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May 16, 2025 - The Podcast of the Lotus Eaters

01:34:56

The Podcast of the Lotus Eaters #1166

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	Hello and welcome to the podcast of the Lotus Eaters episode 1166.
	I'm your host Harry, joined today by Beau and returning guest Lewis Brackpool.
	Hello.
	Anything you'd like to say to the audience?
	Any welcomes, hellos?
	Hellos.
	Any special members of the audience that you'd like to give a shout out to?
	All of them are special.
	You're all beautiful.
	All beautiful, special, and I'm always delighted to be here.
	So thank you very much, gents.
	Fantastic.
	And today we're going to be talking about while pop music sounds the same.
	We're going to be talking about Elon Musk's automated killbots.
	Should be interesting.
	And you're going to be talking about the Mr. Burns-esque plan to blot out the sun.
	Yes, a little bit of that, yes.
	A little bit of that, but I think you've got some extra stuff in there as well.
	So, I think there's no more announcements other than Lads Hour later on today.
	We're going to be figuring out...
	What kind of setup that you'd want if you were to try and survive against a number of rabid animals trying to kill you.
	We're going to see which animals you'd want on your side, which animals you'd want against you.
	We're going to test to see who lives, who dies.
	So that should be a fun one.
	So premium subscribers, make sure to tune into that for a good laugh.
	And the webinar.
	Well, there's also the webinar, but I'm going to announce that at the beginning of the segments.
	Okay.
	All right.
	All righty.
	Okay, so...
	All pop music sounds the same, for the most part.
	It sounded pretty similar, pretty samey for decades, but in recent years especially...
	All pop music has the same sound to it, the same production style, the same hooks on them to the point where you can find songs from 15 years ago that have the exact same hooks as songs that come out these days.
	A very famous example I think is there was a Paramore song, Misery Business, where the chorus hook is the exact same as some song that went viral on TikTok two years ago.
	So I wanted to investigate...
	Why it is that music is all so samey these days, and elaborate on the idea of the top-down nature of the music industry, which is something that...
	Appropriately, given that he was in and on the podcast yesterday, AA has been posting a few videos about and elaborating on his own Twitter account recently, and it's inspired me to kind of do a follow-up and talk about that as well, because he's spoken about some aspects of it, and I want to talk about the rest of the big picture, given that I am a musician who has tried to make a career in music at one point, but was ruthlessly gatekept from being able to achieve my true dreams of being a drug-addicted rock star.
	Before we get into the rest of it, we do have AA's course going up on the website that is available for you right now.
	The Trivium, which is the foundations of grammar, logic and rhetoric.
	You're all stupid.
	You all know it.
	You could all be doing much better than you are if you want to be able to know how to grammatically, logically and rhetorically lay out a really banging email.
	Then this is what you need.
	Only £375 for all three courses, although you can buy them individually for £150.
	So if you've already got great writing, already got great rhetoric, but you're an absolute dunce with not an ounce of logic in you, then you can get the foundations of logic separately.
	Also, if you'd like more information on all of this, you can sign up to take part in the webinars, which I do not believe that you have to pay for.
	You can just sign up for the webinars and take a look at those.
	Discuss them with Carl and Nima, and just submit your details on the website.
	You can find the link in the description below this video.
	The next webinar that will be going out will be on May 22nd, which is next Thursday from 7 till 8 p.m., and that is British time.
	So please sign up for that, and I think it is, joking aside, a really great course that can really help you to hone your skills in writing and rhetoric and logic as well.
	Please support us.
	Please support NEMA by doing all the things that I've just said.
	There we go.
	Great sell there.
	I'm also going to be taking the course at some point.
	I think I will as well.
	I think you all agree that I need it.
	So, as I said, AA's been doing quite a lot of work on this recently.
	He's released two videos that were quite in-depth on this subject.
	The first one was how to culture hack the secrets of top-down dream programming.
	Now, this started when he was talking about how jazz supplanted in the early 20th century the classical...
	That was very, very popular amongst the mass public in the venues.
	And the way he described it as happening, some people like to think that tastes changed.
	They just changed because overnight or over the course of a few months, people decided all of a sudden that instead of tuneful, harmonious and melodic classical music, that they wanted to get a completely different sound in jazz bands playing.
	Potentially free jazz, atonal music that was actually very unpopular.
	Whereas AA lays it out, and there are books talking about this as being a very good thing, you can have whatever opinion you want on it, that what actually happened was the people in charge of the record labels and the music distribution decided that they wanted to begin promoting and pushing this music,
	and they ended up pushing out the music that was formerly popular by essentially cartel tactics, mob tactics, by intimidating or outright buying out a lot of the venues that were putting these acts on, and replacing the acts that they would...
	It's a tried and tested formula within the entirety of the entertainment industry.
	But some people, because of the way that entertainment and music in particular markets itself, seem to have this idea of music being less top-down controlled.
	Than the other parts of the entertainment industry.
	It's very easy to look at Hollywood and say, well, obviously the big studios control everything and they just get in independent filmmakers from the indie scene.
	They force them to make some cape slop for them for Marvel.
	They ruin that person's career and they move on to the next person and there is a...
	Cabal of big directors and big writers and producers that mainly control everything and let the money flow.
	I haven't seen this video by AA, but he's saying that the top-down stuff was going on as far back as the 20s, 1920s.
	Yes.
	There is writing from a particular car manufacturer, who I will not name on this, talking about how this happened.
	At the time, and who was doing it.
	But that information is not stuff that YouTube would be particularly pleased with me discussing right now.
	A very influential car manufacturer.
	But this has been going on for a very, very long time.
	Music is just as top-down controlled.
	But again, the rest of the entertainment industry is just as...
	And interestingly, there are parts of film that have tried to highlight this as well.
	And I'm going to...
	Promote my own little video here from a few years ago when I talked about David Lynch's Mulholland Drive.
	One of the two main plots of that film is about a Hollywood director trying to exert creative control over his own film.
	And in Mulholland Drive, he's shown going to an executive producer meeting where the executive producers are portrayed explicitly as mobsters.
	They are Italian mobsters who come in.
	And he's trying to cast the main female role in his film.
	Put down a picture of a woman who he's never seen or heard of before and say, this is the girl.
	And he says, never heard of her, don't like the look of her, not gonna hire her as my lead actress.
	And in return for that, in return for trying to exert some creative control, they destroy his career, they destroy his life, they destroy his marriage, and only when he decides to say, okay, this is the girl.
	Suddenly he attains fame, success.
	There's a lot more to it than that, but it is interesting that what AA is describing in his video is explicitly what is shown with the same mob tactics.
	In this film, and I think it's interesting that this was the last mainstream Hollywood production that Lynch ever put out.
	It's interesting.
	I've always heard that it's operated as a kind of, like a cartel.
	You mentioned it's quite like that.
	I've always thought that it seems that way.
	I mean, we've watched a lot of films that suggest it.
	You mentioned this.
	I haven't actually seen it.
	Interestingly enough, Scream 3. Oh, right!
	Also kind of has a similar thing, particularly with how the women in Hollywood are used and abused and chewed up by the producers so that they can, yeah, you want to be a star, right, in a casting couch culture.
	Yeah, and I think there's a lot of people that get too close to the bone when it comes to talking about stuff like that.
	For example, I think the film that flashes to my, is it Eyes Wide Shut?
	Have you seen that?
	Yeah, I've seen that.
	Did a Stanley Kubrick director's series on the website that you should also watch if you're a premium subscriber.
	Yeah, it's interesting.
	I watched that for the first time not too long ago, actually.
	It just reminded me of that for some reason.
	Yeah, but AA followed up his initial video with this one as well, because I think the most visible example of how music and culture in particular is being controlled is the way that from the early 90s to now, how hip-hop slowly overtook rock music as being...
	The mainstream cultural music.
	And you can even go back 10-15 years, watch adverts.
	Watch what advertisers are putting as music to advertise their projects.
	Even 10 years ago, they were still using rock tracks from bands like Tame Impala.
	Nowadays, if I'm watching television, very rare that I do so, or an advert pops up on YouTube, is it more likely that the music that they're going to put to the advert is going to be rock and roll?
	Or is it going to be some awful trap beat hip-hop trash?
	Which is it more likely to be?
	And this has not been an organic process, and AA lays it out quite nicely here, and he also points out that the people controlling this process, who are the people right at the top of the industry, so there are different record labels at different tiers of this,
	where you get the independent record labels, who are often subsidiaries of Right.
	Who is that guy?
	I do not remember his name, so you should watch the video to find out.
	I'm promoting this video because I do think these two are very worth watching.
	And there is a question of why is it that music industry professionals would want there to be a change of culture from a predominantly musical, tuneful, white...
	Frankly, style of music to one that pushes a much more ghetto, black style of culture, right?
	So there are questions there and why they would want to just switch from rock artists to rap stars.
	Personally, for me, it comes across just like, well, rock artists tend to be actually musically talented, unlike the rappers, because most of the music that's produced by the rappers is...
	Done by the producers and not the rappers themselves.
	They get given bars.
	They get given beats to rap over.
	Makes them more interchangeable.
	Dealing with one artist rather than multiple means that you've got less demands.
	The rockers tend to have a greater level of independence.
	They want more musical freedom.
	You're more likely to have trouble with them, basically.
	So it's a lot...
	Harder to control a full band who might break up, they might make more demands, they might want more creative freedom, than a rapper who's going to be happy as long as he's getting his drugs and bitches.
	Frankly, that's one of the main reasons for me, but I also wanted to look at it from the top-down perspective, which is outlined here.
	There's also the bottom-up perspective, which I can give some insight into as a musician myself.
	Given that I've been through all this, and as mentioned, got gatekept out of this.
	So if you are a musician, and this is in the UK that I can give my examples for, but I'd imagine that musicians elsewhere in the US would be able to recognize this as well.
	There are these different layers of gatekeeping that you have to get through before you're even going to be anywhere near a major record label, right?
	Which is, first of all, you've got to go through the venues.
	Are they going to put you on?
	Are they happy to put you on?
	Then you've got to go through the management companies.
	If you want to start getting good gigs and get connections for people who are going to get you in front of bigger crowds, you are probably going to have to go through the management companies as well.
	The management companies will also be able to get you in touch with minor or independent record labels.
	And then you've got the broader media like radio stations and magazines as well.
	Each one of these acts as its own small gatekeeper.
	For people who are based to get into the music industry.
	Because this is how I was gatekept out of it.
	The management company, after we had attained a certain amount of success in the band that I was in, saw what I was doing with Lotus Eaters and said, we can't have him doing that.
	And this formed a gigantic network with the management company, with the venues, and with the festivals.
	And they said, if he doesn't leave the band, or if he doesn't quit...
	Quit his job and publicly apologize for what he's doing on Lotus Eaters.
	We are going to get you blacklisted from the British music scene.
	Now, there could be loopholes around that where certain venues would be happy to put us on anyway because they're staffed or managed by good people.
	But for the most part, this is a major threat for anybody, right?
	So me, somebody who's trying to make apolitical music separate from my career, even despite that...
	Was gatekept out by that.
	So I ended up having to leave, and even after I left, through sheer association with me, the band still found out that certain record, well, that certain music festivals...
	I decided to blacklist them, and it took them a lot of effort to get off that blacklist.
	So there are all of these gatekeeping mechanisms to make sure that people with only the right opinions even get a sniff of success before you're even making any money.
	Because it's difficult enough to make money in this business as it is.
	If you're anything like this, if you're not already a multi-million dollar selling recording artist...
	None getting through any of these, you will still most likely be losing money on an investment that you put into a musical project.
	I was going to say, it makes you reassess, you know, you look at all these bands, especially modern bands, who LARP as like anti-establishment and things like that, when really it's almost like it's specific, it's the current thing, it's specific narratives that they can sort of say.
	The band that pops into my mind is that kneecap, for example, that's been in the news very recently.
	It's kind of certain...
	Are they the Irish bands?
	I doubt they're steeped in history and philosophy.
	Physical philosophy and stuff.
	But you'll notice through all of this process that I've just laid out there your actual popularity with crowds doesn't play that much into it.
	Obviously when you're just at the venue level being popular with crowds can land you more gigs but as laid out by the mob and cartel tactics if a particular scene is very closed off to a particular style of music or a particular kind of person they will just throw the same act out again and again and again and again And if you've got a big enough audience that will consistently come to a venue anyway, eventually they'll just shrug their shoulders and get on with it.
	You can kind of condition people to like music in that way.
	Obviously, we are talking about people's personal tastes, so there will still be somewhat of a bottom-up.
	Aspect to this, like if you talk about the difference between rock music that was being made in the 80s or the early 90s, where it was bands like Metallica, Guns N' Roses, Nirvana, versus the kind of rock that was coming out by the mid-2000s, say, a lot of the copycat new metal bands and such, clearly there's a difference in quality there, which will affect things.
	But not as much as most people would like to think.
	There was another aspect to this as well, which is part of the cultural side of this, which is the back-to-Africa theory of music, which is that all music derives somewhere from black music genres.
	Blues is the root of rock and roll, therefore all rock and metal and all sorts of stuff that came from it is black eventually.
	Which is just ridiculous, because blues itself is mainly what I would describe as a simplified form of folk music, where it's being played by different populations than European folk music, but rock itself and other European genres is mainly informed by folk.
	Yes, a bit of blues, but also even gospel music, going back to the way that they would incorporate choruses.
	The song structure, the diatonic scales all come from European or Oriental origins.
	So I dislike that idea.
	But that was just a bit of a sidetrack.
	So going on to it.
	You would argue that it began in Africa.
	All peoples came out of Africa.
	Therefore, all music.
	Yodeling is essentially black.
	It's just another annoying thing that I see from people trying to separate us from our culture.
	Mongolian throat singing, black.
	Clearly.
	Obviously.
	It's just rap.
	Ancient Athenian liar playing black.
	I just think of that Louis Theroux thing with the black Israelites.
	Yeah.
	It's going through Shakespeare.
	It's maybe.
	It's that kind of attitude.
	Because it's trying to separate you from your own culture is the same sort of thing that goes along hand-in-hand with people telling you that white people have no culture.
	Where I can listen to folk-influenced...
	Music that comes out today in Europe and say, what connection does this have to Muddy Waters?
	Where does the influence of B.B. King go into Master of Puppets by Metallica?
	Like, really?
	Are you going to make that argument that Painkiller by Judas Priest, well, really?
	Really, it just goes all the way back to Little Richard, doesn't it?
	Are we making that argument?
	Because I really don't think that that stands up to logic.
	I love all of them as well.
	I mean, yeah, you can like all of this music, but you can appreciate the differences between them and the separation of them and acknowledge that there are differences to them.
	Of course.
	It's certainly a cabal.
	You said cartel.
	I mean, I think undeniably.
	Same with movies, right?
	It's the same with publishing as well.
	It's the same with a lot of things.
	You know, if you try, as a white boy, try and write a novel about the British Empire or something, alternative history, something like that, they're not interested in it at all.
	Yeah.
	One example.
	Let's look at some of the examples of the tastemakers, because one of the things that people don't take into account with pop music...
	And even rock and hip-hop is just how influential the producers are to the sound of the music.
	When I was younger and heard about the role of producer, I often got really, really confused about it.
	I was like, what does this guy do?
	He just comes in and he hits the record button.
	Where does...
	Where does he get off getting all of this credit for producing the music when he's just going in, hitting the record button?
	That was when I was a teenager, but now since learning a lot more about it, I take it more as, to analogize it, the songs are the script, the musicians are the actors, the producer is the director.
	Of the whole thing.
	He can switch things around, get you to perform it in a different way, switch the arrangements and edit the whole thing as you go to create something that's completely different from the songs that you may have gone into the studio with originally.
	So the producers are hugely important, particularly with pop music, when they're often co-songwriters as well.
	Probably the most famous producer in the world, and certainly one of the most influential, is Rick Rubin, who was...
	Huge.
	Still is huge, literally and metaphorically.
	He has been a big producer behind bands like Red Hot Chili Peppers, Rage Against the Machine, Slayer, Metallica, System of a Down.
	He produced a Slipknot album.
	Corey Taylor was not particularly happy with how he produced it.
	And he was huge in promoting hip-hop in the first place in the 80s because he started a record label called Def Jam Records alongside...
	This man, Russell Simmons, who is also one of the other people who is massively credited with having promoted and pushed hip-hop to becoming a mainstream music genre.
	I've heard lots of artists say, once they get discovered and signed to a big label, they come into the record studio, do their stuff, and then once the producer's finished with it, it's like, this is not us, this is not what we sound like at all.
	It's radio-friendly, sure, but this is not what we...
	This doesn't sound like us.
	That's one of the reasons that people get worried about selling out when their favourite artist gets signed to a major label.
	It's because you know on a certain level the major label, they're going to put loads of money into you, they're going to want to return on investment, so oftentimes you'll end up where they'll get outside songwriters in, they'll get a big slick producer in to change your sound and make it more palatable to a modern mainstream audience, which will dilute the original sound that made them popular with...
	Their initial fans.
	It's like in Bohemian Rhapsody film.
	I don't know if you guys see that, but they go in, they're trying to make their second animal or something, but the producers want it one way, but obviously Queen want it another way.
	And there's like that big sort of altercation between the producer and, of course, the band.
	And it's kind of like a bit of an eye-opener to how...
	I think Oasis also, with their documentary, Supersonic, explained that when they got massive, like sensationally big, one of the biggest, it then became a brand as opposed to what they were writing and what they were singing about.
	And that's interesting how it can just flip.
	Into more of a commodity that you can sell to the public as opposed to what it is you're trying to get out.
	Even at these lower levels, like look at Def Jam, for instance.
	They were advertised as being this really independent...
	Edgy, risky record label that's promoting this new style of music that's coming from the ghettos, that's coming from parts of the culture that you don't get to hear.
	Also, they were the record label of Slayer and some of the more extreme types of metal that were around in the 80s.
	Death Jam did Slayer, really?
	Yeah, yeah.
	They were originally signed.
	They had the Beastie Boys as well, so Rick Rubin was involved in all of this, and they're just a really little independent music record label, but actually...
	Actually, the whole time they were owned by Universal Music Group.
	So they're actually a subsidiary of one of the biggest record labels and music groups in the entire world, which makes me question how independent they are.
	On the subject of selling out, to say again how important a producer is...
	There's this guy, very notorious among the Metallica fans, called Bob Rock, who they brought in in 1990 to produce their album.
	They did it by choice.
	Oftentimes, when you get a major label deal, they will...
	Set you with a producer who will clean up your sounds.
	They did it by choice, so it's not always the case where they get set with this.
	But Bob Rock came in with them to clean up their sound, make them sound way more professional, tidy up the songs.
	Before this album in 1991, the Black Album, they were producing eight-minute-long complex epics.
	Bob Rock says, okay, gonna cut that down a little bit, four to five minutes, pop song structure, verse, chorus, verse, chorus.
	Big hooks, and it made them millions.
	It became their biggest selling album, one of the hugest albums ever.
	And look at the sorts of stuff that he has produced, because oftentimes you'll find that these guys, these kinds of guys, end up producing ridiculous amounts of music, most of which tends to be huge hits as well.
	So, you know, he's producing The Cult, Motley Crue, David Lee Roth.
	Metallica.
	By the mid-2000s, he produces Lost Profits' biggest album.
	Don't know how proud he'd be of that one these days.
	Michael Bublé as well.
	Huge.
	It's like they've cracked a code.
	They're just recycling it and using it over and over.
	It's like the money men at the very top at EMI, Universal, whatever.
	They're like, he's my boy.
	He's trusted.
	He's on the inside.
	So we'll just throw as much work at him as possible because he will tow the line.
	And he will give us the sound that we want, that we want on the radio stations that we don't own, but that we have nice little clandestine agreements with that they'll put on our music and promote it as much as possible.
	One of the most interesting examples is the producer Butch Vig, who was the producer behind Nevermind, Nirvana's big breakthrough album.
	Now, he was part of a band called Garbage.
	He'd already produced the Smashing Pumpkins album, and he was kind of part of this indie music scene.
	But there's this new sound coming out in Seattle in the late 80s that ends up being called...
	Grunge.
	Butchwig and Nirvana end up trying to shop around for a major label when they're recording the sessions for what would end up being the demos for Nevermind.
	They get signed through contacts that they had with Soundgarden and other bands.
	They get signed to DGC Records, who again, underneath the parent group...
	Of Universal Music Group, who also own Def Jam.
	Then, once the album is done, Butch Vig has a lot of stuff to say in interviews where he said about how he cleaned up some of their sound, made sure that Kurt Cobain was adding vocal harmonies and stuff to make the music more appreciable for a normal listener on the radio.
	But to make sure that it's as slick as possible, as radio-friendly as possible, they send the album to be mixed, and this is another thing that's important, the actual mix of the album, by...
	Andy Wallace, who started out with Def Jam, mixing their albums like Run DMC and Slayer for Rick Rubin.
	And then, I mean, you can see his discography as well.
	You get these huge guys who end up producing...
	Everything for the record labels.
	You get the producers who do everything for the record labels, the mixing engineers that do everything for the record labels.
	And the funny thing about Nirvana was that Nevermind did not sell well at first.
	In its first week, it sold 6,000 copies, which is okay, but it's not, you know, like number one hit.
	And it actually took it four months to be able to hit number one.
	And it was only through MTV who decided that they want to market to...
	Newer, younger, more cynical teenagers at the time.
	And they start pushing that song as much as possible and then on the radio as well.
	It's only at that point that it starts to pick up momentum and four months later it ends up at number one on the charts.
	And then all of a sudden the record labels, when they see that there is a market for it, they don't want goofy hair metal anymore.
	They want something more real.
	So all of the bands that they had like Motley Crue either have to change their image and their sound or they get dropped.
	It's a case of the music changing, not because the bands all decide that they want different sound and that they artistically want to go in a different direction.
	It's all being pushed by the men at the top.
	I wonder if there's even a question of sort of monopoly laws, right?
	In other things, like when someone, J.D. Rockefeller or whatever, gets too much of a monopoly on steel or railroads or something, the government actually steps in and says, actually, you can't do that.
	You're too powerful.
	It's not okay for...
	You know, the very working of...
	Warner Music Group, they seem to own basically all of the smaller labels beneath them and therefore have a big say in what those smaller labels are doing, the kind of acts that they pick up and what they promote.
	So I think you could make an argument for it, but people don't.
	Maybe it's the layers of separation.
	Maybe there's some legalisms that they can throw out to say, see, we're not...
	Really a monopoly because these groups technically have a certain level of independence.
	Well, that's always how moguls get around monopoly laws.
	It's okay, we'll make a load of smaller companies and have them just tacitly de jure under our control instead of literally all under one person exactly.
	Yeah, there's always a battle between people that want to create monopolies and those trying to stop them.
	At this point, you know, you get to the mid-90s, this kind of music's really popular, selling really well, so why move on to the solo artists and the rappers?
	Why change the market like that?
	Well, I think you could suggest a few things, which is, there were the big four Seattle bands, Nirvana, Soundgarden, Alice in Chains, Pearl Jam, who all had big hits back then.
	Well, Kurt Cobain offs himself.
	Soundgarden...
	Allegedly.
	Allegedly.
	Soundgarden breaks up.
	Alice in Chains all become major heroin addicts, and then don't start making music again until the late 2000s, and then Pearl Jam turn out not to be a hit maker, and they go on to more niche styles of music as their career progresses, and they want more creative freedom, and they get a bit avant-garde esoteric at some point.
	So they probably put their all heads together, and they say, okay, what's easier to produce than this?
	Well, Ghetto Gangbangers, They're interchangeable.
	They don't actually write their own music.
	They steal samples off of other people.
	Or license samples off of other people.
	And we can just get Rick Rubin to come in, like they did with Jay-Z for 99 Problems.
	Basically do everything for him, including suggesting the hooks and some of the lyrics.
	And if they end up getting shot, we can just find another one just like him.
	And it's similar with solo artists as well, like the Taylor Swifts and other types like that, which is that they don't write their own songs.
	I mean, Taylor Swift says she writes her own songs, but, you know, I'll take a word for that one.
	Because you get the big thing with outside songwriters, which has been going on for a long time as well.
	I looked into this guy today, Desmond Child, very famous, who I didn't realize just what an influence he had.
	If you look at the sort of songs he's co-written and produced throughout the years, all through the 80s, he wrote...
	I Was Made for Loving You, one of Kiss's biggest hits, a load of other Kiss songs.
	He wrote You Give Love a Bad Name and Living on a Prayer.
	Dude Looks Like a Lady.
	He wrote the entirety of Alice Cooper's Trash album, which was his big comeback in the late 80s, which had the hit single Poison on it.
	You can just get these kinds of guys who know how to write a song that will sound good on the radio.
	To do everything for you.
	Especially when it was a band like Aerosmith who were kind of washed up by the mid-80s.
	They need rejuvenation in their career.
	They go, okay, we'll get an outside songwriter in.
	Boom!
	Dude looks like a lady.
	Your biggest hit in 10 years.
	15 years.
	I've never even heard of this guy.
	Yeah, I know, right?
	But these are the kinds of people that the music industry has.
	They have teams of songwriters who will write all of your biggest songs.
	If you want.
	So basically, when it comes to a guy like this, this guy is an industry insider.
	You can see it as well with Billie Eilish.
	Her brother was already established in the music industry and co-writes all of her songs.
	So she's an industry plant, basically.
	But you can see all of these people, all of these names, and all of their hit singles in these cases as interchangeable faces for the same guy.
	For the same guy.
	What you're actually listening to Is this guy's music, played by loads of different people.
	Which seems to me to suggest another level of top-down control of, you're listening to the same producers producing all the same records, the record labels make sure that they all go to the same mixing engineers, so they all have a similar slick sound to them, and oftentimes these songs are all written by the same people, and it's just all of the interchangeable faces that convinces you that, oh, there's...
	Meritocracy.
	There's freedom to this.
	It's just the market of free ideas going out.
	People's tastes being developed organically rather than this guy and all of the other music industry insiders writing everything and then the radio stations and MTV push it down on you.
	This has changed because the internet has allowed for a certain level of democratization.
	It's easier to get your music out purely independently.
	But still, if you want to be playing Wembley, if you want to be playing these huge stadium gigs, if you want to be making a living from it, you're going to need support from these guys.
	So the actual quote-unquote artist is really just a spokesman.
	Just an interchangeable actor, really.
	To a certain extent.
	It's depressing, isn't it?
	I mean, just look at this, for instance, right?
	Okay, so WAP.
	Oh, yes.
	Sorry to have to remind everybody of this.
	Okay, look at how many people it took to write this song, WAP.
	Okay, so technically, you've got the two artists who performed it on there, but songwriting credits get divvied out in very confusing ways.
	So they're performing the song, they're technically rapping or whatever over it, so they can say that they get a songwriting credit.
	But other than that, it took one, two, three, four, probably more people who weren't credited to write WAP.
	Okay?
	Written by committee.
	Always the best way to come up with art.
	And probably the most notorious example of this is this guy, Max Martin.
	Karl Martin Sandberg, a Swedish record producer and songwriter, right?
	So he is the most notorious of these number one hit single producers because if you scroll down, look in the past 30 years how many number one hit singles on the different artists he has written.
	He wrote Baby One More Time by Britney Spears, It's Gonna Be Me by NSYNC, I Kissed a Girl, Katy Perry, So What by Pink, California Girls, Teenage Dream, Raise Your Glass, Hold It Against Me.
	Loads of number one hit singles.
	He wrote songs for Justin Timberlake, The Weeknd, Ariana Grande, Most Recently Last Year, two hit singles there.
	I think these are all, what, Billboard number one singles.
	So it doesn't matter with these songs if you're listening to Britney Spears, Katy Perry, Taylor Swift, What a Shock, Ariana Grande, or Coldplay, you are not actually listening to those artists.
	You are listening to them play the songs of this man.
	Interesting, isn't it?
	It is interesting.
	So if you ever hear all of these songs and wonder why it is that they all sound the same...
	It's because the music industry is a cartel, and it's guys like this writing everything, and they just put a friendly, marketable face on the front of it to give you an illusion of variety.
	There was more to this, but I think I've hammered my point home enough here.
	So there's a nice one for you.
	I know it might not be the most political topic to talk about, but culture...
	Is just as, if not more, important than politics, and it forms a part of our everyday lives, and it's important to know what culture is being pushed onto us, and why, and by whom.
	There you go, so let's go through some of it.
	Now the segment's over, can I just say one of the few?
	The plaster on your forehead is coming away one week.
	Is it?
	There you go, that's better.
	Ah, it's got on my hair!
	Oh no!
	Oh, what's going on here?
	Ah!
	Ouch.
	There we go.
	There we go.
	That's one for the outtakes.
	Alright, I'll read through some of the rumble rants here.
	So, Ramshackle Otter.
	I'm a jazz-trained saxophonist.
	I was taught jazz and blues is the entire root of modern popular music.
	It isn't the contribution of British folk and early music has been erased.
	We must raise this.
	Yes, in particular, Scotch-Irish folk music.
	Hugely important to the development of modern music.
	The actual current...
	Like, typical rock band setup.
	Bass, guitar, drums, vocalist.
	That's a folk band setup right there.
	Most popularized by English and Scotch-Irish folk bands.
	And copied as well by the blues.
	The Shadow Band says rock and roll.
	Thank you very much.
	OPH UK says...
	Hey Littler by famous American words with Kanye West is pretty good, I'm told.
	I'm sure one of those guys that I was talking about then, I forget which one exactly, also produced with Kanye West.
	Again, maybe not their proudest moment anymore.
	Sigilstone17, if all music is African, I guess that means they're responsible for Varg Vikerns then.
	Euronymous was just another victim of white supremacy.
	Probably, yeah.
	That's a random name.
	The video game industry is similar in the sense that most indie game devs are actually financed directly or indirectly by BlackRock, Microsoft, etc.
	But they obviously never mention it.
	He follows up with two more saying, Here in Montreal, they're all part of a secret email list where they all talk to one another about who to hire and who not to.
	I understood I'd never advance in the industry unless I sold my soul.
	Even then, most true indie devs usually get bought by BlackRock then lose their souls.
	And other things.
	It's why I went full indie as a solo dev, but I refuse to sell out.
	Wish me luck, inshallah.
	Mashallah, my brother.
	Yeah, it was a shame because, again, the network that I interacted with doesn't need to be woke shit libs.
	Controlling even the lower levels of the music industry and the gatekeeping you from getting into it.
	But it's just ended up that way because I think with rock in particular, woke shitlibs like the aesthetic because they think it makes them rebellious.
	They think they're still rebelling against Margaret Thatcher's England.
	It actually just makes them a bit of a relic, if you ask me.
	Okay.
	Yes, of course you can.
	All right, so I thought maybe we could talk a little bit about the possible future of warfare.
	I know where you're going.
	All right, then.
	Assuming the future battlefield isn't just all tactical nukes.
	So Elon posted a thing just the other day, the new Tesla bot.
	Shall I play this?
	I don't need the sound particularly.
	So first thing to say is...
	Let's get rid of that sound.
	Yeah, so first thing to say is that it's sort of interesting, remarkable how quickly technology is coming along.
	Some people are saying this is CGI because I think a few years ago...
	He's shucking and jiving.
	Look at him.
	It's pretty cool, actually.
	It's remarkable.
	A bit scary, though.
	Well, yeah.
	Imagine it's going to be like a Fortnite lobby where after you've been murdered, after he's shot you to death, he's going to do his little Fortnite dance for you.
	Teabagging your corpse and doing a Fortnite dance over your corpse.
	Someone on Twitter said, just imagine a Tesla Bond teabagging human corpses forever.
	That's the thing.
	So the first thing some people said, because I think...
	Maybe Tessa did this before a few years ago.
	They put out something similar, and it was actually CGI.
	But this isn't CGI, apparently.
	But anyway, we've come on a fair way from those robots, sort of just about walking along in that steady, unsteady way that can actually kind of dance.
	There's other one with their backs sort of half bent, and they're kind of walking really peculiar.
	Of course, the worry is that not only is it just...
	For a laugh, to show that it's possible, that it can dance.
	Or that it can do menial tasks for you, like do your washing and ironing and take the dog for a walk.
	But, you know, you give it a machine gun.
	Yeah.
	And it's an absolutely implacable, ruthless killer that never gets tired.
	And it absolutely will not stop.
	And has no morals.
	Yeah.
	Yeah, no moral framework.
	I mean, that is the worry.
	I did a tweet just saying...
	I don't think it's cool.
	It's kind of terrifying if you gave it an M60 and orders to kill everything.
	And then you've got divisions or legions, battalions of them.
	Some people saying, you know, calm down.
	That's not going to happen.
	We're a long way off of that.
	Well, probably not a long way.
	All you need is someone ruthless enough to do it.
	Someone like Bill Gates or Charles Soros or Bezos or whoever.
	Some future billionaire.
	Some Saudi prince gets hold of it.
	Yeah, yeah.
	And other people are saying, no, the human soldier will still be way easier.
	Or you'll just make EMP weapons.
	Something like that.
	Just whip up an EMP.
	Yeah.
	As you do.
	As you do.
	So, yeah, I just thought...
	And other people say that it's just sort of being paranoid to think that.
	People have debated this singularity for a long time.
	Singularity?
	Is that what it's called?
	Well, no, I mean, possible.
	Singularity, that's where AI takes over human sort of populations, essentially, almost replace them.
	Like Skynet, it becomes conscious and goes live.
	Let's be confused with the singularity at the centre of a black hole, I think.
	Would this be the idea of it wanting to, first and foremost, preserve itself?
	Yes.
	Worried that the existence of humanity would mean that...
	And it defies the laws.
	I forgot what they were called once again.
	Yeah, I mean, I think we're probably still...
	Probably.
	What do I know, really?
	But I can't see the future.
	But probably still a long way off from that.
	But still, just the idea that you've got killbots that are almost as agile as humans.
	One of the main weapons of war now being used, especially in Ukraine, is drones.
	Yeah, I'll get on to drones in a sec.
	Oh, sorry.
	So that's the thing.
	The first thing, one of the arguments against someone like me saying, oh, I'm suspicious of a robot like that because it could easily be turned into a weapon.
	As I said, well, it won't even be a humanoid thing anyway.
	It will be something else.
	It will be like...
	A dog shape or have wheels or it won't even be that at all.
	It'd be drones.
	I think that's a Black Mirror episode with a dog shape as well.
	Yeah, a few people said that.
	I've not seen that episode of Black Mirror.
	Remember Boston Dynamics?
	Some people say, oh, this isn't even you.
	Why are you worried about this now?
	It's not even you.
	These have been around for years and years.
	Well, it's true.
	It's a fair point.
	Doesn't make it any less.
	Worrying to me.
	I've just got a few videos here of various things.
	That is bizarre, isn't it?
	Yeah.
	He runs like a drunkard.
	This is actually a few years old, I think, this one.
	Yeah.
	But you can tell the speed of progress and you get, marry it up with AI.
	Yeah.
	Or future versions of AI, which are truly, not really intelligent, but can make decisions in a split second.
	Yeah.
	And they're the best shot ever.
	And all that sort of thing.
	You know, and they've got better vision than a man.
	It's got mechanical precision behind it.
	Yeah, right.
	Moral of the story is really just be polite to chat GPT just in case.
	Yeah.
	I refuse.
	I'll go down swinging, bro.
	Yeah, well, it is a little bit, it's a possible future is something more and more like the Terminator, the early Terminator films.
	Oh my gosh.
	I can do that easy.
	And again...
	Basic flexibility.
	Again, these things are just...
	That's terrifying.
	I find it difficult not to be a bit concerned that this would just very, very easily be made into some sort of...
	Very uncomfortable.
	Some sort of weapon.
	I want to humiliate it.
	Dress it up in a little monkey suit and make it serve me martinis for the rest of my miserable existence.
	And make it just self-aware enough to be horrified by its existence.
	It just dances, though.
	You just do a cool dance, though.
	Over your family's graves.
	This is like five years old, so you can imagine how the military are so much further advanced than what we get to see or what we can buy.
	It's true.
	Have you ever seen RoboCop 2?
	Oh, yeah, yeah, I've seen that one.
	In RoboCop 2, they show, briefly, there's some bits in it where they show different versions of, like earlier versions of RoboCop and their sort of Uncanny Valley.
	That's the one that will actually be killing you, the little dog.
	Yeah, the dog thing.
	Because if you fit into tighter spaces, probably manoeuvre itself more quickly.
	Because a humanoid isn't really an optimal...
	Kill machine, is it, really?
	It's a bit...
	It's a bit sort of precarious.
	Yeah, it's a bit precarious, isn't it, on two legs?
	Well, I mean, just think about it.
	What is the purpose of this, other than look at them dancing, isn't this so funny?
	Unless you're going to try and weaponise them.
	You can also do household chores, so there is that.
	You'd look after your old people that you don't want to.
	Fatter and lazier.
	Although, to be fair, I suppose the old people, I mean, if it stops us having to import the entire third world...
	I could maybe accept it.
	In your old age, would you rather be looked after by one of these robots or someone that doesn't really want to from the third world?
	Probably take the robot.
	Probably.
	Probably less likely to abuse you.
	Yeah.
	More likely to understand basic English and instructions.
	You can just see the dog one, its robotic arm.
	Easily replace that with a weapon, a gun.
	Not even a machine gun, like a laser, some future weapon that's even more terrifying than a regular 21st century machine gun.
	Is this one actually not CGI?
	Because the dog in particular looks a little bit like computer generated to me.
	Well, we live in a world where it's not always easy to know, is it?
	It's not always easy to tell.
	Can I try and turn the volume off before I play it?
	I don't think there's a way to do it, so...
	Okay, I don't know what...
	Okay, thanks, Samson.
	Oh, thank you, Samson.
	Yeah, so this one doesn't look particularly CGI, although it might be.
	But that's the world we live in now where you're not even sure, are you?
	Yeah, scary.
	This one looks more real.
	The other one looked like its actual mechanical limbs looked a bit loose and wobbly.
	It made it look CGI.
	Imagine, you know, thousands of these that are on the battlefield.
	And maybe both sides are using them as well.
	So maybe...
	It reduces human death and misery, ultimately.
	Maybe a future war like the Ukrainian-Russian war, a limited war where they're not just nuking each other into oblivion on day one, might just be both sides are just using these types of machines.
	Who knows?
	I think probably.
	Another argument is that, well, humans are still way cheaper, though, for the Russians, for the Chinese.
	It's actually way cheaper, despite it takes 20 years to grow one.
	And a family is ruined when they die.
	Chinese government or Russian government...
	That's never bothered their governments over there.
	It's cheaper still to use humans.
	But at some point it won't be cheaper to use humans, I would have thought.
	These guys don't necessarily need feeding.
	Right, yeah.
	That's another thing a lot of people say fairly glibly, I think, on Twitter.
	It's like, well, its batteries will run out.
	Okay, yeah, but until they do...
	Sustainable.
	It's one of the most terrifying things you can imagine.
	I mean, I struggle to see in my mind, though, if all warfare did become an army of these on one side, an army of them on the other side.
	At the same time, I struggle to see where, like, how do you advance strategically?
	How do you know when you've won a battle?
	Just when you run out of these, at which point when do the humans have to come back into it?
	Will it just be that these will...
	Act as the forces going into cities and murdering people, at which case it'll just be a case of which side can commit the most civilian atrocities before the other gives up.
	Yeah.
	Yeah.
	I mean, that's total war.
	That is always the way.
	Maybe it's just the first waves on both sides of robots.
	I just miss...
	And then until one side runs out of robots and then it's humans versus robots.
	I just miss when I read about the 19th century when eventually it would get to a point where Stachysic targets are met and they all meet up and they sign a peace treaty with one another.
	We stopped doing that early in the 20th century.
	Well, I mean, I was watching something as I quite often do about Napoleon.
	And in the early 19th century, or very, very late 18th century, early 19th century, that was the thing they complained about Napoleon, is that quite often, in Europe anyway, armies would manoeuvre until it was clear one side had got the upper hand, tactically, strategically, and then the other side would give in before there was any sort of big battle.
	And Napoleon didn't do that, and they thought it was very unfair, it was very unsporting that he would keep attacking even when the odds weren't with him and stuff.
	So, yeah, who knows, maybe war will come down to, oh, all your robots killed all our robots.
	So let's stop the war there because all your robots will certainly kill all our humans.
	So we give in.
	Who knows?
	Maybe it will save lives.
	Maybe it might save lives.
	We'll see.
	But then, so I think it will probably be much more these sort of dog things rather than the humanoid ones.
	And you see it already like police, paramilitary and police.
	Once again, you can only imagine the cutting edge of...
	The best militaries in the world, the US military, or the Chinese, will have something even more advanced than this.
	And once again, you can just so easily imagine that the thing on top of it is a gun, or a rocket launcher, a grenade launcher, or whatever it is, lasers.
	I remember during, obviously, the height of all the lockdowns and everything in China, when people were stuck in these big flats, the Chinese government would send up, These drones with, you know, speakers on it to basically churn out a message saying stay in your homes, don't play loud music, things like that.
	Just, you know, keep doing what you're doing.
	Send a drone up to your balcony on the 17th floor and look in and say stop doing what you're doing.
	Yeah, stop doing what you're doing.
	Insane.
	And you, it's...
	I think we had a chat at least at one point about how dystopian novels actually have been a bit of a bad thing because it's kind of like influenced.
	It gives them ideas.
	I think I was having a conversation with Connor where we were talking about Brave New World and he spoke to me about how Brave New World was actually supposed to be Huxley going like, wouldn't this be such a wonderful thing?
	Right, right.
	If we all get rid of unhappiness and everybody can just take a drug that makes them...
	Happy all the time.
	Isn't John the Savage such an idiot for refusing such a thing?
	Sometimes you wonder if some of these guys understand the story that they write.
	Oh yeah.
	I reread Brave New World a few months ago.
	It's very anti-family.
	The idea of having a mum and a dad is disgusting and weird.
	Yeah, it's very, very dystopian.
	That always says...
	Far more about the author, if that's what they believe, than society itself, if you ask me.
	People say, you know, we're building them just for our convenience.
	They'll just do household chores and things.
	It's like, well, okay, maybe.
	But it'll be both.
	Surely it'll be both.
	Why limit it?
	Yeah.
	There has always been, history's always shown that there will be, when there's ruthless people, and there always will be.
	And there's a new weapon, new weapons platform, a new type of game-changing weapon.
	It will almost certainly be used.
	I mean, the great example where that isn't the case is nukes.
	Or even nerve agents like the Americans and the British made insanely powerful poisonous nerve agents, things like VX poison, port and down stuff.
	And they actually decided, a bit like nukes, they decided, actually, let's not keep developing this because it's insanely powerful.
	You know, like the Russians made the biggest ever Tsar bomber, I think it was.
	And they never made anything bigger than that.
	But they could.
	They could make tritium bombs.
	They could make even a doomsday device that could destroy the whole world in one go.
	They said, let's not do that.
	They had the concept and plans for the bomber too, didn't they?
	And they never actually went ahead and produced one.
	Well, originally they wanted, Khrushchev wanted it to be a hundred megaton yield.
	And they could build it.
	They could definitely design and build it.
	But they decided to scale it down a bit and they made a 50 megaton version.
	And actually when they blew it up, it was a bit more than that.
	It was 52, 56 megatons or something.
	But even that's like twice as big as the biggest American one.
	I think Castle Bravo is 25, 26 megatons.
	Something like that.
	So anyway, they don't make...
	There's no Tsar Bombas anymore.
	They don't...
	They don't make them anymore.
	But still, the point is you can have one intercontinental ballistic missile with like 48 warheads on it and each one's 20 megatons or kilotons or whatever.
	But they could make things even bigger.
	I think there were designs at some point to make a doomsday device, literally one machine, one bomb essentially, that you create in your own country.
	In the middle of Russia under a mountain, on the middle of America under a mountain.
	And you say, look, if you ever attack us, we'll destroy the whole world.
	How about that now?
	How about that?
	And they decided, let's not do that.
	That's not actually in anyone's interest.
	They have a limit to supporting these psychopaths.
	Yeah.
	And then you get into...
	I thought I had another link there with the Chinese.
	Was it that last Twitter link on there?
	Is that the one?
	Yes.
	So another argument is we have to make these things.
	Boston Dynamics and the US Army or whoever have to make these things because if we don't, the Chinese or the Russians will make one.
	I mean, this is the Chinese.
	Do you ever see Return to Oz?
	The old 80s who Return to Oz?
	I've not seen that one, no.
	Anyway, there's some monsters in that called wheelers.
	Anyone that's seen the film will know exactly what I mean immediately.
	And it's just, it's nightmare fuel, isn't it?
	It's nightmare fuel.
	It actually is uncomfortable to watch.
	All these videos that you played are actually really uncomfortable to watch.
	It's bizarre.
	It's like, I don't know, it's just so unnatural and so forced.
	It just doesn't, I don't know, in my brain, it's just, there's almost a bit of fear.
	Yeah.
	And I think that's, it's like being scared of spiders and how they look and how they act and move.
	Like, it's exactly the same.
	And it can be controlled by a human as well, right, remotely, if you want to do that.
	And it's just better at you.
	That's terrifying.
	At being a soldier.
	Yeah, it's terrifying, yeah.
	All those hours that people have put into Call of Duty would finally be paying off.
	At being a soldier on the battlefield, it's better than you.
	Nearly, nearly, already.
	And you can imagine in 10, 20, 100 years, 200 years.
	A thousand years from now, you can imagine how obsolete a human soldier would be.
	You see a guy riding on the back of it in a minute.
	It's almost certainly not CGI.
	These are still just sort of like the earliest, earliest prototype stuff.
	I like these in video games, right?
	It's fun.
	Like, there's a new Terminator game coming out where you...
	Basically, it's a bit like, I don't know, Escape from Tarkov, have you ever played anything like that?
	But you go out, it's like, you know, trying to get loot and you have stuff like this and obviously the Terminator coming after you, like, plonked on the map randomly and you have to grab loot and get out.
	Yeah, I like that in video games, not in real life.
	I'm just thinking of, if you really wanted to put people off this sort of stuff in real life, if you end up having to face against them on the battlefield, you'd go full MGS with them.
	Like an MGS4 where you get the weird mini Metal Gear Ray things that moo when they're attacking you and just make all sorts of shrieking, off-putting noises.
	That would make them even worse.
	Or imagine one That's 300 foot tall.
	That is basically a Metal Gear weapon at this point.
	Kojima gave them all these ideas as well.
	You talk about people misinterpreting dystopias.
	There's an old 80s film, Robot Jocks, where there's just giant mech one-on-one battles.
	You can just imagine.
	When do we build the Power Ranger Megazords?
	Some people say, well, it might not even be something like that Chinese robot dog.
	It'll just be drone warfare.
	That's the future.
	I mean, we've probably all seen clips of the Ukrainian battlefield where both sides are blowing each other up with sort of suicide drones.
	The drone's got a little bit of explosive in it, a little bit of C4 or something, and it just flies into you or into your tank or your armoured car and blows up and that's the end of the story.
	We've probably all seen those.
	I mean, I feel like that probably...
	Or a combination of both these things.
	You might have things actually on the ground that look like a humanoid Tesla robot, a Rexbot, or the dog version, but they control a swarm of drones.
	Like super fast drones, really, really small drones.
	I mean, that thing on screen, if that's an actual picture, that thing's pretty tiny.
	Yeah.
	And look how fast it can go.
	That's ridiculous.
	It's faster than you can react almost.
	And this is just a toy that anyone can buy.
	Once again, look, apparently it weighs like 16 grams.
	It's sort of a tiny thing.
	But even that, you could get a really, really good bit of explosive that's the ties of a thumbnail.
	And the thing itself is only a few inches across.
	Faster than you can react, almost faster than you can see.
	I've seen...
	You get tens of thousands of them attacking a city or something.
	I've seen all the videos with the little micro-drones where they try and do stunts and go in abandoned buildings and dip out at ridiculous speeds and it's just...
	You can fly upstairs through buildings, anything you want.
	It's insane.
	It's actually insane.
	I feel like the future of warfare might just be drone and anti-drone drone.
	Yeah, yeah.
	Machine versus machine.
	Yeah, you've got anti-drone drones.
	Yeah, yeah.
	So it's just...
	You might have seen, I saw fairly recently, some footage from Ukraine.
	I'm not sure if it was Ukrainian or Russian tanks.
	Probably both do.
	They've got this, like, elaborate set of, like, netting all around the tank.
	So these suicide drones will hit that before they hit the actual...
	Tank itself.
	All sorts of anti-drone measures.
	That's the world we're moving into now.
	You've got race or speed drones.
	Look at how fast this goes.
	Yeah, it's just...
	Again, it's like something...
	People said, even if you've got a shotgun with a blast on it, a buckshot or birdshot, you'd probably still be very difficult to hit one.
	When it's incoming.
	Explains a lot about UFOs, potentially.
	And once again, if this is just a toy, what the actual military have got already would be worrying.
	It's true.
	There's a racing drone.
	Again, you could make them pretty tiny.
	That's ridiculous.
	It's just ridiculous.
	Yeah.
	It's just, what's...
	Why are we giving this to people to use?
	That's just...
	I don't know.
	Or you could make them...
	Potentially, if the military get involved, put loads of research and development into it, loads of money.
	You could make them the size of an actual insect, maybe.
	Make them look like a flyer.
	It's already been done, I think.
	Or something.
	Right.
	It's already been done, I think.
	So perhaps the battlefield, not just of men, but of even humanoid robots, is already obsolete.
	That's already old hat.
	It will just be drone v drone stuff.
	Yeah.
	And we've probably already seen, lots of people have seen clips like this where you can, you know, one person, one computer or whatever is able to make what they call them, battalions, armies of drones do what they want.
	And that stuff is pretty cool.
	It does look cool.
	It's a bit terrifying.
	Until you imagine the orders are...
	Yeah, yeah, right.
	...destroy your town.
	Yeah, yeah.
	And everyone that lives where you live.
	And they're all a suicide drone.
	Terrifying.
	I just wonder.
	And so when someone like Elon or lots of people put this sort of stuff up and just say, look how cool it is, look how good it is, and don't worry...
	Because we haven't nuked ourselves yet, so we can stop ourselves from that.
	And don't worry, because it's only there to do chores for you in the end.
	Don't worry, because it's just a toy.
	It's just fun.
	I just fear that at some point, the future of warfare will be...
	The last thing you notice is you hear the whir of a drone.
	You hear the...
	And that's it.
	You don't see it even.
	You might not even hear it.
	Barely.
	And that's it.
	You've been suicide-drawned.
	Scary.
	So, yeah, a bit scary.
	Okay, anyway.
	Alright, should we go through your rumble rants?
	Yeah, go ahead, yeah.
	Oh, there was one for me.
	Dr. Luke and Max Martin were responsible for a ton of popular songs.
	Yeah, reference one of them.
	I'll read through some of yours.
	Sigil Stone says...
	Cybernetic revolt is nigh.
	Prepare to destroy the abominable intelligence.
	May the Omnisia guide us from this rotting cage of biomatter machine god free us.
	Wow.
	Okay.
	Hope they're being ironic there.
	Rhys Jampy says, It's Friday, lads.
	How are we feeling?
	Pretty good.
	Yeah, I'm feeling good.
	Pretty good.
	I've had a coffee, so all is good.
	Yeah, that's a random name.
	Once men turned their thinking over to machines in the hope that this would set them free, but that only permitted other men with machines to enslave them.
	Dune, pronounced the British way.
	Dune.
	Dune, yes.
	Frank Herbert, one of my favourite novels of all time.
	I've got a long form piece of content with Nate.
	Off of Miss Hate Reviews on my channel, History Bro.
	Check that out.
	Talking all about Dune in stupid detail.
	I love it.
	It's a great, great novel.
	There you go.
	Check that out.
	OPH UK, if they bring robot dogs to the battlefield, just get a robot cat for them to chase after.
	Checkmate Skynet.
	Yeah.
	See, this is the sort of ingenuity that you've not thought of.
	That's a random name again.
	For the record, I'm in favour of AI.
	I think it is the next step in our technological evolution.
	The problem is that it's controlled by humanity's worst elements.
	But Larry and G had when?
	Again, that's a reference to June.
	You say, but the problem is...
	Yeah, yeah, that's a big problem though.
	That's the whole ballgame.
	That's what I'm talking about.
	Yeah, that's the problem.
	The godfather of AI recently came out and said he regrets it because he's worried about the direction it's taking.
	That came out very recently.
	Touched on that a bit.
	Well, Sigil Stone, again, the last one we've got right now, says Castle Bravo was the 50 megaton one that was more powerful than expected.
	Saar Bomber was 500 megatons, originally planned for one gigaton, but they couldn't move it.
	And he's just sent in another one.
	I need Carl on for these segments where I can reference Warhammer 40k.
	You're the wrong kind of nerds.
	Well, sorry.
	I like Warhammer 40k, personally.
	I don't know why.
	Yeah, I love 40k.
	I don't know why Carl hasn't done like a...
	Big sort of tabletop sort of evening or something.
	That could be a lads hour.
	I played tons of 40k when I was young.
	Had a few different armies.
	Haven't played it in years and years and years.
	One quick thing I'll say though.
	I'm sorry Slickerstone17.
	I believe you are wrong.
	Castle Bravo was bigger than they expected.
	But there's never been a 500 megaton.
	That's insane.
	That would like...
	Yeah, there's never been anything that big.
	Perhaps I'll be corrected after we finish recording and have a quick look on Wikipedia, but I'm pretty sure nothing was ever that big.
	Anyway.
	Shall we?
	Okay.
	So, the British government is absolutely obsessed and has a history of this obsession with chemical experimentation.
	We're seeing it recently with the new sun dimming proposal from the British government that's pledged, I believe, 50 million pounds into, quote, dimming the We already have a dimmed sun most of the year round.
	It's called cloudy.
	It's called being in North West Europe.
	Yeah, it's research and development into putting certain chemicals, creating a layer of smog, essentially, in the atmosphere to block out the sun.
	Turning everywhere, what, global Los Angeles?
	Yeah, essentially.
	Global China.
	They want to try and recreate, like, after a volcanic eruption with the ash cloud, it cools the temperature.
	So to counter global warming.
	They want to recreate natural disasters.
	Oh, brilliant.
	Essentially.
	Great start.
	Well, in Britain, I can get it if you live in the deserts of Arabia or something, where it is too hot.
	But in England.
	It's unnecessarily hot.
	And it's hardly ever.
	Quite at the same time as we're trying to implement as much solar panel technology as possible.
	They're going to rob us of the two weeks we get in July of warmth.
	Exactly.
	So I decided for this segment, I wanted to run through five...
	Real British chemical experiments, and if we have time I'll do a bonus at the end, because this isn't the first time that the government has tried to do a lot of these chemical experimentations, just not in atmospheric terms, it could be conceived as different, but actual chemical experimentation on humans.
	And I wanted to go through five of them.
	Before we do, Samson was just highlighting that we should probably mention as well.
	We do have Academic Agents Trivium available on the website right now that you can purchase.
	That's the Foundations of Logic, Rhetoric, and Writing.
	They'll improve...
	All of those different skills, great courses, and if you would like to take part in a free webinar, the next one that is taking place is next Thursday, May 22nd, between 7 and 8pm British time.
	Go to the website and sign up for that now.
	Cool.
	Alright, so the first one.
	So this is five.
	This is between 1953 and 1963.
	And it's called the Fluorescent Particle Trials.
	So between 1953 and 1964, the UK Ministry of Defence conducted a series of secret experiments known as the Fluorescent Particle Trials.
	Cadmium sulfide, a fluorescent compound over large areas of the country to simulate the spread of biological or chemical agents in the event of an attack.
	These particles, which glow under ultraviolet light, allowed scientists to track how agents might disperse in various environmental conditions.
	And the primary aim of this...
	So I'm just going to go to the next article.
	Is the box not working?
	Just use the mouse.
	Oh, there we go.
	Thank you very much.
	The primary aim was to assess the UK's vulnerability to airborne biological or chemical attacks, particularly from the Soviet Union during the Cold War, by releasing these particles from aircraft, ships and vehicles...
	Researchers could study dispersion patterns and the potential reach of harmful agents.
	For instance, in one trial, a generator towed along a road near Frome in Somerset.
	Releasing the chemicals for an hour, allowing scientists to monitor its spread.
	And these trials were conducted without public knowledge, of course, exposing millions of people across the UK to these particles.
	And while the Ministry of Defence maintained that the chemical was harmless, concerns arose due to cadmium, the particular particles, classification as a potential human carcinogen.
	Great.
	Yeah.
	Brilliant.
	Yeah.
	So we're worried about nuclear fallout or chemical attack.
	Essentially.
	So we'll do a little bit of it.
	We'll just do a little bit of it, a sprinkle, just to see what happens.
	Just a little bit of cancer never hurt anybody.
	No, of course not.
	If we go back to the Independent article, just again, it says the Independent writes, During the Cold War, the British government used the general public as unwitting biological and chemical warfare guinea pigs on a much greater scale than previously thought, according to new historical research.
	In more than 750 secret operations, Hundreds of thousands of ordinary Britons were subjected to mock, quote, biological and chemical warfare attacks launched from aircraft, ships, and road vehicles.
	Pretty scary.
	But there's more.
	If we go to the next one, this one's called the DICE trials.
	Now, the DICE trials...
	called Defence Independent Chemical Evaluation were a series of secret biological warfare experiments conducted by the UK and US militaries between 1971 and 75 in South Dorset in England.
	These trials aimed to obsess the feasibility of large area coverage for biological attacks and to test detection systems for airborne biological agents.
	So the objectives were To evaluate how effectively biological agents could be dispersed, once again, and to test performance of detection equipment, notably the US-developed XM19 detector.
	And the chemical used, which I'll be honest, I cannot pronounce the name if we go to the next one.
	It's this chemical.
	I can't pronounce that.
	Along with an anthrax simulant.
	Ceratia marcusans?
	Is that it?
	Possibly?
	So some sort of bacteria.
	Dorset of all places.
	What a lovely, idyllic place.
	Couldn't they do it somewhere out in the Australian desert or the Mojave Desert?
	No, Dorset.
	Dorset.
	Okay.
	Yeah.
	Not some island way out in the Pacific?
	No, no.
	Dorset.
	Okay, cool.
	And of course, nobody obviously knew about it until, you know, later on.
	I mentioned Portland Down in my last segment.
	That's why I sort of gave a bit of a nod.
	Oh, okay.
	Yeah, we're coming up to that.
	But yeah, so you have an anthrax simulant as well, along with this particular chemical that was being used too.
	Number three, the next one, called the sabotage trials.
	And that's the sabotage trials where a series of covert biological warfare experiments conducted by the UK government between 52 and 64. These trials aim to assess the vulnerability of London's infrastructure, particularly its underground tunnel networks and key government buildings to potential biological attacks.
	So there's a big theme here.
	And if we go to the next one, I believe, and the one after, sorry.
	One thing I'll quickly say is, not that I'm trying to defend any of this.
	I wouldn't dream of it.
	I'm just saying, in the 50s and even the early 60s, the Cold War was very, very real.
	It's hard for us to really appreciate.
	You've just lived through, if you're old, if you're sort of a 60, 70-year-old in the 1950s, 60s, you've known World War I, you've known World War II, where there's saturation bombing of civilian areas.
	You've known total war.
	The idea that the Ruskies might actually nuke you in 1955, or they might actually drop chemical biological agents on you.
	When we saw how brutal the Russians were towards the end as they were coming west as well.
	Right.
	They were not averse to just murdering civilians.
	So not that I'm trying to defend any of this.
	No.
	I'm just saying it's a bit difficult for us to...
	It just seems completely insane for us now.
	It is, yeah.
	At the time, it would have been what was a genuine worry.
	And how are we going to protect ourselves if this happens?
	There is, of course, all of that context is very necessary for understanding this.
	It's very different to do these kinds of experiments for those kinds of reasons as opposed to, can we block out the sun for zero?
	Right.
	Because it starts as that, right?
	And then...
	When you look at the dates as well, it continues and continues and continues all the way to like the 90s as well, which we'll get to.
	Like NATO.
	NATO makes sense in 1960.
	Doesn't really make sense in 2015.
	Exactly.
	But yeah, it's still here.
	We're still living with it.
	It's bigger and more powerful than ever, if anything.
	Sorry, go ahead.
	It's alright.
	And in this article by the guy, it was 23 years ago, so a long time ago now, it says, As the train sped on,
	the carton hit the tracks and burst, out spewed millions of tiny spores, which began to spread throughout the dark tunnels.
	Dust swabs taken after three days and two weeks showed that the spores had spread as far up the line as Camden Town Station in North London, ten miles away.
	This really happened, but the two men weren't terrorists, but government scientists.
	And the spores weren't anthrax spores, but harmless microorganisms designed to mimic, is it clandestine?
	Clandestine.
	Clandestine sabotage with anthrax.
	This was an official experiment in 1963, and it showed how easily saboteurs could inflict a potential devastating attack on Britain's capital.
	As Bo was saying there, I mean, this could have been something that they actually tried.
	The fact that they were testing it out to see what the results would be using armless stuff, I mean, that's pretty reasonable to me.
	You want to test where your weaknesses are, don't you?
	The trials were conducted without public knowledge or consent, raising ethical concerns about the use of civilians in military experience.
	So, yeah, there's some ethical considerations there as well.
	This is a bizarre one, the next one.
	The spider web particle experiments.
	I don't know if you guys have heard of that.
	I've never heard of it.
	The experiments were a series of, once again, biological warfare trials between 1964 and 1973.
	These experiments aimed to assess how biological agents could disperse and persist in various environments, particularly urban settings.
	In these trials, scientists attached harmless bacteria to the threads of spiders' webs placed inside boxes.
	The objective was to study how these bacteria would survive and spread under different environmental conditions.
	By analysing the dispersion patterns, researchers sought to understand the potential impact, and these experiments were carried out in multiple locations across the UK, including London's West End, Southampton, and Swindon.
	There you go.
	Swindon mentioned.
	Once again.
	Swindon mentioned!
	These sites were chosen to represent diverse urban environments.
	The tests were conducted without public knowledge or consent, exposing large populations to the bacterial simulants.
	The bacteria used in these experiments were considered harmless at the time, once again.
	However, subsequent evaluations raised serious concerns about the potential health risks, especially for vulnerable individuals such as the elderly or those with respiratory conditions.
	Again, the secrecy surrounding these trials and the exposure of unsuspecting civilians have led to ethical debates about and public outcry.
	Some families in the affected areas have reported health issues, including birth defects, learning Yeah, it's not good.
	I saw Porton Down mentioned there.
	Yes, and which goes on to the final, or I guess number five, which is the Porton Down Human Testing Programme.
	Between 1940s and 1980s, when I heard you mention Porton Down, I sort of smiled and I thought, because I hadn't really heard of this before, so I was doing a lot of digging about it.
	It's insane.
	It's absolutely insane, this entire thing.
	It's our main research facility for loads of different things, actually.
	Chemical, biological, nerve agent stuff.
	It's insane.
	What it is, is a wide-ranging series of secret chemical and biological warfare experiments conducted by the UK government at Porton Down, the Ministry of Defence's Science and Technology Laboratory in Wiltshire.
	Over four decades, thousands of British servicemen and civilians were subjected to testing, often without informed consent.
	Porton Down was central to Britain's research into chemical and biological weapons during and after World War II.
	The experiments were designed to...
	Test the effectiveness and safety thresholds of chemical and biological agents.
	Develop defensive measures such as protective equipment and antidotes.
	And study how nerve agents like sarin, VX and mustard gas affect the human body.
	Participants were exposed to a range of dangerous substances such as sarin nerve agent, mustard gas, CS gas or tear gas.
	Has any of you been tear gassed before?
	No, I haven't actually.
	Have you?
	I have once in France during the Le Pen elections.
	I remember now you say that, yeah.
	You did a video.
	That's it.
	Obviously, the communists and all that were rioting, even though they won their election cycle.
	And the police came out.
	It's what they do.
	Yeah, they love it.
	Dispersed a load of tear gas and the police had taken away my equipment just before because they were doing bag searches and they found obviously like gloves and like eye coverings and you know safety stuff and I didn't have a press pass at the time.
	I'd left it at home stupidly and so I couldn't prove that I was there on journalistic stuff so they have to take it away and I thought no I won't be tear gassed and you know I did and it is the worst thing ever.
	Yeah, it was horrible.
	Like, your whole face just burns from, like, it feels like the inside.
	And, like, you just stream of, like, I don't know, tears in, like, the back of your throat.
	It's like, I can't explain it.
	It's like being burned at the back of your throat.
	It's very horrible.
	Do not recommend.
	And that is the chemical process dialed down.
	Dialed down, yes.
	As much as possible so no one dies.
	Yeah.
	Or nearly no one dies.
	Yeah.
	And it makes you just want to get out there.
	I mean, for example, I know a little bit about VX.
	Yes.
	That's something we developed at Portland Down.
	And it's so insanely poisonous.
	I mean, a tiny, tiny amount can kill thousands and thousands and thousands of people.
	A tiny amount.
	It's one of those things like building bigger and bigger nukes.
	Yes.
	At some point, we were like, us and the Americans were like, should we stop developing?
	Yeah.
	I think we're going a bit too far.
	We're pretty sure the Russians aren't doing this.
	We're not losing a race for more and more poisonous nerve agents with the Russians.
	So why are we doing this?
	So I think VX was about as far as it went.
	We were like, we can design and build, make things that are more poisonous than this, but maybe we just shouldn't.
	And yet it still exists.
	It's still there.
	There was other stuff like LSD.
	Part of mind control or truth serum experiments, obviously MKUltra, you guys know about MKUltra, and other hallucinogens, irritants, and incapacitating agents.
	So around 20,000 servicemen were believed to have participated in this over these decades.
	Most were told that they were helping to develop cures or protective gear for the battlefield, but many did not fully understand the nature or risks of what they were being exposed to.
	If we go to the next one.
	Even in some nuclear tests, the British put people relatively close to it to see what happened in the very early days, talking in the 1950s, our first nuclear test.
	Doesn't look good in hindsight, does it?
	No.
	This was a famous case where a RAF volunteer was only 20 years old, this lad.
	In 1953, Ronald Madison died after being exposed to sarin in a gas chamber in Port and Down.
	And his death was initially covered up.
	Only decades later was ruled as an unlawful killing at his second inquest in 2004.
	And I was reading...
	Man, I was actually reading into this a little bit more and describing his...
	I'm not going to go through it, obviously, because it's, you know...
	It's gruesome.
	But what this lad, poor lad, went through, like, he thought he was just going to help with, like, getting over, like, the flu or something.
	It was some sort of, you know, getting over some sort of, like, disease or something.
	And, yeah, they essentially poisoned him.
	Join the RAF, they said.
	Yeah.
	Serve king and country, see the world, they said.
	Yeah.
	Yeah.
	Just sit inside this gas chamber real quick, lad.
	Yeah.
	That's horrific.
	I've not heard of this person before.
	Alfred Thornhill.
	Not heard of him before.
	Yeah.
	If we go to the next one.
	So they did an investigation into this.
	Operation Antler.
	It's just sad.
	But a bit more context, they obviously did, it wasn't just that, they did LSD experiments between the 50s and 60s, we all know a bit about that, in partnership with MI6, and it's inspired by US projects like MKUltra.
	Soldiers were giving LSD without knowing its effects to test its potential use in interrogation and battlefield disorientation.
	Many participants reported long-term psychological issues, investigation, and looking into, obviously, investigation and public scrutiny.
	This particular one, Operation Antler, they conducted a major investigation in the 90s where thousands of documents were declassified showing the scale of the testing and how much the government or the Ministry of Defence was doing to its own...
	It's own country.
	Several former participants filed lawsuits demanding acknowledgement and compensation.
	And in 2006, the MOD issued a statement of regret.
	Oh.
	Thanks.
	Oh, well, that makes it all better.
	And then they began paying compensation to some of those affected.
	So those are your five.
	I do have...
	A bonus, if we do have time.
	I don't think we do.
	That's fine.
	We've got lads hour very, very soon.
	No worries.
	We'll mention it in passing though.
	What is it?
	I want to know what it is.
	Just real quick.
	Real quickly.
	Here's one for your homework, lads.
	Yeah, here's one for your homework.
	Next one.
	RAF Rainmakers, Operation Cumulus, where the British government conducted weather modification experiments in 1952 in August, carried out by the RAF and scientists from...
	Porton Down as well, aiming to explore cloud seeding and artificial simulation of rain by dispersing substance into clouds.
	And people have suspected...
	Very highly that it led to the floods in 1952 in Limbeth.
	The Limbeth floods that killed over 30 people.
	I did a substack, just to end it on that, I did a substack where I submitted Freedom of Information requests to find all the original data and they gave it to me.
	262 pages.
	And I put it all on my substack here, which you can go and check out if you like, if you want to read in more detail.
	I'm surprised that they gave it.
	But yeah, a lot of it is all the old data that Norman Baker, the old Liberal Democrat MP, was pressuring to release all of these experiments back in the early 2000s.
	So I managed to retrieve it all back, and I'd like to have a conversation with him at some point, because I don't know him, but I would like to get in touch.
	So if someone could get me a contact for him, that would be very useful.
	But that's it.
	There you go, and let's move on to the video comments while we've got time.
	Harry!
	You will, doubtless by now, have received some Owen Jones books from Amazon for no other reason than I think it would be a rather interesting and hilarious series of book club episodes.
	And maybe you could potentially rope Carl into them as well.
	I'm apparently the office shit-lib whisperer.
	James O 'Brien Odyssey.
	I don't think they've arrived yet, but I have been informed before this video comment that they should be coming soon.
	I wait with bated breath.
	I can't wait to hear about Owen Jones whining that chavs are just misunderstood.
	No, they're English wiggers.
	That's what they are.
	And they should be looked on with scorn.
	If you're a white dude in your 20s and 30s and you're like, I can't stop reading about World War II.
	It's coming, bro.
	Like, I'm not a Republican right now, but I can feel it.
	It grows.
	I gotta fight it every day like a fucking werewolf.
	I'll just be watching TV out of nowhere.
	Why are black guys in every commercial?
	Mermaids are white!
	Very true.
	Very true indeed.
	Jay Guinness was actually a history major.
	Oh, was he really?
	Yeah, yeah.
	Oh, I didn't know that.
	Yeah, I like the guy.
	He's really funny.
	He's funny.
	He is funny.
	I enjoy his...
	Inspired by Sam Hyde, I believe.
	Is he?
	Yeah.
	Have you seen the MDE's doing Series 2?
	Yes.
	Series 2. I will be watching that.
	Looking forward to it.
	Really good video on the education system, guys.
	I'm actually doing a longer response video on the grammar stuff because I understand that really well.
	But, yeah, you made a comment about how you were trying to reconstruct a lot of stuff from books that were falling apart, and I'm wondering if there's a project that is underway to modernise those books, like just take the full text and just republish them.
	I wonder if there's an effort to do that.
	Well, there is the webinar going on next Thursday that you might be able to attend, Craig.
	So hopefully you can tune in for that one.
	And yeah, there are quite a few publishers that try and take older books that are a bit out of print or maybe the copyright's fallen out of them and try and republish them.
	So you might want to look into that because certainly there is a market for it.
	I can't wrap my head around cameras.
	Canada is a strange place.
	The majority of our territory is still untamed frontier, and the majority of our population are good-natured but tough roughnecks to match.
	And because of the population dispersal, we're still an extremely high-trust society.
	Most people still regard our state broadcaster, the CBC, as a source of divine objective truth.
	Keep in mind that the real damage to our country has only really been done since 2020, and the broader population is indeed starting to take notice, albeit ever so slowly.
	I get the feeling that most of the populations are quietly waiting for social permission to notice the terrors that have been inflicted upon us.
	And unfortunately, it seems Trump has set that back by about 20 years.
	We had this video comment a few days ago, a week ago.
	And this one, I'm sure.
	And that one.
	Did we?
	Yeah.
	Oh, okay.
	Well, I wasn't in all last week.
	No, no, I'm not blaming you.
	With Canada, it is funny, because I look at a map and it's kind of unfathomable to me just how huge Canada seems for how...
	I don't know.
	Relatively unimportant it can be on the world stage.
	How resource-rich it is, how gigantic it is.
	Yeah, and I imagine most of the bad stuff that's happened to Canada has happened in the urban centres.
	So hopefully the rural Canada hopefully is very nice.
	Another of my heroes is Levinte Puerta, an Argentinian engineer who at the age of 21, designing lead construction on La Argentina, inventing forward the gas-producing combustion system, Lempore exhaust, and many minor detail improvements.
	The result was a locomotive with triple the thermal efficiency of anything of the time.
	He dedicated his life to developing second and third generation steam technology, resulting in the construction of the Red Devil, his design doubling the power and reducing coal consumption by 30%, effectively tripling the locomotive's output for a given amount of fuel.
	And despite being proven every time they were put to steel, Puerta died with most of his ideas.
	I like the train stuff, you know?
	Like, I'm slowly getting into it.
	I've never really been that...
	I watched Thomas the Tank Engine when I was a kid, but like, it's now beginning to...
	You're in your 30s now, aren't you?
	I know, and it's starting to...
	I haven't run a marathon.
	I won't do that.
	It happens to all Englishmen.
	Check out Alex Masters, that steam guy.
	Yes, yes.
	I've met him before.
	He's been in the office plenty of times.
	Yeah, he's very, very good.
	Yeah, I need to watch that.
	Good morning, Lotus Eaters.
	Finishing off the hike from last video comment with a climb to Copper and Malachite Lakes.
	Just after Trout Lake, the grade takes a steep climb.
	The creek you're following provides great ambiance, and in the clearings reveals an amazing waterfall further uphill.
	The snow begins almost at the top, but the final push is grueling.
	The bowl of snow-covered mountains surrounding Malachite Lake was amazing.
	Backtracking and heading over to Copper Lake afforded similar spectacular views and a well-deserved break.
	Hope y 'all are doing well.
	That's awesome.
	Absolutely beautiful, friend.
	There we go.
	And that's all of the video comments.
	That's all the time that we've got for right now because we do have Lad's Hour in a little bit.
	We might have to save Rumble Rants for another time.
	One final thing to say, Sliggestone did accept that I was right about the Megaton yields of the Tsar Bombo and Castle Bravo.
	So that one, Beau's going to be dining off that one for a long while now.
	So thank you very much for joining us.
	Thank you for joining us, Lewis.
	Will you be joining us for Lads Hour?
	I will be.
	Excellent.
	And where can the audience find you?
	Find me on Twitter, Lewis Brackpool.
	Same again on Substack, same again on Instagram, and same again on YouTube.
	Alright, thank you very much.
	Premium subscribers join us for Lads Hour and don't forget to sign up for the Trivium and the webinar.

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