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<v Speaker 1>This is a clip from Raised by Giants. You can

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<v Speaker 1>access the entire episode now on our website and all

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<v Speaker 1>podcast platforms.

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<v Speaker 2>Well, you know, in the Freemason Bible, it says when

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<v Speaker 2>a sacrifice is made, the sacrifice has to be made

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<v Speaker 2>inside of a pentagon, and a pentagon is the pentagram.

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<v Speaker 2>So if you look at a lot of these, maybe

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<v Speaker 2>some of these public executions or some of these sacrifices

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<v Speaker 2>like you were talking about with Freddie Mercury, you could

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<v Speaker 2>probably go back and there would be some kind of

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<v Speaker 2>symbolism surrounding that. That's like a pentagon if you looked

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<v Speaker 2>at it from above.

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<v Speaker 1>What's crazy about the Queen story is I've researched this

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<v Speaker 1>because I've done a live presentation on it. I did

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<v Speaker 1>it at Halloween last year, actually, and part of that

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<v Speaker 1>involves breaking down the lyrical content of Bohemian Rhapsody, Queen's

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<v Speaker 1>most famous song. And it's another thing that was staring

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<v Speaker 1>us all right there in plain sight, but so many

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<v Speaker 1>probably didn't see it. That song has been endlessly scrutinized

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<v Speaker 1>by music critics for decades and they're like, oh, it's

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<v Speaker 1>so ambiguous, nobody really knows what it means. But it's

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<v Speaker 1>fairly clear when you look at it from this perspective

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<v Speaker 1>that the song is talking about a Faustian bargain, a

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<v Speaker 1>deal that's being made by the protagonist in the song

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<v Speaker 1>in exchange for great fame and fortune. This goes back

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<v Speaker 1>to the original German legend of Faust, who was this

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<v Speaker 1>sort of accomplished, wealthy individual who had gained great worldly

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<v Speaker 1>pleasure and acquisition, but felt like he was lacking knowledge,

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<v Speaker 1>spiritual knowledge, and holistic knowledge, and so he makes a

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<v Speaker 1>deal metaphorically with the devil and sells his soul, offers

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<v Speaker 1>up his mortal soul in exchange for this great worldly knowledge.

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<v Speaker 1>And a common trope that's run throughout the music industry

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<v Speaker 1>for decades, going all the way back to Robert Johnson,

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<v Speaker 1>the blues musician in the nineteen thirties who said to

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<v Speaker 1>have made a deal at the crossroads with the devil

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<v Speaker 1>in exchange for great musical proficiency. Is this idea of

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<v Speaker 1>musicians trading their souls for engineered fame and fortune, and that,

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<v Speaker 1>when you look at it, is what the Freddie Mercury

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<v Speaker 1>character is talking about in Bohemian Rhapsody, And when he says,

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<v Speaker 1>Mama just killed a man. He's talking about a metaphorical killing,

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<v Speaker 1>which is the killing of his old self or his ego,

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<v Speaker 1>if you like, because now he's become somebody or something

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<v Speaker 1>else else because of the deal that he's made. And

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<v Speaker 1>then the middle section of that song, where it goes

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<v Speaker 1>all operatic, is a battle in the heavens between the

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<v Speaker 1>forces of good and evil. It's angels and demons. They

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<v Speaker 1>sound like choirs, and they're doing battle in the spiritual

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<v Speaker 1>realm for Freddy's soul to determine, you know, which side

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<v Speaker 1>is going to get freddy soul. And then evidently in

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<v Speaker 1>the song, the forces of good the angels win out

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<v Speaker 1>and they claim back Freddy's soul. And that's why at

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<v Speaker 1>the end of the song it goes very calm the

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<v Speaker 1>coder at the end, because Freddy's been through all this

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<v Speaker 1>and he's reflecting on what's happened to him. And that

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<v Speaker 1>song was written by Freddie Mercury himself for Route Bulsara,

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<v Speaker 1>and I wonder whether it chronicles his own induction into

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<v Speaker 1>the music business. So it's autobiographical. Freddy is basically telling

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<v Speaker 1>in allegorical form through this very old ratic song, how

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<v Speaker 1>he himself came to become famous, and unfortunately, an aspect

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<v Speaker 1>of selling your soul that often occurs is the devil,

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<v Speaker 1>to use that term, sometimes wants it back or sometimes

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<v Speaker 1>wants more from you. It's payback time, you know. So

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<v Speaker 1>you've had the fame and the fortune and the great

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<v Speaker 1>wealth and the riches, and there comes a point where

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<v Speaker 1>now you've got to pay the price for that. And

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<v Speaker 1>you know, I wonder whether Freddy's ultimate demise could have

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<v Speaker 1>been connected to some kind of deal that he made

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<v Speaker 1>early on. Another piece of footage that I show in

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<v Speaker 1>that talk is Freddy at a very early queen concert

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<v Speaker 1>from the early seventies, and he's holding up some nails,

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<v Speaker 1>artificial nails on his hands, and he says, do you

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<v Speaker 1>like my clause? And he goes, they're a present from

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<v Speaker 1>the devil himself, and then the audience starts laughing, and

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<v Speaker 1>he goes, they're laughing, they're laughing. They don't believe me.

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<v Speaker 1>They don't believe me. So you've got to wonder how

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<v Speaker 1>much truth was getting conveyed there. You know, all of

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<v Speaker 1>this stuff just makes you wonder when you approach all

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<v Speaker 1>these things with a fresh pair of eyes and a

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<v Speaker 1>new mind, coming from a renewed perspective. It does tend

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<v Speaker 1>to put a different slant on so many things that

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<v Speaker 1>you've been familiar with, possibly for decades.

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<v Speaker 2>What if the selling of the soul is also metaphorical

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<v Speaker 2>and allegorical, meaning that once you take the money from

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<v Speaker 2>these people, you can't go against these people, right, they

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<v Speaker 2>are funding you, They're funding your career, and you cannot

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<v Speaker 2>back out of the deal or else your career is

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<v Speaker 2>then over. You're then destroyed, and worst case scenario, you

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<v Speaker 2>are killed. I mean, when you look at some of

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<v Speaker 2>the most popular musicians you know since the fifties and

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<v Speaker 2>beyond have all died in some weird and strange way,

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<v Speaker 2>the most popular people, I mean, Elvis, John Lennon, Michael Jackson,

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<v Speaker 2>you know, all of these people. At Prince, you know,

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<v Speaker 2>Regret Prince was later on in life, but still he

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<v Speaker 2>was doing a lot of things that was going against

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<v Speaker 2>the music industry. He was trying to get the rights

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<v Speaker 2>back to all of his music, and he wasn't letting

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<v Speaker 2>that music being distributed out. He didn't want it on streaming.

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<v Speaker 2>And then two years after he gets the rights back

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<v Speaker 2>to all of his music, he's dead.

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<v Speaker 1>So if you think about nineteen fifties icons, and you

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<v Speaker 1>mentioned these earlier, Marilyn Monroe, Elvis Presley if you accept

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<v Speaker 1>that he did die in nineteen seventy seven, and James Dean,

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<v Speaker 1>I mean, what the chance is James Dean dead at

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<v Speaker 1>twenty four, was dead at thirty six, And then you've

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<v Speaker 1>got people up river Phoenix who was dead at I

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<v Speaker 1>don't know, twenty something, I guess, and many other actors

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<v Speaker 1>who die young after becoming iconic. And what are the

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<v Speaker 1>chances of that happening as an accidental sort of thing?

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<v Speaker 1>I mean, I called my last book, No One's Dad's

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<v Speaker 1>a Plumber to emphasize the observation that when it comes

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<v Speaker 1>to famous rock musicians, you're very hard pressed to find

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<v Speaker 1>many fathers of the real household, name a listers who

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<v Speaker 1>had regular working class jobs like a plumber. Instead, they

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<v Speaker 1>were all lieutenant colonels or governors or you know, lord

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<v Speaker 1>mayors or whatever. And I've often wondered what would happen

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<v Speaker 1>if the same number of plumbers turned up dead as

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<v Speaker 1>do rock musicians and actors. So, you know, news breaks

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<v Speaker 1>that oh, Michael Jackson's died, and people are like, oh, dear,

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<v Speaker 1>that's terrible. When youe Houston's died in a bathtub. Oh dear,

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<v Speaker 1>that's terrible. Now Prince has died in an elevation to

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<v Speaker 1>oh dear, that's terrible. And it's all chalked up as well.

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<v Speaker 1>You know, that's the music game for you. These rock stars,

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<v Speaker 1>they do drugs and they live these crazy lives and

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<v Speaker 1>it's no wonder so many of them wash up dead.

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<v Speaker 1>You know. But if new started coming through that. Today

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<v Speaker 1>a plumber died in you know, Buffalo, New York, and

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<v Speaker 1>a plumber died today in Orlando, Florida, and a plumber

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<v Speaker 1>died today in Manchester, England, Eventually, wouldn't people start asking

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<v Speaker 1>what is it? What's going on? Why is plumbing such

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<v Speaker 1>a dangerous profession? What did they all drown in bathroom floods?

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<v Speaker 1>Why are all these plumbers turning up dead? But because

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<v Speaker 1>it's musicians and rock stars, they just get away with it.

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<v Speaker 1>So I think that's why there's such a high body count.

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<v Speaker 1>The controllers can knock many of these individuals off if

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<v Speaker 1>that's what's happening, and I think it personally is. And

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<v Speaker 1>the public don't demand full inquiries, they don't demand full answers.

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<v Speaker 1>They just accept what they're told in the mainstream that

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<v Speaker 1>it's an unfortunate byproduct of these industries. Folks, that's fame

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<v Speaker 1>and fortune, and you know, these crazy lives lived in

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<v Speaker 1>the public spotlight for you getting away with it.

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<v Speaker 2>Well, they're also probably like, well, they were rich and famous,

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<v Speaker 2>they had their five minutes of family, had all this money.

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<v Speaker 2>You know, who really cares, So you know, they were

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<v Speaker 2>way better off than me. So what they died young?

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<v Speaker 2>I mean Amy Winehouse Sames scenario. There's so many of

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<v Speaker 2>them that it's like it's almost like we've been desensitized

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<v Speaker 2>to it in a lot of ways. I mean Kirk

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<v Speaker 2>Coban as well. Have you seen the information that's been

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<v Speaker 2>coming out about Kirk Coban.

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<v Speaker 1>Well, it's been coming out for years. It's pretty much

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<v Speaker 1>on the public record now that he was murdered. You know,

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<v Speaker 1>I think the idea that he committed suicide, very few

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<v Speaker 1>people accept that anymore. But information has been leaking out

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<v Speaker 1>for years pointing to the fact that he was murdered,

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<v Speaker 1>but still no perpetrators brought to justice. Whoever it was

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<v Speaker 1>still walking around out there.

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<v Speaker 2>That's the problem with a lot of this stuff is

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<v Speaker 2>that it seems like we just kind of keep rolling

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<v Speaker 2>on like nobody really cares us on to the next thing.

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<v Speaker 2>A couple of weeks ago, it was the epsteam files,

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<v Speaker 2>then it was the UFO files, and now it's war

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<v Speaker 2>with Iran. When we didn't get any answers or any

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<v Speaker 2>conclusions really to the first thing that happened just a

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<v Speaker 2>couple of weeks ago. But people have already forgotten about that,

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<v Speaker 2>and they've already moved on with their lives. It's almost

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<v Speaker 2>exactly like with COVID. I feel like everyone has just

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<v Speaker 2>kind of forgotten about COVID, and I've recently gone back

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<v Speaker 2>and gotten reasonably pissed off about nine to eleven, and

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<v Speaker 2>I'm thinking to myself, how did we let this happen?

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<v Speaker 2>How do we let this happen with absolutely no investigation.

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<v Speaker 2>You're telling me that nobody in high up government said

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<v Speaker 2>this is freaking weird. Why did these buildings collapse like this?

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<v Speaker 2>What hit the Pentagon? Why was there absolutely no plane

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<v Speaker 2>wreckage in Pennsylvania where the plane supposedly went down that

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<v Speaker 2>just made a crater And oh, I got balloons. I

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<v Speaker 2>did the air quotes where the plane supposedly went down,

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<v Speaker 2>There's just a crater there, there's no airplane wreckage, hardly

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<v Speaker 2>zero airplane wreckage at the Pentagon, Like, did no one

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<v Speaker 2>think that? I mean, it makes me kind of disappointed.

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<v Speaker 2>I was too young to do anything about it at

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<v Speaker 2>that point. I was like eight years old when the

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<v Speaker 2>planes hit the towers. I was too young to do

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<v Speaker 2>anything about it. But I'm pretty disappointed in the adults

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<v Speaker 2>of that time because literally every single news station said

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<v Speaker 2>that there were bombs. They all said that there were bombs.

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<v Speaker 2>The firefighters said that there were bombs. People that were

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<v Speaker 2>in the buildings that I witnesses said that there were bombs.

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<v Speaker 2>There was even warnings of people to get out of

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<v Speaker 2>the building because they knew that the building was going

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<v Speaker 2>to collapse. I maybe getting off on a tangentier, but

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<v Speaker 2>it's just kind of something that's resurfaced within me that

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<v Speaker 2>I didn't realize that I was that pissed off about

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<v Speaker 2>until again, until recently that I've been kind of harboring

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<v Speaker 2>these feelings about nine to eleven.

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<v Speaker 1>Well, we should be pissed off, and with me. I've

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<v Speaker 1>been reliving the madness of COVID recently because I've just

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<v Speaker 1>completed my third truth fiction novel, The Tragedy and the Triumph,

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<v Speaker 1>which is set in those times. So this is the

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<v Speaker 1>third piece of fiction that I've written. The first one

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<v Speaker 1>I wrote in twenty nineteen, prior to all the COVID madness,

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<v Speaker 1>and this one was the cause of the cure. It

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<v Speaker 1>was set in the early nineties, nineteen ninety and ninety one,

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<v Speaker 1>based on my recollections of those times before your time

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<v Speaker 1>for the sounds of it, youngster, Yeah.

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<v Speaker 2>Nineteen yeah, yeh ninety three.

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<v Speaker 1>Yeah, great, great times in so many ways. So then

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<v Speaker 1>the second story I set in two thousand and one

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<v Speaker 1>with the events of nine to eleven as the backdrop,

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<v Speaker 1>and it's the same characters from the first story, but

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<v Speaker 1>eleven years on, and I've got all the very real

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<v Speaker 1>events of those times as a backdrop to the narrative

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<v Speaker 1>as a subplot. And this latest story I've got the

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<v Speaker 1>same characters again, but this one is set in twenty twenty,

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<v Speaker 1>so it's a thirty years on from the original, and

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<v Speaker 1>the characters have aged thirty years, have been through a

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<v Speaker 1>whole lord of shit in their personal lives and stuff,

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<v Speaker 1>and they've evolved and changed as individuals as we do

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<v Speaker 1>over time. But in researching this one, to get the

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<v Speaker 1>background detail or I had to relive twenty twenty and

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<v Speaker 1>twenty one again, which in many ways was horrific because

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<v Speaker 1>I found myself wallowing in all the emotions and all

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<v Speaker 1>the trauma of those times. It was bad enough bloody

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<v Speaker 1>living through it the first time without having to wallow

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<v Speaker 1>in it again. And part of the reason for that

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<v Speaker 1>is because I'm producing a soundtrack like a movie style soundtrack.

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<v Speaker 1>I think my novels are the only books that come

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<v Speaker 1>with their own movie style soundtracks. So I take audio

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<v Speaker 1>footage from the time, like little snippets of news clips,

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<v Speaker 1>and combine it with the music that was around at

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<v Speaker 1>the time. So the one from nineteen ninety was great

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<v Speaker 1>because the music that was around in the early nineties

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<v Speaker 1>was incredible, and I've put it with bits of audio

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<v Speaker 1>from things like the Gulf War, or the invasion of

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<v Speaker 1>Kuwait by Iraq by Saddam Hussein in nineteen ninety, and

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<v Speaker 1>the last days of Margaret Thatcher