James Delingpole
Politics • Culture • Writing
Why You Can No Longer Listen to The Dark Side of the Moon
How Pop Music - ALL Pop Music, Even Music By Your Favourite Artistes - Is The Devil's Work
February 26, 2025
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On a recent podcast, my Special Guest Ben Rubin described how he could no longer bear to listen to Pink Floyd’s The Dark Side of the Moon. What he now finds untenable are lyrics like “Quiet desperation is the English way” which, with Awake hindsight, he realises is a sly invitation towards existential despair. Here a bestselling album - 45 million copies sold - is being used to programme its audience into that state of apathetic surrender which our Dark Overlords find so beneficial to their controlling agenda.

Obviously, if you are still a Normie, this is going to sound like hogwash. “C’mon. It’s just Roger Waters being Roger Waters. He’s just riffing on Henry David Thoreau’s ‘The mass of men lead lives of quiet desperation’. You’re reading too much into this.”

Oh. Am I?

One of my jobs in my twenty-five or so years in the mainstream media was as a music critic. I reviewed hundreds of rock and pop albums, attended many dozens of gigs (including about 15 Glastonbury festivals) and interviewed any number of stars. I shared cocktails at 2am with Jimmy Page in the Beverley Hills Hotel and was so drunk when he agreed to do the interview immediately afterwards that I could barely ask a coherent question. I got abused as a ‘tad journalist’ by Lou Reed. I believed - though perhaps I shouldn’t have - Jon Bon Jovi that the secret of staying faithful to his wife on tour was regular masturbation. I smoked some of Tricky’s predictably excellent weed. I innocently asked Tracy Chapman whether she had a man in her life. (lol). I found Beck away with the fairies. I attended the excruciating premiere of ‘Sir Paul McCartney’s’ Liverpool Oratorio. I pissed off Dave Gilmour by telling him my favourite Floyd album was Atom Heart Mother. I saw REM’s legendary Bingo Hand Job gig. I took Stephen Fry to see EMF play Unbelievable…

But just because I’ve been there, done that, doesn't necessarily mean I had the slightest clue what was going on behind the scenes. In fact I know I didn’t. I was, as most of us are, under a spell. Also, I believed like the reporter in The Man Who Shot Liberty, that ‘When the legend becomes fact, print the legend.’

When you’ve been so deeply immersed in pop culture for so long it becomes hard to quit the addiction. All these heroes - Bowie, Led Zeppelin, Radiohead, Underworld, Eat… - have written the soundtrack to your life. Rejecting them is like discarding parts of yourself, your personal history, some of your most treasured memories. Which is why not just Normies but even many Awake people are so resistant to the notion that, yes, even the music industry is part of the psyop. Indeed not just even the music industry but most especially the music industry. It exists to grab you, sneak under your skin, at the very moments in your life when you are most susceptible: you’ve just broken up with your partner; you’re off your face on drugs; it’s your birthday; you’re bored; you’re cruising down the highway and your brain is wide open. That is why music is so particularly valued by the Dark Overlords. They’re not doing it because they love you, you realise?

Most of us who’ve been down the rabbit hole know this - up to a point. We know how dangerous, evil and manipulative the music industry is. We know what went down at those P-Diddy parties. We know that Lady Gaga is - probably - a bloke. And that so - probably - is Taylor Swift. We’ve probably read Dave Goldman’s Weird Scenes Inside The Canyon, which blew the whistle on the CIA-manufactured origins of the entire Peace & Love West Coast music scene. We might even suspect that Paul is dead

But still far too many of us supposedly Awake types want to have our cake and eat it. We are afflicted with what I call ‘But Not Kate Bush’ Syndrome. That is, we perfectly well accept that pretty much every star in the musical firmament is a mind-controlled, soul-selling stooge of the beast system. Just not our personal favourite artistes who are magically exempt because their music is so great it couldn’t possibly have been written for them by the Tavistock Institute and because they have such compelling backstories that they must be genuine talents who emerged naturally, rather than having been created by a committee of mind-bending technocrats run by the Illuminati.

I understand this impulse for I too would like to believe that there is nothing weird and sinister and occultist about our Kate. And I’d dearly like to believe the same thing about David Bowie, not least because of the hours I invested of my precious youth getting into him. My brother Dick and I made it one of our projects. Obviously we already liked Ashes to Ashes because it was the top of the charts at the time with that cool video on the beach featuring various New Romantics dressed as nuns and the line we mistakenly thought said ‘I ain’t got no money and I ain’t got no hands’. But we had to work hard on some of the earlier stuff. “Yeah, I really like Life On Mars and Oh You Pretty Things but I’m not such a fan of Quicksand or Bewlay Brothers.” “Don’t worry, you’ll get there. I think Bewlay Brothers is now almost one of my favourites.”

But I think we need to be honest with ourselves, we Awake Bowie fans and judge our hero according to the same rigorous criteria we apply to all the other conspiracies out there. Are we really to believe - honestly? - that the guy who began one of his songs ‘I’m closer to the Golden Dawn/Immersed in Crowley’s uniform” and concluded, gnostically, that ‘Knowledge comes with death’s release’ was one of the goodies?

There’s a reason why we pored over those gnomic lyrics. Because they were meant to be pored over and mulled upon and eventually absorbed into our vulnerable adolescent consciousness. It wasn’t an accident that they messed with our heads and made us feel weird and rebellious and dissatisfied and alienated. That was the whole point.

Same goes for Pink Floyd. I’ve watched so many documentaries about the Floyd, read so many books, listened to so much of their music that of course I can give you the fanboi/muso chapter-and-verse on their early experimental days at the UFO club, the tragic tale of Syd, the miraculous marketing power of their sleeve designers Storm Thorgerson and Aubrey Powell and so on and on through the floating pigs and on to The Dark Side of the Moon which (if you don’t count The Bodyguard soundtrack, which I don’t) is still the world’s biggest selling album after Michael Jackson’s Thriller and AC/DC’s Back in Black. But so what? Given what we know about the music industry how are we to trust a single word of what it tells us about itself? Remember that quotation about printing the ‘legend.'

It’s the stuff They don’t - and won’t - tell you about the music industry that we should focus on, not the stuff They put out in press releases and back-slapping, chin-stroking retrospective documentaries on the Sky Arts channel. Obviously it’s rarely going to be spelled out for you, except in stuff that occasionally slips through the net like the obscure interview where Dylan ruefully describes his pact with the ‘chief commander.’But it’s not as if They don’t offer plenty of clues - because of that Satanic/Luciferian obligation They have to ‘reveal the method’ and to hail the object of their true allegiance.

That Wish You Were Here cover, for example. Designed by Hipgnosis (geddit?). What’s all that about, do you reckon? Well the official narrative, of course, encourages you to focus on the crazy creative genius of Storm Thorgerson, or the difficulty of setting up the shot with the stunt actor in the flame retardant costume. But the real meaning is obvious when you see it, as someone kindly explained to me in the comments on my Substack the other day.

The deal-sealing handshake with the flaming man? Yup. It’s about the same thing Bob Dylan is on about in that interview I mentioned. And the same thing Freddie Mercury is singing about in Queen’s most famous track Bohemian Rhapsody. Sure, Bohemian Rhapsody spent weeks at number one because it’s incredibly catchy with some sublime vocals from Freddie and some great guitar breaks from Dr Poodle Hair Badger Botherer and its air of cod-operatic, kitsch sophistication. But it also got there because that’s what They like to do: to shove their clandestine message right in your face so as to mock you with the obviousness you are yet too stupid to understand.

“Beelzebub has the devil put aside for me.”

Gosh. What can that possibly mean?

We all know that to get a record deal you have to sell your soul. It’s a part of music lore.

But the reason it’s part of music lore is because they want the secret hidden in plain sight. That is, by telling you about the pact with the devil, they want to make the mature, discerning, rational part of your brain to go: “Well of course they don’t mean literally a pact with the devil. It’s just a trope. A metaphor. Goes back to the days of Robert Johnson etc. etc.”

Meanwhile, selling their souls to the devil is exactly and, yes, literally what all successful musicians have done in return for their career and to which they cannot help alluding now and again because, as they often come to appreciate more as they get older - see eg late career Johnny Cash - it’s not necessarily the most edifying or long-term beneficial of exchanges.

Before he was cast out of heaven for leading one third of the angels in rebellion, Lucifer was in charge of music. Or so I’ve heard and it does make sense. It’s no accident that Stairway to Heaven sounds so moreishly addictive. Nor Hotel California. That music was personally supervised by his Satanic majesty, the god of this world, patron of axe maestros from Jimmy Page to Keith Richards, and deliberately, through sundry cunning wiles and much diabolical skill, made so attractive in order to make you want to take more drugs and have more sex with lots of unsuitable partners.

That’s the devil’s job. To entice you towards sin. And he’s really, really good at it. If sin were easy to resist we’d have no trouble resisting it. Unfortunately, sin is very closely aligned with all the things our fleshly bodies find most agreeable and which, by spooky coincidence, pop music tends to celebrate: rhythmically-enhanced hedonism, gluttony, profligacy, druggy abandon, alcohol abuse, degeneracy, rebellion (let’s not forget who the first rebel was…) and, of course, lashings and lashings of sex.

“How could something that feels so good be so wrong?”, people are wont - half tongue-in-cheek - to enquire. But the answer is contained in the question.

So, all those ‘fundamentalist’ Christians we were encouraged to mock were right all along. Pop music is the work of the devil. Once you understand this, everything about the music industry - the characters it promotes, the behaviour it encourages, the effects it has on you - makes so much more sense.

I sometimes used to wonder, for example, why all the music I used to love listening to - and I really did have excellent, recherché taste: In The Aeroplane Over The Sea by Neutral Milk Hotel, that kind of thing - made me sort of happy but never, ever so happy as I would have liked it to have made me. There was always something in it that was slightly off, something that said: “Yes, of course you are enjoying this but you realise the best is over, don’t you?” You get this feeling especially, I find, with my all-time favourite rock band Led Zeppelin. And the reason for this, I suspect, is explained in this superb essay:

https://ursulabielski.substack.com/p/stairway-to-hell-the-spiritual-and

by Ursula Bielski - Stairway to Hell: the Spiritual and Cultural Costs of Led Zeppelin.

Bielski is a Christian, a Catholic more specifically, so is equipped to understand the supernatural warfare being waged against us through songs like Stairway to Heaven which, it appears, may have been dictated to Robert Plant from the spirit realm.

It was 1970, and Jimmy Page was sitting in an old country house with bandmate Robert Plant, a fire flickering in the hearth. A storm rolled in outside, the wind rattling the windows, shadows shifting in the corners. The two musicians had been writing, playing, waiting for something to emerge. And then, without warning, it came.

Robert Plant, in a trance-like state, picked up a pencil and began to write. Words spilled onto the page as if they were being whispered into his ear. He barely remembered thinking them, barely recognized his own hand as it moved.

He pushed the page over to Jimmy. In the flickering light, Page read the words aloud:

"There’s a lady who’s sure all that glitters is gold…"

Later, the two would try to describe how the song—“Stairway to Heaven”--was not composed in the usual way. It was not labored over or refined.

It was received.

The Devil, infamously, cannot create (which is God’s prerogative), all he can do is imitate. I wonder whether perhaps that isn’t the problem I’m trying to identify with the work of Led Zeppelin. It’s a simulation of divine ecstasy, but it’s not the real thing.

There may be other factors at play too, here, one of them being pitch. We discuss this on my podcast with Conspiracy Music Guru, one of several Awake musicians to have noticed that music tuned to 432 Hz has warm, healing qualities whereas the current industry standard of 440 Hz unsettles you. And if you really want to go down the frequency rabbit hole, I commend this eye-opening essay by Agent131711, but read this one first. In it, Agent131711 argues that the chord sequences in different music genres are calculated to cause specific ill-health problems in their target audiences. Hip hop is designed to destroy your immune system; rock and country is designed to cause cardiovascular disease and cancer. Apparently. It’s a good read anyway.

Anyway, to return to the point from right at the beginning: yes, I agree with Ben Rubin that there is nothing innocent about albums like Dark Side of the Moon. Anything that is allowed to get that big - same rule applies to movies, books, celebrities - does so with the full approval of our Dark Overlords. And what is good for them is definitely not good for us.

Does that mean, then, that when Roger Waters sat down and wrote that line ‘Quiet desperation is the English way’ he was going ‘Mwahahahaha! This will destroy them, those poor ignorant hippie fools! How little they understand our Satanic masterplan!’? No, of course it doesn’t. Rather I think the creative process here was not dissimilar to the one that went into the composition of Stairway To Heaven. Once artistes have made the Pact - as Waters would certainly have done by this stage of the Floyd’s career - they tap in to a kind of Satanic consciousness. It gives them a creative helping hand (the devil, after all, has all the best tunes) but at the same time it exerts a slily corrupting influence and steers the product in a particular direction.

It’s what people don’t understand about conspiracies. The line you’ll often hear expressed by Normies is: “But look, people just aren’t that competent. No one could ever arrange a conspiracy on such a scale.” And they’re right, up to a point. No one human could…

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James's Big Birthday Bash - August 1st. Be There!

Because I love you all and want you to be happy, I’d like few things more than if you were ALL able to join me at my James Delingpole Birthday Bash on August 1st.

Unfortunately, numbers are strictly limited. So please don’t be one of those people - I’m the procrastinating type myself, so I know whereof I speak - who sends me a pleading message a few days before the event saying: “Can you squeeze me in?” Because tragically I might not be able to help.

Here’s why I think you’ll enjoy it. The main event is me doing a live Delingpod with Bob Moran and the conversation is going to be great. You know it is. Apart from my brother Dick - who’ll also be appearing, obvs. - there’s probably no one with whom I have a greater rapport than Bob. And, gosh, do we have a lot to talk about: chemtrails, death jabs, dinosaurs, Satanists, the New World Order etc. All the stuff, basically, that you can’t discuss with your Normie friends, but which here we’ll cover freely and frankly because, hey, you’ll be ...

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Christianity 1 New Age 0

If you haven’t already - I’m a bit behind the curve here - I urge you to watch this car crash encounter between Christian apologist and scholar Wes Huff and ‘ancient civilisation’ researcher Billy Carson.

It’s an excruciating experience - probably best to watch it on double speed - for a couple of reasons. First, the hapless podcast host/debate moderator Mark Minard is somewhat out of his depth and is also clearly embarrassed at having one of his guests (Carson, sitting right next to him) eviscerated in front of him by his other guest. This causes him to interrupt the debate at intervals and expound well-meaningly but not very interestingly on his own half-baked views on the mysteries of the universe. You feel a bit sorry for him but you do rather wish he’d shut up.

Second, and mainly, it’s painful to watch Carson being outclassed and outgunned by someone who knows and understands his purported field of expertise so much better than he does. Carson was reportedly so upset by the encounter that he ...

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How Not to Lose It at Your Dad's Funeral

“How did you manage to keep it together at your Dad’s funeral?” some sympathetic souls have kindly asked. This was in response to a recent piece I wrote on the experience of delivering my father’s eulogy. I thought, rather than reply individually, that I would turn into it into another article which some of you might find helpful.

  1. Celebrate the life rather than mourn the death

When I was planning my father’s funeral service, my immediate thought was to choose lots of appropriately sad music: Elgar’s ‘Nimrod’; poignant hymns like The Day Thou Gavest, Lord, Is Ended; and so on. Luckily I realised that this would probably be a mistake.

At a funeral, the congregation is already sad enough that someone they love has died. You really don’t need to twist the knife by tormenting them with music guaranteed to reduce them to tears: the tears will flow quite naturally anyway.

So for the intro music, I chose something jaunty: The Dambusters March by Eric Coates. As well as being an affectionate nod to my Dad’s National Service career (when he served in the RAF), it’s a popular, jolly, sturdy tune that puts a smile on your face. This made wheeling the coffin down the aisle much less painful.

You probably need one solemn, slow hymn to acknowledge the gravity of the moment. My father had already settled this by naming Eternal Father, Strong to Save as his chosen hymn in the Death Book we gave him to fill in, at his leisure, while he was still alive and well. (Death Books are very useful. Every elderly person should have one: they’re your last chance to declare how you want to be buried, who you want delivering your eulogy, etc. They also forestall family arguments after you are gone: your wishes having been expressed, the decision already made).

But one depressing hymn is enough. The others should be rousing ones that offer everyone the chance to sing their hearts out and relieve some of that pent up emotion. We agreed on Guide Me O Thou Great Redeemer and Jerusalem. We did wonder whether it was really appropriate to include two such belters. But Gary, the excellent vicar at Christ Church, Malvern, confirmed them as suitable choices. A funeral service, he explained, needs to move in waves: a quiet, contemplative, mournful bit in the middle, book-ended by outbursts of life-affirming, death-conquering exultation.

We played the old man out to the tune of JSB’s Sheep May Safely Graze. I mean, it’s such a classic why would you not?

  1. Keep Your Eyes on the Prize

From the moment I woke up on the day of my father’s funeral, I knew I had but one mission: to give my beloved Daddy the send off he deserved. Just writing that word ‘Daddy’ has brought tears to my eyes, which is why it certainly wasn’t going to be allowed to sneak into my eulogy. My job was not to feel sorry for myself but to deliver an oration worthy of the man.

Also, I’m the eldest sibling. When you are the first born - of five - it’s a job for life. No matter how much your brothers and sisters may subsequently eclipse you in terms of fame, fortune or distinction, whenever you gather together you will always instinctively observe the pecking order you had as children. Therefore, as top dog, you have to set an example. You have to be like a Napoleonic-era naval captain on the quarterdeck of his ship-of-the-line. No matter if there is carnage all around you as your decks are swept with grape, your masts are shattered and your ensign is shredded into a tattered rag. Others may fall but you must keep a cool head.

  1. Pretend It’s Not Happening

Of course, keeping a cool head is easier said than done. But for me it seemed to follow quite naturally from my decision to prioritise my delivery of the eulogy. I entered a kind of trance state in which I felt at one remove from the events around me. When the hearse rolled up with my father’s coffin inside, for example, I quickly fought off thoughts like: “Oh no. That’s my dead Pa in there and he’s not coming back.” Instead, I thought, “Gosh. This is all so intense I’m not even going to try to process it. I’m going to act as if it’s more like a dream.”

It works really well as a strategy, I find. The only problem is afterwards when you realise you haven’t really dealt with any of the emotional issues that might have been alleviated had you allowed yourself to sob and weep. Just now I had a relapse of my various ongoing health problems. Michelle, my wonderful osteo, said my cranial rhythms were so constricted it was as if I were suffering from concussion. She ascribed this - because she had come across it before with other patients - to unresolved grief.

  1. Be a Christian

You should try this sometime, if you haven’t already. Having a strong Christian faith makes SUCH a big difference to how you see death. Not for one second, no not for one fraction of a second, have I imagined that I’m not going to be reunited with my father again at the Resurrection. This is a great comfort to me.

I realise that to an atheist this will seem merely like a delusional cope. But crazy as it may seem, we Christians genuinely believe this stuff. It’s not a position we’ve merely adopted because the Bible tells us so or because we find it to be an agreeable way of dealing with the fact that we’re all gonna die. No. Knowing that there’s an afterlife, that death has been conquered through Christ’s sacrifice, is the essence of everything we think and do. We don’t feel superior to those who think otherwise. Just a bit sorry for them because, goodness, it must be hard living in a world as increasingly demanding as this one and believing that this is all there is.

  1. You Need Dick

Among the qualities I didn’t inherit from my father were a meticulous attention to detail and ability to organise things. Luckily my brother Dick did, which is why things went so smoothly. In military terms, I would be the greenhorn platoon commander desperate to find new ways of getting all his men shot; Dick is the grizzled sergeant who makes sure they don’t.

I had just two jobs - funeral service; eulogy - while Dick took upon himself at least a dozen, from collecting copies of death certificates, informing the various utilities, and booking the church and the grave slot, organising the wake - and the music and photos and sound equipment for our Dick and James tribute - to the tricksy business of dealing with a landlord who, understandably, would much prefer it if the estate went on paying rent for all eternity.

This is the advantage of coming from a large family where there is a range of children with different skill sets. I always knew that having lots of brothers and sisters was a blessing. But I never knew quite how much till my father’s death brought us all together more closely than ever.

So that’s my final piece of advice. If you can and it’s not too late: have lots of children!

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How to Deliver the Most Important Speech of Your Life
First, Throw Away Your Script...

I have just delivered the eulogy at my father’s funeral. Was it the most important speech of my life? Well, definitely up there. You only get one shot at giving your old man the send-off he deserves, so you need to get it right.

The temptation on these occasions - and this applies equally to events like daughters’ weddings, best man’s speeches etc - is to make your excuses in advance. “People will understand if I don’t deliver. These occasions are so fraught. You never know how you’re going to react,” you may tell yourself. Sure. But do you really want to spend the rest of your life castigating yourself for how much better you could have been?

You could, of course, play for safety. Type out your speech in advance and read it from a script. This will skirt a lot of potential pitfalls: you can rehearse it so you feel comfortable with it; you’ll have timed it so it won’t overrun; you’ll know you’re not going to say anything clumsy or embarrassing because, perhaps with the help of a trusted adviser, you will have carefully edited it in advance; you (or your paid speechwriter) will have tailored it perfectly with a beginning, middle and an end.

But you will never deliver much more than an average speech. This is first because, unless perhaps done by professional actors, scripted readings never sound as natural or engaging or easy-on-the-ear as unscripted ones. Second because a first-rate speech is a living, breathing thing which responds to the moment. And third because nothing is quite so stimulating to the creative impulse nor thrilling to the nervous system nor makes a speech so exciting to deliver as the terror of going out before an expectant audience and not knowing quite what you are going to say.

Obviously, you’ll need some idea of what you’re going to say. If you don’t know roughly what you want to say you shouldn’t be giving a speech. But this isn’t such a problem as you might think because you do already know what you want to say. What you want to say is the single most important thing that needs to be said about the given topic.

In the case of my father, for example, the important thing was this: he was very special.

But almost every one thinks their Dad is special. What I then had to do was work out what exactly made him so special. Otherwise, I would be in danger of regurgitating a splurge of platitudes and, worse, failing in the one job you have when delivering a funeral oration: capturing the measure of the man (or woman) whose life is being celebrated.

A few ideas came to mind. His bloody mindedness. His pathological aversion to following rules. His insatiable curiosity. His joyous discovery in 1965 when the first of his children was born was that his main purpose in life was to build an empire of Delingpoles.

My father loved being the Delingpole patriarch. (It’s a niche role. There really aren’t many of us). And he liked the idea that rather than preparing his children for the world, it was the world’s job to adapt itself to Delingpoles. Though his five children were all very different, they were very recognisably of the species.

That was my next conundrum. What does a Delingpole look like? I decided they had two defining qualities. One, a very distinctive sense of humour: sometimes warped, often inappropriate, invariably piss-taking. Two, a stubborn determination to be themselves regardless of the personal cost in terms of embarrassment, financial security or ability to gain social acceptance.

Now I had my main theme. I make it sound easy but this is only because I am writing about it after the event. What I haven’t yet mentioned is the hours and hours - and hours - of time I wasted, thrashing about in my head and devising all manner of extraneous verbiage which would end on the cutting room floor.

If I’d read a piece like the one I’m now writing, I could have saved myself an awful lot of trouble. The thing you need to keep in mind when you are constructing a speech is how little time you have to say what needs to be said. So there’s no room - or very little - for anything that is not essential to the main theme.

Oh, and don’t worry about jokes. Or off-the-cuff digressions. Or topical remarks. These will all occur to you naturally in the moment, once you’ve had a chance to assess your audience and the general mood. They don’t need to be worked up in advance: indeed they shouldn’t be because then they turn into darlings. And the only thing to do with darlings, you may remember, is to kill them.

With speeches - as with essays - you won’t go far wrong if you stick to the old, basic, tripartite structural rule:

First, say what you are going to say; then say it; then say what you have just said.

Rules are made to be broken, as we’ll see in a moment. But that one keeps you honest and focused on the task in hand, viz, not skittering around like a crazed dog looking for more exciting new ideas to cram in, but finding ways to amplify your main point so as to enable your audience more fully to appreciate it.

Remember, unlike you, your audience haven’t been living with this speech for the last umpteen weeks. This is their first exposure to it. So what may seem to you like overkill may to them feel more like light understatement bordering on incomprehensibility.

And given that your audience are mainly the people on whom the success of your speech stands or falls, you want them onside. This means not just giving them a line of argument they can clearly follow - even if they are elderly and half deaf, which is not uncommon among funeral congregations - but also making them feel wanted and part of the occasion.

That’s why, early on in my address - but not before I’d got over The Hump - I told everyone present that they were part of the family. “Today you are all honorary Delingpoles”, I said. And I meant it because the fact that they’d all turned out to say goodbye to my father on the hottest day of the year told me all I needed to know: that all of these people were discerning enough to have recognised something special in my father; likely he felt the same way about them. It’s worth remembering that at funerals when you’re not close family you can feel a bit of an imposter. “Should I really be here among so much private grief?” you wonder. A quick acknowledgement from the lectern is a reassuring thing to hear.

Now you’re wondering what The Hump is. This is the name given by my old - and now sadly deceased - friend Brian Robinson for the nasty part at the beginning of a speech which you always dread and somehow have to get past. Once you’ve over The Hump, you’re cooking with gas. And The Hump itself need not be a problem, Brian (a former actor turned professional speech coach) advised. You just need to acknowledge its existence and tackle it head on by preparing for it and dealing with it rather than ignoring it and hoping it will go away.

My biggest challenge, I decided, would be to find an anecdote which simultaneously grabbed the audience’s attention, set the tone of the eulogy (affectionate, amused, upbeat, funny not sad) and didn’t outstay its welcome.

On these occasions - seriously: try it! - I find that appealing to God makes all the difference. I prayed for His help in delivering a eulogy worthy of my father. And God came up trumps by supplying me with the perfect anecdote.

It went roughly like this.

“The first time I realised my father was different was 52 years ago when I was sent off to board at a prep school only about half a mile from where we are now. All the other eight year olds knew how to kick a football, pass a rugger ball and catch a cricket ball. I could do none of the above because my father had never shown me. But I was the only boy who knew the Latin name for the common European wall lizard.”

The reason it works is because it’s funny (well I think so), it hints at the theme which will be enlarged on in the body of the eulogy, it makes a geographical connection with both the location and the audience, it doesn’t last more than a minute, it’s easy to remember (as deep-seated personal recollections always are) and it ends with a clearly defined punchline.

But you’re still not over The Hump just yet. First you must make the transition from your grabby intro to the speech proper. This isn’t easy because you’ve likely paused to allow the audience to appreciate the punchline of your opening anecdote, giving them a chance to laugh as they’ve probably been gagging to do because funerals can be so tense. So how do you do this?

Well the solution I came up with, more or less on the spot because at this point I was letting nervous energy and divine providence take care of the heavy lifting, was to acknowledge what an awesome privilege but also a terrifying responsibility it was to be the one who has to deliver your father’s eulogy. I then observed how very much my father would have disapproved of my trying to do it without any notes, it being such a huge risk to take at an occasion so important - and surely, I ought at least to have a safety net ready just in case.

“But it’s your fault, Pa,” I said. “You bred us this way!” Which is true. He did. He never stopped trying to give us advice on the courses we should take in life but we never ever listened to him and I think he took pride in our utter obliviousness to his wishes. It was a sign that we were the free spirits that he wanted us to be and hoped we would be.

From that point on it was almost plain sailing. All we needed now was a pay off: something to reward the audience for their patience and give them the sense of a speech satisfyingly concluded; but also, more importantly, something that left you with the feeling: “Yes. This was truly special man we’ve just been celebrating. And we’re all going to miss him greatly.”

I decided to break the “Say what you’re going to say; say it; say what you have just said” rule by introducing a sub theme. This was because I had belatedly realised that I had something else very important I needed to say about my father. It had only occurred to me in the weeks after his death when my head was suddenly awash with memories of him and I was trying to make sense of them, trying to work out who he really was. You think you know your father when he is alive but you don’t because you are too busy taking him for granted. Only when he has gone do you start asking yourself: “Who actually was this person whom I’ve now irretrievably lost?” When he’s alive he’s your dad and this relationship colours everything you think about him. But when he’s gone you find yourself trying to understand the world as it might have been from his perspective instead of from yours.

What stood out for me was what a blinder he had played with the cards he’d been dealt in life. Anyone - well, almost anyone: probably not my father who was never much cop at bridge - can win a hand when they’re holding all the Kings and Aces. But it’s how you play the average hands or the shitty hands that are the truer mark of character. Though my old man was born to a life of relative privilege - it was neither easy nor conventionally successful. He suffered bouts of depression; he was cruelly cut out of his father’s will; his first two marriages ended in divorce; his business ventures failed; he had never wanted the career that was forced on him by his father and would have been much happier, probably, as an academic or some kind of maverick, independent researcher or author. Yet no one in that church would have considered him a failure for one second. Because he wasn’t. On the contrary, he repeatedly turned what could have been disaster into triumph by resolutely focusing on the main prize.

And what was this main prize? Hard to define, exactly, but we all had a sense of it in our hearts because it was why we were all there celebrating the life of a man who in his various ways had meant so much to us. As I wrote in my Spectator tribute - which, rather sweetly, the undertaker Georgia placed in his coffin so he could digest it at leisure - I grew almost weary of being told by people who had met him what delightful company my father was. He was both interesting (RAF Chinese language specialist; racing driver; guppy breeder; reptile and amphibian collector; inveterate traveller; etc) and interested, always curious in other people, always wanting to find out more. That’s why on his gravestone, we shall be inscribing one of his favourite catchphrases: “What else do you know?” His desire for new information was insatiable.

This led naturally to my conclusion. I quoted the epitaph on Sir Christopher Wren’s tomb. A bit of a cliche, but apposite. Si monumentum requiris, circumspice. Wren’s epitaph referred to his greatest creation, St Paul’s Cathedral. My father’s to the place he occupied in the memories of all those people - perhaps 150, not bad for a 91-year old who’d outlived all his friends - who’d come to the church to see him off.

Goodbye Pa. We’re going to miss you terribly. But you’re going to live on in all sorts of ways that you could never have imagined. This piece, for example. Someone, somewhere is going to find it useful or comforting or even inspirational. And it’s you they should thank for that, not me.

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Don't Feed The Demons!

The other day someone wrote something infuriating on the internet which required an angry rebuttal. This happens to me quite a lot, as I suspect it does to you. I had many pressing things to do that morning which demanded my attention - a tribute to write for the Spectator about the death of my beloved, favourite hunter Carpenter; arrangements to make for my father’s funeral; and any number of urgent gardening tasks to fulfil in order to keep my wife happy.

But really this angry rebuttal could not wait. So, poisoned keyboard at the ready, I set about my work. The problem was that no matter how hard I tried, I could never strike a sufficiently satisfying note. I tried cattily sarcastic; then loftily superior; then cool, restrained but implacable; then charming and conciliatory but not really. Numerous drafts and far too many minutes later, I was still no closer to my goal - probably because I wanted to achieve too many contradictory effects simultaneously. On the one hand I wanted to crush, humiliate, mock and destroy. On the other I wanted to set the facts straight in such a way as to prove beyond all reasonable doubt that The Truth was on my side. I also wanted to show myself to be the better person: the good guy in this ugly feud with whom everyone reading it should identify.

https://www.jamesdelingpole.co.uk/Writing/Articles/why-we-can-t-all-get-along?preview=1

Then suddenly I realised - “****!” - I’d just missed the first fifteen minutes of my gym class. So carried away had I been my righteous desire for vengeance over something ineffably trivial and forgettable that I had stopped myself doing something that was actually good for me; something I had been looking forward to all morning; something far more valuable and life enhancing than getting involved in yet another silly, pointless, worthless row with some nonentity.

At times like this, I’m reminded of the words of David in Psalm 37.

Leave off from wrath; and let go displeasure; fret not thyself else thou shalt be moved to do evil.

Nothing useful would have been achieved had I responded to the person who had irked me. However cunningly I had phrased myself, they would have still taken umbrage and would have been confirmed in their view that I’m loathsome, arrogant, entitled, petulant, controlled opposition, closet MI5 etc.

This is because many - though not all - of the people who have a go at you on social media are not doing so in good faith. They’ve already made up their mind what they think about you. At this point, even if you were to walk towards them across a lake, heal their genital warts and transform all their bottles of Tesco plonk into Chateau Cheval Blanc ‘47, they’d still have you down as an obvious Wrong ‘Un.

Again, the scriptures have some invaluable words to say on this subject.

And whosoever shall not receive you, nor hear your words, when ye depart out of that house or city, shake off the dust of your feet.

Yes, specifically this is Jesus - in Matthew 10:14 - advising His disciples how best to spread the gospel. But like so much in the Bible - which I consider to be an instruction manual on how to navigate a fallen world - it carries many broader, practical implications.

Nobody is universally liked. Not even Jesus. (Indeed, especially not Jesus). So there’s no point trying to win battles with the people who hate you because all it does is leech away the valuable time you’d be better off spending on the people who like you and are receptive to your message.

I’ve written already about the destructive spats which have arisen of late in the Awake Not-a-Community. No doubt they feel incredibly important to the people participating in them. But the majority - I suspect, the vast majority - of Awake types are thinking: “What IS this crazy shit? Why do we have to take sides in this argument that is being thrust in our face like it’s the Wars of the Roses and we have to declare for the Yorkists or the Lancastrians on pain of death? Why can’t we just have another podcast or post where we learn something useful about the real baddies we’re facing in this epic struggle between good and evil, either that or one that’s fun and where can at least have a laugh?”

So it’s to this majority that in future I shall try to direct my energies. Note that word ‘try’, because I doubt very much I will always succeed. The problem with these little hate-fests is that they are so incredibly seductive. We all need our dopamine hits - the Cabal have trained us to do this by giving us iPhones and social media and so on - and just as the Normies have their kickyball to get them all worked up, distracted and controlled, so we in Awake world have our periodic witch-hunts and bouts of purity spiralling and hanging-drawing-and-quarterings.

And sometimes it’s FUN being bitchy and spiteful and appearing to win. I look at some of Milo’s ripostes on Twitter and think: “Go Milo! You so totally OWNED that awful person!” Owen Benjamin, another character I admire, is pretty good at this stuff too. But it requires a lot of dedication and effort. You have to be perpetually on it if you want to keep the whole swarm of those pesky mosquitos continually swatted. And what I’m wondering is: is it really worth the time and energy?

What I also wonder - hence the title of this piece - is: “And isn’t it just feeding the demons?” Whenever I’m tempted to pile into one of these spats, I hear a voice in my head going: “But what’s the point of reciting Psalm 37 every day if you’re going to treat it like empty words which you can casually ignore?” Then I hear the counter argument in my head which goes something like: “Oh come on! You’re allowed a bit of leeway. Spiking people who deserve it is satisfying and fun. Your fans love it because it shows you being witty and on-brand. You’re not a monk, for goodness sake. You’re a high class edge lord.”

I trust the first voice, though, more than I do the second. What I know about demons - which I believe are totally real, of course - is that they feed off negative energy. They love generating rows and they have several millennias’ worth of experience to show them exactly which buttons to press in order to achieve the desired effect. If they can lure you into the fray by saying “Hey - it’s naughty but you’re good at it and you know you love it!” then that’s the bait they’ll use. But they’re equally adept at appealing to what you think is your better nature, viz: “My motives are pure. I am a selfless servant of the truth and it matters not how many people I upset nor how much glorious martyrdom I suffer at the hands of those doubters who think I have gone too far, for I am the paladin of justice and right is on my side.”

Of course, having made this argument I recognise I have now made myself an open target for those mosquito swarms. “Yeah but last month you said this…!” or “But you’re always accusing people of being Controlled Opposition.” True but - re-read the piece, moron! [sorry God] - I never said I was a saint. I do aspire to be one, for that is the Christian ideal, but being a sinner I fail more often than I succeed. That’s one of the reasons I have to write pieces like this one. I need to remind myself, and anyone else who will listen, that this spiritual battle we are fighting ought to be front and centre of everything that we do and think; and that the moral and behavioural restraints that Christianity seeks to impose on us are not there (as the devil would pretend) to turn us into sanctimonious prigs in thrall to a capricious sky fairy. Rather, these restraints are there to help us and protect us and make us better.

That is what I meant earlier when I talked about the Bible being a practical survival guide. It’s an advice manual full of tips that really work in day-to-day life. As an example of this let me tell you what happened recently after someone really had a go at me in the comments on Substack. He called me out as a liar, a fraud, a ‘Chaos Agent’, implied I was only using scripture to give myself a kind of fake ethical legitimacy, that I was making a mockery of my audience, etc etc. It could have been quite hurtful. Actually, it was quite hurtful - especially coming from someone whose intelligence and scholarship I admired, and with whom I’d hitherto had friendly dealings on my podcast.

So, naturally enough, my immediate urge was for dire vengeance. In my feverish, injustice-traumatised brain I began working on the perfect killer riposte.

Then I thought. “Wait a second. Those demons really are desperate for your attention and you’re in strong danger of giving it to them. Surely there is a better way?”

And there was. Listen to my latest podcast with Robert Frederick (aka Hidden Life Is Best). I think you’ll love it because it’s really, really good. But it would never have happened if I’d fed those demons.

https://locals.com/jamesdelingpole/feed?post=8012229

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