let it be, the long and winding road, his work with wings, all of his solo work. So I don't believe that, but the clues are real. Were the clues part of some psyop, psychological operation to see how they could steer and manipulate and influence the culture? You had, in 69, when this legend broke, and it started on a radio station in Detroit hosted by Russ Gibb, a DJ, receives a call from a student from the University of Iowa, I believe, who had read an article in their student newspaper outlining all these clues, and it took off from there. Then the legend went to WABC in New York and Roe B. Young was a DJ, and this was a blowtorch of a radio station, reached something like 30-some states, and Roe B. Young suspended his music format to take calls live on the air as these callers were telling him about all of these clues. Roe B. Young was actually fired either live on the air for breaking format or shortly thereafter. But that's how this legend started. Multiple personality disorder, where you can have multiple personalities. You could have one personality that say drinks a fifth of vodka and gets unbelievably drunk. The next personality is not drunk. You'll have one personality that's allergic to bees. The other personality is not allergic to bees. And I remember reading all these different studies on this and thinking, this is really fascinating because this really breaks a lot of the conventional ideas of how the body and how the mind work. Or one personality can speak a fluent, not just a fluent language, but a fluent language that's been gone for a thousand years. So one personality is an expert marksman and can fly a Bell helicopter, but the other ones have no knowledge of that. Exactly. The 27 Club, where these people sacrificed Jimi Hendrix, Janis Joplin, Kurt Cobain, Jim Morrison. Now, you could also say that being a rock star is a high risk profession and that you're exposed to incredible amounts of drugs and things that might lead to early death. And so, you know, I'm sure some just shot up some heroin and they never woke up. How do you make sense of that? In the Jimi Hendrix case, we have a controlling manager by the name of Mike Jeffrey, who was in the British Intelligence Corps. He was an assassin. He served in the Suez Crisis in 1956. He was intimidating. You know what they say, like with the CIA, one CIA, always CIA. I think it's the same with MI6 or MI5 or whatever group he was with. But he also employed what I would consider to be sort of MKUltra type techniques in managing his cash cow, Jimi Hendrix. He would physically exhaust Jimi. If you look at his touring schedule, they really made no sense. He had him crisscrossing the country. One show on the East Coast, one show on the West Coast, and it's just crazy when you look at it. And then you begin to understand what he was doing. He was wearing him down psychologically, emotionally, physically. Jimi Hendrix realized that this was what was happening. People close to him. And I interviewed Juma Sultan. Him and his friends, they sat down with Jimi and said, why do you hang around Mike Jeffrey? He's no good for you. He's trying to push us out, stealing from you, and he's trying to run you into the ground. So Jimi was considering canceling his, not considering, I think he'd made up his mind, he was not going to renew his contract with Mike Jeffrey. Mike Jeffrey understood that. Mike Jeffrey also took out a life insurance policy on his client, Jimi Hendrix, worth a lot of money. He also staged a kidnapping. Jimi Hendrix was in New York. He got lured. This was before he was clean. He got lured away from the club with promises of the best heroin or cocaine. He ended up being kidnapped and held in an apartment somewhere. They called, supposedly, Mike Jeffrey, demanding a huge ransom. Mike Jeffrey called his fixer in New Jersey and told him to bring his mob friends from New Jersey. Curiously, Mike Jeffrey knew exactly where Jimi Hendrix was being held. They send in their goons from New Jersey, free Jimi Hendrix, and Mike Jeffrey again comes in like the hero. You see, I saved you again. You can't survive without me. This is almost, again, like MKUltra-type programming. There was a very famous incident of a KGB general who came over to the United States. This was after the fall of the Soviet Union. He was recruited. He became involved with the CIA at this point, and he said, you know, it's amazing the way that you handle your dissidents. In the Soviet Union, we would just throw them in a gulag and they'd never be seen again. Here, you don't use gulags, you just discredit them and you ostracize them. I think your system is far more effective. Or your YouTube channel gets no reach, right? Yeah. Me as well. That's how they control the narrative. If you could go back in time and buy oil before the world relied on it, would you? Of course you would. Anyone would. 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