None. It's been I, I want to say about
two years. So when you and I last chattered
Robin, I didn't have a child. I now have a child.
Congratulations. That's great news.
He's a beautiful little boy and he's unvaccinated.
Well, I would expect that. And that's, that's in a way, in
a way, the fact that we've gone through all this awakening.
Now, I wouldn't have done it to my children if I knew all this.
But obviously at the time, a lot of us still trusted the
narrative, you know, just to some extent.
But I mean, with that in mind, knowing what you know now, would
you go back to 2019? Well, in some funny ways, I
think now maybe more than any other time, I think it's a
little bit of a Deja vu because I'm feeling again that we are
living in a situation where some of us have a sense of another
impending restriction which is linked to, you know, the digital
grid. But there's a feeling that a
whole chunk of society, possibly the majority, probably the
majority, instead, it's again just trusting whatever is given
to them. And so I feel in a way, it's a
good time to talk again also because I feel again, we're in
the same shoes and I have got the same thoughts, which is how
do you, how do you talk to these, those people and not let
them see you as some kind of paranoid conspiracy theory?
When you say, you know, be careful when you just do
whatever you're told to do in terms of, you know, your digital
identity in relation to the government.
When they say things like you've got to do this thing online,
you've got to do a selfie, you've got to get your biometric
link to your, you know, whatever it is that they want to your
email. And again, it seems a little bit
difficult to just say, well, look, I've got a passport, I've
got a driving licence, I can walk in to an office like an
accountant or whatever, say that's all you should need.
And when they say no, no, no, this has to go through the
digital route. When you say I don't want to do
that, we shouldn't be able to, we shouldn't need to do that.
You looked at as if you're crazy again, because you're the only
person probably that has said, look, I'm not, I think it should
be enough for me to show up with a passport.
So it's similar in, in that respect, which is like what?
So why are you kicking up this big fuss?
Why are you and, and again, it's like, how do you say to some
people that in that, you know, potentially we are all in danger
if this goes through very quickly because then they can do
2019 in a much more, you know, in a much more ruthless way
where you get cut out of your bank, bank account instantly as
soon as you say, well, actually I've got doubts about the face
mask, you know. Your concern is precisely the
same as my concern. I have noticed what looks like
the opposite of a reawakening. What?
What would that be? Going back into a slumber?
So many. It's weird and I don't
understand how people can just do that.
I mean, have they forgotten what happened in 2020?
It's crazy, yes. I think they know.
I think they have replaced it. They have replaced it in their
minds or they they have the sort of the big pandemic narrative.
It happened. It happens every 100 years.
It was 1918 now it was our turn. It's a history.
There was a Black Death. And and so it just sort of it's
put in a memory hole in a box. And then it's like everything is
back to the same. And then if you say, well, what
about what about 911? What about, you know, it's still
like everything. I think maybe it's like must be
sort of human psychology. You just want to go down your
own path, think that all these things happen to other people.
It's got nothing to do with you. But now we are again, at a time
where it is to do with all of us.
And so in, in, in some respects, again, I feel like it's not
really about being afraid of, you know, the, the sort of
Palantir, Peter Thiel, Bill Gates, I mean, those, the very
few, those people are very few. The problem is everyone else who
goes along with whatever, you know, Larry Ellison or Larry
Fink, the problem is everyone who goes along with it.
That's our real problem. And that can happen under
governments of any colour or, you know, it's really about the
people. So once again, I find that if
we're able to break the cultural barriers on this, if we're able
to ask questions, hold on a minute, what happened to the old
sort of identify myself by having like just walking in an
office with a passport and someone say, yes, I can looking
at it, say, yes, it's you. The passport looks authentic and
that's it. What happened to that?
Why do we have to do it in a different way and why are we not
allowed? And how do we get this through?
How do we make it seem that it actually, it's a little bit
crazy that you can't do that anymore.
You can't just say it's me, here I am and this is my doc and
that's enough. Why can't you know?
How can we communicate that it's not a normal situation where
some where a government tells you that's not good enough
anymore. It's been good enough since the
invention of documents, and now suddenly it isn't.
And it gets worse when you're on the Internet.
When you go to a website it asks you are you human?
Yeah. Well, that that is actually a
you're actually training AI, did you know that?
Yeah, when you do that. Yeah, yeah.
And you have to, you have to find, you have to find like the
fire hydrant. Yeah, so that's basically
telling AI this is like what, you know, what fibre hydrants or
what motorcycles. So you're training them for
free. So that's just another scam that
are you human? You're basically training them
to recognise things, so. I think it was, I think it was
Matthias Desmet who back in 2021, he brought out, or 2022
when he brought out his book about totalitarianism.
And he, he said that approximately 30% of people at
any given stage or time will be awake, so to speak, which is
precisely what you said. You said the majority and, and
basically it will always be around 3 people out of 10 who
will kind of see through all this nonsense.
And I've always wondered why that is.
And I, I know you don't know the answer.
It's more of a rhetorical question, but it is a, it's a
very fascinating psychological observation.
Why is it always the minority? And, and why is it you and why
is it me? How?
How were we able to see it, but so many people who we know
didn't see it and still don't see it?
Well, I think that's that's in a way the ash conformity
experiments where five people are put in a room, they're shown
a set of lines. One is obviously longer than the
others and they say which one line is sort of longer or which
one is shorter. And then you know, you have a
specific answer in your mind and then the three people before you
say a different one and you know, you say something and the
fourth one says they all say the wrong answer at some stage after
I think it's three questions, you just start to go along with
what they say. So I think it's not, I think
it's probably if, if we were to rephrase it, it's if it is 3 out
of 10, I think with this digital idea, it's, it's a slightly
different situation. But I think if it if it was 3
out of 10, it's just that three people actually want to think
through it and seven just want to go along with with not having
any problems on a societal level because they're just sort of,
you know, they're cruising through their their their life
socially and they don't want to rustle anyone's feathers.
So I think it would be it would probably be the only thing you
want to think using their own head.
And the other ones just want to go along.
But I think this is slightly more insidious because if you
were to ask anyone, do you like digitally, probably most people
say no. But then if you say, would you
rather, would you go through the repercussions of not doing it?
If you were, you know, if you were told that you need to do it
to he in the UK is like to be a company director, like, you
know, would you be ready to see what happens, You know, possibly
even getting issues with, with your work or, you know, things
like that. People will say, no, no, I'll do
it because it's no big deal. So it's, it's a sense that
theoretically speaking, everyone is against, but in practise,
everyone thinks it's not a big deal.
So they just want to go ahead with it.
I'm just linking, linking the theory and practise here is it's
probably those 3 out of 10 and maybe it's even less who are
linking the 2 who are saying, OK, so on one level, I don't
like it. On another level, I'm doing it
all the time. I'm doing it for every single
purchase for every single government.
And you know, one thing is like, look, I don't care about my
relationship with on an online shopper.
I, you know, I can just, you know, change it tomorrow.
But the other thing is that relationship with the
government, you can't really change it tomorrow.
So once you're in, you're in. But it's not just the
government, Robin, it's also the private sector.
I mean, this is what a public private partnership is.
They they, they work together and that makes it really, really
difficult for us. Yeah, exactly.
That's the other. That's the other approach, which
is more the American approach now with Apple doing the Apple
Digital ID, so you can fly just with your Apple phone throughout
the all the year. So that's it's coming in, it's
get again these kind of slightly different approaches.
But in one sense, with the corporate one, again, it sort of
gets people subtly to get in. But maybe I feel like you could,
you could, you could oppose. It's like when it was within
2019, you can decide not to go to that establishment where
they're going to be really, really strict about the
regulations. But I think with the government
it's slightly trickier because you do have to work with them if
you are living in any country in some form or the other at some
stage in your life anyway, especially if you're running,
running a business. I'm, I'm not willing to leave
the whole cultural field to the, you know, the machine.
I'm not willing to do that. And although I'm willing to step
away from the club because they're all kind of clubs and
say, look, you know, you don't want to have, I know you don't
want to have anything to do with me because I oppose, you know,
lockdowns, oppose vaccines. I oppose the man made climate
catastrophe narrative and those are all big no no's.
So I know you don't want to have anything to do with me, but I
still want to to participate in the the cultural field on my own
terms and the terms of people that I I feel are more on the
right track. So it is a bit of a of a battle,
but I think it is, you know, that my point is that this is an
important battle because that is potentially the area that swings
things. You know, it's done it before.
Underground culture has done it before.
Initially. It's a few people that at that
time, you know, if at that time they're seen as a as a dangerous
minority and under dangerous underground culture.
And usually it used to be youth. Now it's sort of the the youth
are not necessarily that were represented in, in, in the in
the awakening, but it's done it before.
So the group starts to produce things which are then then then
seem cool because they're against the grain, they're
against the sort of the average mediocre production over that
time. And they're quite cool.
And that kind of coolness becomes attractive.
It becomes exciting and, and, and then suddenly the whole
masses want to be that and they start dressing like them, they
start listening. So I don't think this has
happened yet on our side, but I don't think we should
underestimate that that is potentially like one of the
strongest areas to to use if we can to our advantage, at least
to claw back some territory. And you know the reason, The
reason is probably quite basic, which is the again, the Ashe
experiments conformity, at least in the UK, everyone in the arts
is glued to like the Guardian. That's the only thing they read.
Everything else is sort of the enemies news, you know, like X.
It's like, you know, X. You don't even talk about X.
It's like just and you know, Telegram, Telegram is some
weirds, you know, Russian paddle doer of conspiracy theorists.
And X is like Elon Musk, who's now now the demon because he
helped Trump. So you just go to this guardian
world or Instagram where everything is kind of phased
out. And then you see what's, what do
other people say? And you just go along with it to
the point that actually I went, I was at, I went with, to lunch
with Eric on on Monday, I think last week.
And, and I, I think went into a very nice restaurant.
But you know, he was, I think he, he noticed that when he came
in even before me. And then I noticed, I'm not sure
they were that happy that we were there.
Like they knew who, who he was. Don't know if they knew who I
was, but I got the sense that you kind of have a sense where
the other times people look very excited that, you know, Eric
will walk in. But I almost had a sense and it
was a very cool place young. So I almost got the sense they
meant maybe still on the on the programme, which is that for
some reason someone who spoke about his, the deterioration of
his condition, his physical condition after the the
AstraZeneca inject vaccine, who talked about it publicly to me
on on on paper and on camera is somehow condemned by that kind
of media or that kind of world at that time.
And they hadn't obviously not they have not thought it
through. They just think, OK, you are
associated to, to this and that. And I think there's there's
still a lot of that going on, a lot of like, but hold on a
minute. But have you thought it through?
You're thinking that someone who's talking about their own
experience, medical experience is somehow not is somehow a bad
person? It's like because again, the
group think the the group thing is still is still quite strong.
But as you said, I think people don't want to, don't really want
to go there like before. At the time you felt people were
fighting you. They were like, you know, you
said something, they would just jump at you.
At the moment, if we say anything about that, it's just
going to be total silence. They're fine.
Have you noticed what's funny? In 20, 2021-2022, everybody
spoke about getting jabbed and they were very open about being
vaccinated. Now if you ask anything to do
with the COVID jab, it's like it's, it's my right to, to, to
say nothing. Who are you to ask me questions
like that? Yeah.
So, so I had also stopped, but now there's been, you know, the,
the, I think the worth of Claire Craig, I think she's doing a
court case perhaps because of the UK health agency not
releasing the data that that would indicate whether there is
some kind of correlation between the time of injection of the
COVID injections and excess deaths.
They used to publish this data and then suddenly they stopped.
And now this data would be quite important to show whether there
is a correlation, whether after people get injected, there's
more deaths. After people got injected,
actually they said there were more deaths.
And so now they have pressed the government for that and they
said no, we're not releasing this data because it could upset
people if they were to sort of see some potential link between
the two that, you know, it's like it's against the interest
of the public because the public sort of could destabilise the
public. That's the official answer.
But that's been published on the Daily Telegraph.
Now. None of the artists are going to
go and look at that because it's not on The Guardian.
None of the sort of creators would look at that.
But still, I'm sharing it. I'm sharing it again.
And if I'd share something like that a few years ago, I would
get like hounded by all of these comments and all of these
things. And now there's just complete
total silence from the other side.
So, so yeah. So it's either removed for
psychological reasons or again, it's not they sense they're on
on the weak side. So they're just not not going to
show up because it's sort of they it what they say could be
interpreted as they become conspiracy theorists.
By the way, I don't know if you've seen it yet, but there's
a good take on this, whether it's, I think it may be
conscious in the film, the latest film by LAN Timos called
Begonia. I don't think it's not sure if
it's out yet, but I think it's it's worth a watch because at
the beginning, you see, I didn't know what was going to happen.
I'm not going to say the plot, but the main character, Emma
Stone, she's the head of a kind of big pharma company.
And then you've got two people who are like conspiracy
theorists and they are the exact stereotype of the conspiracy
theorist living in his mum's basement and, you know, kind of
what's. It sorry, what's it called
again? Bugonia.
Bugonia, I'm having a quick look.
Carry on. BUGONIA And so you got these
conspiracy theorists and they are the exact sort of kind of
archetype of the, of the sort of dispreditative view of
conspiracy theorists that are not doing anything with, with
their lies. They're totally removed from
rationality, you know, so you stick through all of that.
And, and I had asked sort of people who had seen it, like
people who were probably not awake about what they said.
And they said, oh, it's just really mad.
It's really crazy. And then I watched it and, and,
and it's a little bit painful when you see these these
stereotypes, but then there's a twist at the end.
Which I'm not going to say, but the twist at the end in a way
makes you wonder whether that was all intentional to take
people to this place of comfort of their views and then just to
turn it upside down at the very end.
So a normal person will say is just a mad feel, but someone
who's been living through, you know, 2019 to now says, well,
that's a very clever way of planting that message at a
subconscious level in, in the majority of the population,
because this is this is going to be a very, a very popular film.
And that is like, in a way, you want to do it with what people
realising what you're doing. And I think they succeed at
that. Now, I suspect they're very
clever and it's intentional, but sometimes these things even
happen at other levels that people start to show messages
because they're channelling something bigger.
They may not even be aware, but I think they're clever enough to
have had. This is a very, very good
observation that you made because it's exactly the same
observation that I made about an Apple movie.
So I have been wondering, Robin, if there are people like us,
quote unquote, in Hollywood who are too afraid to speak out
because of what the way Hollywood is and the only way
they can do it is by, as you say, planting seeds.
And especially if it can challenge, Yeah, this is, I
mean, in a way, this is what, especially in the 70s, which was
a time of similar time to to the high inflation basically, you
know, devaluing of currencies. There was also, you know,
friends of mine reminded me in Italy that there was a lockdown.
People don't remember, but there was a national lockdown to save
petrol, to save gas because of the oil gas crisis.
So people were told by the government you shouldn't be
driving. So that so we already had
lockdowns in that in that respect, we again, we forgot.
But you know, you had films like Soylent Green, you had a lot of
sort of sci Fi's which were really kind of scratching the
surface of what was really happening.
And and that was, you know, a lot of them were American, some
of them are sort of Hollywood related.
So there is a history of trying to get this through to the
masses in this kind of way. And I think in a way that's
where you succeed. It's the film and music that go
that it's not only watched by that three out of 10, but it
ends up being watched by those 7 out of 10.
And that's where the ideas are formed and and created that can
actually swing this. And I think in a way, when I say
this, I mean, I know you're sort of quite artistically minded as
well. But when I say it to people who
are not, I can get different responses.
One of them may be just sort of total blank.
They don't really see how this has anything to do with
anything. This is just sort of in a way,
kind of decoration. And the real issue instead is
like political. And this has got nothing to do
with anything. And then the other one is
there's a sort of slight tap on the back, like, well done for
doing that, but there's no support or understanding.
Now I've been, you know, as I've worked sort of in the arts all
my life, I've seen instead what happens when you do something
which reinforces the other view, which at this, you know, at some
stage people called the left. Now we know it's not the left,
but, you know, let's, let's let's say it was the left.
When anyone does anything which is slightly, even slightly
political on that side, you get so much support.
You get people really everyone really supporting you, everyone
helping you out. And whatever you produce is
going to be amplified like a million times because it's got a
slight political edge. But on our side of the fence,
you don't get anything. And I think that's one of the
biggest weakness on our side. I wouldn't call it right or
left. I would call it awake and
asleep. You know, sort of the, the
asleep that thinks, think they are awake because they support
the alleged fate. Left, whatever they do gets held
by all their peers, all the industry, all the the public
figures, all the influences and all that because they feel
they're sharing some kind of political angle.
We share a political angle. You and I do something, a
cartoon, a song, a film or something like that, and you
just get a mild, yeah, well done.
That's it. That's not gonna, that's not
gonna be enough to balance out what they're doing.
That's that's what, that's kind of what my point is.
So if we are not, if it's not making a difference, partially
it's to do because we're not supporting each other.
And all we're supporting is one form of cultural production,
which is important, which is the podcast and the podcast of, I
don't know, Candace Owens or Joe Rogan or Taka cats.
But the other side, the non awake are never going to watch
any of that. They're going to see Candace
Simmons, they're going to switch it off.
They're going to see Joe Rogan and they're going to think it's
the devil. They're going to see Taka cats
and they're going to think no way.
So it's not going to cross the boundary.
It's going to do a lot for our side, for people who are
undecided, but it's not going to be so broad.
And, and when we do things that potentially could be broad, we
don't get any support from our, from our own side, which I think
is, is a biggest weakness and partially may be related to this
very analytical mind. Because, you know, at some stage
we figured out intuitively that we were being taken for a ride,
you know, in 9/11, 2019-2020. But then what, what we what
really confirmed this was the analytical mind that started
looking, OK, what happened in history?
What happened at that building? What happened in we do.
How big are, if viruses? Viruses are, are what is
transmitted? How big are they?
What, how, what's the whole what's gap in a mask?
How is this replica, you know, what are what is the sort of
what is it called the sort of the death rate of flu?
What is the death rate of the hold on a minute?
There's not not a huge difference.
What age do people that oh, they die when they're one or two
years higher than the average death death rate in that kind.
So you start to figure out analytically, and the problem is
that that analytical mind, what we've seen is whenever you
present it to someone who isn't emotionally ready, it's just
going to be blank. So we only convinced ourselves
ultimately and the other mind, the other mind can do more.
So, So on one level, what I, what I'm saying to myself is
like, if I don't know if I'm going to have to be living like
this for the rest of my life in this state of constant, you
know, kind of objection to, to increasing tyranny.
Or if at some stage it's going to be so bad I won't be able to
speak. But for as long as I as I can
speak, I'd like to do it with a slight, with a slight smile on
my face, maybe even if it's dark humour, to enjoy it to some
extent. Because otherwise you're gonna
end up getting diseases. If you're always stressed out,
get disease. And part of the enjoyment is to
make it a little bit creative and not to be that face which
says it's all guys, it's happening.
The moment that I've been talking to you about is
happening now and we have to resist.
In fact, we all know that. But how do you have a good life?
Enjoy your life, but at the same time create as many problems as
you can for the other side with a smile on your face.
That's what that's how I would like to do it.
You've just created my Segway, so you Speaking of creativity
and entertainment and with a smile on your face, you sent me
two videos which I'm very happy to play.
I'm pretty certain that they're not going to get flagged for any
copyright issues. Tell me more about the 2 videos.
We'll challenge them. We'll challenge them if they do
that because, you know, you know, with the sort of all these
algorithms, you never know what they do.
Yeah. So we've got, I started working
with Thomas Atlas, who's a singer songwriter who he also
played Sounds Beautiful festival in the UK this summer.
And, and he contacted me, I think he had seen the work I had
done as a lyricist with Eric Clapton.
And he's a big Clapton fan. He knows all of his work.
And so he contacted me because he had an idea about doing
something which was to do about people being fooled.
And, and I just sort of started working on it and working on the
lyrics. And, you know, I kind of
listened to the rift to, to a little bit of the tune and, and
we started working something that that could go with it.
And then he would sort of adapt it a little bit for the song.
And then in the end, the song has is out now.
It's called Fooling Me. And, and yeah, it's about, I
guess it's a little bit with a smile on the face about this
experience of having all of these things that they keep on
throwing at us. And, and then having a sense
that actually it's like, you know, you got to be joking.
It's like, you see the Olympics, you know, you got to be joking.
You see that what they're saying about climate.
And then they're saying, oh, we're going to sort of spend all
of our budget in making weapons out of like, you know,
explosives and steel, but then you're meant to be driving about
you got to be joking. So all the contradictions and,
and, and I'm putting it in a song which can potentially jump
a little bit across to the other side because it's done in a good
spirit. It I think it's got a good
energy, good music. And it's not over.
It's not, it's not done in an alarming way.
Like, you know, it can be done in an alarming way with like
sort of death metal kind of really, you know, and I'm not
saying that that's not a good form of music, people who like
it, but it's not it's going to just scare people who are not
not ready. Whereas if you do it with a bit
of a sort of, you know, in this case, there's a bit of a guitar
riff, it's bluesy, it's a little bit sort of fun.
It can be, it can be more fun for other people to sit through
and then to ask the question, well, maybe, maybe we are being
fooled in some ways. Well.
You can chat to me about the second one after this.
Let me see if I can get this to play.
I love that ending, I love that ending.
I love that sort of double time at the end.
So what was your involvement with that song?
Did you write it? With this one, I wrote the
lyrics. Thomas came up with the idea and
Sam the guitarist came up with the riff.
The rest of the band did a good job musically outstanding.
And yeah, I think they had they had the music.
They had the the concept and the music.
And I put the words into fit with that.
It's so good, Robin and. Yeah, I think it's good and and.
Where was it formed? Where was it formed?
In a? In a library.
It's filmed in a small record shop.
Well, the size you can see in a record shop in Birmingham, OK.
Sorry in a. Real record shop with vinyl with
vinyl all around. Like, you know, a quite a
historical record shop in in Birmingham.
Now, if if a song of equivalent, I guess creativity, you know,
lyrics quality or something like that had been done, let's say,
for the other side, whether if it was maybe making fun of, I
don't know, making fun of conspiracy theorists or I don't
know, whatever the you know, what they really like.
I'm not going to say like anti Trump because that's almost too
obvious. But if it was done something
like this would be would really be known by everyone already.
It's doing well. You know, people, people are
watching it from all parts of the world.
We weren't really sure whether it would raise like objections
to it because of the lyrics. But I think because it's not
because it's not aggressive in the way it's done in the in the
lyrics too. It kind of points at things, but
it doesn't sort of start to sort of condemn in such a direct way.
In that way. I think most people who have
seen it who are not political haven't really.
I think only apparently only one person I said, oh, it's a bit
too political for me, but one out of sort of thousands.
I think most people are accepting it and seeing the fun.
And even publications which have music publications that have
covered it have said, you know, it's quite, it's quite witty and
things like that. They haven't said, oh, it's like
a conspiracy theories or something like that.
So I think it's, it's working this, this fine line quite well
of being, being sort of against the system, but not not being
confrontational in such a way that people get alienated.
Or maybe the music is, is, is, is so good that people can't
just react in such a sort of fearful way because they, they
are warmed up by the musical aspect of it.
But, but again, I think something like this, if it was
for, for, for the sort of a sleep side, they'd be sort of,
you know, they'd be really help helping it through a lot more
than I think our side would be doing or, or is doing all the.
And I think now it's, it's, I think it's, it's been listened
to a lot of people across the board.
It's not just the three out of 10 who are listening to this.
And yeah, so I think I think that it may also be that that we
need to get in in a even even more below the radar way, like
even like do a song which is not political at all.
So I'm, I'm now we are thinking with Thomas to do a sort of a
kind of Christmassy song. So to to really get in, get, get
in below the radar, do something which is not political.
So you get these people warm up with you as just an artist and a
lyricist working with the lyricist.
Do that, get them to feel comfortable with that.
And then throw once in a while something.
So not just do not just do the sort of kind of against the
system songs, but do a bit of a mix so that people feel
comfortable. But on occasion you throw some
message there. I think maybe this is what we're
going to try next. Well, I mean, that's also a very
good strategy. A lot of musicians do that.
They will just just have normal, normal stuff.
And then here and there they'll, they'll drop in, you know, a few
seeds that will grow in the mind of the of the listener.
And that's also a great strategy too, because not everybody likes
in your face. Yeah, I think you're right.
And I think that's probably the next, the next step to start
doing things which really people let their guard down because
it's not political at all and get sort of close our way back
to the cultural sphere a little bit more like that.
I think that's that's, that's probably what we're doing next.
I've got another song here from you called Shackles on Me.
Yeah, so The Shackles on Me is a song that was composed by Jimmy
Vaughan and that was composed actually quite a while back in
the early 2000s. Because with this thing about
the the ID and the the sort of controlling everyone, obviously
it's been around for a while. And then they come back with
another wave a little bit like with the whole kind of, you
know, like influenza or COVID, you know, it's like every so
many years. What was the other one that they
had tried before with the Tamiflu And that was was it.
I can't remember what it what, what was that?
The sort of the first attempt, another attempt.
But anyways, it's like, it's the same with all of this kind of ID
issues. That was another wave.
And so Jimmy Vonna created this song in the US in a way to
resist that and his lyrics. He had national ID and, and I
came across this song and I mean, Jimmy is, is, is plays
with Eric when Eric plays in the US And I had listened to it and
Eric had made me listen to another version of it.
And I said to Thomas, well, why don't have you considered
covering this song? Now we've got this digital ID.
We'll just change your words to digital ID.
But it's the song is pretty much there.
You can do your own version. And he said, well, that sounds
quite a challenge, which I'd like to take on.
And so I then so well, let's let's just make sure he's happy
with Jimmy Vaughn is happy if we change digital ID.
So through Eric, Eric asked Jimmy and Jimmy said, that's
that's why I did that's why I wrote the song exactly for what
you want to use it for. So he was happy for for to take
it on. And so so Thomas using pretty
much Jimmy's song and just this change that I suggested digital
ID recorded his version. So updated it to the situation
now that we're in, we're in now really.
And and again, it's partially because I think a lot of people
don't realise that the the potential gravity of the digital
ID situations. This is a way to that.
I tried especially putting this on Instagram to get people to
think oh OK maybe there is an issue.
Sheesh Robin, that is next level professional.
His voice, the guitar playing, the tone of that Fender and the
lyrics, it's just so well put together.
Yeah, he, he, he said he got that take about 4:00 AM in the
morning after having gone to the studio about 4:00 PM and just
setting everything up by himself.
And you know, this is what one, one man and his voice and his
guitar and and a composition can can do.
Yeah, but you can hear, you can hear that level of
professionalism. It's so, so good.
Yeah, he's got a great voice and he he's a great guitar player
and. And I see he's not.
He's not even playing with a plectrum, he's just using his
fingers. Yeah.
And in the next, I think in the next one, if it comes together,
he'd be playing all the instruments.
He, he will play all the instruments.
That's how you know you're a musician.
You know the old joke, though, about a drummer You know, you
know, you know the whole thing about drummer is not being
musicians. Go ahead.
I can't remember the joke, but no, but I've, I've, I've ruined
it now because I said that drummers are musicians, but this
is, there's apparently this whole sort of thing within the
music industry that you have the band and then the guy that hangs
out with the band is the drummer.
Well, if you, if you, if you take some, you know, like some
songs I don't know, like I don't know which ones, but let's say
if you take some cream songs with Ginger Baker and or even
some songs that I don't know, that's some Derek and the
Dominoes or Eric Clapton Derek Dominoes, period.
You isolate the drums and you just listen to the drums.
It's amazing, you know, to, to listen to like a song just from
a good drama, just from the drums.
It's an amazing experience because, because, because we
tune out of it, usually we just, we just keep the keep the beat
with the drama, but we really go melodic.
We listen to the voice, we listen to the melodic guitar,
the bass sort of moves a little bit, but we don't, we just sort
of feel it but don't really focus on it.
But when you end up focusing on it, it's incredible.
What? What you know the kind of thing
that that that a drumming energy can do?
John Bonham was one of the greatest drummers.
Yeah. So I think, I think it's, you
know, it's, that's the great thing about a band.
You know when when it all comes together and you know everyone
is, everyone is participating and adding.
Robin something that really upset me during the COVID era
was how few musicians actually took a stand.
Yeah, I mean the establishment learnt a lot from the war in
Vietnam. They learnt from the war itself
that if you're going to do fight a war, you want people from
another country to to die, not not your own people.
So they've learnt that, you know, drafting people up is is
not, is not popular measure. If you can convince another
nation to fight it for you, that's a much better strategy.
So whenever they think of a war now, they think, OK, who can we
get to fight who and not not sort of send our own own people
because that's unpopular. Not that they don't want to do
that. They'd rather kill them with
with something else. Not, not, not at war.
And then they also learnt the potential power of a young,
young mind that's musical, musical that can create this
youthful musical spirit with rebellious lyrics to it.
They learnt that that if that happens, it's almost unstoppable
unless you actually kill them. And you know, if we know like
the leaders of all of that, how many of them ended up being
killed in suspicious circumstances or dying in
relatively suspicious, suspicious like very rare
diseases or like alleged binges. Now we don't know if that the
binge was the reason or not. But anyways, we know how many.
And so I think the establishment learnt that you have to control,
you have to control the musical production.
And so in some ways you can't allow unvetted young creative
people in and you can't let them have a platform that's natural.
So the algorithm is deciding now who, who listens to what and if
the, if the band is safe, the algorithm was sort of let's them
being heard. And if the band is not really
known, not potentially say, you know, it has to be vetted that
way. So I think the people who we we
heard had been vet, you know, maybe they were rebels 60 years
ago, but this rebellious spirit is a youthful energy.
Ultimately, it's a rebellion against the, the, the older
generation and, and the youth has been controlled now through
the, the mobile phone, through the smartphone and the social
media apps that they're using now, whether it's now, whatever
it is now, Snapchat, whatever it is ticked off.
But they're being sort of controlled through that.
And so they probably don't, don't have this unfiltered youth
network. What they're seeing has already
been filtered by the algorithm. And you know, the older
generation, they've got too much to lose.
Also, you know, like in general, all all these rock stars, if
they have not been the most monogamous people on the planet.
And so they don't want whatever, whatever set up they have now
emotional set up, family set up. They don't want it to be torn
about by whatever revelation would come the day after they
opposed the vaccine. They'll be, oh, hold on a
minute. What's that photo?
What's that? What's that affair there?
What's that? You know, what's is that child,
your child? You know, they, they, they've
got all of these skeletons in their closet from their private
lives that they, they know very well that the moment they
actually said. So it's easier for them to just
go along with it. Whereas someone who's 19/20/21,
they don't, you know, they don't, they haven't gotten
married yet. They don't have this sense that
they, they will upset like children and grandchildren by
knowing what they've done when they were a little bit younger.
So it's much easier in a way to control people who have already
done a lot of bad things than than a youthful energy.
And the youthful energy is being controlled by the algorithm and
by by whatever they're being shown and by the public
perception. Because in a way, the lead we
saw leadership in people who were slightly older.
We haven't seen much leadership in that youthful generation.
That was during COVID. I think we're, I'm seeing now a
younger generation, one that actually lived through maybe the
lockdown and at the time went along with it because they were
too young to, to do anything. But now has a sense, hold on a
minute, that was all a load of rubbish.
The world we live in is full of, of a load of rubbish.
And I'm aware of it. And I'm not never going to be
that person that's blinded to think everything is fine, that
we've just got people in authority that are trying their
best. And, you know, so I think
there's a whole chunk of of people who are coming out of the
lockdown who maybe are not saying anything yet, but they're
not going to fall in this kind of stupor and this kind of
sleepiness that we had throughout all the whole Obama
period and beyond where we all where a lot of people thought
everything is fine. We've got great leaders and
everything. And those people just need they,
they just need a little bit of a nudge, that's all.
Yeah, I think those people needed a little bit of a nudge.
They sort of aware things were not that great.
They saw also the whole October 7th situation and even if they
never said anything, they, they sort of could see that the, the
official version did not correspond to the real events.
The reaction did not did not justify, was not justified by
the alleged course of events. And so they know that all of
that was manufactured as well, but they didn't say anything in
COVID then they're not going to jump into that openly because
they're still trying to create their own.
But they know, they know that that there's been a constant
series of situations that we're being LED through and being at
some stage they'll be able to to join us because we need them.
Time is against us. OK, so for those who want to
follow you, how can they? OK, Well, I'm active and mainly,
well, mainly a couple of platforms.
One of them is X and my handle is Robin Monotti with two TS and
the other one is Telegram and the the handle of the channel is
that Robin MG And then also, I think musical stuff come out on
Instagram and again, handle is Robin Monotti.
That's that's more musical with that occasional peppering of of
other things, because I find that actually the other the
platforms like X are not again, they're not that artist
friendly, like songs don't go that far.
So so in some ways I'm using the enemies platforms, especially
like when it comes to music, But I think we in a way we have to
do that if we want to talk to the other side as well.
I know people that will never go and anything but they may still
look at Instagram so. Robert Munnotti, thank you for
joining me in the trenches. Thank.
Thank you for having me on. Good to see you.