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Reverse Speech

Voices From The Unconscious

by David John Oates

=0DCopyright =A9 1996 by David John Oates



All rights reserved. No part of this work may be reprinted in any form or=

 by any means without permission in writing from the author.

Published by: 	ProMotion Publishing

	3368-F Governor Drive, Suite 144

	San Diego, CA 92122

	1-800-231-1776

Reverse SpeechTM is the term used to describe the phenomenon of Glossolan=

ostics: the analysis of an unconsciously acquired verbal language built i=

nto the sounds of human speech. Reverse Speech is a trademark and service=

 mark owned by David John Oates. For more information about Reverse Speec=

h, contact:

				Reverse Speech

				P.O. Box 1037

				Bonsall, CA 92003

Library of Congress Cataloging-in-Publication Data

Oates, David John, 1955-

Reverse Speech: Voices From The Unconscious

by David John Oates =



ISBN: 1-57901-000-8

	p.	cm.

Includes bibliographical references and index.

1. Oral communication=97Psychological aspects. 2. Backward masking. 3. Su=

bliminal perception. I. Title

Dedicated to

Timothy Pascoe

Thank you so very much

for all your help

With special acknowledgment to

Karen Boone

for her unwavering

support and commitment

and

Kathleen Hawkins

for her editorial assistance

Life can only be understood backwards, but it must be lived forwards.

=97Soren Kierkegaard

The discipline of linguistics can be likened to a pathway which is being =

cut through the dark and mysterious forest of language. Different parts o=

f the forest have been explored at different times so we can depict the p=

ath as a winding one.

=97Jean Atchinson, Teach Yourself Linguistics

Four legs and two voices. A most delicate monster! His forward voice, now=

, is to speak well of his friend; His backward voice is to utter foul spe=

eches and to detract.

=97Shakespeare, The Tempest, Act II, Scene II

Contents

Preface	ix

Author's Note	xiii

Process Notes	xvii

  1.  The Discovery Of Reverse Speech	3

  2.  The Initial Research	13

  3.  The Source Of Reverse Speech	23

  4.  The Communicative Nature Of Reverse Speech	39

  5.  Reverse Speech In Children	59

  6.  Reverse Speech Images	75

  7.  The Intricacies of Speech	97

  8.  Sex	125

  9.  Therapy	155

10.  Music	171

11.  Reverse Speech In Action	187

12.  Developing Areas Of Research	211

Footnotes	227

Author's Biography	235

Appendix I: 	Locating Speech Reversals	237

Appendix II: 	Getting Involved with Reverse Speech	239

Appendix III:  Reverse Speech Metaphor Dictionary	241

Appendix VI: 	Coincidental Reversals	255

Appendix V: 	Media, Professional =



And Client Comments	257

Index	263

Preface

David John Oates has introduced an understanding of human communication t=

hat, in every likelihood, is a major breakthrough of the century. With hi=

s characteristically rigorous, scientific, and meticulous approach, he ha=

s developed the technology to demonstrate and apply Reverse Speech toward=

 the improvement of human life.

Reverse Speech analysis and its corresponding technology are major discov=

eries of how human beings communicate with each other at a deep level, fa=

r beyond ordinary awareness. Mr. Oates has taken a bold, important step i=

n the advancement of human communication.

Profound Discovery

"Backward masking" or "backmasking" was first noticed when the Beatles be=

came popular and teenagers began to talk about hidden messages in some of=

 their music.

Religious fundamentalists created further interest by stating that certai=

n songs contained negative, subliminal phrases and commands, commercial s=

uggestions, and other cryptic messages discernible only when the music wa=

s played backwards.

Now, Oates has proven that reversals are indeed present in music and, muc=

h more significantly, he has discovered that reversals exist naturally in=

 all human speech, no matter what the subject and no matter who is talkin=

g. Any recorded human speech, when played backwards, contains reversals t=

hat appear as intelligible forward phrases amid the backward gibberish. I=

n addition, these reversals are not just random words=97they actually com=

municate to anyone who will listen. They verify, negate, or expand upon t=

he subject that is being discussed.

Naturally occurring speech reversals go far beyond the early attempts at =

intentional backmasking in rock music. Reverse Speech is an entirely diff=

erent issue. In this book, David discusses at length his revolutionary di=

scovery that:

Human speech has two distinctive and complementary functions and modes. T=

he Overt Mode is spoken forward and constructed by conscious cognitive pr=

ocesses. The Covert Mode, spoken simultaneously with the Overt Mode, is a=

 reversal of the forward speech sounds, and is constructed by automatic c=

ognitive processes.

These two modes of speech are dependent upon each other. They form an int=

egral part of communication. In the dynamics of interpersonal communicati=

on, both modes of speech communicate the total psyche of a person=97consc=

ious as well as unconscious.

The process of language development in children starts backward before it=

 does forward. Children first develop the Covert Mode of communication an=

d then, as Overt speech begins, these two modes gradually combine into on=

e, forming a bi-level communication process.

Speech reversals, which the listener must carefully glean from surroundin=

g backward gibberish, occur on the average of once every 10 seconds, with=

 the number of reversals increasing when the conversation is casual and/o=

r emotionally charged.

A serious and methodical researcher, Oates cites many examples in which t=

he unconscious mind:

Expands, in reverse, on what speakers are saying in their forward speech;=



Contradicts or verifies, in reverse, what speakers are saying;

Engages in "self-talk," in reverse, that attempts to resolve a speaker's =

inner, personal conflicts;

Responds directly to others' reversals, thus explaining, at least in part=

, the very nature of human intuition.

Dynamic Transformations

The applications of this new technology are so far reaching that the very=

 nature of human communication as we know it may be changed.

Reverse Speech has already been used effectively in a wide variety of pro=

fessions including psychotherapy, police work, sales and marketing, perso=

nality development and counseling of children, advertising, relationship =

counseling, law, and business negotiations=97all of which are discussed i=

n this book.

The benefits of Reverse Speech have become remarkably clear to me in my o=

wn work as a psychotherapist, a trainer, a designer of therapeutic progra=

ms, and as a consultant to legal and management professionals. Accordingl=

y, I expect Reverse Speech, when used by properly trained and compassiona=

te individuals, to make a lasting and a significant contribution to the f=

ield of communication and to the transformation of human beings.

=97Dan Mitchell, Ph.D.

Psychotherapy Trainer and Consultant

Dallas, Texas

Author's Note

In April, 1984, a single event dramatically changed my life. I was the di=

rector of a privately-funded halfway house for teenagers in Berri, a smal=

l, country town in South Australia. An evangelist from the United States =

had just conducted a crusade down in "the big smoke," South Australia's c=

apital city, Adelaide. He was spreading the word that rock 'n' roll was t=

he devil's music and contained backward satanic messages. The word travel=

ed up the grapevine, tapes were distributed, and I had several frightened=

 teenagers on my hands who claimed to have heard demons talking to them b=

ackwards on records. My initial reaction was amused skepticism, mixed wit=

h anger toward the evangelist for scaring the kids with such rubbish.

I calmed the kids down and went home that night to investigate and debunk=

 the whole thing. I had been an active amateur radio operator for the las=

t ten years (VK5ADO) and an electronics and audio enthusiast. I rewired s=

ome equipment, found one of the suspect tracks and played it backwards. T=

o my complete surprise, an intelligible phrase appeared to be there. Over=

 the next months, my curiosity increased significantly as I conducted num=

erous tests with many audio tracks, both forward and backward.

In 1987, my curiosity turned to full-time research and I spent all that y=

ear meticulously analyzing and documenting hundreds of hours of tapes. Wi=

th overwhelming and irrefutable evidence of numerous backward messages in=

 both music and speech, I became convinced that we had discovered another=

 form of communication.

I contacted academicians who discreetly told me that I was crazy, investi=

gators who told me they would contact me if interested, and people from t=

he media who asked me who I was to make such outlandish claims.

Eventually, in November, 1987, I self-published and distributed the book,=

 Beyond Backward Masking. At that stage, the media covered the story and =

within six months, Reverse Speech had become a highly controversial topic=

=2E

I found myself with a new career, trying to understand what backward mess=

ages meant, verifying their existence, and talking with others about them=

=2E Various professionals started to work with this new phenomenon and to=

 prove my theories.

Several significant events dispelled remaining doubts about the existence=

 of the phenomenon.

Electroencephalogram tests verified that brain-wave activity changed whil=

e backward messages occurred.

Interviews conducted with strangers revealed details of people and events=

 in their lives. In an interview with a television reporter in Brisbane, =

Australia, I found the reversal Steve was my bad brother. The reporter di=

d have a brother, Steve, with whom she had been on bad terms for years. O=

nly days before the interview they had settled their differences, hence, =

her use of the past tense in the reversal.

Case studies I conducted revealed private facts in reverse. For example, =

in a case analyzed for an Australian psychotherapist as she put her clien=

t into a hypnotic trance, I found the reversal Shamrock. You must bear hi=

m that, his memory. When the therapist reviewed the session transcript, s=

he acknowledged that "Shamrock" had special significance to the client wh=

o had given her a shamrock as a condolence when her son died. Its use as =

a reversal at the beginning of the trance induction re-articulated the cl=

ient/therapist bond necessary for successful therapy.

In a police case, I found accurate details in reverse about weapons that =

were used in a crime, facts that were not made public. In another case, I=

 found in reverse the location of hidden funds. The police found this evi=

dence exactly where the backward messages said they were.  =



Since those early stages of research and with the resulting proofs, I hav=

e traveled and lectured extensively. I have worked successfully with psyc=

hotherapists, with the police, and with the public. Communication and the=

 unconscious mind have become my constant focus. Now I find myself in a r=

ole that was not originally in my life plans=97the role of someone presen=

ting new theories about language, communication, and the nature of the un=

conscious mind.

For some, my ideas may seem unbelievable simply because they are new. Thr=

oughout history, humanity has had difficulty accepting new discoveries an=

d theories such as, the world is round and people can fly. Pioneers are c=

onsidered great people now, and yet, when they first presented their idea=

s, many of these courageous people were ridiculed and rejected as cranks.=

 New theories tend to threaten some of us because they challenge our fixe=

d views of the world in which we live. But such is the nature of change.

I trust that as you read this book, you will remember the lessons of hist=

ory and be receptive to the ideas presented. They are different and unusu=

al. And, they may very well change civilization's concept of language, ps=

ychology, and the way we view the very make-up of the human psyche.

I wish you pleasant reading.

=97David John Oates

San Diego, California

Process Notes

Reversals are symbolic in nature. Some examples of reversals and their in=

terpretations in this book may be considered open to alternate interpreta=

tions, in spite of every effort to be completely accurate. Speech reversa=

ls are a new discovery that involve one of the more complex of natural ph=

enomena--the human mind--and much research remains to be done. The interp=

retations and theories that I set forth in this book must be taken in thi=

s light.

I will not be responsible, nor will the publisher of this book be respons=

ible, for the consequences of any counseling using speech reversals, any =

publication of reversals that a reader may claim to find, or any other wo=

rk done based on information contained herein. Training in the identifica=

tion, analysis, and use of speech reversals is available through the clas=

ses and seminars offered by Reverse Speech Enterprises.

Regarding the transcripts of interviews, portions of interviews, and my a=

nalysis of them, please note the following:

I have taken all transcripts from the extensive library that I started to=

 compile in 1984. I have not tampered with, or changed, the recordings in=

 any way from the original recordings.

I have analyzed the recordings according to the criteria detailed in this=

 book.

To protect the identity of people involved in the case studies, names, pl=

aces, and some sections of the forward dialogue (but only the forward) ha=

ve been changed. In addition, releases were obtained from these people to=

 publish their transcriptions in this book, even though their names were =

changed.

All reversals are quoted EXACTLY as they appeared during my research.

Since I often worked alone while researching and gathering the informatio=

n in this book, a second or third opinion was not always available that m=

ight have helped me to decipher very fast or muffled reversals. On most o=

ccasions, however, participants listened to their own reversals and valid=

ated them.

I have put all reversed dialogue in bold print. Some reversals appear as =

broken phrases. In these cases, I have separated them in the text with a =

slash mark ( / ). The forward dialogue that is responsible for the revers=

als is indicated by brackets: [ ].

=0DThe Discovery

Of Reverse Speech



'Tis strange but true; for Truth is always strange=97Stranger than fictio=

n.	=97Lord Byron (1788-1824) Don Juan







Communication. It is a simple word that describes one of the most complex=

 functions of our nature as human beings.

All of us communicate with each other in a variety of ways. For example, =

I am communicating now as I sit at my desk, typing on my computer. This i=

s written communication: a series of symbols that anyone who has learned =

how to read can decipher.

Spoken language is another obvious form of communication which, when comb=

ined with our own personal speech patterns and emotional tones, becomes a=

 unique expression of our individuality.

The overall process of communicating, however, involves using more than j=

ust the spoken word. Facial expressions, body language, eye movements and=

 many other often unconscious signals are automatically constructed, sent=

 and received by the brain. Many of these diverse, complementary brain fu=

nctions are not under our conscious control, such as Freudian slips, meta=

-language and Reverse Speech.

Communication is a tribute to our endless complexity as human beings and =

to our evolving natures, as well as an invitation to understand ourselves=

 more thoroughly.

Have you ever made a "Freudian slip," said something embarrassing that yo=

u did not mean to say? Or, maybe you have used an involuntary facial expr=

ession or a gesture to inadvertently express a feeling that slipped throu=

gh your conscious guard.

Can you trust your own communicative signals to express what you really m=

ean or, perhaps even more to the point, can you trust the signals that yo=

u receive from others? Often you need to depend on more than just what so=

meone is telling you verbally. How can you more accurately know when peop=

le are lying to you or hiding pertinent facts?

People constantly, often unconsciously, check the signals they receive fr=

om others for truth or error. This checking or screening process is typic=

ally called "intuition" or "the sixth sense." How does this happen? What =

is it that makes people know, even "feel" that the signals they receive f=

rom others are valid=97or invalid?

Meta-language

Some signals are obvious such as emotional emphasis or body language and =

yet, there is even more to the process of intuition. Some researchers sug=

gest that another hidden form of communication exists that tells us what =

is true and what is not. This covert form of communication is called "met=

a-language"=97a language that is changed in place or form, hidden behind =

our conscious language, existing in conjunction with and even transcendin=

g, that which we communicate consciously.

Does this hidden or "meta-language" have a form that we can analyze, reco=

gnize consciously, or even use? Is it as simple as body language or as co=

mplex and esoteric as extrasensory perception? Or, is it a combination of=

 them all?

Often the most complex and puzzling problems have simple solutions. Can t=

his be the case with intuition? Can it be that humankind's quest for cent=

uries to probe the human mind, to find the elusive doorway, to understand=

 our nature and the hidden parts of our psyche also has a simple solution=

?

After years of carefully documenting research, I have found that there de=

finitely is a hidden form of communication that we can recognize, access =

and analyze. A reliable way to gain entry into the inner parts of our min=

ds lies in the very nature and structure of spoken language. We can explo=

re our elusive psyches simply by playing a tape recording of human speech=

=97backwards.

Backward Masking Discovered in Rock 'n' Roll

In the late 1960's, the famed Beatle, John Lennon, created a new recordin=

g technique when he accidentally spliced in the last part of the song "Ra=

in" backward and then liked the effect.1 It was the first of a series of =

bold experiments in the attempt to be original and to create special effe=

cts in The Beatles' music.

Shortly after, an American disk jockey, having received an anonymous tip,=

 claimed to have discovered eerie, hidden backward messages on some of th=

e Beatles' albums, which hinted that bass guitarist Paul McCartney had be=

en killed in an automobile accident. It sparked imagination and, for a ti=

me, caused a great deal of attention to be focused on the Beatles' album.=

 Were there hidden messages? Was Paul McCartney really dead? If he was, w=

ho was impersonating him?

Since that time, these hidden backward messages and others subsequently f=

ound in recordings by various musicians, have captured the media's attent=

ion and led people to speculate on the effects they have on people's beha=

vior. For example, Charles Manson supposedly was driven to a crazed frenz=

y after allegedly hearing voices in the Beatles' music that told him to k=

ill. Mark Chapman murdered Lennon in 1980, after also claiming to hear vo=

ices in the "Double Fantasy" album that told him to kill Lennon.

On April 28, 1982, CBS Evening News ran a story stating that 30 teenagers=

 in Huntersville, North Carolina, had organized a mass rock record burnin=

g through their church led by a reformed rock musician-turned-minister. T=

he devil was doing it, so they claimed=97possessing the singers and manip=

ulating their voices so that subliminally-implanted backward messages cou=

ld be placed on records to destroy the youth of America.2

Then, in a five-year legal process that concluded in 1990, heavy metal mu=

sic was placed on trial in Reno, Nevada, following the death of two youth=

s who killed themselves after listening repeatedly to a Judas Priest albu=

m. Attorneys for the boys' parents claimed that the album, "Stained Class=

" was "backmasked" with subliminally-implanted backward messages.

To many, backward masking seemed to be a gigantic hoax, yet the controver=

sy just would not go away. It has been taken so seriously by some section=

s of society that in 1982, the United States House of Representatives pas=

sed a bill calling for all suspect records to be labeled:

Warning: This record contains backward masking that makes a verbal statem=

ent which is audible when this record is played backward and which may be=

 perceptible at a subliminal level when this record is played forward.3

The bill did not proceed through the Senate to become law, but the questi=

ons persisted. So what is this phenomenon of backward masking really all =

about? Is it all the product of overactive imaginations? Are rock musicia=

ns really inserting subliminal backward messages into their music? Is the=

 devil involved? Or, is there something far deeper and much more profound=

 to this whole concept=97something so obvious that it has been overlooked=

 by just about everyone?

Two types of backward messages are often confused: intentional and uninte=

ntional.

Intentional backward masking in which a recording studio or artist has sp=

liced an additional recording backward onto the main, master track. This =

is a fairly easy, infrequent practice that some bands use for special eff=

ects or publicity gimmicks.

Unintentional backward messages in which the message has not been placed =

by recording techniques, but instead appears mysteriously among the gibbe=

rish.

Intentional Backward Masking

Intentional backward masking was the type that John Lennon created with t=

he Beatles' song, "Rain." It is easy to recognize. When listening to the =

recording forward, it can be heard as gibberish. When the record is playe=

d backward, the gibberish, or the additional soundtrack superimposed back=

ward, becomes clearly understandable English. In the case of the song "Ra=

in," strange sounding vocals at the end of the song become an intelligibl=

e reprise beginning with the drawn-out word Sunshine.

The White Album

The "Paul is dead" conspiracy was also, to some extent, an example of int=

entional backward masking. Probably the most well-known case of this can =

be found on the song, "Revolution 9," from "The White Album."

The eight-minute track is a surrealistic collection of disjointed sounds =

played both forward and backward. Listeners can hear many things on this =

track: radio broadcasts, sirens, applause, screams, laughter, a baby gurg=

ling, plus other sounds.

There are also concealed messages. An obvious one can be found approximat=

ely five minutes into the recording. It is forward and I could hear it on=

ly with the left track turned off. The blank spaces below indicate places=

 I could not identify the words with confidence, even though others claim=

 to have heard more. It says:

So the wife called and we better go to see a surgeon. . . Well, what were=

 the prices? The prices have snowballed, no wonder it's closed. . . So an=

y and all, we went to see the dentist instead, who gave him a pair of tee=

th, which wasn't any good at all. So instead of that he joined the bloody=

 Navy and went to sea.4

Further on in the track, a backward message can be heard under the pandem=

onium of loud screams and someone calling out, "rape." When reversed, the=

 words, Let me out, let me out, can be heard. When this was discovered, s=

ome people claimed that it represented Paul McCartney calling out from hi=

s smashed up Aston Martin, which is where he supposedly "died."

Another backward message on this song, which added fuel to the fire, can =

be found when the phrase "number nine," repeated throughout the song, is =

played backward. The words become, Turn me on dead man, turn me on dead m=

an. This phrase is not an engineered backward message, but rather the res=

ult of a phonetic oddity. It could be said to be coincidence, but, to my =

mind, this is hard to believe, given the inventive mind of John Lennon an=

d the theme of the track.

Yet again, toward the end of "Revolution 9," there appears to be another =

deliberate word reversal that is not as innocent as other hidden messages=

 that the track contains. John Lennon calls out (forward) the meaningless=

 sound, "Oomcha!" Played backward this says, Satan. =



Also on "The White Album" at the end of the song, "I'm So Tired," there i=

s gibberish that when played backward says, Paul is a dead man. Miss him,=

 miss him, miss him.

The Magical Mystery Tour

The "Magical Mystery Tour" album by the Beatles also contains hidden mess=

ages. One can be found at the end of the song, "Strawberry Fields." A fai=

nt voice seems to say (forward): "I buried Paul." When questioned about t=

his message, John Lennon told Rolling Stone magazine that the words were =

"Cranberry sauce."5

The message is so faint that it is difficult to decide what was actually =

said. Nevertheless, a massive controversy erupted when this and other mes=

sages were uncovered. Paul had died, or so many believed and the Beatles'=

 record sales skyrocketed as avid fans searched for these "secret" messag=

es.

Abbey Road

Further evidence that supported this rumor were tantalizing clues such as=

 a photograph on the cover of "Abbey Road" that shows Paul walking barefo=

ot across a road with the other Beatles. Why was he barefoot? Because tha=

t is how he was buried, or so the story goes. A white Volkswagen in the b=

ackground of the album cover has on its number plate 28 IF=97the age Paul=

 McCartney would have been "IF" he had not "died." On the cover of the "S=

ergeant Pepper's" album, a floral design that represents a guitar was bel=

ieved by many to really resemble Paul.

Cloud Nine

An aftermath of this conspiracy controversy can be found in an album rele=

ased many years later by George Harrison. "Cloud Nine" contains a hidden =

message at the end of the song, "When We Were Fab," which sings about the=

 old Beatles days. It is forward, quite faint and says: "Paul isn't dead.=

 The Beatles died."

Of course, Paul McCartney had not died and, although the Beatles have nev=

er openly admitted to inserting these messages on their albums, in my opi=

nion the entire exercise was a carefully orchestrated marketing strategy =

designed to boost their failing career at the time. John Lennon had only =

recently created a massive backlash and sparked the desertion of fans whe=

n he said publicly that the Beatles were more popular than Jesus Christ.

Whatever the truth, a new hobby emerged among teenagers across the world:=

 playing records backward. Unknowingly, the Beatles had opened quite a ca=

n of worms. In addition to these hidden messages having been discovered, =

other messages of an unplanned, "eerie" nature were found as well on the =

recordings of other artists.

As time went on, religious leaders claimed that the Beatles were inspired=

 to experiment with backward masking by the teachings of early 20th Centu=

ry occultist Aleister Crowley. The purpose, according to the fundamentali=

sts, was to start a sinister trend that would later pollute society with =

subliminal messages. They point to the appearance of Crowley's face amid =

the many other faces on the cover of the "Sergeant Pepper's Lonely Heart'=

s Club Band" album as evidence of this claim.

Intentional Backward Masking by Other Groups

Since these initial experiments by the Beatles with backward masking, oth=

er groups have had fun with engineered backmasked messages. A few example=

s are:

"Face the Music" by Electric Light Orchestra. The message can be found at=

 the start of the album right at the beginning of the song "Fire on High.=

" Played forward, it sounds like gibberish or a strange language. When re=

versed, a deep male voice booms out the words: The music is reversible bu=

t time (is not). Turn back, turn back, turn back. (The phrase "is not" is=

 very faint.)

"The Wall" by Pink Floyd. The message can be found at the end of the song=

 "Good-bye Blue Sky" in a small section of the album entitled Empty Space=

s. It is on the right track and reverses to say: Congratulations. You hav=

e just discovered the secret message. Please send your answer to old pink=

, care of the funny farm.

"Shout at the Devil" by Motley Crue. This album has a warning on the fron=

t cover that says: "THIS ALBUM MAY CONTAIN BACKWARD MESSAGES." The messag=

e is: Backward mask where you are. Oh, lost in error, Satan.

"Kilroy Was Here" by Styx. This album also has a warning on the front cov=

er that says: "BY ORDER OF THE MAJORITY FOR MUSICAL MORALITY, THIS ALBUM =

CONTAINS SECRET MESSAGES." The message can be found at the start of the s=

ong "Heavy Metal Poisoning" and, when played backward, says: Annuit Coept=

is. Novus ordo seclorum. This is the Latin inscription encircling the pyr=

amid on the back on the U.S. dollar bill. Two possible translations are: =

(a) "Announcing the arrival of a new secret order of this age"; (b) "The =

established order of the ages looks favorably upon our endeavors."6

"Coup d'Etat" by the Plasmastics. There is a backmasked message on this a=

lbum that says: Consensus programming is dangerous to your health. The br=

ainwashed do not know they are brainwashed.

"Piece of Mind" by Iron Maiden. The backmasked message can be found just =

before the song "Still Life" and it says: Messin' with things you don't u=

nderstand.

These examples are but a small selection of intentional backward masking.=

 For the most part, they appear to be nothing more that a simple marketin=

g exercise and the creation of special effects for recording. They are no=

t a plot by rock 'n' roll artists to subliminally program their listeners=

=2E

These intentional backmasked messages, however, are only a fraction of th=

e many messages that can be heard when tapes are played backwards.

Unintentional Backward Messages

Backward messages that are not intentional can be heard on other albums. =

These messages are not planned by the artist or by recording studio perso=

nnel. They appear randomly throughout many songs and make complete, intel=

ligible and grammatically correct sentences. Their origin has been a myst=

ery and there has been no apparent technical explanation for their appear=

ance, purpose, or source.

Their occurrence seems to be determined by the peculiar tonal makeup and =

phonetic construction of the forward lyrics. In other words, the lyrics a=

nd tune of the song are formed in such a way that they say two messages a=

t the same time. One message can be heard forward and the other can be he=

ard backward. These unintentional backward messages have caused even grea=

ter controversy.

Stairway to Heaven

The most famous of these examples can be found in the song "Stairway to H=

eaven" by Led Zeppelin. The song contains no deliberately engineered back=

ward messages or superimposed soundtracks, but does contain examples of u=

nintentional backward messages. These backward messages occur in the reve=

rsed phonetic structure of the lyrical sounds=97in other words, by the ex=

act way in which the words were structured and sung. I will examine this =

song in detail in Chapter 10.

"Stairway to Heaven" is by no means an isolated example of backward messa=

ges that appear in songs with no conscious thought or design. Here are so=

me examples from other well-known songs:

"Help" by the Beatles: Now he uses marijuana. I  kissed you once.

"Black Knight" by Deep Purple: Oh demon that's leading from Hell, we beli=

eve.

"I Don't Know How to Love Him" in the rock opera Jesus Christ Superstar: =

On the reverse of the first forward lyrics=97He's the Saviour, loves me. =

He's the one.7

"Burning Love" by Elvis Presley=97I wish to fade away.

"Tops" by The Rolling Stones: I love you said the devil.

"It's About Time" by John Denver: I believe Jesus died for sinners. / He =

died for sin. / All the more reason to thank you. / More and more I prefe=

r you.

"Soolaimon" by Neil Diamond: Vietnam. We want peace. / Vietnam, on the lo=

ose.

A controversy emerging at the time this book went to press concerns the t=

heme song of John Travolta's movie "Phenomenon." This song by musician, P=

eter Gabriel, contains a backward message that says, Don't you miss Ron? =

This message supposedly promotes Travolta's belief in Scientology, Ron re=

ferring to the movement's founder, the late Ron Hubbard.

Communicating More Than . . .

Backward phrases appeared to be in every sound track I examined. Thus beg=

an a new career direction=97researching communication in its many differe=

nt forms. I soon realized what an incredibly complete mechanism the uncon=

scious mind was, in order to make itself known in so many ways=97in Freud=

ian slips, meta-language, dreams, body language and Reverse Speech. The u=

nconscious mind "filters" through the conscious mind to express a deeper,=

 more honest part of ourselves and gives us a hint that something grander=

 and maybe more knowledgeable exists in the realms of the human mind.

I was first alerted that something was going on behind the scenes when I =

began to study intentional backward masking. This led to my discovery of =

unintentional reversed messages, which appear widely in music and human s=

peech. They appeared so predictably, on such a regular basis and with suc=

h grammatical precision, that I soon realized the chance of these reversa=

ls occurring by pure coincidence was astronomically high.

When I noticed that these reversals were communicating, I knew that somet=

hing far deeper and previously unexplored was happening, a phenomenon tha=

t was explosive in its implications.

=0DThe Initial Research



To myself I seemed to have been only like a boy playing on the sea shore.=

 . . whilst the great ocean of truth lay all undiscovered before me.	=97S=

ir Isaac Newton (1642-1727)







When I began to research the phenomenon of what I then called "naturally =

occurring backward messages," I had three objectives:

Define "backward masking";

Establish how backward messages occur; and

Verify the accuracy of backward messages.

As I met these objectives, I made a startling discovery that promised to =

redefine the very nature of human communication as we have known it.

Initially, a commonly accepted definition of "backward masking" was:

A message hidden in a song that can be discovered only when the sequence =

of music listening is reversed.1

This explanation was too broad, however, because I had already establishe=

d that there were two different forms of backward messages: intentional a=

nd unintentional. I was concerned with the unintentional occurrence of th=

is phenomenon and with redefining backward masking accordingly.

Establishing The Accuracy of Backward Lyrics

To many people, the idea that intelligible phrases can be heard when tape=

s are played backward seems incredulous. They wonder if it is all in the =

mind, like seeing pictures in ink blots, or if it is just coincidental.

To test the accuracy of backward lyrics, I established strict procedures =

and criteria.

To remove as much bias as possible, I first listened to all the recording=

s backward. I found the reversals before I knew the subject matter of the=

 forward soundtrack. After a tape was analyzed, I found the appropriate f=

orward section and dubbed it, together with the suspected reversals, at t=

hree different speeds, onto a master reel.

I then analyzed them separately, meticulously ensuring that a suspected r=

eversal actually existed. I particularly noted the syllable count, letter=

s at the beginnings and endings of words, consonant and vowel sounds and =

spaces between words. As time went on I noticed other factors, such as di=

fferences between the tonal quality of assorted backward messages, which =

I also took into account.

=46rom that point, I gave each reversal a "Validity Factor" between one a=

nd five depending on certain "check points" that they met (see Chapter 7)=

=2E

Once a large assortment of backward messages was collected, I conducted f=

urther tests to check their existence, which included establishing contro=

lled, repeatable audibility tests. Over a period of time, I compiled tape=

 recordings that contained examples of backward messages isolated from su=

rrounding gibberish. I played the tape recordings for three groups of peo=

ple, with each group being assigned a different task.

Group One: This group was given a written list that specified what each b=

ackward message was assumed to say. I asked them if they could also hear =

the same phrase. Most people in this group reported positive results.

Group Two: This group had a list of backward messages that did not exist =

and were told to hear messages that were not there. No one in this group =

was able to hear any of the "control phrases."

Group Three: This group received no list and was asked to tell me what th=

ey heard in the reversed soundtracks. Most of these people were able to a=

ccurately transcribe key words in the backward message after three listen=

ings.

=46rom these tests, I concluded that the reliability factor of interpreta=

tion was high. I could rule out imagination in most cases providing that =

all the "Check points" discussed in Chapter Seven were strictly followed.=



Coincidence of Sound?

Next, I tested for coincidence of sound to determine if the backward phra=

ses were a result of phonetic coincidences.

To do this, I tried to reproduce the backward phrases by verbally repeati=

ng the forward phrase into a tape recorder. Then I played the tape backwa=

rd to see if the backward phrase was repeated.

Despite many attempts, also using other people, I was not able to reprodu=

ce most of the backward phrases accurately. I found that a few individual=

 words seemed coincidental, but these were words only, not entire sentenc=

es. The coincidental words frequently reversed to say the same thing and =

I noted these for future reference.2

The majority of all backward phrases tested have not been phonetic coinci=

dence. The reversals were determined, instead, by the phonetic constructi=

on of the forward speech sounds as they were said in the instant they wer=

e captured on tape. These sounds varied considerably depending on individ=

ual speech patterns and the emotional state of the speaker.

There were only two other possible explanations remaining for their occur=

rence: intentional composition or occult manipulation.

Intentional Composition?

If the backward messages were intentionally created, then the lyrics and =

tune would have to have been deliberately composed in such a way that the=

 sentence said something different when played backwards. Due to the extr=

emely complicated and time-consuming semantic difficulty of this task, I =

soon discounted this explanation. It seemed to be virtually impossible fo=

r so many musicians to compose so many songs that contained so many verif=

iable, grammatically correct, unintentional backward messages.3

Next, I explored the possibility of occult manipulation.

Occult Manipulation?

Another explanation was occult manipulation=97that is, external spiritual=

 forces had possessed the minds of singers so they said something in reve=

rse as well as forward. This was a chilling prospect. Were the religious =

fundamentalists correct?

My first test of the occult manipulation theory was to analyze Gospel rec=

ordings and look for hidden backward messages. The reversals that I found=

 are in bold print below.

"More Than Wonderful" by Sandi Patti. Jesus is God's son. God gives the a=

rmor.

"My Heart's Desire" by Denise Williams. Christ is God's son who died for =

me. Hallelujah.

"Star of the Morning" by Leon Patillo. Jesus, he's the Lord. And on the c=

ross Jesus became Savior.

"Rock That Makes Me Roll" by Stryper. Jesus released the beast within me.=



"Only Jesus" by Dion. Jesus, He is the Lord.

"Steel Killer" by Saint. World's deceiver, Master Satan. I shall s--t on =

Satan.

After I analyzed these religious songs and others, I noticed a trend. The=

 backward messages in Gospel music often praised God or explained some th=

eological truth. Why would occult forces possess the minds of Gospel arti=

sts in order to praise God? Why would angelic forces possess the minds of=

 Gospel artists to praise God? Either presumption would indicate an inten=

t to manipulate on the part of the powers of the universe that did not al=

ign with my experience.

Thus began an extensive review of research notes already compiled and I n=

oticed that the majority of documented backward phrases related in some w=

ay to the forward lyrics or message of the song. For example, if the song=

 was about love, then the backward messages were also about love. If the =

song was about the occult, the backward messages were about the occult. I=

f the song was about God, the backward messages were about God.

After extensive analysis of the research, I finally discounted the possib=

ility of occult manipulation.

Backward Messages in Speech

I then conducted a field test. To do this, I recorded a Pentecostal churc=

h service initially intending to research the phenomenon of "Glossolalia,=

" or "speaking in tongues." At the end of the service, one of the deacons=

 spoke to me and the conversation was recorded. When we analyzed this rec=

ording, the mystery deepened. I found clear backward messages on all the =

speakers.

First, we found a backward message on the preacher at the end of a sectio=

n of singing (reversals in bold print).

Preacher: "Yes, [alright . Praise the Lord. Something else] I just rememb=

ered. . ." The singing, oooh it sounds terrible.

Next, I found a backward message on the deacon during our conversation wi=

th him:

Deacon: "What motivated you to [research methods of worship and religious=

 practices]?" I know, I believe, you are damned, both.

To me, the reversal indicated that behind this seemingly innocent questio=

n, the deacon had other thoughts. Indeed, both of us had sensed that this=

 man had ulterior motives which were then reflected in the backward messa=

ge that we found.

Next, I found a backward message on myself:

David: "We feel that there's a lot of things going on that people don't k=

now about. There's a lot of deception, [I'm not necessarily talking about=

 your church,] you know." There's sin on, er, this place.

Notice that again the backward message reveals apparently more honest fee=

lings than what was said forward. It was particularly interesting that th=

e message occurred on the exact forward words that it did.

Deacon: "You've been baptized by full immersion and all those sorts of th=

ings?" No reversal.

David: "Yeah, I have. We've both been heavily involved, [er, in church gr=

oups] and, er drop-in centers and youth clubs." We're not stupid.

(Once again, a cautious forward reply with the backward message reflectin=

g my growing indignation concerning the Deacon's questioning.)

Deacon: "How do you feel about the link between the Holy Spirit and speak=

ing in tongues?" No reversal.

David: "[I'm not too sure.] It was certainly quite a valid part of the ea=

rly Christian's life." Bulls--t, I'm not. An untruth spoken forward=97qui=

te definite views revealed in reverse.

My analysis of this conversation turned my research in an entirely new di=

rection. Once again, I had found evidence that backward messages can be f=

ound in casual, conversational speech. The amazing thing was that the mes=

sages seemed to reflect the actual thought processes of the speakers at t=

he time.

I obtained recordings of famous speeches and media broadcasts and noticed=

 that, as with music, the backward messages in speech related directly to=

 what was spoken forward. In addition to this, the reversals often reveal=

ed extra information about the forward topic. Here are some examples:

Neil Armstrong stepping onto the moon: "That's one [small step for man]."=

 Man will space walk.

A live commentary of the President Kennedy assassination: "Stand by pleas=

e. [Parkland hospital, there has been a shooting.] Parkland hospital has =

been advised to stand by for a severe gun shot wound." He's shot bad. Hol=

d it. Try and look up.

Lee Harvey Oswald being interviewed prior to the assassination. "The fact=

 that [I did live for a time] in the Soviet Union gives me excellent qual=

ifications to repudiate charges that Cuba and [The Fair Play for Cuba Com=

mittee] is communist controlled." Oswald angry. / Hear them. Wish to kill=

 President.

Australia's Prime Minister Bob Hawke after winning the 1987 Federal elect=

ion responding to questions of how he planned to celebrate:"[Ah, several =

cups of tea.]" Used to smoke the best marijuana.

Prince Andrew following the birth of his baby daughter in 1987, before he=

 publicly announced her name: "It's very difficult to tell who she looks =

like, [but probably after her father and mother like most]." My mum will =

love her. I love Beatrice.

John Lennon being interviewed following the death of the Beatles' manager=

, Brian Epstein: "The Maharishi told us not to get overwhelmed [by grief]=

 and whatever thoughts we have of [Brian, to keep them happy]." Must not =

fear. / We can't be Beatles now.

Summary of Findings

Many common patterns and trends were uncovered, which we will explore in =

depth. Here is a short list of those trends, compiled after analyzing hun=

dreds of hours of tape recordings. The reversals:

Confirmed existing claims that when listening to some rock 'n' roll recor=

ds backward, certain reversed phonetic sounds formed meaningful and gramm=

atically correct sentences. Reversed messages were found in most of the o=

ver 2,000 songs that were studied.

Complemented, or related to, the themes of the songs.

Occurred in all normal human speech. (This major discovery is really the =

key to all that followed.)

Often revealed the inner thoughts of the speakers. This was repeatedly ve=

rified by later questioning the speakers.

Occurred as often as once every three seconds in highly charged emotional=

 states and usually once every 10 seconds in casual conversations. In pre=

pared scripts or monologue-style presentations, reversals can occur as li=

ttle as once every two minutes.

Seemed to be "more honest" than the forward communication.

Seemed to fit in with body language, including the mouthing of words when=

 videos of speakers are reversed.

Appear in infants as early as four months of age well before forward spee=

ch begins. At a later stage, these infants combine the two modes of speec=

h, forward and backward, into one.

Depend upon conditions such as mood, emotion, accent and voice inflection=

s, with only minor dependence on the verbal content. They also frequently=

 appear in pauses and stammerings.

It was also discovered that:

A second, reversed conversation can exist in ordinary conversations. Spee=

ch reversals can directly communicate with each other as an unconscious r=

eversed conversation. This indicates that backward messages can not only =

be transmitted, but can also be perceived and understood.

Rapid activity occurs between the left and right brain hemispheres at the=

 point that the reversals occur, in addition to the different parts of th=

e brain that are stimulated, depending on the subject matter of the rever=

sal. This brain activity is evidenced by EEG readings taken on subjects l=

istening to sound-tracks known to contain reversals at precise intervals =

throughout the tape.

The type and frequency of reversals can be accurately predicted depending=

 on the nature of the forward speech.

Many common patterns and themes emerge in backward messages, including a =

unique and consistent vocabulary, which is discussed later at length.

Theory of Reverse Speech and Speech Complementarity

The previous "explanations" for backward messages such as coincidence, in=

tention and occult manipulation were discounted because they were not in =

keeping with any of the documented facts. I decided to propose a new expl=

anation and began to formulate a theory which I entitled the "Theory of R=

everse Speech and Speech Complementarity."4

My theory states that, as the brain constructs the sounds that form intel=

ligible language, it constructs them in such a way that at least two verb=

al messages are communicated at the same time: one forward, which is cons=

tructed and heard consciously and one in reverse, which is constructed an=

d heard unconsciously and stems from deeper realms of the psyche.

Human speech has at least two separate, yet complementary, functions and =

modes.

One mode occurs overtly, is spoken forwards, and is under conscious contr=

ol. The other mode occurs covertly, is spoken backwards and is not under =

conscious control. The backward mode of speech occurs simultaneously with=

 the forward mode and is a reversal of the forward speech sounds.

The two modes of speech, forward and reverse, complement and are dependen=

t upon each other.

One mode cannot be fully understood without the other mode. In the dynami=

cs of interpersonal communication, both modes of speech combined communic=

ate the total psyche of the person, conscious and unconscious.

Covert speech develops before overt speech.

Children speak backwards before they do forwards. Then, as forward speech=

 begins, the two modes gradually combine into one, forming an overall bi-=

level communication process.





Unintentional backward messages, which we find in music are merely anothe=

r form of this previously undiscovered function of the human mind.

Intentional backward masking is limited to music and describes only the d=

eliberate insertion of backward messages in audio soundtracks. I have fou=

nd it imperative, therefore, to create a more appropriate term to define =

this phenomenon, the term I used was: "Reverse Speech."

"Reverse Speech" Defined

Reverse Speech is totally different from backward masking. It encompasses=

 all forms of naturally-occurring, unintentional backward messages that o=

ccur in human speech, either sung or spoken. Reverse Speech is an innate =

human function, naturally generated by the brain, that has previously bee=

n unexplored and undocumented.

My research has shown that by understanding the complex patterns found in=

 Reverse Speech and by using precise methods to analyze audio-recordings =

played backwards, it is possible to accurately look into the inner mind a=

nd hear unspoken thoughts, facts and emotions.

This research had taken me far beyond the study of simple, intentional ba=

ckward masking. I had met my original objectives, which were to define ba=

ckward masking, establish how backward messages occur and verify their ac=

curacy. But, much more significantly, I had discovered that reversed mess=

ages occur in all human speech, no matter who is talking, no matter what =

the subject.

The implications of these discoveries are profound. Reverse Speech holds =

the key to one of humanity's oldest dreams=97to obtain an accurate and sc=

ientific means to access the vast and mysterious depths of the human mind=

=2E

=0DThe Source Of

Reverse Speech



Human speech has at least two separate, yet complementary functions and m=

odes. One mode occurs overtly, is spoken forwards, and is under conscious=

 control. The other mode occurs covertly, is spoken backwards and is not =

under conscious control. The backward mode of speech occurs simultaneousl=

y with the forward mode and is a reversal of the forward speech sounds.

=97The Theory of Reverse Speech and

Speech Complementarity (Point #l)

Language is an outward projection of internal mental processes that are u=

sed to frame and express our experiences. This to true of both forward an=

d Reverse Speech. Reverse Speech, however, shows us the previously hidden=

 side of language. By studying the different levels of consciousness with=

 their many facets and rich images as they reveal themselves through Reve=

rse Speech, it is possible to unravel the mysteries of the human psyche. =

This is a monumental breakthrough in the exploration of the Self.

Hidden Codes of Language

The concept that language can carry messages that are unheard by the cons=

cious mind is an old one. In fact, communication that is below conscious =

perception is a constant part of daily life. In the early 1970's, two Cal=

ifornia researchers, John Grinder and Richard Bandler, developed a compre=

hensive model for understanding human thought, communication and behavior=

=2E Their model, Neurolinguistic Programming (NLP), is a remarkable integ=

ration of skills, techniques and patterns that they gleaned from such div=

erse fields as psychology, linguistics, neurology, communications theory,=

 cybernetics and systems theory.

As the name implies, Neurolinguistic Programming addresses how the brain =

internally codes, organizes and processes experiences with pictures, soun=

ds, words and feelings.l

In their book, The Structure of Magic, Bandler and Grinder state that:

Language serves as a representational system for our experiences. Our pos=

sible experiences as humans are tremendously rich and complex. If languag=

e is adequately to fulfill its functions as a representational system, it=

 must itself provide a rich and complex set of expressions to represent o=

ur possible experiences.2

NLP teaches that language is more than communication. It is also a means =

of perception and contains within it the codes and patterns of mental pro=

cesses. Only about seven percent of these perceptions, or codes and patte=

rns, are delivered and received with the consciously spoken word.3

By far, the majority of communication takes place via other means that in=

clude tonality (tempo, tone and volume) and physiology (gestures, posture=

, breathing and facial expressions).

When discussing the phenomenon of Reverse Speech at a seminar in Australi=

a, Grinder stated:

The notion that language can carry extra secondary and tertiary messages =

as well as the overt manifest content is well known. . . the fact that yo=

u can learn to hear the reversed form and extract the message from it is =

quite a revolutionary concept.4

Just as the senses of sight, touch, smell, taste and hearing have always =

played a major role in perception, so has Reverse Speech, even though its=

 existence has only recently come to our attention. It has also played a =

significant role in the projection of the Self.

The Process of Communication

The human speech process is complicated and involves many variables. Educ=

ational theorist, Don Holdaway, states in his book, The Foundations of Li=

teracy:

The whole concert of speech activity proceeds at such a startling pace th=

at only a fraction is under conscious control. The greatest burden of wor=

k is carried out in a delicately structured automatic performance by litt=

le understood processes in the nervous system.5

Spoken language is formed by a series of rapidly fluctuating sounds that =

the brain recognizes as intelligible information. Thoughts, conscious and=

 unconscious, are converted into forms that can be understood by other pe=

ople. This involves the construction of grammar, the development of progr=

essive content, the expression of emotion and many other subtle units of =

information.

The process of communication is primarily automatic and involves little u=

nderstood mental functions, many of which are beyond conscious control an=

d have never been explored by linguists. The construction of simultaneous=

ly delivered speech reversals adds even more complexity to this process. =

This gave the developing research into Reverse Speech a mighty task: how =

does the brain construct forward and backward speech at the same time? He=

re are some points to consider.

The Virtually Limitless Capacity of the Human Brain

The task of constructing forward and backward speech simultaneously is we=

ll within the capabilities of the human brain. Dr. David Samuels of the W=

eizmann Institute estimated that there are between 100,000 and 1,000,000 =

different chemical reactions occurring every minute within the brain. The=

 brain has approximately l0,000,000,000 individual nerve cells and they c=

an interact with each other in a multitude of ways. This gives the number=

 of possible combinations of their usage conservatively at a figure of 10=

 followed by 800 zeros!6

Dr. Pryotra Anokin of Moscow University has estimated that the functional=

 capacity of the brain is:

So great that writing it would take a line of figures in normal manuscrip=

t characters, more than 10.5 million kilometers in length! With such a nu=

mber of possibilities, the brain has been described as a keyboard on whic=

h hundreds of millions of different melodies=97acts of behavior or intell=

igence=97can be played.7

The Brain's Capacity for Reverse Functions

It is already known that the brain is capable of reversible functions. Li=

ght, for example, is reversed through the lens of the eye before it is in=

terpreted by the brain.

Dyslexia, another reversed function, is a condition associated with peopl=

e who, during the process of reading, may reverse letters of words or eve=

n whole words themselves. They may read 'saw' as 'was,' 'b' for 'd,' 'p' =

for 'q,' etc. Words can sometimes even appear as a mirror-image.

In rare cases, dyslexics can even reverse words in actual speech. This ph=

enomenon has also been observed in some forms of hypnosis, where people h=

ave been known to speak backward while in trance, with no conscious knowl=

edge of how they did this.

I personally experienced one such incident during a series of experimenta=

l trance sessions that were conducted in order to contact parts of the mi=

nd responsible for the formation of speech reversals (see Chapter 12). I =

was in deep trance and the hypnotist wanted to obtain reassurance from my=

 unconscious mind that all was proceeding as it should be.

Hypnotist: "Would the unconscious mind be prepared now to provide David w=

ith that reassurance?"

David: (immediate response, softly) "[Yeah, okay.] Yeah," followed closel=

y by soft mumbles, forwards, that said, "EGERI."

In direct response to the hypnotist's question, I first delivered a very =

clear, genuine reversal on, "Yeah, okay," that said, I agree. This was im=

mediately followed by my meaningless sound, "EGERI," a phonetic pronuncia=

tion of the previous reversal I agree. An amazing feat to be performed wi=

th no conscious collusion on my part!

None of these reversed functions intentionally alter the information that=

 is being communicated. People simply interpret information, or deliver i=

t, from another perspective-unconsciously, in reverse. By playing speech =

backwards, it is possible to consciously hear information that was always=

 there, but which was delivered and received unconsciously.

Complementarity Explored

Reverse Speech is unconscious in nature. Automatic brain functions are in=

volved in the delivery and reception of speech reversals. It is an intric=

ate part of spoken language and always relates to, or is complementary wi=

th, the forward dialogue.

This complementarity can be seen in the many reversals of music and speec=

h that I have documented in previous chapters. In the example from commen=

tary on the Kennedy motorcade, the reversal, He's shot bad, occurred at t=

he precise point that the commentator realized there had been a shooting.=



The following is another example of speech complementarity from a section=

 of conversation with a man at a roadside stall who made and sold cushion=

s:

MAN: "I am 33 years old, (pause), [I've only just had] a birthday recentl=

y, (pause) and I'm here today at the market to sell some cushions. . . yo=

u can put quite a few together and make a bed. . . they've got nice silks=

 on them, corduroys and they're filled with wool. They're quite solid and=

 heavy. . . [I'd like to sell some] more cushions. . . hopefully we can p=

roduce enough to have a, er, reasonable sort of lifestyle, um and maybe a=

 trip overseas occasionally." Watch the youth / I cover them with silver.=



Note the connections these reversals have with the forward dialogue. The =

first one occurred as a quick insert into the conversation and shows unco=

nscious concern regarding the man's age, Watch the youth (just discussed =

forward). The second reversal described his cushions in greater detail, I=

 cover them with silver (which this man did=97shiny silver stitching that=

 crisscrossed the fabric).

I also found examples of speech complementarity when some old Country and=

 Western songs were analyzed, such as Hank William's song, "I Saw the Lig=

ht." In the tradition of authentic Gospel songs, the forward lyrics portr=

ay his search for truth in the midst of a life filled with despair. After=

 aimless wandering through a sin-filled life, he finds Jesus and the titl=

e of the song becomes part of the repeated refrain, "I saw the light." In=

 reverse, the song says:

Ah, the Lord sought me. / Ask the old rascal.

No more sin, God no more night.

Ah the Lord sought me, ah the Lord sought, ah the Lord sought me.

The song, viewed both forward and backward, depicts two complementary the=

ological perspectives:

One is a person's decision to follow Christ or, as Hank sings, "I saw the=

 light."

At the same time, God seeks the individual. It is the Lord's choice or, a=

s Hank sings in reverse: Ah, The Lord sought me.

Here is part of a session conducted with a man who was talking about life=

 in general and his current relationship:

MAN: "I'm about to move and buy a property and refurbish it, (pause), bit=

 of a risk, don't know whether [to do it or not]. . . I can't figure out =

what to do about my girlfriend. She doesn't stimulate me at all, but she'=

s um, I admire the way she [polishes her body]." But still run with it / =

She's boring.

As shown in the previous examples, reversals relate to the forward dialog=

ue and give additional information. This gives us another clue concerning=

 the source of Reverse Speech. Its complementary nature seems to indicate=

 that Reverse Speech draws upon many different areas of the mind to corre=

ct and enhance what is spoken forwards, effectively serving as the brain'=

s own editor of forward speech.

Clarity and Frequency of Speech Reversals

Differing reversed sounds occur in a predictable fashion, depending upon =

the nature of the conversation. An experienced researcher can recognize t=

he nature of the forward conversation just by listening to the sounds of =

tapes run backwards.

To the uninitiated ear, tapes played backward appear to be a jumble of me=

aningless sounds with little form or rhythm. Researchers new to the field=

 of Reverse Speech usually find only a few reversed phrases of low clarit=

y. One of the problems with new students is the tendency to project imagi=

ned meaning into gibberish. With practice, however, they become familiar =

with the sounds and begin to recognize what is imagination and what is ge=

nuine. They begin to locate the true reversals, which appear in varying l=

evels of clarity or tone and fade in and out of the gibberish.

Sometimes these reversals are strong, powerful and clear, with perfect ph=

onetic construction. They stand out unmistakably from the gibberish and h=

ave a definite rhythmic tonal flow that is pleasant and natural to the ea=

r.

Other times, the reversals are disjointed and robotic, containing the sem=

blance of phonetic construction, but are "mechanical sounding" with no to=

nality, sounding more like computer-generated speech.

Once I became familiar with the tonal flow of tapes being run backward, I=

 noticed the following:

In rehearsed dialogues, speech reversals have a definite, mechanical soun=

d that increases in proportion to how prepared or rehearsed the speaker i=

s. In scripted media broadcasts, for example, the mechanical sound is int=

ense. The occurrence of reversals is extremely low, about one reversal ev=

ery one or two minutes of dialogue.

In casual conversations when someone speaks in a thoughtful, prepared fas=

hion or reiterates something that he or she has said many times before, t=

he reversals still sound fairly mechanical, although not as intensely mec=

hanical as in scripted broadcasts. Likewise, the less prepared a speaker =

is, the higher the number of reversals.

In casual conversations that flow smoothly with little forethought, the r=

eversals have a definite smooth, sing-song sound, with an average of one =

reversal for every 10 seconds of conversation.

In emotionally charged conversations, reversals are smooth and remarkably=

 clear and occur on the average of one reversal every two or three second=

s.

These trends were so accurate that I could tell what section of the conve=

rsation was the most spontaneous and what section was the most contrived=97=

merely by listening to the sound of reversals at intervals throughout the=

 conversation.

This was also evident in music. Songs that had been recorded in a studio =

tended to contain mechanical sounding reversals, whereas songs that were =

performed at live concerts tended to contain sing-song reversals. I also =

noticed that melodious reversals were far clearer and more precise than r=

obotic reversals (see Figure One).

These observations gave me a significant clue concerning the source of Re=

verse Speech. Given the fact that reversals were clearer and more frequen=

t the more emotional speech became, I theorized that Reverse Speech was f=

ormed in the right brain hemisphere.

=0DThis graph is an approximation only. The numbers 1-5 represent: a) rev=

ersal clarity as discussed in Chapter 7; b) reversal rhythm with "1" indi=

cating extremely robotic and mechanical sounding reversals and "5" repres=

enting smooth, melodious and sing-song reversals.

There is not an absolute relationship between clarity, rhythm and frequen=

cy, although consistency is common. There is always a definite relationsh=

ip between conversational type and frequency of reversal occurrence.



The Left and Right Brain Hemispheres

The frequency and clarity of speech reversals are in direct proportion to=

 the emotional and free-flowing nature of the conversation. Likewise, the=

 criteria that governs their formation does not depend upon the verbal co=

ntent of the dialogue, but rather on the emotional pitch, or on the way t=

hat the words are pronounced=97a major function of the right brain hemisp=

here.

The physical construction of the human brain consists of two main lobes o=

r hemispheres, separated in the middle by a thick tissue called the corpu=

s callosum. It is commonly assumed that each hemisphere of the brain is r=

esponsible for different mental functions. Figure Two helps illustrate th=

ese complementary brain functions.

Figure Two: Hemispheric Specialization

The Complementary Functions of the Brain

Left Hemisphere Functions

Right Hemisphere Functions









language (forward)

logic

number

linearity

analysis

sequence

word choice





language (reverse)

rhythm

music

images

color

dreams

dimension

imagination

vocal tonality







The Left Hemisphere

The left hemisphere is primarily logical in nature and is responsible for=

 logic, analysis and sequential tasks. It is also thought to be responsib=

le for conscious language formation processes or the actual words used in=

 speech.



The Right Hemisphere

The right hemisphere, on the other hand, is emotional, imaginative and cr=

eative in nature. It is thought to be responsible for unconscious mental =

activity and the emotional emphasis placed in speech.

In the process of thought and mental activity, both brain hemispheres wor=

k together to perform their respective tasks.

In a broad generalization, people who succeed in mathematics and sciences=

 are considered left-hemisphere dominant, whereas those who perform well =

in subjects such as art, creative writing and music are thought to be rig=

ht-hemisphere dominant.

Consistent with these observations, the creation of a right brain stimula=

tion atmosphere, like relaxation, visualization and the playing of gentle=

 music, increases the analyst's chances of locating a greater number of s=

peech reversals with improved accuracy.

Reverse Speech is primarily a function of the right brain, the hemisphere=

 previously thought by many to be dormant in active verbal communication.=

 An article in the November, 1987 issue of Psychology Today gives further=

 insights concerning this.

Research linguist, Dianne Van Lancker, notes the importance of the right =

brain in the non-verbal information contained in speech. She maintains th=

at the recognition of familiar voices involves complex pattern processing=

 and that the right hemisphere appears to be primarily responsible.

Some of her tests involved examining an average listener's ability to ide=

ntify familiar voices played backwards at varying speeds. She noted that =

people recognize familiar voices holistically, as overall pictures, not o=

n the basis of individual features. She concluded that while the left hem=

isphere determines what is to be said, the right hemisphere appears to be=

 responsible for factors such as pitch, vocal quality, rate and emotional=

 tone.8

Adding support to this theory is a quote from speech therapist Alex Banna=

tyne who, in 1972, proposed an explanation for dyslexia that entailed the=

 left and right hemispheres of the brain. Bannatyne's thesis may be summe=

d up in the following way:

The distinction is made between mirror-images of letters and reversing wo=

rds. It's explained that language functions (dialogue formation) are larg=

ely controlled in the left cerebral hemisphere of the brain. Mirror-image=

 language problems are explained in terms of incomplete suppression of th=

e right hemisphere during language activities.9

This is in direct keeping with the phenomenon of Reverse Speech. Speech r=

eversals are not formed entirely by the actual words spoken, but also by =

the speech sounds including coughs, laughs and stutters. The way a forwar=

d sound is pronounced directly influences both the syllable structure and=

 the phonetic sounds of the reversed phrase.

Playing Common Speech Sounds Backwards

Different results can be obtained when sounds are reversed. The English a=

lphabet consists of various sounds, Ay, Bee, Cee, Dee, etc. In one of my =

experiments, I had various people utter several of these sounds into a ta=

pe recorder. When I played the sounds backward, a change in their syllabl=

e structure occurred. This change depended directly upon how the sounds w=

ere pronounced.

For example, when the one syllable sound "Vee" was pronounced sharply and=

 quickly, it reversed to sound like the two syllable word E/den. It also =

sounded like the word E/ven, depending on how it was said.

When "Vee" was said slowly and drawn out, it sounded very much like the o=

ne syllable word Eve.

When the sound "Eden" was pronounced by different people and the tape rev=

ersed, it sounded nothing like the letter "Vee," but rather reversed to s=

ound like "Muddy" or "Nuddy." It depended upon the tonal inflection of th=

e forward speech as uttered in the particular instant of time captured on=

 tape.

Metaphors

Over ninety percent of all language in Reverse Speech is metaphoric in na=

ture. Metaphors, words that are symbolic or pictorial, increase in freque=

ncy the more emotional dialogue becomes. They represent emotions and thou=

ght processes from deeper regions of the mind. (see Chapter 6).

Metaphors occur frequently in both forward and backward speech. Take for =

example, a man who has just had a major confrontation with his lover. He =

may use forward words like: "Man, the vibes were totally electric. She lo=

oked at me with daggers in her eyes and really spun me out."

In reality, the man's lover did not look at him with "daggers in her eyes=

" nor did she "spin him out." These words are common representations, or =

metaphors, for a deeper concept.

The forward statement, "the vibes were totally electric," describes an in=

tense feeling that existed between the two people. Reverse Speech sometim=

es refers to these feelings both coming from others and ourselves as A Wh=

irlwind. Powerful energies may have been flowing between the two people. =

If rapport was also high, the concept may be communicated in Reverse Spee=

ch as The Whirlwind was high.

"She looked at me with daggers in her eyes" is not an uncommon metaphor i=

n forward speech. It describes a sense of attack associated with a high W=

hirlwind. The same sentence, using Reverse Speech terminology, might be c=

ommunicated as She was a warrior with a spear.

"Really spun me out" is also a common metaphor in forward speech, similar=

 to "My head is a whirl." In Reverse Speech, it is associated with Whirlw=

ind and may also be described as force. An appropriate section of reverse=

d dialogue in this negative context might be She busted my Force.

Thus, the entire phrase may be translated to the metaphoric language of s=

peech reversals such as, The Whirlwind was high, she was a warrior with a=

 spear, she busted my force.

So far, I have documented over 1,000 common words or phrase symbols that =

appear in Reverse Speech. Among them are archetypes and metaphors such as=

 Odin, Goddess, Naked, Ocean and Wolf.

Metaphors are often associated with high emotion in both forward and back=

ward speech. In Reverse Speech, metaphors can detail the cause and functi=

on of behavior. It appears as though they come from a very deep foundatio=

nal center within the human mind.

The Deeper Parts of the Mind

Early 20th Century psychiatrist, Carl Jung, a con-temporary of Freud and =

scholar of comparative mythology, theorized that the human mind was divid=

ed into three distinct levels.10

1. Consciousness: Those portions of the mind that are under conscious con=

trol and awareness.

2. Personal Unconsciousness: Those portions of the mind that have become =

unconscious, either because they lost their intensity and were forgotten,=

 or because consciousness was withdrawn from them (repression). Also, tho=

se portions, some of them sense-impressions, which never had sufficient i=

ntensity to reach consciousness but have somehow entered the psyche.11

3. The Collective Unconscious: The deepest part of the mind, which Jung c=

laimed "as timeless and universal psyche," or the true basis of the indiv=

idual psyche. He believed this area to be the ancestral heritage, consist=

ing of an inherent storehouse, varying in depth from person to person, of=

 mythological motives, or primordial images, of which the conscious mind =

had no knowledge of whatsoever. Jung claimed that the collective unconsci=

ous contained the entire spiritual and cultural heritage of humanity's de=

velopment born anew in the mind of each individual.l2

Reverse Speech has profound similarities to the above mode, as I will dis=

cuss in depth in Chapter 6:

First Level reversals are literal and tend to reflect the Conscious Level=

 of mind.

Second Level reversals are operational=97they often use metaphors to expr=

ess behavioral patterns=97and reflect the Personal Unconscious Level of m=

ind.

Third Level reversals are structural=97they often use metaphors to expres=

s deeper, root causes of behavior=97and reflect the collective unconsciou=

s, archetypal mind.

Everything contained within the unconscious mind=97what is now and what h=

as been in the past=97has the potential to appear in Reverse Speech. Reve=

rse Speech, using its metaphors and primordial images, exposes the total =

Self and the three areas of the mind as defined by Carl Jung. Figure Thre=

e explains this further.

The large circle represents the total Self, including automatic brain fun=

ctions such as heart beat, instinctive reactions and breathing.

The shaded square represents the personal unconscious.

The small square represents the collective unconscious.

The dark rectangle represents conscious knowledge, awareness, or percepti=

on of Self.

The part of the dark rectangle that is outside the circle represents what=

 people perceive themselves to be, but are not (self-illusions). Notice t=

hat part of the rectangle interacts with the personal unconscious and a v=

ery small part interacts with the collective unconscious. These interacti=

ons vary in magnitude depending on the individual. The entire circle, or =

everything that we are, has the potential to appear in Reverse Speech: th=

e total Self revealed.





When we accept the fact that the human brain is virtually limitless, has =

always been capable of reverse functions and naturally uses metaphors fro=

m many parts of the mind, one begins to realize that Reverse Speech has t=

remendous significance. It reveals not just a single aspect of the psyche=

, but encompasses the totality of the whole. At its deepest levels, it de=

scribes a universal mind, revealing that all of us are linked inexorably,=

 and forever, with one another.

As human beings, we share a collective unconscious, and this collective i=

dentity, with its limitless knowledge, is expressed and handed down, in p=

art, using speech reversals.

=0DThe Communicative

Nature Of Reverse Speech



The two modes of speech, forward and reverse, complement and are dependen=

t upon each other. One mode cannot be fully understood without the other =

mode. In the dynamics of interpersonal communication, both modes of speec=

h combined communicate the total psyche of the person, conscious and unco=

nscious.

=97The Theory of Reverse Speech and

Speech Complementarity (Point #2)

We have some understanding of the mechanisms of forward speech because we=

 are used to communicating that way and have done so for most of our live=

s. But, can people understand something that is communicated in reverse? =

And, can those reversed messages affect our behavior?

This leads us to look at subliminal messages, extrasensory perception and=

 the communicative nature of Reverse Speech in general.

Subliminal Messages and Their Effects

Hidden backward messages in rock 'n' roll have created major controversie=

s concerning their subliminal effects. Concerns range from fear of being =

brainwashed or manipulated to simple confusion: "How can you understand s=

omething when it is said backward?"

The Contemporary Dictionary defines "subliminal" as:

1. Below or beyond the threshold of consciousness: a subliminal stimulus;=



2. Too slight or weak to be felt or perceived.l

Very little documented scientific research has been done to determine whe=

ther the mind can decode backward messages. =



Many theories and observations, however, have been published concerning o=

ther forms of subliminal stimuli, such as flashing pictures and forward s=

oundtracks superimposed over recordings at very low levels, speeded up or=

 slowed down.

In 1958, Australian television, Channel Seven in Melbourne, experimented =

with subliminal advertising. Mr. John Hampel of Glengowrie, South Austral=

ia, who was employed by Channel Seven at the time as their Audio Director=

, gave the following account of the experiment.2

On the night that we experimented with subliminal messages, we made two s=

ingle video frames. The first was a blank frame that contained the words =

'BUY PELACO SHIRTS' in large print. The second frame contained the well k=

nown AMPOL logo. We then spliced the frames into the normal nightly progr=

am at selected intervals. They appeared on four successive occasions duri=

ng the evening, each lasting 1/25th of a second. That week the sales for =

Pelaco shirts increased dramatically while Ampol seemed to be unaffected.=



This experiment strongly suggested that subliminal suggestion can affect =

the mind. In fact, so great was its influence that within a week of the e=

xperiment, The Australian Broadcasting Control Board (as it was then call=

ed) banned all forms of subliminal messages. No further experiments were =

undertaken.3

This was the only time that this type of experiment was done in Australia=

 on a public level. Today, paragraph 10 of The Australian Programme Stand=

ards states:

A licensee shall not allow his station to be used for the process known a=

s 'subliminal perception' or for any other technique which attempts to co=

nvey information, of any sort whatsoever, to the viewer by transmitting m=

essages below or near the threshold of normal awareness.4

Some research material I found related to other forms of subliminal messa=

ges and did not directly address backward messages.5 I therefore, began t=

o search for any cases of rock 'n' roll "subliminal horror stories," hopi=

ng to discover a connection.

If unintentional backward messages were indeed subliminally suggestive an=

d repetitive listening could increase their effects, then some evidence o=

f this should exist. Below are two cases that were particularly compellin=

g, because the backward messages seemed to relate to the actions allegedl=

y caused by an album.

"The Night Stalker"

In the early 1980's, California was terrorized by mass sex murderer, Rich=

ard Ramirez, also known as "The Night Stalker," until his capture in Dece=

mber, 1985. His killings were exceptionally violent with heavy occult ove=

rtones. After he broke into his victims' apartments late at night, he wou=

ld rape and murder them. He often left drawings of pentagrams on the wall=

s of their apartments. Detectives who investigated the case discovered bi=

zarre links with Satanism and cannibalism.

The Night Stalker was obsessed with rock music, in particular AC/DC's alb=

um, "Highway to Hell," to which he listened almost constantly. It was lat=

er claimed at his trial that its strong occult theme was partially respon=

sible for his actions. He was especially interested in the final song on =

the album, "Night Prowler," from which he took his name.6

The lyrics painted a graphic picture of a murderer on the prowl for his v=

ictims. They reflect anxiety from the perspective of the victim: hearing =

the prowler, seeing shadows, afraid to turn out the light. They also refl=

ect the predatory perspective of the prowler: watching the victim and sne=

aking into the room.

The reversed lyrics on this song are just as graphic. =



Listen to me I'm from Hell! They killed me.

I'm the Law. I said so. / I slide in evil. =



I'm the Lord Lucifer. White Owl yesterday.

Other isolated reversals in this album were7: =



My name is Lucifer. / I saw Satan's power. =



Shalom, I believe. / Hey, she belongs in Hell!

I'm Lucifer. / Hey young woman.

Lucifer lives. Satan alive. / Lucifer lives.

There's war in my head.

"Stained Class"

The second case centers around the heavy metal rock group, Judas Priest a=

nd their album, "Stained Class." A lawsuit lodged in Reno, Nevada, in 198=

6, initially sought unspecified damages from CBS records and Judas Priest=

, claiming that two youths, James Vance and Ray Belknap, were driven to s=

hoot themselves in a suicide pact after they repeatedly listened to this =

album while smoking marijuana and drinking alcohol. Belknap died. Vance s=

everely disfigured himself in the attempt and died three years later.

Lawyers for the relatives of Vance and Belknap told Nevada Judge Jerry Wh=

itehead that the band's music had a "hypnotic" quality and its records co=

ntained subliminal messages. They particularly focused on the words, Do i=

t, which they claimed were subliminally inserted after key stanzas that r=

elated to suicide and also the phrase, F--k the Lord, which they claimed =

promoted an anti-Christian mentality.8

The court hearing took one month and on August 24, 1990, Judge Whitehead =

handed down his verdict. He concluded that the backward phrases did exist=

, but no evidence had been put forward to suggest that they were caused b=

y anything other than coincidence of sound. Nor was any convincing eviden=

ce put forward to suggest that they could be subliminally suggestive. The=

 6.2 million dollar lawsuit was rejected.

I contacted the judge before the trial began and he referred me to the re=

spective attorneys. After deliberation, both attorneys decided not to use=

 the research evidence compiled using Reverse Speech technologies. Neithe=

r side felt that it was beneficial to their case.

The plaintiff claimed that Judas Priest had intentionally placed reversal=

s on the album whereas the defense claimed that reversals did not exist. =

The truth, of course, is that speech reversals did exist on the album, bu=

t they were a naturally-occurring phenomenon. Until people accept that re=

versals occur naturally, the debate will continue.

Regarding the Judas Priest album, I believe that the album's forward lyri=

cs tell a metaphoric tale about a fight between good and evil, the confus=

ion that results from this struggle and a hero's death. Not surprisingly,=

 the reversals tell a similar story.9

The reversals could have been subliminally suggestive, given the teenager=

s' state of mind at the time and a reported history of drug abuse and pet=

ty crime. I found over 72 speech reversals on this album, only two of whi=

ch were quoted at the trial (see above). The attorney for the plaintiff c=

ompletely overlooked the most striking reversals:

God is evil. / An innocent man help us.

Get out of it, get out of it. / Say, am I sexy?

Give us the truth. / You silly f--k.

I took my life.

(A powerful complimentary reversal, which occurs on the last stanza of, "=

Beyond the Realms of Death").

Take me out. / We died for glory. / We died sad.

While people can unconsciously hear reversed messages and, in some cases,=

 be affected by them. I have uncovered no evidence to indicate this to be=

 the case if the listener is not predisposed to be affected. For example,=

 an advertisement containing reversals might influence someone who drinks=

 to buy a particular brand of liquor, but would not necessarily influence=

 a non-drinker to rush out and grab a bottle of that brand. Likewise, if =

someone were emotionally disturbed, repetitive, negative reversals might =

reinforce his or her state of mind.

Let us further explore the idea that Reverse Speech is a naturally-occurr=

ing phenomenon with a complex, communi-cative nature.

Reversed Dialogue

Once I changed the focus of my initial research from a simple study of ba=

ckward masking to a study of Reverse Speech, I discovered a much more exc=

iting dimension of communication and began to document requests, commands=

 and entire conversations=97all in reverse. Here are some examples, with =

the reversals in bold print appearing after the direct quote:

1. In a media interview with a man suspected of sending a threatening let=

ter to an associate, I observed the following interaction:

Man: "Well then, [he should produce that letter] and let's have a look at=

 it." I want to see that letter. =



Reporter: (forward) "Would you like to see it?" =



Man: (reply) "Yes."

Note the process in the exchange above. The man delivered a reversal in w=

hich he asked to see the letter. The reporter seemed to respond directly =

to the reversed request by offering to show it to him. As might be expect=

ed, the man answered, "Yes."

2. The following example also shows direct response to a speech reversal.=

 It is from an informal conversation in which a woman was talking with me=

 about her tape player, which had broken.

Woman: "[I'm p-ssed off with my stereo.] Will it work?" David, I'd like y=

ou to fix it.

David: "If it doesn't, I'll fix it for you."

The woman delivered a request in reverse to me. I immediately responded t=

o her in forward language and even used some of the same words that she u=

sed in her reversal.

3. This example demonstrates the intricate relationship between reversed =

dialogue and forward dialogue. It is a transcript of the last minutes of =

a conversation between myself and two people who were discussing Reverse =

Speech. I recorded the conversation with the intention of immediately rev=

ersing the tape to locate speech reversals.

Woman: "We were so skeptical when we read your leaflet, but then when we =

heard it, well, there it was." No reversal.

David: "[Yeah, it's, er,] like that with everything." Hear what I say.

Man: "[Since our interest] is really on a curiosity level, do you reckon =

that might [just be enough]?" Now let's listen. / This is funny.

David: "Yeah. I was just about to suggest it, would you believe? Who know=

s? I might have even [said it backward]." Listen.

Notice how I ended the conversation with a reversal that reflected my int=

ent to look for speech reversals: Hear what I say. The man responded to m=

y reversal and reflected his own desire to also look for reversals: Now l=

et's listen, yet he felt strange about the prospect of playing tapes back=

ward to hear other phrases: This is funny.

I perceived his uneasiness and, having performed this type of experiment =

many times before and knowing the nature of reversed dialogue and interac=

tions, I said, "Who knows? I might have even said it backward," then resp=

onded with a confident command in reverse: Listen.

4. Here is a case in which an entire reversed conversation took place. It=

 is a small section of a session that I conducted with a husband and wife=

=2E The wife discussed her recent nervous breakdown and the effects that =

it had on their marriage.

Wife: (with high emotion) "To think that I had to become actually selfish=

 to be loved. [I actually had to become selfish] for him to love me and a=

ccept me as I am." The force, he shot it.

(A metaphoric reference in a highly-charged state that directly accuses t=

he husband.)

Husband: (softly) "[That's not entirely true.]" Just hold on one second.

(Defensive)

David: Is that how you [see your breakdown]? "My God! Will you see you're=

 hating you!

(Command directed to wife.)

Wife: "Yes. [I regret my breakdown, yes, because]..." Might as well keep =

saying that. I'm filthy.

(Defeated response, negative self image.)

David: "No, no. [Don't regret it.]" Don't regret. (Command, reinforcing t=

he forward dialogue.)

Husband: "That's all I've said. [Don't regret it.]" Don't regret this.

Notice how an entire reversed conversation transpired at the same time as=

 the forward dialogue and directly related to it:

Wife: The force, he shot it.

Husband: Just hold on one second.

David: My God! Will you see you're hating you.

Wife: Might as well keep saying that. I'm filthy.

David: Don't regret.

Husband: Don't regret this.

Reversed dialogue, "mind reading," and entire conversations in reverse al=

l help to illustrate the communicative nature of Reverse Speech.

Electroencephalogram Testing

I have found many examples of reversed requests, commands and dialogues t=

hat strongly indicated that the brain can decode speech reversals and res=

pond to them in communication (and I continue to find examples). I furthe=

r tested the brain's ability to understand speech reversals by conducting=

 electroencephalogram (EEG) tests with Australian psychologist, Marcus To=

mlian, in February, 1988.

The tests involved playing 10 spoken audio soundtracks, each 30 seconds l=

ong, forward to 30 subjects who knew nothing about Reverse Speech or why =

the tests were being conducted. Six of these soundtracks were known to co=

ntain speech reversals, four did not. The subjects' brain functions were =

recorded per millisecond with the EEG and the results analyzed using spec=

ialized computer programming. Below are the complete transcripts, forward=

 and reverse, of three of the tested soundtracks that contained speech re=

versals.

Trivial Pursuit Game

The following is a private conversation among four adult friends, a husba=

nd and wife, mother and father and their infant. =



Father: "Right. Whose turn?"

=97Baby cries=97

Mother: "Baby, be quiet!"

Baby: "[Ye-ar. Ye-arm.]" Mummy, Mummy. =



(Seeking mother's attention.)

Husband: "Mother's turn. Mother, it's your turn."

=97Baby continues to cry=97

Husband: "Why don't you turn baby around the other way so she can't see y=

ou, but she'll still know you're here."

=97Adults continue to play the game=97

Mother: "1, 2, 3, 4, 5. Oh. What a bummer."

=97Baby still restless=97

Husband: (reinforces request to have baby moved) "She can be reassured by=

 the sounds of our voices. [That'll be quite enough for her.]" Oooh! I've=

 lost interest.

(Reflects frustration with baby's continual crying.)

=97Game continues=97

Wife: "Who played the title role in the 1933 movie Henry VIII?"

Husband: "What?!"

Mother: "Initials?"

Wife: "C.L. [You won't get it!.] Oh you [might, but I doubt it]." Tell me=

 what it is!

(Reinforces forward challenge.)

Rave on {husband}.

(Using her husband's actual name, the reversal expresses frustration towa=

rd him.)

Transsexual in Prison

This interview with a transsexual in prison is taken from NWS Channel 9, =

Adelaide, in November, 1987.

Reporter: "The woman says she wants a transfer to South Australia so she =

can serve out her sentence in a women's prison. She says the present syst=

em is wrong when sex change operations can be carried out in Australia. .=

 ."

Woman: ". . .[And yet they have no follow up with it.] They don't make an=

y clear criteria for the people after they've had their operation. They'r=

e still legally male. Now that's absurd. That's crazy." All the fun we're=

 having.

(The reversal, reinforced by body language, reflects enjoyment over the m=

edia experience.)

Reporter: "The woman points out that had she remained in New South Wales,=

 she would now be out on parole."

President Truman Announces the Dropping of the Atomic Bomb on Hiroshima

Announcer: "Ladies and gentlemen. The President of the United States."

Truman: "The world will note that the first atomic bomb was dropped on Hi=

roshima,=97[a military base]. We won the race of discovery against the Ge=

rmans. We have used it in order to shorten the agony of war. In order to =

save the lives of thousands and thousands of young Americans. We shall co=

ntinue to use it until we =



completely destroy Japan's power to make war." Lord, f--k off Mad! They m=

ust have dropped it before the Whirlwind. (Reversal uses a metaphor.) =



But there is a dilemma. (Reversal may reflect the dilemma over Hiroshima'=

s large civilian population.)

Whenever a speech reversal occurred during the above tests, the EEG showe=

d significant brain activity involving the left and right hemispheres. Di=

fferent parts of the brain were also stimulated depending upon the subjec=

t matter of the reversal. In addition, concentration levels either increa=

sed or decreased when the reversed phrases occurred.

These results further verified the communicative nature of Reverse Speech=

=2E They confirmed that left/right brain hemispheric interchanges were in=

volved in the actual process of reversal decoding and suggested an uncons=

cious freedom of choice in the acceptance or rejection of these reversed =

phrases.

The subliminal effect of reversed messages, therefore, depends greatly up=

on the emotional and mental status of the individual, as well as on their=

 personal belief systems. A brainwashing effect on the general public doe=

s not seem to exist. In fact, the term "subliminal" does not describe the=

 communicative nature of Reverse Speech. "Subliminal" implies both delibe=

rate insertion and "programming." Reverse Speech occurs naturally and doe=

s not seem to program the minds of listeners.

The communicative aspect of Reverse Speech is similar to that of forward =

speech. As listeners receive and process forward speech on a conscious le=

vel, they have the choice to accept or reject the message. The same is tr=

ue of Reverse Speech. The only difference is that listeners receive the m=

essage on an unconscious level.

Extrasensory Perception

Many people report experiences in which they are talking to someone, but =

it seems as though something far deeper than the conversation is transpir=

ing. They feel emotions that are sometimes separate from those being disc=

ussed openly, or they just "know" something about the other person, but a=

re not sure how they gained that knowledge. In these cases, it is entirel=

y possible that they are perceiving each other's unconsciously=97communic=

ated speech reversals.

Intuition and Telepathy

The entire psyche of a person is intricately woven throughout the sounds =

of speech. As previously discussed, reversals become more complex the mor=

e emotionally charged feelings become. Forward speech is influenced by to=

nality, cadence, emotional states and rapport or lack of rapport between =

people, which, in turn, directly affect the formation and the frequency o=

f reversals.

When the forward conversation is emotional, the speech reversals of the i=

ndividuals involved also interact on an unconscious level, causing them t=

o feel that they are in close rapport with each other=97or not in rapport=

, as the case may be.

For example, I took the reversals below from the last five minutes of a s=

ession that I conducted with a client. On the surface, we seemed to be in=

teracting well as we discussed the reversals that I had found on our prev=

ious session.

There were strong, "unspoken" tensions between us, however, that I could =

not understand. So strong, in fact, that I left feeling unsettled and dis=

tressed. The reversals that I found show the actual unconscious interacti=

ons taking place and graphically display the reasons for our tension.

David: P-ss off wolf. / She does not trust me.

Woman: I believe you can't be trusted.

David: Well why?

Woman: That's messing me. / You make it up.

David: Not trust me. / You lousy s--t. / I need a cigarette. Must have it=

=2E

Woman: I'm upset.

David: I need wisdom.

Woman: I've seen wisdom. / I don't believe there's much on Earth.

What happened was that my client had doubts about me and Reverse Speech. =

Although she did not openly express these doubts, she expressed them unco=

nsciously through her reversals. I intuitively perceived her lack of trus=

t and responded accordingly.

When we had our third session, we were pleased that we had discovered the=

 source of our tension in the previous sessions. And, I learned a major l=

esson: never underestimate the power of personal feelings or the importan=

ce of rapport between people in therapy sessions. I learned the necessity=

 of dealing with my own issues and doing the best I can to remain objecti=

ve. My closing reversals in the last session were; Now I understand. / Be=

 careful hey.

Future Tense Reversals

Future tense reversals, which speak of events or emotions yet to occur, s=

uch as, This will happen and I shall do that, occasionally appear in Reve=

rse Speech. Every time a Future Tense reversal appears in a transcript, t=

he event about which it speaks happens=97if no action is taken to alter t=

he outcome.

Is this an example of human intuition or maybe just the incredible comput=

ing power of the mind predicting future events based on information that =

it has received in reverse? Either way, the implications of Future Tense =

reversals are vast.

Using the knowledge of Future Tense reversals in my practice, I have been=

 able to alter the outcome that the reversal predicted.

I experimented with Future Tense reversals in a tape that I analyzed for =

two people who were thinking about going into business together. Future T=

ense reversals predicted the future of the business and the interpersonal=

 relationships between the two people. Using this knowledge, the potentia=

l business partners took the appropriate action to correct the negative o=

utcomes that were predicted.

We can find an example of a Future Tense reversal in music in the song, "=

Band on the Run" by Paul McCartney and Wings. A reversal occurred in one =

section that said, Marijuana, marijuana. The law, law will banish us.

Several years later, Paul was arrested for the possession of marijuana th=

at custom officials found while they searched his suitcases as he was try=

ing to enter Japan with his "Band on the Run." He was subsequently "banis=

hed" from visiting there again. The complementarity of the forward and th=

e reversed dialogue is especially interesting, considering the circumstan=

ces.

Malok Speaks

The following transcript contains portions of reversals that I found in t=

he recording of a trance session that was conducted by a hypnotist with h=

is client. The client was in the middle of a severe emotional crisis and =

desperately seeking some direction in his life. During this trance, a par=

t of the client's unconscious mind called "Malok" appeared. Malok spoke o=

f himself as a wise being, giving advice and direction, similar to channe=

ling experiences.

I presume that the experience was a metaphor that the client's unconsciou=

s mind designed to heal his conscious mind.

Malok: "We [are like God]." God lonely.

Hypnotist: "[I ask for the part] that is responsible for Client's pattern=

s in emotions to speak." Must now accept client.

Malok: "[I know everything there is] to know about everything." Seen a li=

nes journey through ever.

Hypnotist: "Am I correct in that Client has [come to you seeking knowledg=

e]?" Gave him his power.

Malok "[Basically.]" You kiss him.

Malok: "He forgets his purpose, [but I recall it all]. It is in the light=

=2E" Remember I'm the perfume.

Malok: "[He must continue with his] current mission. That is his directio=

n and task in this life." The fact disturbing him.

Malok "[That's just the way it's set out. That's really just it.]" Visit.=

 He lives in the eye. See all the system.

Malok: "Society is at a turning point and Client [is an important person]=

 at this time, to play a role in telling all of the way that [we can reac=

h our higher] self." I see the Garden. / The Lord of lesson.

Malok: "[His purpose is] mapped out." My purpose set.

Malok: "He needs people around who will understand his purpose and [under=

stand the emotions he must deal with] while he works." Who will love me? =

There's none.

Malok: "The path is set. It's as simple as that. He can fight and kick an=

d scream as much as he likes. But [that's just the way] it's going to be.=

 [The loneliness he feels is not the loneliness] for relationship." Clien=

t marks it all. / We fear the sending out.

Malok: "[The loneliness that he feels] is the incredible responsibility t=

hat he carries [and what he must do]." Wrecks me. Responsible to love thi=

s. / I will give words. I give.

Hypnotist: "[If I understand correctly, some of the information he wants =

is why?] Why is there all [this torment happening to him]." Now we shall =

shoot Client's silk out naturally. / I see lonely Aussie.

Malok: "[It's a lonely path.] It always will be ['cause that's just the w=

ay it is]." Mark. Hear love. / See now the sixth lesson.

Malok: "[The family that he has lost will be there again] when the work i=

s done." Shift the Aussie. Where the memory makes him.

Malok: "[And he] needs others now." I am.

Malok: "You can help him. [You can help him through] this current time of=

 trouble [in his] life." We leave to mark the Whirlwind. / I am.

Malok: "[And you must know,] too, that [your purpose] is all mapped out."=

 You answer me. / I am Aussie.

Malok: "[Client will come back now.]" I'll help him to work.

=97Hypnosis ends=97

Client: "Ah, far out. [That was an amazing trance.] I went [really deep].=

" It's the Whirlwind. / It's not I.

A Journey in the Outback

Here is a story that an experienced bushman told me about a strange exper=

ience he had while he was on holiday in the Australian outback. The rever=

sals related directly to his story, giving additional information and emo=

tional perceptions. Notice how some reversals appeared before the topic w=

as discussed forward. These reversals, called "Lead Reversals," commonly =

occur in Reverse Speech.

Man: "We were in the backblocks, although it was still [reasonably popula=

ted where we] were." They were popular woods.

Man: "I left the camp and [went for a walk] in the opposite direction. I =

had my compass with me." It was all silky.

Man: "There was a really weird atmosphere and it seemed like someone was =

[lurking around] the corner." Get this rock.

Man: "There was a [vast layer of fallen rocks there] and other things on =

the other side." I was scared of the Wolf around the side.

Man: "I thought I'd go back to the camp and wait [until dawn] the next da=

y to check it out." I feel awed.

Man: "Then I looked down the hill in the dark and [I saw a campfire]." It=

's a white woman.

Man: "[I saw a campfire] and someone sitting by it." I see a person.

Man: "So I thought I'll go down there to that [person by the campfire]." =

I'll get my neighbor.

Man: "So I [walked down] the hill, now this was still in the opposite dir=

ection." Who'll help us.

Man: "When I got there it was my own camp. I couldn't work it out 'cause =

according to the compass, I'd gone in the opposite direction. Anyway [I s=

at down] by the fire with my lady friend." I curse you.

Man: "It really felt creepy so we got into the tent [and zipped it up]." =

I feel helpless.

Man: "I knew there was someone out there and I decided I [wasn't going to=

 be stuck] in the tent. If there was someone out there, [I wanted to know=

] about it." So exhausting. / I must listen.

Man: "I grabbed [the shovel in] one hand and the torch in the other." It'=

s exhausting.

Man: "[I walked around] the fire back into the bushes." I'll be careful.

Man: "I walked over the hill and [there was my camp] again right in front=

 of me. I know I hadn't gone in circles." Circling Whirlwind.

Man: "There were some pretty important things going on there and I'm goin=

g to check [it out some time]." Don't be nervous.

Pain From a Life in the Past?

When a man leaves his family, it can cause great stress for those left be=

hind as the following transcript reveals. I conducted this session with a=

 woman in her late twenties whose husband had just left her and their two=

 children. She wanted to have the session to see if we could locate a cau=

se for the sharp, stabbing pains that she had been feeling in her stomach=

 since the breakup.

She thought that the pains might have had something to do with a past-lif=

e experience. The most predominant theme in this session was a "wound" in=

flicted upon her by Lancelot. In my opinion, this was a metaphor for the =

pain she felt from her husband and could not be attributed to a historic-=

life experience.

David: "Describe the pain to me a bit. Can you visualize it?" No reversal=

=2E

Woman: "It's a [really deep ache] in my stomach. I can't eat. I feel sick=

, but not physically sick. Every now and then I feel like I could be sick=

=2E [It's just a really deep-seated pain.]" He hurts, I know. / Lancelot,=

 I know, hurt with his spear.

Woman: "I'm going to have to [go up North to find work]." Don't want to g=

o up there.

Woman: "[The kids are coping] really well. They don't know about the move=

 yet." They shall miss him.

Woman: "I just want to know what this pain is and where it's coming from]=

=2E" F--ked nerves.

Woman: "I couldn't be near him. I felt as if I was hanging [onto somethin=

g that was no longer] there." Longing, I need him. I'm nude.

Woman: "I don't feel [as emotional] right now. I don't feel like crying o=

r anything. It's just a [sick painful feeling]." I love you. / Lance f--k=

ed me up.

Woman: "Maybe it's a past [life experience]. Perhaps he inflicted pain on=

 me in another life and the situation [that is happening now is bringing =

it all back]." Freeze frame. / Lancelot the same. Horrible person.

Woman: "I went to some channelers. I was told that once we reached a cert=

ain point in our relationship then we could [see what happened in the pas=

t life that caused the problems]." It's now Lancelot. The b-st-rd. I love=

d him.

Woman: "I've got to clear these feelings. [But they're there and you can'=

t ignore] them." He nudes me. He broke me.

David: "How [are you feeling] right now?" Have no fear.

Woman: "Okay. I'm finally at the moment that [it's, it's there,] but I ca=

n control it." My nerves slip, slip.

Woman: "I've never [slept with anyone before.] So [it's my first] real re=

lationship breakup." Will he ever love me? / Sex found him out.

Woman: "[I'm hanging onto] the fact that there's still a chance." Here's =

longing.

Woman: "I ask myself [what I did] wrong. [Should I] go or wait for him?" =

I'm worthless. / I'm nude.

In light of what we now know about speech reversals, what was once though=

t to be esoteric, or even unbelievable, such as intuition, telepathy, for=

eseeing the future, channeling and past life experiences may be attributa=

ble, at least in part, to the communicative nature of the mind. Reverse S=

peech gives us an exciting avenue of exploration.

Reverse Speech is the voice of the inner mind, the deeper Self. It is a p=

reviously undiscovered, "extra sense" that enables us to interact on all =

levels.

It allows us to see who we really are and it shows us that we are constan=

tly communicating this to those around us. It causes us to be honest, in =

spite of ourselves. Now that we know it exists, we have no choice but to =

become congruent on all levels. Because, like it or not, the day of Truth=

 has arrived.

=0DReverse Speech

In Children



Covert speech develops before overt speech. Children speak backwards befo=

re they do forwards. Then, as forward speech begins, the two modes gradua=

lly combine into one, forming an overall bi-level communication process.

=97The Theory of Reverse Speech and

Speech Complementarity (Point #3)

Language develops in reverse before it develops forward. If we were to pl=

ay a tape recording of "baby talk" backward, we would find words and simp=

le forward phrases in the gibberish=97as early as four months=97before th=

e baby has "officially" learned how to talk forward.

As a baby learns to talk, these two styles of expression, forward and bac=

kward, gradually merge into one mode of communication, part of which we c=

an consciously understand and the other part "hidden" to consciousness.

Imagine the implications of being able to understand what babies and chil=

dren are feeling before they can put those feelings into words. Concerned=

 parents, educators and counselors could figure out why babies and infant=

s cry for no apparent reason or why they are acting fussy, confused, or d=

ifficult. They could better understand and comfort children who have retr=

eated deeply into themselves because of traumatic events.

Reverse Speech can provide a key to understanding young people so we can =

gently and compassionately understand their behavior and, in turn, be mor=

e effective parents, educators and counselors.

The Birth of Twins

July 7, 1987, I became the proud father of fraternal twin girls, Jaye and=

 Symone and thus conceived an exciting idea for a new research project: w=

hen did speech reversals begin to appear in baby sounds? I began my resea=

rch with their birth.

Nurse: (during labor as complications set in) "C'mon. Push as hard as you=

 can. C'mon. [You can do it, you can do it. Deep breath in] and hold it."=

 Please help it. Push harder. Push harder!

David: (responding to the doctor's explanation as the doctor diagnoses "b=

row birth" and takes the appropriate action) "[Yep, fine, I think.] Are y=

ou sure she's okay?" It's enough pain.

David: (just after the first birth, Symone) "[How much, how much did she =

weigh?]" I wish you'd show me her.

Doctor: (direct response, note reversed dialogue) "[We haven't weighed] h=

er yet." She's lovely.

David: (side comment, talking into the microphone) "This is a tape [for p=

osterity's sake]." A cigarette. (Exactly what I wanted at the time.)

David: (realizing that the twins were not identical) "[This one's got fai=

r] hair and that one's got dark hair." Hey, they're opposite.

(The two girls have continued to develop to be totally opposite in appear=

ance, temperament and desires.)

The First Signs of Reversed Language

I periodically tape recorded the twins from the night they arrived home. =

When they were four months old, I located the first intelligible reversed=

 sounds=97two single words in a 30-minute tape. I found the first one on =

Symone, Mummy, and the other on Jaye, Symone.

Two weeks later, I made the next recording and heard Jaye say in reverse,=

 Daddy. Over the next two months I found other isolated words:

Symone just before mealtime: Hungry

Jaye as she was about to fall out of her high chair: Help

Jaye when she wet her diaper: Toilet

Symone: Jaye

I also found other instances of both twins saying Mummy and Help. I did n=

ot find any other intelligible sounds, backward or forward, in any of the=

 recordings I made.

The Appearance of Phrases

When the twins turned seven months old, I began to find isolated examples=

 of two or three words that appeared together in a reversed sentence. At =

the same time, the frequency of simple, single words in forward speech in=

creased. Here are some examples:

1. I was following Symone around the room with the tape recorder when she=

 became very interested in it. She reached out to grab it, crying out wit=

h delight. This cry reversed to say, What's that?

2. My former wife spanked Jaye while I was on the telephone. Jaye sadly l=

ooked at me and began to cry. At the beginning of her cry, a reversal occ=

urred that said, Daddy, hurts.

3. When Jaye was ten months old, I found an example on her while the two =

girls were mumbling in their beds before going to sleep. Their half-broth=

er, my son from a previous marriage, had been staying with us for the las=

t week. The reversal was Love my brother.

4. When the twins turned one year old, they began to experiment with utte=

ring more single words forward more frequently. Occasionally, a perfectly=

 clear speech reversal appeared at the same time as an imperfect attempt =

was made with a forward word. For example, the dog's name, "Tasha," was o=

nce pronounced forward as "Tatta," and this same sound reversed to say a =

very clear Tasha. Likewise, the word "bottle" at one time was said forwar=

d as "bobbop." The same sound reversed to clearly say bottle.

5. I found a reversal on Jaye when she was 13 months old, just after my w=

ife and I made up following an argument. Jaye was sitting on my lap, happ=

y and giggling. In these laughs, I found a reversal that said, Daddy love=

s Mum.

6. When the twins were 14 months old, I found the first definite example =

of speech complementarity. They were playing in the bath and Symone was t=

rying to pick up a cup that was sliding along the bottom. Unable to pick =

it up, she looked up at me and reached out for help, saying forward, "[(m=

iscellaneous baby sounds), Daddy.]" In reverse this became, David, Help m=

e, with David occurring on the reverse of "Daddy."

7. Of a similar nature was a reversal that I found on Jaye a few weeks la=

ter when I returned from an interstate seminar. She ran up to me as I wal=

ked in the door saying, "David." This reversed to say, Is my dad.

The Beginning of Metaphors

I found some significant reversals on the twins when they reached 18 mont=

hs. These occurred while my former wife and I were having a heated argume=

nt. The twins were highly distressed, crying and running frantically arou=

nd the room while my former wife and I gave little thought to calming the=

m.

The reversals that occurred throughout this 20-minute tape recording grap=

hically illustrate their mental state. The very first reversed metaphors =

appeared and reversal frequency was the highest that I had found yet, oft=

en occurring within a few minutes of each other.

Symone: Help, help. Mum. Help. Hey, mum. Help.

Jaye: Mumma. Pappa. Help.

(Reversed references to the twins' grandparents. Jaye was seeking help fr=

om other sources.)

Jaye: They died. I died.

(A powerful metaphor with Jaye personally experiencing the "death" of our=

 marital relationship.)

Symone: Help us. Help them. Help them.

(Symone wants help for us.)

Jaye: Help us.

(Jaye wants help for herself and Symone.)

Symone: Help them.

(Symone repeats her previous request.)

Jaye: Help me. Help us.

(Jaye becomes specific. She wants help for herself.)

Jaye: Dad, David. Help me. I'm nude. Help me.

(Jaye becomes desperate, using a reversed metaphor, "nude," which is trad=

itionally associated with emotional pain.)

Symone: Mum. Help her.

(Concern for Jaye.)

Reversal Styles and Personality Differences

The above transcript was the first indication of different reversal style=

s between the twins. Symone, while seeking help for herself, also showed =

concern for her parents and sister. Symone has become the more altruistic=

 of the two. Jaye, on the other hand, was concerned primarily with her ow=

n welfare. She also was calling for me, whereas Symone was calling for he=

r mother.

It appears that personality permeates to the deepest core of who we are=97=

or, more precisely, it emanates from there and infuses all that we are. B=

y carefully studying a person's reversals, an experienced Reverse Speech =

analyst can begin to form a distinct profile of the speaker, without ever=

 having met the person=97a proposition that I have tested and proven repe=

atedly in my research.

The Twins' Second Birthday Party

Six months later, our marriage collapsed. I was preparing to move to the =

United States within the month. We had not yet told the twins of our deci=

sion and I had been emotionally distancing myself from them in an attempt=

 to reduce the pain that I was feeling.

In the following recording, which I made during the twins' second birthda=

y party, reversals had developed to a complex level and indicated that th=

e twins definitely knew, at least on an unconscious level, that Daddy was=

 leaving home, thus making another case for the role that reversals play =

in "intuition" or "telepathy."

Jaye: I won't speak with David.

(Anger at and recognition of, my pending departure.)

Symone: Jaye will need this.

(Symone recognizes Jaye's feelings.)

Jaye: I sad.

Jaye: Now help. Help me.

Jaye: Come Michael.

(She calls her half-brother, also at the party, by name.)

Symone: Mum come. Here Mum. Mum.

(As with the trend on the previous session, Symone calls her mother.)

Symone: Mum, give me some healing.

(Symone is also hurt and expresses this by using a simple metaphor.)

Jaye: Leave me.

(A strong reaction to sadness.)

Symone: I will come.

(Symone offers to help Jaye.)

Jaye: Daddy. You're not home.

(By using a common Reverse Speech metaphor, she acknowledges the emotiona=

l distance I'd created.)

Jaye: You run.

(Directed to me. The forward dialogue was, "Daddy.")

Jaye: He's not home.

(Directed to me again, the forward dialogue being, "My Daddy.")

Symone: I love.

Jaye: Be home.

(Again directed to me. The forward dialogue again was, "Daddy.")

Jaye: Daddy, he loves. David, he runs.

(With the trend of her previous reversals, Jaye seemingly separates the f=

ather image from the personal image.)

Jaye: I'll be down.

(An expression of future sadness using a Reverse Speech metaphor.)

Jaye: Daddy love.

(A plea.)

Symone: Be sad.

(Directed to me. The forward dialogue was "Daddy.")

Jaye: Power. Power.

(A strong metaphor in Reverse Speech, usually associated with base needs =

and desires.)

In the above transcript, the differing reversals of the twins follow the =

same trend as my previous findings. Jaye was extremely upset, her desires=

 were for her own well being and she communicated these desires by using =

simple metaphors. Symone was more concerned with being supportive. Jaye's=

 strong identification with me is evident, yet this time she communicated=

 it as anger rather than as a bid for support. =



Symone, on the other hand identified with her mother. Note the many refer=

ences to "Daddy" forward with different reversals in each case. Here are =

comparisons from this transcript that further indicate the differences be=

tween the twins' reversals:

1. Jaye: I won't speak with David.

Symone: Mum, give me some healing.

2. Jaye: I sad.

Symone: I love.

3. Jaye: I'll be down.

Symone: I will come.

4. Jaye's reversal, Daddy, he loves. David, he runs. is probably the peak=

 of the confusion. Why is my Daddy leaving home? Her unconscious mind was=

 appearing to rectify the conflict. Symone simply says to me, Be sad.

I was sad to leave them. I kept in regular contact with the twins by tele=

phone and recorded our conversations as their forward speech became more =

fluent.

On a trip to Australia six months after having moved to the United States=

, when the girls were almost three years old, I made another recording an=

d found that the bi-level communication process had progressed significan=

tly, as well as the frequency of reversals, which were then close to norm=

al adult occurrence. Here are some examples of reversals I found on that =

trip:

Jaye: "[Daddy, I want you. I want you. (Other cries and groans.)]" Here f=

ather. Here father. I love you. Loving him.  (This was the first time I f=

ound Father in reverse. All previous references were Daddy. Could it have=

 been due to my six months absence?)

Symone: "[Hello, Daddy.]" I want a lolly. (Australian word for "candy.")

Jaye: (to me) "[I want a cuddle. I want a cuddle.]" I love you. I love yo=

u.

I obtained full custody of the twins when they were four-years-old. At th=

e time of this writing, they are nine-years-old and are living with me in=

 the United States.

Reversals in Game Playing

The following case study concerns a six-year-old girl who was in the proc=

ess of accepting a new father figure. Her single mother had recently marr=

ied and the child's natural father had been banned from seeing her becaus=

e he had caused major conflicts in the family, including severe emotional=

 abuse of his child.

This resulted in a court restraining order being obtained against him. Th=

e child had been despondent since the separation, knowing she would not s=

ee her natural father again. She was trying to cope with the abuse and wi=

th the confused father figure roles.

This transcript is from a portion of an afternoon she spent playing with =

a friend. Note how she deals with her grief and confusion in reverse unde=

r the innocent disguise of playing doctors.

In this transcript, I call the step-father "John" and the natural father =

"Robert." The bold words in parentheses did not actually occur, but are c=

onsistent with the reversed dialogue flow and the tonality of the reversa=

ls: question/answer, etc.

Friend: "Let's play doctors."

Child: "And you're the doctor. [I've had a broken leg.]" I've never hated=

 him.

(At this stage we do not know who "him" actually is.)

Friend: "[Which one?]" (Do you) love him?

(Questions the mysterious "him.")

Child: "[This one.]" (I) love him. =



(Answers previous reversed question.)

Friend: "No, this one." No reversal.

Child: "And you say what's wrong with you." No reversal. =



Friend: "[You say it.]" (Who's) Daddy?

Child: "No you. [You say it.] You're the doctor." John. =



(The identity of "him" is established as the step father.)

Friend: "No, you be the doctor." No reversal.

Child: "No you! We swap. [Would you please fix] up my broken leg! (pause)=

 There's a bit I have to fix." Needs fixing up.

Friend: "I have to get the stuff. [Now where's the plaster?]" Robert did =

this.

(The natural father.)

Child: "I know [how to put it on]." Hard to deal with.

This innocent game of doctors was a metaphor for something far deeper. Us=

ing the imagery of a doctor fixing a broken leg, the child was sorting th=

rough her confused feelings.  Note her insistence in being the patient, h=

er establishment of the father figure and her desire to "fix up her broke=

n leg" after she had dealt with these issues.

Here are those reversals in order. Note the progression of the reversed i=

nteractions between the child and her friend as she recognizes and handle=

s the issues.

Child: I've never hated him.

Friend: (Do you) love him?

Child: (I) love him.

Friend: (Who's Daddy?)

Child: John. / Needs fixing up.

Friend: Robert did this.

Child: Hard to deal with.

Child Molestation

The statistics are staggering. Commonly quoted statistics indicate that o=

ne in four girls and one in seven boys are molested during childhood. Mos=

t psychologists and psychotherapists claim these numbers are so conservat=

ive as to point only to the tip of the iceberg. Events so horrible to a c=

hild can be blocked from memory. Reverse Speech analysis provides a power=

ful method for use in determining the nature and the extent of the crime =

and its lasting effects on the survivors.

Here are some of the reversals found in a session conducted with a 12-yea=

r-old girl who had been molested several years earlier. Her parents reque=

sted a session to determine the extent of the psychological damage that s=

he had suffered. I documented her reversals in batches or "clusters." Rev=

ersals frequently appear in clusters within a short time frame, followed =

by no reversals for one or two minutes, then another cluster (see Chapter=

 7 for a discussion of clusters).

Notice the reversed italicized metaphors, which at age 12 are prolific th=

roughout Reverse Speech. I have just documented the reversals and listed =

them below in their respective clusters, indicated by line breaks. Notice=

 how the subject matter of the individual clusters relate to each other, =

followed by a different subject in the next cluster.

#1: Cursing him.

#2: Jesus helps me.

#3: Jesus loves me. He must not prosecute.

#4: I was f--ked bad.

#5: Oh, what a b-st-rd.

#6: The mark makes it worse.

#7: Seen out this movie.

#8: Why wasn't it sunny?

#9: A person f--ked me.

#10: Well, yes it happened.

#11: I've seen it.

#12: I've witnessed it.

#13: I know what he's done.

#14: Yes, I hate him.

#15: And I feel silly.

#16: I'm not scared.

#17: I've seen life.

#18: Why hurt him?

#19: The mark is heavy.

#20: Source will be the pain.

The following is my analysis of the reversals, together with brief explan=

ations of the metaphors.

1. Reversals #1-3 show anger (cursing him) as well as acceptance (Jesus h=

elps me.)

2. Reversals #4-5 describe the act and express further anger.

3. Reversals #6-8 describe harm, or mark, on her psyche plus a sense of d=

isassociation from the event, movie.

4. Reversals #9-10 show an insistence on establishing the occurrence of t=

he event.

5. Reversals #11-13 repeat the insistence and also reveal an understandin=

g, I know what he's done.

6. Reversals #14-15 show hatred and some reluctance for the hatred.

7. Reversals #16-18 show an acceptance.

8. Reversals #19-20 reveal her own pain, mark is heavy and give an indica=

tion where that pain is. Source is a metaphor usually associated with mal=

e/female energies.

Overall, this session indicated that the girl understood what had happene=

d to her. She showed an understandable amount of anger, but also seemed t=

o be working through acceptance of the event. If her process was encourag=

ed and supported through puberty, she would probably suffer minimal perma=

nent psychological damage.

Other similar sessions that I analyzed revealed a wealth of information c=

oncerning the psychological makeup of children and how they are affected =

by the events in their lives.

Bridging the Generation Gap

Just as parents and their teenagers interact on a conscious level, they a=

lso relate on an unconscious level, their reversals reflecting what they =

want, need and expect from each other.

Here are portions of a session with a father and his teenage daughter as =

they discussed their relationship. They were both highly emotional. The d=

aughter was crying out, in reverse, for her father's love and he was wres=

tling with his own conflicts about his purpose in life. He also remembere=

d how he acted when he was a teenager.

Ultimately, the session helped them greatly, the father in particular. It=

 helped them understand the dynamics of their relationship and take the n=

ecessary steps to improve it.

Notice how the daughter expresses herself emotionally in her forward spee=

ch. In reverse, she calls for her father:

Daughter: "Oh, no. I don't want people to be like me, [then we'd all] be =

like me and we'd be [messed up]."

I need you. We felt fear.

The father's reversals express a need to know his daughter, even a need t=

o "connect" with her "weakness." While he is speaking with her, he is als=

o seeking to understand himself=97and "Self" answers:

Father: "Life works in certain ways. [You don't believe it now, but you w=

ill believe it someday. That's what good manners are for.] That's why we =

have certain customs and laws. . . [You have a certain amount of privacy]=

=2E . ." Need your sin closer. I must reveal who you are. =



/ Reveal Daddy. I'm a go slow Daddy.

The daughter is angry. In reverse, she repeats her demands:

Daughter: "Here I was, hurt at school. And you go like, it's like [oh, no=

 big deal,] you're not bleeding that =



bad. . . You s--t! I need you.

In the midst of heated forward exchanges, the father reaches emotionally =

for her in his reversals:

Father: "I got there as fast as I could. I'm never going [to be any bette=

r either,] you know, you expect me, oh, yeah, [if you get hurt or anythin=

g,] you'll just have to lie there and bleed to death." Do you love me? / =

I feel her love. I grieve it.

She remembers the good times they have had. In her reversals, she continu=

es to plead with him and begins to connect emotionally with him:

Daughter: I used to like it when we went away. It's like now, [but, I mea=

n,] we don't really do anything. . . like the campground, we went to that=

 place and you found that big turtle. . . [mumbles]. . . that was fun. . =

=2E Then, there was the time I got sea sick [on that thing,] on that boat=

 [we were on]." I need that love. / I miss that love. / I know with love.=

 / I want that love.

He responds. And, she realizes that he has heard her:

Father: "[It'd be fun to do it again.]" I grow to love you.

Daughter: "I don't want [to be alive by the time I'm twenty]." He knows I=

 must love.

In his forward dialogue, the father discusses his teenage years and notic=

es how different his present direction in life is. In reverse, he questio=

ns if this is the way for him to go. His unconscious mind warns him. Whir=

l in this case is connected to his desire to accumulate possessions:

Father: "I know I used to do all that, peace demonstrations, etc., as a t=

eenager, but I've decided I want to be different now. [I want to accumula=

te things] . . . [I want to be comfortable.] I want to have a retirement =

someday." Will we make the power? / Whirl will f--k the power.

Next, he uses a powerful personal metaphor, cousin, that connects him to =

similar emotions he felt in the past. In his forward dialogue, he struggl=

es with his daughter. In his reversals, he remembers when he was a teenag=

er and used to spend a lot of time with his cousin doing similar things t=

o what his daughter is doing now. His reversal is a reminder that he used=

 to be the same way:

Father: "You say you don't want to conform, but you are conforming with y=

our own peer group. [I mean, you listen to the same kind of music.]" You =

see my cousin. Serving him.

Forward, the daughter shares her views. In reverse, however, she works th=

rough her relationship with him. He is rigid, law, but, at least they hav=

e connected emotionally with each other and their relationship will work:=



Daughter: "We do good things. Someone's got to say something about where =

the world is heading. You can't understand. [I don't expect you to unders=

tand it]. . . We do it for the good of mankind [and other people, but] it=

's not like we're violent or anything." You're holding it, law. / You're =

nicer. Now it helps the wine. / There will be love.

The father reassures her, chooses a course of action and accesses a behav=

ior-changing archetype, the magician:

Father: "I don't believe that you think everything is bad in the world. [=

I think you're lying] . . . I think you're not showing your [emotion, shu=

tting off . . . I just want to know [you're going to find something] and =

say this is neat." I would never hurt. / I will get my youth. Now for the=

 magician.

She responds to his archetypal reversal with her own archetype, Goddess, =

acknowledging that she has the resources:

Daughter: "I don't know whether that can happen, but I didn't say [you sa=

id I couldn't. I said I cannot do that.]" I'm a Goddess. I'm the Goddess.=



Thus, the father and daughter progressed from pleading for each other's l=

ove to connecting emotionally with each other and, ultimately, to accessi=

ng archetypes for positive change.

An Overview of Children and Reversals

After simple words and phrases first appear in reverse in babies, reverse=

d speech then parallels the development of forward language as they grow.=

 In other words, there is a steady progression, in reverse, from the use =

of simple, isolated words and phrases, to more complex language patterns =

and metaphors (please see the table on the next page). This is similar to=

 forward language which begins with isolated words and evolves into more =

complicated sentences and metaphors.

When society begins to realize that language is a combination of both for=

ward and backward dialogue, yet reverse language evolves first, it will c=

ause a huge quantum shift in our understanding of child development and p=

sychology in general.

An Overview of Children and Reversals

4 Months  =



Isolated single-word reversals, few and far between, begin to appear.

7 Months  =



Reversals begin to appear that contain two or three words. The frequency =

of single words increases. =



1 Year  =



Forward language begins and clear reversals are found on imperfectly form=

ed. forward words. Language patterns start to combine. =



18 Months  =



Metaphors begin to appear in reverse. Reversals continue to increase and =

different personality patterns can be detected. =



2 Years  =



Complexity of reversals increase. Metaphors and frequency of reversals in=

crease. Children seem to be aware of events not communicated to them on a=

 conscious level. =



3-4 Years  =



Speech complementarity is well-established with bi-level communication oc=

curring regularly. The frequency of reversals is close to that found in n=

ormal adult conversations. =



6 Years  =



The child appears to be able to deal with pain and emotional issues on an=

 unconscious level through the process of game playing. =



12 Years  =



Normal adult reversal structure is evident both in frequency and in metap=

hors. =



 =



Reverse Speech Images



Whoever looks into the mirror of the water will see first of all his own =

face. Whoever goes to himself risks a confrontation with himself. The mir=

ror does not  flatter, it faithfully shows whatever looks into it; namely=

 the face we never show to the world because we cover it with the persona=

, the mask of the actor. But the mirror lies behind the mask and shows th=

e true face. This confrontation is the first test of courage on the inner=

 way, a test sufficient to frighten off most people.

=97Carl Jung, The Archetypes of the Collective Unconscious

The human psyche is vast. Some researchers claim that it extends into the=

 infinite world of time and space itself. My research with Reverse Speech=

 certainly tends to support this hypothesis. It shows us that more than 9=

5% of our being is below the conscious realm and we have very little cont=

act with this realm. Reverse Speech offers us a totally new doorway to th=

is world that was previously only glimpsed in phenomena such as dreams.

Dream States

Dreams often use strange and disjointed images. For example, a dream of b=

athing in a refreshing, crystal-clear spring might suddenly change into a=

 dream of being chased through a blazing fire by a wolf wielding a mighty=

 sword. Sometimes dreams are like Gothic fantasies that flash mysterious =

or ambiguous pictures through the mind during sleep. Much research has be=

en done in an attempt to explain dreams and their purposes. We know, for =

example, that dream states are unconscious, primarily right-brain functio=

ns.

Some researchers suggest that, like a safety valve, dreams provide a rele=

ase for repressed thoughts or feelings. Others suggest that dreams allow =

a part of the mind that has previously been ignored to communicate and st=

ill others view dreams as random static. Recently, it has been theorized =

that dreams allow us to process important information that we have acquir=

ed during our waking hours.

Reverse Speech shares many similarities with dream states and may, in fac=

t, help us to further analyze our dreams. Both dreams and reversals:

Stem from deeper regions of the mind;

Are unconscious activities and primarily functions of the right-brain;

Fade in and out with varying degrees of clarity; and

Use images that are sometimes difficult to understand.

Like dreams, reversals allow us to express parts of our minds and thought=

s that were previously repressed or ignored.1

The unconscious mind often uses powerful metaphors as it manifests itself=

 through Reverse Speech. Carl Jung extensively studied and documented the=

 metaphoric nature of the unconscious mind in his search to explain the n=

ature of the human psyche.

Jung on Dreams

Carl Jung stated that some particularly impressive dreams contained visio=

ns and ideas of deep significance, which could not be accounted for by th=

e person's past experiences. Instead these dreams seemed to spring from a=

 source outside the range of conscious experience. Such dreams were aston=

ishingly similar to metaphoric and archetypal images that could be found =

in myths and fairy tales from different cultures all over the world.2

In his book, The Structure and Dynamics of the Psyche, Jung tells of a ma=

n who came to him with severe attacks of pain in the region of his heart,=

 choking sensations in his throat and piercing pains in his left heel. Th=

e man was perplexed over the reason for these pains and severely depresse=

d because his physical problems resulted in his exemption from military d=

uty.3

After having discussions with the man and analyzing his dreams, Jung disc=

overed that the man had been jilted recently by his long-time lover. Jung=

 conducted counseling sessions during which the man addressed his repress=

ed feelings about this affair. The pains in the man's heart and throat ev=

entually disappeared.

Jung claimed that the sensations in the man's throat were caused by uncon=

sciously repressed tears, likewise the pains in the heart. The man had de=

liberately repressed any feelings over the broken love affair. The pain i=

n the left heel continued, however and Jung was puzzled as to its cause. =

He states:

I could get no clue to the heel symptom from the patient's conscious mind=

 and I turned once more to my previous method=97to the dreams. The patien=

t now had a dream in which he was bitten in the heel by a snake and insta=

ntly paralyzed.4

Jung concluded that when the woman jilted him, she had given him a wound =

that paralyzed him. Further information from the dream uncovered that whe=

n he was a child, he had an overprotective mother. This resulted in his b=

eing "girlish" in nature, hence his decision to join the army=97to exert =

his manhood. Thus, in a sense, his mother, too, had "lamed" him.

Jung then states that they were evidently dealing with that same old serp=

ent who had been Eve's notorious friend. He draws direct comparisons with=

 the man's dream, the pain in his heel and the Biblical account of creati=

on, pointing out that the man had virtually no conscious knowledge of the=

 Bible.5

"And I will put enmity between thee and the woman and between thy seed an=

d her seed, it shall bruise thy head and thou shalt bruise his heel." (Ge=

nesis 3:15)6

Jung concludes that:

This part of the unconscious evidently likes to express itself mythologic=

ally, because this expression is in keeping with its nature. . . It corre=

sponds to the mentality of the primitive, whose language possesses no abs=

tractions but only natural and unnatural analogies. . . It seems as that =

the collective unconscious had translated the patient's experience with t=

he women into the snake-bite dream and thus turned them into a regular my=

thological motif.7

Jung quotes another account in his book, The Archetypes of the Collective=

 Unconscious, of a man who was a modest clerk with no education who suffe=

red from paranoid schizophrenia. This man had frequent hallucinations. On=

 one occasion, Jung came across the man staring intently at the sun, movi=

ng his head from side-to-side in a curious manner. He took Jung by the ar=

m and said that if he looked at the sun with his eyes half-shut, he could=

 see the sun's phallus (penis). Then, if he moved his head, the sun-phall=

us would move also and that was the origin of the wind.8

This bizarre encounter, which occurred in 1906, left Jung puzzled until f=

our years later when he was engrossed in mythological studies. He came ac=

ross a book by the late Albrecht Dieterich,9 the well-known philologist, =

which threw light on the fantasy. It was a part of the so-called "Paris m=

agic papyrus," and was thought to be a liturgy of the Mithraic cult. It c=

onsisted of a series of instructions, invocations and visions. One of the=

se is described in the following words:

"And likewise the so-called tube, the origin of the ministering wind. For=

 you will see hanging down from the disk of the sun something that looks =

like a tube. And towards the regions westward it is as though there were =

an infinite east wind. But if the other wind should prevail towards the r=

egions of the east, you will in like manner see the vision veering in tha=

t direction."10

Jung concludes by saying that the Greek word for "tube" means a "wind ins=

trument," and in Homer, "a thick jet of blood." Jung then points out that=

 his patient had the vision in 1906 and the first Greek text of the papyr=

us was edited in 1910. The two events should be sufficiently far enough a=

part to rule out any possibility of clairvoyance on his patient's part or=

 of thought transference on Jung's part.ll

The parallels of the two visions cannot be disputed and Jung also notes t=

hat strong elements of this sun-phallic motif may be seen in certain medi=

eval paintings.l2 He states that: "The patient was certified in his early=

 twenties. He had never traveled. And there is no such picture in the pub=

lic art gallery in Zurich, his native town."13

Carl Jung's works are compelling. He documents many cases where patients =

have had dreams or visions that contained elements of myths and legends t=

hat surpass cultural and historical boundaries. The patients had no consc=

ious knowledge of these fables and legends. This led him to postulate his=

 theory of "The Collective Unconscious," which states that buried deep wi=

thin the psyche can be found an inherent storehouse that contains the ent=

ire spiritual and cultural heritage of humanity's development.14 =



In The Archetypes of the Collective Unconscious, he discusses the collect=

ive unconscious and its archetypal images, saying:

In the realm of consciousness we are our own masters; we seem to be the f=

actors themselves. But if we step through the door of the shadow we disco=

ver with terror that we are the object of unseen forces. . . archetypes a=

re complexes of experience that come upon us like fate and their effects =

are felt on our most personal life.15

There are many similarities between the revelations of Reverse Speech and=

 the writings of Carl Jung, particularly in the area of the archetypal na=

ture of the unconscious mind.

The Three Levels of Reverse Speech

Before I had encountered the work of Carl Jung, I was documenting many wo=

rds and phrases whose meanings were a mystery to me. These words included=

 references to the Garden of Eden and the Legend of King Arthur and his K=

nights of the Round Table=97to name just two.

As time went on and I made connections between these words and the forwar=

d dialogue in which they appeared, some common factors emerged. Of primar=

y importance was the fact that separate and distinct language patterns, o=

r styles, appeared to correlate predictably and regularly with the intens=

ity and type of forward conversation.

I categorized these language styles into three levels and eventually asso=

ciated them with the three levels of the mind that Carl Jung defined.

The First Level of Mind: Consciousness

First Level reversals describe commonly-used English words. They often ad=

dress literal conscious thoughts in a person's mind while the person is s=

peaking. Here are some examples, with the reversals in bold print:

A murder suspect being interviewed on TV. "No, [I never threatened] the m=

an. In fact, I can never remember threatening him." Revenge. Killing the =

lad.

A politician talking to reporters after leaving office under unpleasant c=

ircumstances. He was asked if he had any resentments. "No, no, no, no, no=

=2E [Politics is a tough game.]" I was asked to p-ss off.

My son Michael, as we discussed what videos to watch that night, says he =

hasn't seen video A or B, then in reverse says he has. "I want 'Video A!'=

 I haven't seen 'Video A' or 'Video B.' Let's get them. [Yeah. Let's see =

them!]" I've seen both of them.

An interview with an Australian politician who was perceived to have desi=

gns on his party's leadership.

Interviewer: "Is the position up for grabs?"

Politician: "[Well, ah, I] haven't even given it any thought and I don't =

intend on this program, within, er, [seconds of listening to, er, ar, the=

 leader] make er (pause) a quite a magnanimous speech, start opening up t=

he question of party leadership." Leave me alone. / Annoys me, this littl=

e -sshole from the press.

I found this reversal while I was explaining Reverse Speech to someone. T=

he reversal is exactly what I was thinking, but did not want to say. "The=

re's certain reversals that I feel uncomfortable telling people about. Li=

ke, er, well, ['cause they might not be able] to, er, well deal with it."=

 Remember when they're sexual.

A reversal that I found on TV evangelist, Jimmy Swaggart, after it was re=

vealed that he had engaged in sexual misconduct and was stepping down fro=

m the pulpit: "I know that so many would ask [why. (Short pause, sighs) W=

hy?] I have asked myself that ten thousand times through ten thousand tea=

rs. I will step out of this pulpit at the moment for an [undetermined, in=

determinate] period of time." Help. Help! / I must admit in my mind.

The Second Level of Mind: Personal Unconsciousness

Second Level reversals describe reversals that are symbolic or metaphoric=

=2E The Contemporary Dictionary describes a metaphor as:

A figure of speech in which one object is likened to another object by sp=

eaking of it as if it were the other as in, 'The sun was a chariot of fir=

e.' The word comes from the Greek. 'Meta,' beyond, over=97and 'Pherein,' =

to carry.16

In Reverse Speech, there are two categories of metaphors that "carry over=

 or carry beyond," and give a greater description of a concept that a spe=

aker is communicating.

Second Level reversals are operational and describe the effect of behavio=

ral patterns, whereas Third Level reversals, which I will discuss shortly=

, are structural and point to the root causes of these same behavioral pa=

tterns. Second Level reversals:

describe an emotion or a thought that is difficult to portray;

use one word in place of the many words that forward speech uses;

discuss topics that are below the level of consciousness; and

describe the operations and the effects of behavioral patterns.

Second Level reversals often represent emotional states or deep-seated fe=

elings regarding an issue that is being discussed forward. They are basic=

 and deal with raw issues, pleasure and pain, guilt and triumphs, strengt=

hs and weaknesses. They can give vast insight into the inner working of t=

he mind.

I have categorized more than 1,000 common metaphors so far, some of which=

 I have included in the Reverse Speech Dictionary in Appendix III of this=

 book. In the dictionary, I also discuss the metaphors possible meanings.=



Here are some examples of Second Level reversals and some cases in which =

I have found them.

Naked and nude: these are opposing words of intimacy. Naked usually indic=

ates an openness or freedom whereas nude indicates the opposite: fear, sh=

ame, or unwanted exposure. =



My love is naked. =



Who'll help me? I am nude.

Face: this word refers to the deep Self, or everything that people are.

I'm glad to see your face.

I slept with you. Shared your face.

Thirsty, hungry, food, water: a common metaphor group that refers to emot=

ional needs.

Must escape. Who will help me? I'm thirsty.

I'm afraid to serve. Forget the food. Forget water.

Program and sermon: these words refer to behavioral conditioning.

The program was a lot like murder.

I must reverse this sermon.

Shoot, sword, warhead, spear: another metaphor group that refers to the d=

elivery or use of intense emotions.

I have this selfish warhead.

He put a sword in my face.

Shot, I am. I was shot what I'm feeling.

Ocean, surf, ship, reef, helm, weather: a common metaphor group that refe=

rs to the human journey, people as sailors on a ship traveling the seas o=

f life.

I love this surf.

My ship has struck a reef.

I will take the helm.

Other common metaphors: =



serve (let me serve you)

Word (the Word is my guide)

power (you gave me power)

sin (this reef is sin) =



wisdom (I need wisdom)

curse (I curse you)

music (this book is good music)

refund (love is a refund)

force (I can feel a certain force)

rape (I feel raped)  =



snow (I need this snow)

Personal metaphors draw from an individual's personal life experiences. T=

hey describe emotions and issues that are similar to the ones currently b=

eing experienced. For example, I have a personal metaphor, Melbourne, the=

 town where I fell in love with my former wife and where that love collap=

sed and died. When I use "Melbourne" in reverse, I am talking about stron=

g, mixed feelings of love, pain and confusion.

Another example of a personal metaphor was from a client who often used t=

he word Pastor in reverse, describing a rigid nature. The word came from =

a time when he had been the pastor of a church. Another client used the w=

ord Hilda to describe his conscience or a sense of guilt. Hilda was the w=

oman who lived next door when he was a child and who often watched him pl=

ay from her back door. Whenever he did something wrong, she would tell hi=

s parents. Thus, Hilda became his metaphor for conscience.

The Third Level of Mind: The Collective Unconscious

Third Level reversals use exceptionally powerful metaphors that frequentl=

y describe the building blocks of the unconscious mind and represent the =

deepest, most significant levels. They describe the causes of behavior an=

d the structure of the personality. For this reason, I call them "structu=

ral" metaphors, as opposed to operational metaphors, which describe behav=

ioral patterns or the effects of structural metaphors.

Structural metaphors, or primordial images, which some people have compar=

ed to Jung's archetypes, are some of the more difficult reversals to unde=

rstand. They draw upon stories that are rooted in historical facts or leg=

ends. They represent strong, primal forces within, which demand to be tak=

en seriously.

Third Level reversals stem from the collective unconscious and traditiona=

lly describe complex behavioral patterns and personality structures. Reve=

rsals found in music frequently use Third Level reversals because of the =

intense right-brain hemispheric activity in music.

Third Level reversals occasionally use archaic language as the following =

examples show, which are among the more than 50 structural metaphors that=

 I have documented to date.

Here is a statement made at the beginning of a speech reversal session: "=

I'll ask you certain questions and lead [you along in such a way] that wi=

ll promote reversals so we can find out what your unconscious is thinking=

=2E" Thou hast the knowledge.

A woman giving a friend some advice: "You've studied social work. Use, er=

, use it, er, [use what you learned there to sort it all through] and, um=

, don't get all screwed up by what's happening." Hasten thine sword. It s=

hall release thee.

I will now discuss some common structural metaphors and several situation=

s in which I have found them.

Whirlwind

The most frequent structural metaphor, the word Whirlwind (a word commonl=

y discussed in Jung's writings), often occurs in music and speech. Here a=

re some examples.

"Saturday Night Fish Fry," a Rhythm and Blues song released in 1949, by L=

ouis Jordon: Now the Whirlwind. Ah, The Garden of Eden. Seen the Mark. Th=

ey send lil'le children there. See the Wolf annoyed.

"Chantilly Lace," released in 1958, by The Big Bopper: The Lord God gave =

the Whirlwind and the thunder.

"The Battle of Evermore" by Led Zeppelin: Time to fire the Whirlwind.

=46rom a session in which a Reverse Speech analyst was encouraging a clie=

nt to express his feelings: "What do you need to um, [need, well what do =

you want]? Feel the Whirlwind.

A person discussing grief following the death of a friend: "[Well, er, th=

e day my friend died I,] er, couldn't get out of bed." I did curse agains=

t the Whirlwind.

A person talking about feeling restless: "I get very restless. I can't se=

ttle. I'm always [off around the world wishing it could last] forever." S=

eems so clear, the Whirlwind on my feet.

A client who was having difficulty working: "I'm basically reasonably tal=

ented and [can do my work well but why is there] this great stumbling blo=

ck?" Resolved my Whirlwind needs it.

A short example that displays obvious communication in the reversed dialo=

gue:

Analyst: "You're feeling [this gap that's] not bridged." She wants it.

Client: "[Right.]" Help.

Analyst: "And [you're wanting it worked] out." Wire into your Whirlwind.

After becoming familiar with Carl Jung's theories, I began to research hi=

storical and religious literature to gain insight into the meaning of "Wh=

irlwind." It is prolific in every culture throughout the ages.

Given Whirlwind's many forms of appearance, it is not surprising that Whi=

rlwind is one of the most powerful and frequently occurring structural me=

taphors in Reverse Speech. Here are some examples of its appearances in l=

iterature and mythology:

Biblical literature:17

"Behold he goes up like clouds and his chariots like the Whirlwind are sw=

ifter than eagles. Woe to us for we are ruined." (Jeremiah 4:13).

"It came about when the Lord was about to take up Elijah by a Whirlwind t=

o heaven, that Elijah went with Elisha. . ." (II Kings 2:1)

"He will sweep them away with a Whirlwind" (Proverbs 1:27.)

"Then the Lord answered Job out of the Whirlwind." (Job 38:1)

"For they have sown the wind and they shall reap the Whirlwind." (Hosea 8=

:7a)

"It shall devour the palaces thereof, with shouting in the day of battle,=

 with a tempest in the day of the Whirlwind." (Amos 1:14)

Eastern religious literature:

The Songs of the South is a collection of ancient (241-233 B.C.E.) Chines=

e poetry. "Whirlwind" is mentioned as a force that is directly related to=

 movement. The mention of a cloud, or clouds, is common to both the writi=

ngs of the Chinese poet and the section quoted earlier from Jeremiah. Bot=

h sources also refer to chariots that are used for divine purposes.

Open wide the door of heaven! On a black cloud I ride in splendor bidding=

 the Whirlwind drive before me, causing the rainstorm to lay the dust. In=

 sweeping circles my Lord is descending, let me follow you over the K'ung=

-sang mountain!

See, the teeming peoples of the Ninelands; the span of their lives is in =

your hand! Flying aloft, he soars serenely, riding the pure vapor, guidin=

g yin and yang, speedily, Lord I will go with you, conducting High God to=

 the Height of heaven. . . He drives his dragon chariot thunder wheels.18=



In the Upanishads, a major collection of Hindu scriptures, "Whirlwind" is=

 described as possessing a power with the potential for destruction.

Vayu ran towards him and Brahman asked:

"Who are you?"

"I am Vayu, the god of the air," he said, "Matarisvan, the air that moves=

 in space"

"What power is in you?" asked Brahman.

"In a Whirlwind I can carry away all there is on earth."

And Brahman placed a straw before him saying: "Blow this away."

The god of the air strove with all of his power, but was unable to move i=

t. He returned to the other gods and said: "I could not find out who was =

that being that fills us with wonder." (Kena Upanishad, Part 3)19

Cultural references:20 =



AFRICAN: The tale of Ntotwatsan tells of a chief's daughter who was trans=

ported by a Whirlwind to the village of the Matelele.

AUSTRALIAN ABORIGINES: Two creator beings, Pundjel and Pallyan, were carr=

ied to the skies by a Whirlwind after they created the first human beings=

=2E

CHINESE: Yin Hung was saved from unjust execution by two immortals who tr=

ansported him by a Whirlwind to a safe location on the mountain Tai Hua.

LAPLAND: The Lapps believed that Shamans could fly in the form of a Whirl=

wind.

AMERICAN INDIAN: The Whirlwind symbolizes the power of the Great Spirit.

JAPAN: Whirlwind is a thunder symbol that is associated with the ascendin=

g dragon.

MODERN AMERICAN: The most popular myth of this century has proven to be T=

he Wizard of Oz. Its heroine is transported by a tornado, the Whirlwind, =

to the land of transformation.

So, what is this mysterious Whirlwind? Is it the Life Force of nature, Go=

d, or something else? In Reverse Speech, it appears frequently to describ=

e the state of personal energy or well-being. It is spoken about in such =

a way that it almost seems to be the very basis of existence.

People use Whirlwind under different circumstances in their reversals. Fo=

r example, it will appear when some people are talking about work, when o=

thers are talking about depression and when still others are talking abou=

t memories that come and go. It is also used to describe the varying reac=

tions that people have to current experiences.

The significance of Whirlwind varies from person to person and even in re=

versals from the same person at different times, but it will always depic=

t a state of energy, positive or negative, that is unique to the individu=

al's operating system.

William James' Whirlwind

William James, an early 20th Century author and researcher of the mind wh=

o was highly respected by Carl Jung, talks of a "transmarginal field" of =

consciousness that fluctuates in and out of consciousness, personal uncon=

sciousness and collective unconscious. His description of this field para=

llels the varying representations of Whirlwind as they appear in Reverse =

Speech.

It (the transmarginal field) helps both to guide our behavior and to dete=

rmine the next movement of our attention. It lies around us like a 'magne=

tic field' inside of which our center of energy turns like a compass need=

le as the present phase of consciousness alters into its successor. Our w=

hole past store of memories floats beyond this margin, ready at a touch t=

o come in; and the entire mass of residual powers, impulses and knowledge=

 that constitute our empirical self stretches continuously beyond it.2l

Whatever Whirlwind is, the unconscious mind has adopted it as a primary w=

ord, or structural metaphor, to describe energies, concepts, feelings and=

 perceptions that are difficult to put into words or would require too ma=

ny.

Lucifer and Satan

These common structural metaphors are the ones that have caused so much c=

ontroversy about "Satanic" messages in rock 'n' roll. They appear frequen=

tly in situations of emotional stress or in discussions that concern phys=

ical, emotional, mental or spiritual safety or well-being.

The belief in Satan and Lucifer is as old as civilization itself. Biblica=

l accounts refer to Satan as having been the most beautiful of all of God=

's angels, possessing the keys to wisdom and beauty, until he sought equa=

lity with God and was cast out of Heaven (Ezekiel 28:1-19; Isaiah 14:3-21=

). Here are some examples of its occurrence in Reverse Speech:

"Space Oddity" by David Bowie: We can hear from Satan. Lucifer's here now=

=2E

"Thriller" by Michael Jackson: We must live for Satan.

"Lightning in the Sky" by Santana: Like a snake beast. I love Satan withi=

n.

A young man talks about an unwanted sexual encounter that caused him imme=

nse heartache: "I kissed her good night. I said, 'I really don't want to =

go.' We kissed again [and then it was all over]." On with the Satan. I ne=

ver make war.

A woman muses over past boyfriends: "He felt very uneasy about my husband=

 and told me not to tell him. I said that's fine, you're [obviously going=

 through a trauma]." He's a boy. I love that. Full of Satan.

A man talks about intense feelings of anger that he was experiencing from=

 someone: "I don't know. It doesn't make any sense. [There's just somethi=

ng in the air that I can't put my finger on.]" It's sorcery. Can't shake =

it. I feel spell of Satan. New kind of assault.

The Garden of Eden

In the Biblical account of creation in the Garden of Eden, Eve was deceiv=

ed by the "snake" to eat from the Tree of Knowledge. Adam also ate of the=

 tree and they became aware that they were "naked." Their nakedness turne=

d to shame and rapidly became "nudity," so they covered themselves with f=

ig leaves and tried to hide from the "face" of the Lord. Here are some ex=

amples of Garden of Eden reversals:

"Anthem 84" by Kris Kristofferson: Christ of Eden. I love him.

A woman talks about her quest for meaning in life: "There's something, bu=

t I've almost [given up trying to find it]." I love the Garden of Eden.

A man talks of deception in a business relationship: "[I'm not too sure w=

hat to think.] What he's telling me just doesn't seem to add up." I am Ad=

am. Ate from the snake.

Wolf

Wolf is a powerful structural metaphor in Reverse Speech. From the cases =

I have documented so far, Wolf appears to refer to that part of humans th=

at is the prime behavioral motivator or the hunter and protector. Wolf as=

 a reversal frequently appears in moments of high energy, or in times of =

protective behavior. Here are some examples:

"Sympathy for the Devil" by The Rolling Stones: I'm the angered Wolf.

A woman discussing destructive behavioral patterns and how she endeavors =

to overcome them: "[I decide what] my actions will be depending on my out=

come. What I want to do. [I can keep going forward provided I stay on any=

 one of my levels.]" I am alone. / The Wolf now speaks with power. There =

is no other one.

A client requests further therapeutic help: "[Do you know someone who is =

very straight forward] as a psychiatrist who understands reversals?" The =

Wolf is certain. You must help me.

The Legend of King Arthur

I frequently document references to the folk heroes detailed in the Legen=

d of King Arthur and the Knights of the Round Table an extremely archetyp=

al piece of literature. The most common of these reversals is the word La=

ncelot, which I frequently find on women. It appears to be a dream for a =

perfect man: Are you my Lancelot? Lancelot hurt me with his spear. Its co=

unterpart on men is Goddess, or the dream for a perfect woman: My Goddess=

 will save me. She was a Goddess.

Here is one reference to Camelot that I found on a man who was in the mid=

st of despair as he pondered a life that he felt he had wasted: I lusted =

for the castle, Camelot.

Broceliande

I have also found references to the forest of Broceliande pronounced "Ros=

-el-ind." Broceliande was where the fairy Niniane, from the Netherland, i=

mprisoned the magician Merlin. It was a haunted place still within the ru=

le of the other world. Here Niniane charmed Merlin with her spells and he=

 sang to her the melodies that made his magic.

When Merlin finally finished singing, Niniane had all his secrets and was=

 able to empty him of his powers. Then she trapped him in the castle of h=

is own making until one day he escaped and roamed the land as a fool, no =

longer possessing his magic. Merlin, being beguiled by this beautiful fai=

ry, had allowed her to rob him of his magic.22

Broceliande or Rocelin is a structural metaphor that I have found on peop=

le who use those of the opposite sex for their own means. It puzzled me a=

t first until I learned the legend and noticed the direct correlations. H=

ere are some examples: It's all for Rocelin. Cursed enough, Rocelin. Roce=

lin tells me it. Rocelin has deceived me.

A Simulated Example of the Three Levels of Reverse Speech

To give you an idea of the different levels of Reverse Speech, I have sim=

ulated the story below. I tell it first in standard English, then retell =

it in three separate frameworks, the language of First, Second and Third =

Level speech reversals.

The Story: A while ago, I was walking in the park enjoying the sunshine, =

feeling really great when suddenly a mugger pounced on me. I screamed for=

 help and a man came running to my aid. The mugger was startled and ran o=

ff into the distance. I collapsed onto the ground in shock, crying and sh=

aking. The man carried me to a park bench and stayed with me while I calm=

ed down. As I gradually recovered and looked at this man I felt instantly=

 attracted to him. Later that night, we went out to dinner. A few weeks l=

ater, he proposed to me and now we are planning our wedding. I am very gr=

ateful to John for saving me from the mugger and I like him a lot. Marria=

ge certainly seems like the logical thing to do.

First Level Reversals: It seems like yesterday. The trees looked nice, bu=

t the sun was too bright. What is that!? I am afraid. Someone attacks. He=

lp me! A man comes. He soothed me and he was nice. We saw each other agai=

n. He wants to marry me. Help! I don't want to get married.

Second Level Reversals: My ship is on the ocean. The surf is high. I have=

 struck a reef. I see a rescuer. I like his face. He comforts and my hear=

t is soft. Yet I fear. I have lost my helm.

Third Level Reversals: I am in Eden. The Whirlwind is high. Satan attacks=

=2E I'm bitten. Lancelot hast delivered. Am I now his slave?

Notice how economical metaphors are. Just as "a picture is worth a thousa=

nd words," an operational metaphor is also worth a thousand words and a s=

tructural metaphor (an archetype) is worth several thousand more.

The Levels of the Mind

and the Corresponding Categories of Reversals



The First Level of Mind

Consciousness.............................

First Level Reversals

Literal words that often detail a person's conscious thoughts



The Second Level of Mind

Personal Consciousness...............

Second Level Reversals

Operational Metaphors that describe complex behavioral patterns



The Third Level of Mind

Collective Unconscious...............

Third Level Reversals

Structural Metaphors (archetypes) or primordial images that describe the =

causes of behavior





Reverse Speech makes full use of all the levels of mind to help us to exp=

ress ourselves more fully. But, it does not stop here. Reverse Speech fur=

ther parallels Jung's work as evidenced by the process of oral tradition.=



Oral Tradition

In Carl Jung's theory of the collective unconscious, he proposes that peo=

ple have within them a storehouse of knowledge that contains the entire h=

eritage of humankind. He suggests that this knowledge is born anew with e=

ach individual. In Reverse Speech, many words appear that cannot be expla=

ined by normal sociological environments, but rather seem to stem from hu=

manity's deep and distant past. This may be explained by the theory of Th=

e Process of Oral Tradition.

Reversed language participates in handing down oral tradition from genera=

tion to generation. As people interact with each other on an unconscious =

level, they collect and store information obtained from family, peer grou=

ps and associates. This collective knowledge is then incorporated into a =

storage bank deep within the psyche of the group. Like a large communicat=

ions link, the information is unconsciously relayed. Legends that were on=

ce stories told around the campfires of ancestors become a permanent part=

 of the deep Self. Reverse Speech continues the handing down process long=

 after conscious knowledge of the information has ceased.

Guess Who Came to Dinner

If the appearance of certain words or phrases in reverse cannot be explai=

ned by an individual's current sociological interactions or by his or her=

 recent history, a discerning Reverse Speech analyst might look to anothe=

r time in the past to explain the source of the reversals. For example, i=

f mountain dwellers use reversals that contain desert images, one might w=

onder, if at some time in their history the mountain dwellers were visite=

d by people from the desert=97or lived in the desert themselves.

An enterprising researcher could trace a particular thread of reversals o=

n a chosen group back into time and possibly solve previously unexplained=

 historical events. This would be an ambitious project, but an exciting a=

nd immensely rewarding one. One such project has been attempted by Revers=

e Speech Developer Greg Albrecht who is tracing the roots of Australian A=

borigines by documenting and interpreting their reversals.

Modern Metaphors

Oral tradition may explain many modern metaphors which seem to be inspire=

d by public figures. For example, the word Elvis (Elvis Presley) is a met=

aphor that I had not found in any recordings that pre-date the 1980's. El=

vis is a symbol, in reverse, for a superstar.

For example, I found Elvis on President George Bush as he announced that =

General Noriega had been captured. The reversal said, Made me an Elvis, w=

hich indeed it did. His popularity soared after Noriega's capture. Howeve=

r, Elvis' life was short-lived, as was George Bush's term as President. H=

e lost his bid for re-election.

In addition, I have found cases in which the metaphor Luther (Martin Luth=

er King), refers to racial prejudice.

Shared Metaphors

Groups of friends and peer groups also tend to use similar metaphors. For=

 example, a few months after I arrived in the United States to live, my f=

riends and associates began to occasionally use Aussie slang in their rev=

ersals such as mate, bloke and she'll be right. In a family with a strong=

 Methodist background, I found reversals spanning three generations that =

used the word Methodist.

Truth, Lies and "Mind Reading"

Knowledge is sometimes passed on, in reverse, in single incidents. For ex=

ample, a television interviewer challenged me to prove Reverse Speech and=

 then lied about his age. He said, "I am 32 years of age. I am 32 years o=

f age. I am 32 years of age." When I analyzed the recording, I found a re=

versal in that section of speech that said 37, it came up, which was inde=

ed his correct age.

Shortly after in the conversation, I found a reversal on myself that said=

 Now you're 37. How had I known this information? I received it from his =

previous reversal. =



Note the process:

The reporter lies about his age and, at the same time, delivers a reversa=

l that reveals his true age. I receive the reversal and unconsciously sto=

re the information. I then relay this information in the form of another =

reversal.

Have you ever known something, but had no idea how you got that knowledge=

? It is possible that you received the information through reversals cont=

ributed from the foundations of oral tradition.

Reverse Speech shows us that at the base core center of the psyche there =

exists a constant, unending Truth. And this Truth does not vary from pers=

on to person. What does vary, however, is the individual's connection wit=

h or perception of this Truth. This varying connection is detailed with f=

luctuating Reverse Speech metaphors. If you choose to enter into rapport =

with these metaphors, you will soon learn that all of us walk in the Gard=

en, dance with Wolves and ride with the Whirlwind.

=0DThe Intricacies Of Speech



Language is not the abstract construction of the learned, or of dictionar=

y makers, but it is something arising out of the work, needs, ties, joys,=

 affections, tastes, of long generations of humanity and has its bases br=

oad and low, close to the ground.	=97Walt Whitman, 1819-1892

I frequently refer to forward speech as being under conscious control=97t=

hat is, we choose what we say and when we say it. There are, however, man=

y unconscious factors at play in the formation of speech. It is the way t=

hat we construct our sentences, words and individual sounds that determin=

es the verbal content of our reversed messages.

Forward speech is full of subtle intricacies, word changes, mispronunciat=

ions, pauses, stutters, tonal alterations and fumbles of which people may=

 not always be consciously aware. In fact, many intricate vocal alteratio=

ns occur every minute of conversation.

In common social interactions, people regularly pause or stutter while th=

ey think about the words they want to use to communicate their ideas. The=

y may even start to talk, then change their minds in mid-sentence, not wa=

nting to communicate what they initially intended. Then, they escape the =

trap they set for themselves by changing the subject.

Language inconsistencies, most of which are beyond conscious control allo=

w the free expression of the real Self, giving rise to clearer and more f=

requent reversals, clusters of reversals and the creative use of tenses.

When people try consciously to control their speech, they reduce these in=

tricacies and, ultimately, their reversals. The less self-conscious that =

people are of themselves and what they are saying, however, the more thes=

e intricacies creep in and the greater the frequency of reversals, cultur=

al metaphors and empathy with others. Consider the following simulated ex=

amples.

Example 1: "[As, I, er, begin typing this book,] er, section=97I feel [as=

 though, um,] I don't really know what to, er, say, [sorry, I mean to typ=

e,] next."

A reversal may have occurred on the above section: "As, I, er, begin typi=

ng this book" What's the best way to start this section?=97end of reversa=

l indicated by pauses=97followed again by a flow in conversation. "I feel=

 as though, as though, um." The speaker pauses again and struggles for wo=

rds. A reversal could occur on, ". . .as though, um. . ." which might say=

, I'm blocked.

The speaker continues. "I don't really know what to er, say, sorry, I mea=

n to type next." The speaker makes a mistake and immediately corrects it,=

 often with rapid speech. A reversal might be found in the last phrase as=

 it finally finds its form, "Sorry, I mean to type," which might say, I f=

inally got it out.

Example 2: "I went into San Diego today to see, [well, er, actually, it w=

as a really nice day]. Not too hot and not too cold."

In this example, suppose that a businessman was at a party with friends. =

Earlier that day, he went to San Diego to see an associate to make final =

arrangements for a new contract. He was anxious about the contract and aw=

are that his apprehensions would appear if he continued the sentence. He =

realizes that it would not be appropriate to discuss this matter in the c=

urrent casual setting, so he abruptly stops in mid-sentence and changes t=

he subject.

This is the perfect setting for a reversal. What a person thinks, but dec=

ides not to say, must, nevertheless, be released. The unconscious mind, t=

herefore, subtly alters speech patterns and releases the unspoken thought=

 via a speech reversal. A possible reversal in this example might be Asso=

ciate. Contract. I feel uneasy.

For a second, the businessman's friends feel his uneasiness as he express=

es his reversal, but then he immediately changes the topic to the weather=

 and re-establishes the flow of conversation. The businessman now relaxes=

 as he begins the new topic.

Ideal Conditions for Reversals to Occur

The more relaxed that people are, the more expressive they tend to become=

=2E They easily share their feelings and feel more in tune with their inn=

er creativity. As this happens, the boundary opens between the conscious =

and the unconscious mind. Intuition increases, the "Face" is more fully e=

xpressed and the "Self" is set free. Thus, to sigh, moan, laugh, cry, sta=

mmer and pause while speaking is as important to a person as eating and s=

leeping. These activities allow the Reverse Speech process to follow its =

natural course, continually expressing dreams and ideals and releasing te=

nsion.

The small, often unnoticed, intricacies of speech are the very things tha=

t create the setting for reversals to occur. Here are some examples from =

sessions that I conducted with clients:

Pauses and Stumblings

An artist discussing his work: "But somehow I have to free myself to work=

 with a brilliance I believe I have, but which can be inhibited in the pr=

ocess of trying to be, (pause-quick insert) [being subconscious in,] (pau=

se) moving it out." This is not close to evil.

A man recognizes his tensions as the conversation reaches a peak: "I want=

 both! That's, [that's somehow,] er, it's like I'm, I'm not [using] all t=

he resources at my disposal." I am upset. / He's angry.

Laughter, Sighs and Faint Speech

The two children of a woman who had recently separated from her husband, =

their father:

Seven year old, laughing and speaking to the mother: You oughta kiss him,=

 Mum.

Three year old, crying: The man scares me. I want our Daddy.

Three year old, mumbling: I miss my little pony, my little pony, my littl=

e pony."

(This reversal, found on the three year old who never had a pony, is prob=

ably a personal metaphor that refers to security or to her father as a pl=

aymate.)

A woman talks of her marriage's pending breakup: "[=97Cries I love too mu=

ch=97Deeper cries.] That's why this is happening." Look at, look at me. W=

hy does he forget me?

Dialogue Alterations

It is common for a speaker to start a conversation, then stop in mid-sent=

ence and change the subject. This is a perfect place to find reversals, w=

hich, ironically, often discuss the topic that the speaker wanted to disc=

ontinue.

A man who greatly resents being excommunicated from a church talks of fin=

ding a church that will accept him: "Why I react to the churches is that,=

 you know, we get involved and er, um, (pause) [probably this is hitting =

it on the head]. Er, (slight pause and speech rapidly increases in speed)=

 I mean what I'm saying is, let's look at different churches where to go.=

" Believer who leaves, you should not hate him.

Notice how the man begins to explain his reaction to the church, then pau=

ses and stumbles and begins to discuss different churches. The First Leve=

l reversal addresses the real issue, which he did not say forward. He pau=

ses immediately after the reversal and continues to talk about the same s=

ubject from a different direction.

A woman discusses financial hardships: "That's how I've been supporting m=

yself, which is ridiculous. What I want is, er, um, (pause) [I just can't=

 survive on that anymore and I,] er, (pause) just for pure survival I hav=

e to start to get at least a small amount of money." I like money. Want t=

o get in rolls.

The First Level reversal shows her true motives. She starts to say it in =

"What I want is," but stops herself, pauses, delivers the reversal in a q=

uick forward section of dialogue, pauses again, then softens her desire.

A segment of a 60 Minutes interview with TV evangelist, Jim Bakker, prior=

 to his trials. At the end of the interview, he says: "No matter what I d=

o, I won't please the critics. And so to survive I do what I have to do t=

o pay the bills. And if I. . . (he pauses shortly, then changes dialogue)=

=2E . . Someone once said to me, why don't you give free food to everyone=

? (Quick pause, tone increases markedly.) [Do you realize how long the li=

nes would be?]" I want my salary.

Notice the change in dialogue as he addresses an issue that is obviously =

strong in his mind. The reversal releases the predominate motivation shro=

uded in the self-justification of forward speech.

Quick Inserts Into Conversations

Inserting quick comments or interjections into the conversations of other=

s is common. These little inserts often contain quick, subtle speech reve=

rsals.

A couple at a turning point of their marriage:

Husband: "If we are to get out of the mire, then we both have to change."=



Wife: (quick insert) "[Yeah, I know.] Will you wait for me? The reversal =

voices her real unspoken concern. =



Husband: "It's got to be done and we'll do it together."

A woman who recently suffered a mental collapse: Analyst: "That's what br=

eakdowns are all about."

Woman: (quick insert) "[Oh bother breakdowns]!" Nightmare. They won't go.=



Analyst: "[=97Laughter=97] [Four years from now, you'll look at this and =

say I'm glad it all happened.]" S--t. / Anger is a b-st-rd I see often.

Straight Dialogue

Reversals also can occur in sentences in which the speakers do not pause =

or stammer, but in which there may be other contributing factors such as =

a strong conscious or unconscious thought or desire, or a change in pitch=

=2E

When I was trying to quit smoking in 1987, I was discussing my initial ex=

periments in how to modify a reversing machine and I was staring at a pac=

k of cigarettes, trying to resist temptation: ". . .and if you want to sl=

ow it down, you just get a flat battery, take out the good battery and pu=

t a flat one in and it will just [go a bit slower]." Oh, cigarette.

The pace of the forward dialogue rapidly increased at the point my revers=

al occurred. My forward tone was sharp and crisp and the reversed tone wa=

s one of intense desire.

George Bush on the campaign trail, prior to his election to the Presidenc=

y: "I'm the one who says that the drug dealer who is responsible for the =

death of a policeman should be [subjected to capital punishment]." He rai=

ses his voice and shouts, reaching a peak where the reversal occurs: That=

's enough for the market. The crowd cheers and applauds wildly.

Australian news reader, Clive Robertson, during a half hour TV interview,=

 in which very few clear reversals occur except for this one section when=

 he was asked about his years in radio: "I did, [I've done radio for 22 y=

ears. Radio assumes] the perfect audience." Miss radio. They used me up. =

They don't love me. There was a strong emphasis on the word "assumes."

Clarity of Reversals and Checking Factors

Analysts must take meticulous care to assure the existence, accuracy and =

content of every reversal. I recommend the following guidelines. =



When followed meticulously, the tendency for imagination becomes greatly =

reduced.

Is the syllable count of the entire phrase correct? Example: If the rever=

sal was "This/is/an/ex/am/ple" there would be six definite syllables.

Are the spaces sufficient between each word, so that each word is clearly=

 distinguishable from the other words in the reversal?

Are the beginnings and endings of words clearly defined and distinguishab=

le?

Are the vowel sounds in each syllable clear and precise?

Is the reversed phrase distinct from the surrounding gibberish?

Does the entire phrase have a continuous, melodious tonal flow, from begi=

nning to end?

Validity Factors

If a reversal meets all the above criteria, I document it with confidence=

=2E Due to the fluctuating nature of reversals in different conversationa=

l settings, however, I sometimes find reversals that are clear, but which=

 do not meet all the check points. I, therefore, use a scale to indicate =

the reversal's validity. I call these "reversals with reduced clarity" an=

d rate them on a scale from one to five, according to the factors below. =

I rarely document reversals that have less than a "Rating Two."

Rating Five: All six checking points are in play and the reversal is very=

 clear and precise. =



"Gibberish - This is an example - Gibberish"

Rating Four: The reversal fulfills all the check points except one, which=

 may be imprecise. There may be, for example, poor tonal construction or =

stunted phonetic construction=97that is, the first half of "Example" may =

be long and drawn out and the last half may be short and sharp.

"Gibberish=97This is an exa-a=97a-ample=97Gibberish"

Rating Three: There are some doubts over any one of check points 1, 3, or=

 4 and some doubts over any one of check points 2, 5, or 6. The reversal =

may not be distinct from gibberish, some words may run together and/or ha=

ve disjointed phonetic construction. If all other check points are presen=

t, then the reversal may be rated as "3."

"Gibberish This isan ex-a-a-a-ampleGibberish"

Rating Two: There is some doubt over aspects of only one of check points =

1, 3 and 4 and some doubt over any two of check points 2, 5, or 6. There =

maybe an extra syllable that can be explained as random noise. It is comm=

on to often find an 's' between words or the ending of one of the words i=

s imprecise (after repeated listening it is difficult to tell whether the=

re is an 's' on the end of IS or an 'a' at the beginning of an) or a cons=

onant or vowel sound is indistinct.

"Gibberish This z inanex-a-a-a-ampleGibberish"

Rating One: The reversal is barely recognizable inside the gibberish. The=

re are some doubts over any two of check points 1, 3 and 4 and two of che=

ck points 2, 5, or 6. Exercise great caution in documenting a rating one.=

 It may be "projected" gibberish.

"GibberishThiz iss ab esampelGibberish"

The Zone of Interaction

Figure Four shows the factors involved in the varying clarity ratings or =

"Validity Factors" of Reverse Speech and the three levels in which they a=

ppear.

"The Zone of Interaction" signifies that place within the mind where ment=

al influences, "pulses" or "waves," enter the language formation processe=

s in such a way that phonetic patterns are influenced to form reversals. =

The clarity and frequency of reversals is described as depending upon the=

 intensity of these "influences."

Figure Four: The Zone of Interaction

=0DWhen speech reversals have a Clarity Rating of 1 or 2, or their rate o=

f occurrence is low, the unconscious influences are minimal. When the rev=

ersal has a clarity rating of 5, or the rate of occurrence is high, the i=

nfluences are strong.

Clusters of Reversals

Speech reversals frequently appear in a group of "clusters" bunched toget=

her in a space of only a few seconds. In these instances, the reversals u=

sually relate to each other and should be considered as a whole, or each =

reversal should be considered as an intricate part of the entire picture.=



I found the following reversals in a session with a psychotherapist and h=

er patient. The therapy session centered around the patient's ability to =

relate to her husband and her feelings of being trapped in her marriage. =

Her reversals directly related to the issue at hand. The therapist, on th=

e other hand, had reversals that spoke of her grief and confusion followi=

ng the recent death of her son, Peter.

Below are the reversals from one section of this session in the order the=

y occurred, together with the exact time that each reversal appeared in t=

he conversation. I have separated each cluster with line breaks, which ar=

e figured by determining the average reversal occurrence in the conversat=

ion, in this case one reversal every 25 seconds. I considered reversals t=

hat occurred less than 20 seconds apart as an individual cluster.

#1 33:49 - Patient: I'm the one who he loves.

#2 34:25 - Patient: The force is not such a heavy wisdom.

#3 36:55 - Patient: I do not wish to shoot.

#4 37:01 - Patient: With someone.

#5 37:58 - Therapist: We promised Peter. No we didn't. =



#6 38:03 - Therapist: We saw Peter.

#7 38:07 - Therapist: Peter. I feel shame.

#8 38:15 - Therapist: Peter. You must leave.

#9 38:50 - Therapist: I give in.

#10 38:55 - Therapist: I don't need him.

#11 40:10 - Patient: See my rotten sin.

#12 40:20 - Therapist: You do not need to shoot.

Note the entire reversed trend can be viewed in detail through a knowledg=

e of the clusters:

1. Reversals #1 and #2 are isolated reversals on the patient showing issu=

es with which she is dealing in her marriage (force relates to male/femal=

e support dynamics).

2. Reversals #3 and #4, also on the patient, are in a cluster with each r=

eversal directly connected to each other=97I do not wish to shoot (or hav=

e intense emotions) / With someone.

3. Reversals #5, #6, #7 and #8, on the therapist, are in a significant cl=

uster of four reversals in  l5 seconds, which is a tight cluster consider=

ing the average reversal occurrence of one every 25 seconds. Note the tre=

nd in the cluster. All reversals speak of her son. They show confusion as=

 she still wrestles with her grief and the last reversal=97Peter. You mus=

t leave=97shows her trying to clear her mind of the issue, so she can be =

effective in the counseling situation.

4. Reversals #9 and #10 are also in a cluster that occurred 35 seconds la=

ter and show that the therapist has cleared her mind of the personal issu=

e.

5. Reversals #11 and #12, occurring in a cluster 75 seconds later, then c=

enter back on the task at hand and show quick therapeutic exchanges betwe=

en the therapist and her patient. Note how reversal #12 directly deals wi=

th an issue brought up by the patient in reversal #3.

Clusters can reveal a wealth of information when an analyst is trying to =

determine the significance of vague or imprecise reversals. Reversed phra=

ses that use non-specific terms such as It feels bad (What feels bad?), l=

 want some (I want what?), You must not do that (Who is "you?" What is "t=

hat"?) and Do it (Do what?) should always be considered with the entire c=

luster. Frequently, the cluster reveals the significance of the non-speci=

fied reference.

Categories of Reversals

Speech reversals appear in many styles and forms, all of which are comple=

mentary. Complementarity, however, appears in many categories. By examini=

ng each reversal and determining its category, an analyst can gain a grea=

ter understanding of the nature of the complementarity and, consequently,=

 its significance. For example:

Is the reversal congruent with the forward message, or incongruent?

Does the reversal communicate extra information?

What extra insights does the reversal reveal?

Is the reversal internally or externally directed?

Here are some of the more common Reverse Speech categories followed by a =

simulated example, then an example that I have taken from my notes.

1. Congruent reversals confirm the content of the forward dialogue:

"I like this book very much." I really enjoy the book.

"I don't like being me. I don't like being this person. [I've become horr=

ible.]" In me a madman.

2. Expansive reversals add information to the forward dialogue:

"I like this book very much." I am learning new information.

"When I had my breakdown, [my wife left with my kid and I] lost everythin=

g. I had to leave the country." I saw my filth and I ran with it.

3. Incongruent reversals contradict what is said forward:

"I like this book very much." I hate the book.

"I feel and help other people. [I have all my life. I'm a teacher] and I =

can teach and teach well. I'm not an [educated teacher] but I do it perso=

nally." I am all my hell. I cannot teach. / I am a s--t.

4. External Dialogue contains a communicative signal to another person:

"I like this book very much." You should read it, too.

"That's not really the point. I mean, er [the standard lines I throw out =

are a] bit like that." You're alright, lovely person.

5. Internal Dialogue reflects inner-thought processes of individuals who =

are talking to themselves or giving themselves instruction:

"I like this book very much." I must learn more about this.

"[Can you tell me more about your women and other affairs?]" I will accos=

t this loud bully.

6. Lead and Trail reversals appear either before a topic is discussed in =

forward dialogue or continue with a forward topic after the discussion ha=

s stopped:

=2E . . discussion on Reverse Speech. . . conversation changes. . . "[I b=

ought a new car today.]" Reverse Speech will change society.

"It's just all built up. All these emotions and I've never worked [throug=

h any of them]." Who are all my friends? Conversation changes shortly aft=

er to a discussion about friends.

7. Mirror Image reversals in which the same word, or set of words, appear=

s at either end of a forward and reversed statement, but are not a revers=

al of each other:

"I like this book very much." I enjoy reading very much. "Well then, he [=

should produce that letter] ." I want to see that letter.

8. Sentence Building reversals, in which the forward and reversed dialogu=

e combine to form a complete thought or sentence:

"I like this book very much." And I will tell all my friends about it.

"[I think Sir Joh] is going to have a bit to answer for at the end of thi=

s week." Must be senile. Note: I think Sir Joh / must be senile.

9. Comparative reversals discuss events and/or emotions that are outside =

the topic of the forward dialogue. They have no complementarity with the =

actual topic that is being discussed, but they have complementarity with =

the emotional content. They often reveal an event or a belief in a person=

's life, past or present, that has similar emotions attached to it:

"I like this book very much." I made love to my wife last night.

"[Prayers and amens and formalizations.] That's all we got. No support. H=

ow was that supposed to help us?!" Pete Marsh. He's still the rival.

(Intense anger in forward dialogue. Identical emotions in reverse towards=

 someone in this person's life.)

10. Cause and Effect reversals frequently use two statements that are rel=

ated to each other, separated either by a long pause, suggesting a period=

, or a short pause, suggesting a comma. The first reversal will state a f=

act or an event. The second reversal will state the cause of that fact or=

 event.

I feel afraid, mission.

Information. Demon scared by us. =



Mask is enough. Makes me nude. =



Lancelot. Help me.  You're oxygen.

11. Link reversals are rare and occur between two people who are in high =

rapport and when something that is being said by one is suddenly understo=

od by the other, or when both parties instantly connect on an idea. The f=

orward dialogue responsible for the reversal comes from the last words of=

 the first speaker's sentence and the first words of the second speaker's=

 sentence. Sometimes the reversal appears to be in one voice even though =

two different people are responsible for the reversal. This is particular=

ly noticeable when the two speakers are a man and a woman.

The illusion of a single voice occurs as a result of the two speakers mat=

ching each other's voice tones at the precise moment of their highest rap=

port.

Person One: "Reverse Speech is the voice of the [inner mind"=97

Person Two: "=97Oh. I finally] understand."

LINK REVERSAL=97"Looking at the deep self."

Teacher: "It's to do with [intense emotion."

Client: "=97Right.]"

LINK REVERSAL: Love will show the snake.

(Conversation was explaining the significance of the reversed metaphor, s=

hoot, in a deceptive relationship situation. The Link reversal occurred a=

t the moment of realization.)

Tenses

The tense of a reversal is extremely important and provides a time frame =

of reference for issues appearing in reverse. These issues may be past an=

d affecting the present, may represent present patterns, or may reveal th=

e extent to which a present pattern will affect future events.

Past Tense: Indicates a pattern ended, or a past event affecting the pres=

ent.

I lost it, my wisdom. =



It was my devil.

Love my family. I knew this. =



My love was forcing him.

Present Tense: Indicates current patterns, events, or wisdom.

I must admit the Wolf defeats.

Still serving the Master.

I am a demon with power.

Future Tense: Indicates what will happen if action is not taken to preven=

t it or to change the established pattern.

I'm done in the eye. I will shake it in the eye.

Look out. I shall p-ss off.

I will spear you.

Developing Detailed Reversal Analysis

So far, we have discussed the common factors and forms of Reverse Speech:=



Clarity of reversals and validity factors

Complementarity of Reverse Speech

The communicative nature of Reverse Speech

The three levels of Reverse Speech

Conditions under which reversals occur

Clusters of reversals

Categories of reversals

Tenses

All of these factors play an essential role in developing a detailed anal=

ysis of the reversals in a conversation. By understanding these factors i=

n combination, it is possible to draw extremely accurate conclusions as t=

o what transpired both on a conscious and unconscious level.

Below is the complete transcript and analysis, forward and reversed, of a=

 conversation with my former wife, a few months before we separated. Noti=

ce how the reversals add information to the forward dialogue. Also note t=

he differing levels as our emotions and personal issues come and go. I ha=

ve documented the clarity, or validity factor, of each reversal on a scal=

e of 1 to 5, with 5 being the most clear.

David: "Is it on? Yes it is. Right I'm sitting here in my study with my w=

ife. Say hello."

Former wife: "=97laughter=97"

David: 'I'm sorry. Right. I've got to switch out of Reverse Speech sessio=

n mode."

Former wife: "No, you do that anyway. But that's not the issue here."

David: "I'd better be careful. It might all come out backward and I'll ha=

ve to publish it anyway."

Former wife: "You don't have to [publish all of this.]"

Reversal rated 3: I'm nude. You might be mad.

(Second Level, Expansive, reveals why all of it did not have to be publis=

hed.)

David: "[Hey, why not?]"

Rated 5: Don't worry.

(First Level External Dialogue, reassurance.)

Former wife: (joking), "In case things like 'f--k' come up, or 'you're a =

b-st-rd."

David: "What we're doing here, folks, is to just make up a, er, well I'm =

just making up a tape [to, er, give you a brief idea of how to interpret =

it.]"

Rated 3-4: I feel for you. The first, this is.

(First Level, External Dialogue, the first time I had put my former wife =

on the spot to create a tape for analysis.)

David: (voice varies in pitch considerably during long laughter, almost w=

obbly) "She doesn't want [to talk]."

Rated 4: Curse to the devil.

(Second Level, External Dialogue, an attempt to release the free flow of =

conversation.)

Former wife: "I didn't know it was my time."

David: "It's just a natural conversation."

Former wife: "I shouldn't be getting nervous about this, but I have to ge=

t, [well, see, but everyone, when,] when the tape recorder gets turned, e=

r, everyone's got this natural reaction [to, sort of - deep breath] - clo=

se up."

Rated 3: Now we've met. The Whirlwind is here.

(Third Level, Internal Dialogue, recognition of connection established.)

Rated 4: And it scares me.

(First Level, Internal Dialogue.)

David: "Are you hoping a reversal's going to come up on that?"

Former wife: "No, I wasn't. I was just commenting on people's reaction to=

 tape recorders. They close up. So you have to account for that."

David: (frustrated) "Yeah I know they do. [Well, see, yeah.]"

Rated 3-4: They're so weird.

(First Level, Internal Dialogue.)

Former wife: "I mean, [after a while]-voice fades out-"

Rated 3-4: All will smile.

(First Level, Sentence Builder.)

David: "I should detail that in the book."

Former wife: "After a while it's alright. It doesn't matter, but the init=

ial er, ok, the tape recorder's on now, okay, I think it er, [throws you =

a bit]."

Rated 3-4: And it helps us.

(First Level, Sentence Builder.)

David: "Yeah. I think it does."

Former wife: "I mean, it's like, er, [it does something]."

Rated 5: What's hurting me?

(First Level Internal Dialogue.)

David: "I understand. Most of these should be First Level reversals. How =

can we get some Third Level stuff, Second Level stuff?"

Former wife: "We could talk dirty."

David: (laughing) "No. We can't do that. Let's try to get some Second Lev=

el reversals."

Former wife: (affectionately) "We could talk about [Bill=97

David: "=97Bill, yeah.] I just thought about that."

Link Reversal rated 5: I knew his need.

(First Level, Link reversal David's and former wife's voice tones match, =

an immediate connection.)

Former wife: "Or Graham, that's something that's dramatic. But, er, [we d=

on't want that published.] So, er, we could talk about, [I know, Susan!]"=



Rated 4-5: He won't ever like it.

(First Level Expansive.)

Rated 4- 5: She raped me

(Second Level, Expansive, rape indicates unwanted intrusion.)

David: "No. I'm definitely not publishing that. We'll change all the name=

s on this, incidentally."

Former wife: {Sings a long sarcastic song about Susan.} "I want to see th=

e reversals that come out on that."

David: "Of course. How long have we been recording?"

Former wife: "No, no. Don't stop yet. Keep going. None of this stuff. Let=

's, let's, [let's have a,] er, [let's have a proper,] I mean talk sensibl=

y. . ."

Rated 2-3: The Wolf sings

(Third Level, Trail reversal, strong feelings concerning Susan still appe=

ar.)

Rated 2-3: That scares my makeup. Some person.

(Second Level Trail.)

Former wife: ". . . to get some decent reversals, then you can pick it, p=

ick [it up and take it off where you wish]. . ."

Rated 3: Shamed me. You fought against me.

(Second Level Trail reversal feelings concerning Susan still appear.)

Former wife: ". . . The exercise of this taping session is to give, (paus=

e) [er, an example of reversals.]"

Rated 3: It'll serve them more.

(Second Level, Expansive, back to the task at hand.)

David: (correcting grammar) "The purpose of this session."

Former wife: "Yes, the purpose. The purpose of this taping session (laugh=

ter)."

David: (laughing) "Yeah, well, honestly, I think there should be enough t=

here to, er, [to give plenty of examples. It'll be fine.]"

Rated 3-4: Not run now. Man giving the fig.

(Third Level External dialogue, reassurance.)

Former wife: "[But, it's all jumbled] and mumbled."

Rated 4: Hold me closer.

(First Level External dialogue.)

David: "That's fine. No problems."

Here are the reversals in the order they occurred, together with their cl=

usters. Notice how an entire reversed conversation transpired and how the=

 reversals in clusters relate directly to each other. The length of the c=

onversation was 4 minutes, 34 seconds. There were 19 reversals, an averag=

e of one reversal per 14 seconds, normal for this type of casual conversa=

tion.

00:41 - Former wife: I'm nude. You might be mad. =



00:43 - David: Don't worry.

01:02 - David: I feel for you. The first, this is. =



01:05 - David: Curse to the devil.

01:20 - Former wife: Now we've met. The Whirlwind is here.

01:29 - Former wife: And it scares me.

01:53 - David: They're so weird.

01:57 - Former wife: All will smile.

02:09 - Former wife: And it helps us.

02:24 - Former wife: What's hurting me?

03:08 - Link: I knew his need.

03:12 - Former wife: He won't ever like it. =



03:16 - Former wife: She raped me.

03:39 - Former wife: The Wolf sings.

03:41 - Former wife: That scares my makeup. Some person.

03:47 - Former wife: Shamed me. You fought against me.

04:08 - Former wife: It'll serve them more.

04:20 - David: Not run now. Man giving the fig.

04:23 - Former wife: Hold me closer.

Once you know the clusters, categories and level of each reversal you can=

 prepare a session overview. Here is my overview of the above transcript.=



Defenses are Raised and Lowered

My former wife's discomfort with the surprise taping session had her on-g=

uard and her defenses were quickly revealed in her reversals (I'm nude, y=

ou might be mad). I then provided a reversed reinforcement (Don't worry).=

 The reversal was a command apparently attempting to open the conversatio=

n. From knowledge of our personal patterns of reversals, it would not be =

inappropriate to conclude that the command (Curse to the devil) was an at=

tempt to demand at an unconscious level that she lower her defenses. We c=

onnected and our conversation began to flow freely (Now we've met / The W=

hirlwind is here).

Fears are Discussed, Concerns Handled

We discussed the actual process of recording a session and I expressed fr=

ustration over people freezing up (They're so weird). My former wife imme=

diately addressed my fears, both consciously and unconsciously with Sente=

nce Building reversals (All will smile / And it helps us). All concerns n=

ow dispensed and the conversation continued. She unconsciously questioned=

 herself (What's hurting me) and suggestions were subsequently made.

Personal Issues Become Obvious

The following issues were raised:

A friend about whom we were both concerned (I knew his need). This issue =

was immediately rejected, both forward and backward (He won't ever like i=

t).

A strong, personal issue for my former wife (She raped me). Consciously, =

it was rejected, but unconsciously, the feelings were released. It had ap=

peared and now had to be dealt with. This was achieved with Trail reversa=

ls in a cluster (The Wolf sings. / That scares my makeup. Some person. / =

Shamed me. You fought against me).

With these feelings released, my former wife switched to the task at hand=

 (It'll serve them more). I received her feelings and offered support (No=

t run now. Man giving the fig). She accepted this support (Hold me closer=

) and I switched the tape player off with a final forward closing comment=

: "That's fine. No problems."

With Reverse Speech, it is possible to see the bi-level communication pro=

cess in action. Both conscious and unconscious needs, desires and emotion=

s appear and are addressed continually while people interact with each ot=

her on all levels. The above was only a five-minute interaction. Longer s=

essions yield an even greater wealth of information.

Prompting Speech Reversals

The role of Reverse Speech is to uncover information, whether helpful fac=

ts, repressed memories, or causes of behavior. An analyst can affect the =

frequency of a client's reversals and prompt reversals that relate to spe=

cific issues by taking the following factors into account. Here are some =

highlights of the technique of prompting, a complicated process that ulti=

mately needs to be experienced under the auspices of a Reverse Speech ana=

lyst to be understood fully.

Frequency

Because reversals frequently occur when people are relaxed, if an analyst=

 keeps the conversation flowing, allows a client little time to prepare a=

nswers and encourages emotional responses, the client's rate of reversals=

 will be higher.

Content

Since reversals are complementary, an analyst can prompt reversals about =

a particular topic by having the client talk about that topic.

1. Discussions about the events in a client's life usually produce First =

Level reversals that reveal additional facts and information.

2. Discussions about a client's emotions usually produce Second Level rev=

ersals that relate to those emotions, giving greater emphasis to them.

3. Discussions about a client's behavioral patterns usually produce Third=

 Level reversals that may give the causes for those patterns.

Clients who talk about their past or present emotions tend to use reversa=

ls that address those emotions. The reversals may add information to what=

 the client is saying forward, or may detail the cause of those emotions.=

 This can be valuable information for an analyst who wants to determine t=

he source of certain behavior patterns.

Related Events

Clients who talk about past or present events in their lives can produce =

reversals that reveal other events that happened about that time, or whic=

h are happening in the present. This can help an analyst to uncover facts=

 that the client may not want to reveal or may not be able to remember co=

nsciously, but which can help significantly in the therapy process. Addit=

ionally, if someone is talking about a past event, present tense reversal=

s may occur that detail thoughts and facts which occurred during that pas=

t event as though it were still occurring in the present. At first glance=

, this can cause some confusion but with experience, the seasoned analyst=

 develops an ability to sort them out

General Questions that Prompt Reversals

Analysts can ask the following kinds of questions to prompt reversals:

When did their clients first notice the unwanted behavior?

What events were happening in their lives at the time the behavior began?=



How does this behavior effect their current lives?

What are the symptoms of their unwanted behavior?

How do they feel about it?

What can they do to change it?

What do they get out of the unwanted behavior? How does it benefit them?

What advantages or benefits will they enjoy if they achieve the positive =

behavior that they want?

Questions along this line can produce many excellent reversals that often=

 reveal causes of the unwanted behavior, how it occurs, how it serves the=

 client, what its purpose is and what people can do to change it.

Using Various Sensory Modes

A Reverse Speech analyst, by working within specific sensory systems, can=

 also influence the types of reversals obtained:

1. Visual. Questions such as "What did you see when it happened?" "Can yo=

u give me the big picture?" "How did it look?" or "Can you focus on that =

concept?" encourage clients to use visual terms. This tends to produce Fi=

rst and Second Level reversals that reveal facts, events and extra inform=

ation.

2. Kinesthetic/Feeling. Using "feeling" terms such as "How do you feel ab=

out that?" or "How did it grab you?" encourages clients to go into greate=

r depth about their feelings and to be more emotional. This tends to prod=

uce Second and Third Level reversals that reveal emotions and behavioral =

patterning.

Patience is essential when clients have trouble articulating their feelin=

gs. Ironically, this difficulty in expressing themselves can give rise to=

 many reversals.

3. Auditory/Verbal. Using auditory terms such as "I hear you," "That soun=

ds right to me" and "Can you hear what I'm saying?" encourages clients to=

 respond in auditory terms. This approach tends to reduce the quantity of=

 reversals, though it will produce reversals from all three levels of min=

d.

It is sometimes good to start a session in auditory terms since this appr=

oach produces an "across the board" reaction. Once you have established r=

apport with a client, switch to other sensory modes as key issues begin t=

o surface.

Prompting Techniques and Investigations

Prompting can be a powerful tool for official investigations and for "uno=

fficial" investigations, as the following example illustrates.

A Reverse Speech analyst in Australia once suspected that his girlfriend =

was cheating on him. He spoke to her using visual prompting techniques an=

d encouraged her to talk in general about her week. Her reversals include=

d some extra pieces of information that she had left out in her casual co=

nversation with him=97they gave a detailed description of her affair, inc=

luding names and places and even revealed in reverse, in explicit detail,=

 how the condom was put on.

An Example of Specific Prompting Questions

The following are some of my prompting questions taken from a session con=

ducted with a client who had a weight problem. Questions like these usual=

ly produce precise reasons and causes for any problem and often include w=

ays to rectify it:

What do you want to discuss?

A weight session. (Active listening, repeat client's answer.)

Why do you think you're fat?

Why do you use the word "fat"?

Is that based on your perception or on other people's perceptions? Accord=

ing to whom?

When did you first begin to put on weight? (Return to the source.)

When did you start to put on weight?

When did you start to think that you were overweight?

Adolescence? About what age?

What was going on in your life at that time?

Do you think you have a naturally big build or is it, you know? (Asking f=

or specifics.)

So, what attempts have you made in the past to lose weight?

What is that resistance? Do you have any idea?

How much sense does that make?

Why haven't you thought of that before? What's stopped you from. . .

How come? I always get suspect when I hear people have done a lot of work=

 and it's still there. (A judgment call.)

How would you know? At what state would you know when you could lose weig=

ht and keep it off? (Asking for specifics.)

Could "thin" be a metaphor? Could it mean something other than "thin" in =

terms of weight?

What's there to think about?

Since you've used the word "have to" at least a half dozen times, what's =

the significance of that?

Listening to the Voice of the Inner Mind

Complementarity

Human speech has two separate, yet complementary, functions and modes. On=

e mode occurs overtly, is spoken forwards and is under conscious control.=

 The other mode occurs covertly, is spoken backwards and is not under con=

scious control. The backward mode of speech occurs simultaneously with th=

e forward mode and is a reversal of the forward speech sounds. (Point #1)=



The two modes of speech, forward and reverse, complement and are dependen=

t upon each other. One mode cannot be fully understood without the other =

mode. In the dynamics of interpersonal communication, both modes of speec=

h combined communicate the total psyche of the person, conscious and unco=

nscious. (Point #2)

Covert speech develops before overt speech. Children speak backwards befo=

re they do forwards. Then, as forward speech begins, the two modes gradua=

lly combine into one, forming an overall bi-level communication process. =

(Point #3)

Oral Tradition

Collective knowledge, stored within the psyches of a group, is communicat=

ed, through reversals, to people within the group and to their descendant=

s.

Ideal Conditions for Reversals to Occur =



Pauses, Stumbles, Laughter, Sighs and Faint Speech

Dialogue Alterations and Inserts

Straight Dialogue Fueled by Strong Desires

Clarity of Reversals

Correct syllable count, sufficient space between words

Well-defined beginnings and endings of words

Clear, precise vowel sounds, distinct from gibberish, melodious

Categories

Congruent, Expansive, Incongruent

Cause and Effect, External or Internal Dialogue

Lead and Trail, Mirror, Sentence Building

Comparative, Link



Encouraging the Stories

Since the human mind contains the collective unconscious in addition to e=

verything that has happened to us personally since birth, I believe that =

the mind is all inclusive and has access to infinite creative combination=

s. Reverse Speech gives us a means to access that immense storehouse of k=

nowledge, both personal and collective.

Reverse Speech analysis can uncover vast amounts of helpful information. =

For example, people who suffer from unwanted behavior such as low self-mo=

tivation may want to discover the causes of that behavior and find out fr=

om their unconscious, innate intelligence what they can do to remedy it. =

Since their unconscious mind already has all the answers, all that the ex=

perienced Reverse Speech analyst has to do is to lead the conversation in=

 such a way that these answers appear in reversals.

Human beings are naturally expressive. In our desire to be accurate when =

we communicate, or to avoid saying what we really feel, we jockey for the=

 correct words to use and, in doing so, we sometimes hesitate, stutter, c=

orrect ourselves, or start over again.

It now appears, through the findings of Reverse Speech, that we cannot no=

t communicate. We communicate even when we do not want to or when we feel=

 that we cannot find the words. Our pauses, stammerings, breath patterns,=

 tonality and tangents may reveal more than we originally thought. Our st=

ories will be told=97one way or another.

=0DSex



God be thanked, the meanest of his creatures boasts two sides.  One to fa=

ce the world with, one to show the woman who he loves.	=97Robert Browning=

 (1812-1889)





Sexual terms and metaphors are so pervasive in Reverse Speech and appear =

in virtually every context=97personal and professional relationships, int=

erviews, therapy sessions, negotiations and business transactions=97that =

we must conclude that for human beings, sex is more than just a physical =

act. It is much more elemental, more basic than simple physical attractio=

n or intercourse=97and at the same time, it is vastly more complicated. I=

t represents an energy on which the universe seems to be built=97Yin and =

Yang, Male and Female, Thought and Action, Creation Itself.

The way that we fulfill, express, channel, or thwart this life force, thi=

s creative sexual energy, gives rise to the kind of people that we are. A=

nd, while we intellectually try to come to terms with this dynamic energy=

 in our lives, our unconscious minds are doing their work, too, dealing w=

ith the same issues=97only in reverse.

Sex as a Metaphor

Sex is a metaphor that encompasses all the thoughts that people have abou=

t what they consider powerful, appealing, stimulating, life-affirming and=

 attractive.

Take a minute to read the following list and notice what images, thoughts=

, or feelings each word conjures up for you:

Ferrari

Power

Influence



Lear jet

Best friend

Mansion



Bikini

Swimming pool

Gourmet food



Ambition

Happiness

Lookin' good



Prestige

Wealth

Love



Tom Cruise

Confidence

Pleasure



Ted Turner

Win

Achievement



Rambo

Quality

Sex



Excitement

Ocean cruise

Reward



Leading-edge

Energy

Eat



Money

Play

Leisure



Luxury

Adventure

Fast track



Savvy

Score

Success











What came to mind when you read each of the above words? The good life as=

 you are now living it=97or as you would like to live it? Happiness as yo=

u personally define it? Peace, poise, power, comfort, security, health an=

d wealth as you know them=97or as you desire and pursue them?

Most likely, you associated these words with someone you know or with an =

experience you have had or wish to have. You may have found some of the w=

ords to be aphrodisiacs of sorts, symbols that attracted, stimulated, ins=

pired, or excited you.

Sexual energy extends to all aspects of life. To be truly sexually fulfil=

led, to fully express life, means that every area of a person's life is c=

ongruent and harmonious. Looking at society today, however, with its ramp=

ant crime, drugs, depression, indecision and the like, it appears that tr=

ue sexual, or personal fulfillment is sometimes difficult to achieve.

The word "sex" and words that relate to it occur frequently in reversals =

as people discuss and try to resolve their many issues and conflicts.

=0D

How Reversals Express Sexual Energy

There are three ways that reversals can relate to sex:

1. Sex as a literal fact that refers to purely physical gratification (Fi=

rst Level reversals): suck my c-ck / it's warm and juicy inside / kiss my=

 lovely bit / I love your sweat / I am wet.

2. Sex as an operational metaphor that refers to emotional responses (Sec=

ond Level reversals): I slept with you and shared your face / he healed m=

y face with a touch / man is my force / I want you, honey / we make love.=



3. Sex as a structural metaphor that refers to the most significant human=

 needs and desires (these Third Level reversals express life energy, ofte=

n draw upon words that are rooted in history or legends and stem from the=

 deepest part of the Self): power / feel it there / a sexy war, power you=

 used / an evil f--k, you break my heart / slay your weapon, a man who lo=

st the war.

Within these areas there are four main words that describe progressive co=

ntact or personal connection with others:

Lick, the request for personal connection or the fulfillment of needs, de=

pending upon the context: I want to lick your face, lick my box.

Touch, the process of connection or fulfillment has begun: He healed my f=

ace with a touch, he touched my heart.

Kiss, connection has transpired: Kiss your woman, I kissed the force.

Sex, deep connection or base needs: I work for sex, I'm a sexy warrior.

A sexual reversal that occurs occasionally is I want another one, which r=

efers to the desire for another sexual partner. For example, I once condu=

cted a session with a young couple in which I found this phrase on the wo=

man. She vehemently denied the implications that she wanted another lover=

, but less than two weeks later, she left her partner and moved in with a=

nother man.

Of a similar nature is a reversal that l found on an elderly woman: I was=

 naked with another one, which referred to a tender affair that she had b=

een involved in for several years while she was still married.

Here are some other examples of sexual reversals that may refer to physic=

al sex, or not, depending upon their context.

"Popeye the Sailor Man" TV theme: Fuzzy woman.

 / Give me a f--k. Give me a f--k now.

"Hi Hi Hi" by Paul McCartney and Wings: Warm and juicy inside. / Who is t=

hat woman? I won't be there to stay. / Who is this woman? / Oh, if it fee=

ls to f--k, I'll f--k you.

"Sookie, Sookie" by Steppenwolf: P-ssy, p-ssy, p-ssy. Let me in baby.

"Mum, He's Making Eyes at Me" by The Andrews Sisters: Um, you're sexy, um=

 you're sexy, um you're sexy. / I'm sorry Mum, he likes this.

This reversal from a man who was courting a woman: I am the Lord with c-m=

=2E / I will kiss your box and you will serve.

=46rom a woman who was sexually active: My box is open and gives love.

Another very sexually active woman: I am a wet girl.

=46rom a woman seeking connection with a man: Kiss my lovely bit. / My lo=

vely bit waits for you.

A cocktail waitress at a bar: F--k me with power.

A man in a business discussion: I will c-m all over you.

=0D

Sex in Business

Have you ever been faced with an important business decision and wished f=

or an added advantage, some inside knowledge to help you decide? Here is =

an example of a man and a woman who had that extra advantage=97access to =

their reversals. They were considering going into business together; they=

 were not sexually involved. Notice the dominant themes of warfare, sex a=

nd power that appear in this small sample of reversals and how the man gr=

ows desperate because the woman is not "buying" his proposed plan. The tw=

o people subsequently did not conduct any business.

As you read the reversals below, see if you can guess which person pulled=

 out of the transaction=97the man or the woman.

Man: Power. Feel it there. A sexy war.

Woman: I must be careful.

Man: Goddess, goddess. That's censored me. =



Woman: I'm not stupid.

Man: I have power.

Woman: Power you used. An evil f--k.

Man: Lost at the ocean. The f--k was in my surf. =



Woman: Nuding. You're forcing.

Man: You break my heart. Slay your weapon.

Woman: I fear for you there. Look at his hell.

Man: Power. I war you now.

Woman: Sex. Lonely mission boy.

Man: A man who lost the war.

Woman: A nude man. You lost me.

Man: Want a war with you.

Woman: I must sit. We can't do it.

So, who pulled out of the business transaction? If you guessed the woman,=

 you are right. Note the sexual metaphor "pulled out," which is indicativ=

e of the many sexual metaphors that lace forward speech. Other common met=

aphors such as "she had her fangs out" reveal the warfare nature of the p=

syche.

Sexual and warfare metaphors are even more pronounced and straightforward=

 in Reverse Speech because the unconscious mind does not filter its langu=

age in order to be proper and socially acceptable like forward speech oft=

en does. Reversals state the facts as they are, without censoring them, u=

sing the fewest words possible to communicate the message. Hence, the str=

ong use of reversed metaphors in personal interactions. Sharp and to the =

point.

Here is another example of a person's strong identification with his busi=

ness. It is taken from a session that a Reverse Speech analyst conducted =

with a man who shared his life story with her. His strong sexual metaphor=

s give vast insight into the sexual nature of people. Notice the connecti=

ons that his reversals have with the forward dialogue.

Man: "My parents [were the perfect married couple] and my mother has been=

 and still is, a pillar of strength." Mum can feed foxy love. =



(Sexual representation in the parental support system.)

Man: "In my early twenties [I decided to set up my own business]." A Godd=

ess. I get us in love. =



(Sexual identification with the business.)

Man: "I managed [to pull off this deal] with a businessman [who owns half=

 the f--king country]." Used to sleep with Wolves. / Love to surf in the =

fast lane.

(Note the sexual metaphors in both forward and Reverse speech.)

Man: "They thought I was s--t hot. I'd [been working really hard for two =

years] and was f--ked out to the max." I love feeling my fire in their ey=

es.

(The lust for acceptance, giving personal power.)

Man: "After work, [I'd never rest]." I want a f--k. =



(The need for stimulation or fulfillment.)

Man: "Then I got this phone call from my lawyer who says I'm about to go =

bankrupt and I say, C'mon. [What the f--k are you talking about?]" I've b=

een courting love for so long.

(Sexual connection with business is threatened.)

Man: "Oh, yeah. Then I [wrecked my f--king Mercedes]." Have I skinned sex=

?

(Sexual symbols, his business and car, begin to disappear from his life.)=



Man: "By this stage, I'm getting desperate. I'm calling all my [staff and=

 can't f--king find anyone]." I f--ked up the -ss. Some Wolf.

(Business collapses, sexual reversed metaphors become harsh.)

Man: "I get to the office and [it's stripped]. Everything's gone." Make l=

ove from this.

(Sexual identification changes dramatically and negatively.)

Man: And I scream, "[F--king bulls--t.] What happened?!" Sex is such a so=

re.

(Negative sexual identification is established.)

Man: "[Yeah, oh, yeah.]" Fear me.

Analyst: "[Yeah. Okay.]" Lick me. (Reversed power plays between the two.)=



Man: "Then he says to me, you've got no company any more. [You've lost th=

e contract.]" That's not the solving, my Goddess.

(Sexual identification again as in previous reference to the business as =

a Goddess.)

Man: "So, I'm trying to start all over again, but [in the meantime, I'm f=

alling apart]." The snake will f--k up the shaft.

(Strong phallic connection.)

Man: "I'd been pulling some fast deals to get out of it. [They weren't il=

legal, but totally unethical.]" Your lust in the office was a problem. Yo=

u know that.

(Same story told in reverse with sexual metaphors.)

Man.: "In the meantime, [I'm not surviving and the company's going down] =

and it's going down real quick. [And I start to really fall apart.]" He l=

oves a mast in them and it grows. / Women. I like them. I like to f--k th=

em.

(His sexual input collapsing, the man sought sex elsewhere and began to l=

ook for affairs.)

Man: "[I started smoking and drinking.] I'd never smoked in my life, neve=

r drunk in my life." Because lust will fall upon me.

(Seeking sex anyway he could.)

Man: "[Then I get this f--king affidavit in the post.] The b-tch was fili=

ng for sole custody of my kid." I like slipping it in without the rubber.=



(Or "condom." The man now had restrictions placed on his behavior, which =

he did not like.)

Man: "So I just gave up and went and [f--ked anything that walked]. Had a=

 nice time though." It's lust. Feel it puff you.

(Having lost his business and family, the man gets his sex elsewhere.)

Man: "[Sometimes I'd go a night without sex, sometimes a couple of weeks.=

] Once, it was a whole month." Skill will f--k you because I must. I need=

 and I must.

(Strong desire.)

Man: "Anyway, [I finally pulled] myself back together. Stopped drinking [=

and straightened my life out again]." That was much better / Can't stand =

this. Saw you Mummy.

(Session ends with man connecting in reverse to his original source of lo=

ve, the foxy love he received from his mother when he was a young child.)=



The man's sexual identification with his business, as revealed in the abo=

ve transcript, is a common theme in reverse. When his business collapsed,=

 he sought to satisfy his lost "sex" through activities such as illicit s=

ex and alcohol, traditionally forbidden to him by his upbringing.

=0D

Sex and War

The drive and the need for sex also appears in reverse through other comm=

on metaphors like power, money and war. People unconsciously fight for th=

ese almost as though life itself depends on them. Remembering that in rev=

ersals sex is the most common shorthand for energy, you could say that wi=

thout sex, there can be no personal power.

Frequently, people allude in reverse to their sexual drives and desires. =

When they are literally referring to sex, they often use warfare metaphor=

s. Wolf, which symbolizes the warrior who is fighting the battle of posse=

ssion, is just such a commonly used word. The following example shows a m=

an in the process of courtship. His unconscious mind uses the metaphor Wo=

lf to relay his desires to the woman whom he is attempting to "capture" i=

n the "war" of love.

Man: Feel the war. Sex is war. Serve this Wolf.

Woman: I see power.

Man: Sex is oxygen. Feel the power. The Wolf says trust.

Woman: I feel lust. You will not escape.

Man: The Wolf thrusts. It's a safe war.

Woman: This is sex. I know.

Man: Making a Lancelot. I'll be your sweat.

Woman: Y'all sweat. (Texan accent in reverse)

Man: I want Goddess.

Woman: I'm your Goddess. I'll allow you.

Man: Power.

Notice the strong images in the above example. Sweat is a common reversal=

 that represents the scent of attraction. The woman involved was a willin=

g participant in this "war" and both parties use the structural metaphors=

 Goddess and Lancelot as their war continues. The woman's final reversal,=

 I am your Goddess. I'll allow you gives the man power. He has won the "b=

attle."

=0D

Sexual Attraction

Have you ever felt a strong attraction to another person, but decided not=

 to act on it for some reason? Perhaps you consciously guarded your feeli=

ngs, but in reverse something else might have been going on, something no=

t quite so guarded.

For example, here is a portion of reversals that I found on myself and a =

woman television reporter during our final discussion after several hours=

 of shooting.  We felt sexually attracted to each other, but I did not pu=

rsue the obvious invitations that she gave in reverse.

The reversed metaphor, sit, found in the following example, usually means=

 to take no action. The phrase, another one, also occurs, which is a comm=

on metaphor that often refers to a sexual partner in addition to the curr=

ent one.

The reversed word, woman, also occurs in the transcript. Reverse Speech m=

akes a definite distinction between woman and women and between man and m=

en. The singular appearance of these words represent the strength and sta=

bility that a woman and man can offer each other. The plurals of these wo=

rds in reverse represent casual attachment with no involvement. You may w=

ish to refer back to the last dialogue on business to note the use of wom=

en in the man's reversals.

Man: See a hasty Rocelin.

Woman: You must not. =



Man: Unusual. I am nude. =



Woman: I'll miss your face soon. =



Woman: You sweat. I want you, fellow.

Man: I am not another one. =



Woman: I'm still around. I am woman. =



Woman: I shall look at the eye. =



Woman: One man wanted smiling.

Woman: I wish to develop this wind.

Woman: Why not Saturday?

Man: I'll never.

Man: You give the eye.

Woman: You are not.

Man: This is impossible. =



Man: I don't need the warhead.

Woman: Feeling good, beautiful.

Woman: Why not?

Woman: How about soon?

Man: Feel power.

Man: Sit on it.

It seems that some part of us may actually enjoy the attraction even if w=

e do not consciously or deliberately follow through.

Relationships

Perhaps nowhere else is communication so important and, yet, so complicat=

ed as in personal relationships. People are afraid of being vulnerable, l=

eery of being misunderstood. Expectations can be thwarted. Hidden agendas=

 may abound. And still, the rewards for "working things out" are many. Pe=

rsonal relationships can be the most fulfilling of all and worth understa=

nding.

Reversal analysis can show what people want or expect from each other, as=

 well as their reservations about a relationship, as the following transc=

ript illustrates. This transcript is longer than most in this book in ord=

er to give you a sense of the depth to which reversal analysis can go. Th=

e couple below had just become personally involved. The woman was in her =

late twenties, the man in his teens.

Notice the word force, a common metaphor that appears in relationships. I=

ts counterpart is the word source. These words appear in the context of a=

 man and a woman being a source for each other's force. Other occurrences=

 of these words are: Man is my force. Hey, woman, are you sourced? His fo=

rce is like a Whirlwind. Lancelot is my source.

Woman: (to David) "This, you'll have to put this in [your scrap book for =

years to come]." I can see if you help. (First Level reversal, Internal D=

ialogue.)

David: (to woman) "[What are you hoping to] achieve from this session?" Y=

ou are being yourself.

(First Level, External Communicative Dialogue.)

Woman: "[From this session?]" She's in love. =



(First Level Internal Dialogue, disassociated.)

Woman: "[Actually, it's a lot of the continuation of the turning point.] =

I'm having a good look at what I'm doing now and what I've been doing in =

the past. [It's been an eye opener.]" Need some sharing, but don't need i=

t. / Sight needed help. I'm nude.

(Second Level metaphor, Internal Dialogue.)

David: "[In what way?]" I wonder. =



(First Level reversal, Internal Dialogue.)

Woman: "[It's just in, um, how I]..." Oh my heart. Help. =



(First Level Internal Dialogue.)

Woman: "[Now this time with him I'm just relaxing] and being myself. If i=

t happens, it happens [and whatever]. It's all [just going to take its co=

urse]." Yes, I'm upset. I know. I see that. I'm thirsty. / Why not? It hu=

rts a bit.

(Second Level metaphor, Incongruent.)

Man: "The difference for me especially is that [there is a reality] in th=

is relationship." I'm normal.

(First Level reversal, Congruent.)

Man: "[We get on pretty well.] She's experienced a little more of life th=

an I have, but it doesn't seem [to, er, make much difference]." I'm a nic=

e man. / Warm inside. She loves that.

(First Level Expansive.)

Man: "We help each other a lot, you know. Just the other day, [she was fe=

eling a little bit down] and we had a great chat on the phone." Like the =

force. Love this. (Second Level metaphor, Expansive.)

Man: "[Something had gone wrong] so we just got together and [went for a =

walk]. Just together and talked and so on. [By the end of it,] we managed=

 to feel a little better." Girl, I love you inside. / We f--k fast. / I p=

refer nice -ss. I admit.

(First Level, Comparative.)

Man: "[Just giving] willfully without sort of holding back, like saying, =

'Well okay. I'll give you this without thinking you've got to give [me so=

mething else in return].'" I'm marvelous. / Nice -ss. Lose my soul. (Seco=

nd Level, Expansive.)

David: (to woman) "[Do you feel that?]" How lovely. (First Level Internal=

 Dialogue.)

Woman: "[Yes, I do.] I do. He is very affectionate [which is lovely]." I'=

ll lose my seat. / I'll upset him.

(Second Level, Incongruent Internal Dialogue.)

Woman: "A lot of my past has influenced [the way I am]. That has affected=

 my feeling of [self worth greatly] and links up with allowing [myself to=

 be happy]." I love serving. / Help the soul. / I want to trust him. (Sec=

ond Level, Internal Dialogue.)

David: "[What's the difference] between this then?" Feed the soul?

(Second level, external communicative dialogue.)

Woman: "[What's the difference? The difference] is where I am at this poi=

nt." This is feed. Feed the soul.

(Second Level, External Communicative Dialogue.)

Woman: "[Yes. There is no threat.]" Yes. I'm thirsty. (Second Level, Expa=

nsive.)

Woman: "I think I'm at a time where [I don't want to be] in a situation, =

don't want to be in a relationship [where it could turn into something li=

ke marriage]." I wear a mask. / Shame. Help me. He mustn't mean it.

(Second Level Expansive.)

Woman: "I think I'd like to be actually at [that sort of point] before ac=

tually becoming [deeply involved with him]." I feel shame. / I'm involved=

, naked.

(Second Level, Expansive.)

Woman: "I was single and [I think coming to terms] with that, happy with =

that, [and not happy with it at other times]. This seems to be just right=

 for [this time in my life]." I believe that. I was nice. / I feel nasty =

weather. I'll say it's messy. / What's happening?

(Second Level, Internal Dialogue.)

Man: "[I love it and it's great.]" Helps me a whole lot. (First Level Exp=

ansive.)

Man: "The main lesson I've learned from this is just learning to give. I =

know that's sound really... (pause). [But that's the main thing.]" Really=

 nice now. Feel no sin.

(Second Level Expansive.)

The relationship continued for a year before both people went their separ=

ate ways, but remained friends. I conducted the following session with th=

em nine months later, but this time, their relationship was dying. Notice=

 the difference in the spirit of the reversals in this session compared t=

o that above.

This transcript graphically illustrates how Reverse Speech can reveal und=

ercurrents of emotion and hidden agendas, which can lead to an accurate o=

verview of interpersonal dynamics. The analysis makes use of the whole se=

ssion transcript. I have reproduced it only partially here.

As you read the transcript, pay special attention to my reversals. This s=

ession was held just two days before I moved to the United States after m=

y marriage collapsed. My own issues and feelings intermingled with their =

reversals.

David: "Tell me about the progress of the relationship over the last nine=

 months."

Woman: "[It's gone through the initial] roses and [clouds and euphoria] s=

tages." My washing needed sex. / Must deserve this.

(Second Level metaphor, Expansive, Past Tense.)

Woman: "Just lately it's gone through the rough spots and [possibly] it's=

 going through the, before the [ending of this phase]." He'll besot me. /=

 Serve sin. (Second Level Internal Dialogue, Future Tense.)

Woman: "It's solidified my own life and [direction] and this takes in pro=

fessionally as well as the relationship with my mother [in which I've lea=

rned some quite interesting] things." Sex in it. / Love was now rushing m=

e.

(Second Level Expansive, Statement.)

Woman: (response to Man's aggressive statements) "I've made you aware of =

the fact that [there is twelve years in the difference]." So afraid of th=

is evil!

(Second Level, Expansive, Emphasized Statement.)

Woman: "[You're going to go to University.] You're going to have other gi=

rlfriends." So f--k the lover. (Second Level, Internal Dialogue, Emphasiz=

ed Statement.)

Man: (beginning to discuss an affair that Woman had while in Europe) "[Ar=

e you happy for me to say this?]" You sleep with rape.

(Second Level, External Communicative Dialogue, Statement.)

Woman: "[On the whole situation?]" Shows this war. (First Level, Expansiv=

e, Statement.)

Man: (expands on Woman's affair) "[Basically] why she went [up to Liechte=

nstein]." I won't accept. / This is rubbish.

(First Level Internal Dialogue, Statement.)

Woman: "It goes back to [one of the very early things] which was the basi=

s of the relationship." Serves the soul.

(Second Level, Expansive, Statement.)

Woman: "[Yeah, well,] we, [from your point of view] as you said to me, I =

know you're interested in a more permanent long-term relationship." Sorry=

=2E / Don't fall in love.

(First Level Internal Dialogue, Statement.)

Woman: "[Well, er,] you think I'm going on a fling]." Sorry. / I give up.=



(First Level Internal Dialogue, Statement.)

Man: "[A very strong character] trait in the male side of this family is =

to be very possessive." I die. Won't serve love.

(Second Level, Internal Dialogue, Statement.)

Man: (reacts to the affair) "[So, it really didn't seem that there was th=

at much to be gained.]" I get shocked there. Listen to the Universe.

(Third Level Structural Metaphor, Internal Dialogue, Statement and Instru=

ction.)

David: "I seem to [recall, um, when we first talked] that you said [that =

um, er,] one thing you liked about the relationship is that you didn't wa=

nt to commit yourself to anything that may end up permanent." Oh, serve y=

our man now. / Selfish.

(Second Level, External Communicative Dialogue, Statement.)

Woman: "You're right. At that time, I was very much going [through my dev=

elopment] time and space." Love is done in there.

(Second Level, Expansive, Past Tense.)

David: "[What's made you change your mind?]" I was asked this -sshole.

(Second Level, Internal Dialogue, Past Tense.)

Woman: "Can I go back on what you've asked [on what's made me change my m=

ind?]. In a way, I haven't changed my mind at all and [in a way, one of t=

he first things we agreed on] was that this relationship would work for a=

s long as we wanted it to." My love's masking him. Somewhat used. Sorry. =

/ I must need surf with Whirlwind in it.

(Second and Third Level, Expansive and Internal Dialogue, Cause and Effec=

t and Emphasized Statement.)

Woman: "Apart from being enjoyable and in love and all those things, it w=

as also convenient [for both of us at that time]." B-st-rd. I serve with =

love.

(Second Level External Communicative Dialogue, Cause and Effect.)

Man: "She said to me on [numerous occasions,] the [only reason] she came =

back was me." Axing me. / Her actions.

(First Level Internal Dialogue, Statement.)

Woman: "My time here, in Australia, [for the moment] has come to an end."=

 I'm the Wolf.

(Third Level Internal Dialogue, Statement.)

Woman: "He's part of all of that [and he's not, for me,] over-riding or s=

trong enough above all else to keep me here." Wolf. On Satan.

(Third Level, Internal Dialogue, Personal Protection Command.)

Woman: "I need to be able to move far away from, to be able to resolve [a=

nd yes, come back if I want to]." There's no other. I'm not saying that.

(First Level, External Communicative Dialogue, Statement.)

Woman: "[But, it's not,] er, I, what is happening to me is not just our r=

elationship." On spirit man.

(Third Level Internal Dialogue, Personal Command.)

Man: "The only reason you gave [for coming back from Europe] is me, but e=

ver since then you've been bloody miserable." I mock with the spirit.

(Third Level Internal Dialogue, Statement.)

Man: (talking about their sexual relationship) "Every time I've taken the=

 initiative, I've been rebuffed."

Woman: "Not every time. [It didn't happen in Brisbane.]" Loosened a bit.

(First Level Expansive, Statement.)

Man: "[Oh. Once!]" So what?

(First Level, External Communicative Dialogue, Statement.)

Woman: "Twice."

Man: "Oh, twice, has it? It's been [twice in one year]." You know me.

(First Level, External Communicative Dialogue, Statement.)

Woman: "That's not true. [It's not that.]" Don't want. (First Level Inter=

nal Dialogue, Statement.)

David: "Twice in one year?"

Man: "No, no, no! Not that [we've made love]. But I've actually taken the=

 initiative." I love you woman.

(First Level, External Communicative Dialogue, Statement.)

Woman: "This is to do with [general contact on an emotional level] in the=

 relationship." For now, we can't be as nice. / The Whirl won't show me.

(Third Level Expansive, Statement.)

Man: "My logical mind's going click, click, click. [A month ago you said,=

] 'Give me a couple of weeks.'" Skill will f--k him.

(First Level Internal Dialogue, Personal Command.) =



Man: (talking about competition in tennis) "She's got problems with her b=

ack and I hit the ball [a lot harder than she does]." So you shoot my pow=

er.

(Second Level Expansive, Intent.)

Woman: "You still take incredible delight [in serving broad pass] that yo=

u know I have [no way of getting]." I needed. / You take me.

(First Level Incongruent, Statement.)

Man: "Of course, [but so do you]." You won't be sorry.

(First Level, External Communicative Dialogue, Future Tense.)

Woman: "[I then feel that I'm not making the right decision towards mysel=

f.] You do an emotional railroad beautifully. [I've not seen many to comp=

are.]" Force some salt in the album. I'm not the wife. / The Whirl won't =

show him.

(Second Level, Internal Dialogue, Personal Instructions.)

Man: "[So, I'm just meant to wait in the wings and slowly] mellow out." R=

everse the demon, oh but it's nice. =



(Second Level, Internal Dialogue, Personal Instruction.)

David: "How would you feel if [Man rang you up and said, I've met someone=

 else] and [I like her a lot]?" The wife's devil. It's a worry. Lost the =

life. / I love Aladdin.

(Second Level Comparative, Association.)

Woman: "Upstairs [in your bedroom, Darling]!" I used him for sex.

(First Level, Expansive, Past Tense.)

Woman: (referring to Man getting an erection while hugging) "[Alright, ok=

ay, er,] I suppose the cat can make that happen for you." My ships ache a=

n armor.

(Second Level Internal Dialogue, Personal Need.)

David: "[That's alright.] Look, er, [well, they've all been answered anyw=

ay]. How much tape [have I got left]?" I know her sin. / Ain't it a sigh =

of woman? / That shows me Hell.

(Second Level Internal Dialogue, association with current problems in Dav=

id's life.)

David: "Alright, well, look, [let's round, round this up] before World Wa=

r III starts out here." I see my Wolves.

(Third Level Comparative, Visualization.)

David: "What would you say has been the major difference between the way =

it was nine months ago when we did our first session to [the way it is no=

w] ?" Wine see Darwin.

(Third Level, Comparative, Personal Association. See Session Overview for=

 interpretation.)

Woman: "It was the early stages of a relationship and [discovery of two p=

ersonalities] and that's very exciting." Sees on surface.

(First Level, Expansive, Statement.)

Woman: "[And since then, two people have had a year together] and a year =

in anyone's life is a year of change. I'm not sure what happens [from thi=

s point onwards, but that is,] that is the difference." I'll make you see=

 your devil. Feed this mess. / David. Snow more help. Sin not, the devil.=



(Second Level, External Communicative Dialogue, Instructive to David's is=

sues appearing in reverse.)

David: "[It's fairly obvious what's going to happen.]" Well, [Man's Name,=

] what's the favor?

(First Level, External Communicative Dialogue, Question.)

Man: "No! It's not the fact that [I'm pissed off at her] as much [for wha=

t, you know, she's going through,] I mean, you know . . . (voice trails o=

ff) . . ." Conserve that force. / No more sex. This nice power.

(Second Level, Internal Dialogue, Personal instructions.)

Man: "I [sort of feel that I'm being] put out to pasture." You're not my =

wife.

(First Level, External Communicative Dialogue, Statement.)

Woman: "Would you prefer that you would be the one to put [the other one =

out to pasture? Would that make you feel more comfortable?]" I will f--k.=

 In love with him. You affect my soft answer.

(First Level Internal Dialogue, Cause and Effect.)

Woman: "Where does that put me in our relationship [when your development=

] course changes in [direction and place,] and that does not include me?"=

 Love is going now. / Salesman shows me. =



(First Level Internal Dialogue, Statement.)

Woman: "We did have [agreements about our] relationship early on in the p=

iece [and yes, people are people and they change] and different things." =

Our love is a mutant. / This nice devil. People keep saying that. Satan.

(Third Level Internal Dialogue, Statement.)

Man: (quick insert) "[Basically, do you know what I want?]" I'll accept.

(First level, Internal Dialogue, Future Tense.)

Woman: " . . . from you, that you . . ."

Man: "[I wan, want wanted, er]... " Still want this power.

(Second Level, Internal Dialogue, Dialogue alteration.)

Man: "I am logical and I want an answer."

Woman: "Well, [I can't give you that right now]." I love [Man's Name]. He=

 can't know.

(First Level Internal Dialogue, Statement.)

Man: "[What I'm saying now is,] where I'm at now is not saying I don't lo=

ve you, but I'm getting [p-ssed off that I'm being led around by the nose=

=2E" My nerves are less nervous. / I'm love sick.

(Second Level, Internal Dialogue, Statement.)

David: "Okay. I want one final comment from each of you. Tell me [some of=

 it], [Man's name]?" Honest.

(First Level emphasizes comment required.)

Man: "[How to give. Not always to take.] I think I've done a lot of. I co=

uld say a lot of other things, but they'd all be [take-offs and sort of s=

ubdivisions of that]." Lust story. Feed that. / Shoo the boss. It was nic=

e as my guest.

(Second Level, Incongruent, Statements.)

David: "Woman?"

Woman: "I've learned to be honest. I'm as honest as I can be at this stag=

e of my development. [But yes, honest.]" Still not Satan. =



(Third Level Congruent, Statement.)

Woman: "[I'm not um, I don't feel] I'm cheating him in any way in terms o=

f how I'm really feeling as a person." I was fed up, mast.

(Second Level, Expansive, Cause and Effect.

Man: "Oh, God. [You're not. Believe me, I know.]" I feel it. Lonely. Impo=

rtant.

(First Level Internal Dialogue, Cause and Effect.)

Woman: "[You might see] the value of that later on." I'm really sorry.

(First Level, Internal Dialogue, Statement.)

David: "Okay. Thank you very much you two. I have a very interesting sess=

ion in my hands. Session ended. [Woman and Man.] [3rd of August, 1989.]" =

You accept your love. / You're answerable with love.

(First Level, External Communicative Dialogue, Comments.)

Session Overview

This session contains many metaphors, particularly on the woman, which in=

dicate her deep feelings. The man, on the other hand, has mainly First Le=

vel literal reversals. His concerns are more immediate.

The Woman Decides to End the Relationship

The woman discusses the phases the relationship has gone through, indicat=

ing that she needed the relationship for her personal growth (My washing =

needed sex). She sees dangers ahead for her in getting too involved (He'l=

l besot me) and, against her feelings, she decides to end the relationshi=

p (Serve sin). She is deeply concerned about their age differences (So af=

raid of this evil).

The Man "Attacks"

The man attacks regarding the affair she had in Europe (You sleep with ra=

pe) meaning "you maneuver your way in nicely."

The woman works through a lot of confusion and conflicts in ending the re=

lationship (Shows this war) and remembers that she entered it to help her=

self (Serves the soul). She recognizes Man's hurt, but warns him that thi=

s is how it was always going to be (Sorry / Don't fall in love). The rela=

tionship now serves no purpose for her personal growth (Love is done in t=

here). She also recognizes that it is not helping Man (My love's masking =

him), but is angry that he insists on accusing her when she views her int=

entions as always being good (B-st-rd. I serve with love).

The Woman Stands Firm

She stands firm (I'm the Wolf-Wolf. On Satan), yet softens when Man remin=

ds her of their affection (loosened a bit). Man ignores her softening (So=

 what?) and Woman's resolve is again strengthened (Don't want). She recog=

nizes the relationship has helped her with her personal issues (It helps =

the marks), but knows that as it stands now, they can no longer help each=

 other (For now, we can't be as nice / The Whirl won't show me).

Man mentions the game of tennis to unleash his aggressions (So you shoot =

my power) and Woman, although denying it consciously, secretly enjoys the=

 competition (I needed / You take me). Man knows it has helped her (You w=

on't be sorry).

The Man Tries to Win Back the Woman

Man tries to maneuver his way back into her life, but Woman becomes even =

more resolute (Force some salt in the album / I'm not the wife / Whirl wo=

n't show him). Salt in Reverse Speech often means "to preserve," and albu=

m frequently refers to the past. In this case, the woman is saying is tha=

t the man does not own her, but that she wants them to remember and cheri=

sh the past that they shared. As is always the case when presented with s=

uch a complicated series of metaphors, the initial translation is an appr=

oximation.

Meanwhile, I am caught up in this on an unconscious level regarding the c=

ollapse of my marriage (The wife's devil. It's a worry. Lost the life). I=

 maneuver to change the situation, however, to my advantage (I love Aladd=

in).

Man becomes intimate again and Woman recognizes what she got from the rel=

ationship (I used him for sex). She softens again and wishes she could ea=

sily cut it off (My ships ache an armor).

I am even more personally involved now in the Man's and the Woman's sessi=

on and recognize my own issues in their issues (I know her sin / Ain't it=

 a sigh of woman? / I see my Wolves) with an interesting complementary re=

versal around the time frame of Man's and Woman's relationship (Wine see =

Darwin). These are very significant reversals on me. My twins are the lov=

e, or the wine, of my life. Darwin is a personal metaphor for a town in A=

ustralia that was flattened by a cyclone (what once was nice, the town an=

d my marriage at that time, are now destroyed). Darwin was also the town =

where my former wife eventually moved with the twins.

I had no conscious idea at the time of this transcript that they would mo=

ve to Darwin a year later. I may have received this knowledge, however, t=

hrough my former wife's reversals.

Meanwhile, back in the Man's and the Woman's session, Woman tries a diffe=

rent approach with Man to achieve her intended outcomes (Use devil. Let's=

 see. This sex is power). She softens, then fluctuates between giving bot=

h Man and me advice, in a three-way, reversed conversation (to Man: I'll =

make you see your devil; to me: David. Snow more help. Sin not, the devil=

).

Man recognizes the futility of the situation and knows he has lost. He re=

solves to remain strong (Conserve that force. / No more sex. This nice po=

wer. / You're not my wife). Woman recognizes her love for him (In love wi=

th him. You affect my soft answer. / I love [Man's name]. He can't know).=

 She feels some relief, however, that Man is beginning to let go (Love is=

 going now) and justifies her actions (Our love is a mutant).

The Man and the Woman Accept the Situation

Man begins to become comfortable with the situation, although reluctantly=

 (I'll accept. / Still want this power. / My nerves are less nervous). He=

 then throws it all aside by discounting the love (Lust story. / Shoo the=

 boss. It was nice as my guest).

Finally, both people soften as they realize what is going to happen. Man:=

 I feel it. Lonely. Woman: I'm really sorry. I conclude with a reassuring=

 comment (You accept your love. / You're answerable with love).

What happened between the couple above is played out regularly throughout=

 the world as people seek fulfilling relationships, as they endeavor to i=

nspire and emotionally support each other and, in turn, to be inspired an=

d supported. Or, in the words of the unconscious mind, as they attempt to=

 feed each others' Whirlwinds and source each others' force.

Sex in the Media

The following transcript illustrates people's frequent and deep preoccupa=

tion with sex. It is taken from a live interview on CNN, The Larry King S=

how, August, 1990 and regards the Judas Priest case in Reno, Nevada. Part=

icipants in the interview were myself as an independent expert; Bryan Key=

 as a witness for the plaintiff; Gail Edwin, the attorney for CBS; and th=

e CNN Commentator. The reversals were robotic with a lower-than-average c=

larity rating, which is normal for media.

Commentator: "David, tell us about this unique and unusual [research that=

 you're doing]." Now let's discuss you.

Commentator: "You've got, you've got some tapes that [have already been s=

et up]." Goddess may be robbed.

David: "[It's, it's, a, um,] actually a, er, right brain hemisphere funct=

ion." My -ss gets skin.

Witness Key: "These boys, well, they were [taken to] hospital immediately=

 after the accident." I know evil.

Witness Key: "Their blood showed a .09 alcohol content [which they were n=

ot] legally impaired at that point." I know wisdom.

Attorney Edwin: "[First of all, there] were no tests for marijuana and th=

ere were no tests [for LSD] among the drug tests done on one of the two y=

oung men." Sex on Whirlwind. / Sex loves them.

Attorney Edwin: "[The claim in this case] is that there are backward mess=

ages." Sex in this milk.

Witness Key: "[He did put in] hidden messages in other albums." They don'=

t need me here.

Attorney Edwin: "The suicide and the [attempted suicide]." I source this =

mess.

Attorney Edwin: "(The two boys) were [learning disabled] who were in a su=

icidal or violent mode." I source anyone.

Attorney Edwin: "[These two young] men took LSD as well as marijuana toge=

ther with alcohol." You see that.

Attorney Edwin: "How can you [begin to blame it] on something you can't h=

ear?" Must not an Elvis.

Attorney Edwin: "The thing [to learn is that] we as parents and I'm a par=

ent, have to take responsibility for our children." I've seen Elvis.

Witness Key: "This is absolutely [nonsense and this woman] knows it." Thi=

s woman walks with a snob. (Complementary reversal giving extra insight t=

o the forward.)

Witness Key: "These are [an invasion] of privacy and the court have uphel=

d these." I must shock them.

(Personal command as Key makes his point.)

Attorney Edwin: "I think that it's important at all times to remember tha=

t [the subliminal] messages are seen by people . . ." I want an Elvis.

Attorney Edwin: "I can't comment about whether it's [right wing] or not, =

but certainly the defendants are clearly in favor of [the free disseminat=

ion] of speech. " I know you. / Shame them with the youth.

Commentator: (to David) "[What about this case?] Do you think it's possib=

le that they could have been getting a secret message?" Sex with David O.=



David: "[Oh, I think] it's certainly quite possible. I would like to draw=

 a distinct difference between back, [ward m, m,] masking. . . and Revers=

e Speech." See a fire. / Look up!

David: "We know that Reverse Speech [can be heard] and understood conscio=

usly." Love, he makes.

David: "Electroencephalogram testings that we've undertaken [clearly show=

 significant] activity between the left- and right-brain hemispheres." I'=

ll offend this nice Sheila.

As you reread the reversals, notice how, as the interview continued, the =

attorney seemed to draw more and more energy from being on television and=

 the hype of the live media experience.

Reversals in Order

Commentator: Now let's discuss you.

Commentator: Goddess may be robbed.

David: My -ss gets skin.

Witness Key: I know evil. =



Witness Key: I know wisdom. =



Attorney Edwin: Sex on Whirlwind. =



Attorney Edwin: Sex loves them. =



Attorney Edwin: Sex in this milk. =



Witness Key: They don't need me here. =



Attorney Edwin: I source this mess. =



Attorney Edwin: I source anyone. =



Attorney Edwin: You see that. =



Attorney Edwin: Must not an Elvis.

Attorney Edwin: I've seen Elvis

Witness Key: This woman walks with a snob. =



Witness Key: I must shock them. =



Attorney Edwin: I want an Elvis. =



Attorney Edwin: I know you.

Attorney Edwin: Shame them with the youth.

Commentator: Sex with David O.

David: See a fire. =



David: Look up! =



David: Love, he makes.

David: I'll offend this nice Sheila.

Session Overview

The entire session has a high sexual element. It was my first live appear=

ance on American national television, an important opportunity for me to =

talk about Reverse Speech and, yet, I was nervous. I have a mild stutter,=

 which under stress intensifies. The producer knew it.

The Commentator begins, introduces me with a reversal, Now let's discuss =

you. I become nervous, stutter and the commentator knows I'm in trouble. =

He delivers a reversal, Goddess may be robbed (note the structural metaph=

or). The producer says, "We're worried about his stutter,"1 and the show =

switches to Judas Priest. I know it, with a reversal, My -ss gets skin ("=

I'm outta here").

Attorney Gail Edwin comes on. She is hyped and delivers a reversal, Sex o=

n Whirlwind. Then she says, Sex in this milk. Now she is really into it. =

Milk refers to the essence of femininity. In this case, the milk is the t=

rial. She then says, I source this mess and, I source anyone. Source is a=

 reference to personal energy, usually between a man and a woman. Here, i=

t is used in a general context as a verb rather than as a noun, or, "I dr=

aw energy from." It is common in Reverse Speech for nouns to be used as v=

erbs.

She used Elvis, referring to superstar, three times. Given the trend of h=

er other reversals with sex and high energy, it appears consistent with t=

he trend: superstar / sex / stimulation."2

Bryan Key's reversals indicate personal feelings (They don't need me here=

) and personal commands during dialogue (I must shock them).

Finally, the Commentator addresses me with the reversal, Sex with David O=

=2E I freeze, See a fire. I give myself a visual access command, Look up!=

 Visualization reduces my stutter. I speak smoothly, with no stutter. My =

confidence returns, Love he makes and I prepare to take on the attorney, =

I'll offend this nice Sheila. "Sheila" is derogatory Aussie slang for wom=

an. The show ends.

And, likewise, this chapter ends, but, ideally, leaves you with greater i=

nsight into the kinds of "shows" that are really going on over our airwav=

es. We are broadcasting more than our surface demeanor. We are broadcasti=

ng all that we are.

Human beings often make crucial decisions based on their need for sex, ex=

citement and emotional connection with others. We have always suspected t=

hat sexual energy permeates just about everything that we are and everyth=

ing that we do. Now, more than ever, we can determine the extent to which=

 this is true in our personal and our professional lives. What better ind=

ication than to hear it in our own words through our reversals?

Reverse Speech shows us that sex and the energy created by contact, stimu=

lation and connection is at the base of all human dynamics. In fact, Reve=

rse Speech suggests that it is the prime motivational force of the power =

that actually sparks all thought and actions. At its deepest levels, Reve=

rse Speech goes so far as to suggest that it is ultimately the way in whi=

ch we connect to God, through immense power and passion. It includes the =

totality of our being, because this is what we define as Love. It is the =

force that creates all, connects all, and it is the fuel that keeps it ru=

nning. Never be afraid of "Sex," because it is the underlying force of Lo=

ve which is the essence of God.

=0DTherapy



All experience is already interpreted by the nervous system one hundred f=

old=97or a thousand fold; before it becomes conscious experience.	=97Sir =

Karl Popper







When we study speech reversals within a therapeutic setting, we can see t=

he therapeutic process unfolding=97its successes, failures and growth pro=

cesses. This is because reversals, communicated by both client and therap=

ist, reveal each participant's true, unspoken motives and needs within a =

session. These reversals are processed unconsciously by the other person =

who hears them, which, in turn, can affect the outcome of the session.

Reverse Speech can be used by therapists to shave months, even years, off=

 therapy work. Reversals also confirm the effectiveness of certain counse=

ling approaches, or their ineffectiveness, by revealing the dynamics of t=

he client/therapist interaction. Reversal analysis can also:

Provide accurate feedback for the client;

Allow the therapist to verify intuitive interventions;

Reveal the dynamics of client/counselor interaction;

Precisely pinpoint areas of need; and

Establish the source of a client's current behavioral difficulties.

A Growing Respect for Clients

Some of the reversals found on therapists indicate a growing respect on t=

he part of therapists for their clients. This trend is evident in phrases=

 such as: Lovely person, I love you, you have the strength and feel impor=

tant. These reversals reflect the compassion of supportive, competent the=

rapists who wish to facilitate their clients' healing.

Internal Congruency

Reversals can also indicate the extent of a client's internal congruency=97=

that is, how accurately what the client is saying reflects what the clien=

t is feeling. We determine how congruent the reversed dialogue is by comp=

aring it to the forward dialogue. If both dialogues, backwards and forwar=

ds, communicate similar messages, we can surmise the speaker's congruency=

=2E

If the messages contradict each other, however, some internal conflict is=

 probably producing that incongruency. The following simulated examples i=

llustrate this point.

Congruent: "I'm coping with this situation because I'm aware of the cause=

s." Know this. Makes a good person. Headed on.

Incongruent: "I really do love my husband. He sometimes cooks the dinner.=

" Lousy person, no freedom.

Let us look at a few of the many, promising applications that Reverse Spe=

ech has for therapy.

Case 1: Client/Therapist Dependency

In a session that a woman psychotherapist conducted with a young woman cl=

ient who had recently attempted suicide, an undercurrent of communication=

 developed that was not beneficial to the client/therapist relationship.

At one stage during the session, in an attempt to get a response, the you=

ng woman told the therapist that she was going away for a week. This seem=

ingly innocent statement was in reality her demand for emotional involvem=

ent (co-dependency) as her reversals reveal: You're mum. Lousy woman! I n=

eed. You're mother too. The therapist side-stepped the demand, giving pos=

itive reinforcement. Her reversals show her recognition and her unwilling=

ness to respond.

Therapist: "[I would have no concerns] about you doing that. It's not an =

issue." She wants me, but I'm nude. (Second Level Metaphor, Internal Dial=

ogue.)

Woman: (immediate response) "[It'll just be a bit of space,] time." You'r=

e sexy. Be with me.

(Second Level External Communicative Dialogue, continued demand for invol=

vement.)

Therapist: (further in the session) "Being alive is a very fragile busine=

ss from time to time, but I had a sense that [you're not giving] a depart=

ure cue." Murder not!

(Second Level External Communicative Dialogue, Command.)

We see a trend in the preceding situation. The client was developing an u=

ndesirable emotional need for the therapist. The therapist was not willin=

g to meet this need and gave reversed commands that addressed the real is=

sue, Murder not! The client then had the choice of accepting or rejecting=

 the criteria that the therapist established for the therapeutic relation=

ship. Notice the entire reversed interaction.

Woman: You're mum. Lousy woman. I need. You're mother too.

Therapist: She wants me, but I'm nude.

Woman: You're sexy. Be with me.

Therapist: Murder not!

Case 2: Childhood Transfer

At the request of a therapist, the woman in the transcript below came to =

me because she wanted to improve her communication skills. As the forward=

 dialogue continued, issues emerged that appeared to be intricately linke=

d with her inability to communicate adequately.

Woman: "I don't know what to say. That's why I'm here. I feel as though I=

'm not saying [what I really mean]." Love is a refund.

(Second Level Expansive.)

Woman: "To me [it's in relationships] that anger comes out. Like [I feel =

a lot of things] towards my husband and there's no logical explanation fo=

r those feelings." Relationship shallow. / I believe Father.

(Second Level Expansive.)

Woman: "I very clearly [feel hatred] towards my father. At times I'd like=

 to put a [gun to his head]." I love him so. / I love him.

(First Level Literal Reversal, Incongruent.)

These reversals and others led me to wonder whether her lack of communica=

tion skills were connected in some way to her relationships both with her=

 father and her husband: I feel a lot of things towards my husband / I be=

lieve Father; I feel hatred towards my father / I love him so.

On the surface, her marriage was stable, yet she felt much anger in the s=

ituation that she could not explain. The session revealed that her childh=

ood had been distressing, which left her with conflicting beliefs about l=

ove, hate and relationships in general.

The woman intensely disliked shallow relationships, yet referred to them =

in her own reversals (relationship shallow). This, combined with the reve=

rsal Love is a refund concerned her greatly and prompted me to conduct a =

second session to further probe these issues.

In the second session, she revealed that she felt all she could have now =

as an adult were troubled relationships, just as she would had with her p=

arents when she was a child (past experience transference to existing sit=

uation). Her reversals in the second session confirmed our initial conclu=

sions.

Woman: "Actually this, yeah, [this shallow's disturbing me while I'm sayi=

ng it]." Reversals show my s--t. See this s--t.

(First Level Internal Dialogue.)

Woman: "I mean, my husband's not going to change. [That's just the way he=

 is. It's got to be me.]" At least now I've seen it. That flaws me.

(First Level Internal Dialogue.)

As a result of these findings, the woman realized that her lack of commun=

ication skills were linked with her negative attitudes about relationship=

s. These attitudes had been inspired by her poor relationship with her fa=

ther. In turn, she had transferred these self-defeating beliefs to her ma=

rriage.

She had suspected some of these issues, but her reversals helped her to u=

nderstand their significance. With follow-up couple's counseling conducte=

d by the therapist, the woman learned to express herself better and the m=

arriage improved.

Case 3: Therapeutic Dynamics

It is common to find entire reversed conversations in therapy situations =

which frequently show the dynamics of the therapeutic process. The revers=

als below are taken from a therapy session. Selected portions of the reve=

rsals have been linked and some of the side issues have been removed, but=

 the reversed dialogue and the order in which it occurred has been preser=

ved. Note the reversed dialogue, the dynamics of the interaction and how =

the therapist leads the client into a more positive frame of mind and sel=

f-awareness. The words in parentheses did not actually occur, but are imp=

licit with the Speech Complementarity involved.

Client: When I make love, I slip down. (I'm) ashamed of what I say.

Therapist: (Say), "I'm a person. I feel important."

Client: Less shame. Problem. (I'm) Nude. (I) mustn't murder. Still nude. =

More spirit. I'll have an affair. I upset me. (It) makes me nude.

Therapist: Now I see this persons shame.

Client: I make my misery. I'm not happy now.

Therapist: Least the sources are happy.

Client: Best to shoot.

Therapist: How selfish. Faking your wisdom. That's enough.

Client: Shame, 'cause I feel lousy person.

Therapist: (trance inductions) You feel wisdom. Use snow. Enough pain. Wh=

irlwind I can feel it. Now no running. Escape with me. Don't you feel sha=

me. It'll be fun. It's your faith.

Client: I'm still scared. I am (a) sinner 'cause I fell. I still need wis=

dom.

Therapist: Your wisdom's involved. I will serve wisdom. (Your) nerves hav=

e won.

Client: (I) must not shoot making love. I see evil rotting. What will I s=

ay? Run.

Link Reversal: You don't need now to run.

Case 4: Suppressed Memories

Reverse Speech can reveal forgotten, sometimes traumatic events that happ=

ened in a person's past. Analysis of a session conducted with a severely =

sexually-inhibited man found reversals that detailed his being raped in a=

 sauna for men only. Further discussions with him verified that this even=

t had indeed happened.

Prompting techniques (already detailed in Chapter 7) caused unconscious, =

disturbing experiences to appear in reverse when I worked with a woman wh=

o had difficulty being open in relationships. This difficulty manifests i=

tself in the form of self-destructive behavior. She suspected she had bee=

n sexually abused at an early age and that this was causing her current b=

ehavioral difficulties, although she had no conscious memory of being abu=

sed.

Since reversals are mostly complementary in nature, I suggested that she =

relax and talk about what she remembered of her childhood, in particular =

about the time during which she felt the abuse may have happened. Her rev=

ersals were amazing and when the woman subsequently examined them she fel=

t as though she felt as though a burden she had been carrying for years h=

ad been lifted from her.

In the following portion of the session, I have printed the reversals exa=

ctly as she said them and in the order in which they occurred. To protect=

 her anonymity, however, I have altered parts of the forward dialogue and=

 deleted brackets where the reversals actually occurred. I have made ever=

y attempt to preserve the spirit of the content and the complementarity o=

f the reversals.

When you analyze the complementarity, you will see that the event appears=

 to have occurred with the woman's uncle, possibly near, or in, a garden =

shed and possibly with her mother's knowledge (the uncle's sister). The m=

ajority of reversals were Second or Third Level Internal Dialogue. This l=

ed me to conclude that the reversals were, in fact, relaying an event tha=

t was stored in her unconscious mind.

David: "What makes you feel that something happened to you?" Who's this d=

evil?

(Second Level External Dialogue.)

Woman: "Gut feeling, I guess, as if something traumatic happened." Really=

 f--ked. / I hate him.

Woman: "I had all these feelings. Feelings of despair and grief, but ther=

e seemed to be no basis for those feelings." He felt me. / The b-st-rd pr=

ogrammed me. This happened.

Woman: "I used to go and visit my auntie and uncle a lot." Helpless I kno=

w.

Woman: "All my times with my extended family were good." I'm helpless. Lo=

st all memory.

Woman: "After my uncle died, I would wake up and hear Mum sobbing in the =

lounge room. The television wouldn't be on or anything. She would sit the=

re crying." My mummy will help me. / He molested me.

Woman: "It affected me because I then started crying for no reason." I wo=

uld give him a stiffy. / He came on top of me.

Woman: "I had to get these feelings out so I would go to my bedroom and c=

ry." It broke my Whirl. / It hinders my face.

Woman: "My dad was working afternoon or night shift at the time. So he wo=

uld often be asleep or be at work." He gave me water. / Don't leave me. H=

e'll save me. He has.

Woman: "Sometimes Dad and I would go for a walk in the hills together." H=

e loves me.

Woman: "Before my uncle died, my auntie and uncle helped a lot and I spen=

t a lot of time with them. I remember the nice cakes my auntie used to ma=

ke, but I can't remember much about my uncle." Won't be bad there. / I kn=

ow he rapes. / You b-st-rd.

Woman: "I have no memory whatsoever prior to the age of three." I lost my=

 Mum.

Woman: "I can remember feeling total loneliness as a child. That shouldn'=

t be there especially as a child." =



S--t. Hate him. The shed.

Woman: "The inhibitions came though when I was older." I grew up sad and =

lonely.

Woman: "I think I can remember looking at the garden shed and I escaped i=

nto the shed. Maybe that's how I blocked it out by looking at the shed." =

Used it. Look, Mummy can remember. / I was not upset. I accept it. Mummy =

couldn't help it.

Woman: "It really hurt me that they took the shed down." I used it.

Case 5: Psychological Issues Manifesting in Physical Illness

The parents of a 14-year-old who were desperate to do something for their=

 son asked me for help. For the past six weeks, he had been experiencing =

such severe chest pains that, at times, he could barely walk. Doctors sus=

pected that he had heart problems; yet in spite of extensive tests, they =

could not locate a cause for the pain. At the time the teenager saw me, t=

he latest medical theory was that he might have a cyst on his kidney.

His parents hoped that by using Reverse Speech analysis, we might uncover=

 a psychological reason for his pain. The teenager seemed normal for his =

age, yet was somewhat withdrawn. I conducted the session in my usual mann=

er, focusing on the times that the pains first occurred and his general l=

ife circumstances.

David: "Tell me initially about what your reaction is to the cyst on the =

kidney. How, [how do, do you feel about] it?" I will look in there.

(First Level Internal Dialogue.)

Youth: "I guess confused. Not knowing what to think. It's kinda scary and=

 kinda neat having something [wrong with you] and stuff like that." It hu=

rts me.

(First Level Expansive.)

David: (following long discussion about family relationships) "How do you=

 feel about your half-brother?"

Youth: "Well, he lives with his mum and dad and I kinda wish I could [liv=

e with my mum and my dad] at the same time." Mess with Dad and my Mum.

(Second Level, Internal Dialogue.)

David: (asking about his feelings of wanting to be with both his biologic=

al parents at the same time). "So, is this feeling getting better or wors=

e as you're getting older?"

Youth: "[Ah, er, worse.]" Show me love. =



(First Level, External Communicative Dialogue.)

David: "[And, what, er,] is there a tension inside in it?"

Youth: "[Well, in a way,] yeah." Hell. Want a home. (Second Level, Expans=

ive.)

David: "Do you look forward to the visits (with your real father)?"

Youth: "[A whole lot.]" A war. =



(Third Level structural metaphor, Expansive.)

David: (questioning troubles the boy was having at school) "Like what? Pi=

cking, [fighting, teasing]?" Diseased love.

(Second Level Expansive.)

Youth: "[Yeah. All of it.]" Feel a war. =



(Third Level Internal Dialogue.)

Youth: "Let's see. [It had always] been there when I ran real hard, but [=

that Sunday night I'd taken] a hard run." I wanted it. / I will get that =

hurt. I need this bad.

(Second Level Internal Dialogue.)

Youth: "I didn't know if it was something to be really scared about [or j=

ust blow it off ]." My father would. (First Level Internal Dialogue.)

David: "What have they done to you?"

Youth: "[Well, they've done an Electrocardiogram, [a CAT-scan,] a bone sc=

an." We love worse telling. They love real war. / They expect it.

(Third Level, Expansive.)

Youth: (after being asked to picture colors that described his feelings, =

then being questioned about his choices) "[I think that one was the first=

 one] that popped into my mind." Will suffer, so I give up.

(Third Level Expansive.)

David: "Talk to me in general. Tell me what you like to do."

Youth: "I like to play some board games. [I like to play Nintendo.]" I mi=

ss Nanny.

(First Level, Expansive.)

David: "Have you talked to him (the natural father) much about what's bee=

n going on with you?"

Youth: "Well, I've called my grandmother, but [I haven't got ahold of him=

 yet]." They made the war and I never have love.

(Third Level Expansive.)

David: "Does your Dad want to see you?"

Youth: "Mmmm."

David: "So what's the problem?"

Youth: "[What do you mean?]" Me evil.

(Second Level, Expansive. Note how the reversal answers my previous quest=

ion.)

David: "How come you don't see him more often?"

Youth: "[Well, 'cause,] the main reason is he lives in Brisbane. [I live =

in Sydney.]" Suck Mum.

(Second Level Internal Dialogue.)

David: "Do you get resentful that he doesn't drive up and see you more of=

ten?"

Youth: "No. 'Cause I know it would be a whole [lot just to come all the w=

ay] from there to here." Feel I want it. That cyst.

(Third Level, Expansive.)

David: (discussing areas where possible improvements could be made) "Woul=

d you like to change schools? Would that solve part of the problem?"

Youth: "If [nobody knew me at all]. I could start off with a whole new be=

ginning." Father. He ruined me.

(First Level Comparative.)

David: "Why do you think the pain's there?"

Youth: "[I can't think] of any, [I don't know why]." Evil get the helm. /=

 Where's this cyst?

(Second Level Expansive and Strategic.)

David: (at end of long session of visualization exercises) "Close your ey=

es and [in your head merge the two colors] together. [The black and the] =

light blue." Assault this scum in there. / I will help, look.

(First Level, External Communicative Dialogue, Command.)

The reversals indicated that the boy had low self-esteem and an intense d=

esire to be helped. The youth felt immense pain, emotional and physical. =

He resented the fact that he could not live with both his biological pare=

nts and he acted out his resentment in the family setting (Mess with Dad =

and Mum). He desperately wanted love and a feeling of belonging (Show me =

love. Want a home). This conflict created a metaphoric war inside him and=

 produced his unconscious pain physically (I wanted it. I will get that h=

urt. I need this bad). This was the only way he could get the attention h=

e needed (They love real war. They expect it). His internal war had becom=

e tangible.

I concluded that the reversal cyst had become a personal metaphor for the=

 physical manifestation of the internal conflict. Armed with this hypothe=

sis, I called a family meeting that included the youth, the mother and th=

e step-father.

The youth relished the transcript. All the reversals described exactly wh=

at he had been feeling, in particular the unsatisfactory relationship wit=

h his natural father. The reversal, I miss Nanny, was intensely significa=

nt to him, because he often used to go to his grandmother's, whom he call=

ed "Nanny," to play Nintendo. Only a month before our session, his mother=

, thinking that he had been spending too much time at his grandmother's h=

ouse, had limited his visits. The complementarity was astounding: "I like=

 to play Nintendo." I miss Nanny.

Results Achieved

The discussion achieved many positive results. First, it was the first ti=

me the youth had ever been able to talk about his feelings and it was a g=

reat relief for him. Second, his parents allowed him to go to his Nanny's=

 house more often again. Third, his parents resolved to make a serious ef=

fort to help him re-establish contact with his biological father.

Within two days of discussing this session, his chest pains completely di=

sappeared and have not returned. The doctors did confirm a cyst on his ki=

dney. It was very small and could not have caused all the pain he had bee=

n experiencing. The pain was a physical manifestation of a larger, emotio=

nal problem. When that problem was handled, the pain disappeared.

Case 6: Therapeutic Sabotage

Therapists are not always helpful to their clients and, in some cases, ca=

n be damaging. This could sometimes be attributed to such factors as poor=

 training or lack of client response. In some situations it is apparently=

 difficult for a therapist to keep personal issues out of the interaction=

=2E In such cases, therapists deliver reversals that are counter-producti=

ve to therapy. In the following situation, a therapist was counseling a h=

usband and wife who had sexual problems and delivered the following rever=

sals.

Therapist: I am so nervous. I rape you.

(Rape means to forcibly intrude. Why was he so nervous?)

Therapist: Boy, in love with you.

(First Level reversal directed to the husband. In Reverse Speech, boy is =

a word that in some circumstances is associated with homosexual tendencie=

s. And, in love has totally different connotations than merely to love.)

Therapist: Lost another one.

(Following reversals from the man rejecting the obvious unconscious advan=

ces.)

Therapist: Sexy. Loves me nude. =



(He likes the rejections.)

Therapist: Lucifer shaking me. Warning.

(He recognizes the potential damage that his feelings could cause to the =

therapeutic relationship.)

Therapist: How's this girl go?

(Girl is a word that in some circumstances is associated with sexual phys=

ical feelings. The therapist focuses his attention on the wife and switch=

es from Boy to Girl.)

Therapist: Nice to f--k you. =



(Negative sexuality.)

Therapist: That's lusting me. =



(The Therapist enjoys the sensations.)

Therapist: You must tell each other evil.

(He unconsciously sabotages the marital relationship. The word must adds =

emphasis.)

When such issues arise but remain unacknowledged, the results can be deva=

stating. Following this first session with the therapist, the couple visi=

ted two more times and their tensions peaked. The wife had an affair with=

 another man. The husband became deeply depressed and his latent homosexu=

al tendencies surfaced. The marriage collapsed.

The following example is a similar case in which a therapist's personal i=

ssues appeared in reversals during a session.

Therapist: I shoot a lot of sedition.

(Or, his intense emotions are sabotaging the therapeutic situation.)

Therapist: I am shy. I don't know why. =



(His issue appears.)

Therapist: Used to f--k. Needed.

(The issue is explained further and answers the question, "Why".)

Therapist: Don't kiss demon.

(Internal Dialogue telling himself not to connect with the issue.)

Therapist: I need lesson.

(He needed to sort this issue through.)

Although no long-term damage was caused by these reversals, the client ex=

perienced bewilderment. He returned for counseling only one more time, th=

en changed therapists.

Finally, here is an example in which a therapist had negative feelings to=

ward a client. He privately admitted to me that he had these feelings, bu=

t he thought that he was a good enough therapist to avoid their interfere=

nce with his work. His client resented him intensely, however, because sh=

e felt that he did not care about her. Her resentment was so strong, she =

advised her friends never to see this particular therapist because he had=

 an "attitude." His negative reversals had cost him business. The therapi=

st's reversals speak for themselves.

She's nasty. Has heathen.

She's nasty.

I'm so lonely.

Heavy woman.

You suffer.

You suffer.

I used my mask. =



I'm faking the wisdom.

Must have some. I'm ashamed of me.

Speech reversals definitely affect the therapeutic process, perhaps even =

more than they affect informal, casual conversation because of the rappor=

t that is necessary between client and therapist.

For therapists who are willing to examine their clients' reversals as wel=

l as their own, there is a wealth of knowledge and information to be had.=

 It can greatly expand their therapeutic techniques and their understandi=

ng of client problems. Counselors could also much more quickly determine =

the effectivity of the therapeutic methods and approach they have to offe=

r in relation to the client's need.

For the therapist whose vision includes the well-being of both the client=

 and society, reversal analysis offers an immensely beneficial resource f=

or healing emotional pain.

=0DMusic



Heard melodies are sweet, but those unheard =



Are sweeter; therefore, ye soft pipes, play on; =



Not to the sensual ear, but more endeared, =



Pipe to the spirit ditties of no tone. . .

=97John Keats (1795-1821) Ode to a Grecian Urn

Melody, rhythm, harmony, tempo and pitch=97each word conjuring as many di=

fferent images as there are listeners. Entire societies and groups within=

 societies throughout the ages have interpreted and expressed these basic=

 elements of music differently, but we do have one thing in common=97musi=

c itself. Music chronicles our history, entertains us, excites or soothes=

 us. Music expresses the texture, the trends and the dynamics of our live=

s. It is no wonder, then, that some people were initially alarmed, even i=

ndignant, to discover "Satan" lurking in the lyrics of certain songs. But=

, as my research into Reverse Speech soon proved, "Satan" was only one sm=

all variation on a much greater theme.

"Satanic" Messages in Music

My original aim when I began to research backward messages in rock 'n' ro=

ll was to determine if the alleged Satanic messages in music really exist=

ed and, if they did, what they meant. I was puzzled as to why no one else=

 had explored the phenomenon. I suspected that extreme, fundamentalist re=

ligious groups had a lot to do with suppressing serious research.

After the Beatles, the controversy was continued with zeal to prove that =

rock 'n' roll was the work of the devil. Some books on the subject and se=

rmons that were preached during their crusades, however, were very limite=

d in scope. It is no wonder that the extensive research that led to Rever=

se Speech was avoided by society in general.

Jacob Aranza, for example, in his books Backward Masking Unmasked and Mor=

e Rock, Country and Backward Masking (which primarily condemns the lifest=

yles of certain rock 'n' roll artists) quotes fewer than a dozen songs th=

at contain backward messages, most of which were intentionally placed as =

recording gimmicks, as partial support for his claims. He argues that bac=

kward masking is a sinister danger and that rock groups are trying to sen=

d messages to the subconscious.l He specifically refers to backward maski=

ng as a Satanic practice.2 He bases his main argument on a passage found =

in Magick, a book written by early 20th Century occultist, Aleister Crowl=

ey. Aranza states: =



In Aleister Crowley's book, Magick, one of his occultic teachings is that=

 you should learn to talk backwards, write backwards and play phonograph =

records backwards. This inspired and encouraged the use of backward maski=

ng in the record industry and directly tied it to the occult. This was to=

 become a channel for Satanically infiltrating the minds of unsuspecting =

people

=2E . .the evil he began continues with us to this day.3

The obscure passage can be found in Appendix VII, sections (a-f) of Crowl=

ey's 500-page book. It says:4 =



a) Let him (The Adept) learn to write backwards, with either hand. =



b) Let him learn to walk backwards. =



c) Let him constantly watch, if convenient, cinema to graphic films and l=

isten to phonograph records, reversed and let him so accustom himself to =

these that they appear natural and appreciable as a whole. =



d) Let him practice speaking backwards: thus for "I am He" let him say, "=

Eh ma I." =



e) Let him learn to read backwards. In this it is difficult to avoid chea=

ting one's self, as an expert reader sees a sentence at a glance. Let his=

 disciple read aloud to him backwards, slowly at first, then more quickly=

=2E =



f) Of his own ingenium, let him devise other methods.

This passage is one small part of a much larger section that teaches seve=

ral techniques of mind regression that are similar to regressive hypnosis=

=2E If one follows Aranza's logic to its ultimate conclusion, one must pi=

ty dyslexics for they are obviously demon-possessed. Parents who allow th=

eir children to play with "Pig Latin" are throwing their offspring to the=

 devil. And, horror of horrors, people must be careful not to put their c=

ars in reverse gear for they may be worshipping Satan in the process=97ex=

aggerated analogies for exaggerated arguments based more on prejudice tha=

n on fact.

One must wonder why some fundamentalists are playing records backward and=

 teaching others to do the same, if it is an occult practice.

Aranza, at his most generous, refers to some singing groups who have not =

intentionally placed backward messages as "pawns in the hands of Satan."5=

 It would be interesting to hear an explanation of the backward messages =

that appear in Gospel songs. Surely these artists are not also pawns in t=

he hands of Satan being used to seduce the world into playing records bac=

kward so that Satan can be worshipped.

Of course, rock 'n' roll, with its respective culture, has its good and i=

ts bad elements. So does every section of society, including Christianity=

, as we can see by its often violent history and the questionable lifesty=

les of certain evangelists. How do rock songs like "We Are the World" and=

 the multitude of others about peace and love compare to some well-known,=

 well-loved songs like "Onward Christian Soldiers" and "Soldiers of Chris=

t Arise"?

Using the fundamentalist arguments, these songs should probably also be c=

onsidered Satanic and readied for the fire. So must those songs of some g=

reat composers, such as Beethoven who often had violent mood swings and T=

chaikovsky who was homosexual and had a lifestyle that rivaled that of th=

e "worst" rock musician.

The fact is, most songs, religious and secular, are metaphors. They use s=

tories and parables to tell their tale. Christ said: "Think not that I ca=

me to send peace on Earth: I came not to send peace, but a sword. For I a=

m come to set a man at variance against his father and the daughter again=

st her mother and the daughter-in-law against her mother in law." (Matt 1=

0:34-35)6

The above quote is taken out of context, of course and like many of Chris=

t's stories, is a metaphor or a parable for something far deeper. If some=

one were to say that Christ's words were laced with violence and rebellio=

n and that the Bible should be burned, based on that passage alone, what =

response would he or she get from those who already shared similar belief=

s?

Religious writer, Jeff Godwin, in his book, The Devil's Disciples, which =

contains a more comprehensive analysis of backward masking, says: "A deba=

te has been started which will probably outlast us all about exactly who =

or what these voices and messages are and how and where they came from."7=



Godwin gets even closer to the truth when he discusses where these backwa=

rd messages may appear on the album: "It is usually that verse or line th=

at strikes you as odd when you first hear it, or perhaps has a weird doub=

le meaning to it as well, that almost always is the backmask."8

Without knowing it, he touched on the core principal of Reverse Speech: c=

omplementarity.

Stairway to Where?

If there were a "Top 40" of backmasked songs, "Stairway to Heaven" by Led=

 Zeppelin would have to be at the top of the chart. It has been quoted, m=

isquoted and dissected for years by religious fundamentalists as being on=

e of the most occultic or Satanic songs ever to have been released.

According to Stephen Davis, author of the Zeppelin saga, Hammer of the Go=

ds, the controversy began in 1982, when a prominent Baptist used his radi=

o pulpit to preach that "Stairway to Heaven" carried subliminal backward =

messages.

Then, in April, 1982, the California State Assembly played a backward tap=

e of the song in a public session. Some members of the committee claimed =

they heard the words, "I live for Satan." The members of Led Zeppelin wer=

e duly denounced as agents of Satan who were luring millions of teenagers=

 into damnation as unwitting disciples of the Antichrist.

Eddie Kramer, the producer and engineer who worked on four Led Zeppelin a=

lbums, says that these charges are "totally and utterly ridiculous. Why w=

ould they want to spend so much studio time doing something so dumb?"9

"Stairway to Heaven" was written in one afternoon by Jimmy Page, lead gui=

tarist of Led Zeppelin and an Aleister Crowley devotee. The song has been=

 reported to employ a technique of encoded words and double meanings simi=

lar to those used in Black Spirituals in which some songs were used as ma=

ps and other lyrics served to alert plantation slaves of an impending bre=

ak for freedom.10

Until approximately 1985, Page owned and lived in Crowley's former house,=

 "Boleskine," a sprawling farmhouse on the shores of Loch Ness, sometimes=

 called the "Toolhouse." Boleskine was originally purchased in 1900, by C=

rowley, for almost twice its value, because it met certain requirements o=

f the Books of Sacred Magic of Abra-Melin the Mage. These requirements in=

cluded windows and a door that opened to the north toward a secluded stru=

cture that was to serve as an oratory. It is commonly assumed that a smal=

l outbuilding to the far right was the oratory.11

Crowley stated in his diary that "shadowy shapes" used to escape the orat=

ory and enter the house. It has been reported that during subsequent ritu=

als, these "shadowy shapes" were unleashed with dire effects on visitors,=

 staff and a few hapless visitors from nearby Foyers.12

According to Davis, Jimmy Page was quoted in Roadrunner magazine discussi=

ng further cases of madness and mayhem including the story that Boleskine=

 was once the site of "a church that burned to the ground with the congre=

gation in it."13

This brief, historical background gives tremendous insights into the prof=

oundly significant metaphors contained in both the forward and reversed l=

yrics of "Stairway to Heaven." Sung forward, the song is basically a stor=

y of a woman who was searching for the meaning of life and the path to he=

aven. In the forward lyrics, she sees signs on the wall but cautions that=

 words can have more than one meaning. The bird that sings from the tree =

tells of thoughts that are misgiven. The thoughts carry images of "smoke"=

 (perhaps fog) in the trees and the voices of those who stand apparently =

watching from among the trees. This is apparently the same group that is =

rewarded for their long-standing with the dawn of a new day and the fores=

t's echo of laughter.

There is great significance to the lyrics when they are viewed from the p=

erspective of Reverse Speech. When we consider the complementary nature o=

f the song, it appears to be partially a song of hope for all those who a=

ccording to the legends once suffered at Boleskine.

The Unconscious Speaks of Its Own Existence

The lyrics also seem to be a message from the unconscious mind that detai=

ls its own communicative style. In the process of writing the song the wa=

y he did, Jimmy Page unknowingly established the complementary criteria f=

or reversals to occur that speak of their own existence.

"Words have two meanings" and "thoughts are misgiven," appear at the star=

t of the song. Note the complementarity with the last reversal on the son=

g. As soon as the song is reversed, it says quite clearly, "Pl-a-a-a-a-a-=

y backward. Hear words sung." This is not an intentionally backmasked mes=

sage, but rather a genuine speech reversal. It almost seems as though the=

 unconscious mind is calling out and saying, "Hey, listen to me. I can co=

mmunicate."

The lyrics also form a reversal that says: There was a little tool shed w=

here he made us suffer, sad Satan. Jimmy Page may have unconsciously used=

 the words tool shed to refer to the small outbuilding that was the orato=

ry (Boleskine itself was the Toolhouse). The reported "shadowy figures" m=

ay be those who have stood for so long in the smoke, but are promised the=

 dawning of a new day.

The last stanza declares not only that there are two paths that can be ta=

ken, but also that it is not too late to change roads. This last stanza c=

ontains the reversal It's my sweet Satan, the one whose little path would=

 make me sad, whose power is fake.

Their are references to "path," "forest," and "hedgerow" all of which are=

 descriptive of the setting of the Boleskine mansion. The word Satan itse=

lf may be a metaphor for the suffering and pain that occurred in and arou=

nd Boleskine. The parallels of these images and the legends that surround=

 Boleskine are compelling.

Other reversals that some people have quoted in this song as a basis for =

their claims include: "There's no escaping it / I will sing 'cause I live=

 with Satan / They gotta live for Satan." These reversals are so vague an=

d imprecise, however (validity one to two), that only the very bold would=

 use them as the basis for an argument.

Forgive me, Lord; Forgive me, Lord

Finally, a reversal appears on a live version of the song sung in 1976 th=

at says: Forgive me Lord, forgive me Lord, forgive me Lord. How could thi=

s be considered Satanic? Who is asking for forgiveness and why? Since whe=

n does the nature of Satan, metaphoric or otherwise, include forgiveness?=



Is the song a stairway to heaven, a stairway to hell, or something totall=

y different? Stephen Davis wrote a description that may be accurate regar=

dless of how you choose to answer these questions. He said: "It expressed=

 an ineffable yearning for spiritual transformation deep in the heart of =

the generation for which it was intended. "14

"Satanic" Messages In=97Guess Where

Where do you suppose I found the following reversals?

I serve you Satan. He's the Lord that I've seen. Serve you Satan, everywh=

ere I've been.

It's Lucifer that lives!

Satan is the Lord. / Jesus is the Lord. / Who liveth? Evil, evil. I curse=

 thee Lord.

My Satan is, My Satan is God.

Jesus Christ, is He the Devil?

In a limousine, I serve God in. / Jesus is upset, angry.

I am Lucifer. I am Lucifer. I am loose. / I am a demon. I am a demon mons=

ter.

So, where did I find the above reversals? I found the first six in songs =

by several of the better-known Gospel artists and the last I one from the=

 speaking-in-tongues service that I mentioned earlier in this book.

Gospel artist, Don Francisco, released an album, I've Got to Tell Somebod=

y, in which there was a song called, "Steeple Song." Two reversals, We bl=

ess, we curse God. / Satan is a nasty b-st-rd, show an extremely interest=

ing complementarity with the forward lyrics which focus on the struggles =

of faith. From a very straightforward perspective, the lyrics generally d=

ismiss the flashy aspects of faith, like miracles and ask for an understa=

nding of meaning from the more ordinary facets of life, like loving your =

family and serving your neighbor.

Based on the findings of my minimal research into Gospel music (less than=

 four weeks in 1987), it appears that Gospel music contains many of the s=

tandard reversals that secular music does: messages that reflect on-going=

 struggles within the Persona or the "Self," challenges that are normal f=

or everyone. Reverse Speech simply details them in terms of structural me=

taphors, whatever belief system an individual professes.

Satanic messages do not seem to indicate demonic possession, nor do they =

necessarily reflect a sinful nature. To say that religious artists cannot=

 have Satanic reversals in their music simply because they are religious=97=

an argument put forth by some fundamentalists who do not believe that bac=

kward masking exists in Gospel music=97is to say that these people no lon=

ger have the inner challenges and struggles that are common to us all as =

human beings. The following quote from the Bible seems appropriate to end=

 this section: "Though I speak with the tongues of men and of angels and =

have not charity. I am become as sounding brass, or a tinkling cymbal." (=

I Corinthians 13:1)

Finally, I would say to the fundamentalist proponents of Backward Masking=

: Take care what you say, because you may be attributing to Satan what wa=

s really created by God.

Trends in Society: Singing the Deep Self

Music has long been considered a means of creative expression. Like poetr=

y and literature, music helps people express their defeats and pain, thei=

r triumphs and joy and their deep, inner struggles. Humanity details its =

life's journey, personal and historical, through music. We hear our belie=

fs and fears, our lessons, aspirations and failures expressed in music. M=

usic often describes the state of the world in which we live and may give=

 prophetic warnings concerning what will come if we do not make necessary=

 changes. And, sometimes, music is created simply for music's sake.

The very act of singing creates the necessary circumstances for right-bra=

in hemisphere activity to peak. This enables the deep Self, including the=

 collective unconscious, to surface. Music uses metaphors both forward an=

d in reverse. In fact, we see the growth and development of society and t=

he individual expressed in these metaphors.

Sometimes these metaphors use words such as "God" and "Satan" to describe=

 the conflicts depicted. Other times, the reversals simply complement the=

 forward lyrics. It all depends upon the intent of the song and the depth=

 of images that the forward lyrics use.

The complementarity that applies to speech also applies to music as the f=

ollowing examples depict.

The song "Hotel California" by The Eagles supposedly tells a tale about t=

he 1969 opening of the first Satanic church on California Street in San F=

rancisco.15 The reversal it contains is a simple complementary expression=

 of the forward lyrics: Satan organized his own religion.

We also find complementarity in Frank Zappa's song "Nanook Rubs It" with =

the reversal: No man, no we never killed the nark. / There's no one excep=

t the sheikh that remembered we had the mumps. What's the complementarity=

? The reversal is meaningless. As any avid Frank Zappa fan will admit, hi=

s songs are meaningless forward, as well. That is what attracts people. T=

hey are brilliant in their absurdity.

"Baby, I Want You" by Bread is a short, gentle love song that seemingly r=

eflects on a past or current lover. Right at the end of the song, however=

, a complementary reversal occurs that says: You killed my baby. You stol=

e my baby. This appears to be a metaphor for hurt and anger in either thi=

s relationship or another.

Before the theory of Reverse Speech was developed and more direct researc=

h became all-consuming, I set out to trace themes that might appear in th=

e spirit of reversals found in music as the decades progressed. During th=

is task, I documented more than 2,000 reversals in songs. Not surprisingl=

y, the themes I uncovered were similar to the general spirit and growth o=

f developing musical trends and the events shaping the perspectives of th=

e day.

The following list of songs is by no means complete. We cannot consider t=

he songs in depth without entirely analyzing each song, a task that would=

 take more space than this entire book. The songs, however, do indicate t=

rends: the reversals are complementary with the songs and the messages th=

ey project.

Music in the 1920's

In the mid-1920's, as the world was introduced to a new and strange thing=

 called "radio," the BBC put together a nifty little "jingle," "Auntie Ag=

gie and the BBC." It encouraged listeners to tune in, sit back and listen=

 to Aunt Aggie. The reversal, This is not a noose, no it's really not, pr=

obably addresses fears that people had concerning this new medium of radi=

o.

Music in the World War II Era

In World War II, the Andrew Sisters released their song, "Rum and Coca Co=

la." It was a carefree, easy-going song about the oldest pastimes known t=

o man: wine and women. The reversals reflected this and the spirit of the=

 times, "Eat, drink and be merry for tomorrow we may die." The reversals =

are: I look out for women. / I like it my lovely girl. / God, I'll lose y=

ou my Lord. / And I died the next morning.

Music in the 1950's

"Love Sick Blues" by Patsy Cline contains a reversal that says, Lucifer f=

--k off. / It was the Lord who saved me. / Jesus, he's the one. This is n=

ot surprising because it reflects her Christian belief and the general sp=

irit of society in the 1950's. Likewise, the song "Johnny be Good" by Chu=

ck Berry contains a reversal that reflects his Christian belief and socie=

ty's state in general during the 1950's: I would die for Jesus.

In Buddy Holly's song, "It's Too Late" humanity's constant struggle betwe=

en the positive and negative aspects of its nature is told in metaphoric =

terms: Worship is nowhere. God is dead. / Now look Satan, now hear me. Yo=

u have no hope. / I'm dead and thee worship, Lord Jesus. Now look Satan, =

now hear more. I'm sorry for I despise you.

Music in the 1960's

"This Train" by Peter, Paul and Mary captures the spirit of the 1960's wi=

th its reversal: Lucifer. We rode with madness.

As society became more confused and individuals became more frustrated by=

 the dramatically intensifying rate of change, music became more aggressi=

ve and structural metaphors became more harsh, evident with songs like, "=

Satisfaction" by the Rolling Stones: Worship Satan. Worship Satan's son; =

and "Tell Mama" by Janis Joplin: Lucifer now. He's in us. He's in all of =

us.

Then, in 1968, the rock opera Hair opened on Broadway and signaled the en=

d of an era with reversals like: I'm the next Nazi and The Whirlwind. / S=

atan is Master, on the song, "The Dawning of the Age of Aquarius."

A New Structural Metaphor Surfaces

A new structural metaphor began to appear that I had not located in any o=

f my research that pre-dated the 1960's. This metaphor was Nazi. It conti=

nued to appear throughout the 1970's and the Vietnam era in songs like, "=

Peace Train" by Cat Stevens: Nazis will now take their revenge / Lucifer =

is dangerous / Hebrew, he's a marked man. Now the Whirlwind. And in the s=

ong, "The Monster" by Steppenwolf: There's Nazis in the Whirlwind. Creede=

nce Clearwater Revival's song, "I Heard It Through the Grapevine," appear=

s to typify the mood: Ah, Jesus, no one wants him.

It would be a more than fascinating exercise to convene a cross-disciplin=

ary think tank to research the appearance of the metaphor Nazi. How long =

does it take and what cultural impacts are required for images as devasta=

ting as those produced by WW II to sink to the level of the collective un=

conscious and re-emerge as a structural metaphor?

Music in the 1970's

As the 1970's turned into the 1980's, the spirit of reversals in music tu=

rned again with songs like: "Patch It Up" by Elvis Presley: Gotta warn 'e=

m. Evil is happening. Evil is here and "1984" by David Bowie: Please hear=

 me, man. Don't hear Satan.

But the general trend in the 1980's, remained the same with songs like "M=

iss Me Blind" by Boy George: Hebrews! Satan smashed their faith. Oh shame=

 Hebrew man and "I Want to Make the World Turn Around" by Steve Miller: I=

t's an evil world we live. / Sad Satan's world we live in. The metaphors =

found in the songs of Bob Marley seem to catch the struggle for transitio=

n with his songs "Trench Town" Master. I'll f--k you bad, you're a Nazi a=

nd "Give Thanks" Christ is the way.

"What's My Scene?" by the Hoodoo Gurus tells it all: The Earth is damned,=

 Armageddon. / You must receive his power. I makest war. Christ must come=

=2E

What the future will bring is anyone's guess, but with the current dramat=

ic turn-around in the world's political system, maybe there will be somet=

hing totally different.

So, are there Satanic messages in rock 'n' roll? Yes, there are. Do they =

come from Satan? No, they do not. Are rock artists deliberately backmaski=

ng their songs? Not usually. Are the rock artists deliberately putting re=

versals in their songs? Never, according to my research. The reversals ar=

e simply another facet of Reverse Speech and contain metaphors that depic=

t humanity's struggle to come to terms with itself and with the world in =

which we live.

The Australian Bicentennial Song

In November, 1987, national controversy raged over Australia's bicentenni=

al song, "Celebration of a Nation." A 25-year-old Army Corporal from Wagg=

a Wagga, New South Wales, claimed that the song was backmasked with Satan=

ic messages.

Quoting Jacob Aranza on national television as the world's leading author=

ity on the subject, this Army Corporal and some of his associates, went i=

nto great detail as to how the writers of the song had placed these messa=

ges there, either through devious intent or unwitting Satanic design.

The media ran with the story and for the next few days, radio and televis=

ion stations around the country played sections of the song backward. Tal=

k show hosts thrived with backward masking "experts" who appeared out of =

the woodwork to support the claims.

Naturally, my curiosity was aroused. I obviously would have refuted the n=

otion that any reversals these records might have contained were Satanica=

lly, or deliberately, inspired, but I also wanted to be able to explain t=

hem. I could not confirm or document, however, many of the alleged revers=

als by using the research criteria that I had established (outlined in Ch=

apter 7). Most of the reversals were extremely unclear.

The beginnings and endings of words were not sharply defined, there was a=

 high degree of subjectivity regarding many of the vowel and consonant so=

unds and even the syllable count was incorrect in some cases. I did, howe=

ver, find three phrases that I felt could be quoted with confidence. Thei=

r meaning becomes obvious when you examine their complementary nature.

Celebration of a Nation. [Give us a hand.] Let's make it grand. [Let's ma=

ke it great] in '88. [C'mon give us a hand.] How about Satan? / Can't mak=

e it stick / Has to be normal.

It was stated many times on national television that the bicentennial cel=

ebrations were a big and, perhaps, ill-advised project (Can't make it sti=

ck / Has to be normal). Also, much controversy raged at the time regardin=

g the desperate plight of Australia's Aborigines (their land rights, pove=

rty, alcoholism, rampant glue sniffing, early deaths, etc.). In view of t=

his, the phrase How about Satan becomes understandable viewed as a struct=

ural metaphor, a reminder of some of the darker aspects of Australia's hi=

story when the Aborigines were slaughtered by the thousands as the whites=

 took possession of the land.

"Satan" and Reversals in Speech

We gain greater insight into the structural metaphor, "Satan," by looking=

 at its occurrence in regular speech, in which we can connect the forward=

 dialogue and behavioral patterns to its appearance. As discussed in Chap=

ter Six, "Satan" often appears in situations in which people perceive tha=

t they are in danger, are emotionally distressed, or are describing harmf=

ul behavior.

"Satan's" appearance in music is broader than in speech, but the implicat=

ions are the same. Here are some examples that I have found in speech.

A man talks about someone who caused him severe emotional distress, follo=

wing a betrayal of his trust. "I just can't understand why he did it. [I =

was pretty =



p-ssed off with what happened.]" I hate Lucifer. See the bad man. What a =

b-st-rd Lucifer.

(In this case, Lucifer is a metaphor for the emotional stress he felt.)

A young man talks about his recent chronic weight gain. "I just kept putt=

ing it on all the time. [I couldn't stop. I'd do well for a couple of day=

s and then pig out.]" Used me Satan. My Satan. Still need that program. S=

ervery was Satan.

(Satan here is described as the negative behavioral pattern that caused h=

is eating problems=97MY Satan. "Servery" is Australian slang for a food c=

arrier, or server; its use has extended to some types of food service est=

ablishments, i.e. eatery. The man, for whatever reasons, must have needed=

 the pattern.)

A married couple, the recipients of an intense emotional attack, engages =

in a heated argument, in reverse, with friends. The husband supports his =

wife by using Satan as a metaphor for the emotions they were feeling.

Husband: Satan hasn't got any power.

(Or, nothing can be gained from this interaction.) =



Wife: Help!

Husband: Alright. Take my cup.

(Husband offers help using the metaphor of the cup of Christ: "Take this =

cup of suffering away from me.")16

Wife: Satan!

(Emotions still felt.)

Husband: I don't like it.

This example shows Satan in a different light, referring to deceptive bus=

iness practices, as I am discussing with a friend the merits of becoming =

involved in a get-rich-quick scheme. "Don't get involved. They don't foll=

ow through. It's [quick, sharp, a lot of con work]." Unleash this earth f=

rom Satan.

Satanic messages. The very name seems sinister. But, they are not really =

Satanic messages. Rather, they are metaphors from the unconscious mind th=

at describe emotions, concepts and behavioral patterns.

Satan, which in reverse usually refers to intense, often negative emotion=

s or almost unshakable destructive behavior, appears frequently in music =

and speech because the concept of Satan is rooted deeply in society with =

its legends, myths and fables from centuries past.

Other comparable words also appear under similar circumstances. For examp=

le, Lucifer is more frequent and often refers to negative behavior. Devil=

, meaning mischievous or dormant negative behavior and demon, meaning har=

m or emotional pain, also appear, but their implications in Reverse Speec=

h are not nearly as strong as Satan.

I also found one reversal that referred to Beelzebub on a well-known, Aus=

tralian woman television reporter who said, in reverse: I'm not pure. I l=

ove you Beelzebub.

Reverse Speech can help us exorcise the "demons" previously thought to be=

 haunting our melodies. It sheds light on the fact that Satan, Lucifer, d=

evils and demons are most often used as metaphors that express only a sma=

ll part of the vast human experience. They are not to be feared, but rath=

er understood. Always remeber that fear causes incongruity and incongruit=

y give the demons permission to remain.

=0DReverse Speech In Action



Police Work, Law, Education, Insurance, Marketing, Sales and Advertising



Every calling is great when greatly pursued.

=97Oliver Wendel Holmes, Jr. Speech,

Suffolk Bar Association February 5, 1885







One of the most puzzling questions I am asked as I lecture and travel reg=

arding Reverse Speech is: "What can I do with it?" To me, the application=

s of this technology appear to be obvious. Reverse Speech can be used in =

any situation where human speech is recorded and extra information is req=

uired. =



Virtually anyone in any profession where self-understanding and communica=

tion are necessary can benefit from what Reverse Speech has to offer. I h=

ave already discussed the use of reversals in work with children, therapy=

, relationship counseling, business and music. Now, I am going to talk ab=

out the use of reversals in police work, law, insurance, sales, marketing=

, advertising and education=97only a small portion of the professions in =

which an understanding of reversals can be used.

A Word to the Wise

Much work with reversals involves increasing people's awareness of themse=

lves, discovering the causes of their behaviors or problems and introduci=

ng them to their deeper Selves. Professionals need to be careful, therefo=

re, when they tell people what their reversals are. Some people who hear =

their reversals for the first time may feel nervous or physically unsettl=

ed, or may experience anger, denial or restlessness. Other side-effects c=

an include sleeplessness or nightmares, depression or even a definite bur=

ning sensation on the surface of the skin. These side-effects usually pas=

s after a few days if the person accepts the message of the reversals. If=

 one enters a state of denial, side-effects can last several weeks or eve=

n months.

The important thing is that this work should only be done under the auspi=

ces of certified Reverse Speech analysts. Professionals and analysts shou=

ld also obtain signed release forms in which clients give their permissio=

n to have their sessions recorded and their reversals analyzed.

Investigations

The police often record with video or audio tape many of their investigat=

ive sessions with crime suspects. A study of reversals can speed up these=

 investigations or even prevent crimes by revealing details of a suspect'=

s past activities=97or anticipated activities. This can take much of the =

guess-work out of an investigator's job.

In my experience, however, the police have been cautious about publicly a=

dmitting to the use of reversal analysis in their work. This is partially=

 because they have to follow strict legal guidelines that protect citizen=

s' rights. If they plan to use reversals in their investigations, when th=

ey read suspects their rights, they may some day have to include in the s=

tatement-of-rights that anything suspects say, both forward and backward,=

 may be used against them in a court of law.

Reverse Speech has been used by the police in Australia and in the United=

 States to uncover facts and information relevant to case work. So far, h=

owever, they have requested anonymity, wishing to avoid publicity. Conseq=

uently, it is difficult for me to quote case studies. I have however, fou=

nd some interesting reversals on television interviews that illustrate th=

e usefulness of Reverse Speech in police work.

A Cry in the Night

The first case regards a much-publicized incident in Australia, which was=

 the subject of the movie, A Cry in the Night, starring Meryl Streep. On =

the night of August 17, 1980, a nine-week old baby, Azaria Chamberlain, d=

isappeared while her family was camping near the popular tourist spot, Ay=

ers Rock. This is a large, natural outcrop of rock located in the outback=

, almost in the dead center of Australia.

The baby's parents, Lindy and Michael Chamberlain, claimed that they saw =

a dingo take the child. An extensive three-day search of the area and exa=

minations of the stomach contents of dingoes and wild dogs that were shot=

, failed to find any traces of the baby's body.l

Thus began the most notorious and protracted legal case ever witnessed in=

 Australia. Lindy Chamberlain was charged with the baby's murder and, aft=

er numerous legal maneuvers, was found guilty and sentenced to life impri=

sonment. In 1986, a vital piece of evidence was found that proved her inn=

ocence. She was cleared of all charges and released from prison.

Had the police had access to Reverse Speech and been willing to accept it=

s use, millions of dollars in legal costs and the virtual destruction of =

the Chamberlains' life could have been avoided. Here are portions of the =

transcript of Lindy Chamberlain's first television interview, which was r=

ecorded only four days after the event, well before any suspicion toward =

her had surfaced.

"We think that someone there must have seen it happen. It's affected so m=

any people's lives [and the letters that we're getting back now,] we know=

 that other people's faith in God has been strengthened." My man help me =

deal with this healing.

(Looking to her husband for support.)

"I put the baby down and started to get my son into bed and [he said, 'Mu=

mmy, I'm still hungry. Is that all] the dinner I can have?'" Now wish my =

mum had seen her.

(Since her mother had never seen the baby, this was a natural reaction fo=

r her to have.)

"I [yelled at the dog and I thought] that's the baby cry. He's disturbed =

her." Help us. God the warrior.

(Her Christian faith shines through and she looks to her God for support.=

)

"I said [the dingo's got my baby and I was running] as I said this around=

 the car and there was [the dingo standing at the back of the car]." I wa=

s running. / I can forget an answer. I needed the wind.

(Her reversals reflect her panic and are congruent with the forward story=

=2E)

"I chased it and there was nothing. It was all [shadows and I just, er,] =

Michael ran from the barbecue straight up into the dark and [I called out=

, 'Has] anyone got a flashlight?'" Slip on our shoes. / I needed shoes.

(The reversals flash back to that night again, revealing other thoughts a=

nd events that transpired at the time.)

These reversals and many others that appear in this interview, are totall=

y congruent with Lindy Chamberlain's story. If she had been guilty, her r=

eversals would have reflected that guilt. One of the curious things I hav=

e noticed about Reverse Speech is that those who are innocent do not spec=

ifically defend their innocence in reverse. They simply describe what hap=

pened. Those who are guilty almost always profess their guilt in reverse.=



A Murderer Confesses

Here are portions of a transcript of a video-taped interview with a man w=

ho was responsible for multiple killings in Melbourne, Australia. The vid=

eo, shown on National Australian television in November, 1988, was filmed=

 only hours after the crime and after the man surrendered to police.

The video shows him making a full confession in forward speech, while he =

walked with police around the murder scene and described how he committed=

 the crime. He was sentenced to 27 of years hard labor with no parole and=

 made no appeal against the sentence.

While the reversals use language typically associated with the Second Lev=

el, they are spoken in an experiential context, so they are in this case =

actually First Level. They give accurate insight into the man's mental st=

ate and into his motivations for the crime.

Police: (live while the crime is in progress) "[He's just shot eight peop=

le!]" Darn it. Don't shoot.

(Thoughts at the time.)

Murderer: "[I was using the rifle.]" The firing was easy.

Murderer: (referring to a passer-by whom he shot, but did not kill immedi=

ately so he fired more rounds into him) "[I was about one or two meters i=

n that direction.]" Shoot them. I messed one up.

Murderer: "[I'd half decided to go to my girlfriend's place, my ex-girlfr=

iend's place, [and hand myself in]." Murder. / Shot the folks down.

Murderer: "I heard the police car behind me so [I turned in the alley her=

e]." You know, I killed.

Murderer: "The muzzle flash was so great [you could hardly see it anyway]=

=2E" I don't feel bad. I laugh at them.

Murderer: (talking about the arrival of the police) "I thought [they were=

 outside behind the car doors]." So annoyed. Must have more fun.

Murderer: "The policemen at that [stage were yelling]." I don't feel bad.=



Police: "Do you have any feeling of regret over these people dying?"

Murderer: "[Yep.] I regret that it had to be civilians and I regret that =

I was [captured rather than killed]." Hate. / They're all the same, shot.=



Guilty or Innocent?

Confidentiality forbids me to publish the forward dialogue of the transcr=

ipt below. These are reversals on a suspect whose business partner was sh=

ot the night before this recording was made and later died in the hospita=

l.

Is this suspect guilty? Is he telling the truth? Did he have a motive to =

kill his partner? Could a lie detector test do any better in detecting gu=

ilt or innocence than Reverse Speech can? Or, is Reverse Speech the ultim=

ate and inescapable Truth detector?

I wanna listen to murder. / Woman. =



We sure argue. / I killed him. =



I'm just an -sshole with him.

I rubbed him out, him. / I'm gonna lose the farm. =



I lost a deal with eight hundred. What happened? =



I need a gun. / I'll catch him that evening.

Be careful.

I'll phone and set him up. / I'll phone the signal.

Gave them my signal. / I did panic. / I'll set this up. =



It's all bulls--t. / Of course, I'm fed up.

I'm nervous, money. / Rotten fellow, that person.

They shot him. / I cursed, I shot, snapped, money. =



Power was the lover there. I'm sorry.

I now seize the lover from him.

It's time to shoot. / Time to set up this fuzzy war. =



Nothing in it. / I left the gun.

Up the coast from now from memory. / The gun's there.

Someone saw the weapon.

So, as you glanced through the murder suspect's reversals, do you suppose=

 that he was innocent or guilty?

O.J. Simpson

The ongoning saga of O.J. Simpson, all American football hero, has captur=

ed the press ever since he was charged with the murders of his former wif=

e, Nicole Brown Simpson, and Ron Goldman. He was recently found not guilt=

y of the charge of murder, but civil law suits still continue. Reverse Sp=

eech analysis has revealed an amazing scenario. It shows a man who has fu=

ll knowledge of his guilt and very little remorse for his crime. Here are=

 some selected portions of O.J.'s reversals.

The first example comes from his jury trial, found in a brief exchange wi=

th Judge Ito.

Judge Ito: "Mr. Simpson, do you understand that we will be continuing the=

 date that we previously selected to start jury selection from September =

the 19th to September the 26th. Do you understand that involves extending=

 [your right to a speedy] trial by seven days?" Simpson killed them.

Simpson: "Yes, [I do your honor]." I did it.

Judge Ito: "[Right. Is that arrangement agreeable to you, sir]?" Does he =

believe? You killed lady love.

The following reversals were found on his first interview with BET televi=

sion following his acquittal.

"I'm as innocent as anyone else out there. [I think, or one] of the great=

 things about this country is our right to speak." I give that rave.

"Hey, go on, [you know, they say, "Congratulations,"] which is a [tough t=

hing to accept]." I skinned. Get f--ked / I will kiss you that way.

The last reversal is one of many that show thoughts and actual conversati=

ons that O.J. had with Nicole prior to the killing. This frequently occur=

s in Reverse Speech as the unconscious mind loops around memories and pas=

t events.

"You look at me arriving at my home. The vast majority, I'm telling you 9=

5% of the people were clapping and [giving me a thumbs-up sign]." -ss was=

 my fame.

"Well, they didn't tell me that but I'm sure there are people that [feel =

that way]." Killed the wife.

"The worst thing that you can have, that you can ever have, is have your =

argument taped. I would say anyone that's out there that's married or, in=

 a relationship, [just turn a tape recorder on the next time] you have an=

 argument and play it back. You will not believe that was you." I skinned=

 them all.

Note the incredible irony of the forward dialogue. It seems as though O.J=

=2E's own unconscious mind, knowing that Reverse Speech exists and has al=

ways existed, has effectively set him up.

"They gave me, I guess, a fine or penalty. They gave me, I had to do comm=

unity service. I did it all." Bigot. You will not run out. This reversal =

also repeats old conversations.

"After the '89 incident, I think it's pretty clear, and everything [that =

Nicole may have stated] in our divorce decree, which she might have state=

d even during an argument we had in 1993, that O.J. [has never touched] m=

e since that time." It's them. Slaughtered them / Slashed her buns. The c=

rime scene continues to loop in his mind.

"When she had some very emotional issues with the men that she was involv=

ed with, she came to me. I doubt a woman would do that if she felt this p=

erson [insensitive or abusive and certainly not] jealous or possessive." =

Damn your lust. Never see lovers. Forwards, O.J. says what he wants us to=

 believe he said. Backwards, he says what he really said to Nicole.

"One, because at one point I couldn't speak, [wanted to speak on NBC and =

that] is the only aborted interview." Damn it. You see men. I give snow. =

Still repeating old conversations in his mind. Is "snow" in this case a s=

treet name for cocaine?

"I've been a good American. I'm just as innocent as any of them. I should=

 have the right to support my family and earn a living [and they've been =

blocking me or attempting to block] in every other avenue." He cowled whe=

n you missed your aim. He cowled my bayonet. Forwards, O.J. talks about p=

eople blocking him. This accesses memories of another time when he was bl=

ocked; in this case, Ron Goldman's attempting to block his knife swings. =

"Cowl" is a common Reverse Speech metaphor meaning to block or avoid.

"That was my first attempt. NBC and I would have spoken on NBC, but I had=

 for the first time. . . new lawyers, Bob Baker and [Phil Baker, they fel=

t] that they would prefer to have time with me." I fear the dead wife. Th=

is is the real reason why he did not go on NBC. Other reversals show that=

 Nicole is haunting his unconscious mind.

"I hope that I get a chance to sit down with you [after the video is out]=

 and then we'll talk about that party, that alleged party. [When you've s=

een the video] I'll come back on your show and we'll talk about that alle=

ged party." Still I live with the fact / I live with this in you. Reversa=

ls show that the crime scene is constantly looping in O.J.'s mind.

"I've had police officers since I've been out, [one on a motor cycle driv=

e up on me], [gave me a thumbs-up,] did this thing." Was my fame big? / I=

an not allowed to pass it on, but I know. This shows a mystery. Who is Ia=

n?

"I had two police officers outside my house tell me I got [screwed. So it=

's] not everyone at LAPD." City was screwed. The reversal reveals who was=

 really "screwed."

"I have another [law suit. I spent a] career and I like to think a career=

 that I was gracious to people." The lips sound this soul. Reverse Speech=

 reveals the Soul or Heart of Man.

"I think I'm way ahead of the game there. [I think if all] American famil=

ies [were like my family] this country would be a lot better off." The la=

w will forgive crime / Silly wife found fellows.

"I can't take that as overall white [Americans. Maybe there's a lot] of t=

hem out there that do." Al was against the crime. Was O.J.'s friend, Al C=

owlings, an unwilling accomplice?

"I didn't kill anyone. [I could not] kill anybody. Nicole Brown Simpson w=

as the mother of my kids. She was a great mother. [It hurts me today] to =

know that my kids will not know her as a mother." Ron looked up / Beheade=

d him stupid. Remembering the crime.

"I certainly would not have left my kids there to [see that sight], that =

horrible gruesome scene that was [outside her house]." Sly her -ss / Aske=

d for this.

Some of these reversals are remarkably clear and one of them in particula=

r is an ominous warning for the future as Reverse Speech becomes more kno=

wn and accepted. I re-emphasize O.J.'s following statement:

"The worst thing that you can ever have, is have your argument taped. . .=

 just turn a tape recorder on the next time [you have an argument and pla=

y it back. You will not believe that was you]." I skinned them all. =



Just turn a tape recorder on next time because all of your secrets are im=

bedded backwards into your speech and the truth that we all speak can now=

 be heard by all. Reverse Speech is the ultimate Truth detector. To parap=

hrase some sections of Biblical prophesy: In the last days, every secret =

hidden in the hearts of men will be shouted from the highest mountaintops=

!

Reverse Speech and the Law

For the legal and investigative community, Reverse Speech poses many thou=

ght-provoking questions2 that must be addressed, a few of which follow:

In criminal investigations, once people relinquish their right to remain =

silent, can the content of their speech reversals be admissible evidence =

in a court of law? Who decides what the reversals mean? And, should they =

be treated as metaphors or as facts?

Can reversals be considered "subliminal" under current legislation? To ou=

tlaw the use of Reverse =



Speech analysis or to bring litigation is pointless because reversals are=

 beyond conscious control. What happens, then, when someone has an "undes=

irable" reversal, which everyone does from time to time? Can people be su=

ed for defamation of character because of something they said in reverse?=



Should rock 'n' roll groups be brought before the courts because of certa=

in "unacceptable" reversals in their songs?

Should lawyers use speech reversals that they find in pre-trial, taped de=

positions to help them determine whether a witness is credible or not? Ca=

n the lawyers then use the reversals to decide which witnesses to use in =

a trial and which not to use? Is using reversals in this manner an ultima=

te invasion of privacy, an invasion on which the U.S. Constitution would =

frown?

Who owns the reversals on a tape recording? Can they be considered a deri=

vative work and, therefore, protected under copyright law?

Does Reverse Speech pose a threat to national security? For example, if t=

he President knows that his speech is going to be recorded and his revers=

als analyzed, might he be more reluctant to make public statements regard=

ing international events? If he decides not to talk, is this denying citi=

zens their right to know?

Likewise, might politicians who fear that their reversals could endanger =

their chances of being elected, or re-elected, be more reluctant to make =

speeches or to give press conferences? Could this spell the end of the el=

ection campaign trail as we know it?

Could Reverse Speech lead to the increased use of wire tapping by authori=

ties and, therefore, jeopardize the rights of citizens? Is this the dawni=

ng of George Orwell's "Big Brother" society? (Ironically, Reverse Speech =

was discovered in 1984.)

As Reverse Speech gains wide acceptance and credibility, special legislat=

ion will be required to govern its use.

Reversals in the Court Room

Here are portions of a case that I analyzed for an Australian lawyer. It =

is the transcript of a disciplinary hearing heard in the Adelaide, Austra=

lia, Department of Consumer Affairs, in which a public servant was allege=

d to have engaged in outside work activities. The reversals below reveal =

the strategies and the high emotions operative during the hearing.

Lawyer: "The documents subsequent to that would be fairly important for h=

im to check his diary to find out, if possible, to find out what he was d=

oing on the various days so he can say what's happening. We'll be looking=

 forward to having those documents so that we can actually have a reasona=

ble opportunity." It's a nuisance problem. It's a nasty problem.

Magistrate: "You've got a copy of everything, all the formal reports, whi=

ch have been prepared in relation to this matter and there's no other doc=

umentation in existence." You're a nuisance. / You should leave, you b-st=

-rd.

Magistrate: "For an employee who is absent without reasonable excuse, pro=

of shall lie with the employee." You help me and I'll like you.

Magistrate: "If he is denying that then what I'm trying to get you to say=

 which you haven't said is that he did not engage in outside employment a=

nd he was always present here and if he was absent it was without reasona=

ble excuse." I see no reasonable wisdom. / Don't believe you.

Magistrate: "I think that any other argument along those lines, quite fra=

nkly, would not be acceptable to me." I see you're careful.

Lawyer: "The charges only covered materials. Yes, there were charges made=

, but that does not make remuneration." Wisdom will f--k him up.

Magistrate: "Well, what you're saying is that the charges made were in re=

spect of pipes and all that sort of thing." It seems not reasonable.

Lawyer: "You have assumed that the charges included labor fees. You have =

therefore proceeded on an assumption of guilt and it seems to me to be qu=

ite clear that the investigator has not bothered to check the facts." I c=

an certainly f--k him.

Lawyer: "The inquiry hasn't even checked out what was happening and why h=

e may have been charging for things." I must be careful.

Magistrate: "Look, I think you're playing with words here. Did he or did =

he not charge for labor?" I was nice. / Now he wants it.

Magistrate: "It's not an assumption which is not without reasonable groun=

ds given the extent of his business activities and with the number of peo=

ple with whom he did business." I'm a bit mad. This fellow wants it.

Magistrate: "This particular man who your client did work for has known h=

im over many years." I want an answer.

Lawyer: "I refer you back to the guidelines. Second clause, 'Without reas=

onable proof--without reasonable excuse, proof of which shall lie on the =

employee.' Now I think the first problem is to show absence of duty and w=

e have not received the necessary documents to establish absence of duty.=

" I am a little bit careful.

Magistrate: "Your client has had the last 14 days. The records are readil=

y available if he wanted to do that, he's had plenty of time to do that a=

nd he's had reasonable opportunity." Nervous. I wish it was done. / He's =

making this up. / They're selfish.

Magistrate: "Your client was recorded as being on duty on the 11th of Feb=

ruary, '87, but it seems that he was also with Mr. Johnson on that day." =

Messing me you people. My nerves are awful.

Lawyer: "It says quite clearly he should be afforded a reasonable opportu=

nity to question persons making accusations etc. Now we've not got most o=

f the papers you're referring to." There's an extra problem, error.

Magistrate: "Yeah I know that. You keep coming back to that point. But wh=

at I'm saying, I'm just dealing with a very narrow point, what I'm saying=

 is that if he wants to check anything in relation to the 11th of Februar=

y, '87, it's just a matter of him checking." Don't worry. I would not dis=

turb his fun. / This man still is messy.

Lawyer: "Someone could go now and do the photocopying for the remaining 2=

8 pages so we at least know what's in there." He f--ked it up.

Magistrate: "I think that we might adjourn the inquiry now for a few mome=

nts and you can check on the content of the material." There's no reason.=



Lawyer: "How long do you get for morning tea?" That man. He's mad.

Magistrate: (following recess) "We believe there has been admission in th=

e relation of those two sub-sections for the following reasons. On page 5=

E of the interview between your client and the investigator, it seems to =

me quite clear from the material there that on the 22nd of August, 1986, =

he did engage in outside employment." Stuff this job. Don't deserve this.=

 / Hey, you're mad. / Be reasonable.

Lawyer: "Excuse me. I have a page 5, but not a 5E." I doubt that.

Magistrate: "Your client is saying he was off sick on the 22nd of August.=

 He felt he was better so he went to do some work on that day." I'd love =

to f--k him up.

Magistrate: "I don't know what sort of admission one would want in a case=

 like this, but to me that is perfectly clear." That's a f--king problem.=



Magistrate: "I seem to remember your comment that, referring to comments =

he has made to you directly, that in your opinion this is indicating guil=

t." He's not careful. / The man is boring.

Magistrate: "We'll check on the procedure anyway." Curse you.

Lawyer: "We'd been seeking an adjournment." He's done this. I kiss you.

Magistrate: "They notify within 14 days after receiving notice of the fin=

ding or proposed action or recommendation of appeal to the disciplinary a=

ppeals tribunal, but we've made no finding." Enough of this has been done=

=2E

Lawyer: "You've found that he's had reasonable opportunity. That's a find=

ing. We say it's not correct. He's not had reasonable opportunity." Your =

response. We ask you. You've not established.

Magistrate: "Well, I can't find whether or not this appeal is valid 'caus=

e I simply don't know and if you put an argument to me then I'll draw up =

a deposition to argue that point with you at this stage." I've got a prob=

lem. That's a weird person. / I'm feeling bad. Don't argue.

Lawyer: "I serve that copy on you now as the chief executive officer." On=

 cassette.

Magistrate: "I will certainly accept service of it, but I can't admit whe=

ther it's valid." What a problem. / Reversal of the Whirlwind.

Espionage

As Operation Desert Shield began in the sands of the desert of the Persia=

n Gulf in 1990, I began to do extensive reversal analysis on key players =

in this crisis. During this process, I discovered a new word in reverse t=

hat I had never heard before. The word was "Simone." Prior to the crisis,=

 I had never heard the word before. This led me to believe that it might =

have been a code word for the military operation in the desert or that it=

 was a personal metaphor.

Curious to know the answer, I made some discreet inquiries through an acq=

uaintance in Washington, D.C. A confidential letter was written by my acq=

uaintance to his long-time friend, Dick Cheney, former U.S. Secretary of =

Defense, that explained Reverse Speech and Simone. One line in the letter=

 sparked attention: "I mention this situation in case it is a code word t=

hat it would not be in the national interests to reveal."

Obviously, someone down the line thought that it was a national concern b=

ecause a copy of the letter found its way to the press and almost overnig=

ht, Simone made it to national news desks across the country.

CNN (Cable News Network) ran the story, implying that Reverse Speech was =

some new, secret technology about which the Pentagon was being very tight=

-lipped. Newspapers across the nation ran the story with headlines like I=

s the President Hiding Secret Code Words Backwards in His Speech? and Wha=

t is Reverse Speech?

In a radio interview that I conducted shortly afterwards, someone called =

in to inform me that "Simone" was actually an Arabic/African word spelled=

 "simoom" or "simoon" which means "a dust storm in the desert." Further r=

esearch revealed that it was a word that had been adopted in English. The=

 Contemporary Dictionary definition is:

A hot, dry, dust-laden, exhausting wind of the African and Arabian desert=

s.

The Oxford Dictionary goes a step farther and defines it as: "violent."

These translations were fascinating, especially considering their signifi=

cance in light of the military operations in the Persian Gulf. My origina=

l thinking was that Simone described the way the Iraqis stormed Kuwait in=

 a violent fashion in the sands of the Arabian desert. I theorized that S=

imone may have been a personal metaphor for the Gulf operations. I subseq=

uently wrote an article about Simone for Backtalk, the Reverse Speech new=

sletter, but was advised not to print it due to possible military implica=

tions.

Here are a few excepts of the article, which I originally wrote in Septem=

ber, 1990, three full months before the crisis erupted into full-scale wa=

r and went from being called Operation Desert Shield to Operation Desert =

Storm.

". . .Simone may be a code word for a military operation in the Gulf or a=

 personal metaphor of some description

=2E . . on a recent talk show a caller told me that it is the Arabic word=

 for dust storm. . . other possible translations are desert wind or deser=

t storm. . . ultimately, Simone is another mystery in the new technology =

of Reverse Speech that may one day be explained."

Then, war broke out. Chills traveled up and down my spine when it was ann=

ounced that Operation Desert Storm had begun. "Simone!" I exclaimed. I ca=

lled some of my students and they had heard it, too. Excitement in the Re=

verse Speech analysts community was suddenly intense. What better proof c=

ould there be for the profound importance of Reverse Speech? This discove=

ry also offers an ominous warning for those of the investigative communit=

y. Reverse Speech will not only unravel the secrets and lies of those who=

 are charged with crimes, but it will also uncover the secrets of investi=

gative officers and those in authority. All of us have now been put on no=

tice, because Reverse Speech reveals all thoughts of all people. The impa=

ct on society will be vast.

Politicians

Reverse Speech will eventually bring about an historic change in the poli=

tical arena. In time, it will force politicians to be honest about their =

claims and motives. Here are some brief examples:

Ross Perot running for President in 1992: =



This was his response to being asked a question about which tax plan was =

better, Bush or Clinton's plan:

"The volunteers [will make that decision], I would say well I propose one=

 or the other. . . [we will give them every opportunity (to respond to my=

 plan. It's the best we can do]." This is a gamble / I am willing to give=

 service. I make fire 'round with eagles. The reversal shows Perot's hone=

st intention in running for President. He knows it is a gamble, but he is=

 willing to help with stirring up the patriotic feelings among his volunt=

eers.

Pat Buchanan running for President in 1996:

"One Republican can beat Bill Clinton because the underlying economic iss=

ue in all of this [is the economic insecurity] of the middle class." They=

 want it easy. The reversal shows contempt and an "attitude" towards the =

middle class. Buchanan is not being genuine in his concerns.

"We simply must protect innocent human life everywhere whether the unborn=

, the disabled or the terminally ill. That is God's commandment. That is =

God's own commandment." The man with laws. The reversal shows Buchanan's =

perception of God.

Steve Forbes running for President in 1996:

Forbes: "I want [abortions to disappear in America]. I feel they're a tra=

gedy. I think we can get a consensus today on banning them in late pregna=

ncy." Her crime will rape. The citizens showed them. This remarkably clea=

r reversal shows that Steve Forbes is genuine and congruent with his conc=

erns. The reversal says the same thing backwards, in different words, as =

it does forwards.

Reporter: "If the Republican congress sent you legislation cracking down =

[on abortion, would you sign it?]" I now see you will show them. This rev=

ersal is also remarkably clear and shows that the reporter perceives and =

acknowledges Forbes congruity. It is also a direct communication in rever=

se using the same word in both reversals - Her crime will rape. The citiz=

ens showed them / I now see you will show them.

Bob Dole running for President: =



Here are some examples found on Bob Dole in his Presidential campaign in =

1996. The first one was found as he resigned from the U.S. Senate.

"You do not lay claim to the office you hold. It lays claim to you. Your =

obligations are to bring to it the gifts you can in [labor and honesty] a=

nd then to depart with grace." It's an honor.

"The press does not lean our way and many belt-way pundits confidently di=

smiss my chances of victory. I do not find this disheartening. [I do not =

find it discouraging] for this is where I touch the ground." Those jerks.=

 Have they now finally done him?"

Bob Dole at the San Diego Convention, 1996:

"Now we have a Republican congress, but we have a President who has vetoe=

d balanced budgets and submitted budgets with [debts as far as the eye ca=

n see]." The guy's off his head. (His thoughts on President Clinton.)

"Under my plan you pay less, you pay 15% less. Now that's not too complic=

ated. And every family I know can use that 15% [and I bet you can too]. A=

nd we're going to make it happen." Wish they bought it. (Bob Dole talks t=

o himself hoping they "bought" his line. The crowd's applause is low.)

"Bill [Clinton says that he and his party], and I use a quote, 'We are un=

operably opposed to our tax relief program.'" He needs his lesson real go=

od. (Continues sentiments. Rallies crowd.)

"We are the Reformed Party. Mr. Perot and all the others looking for refo=

rm, we are the reform party. The Republican Party is the reform party." W=

e don't know if you will see it. (Personal doubts. Will they see it?) The=

 reversal has a distinct sarcastic tone to it.

President Bill Clinton in 1996:

Clinton on talk radio, questioned by a female caller: "I have one of your=

 more difficult questions. I graduated with Hillary from Main South High =

School in 1965, and since I'm on the reunion committee, my question is th=

is: Putting you on the spot, will we be able to have our 30th high school=

 reunion being held at the White House?"

Clinton Responds: "That's a decision for her (Hillary) to make, but I bet=

 she would like to welcome you at the White House, as well. I think [both=

 of us would like that very much] and I will tell her you asked." Some ne=

rve, that gal that's on the phone. The reversal shows Clinton's immediate=

 reaction, but he obviously liked her "nerve," as she was granted permiss=

ion to have the high school reunion at the White House.

Clinton talking about the downing of an American plane near Cuba: =



"All chartered air travel from the United States to Cuba [will be suspend=

ed] indefinitely." Denounce this evil.

"In our time, democracy has swept the globe [to all but one nation] in ou=

r hemisphere. I shall do everything in my power to see that this historic=

 tide reaches the shores of Cuba." They shall know the Lord.

Clinton on child support: =



"You must pay your child support. We're doing more than ever to make sure=

 and we're going to do more [but let's all admit something] about that, t=

oo. A check will never substitute for a parent's love and guidance." You =

must send the laws. Tell them.

"I call on [American men and women] in families to [give greater respect =

to one anther]. We must end the deadly scourge of domestic violence in th=

is country." And now I name the crime / Do you want to know what helps yo=

u?

Clinton on the Campaign trail, 1996: =



"There still has not been a single solitary shred of evidence of anything=

 dishonest that I have done in my public life." Denied the habits and I s=

aid damn you.

"My vision today is the same as it was four years ago. I want the America=

n [dream of opportunity for all]." I can see your soul.

Clinton on Bob Dole: =



"We cannot afford it. (Dole's tax plan) It's more than we can afford. It'=

s better to do my targeted tax cut and balance the budget and grow the ec=

onomy than do his [big old blow-up tax cut] and blow up interest rates an=

d wreck the economy." They snatched an old bugger. =



"It was Senator Dole's choice to be the ethics spokesman at the Senate. I=

 feel bad that he can [say the kind of things they said] to a woman like =

Maggie Williams who passed two lie detector tests." They're f--ked. What =

an -ss.

Celebrities

Tony Robbins' Unlimited Power Infomercial

Here are some reversals that I found in Tony Robbins' half-hour infomerci=

al selling his Unlimited Power tape series. The reversals were infrequent=

, with low clarity and extremely robotic construction, which indicates a =

highly-scripted, rehearsed presentation. Since permission was not obtaine=

d to directly quote the original material, the forward text of the commer=

cial has been paraphrased.

Outlining the simplicity of achieving unlimited power: Found Elvis.

Asking why people engage in negative behavior patterns: Mask the slime. I=

t must nude me.

Teaching that personal power is based on four lessons: Shoot power. Sawn =

off sword.

Explaining that some people master one lesson, some master another:

They mustn't sign it. / They mustn't sign.

Commenting that our desire for freedom causes us to start making money: =



Maybe you'll find some.

Encouraging people to condition themselves for persistent pursuit of thei=

r goals: =



Sword wisdom exists.

Associating only pleasure, rather than pain, with the necessary action:

It must result in Jesus suing you.

Talking about highly publicized, big money, celebrity promotions: =



You need money. / Why do we feed us?

Imploring people to do whatever it takes to make it work: =



Don't want to go to house. / We make it more possible.

Whoopi Goldberg on her latest movie:

Interviewer: "How much fun was this movie then to do?"

Whoopi: "Well, it was a [lot of fun 'cause I got to play with all these g=

uys]." See all the wealth that I got. I suck the money.

Tom Cruise on "Mission Impossible":

"I'm just proud to, [you know, be a part] of it right now. I can't contro=

l what happens at this stage." I'll be vain.

Jane Fonda on the "Johnny Carson Show":

Fonda: "I've got to ask you something. Last night my son said you were ta=

lking about Zsa Zsa Gabor. My son said she was on the "Johnny Carson Show=

" one time and she came there with a cat on her lap and said, "Do you wan=

t to pet my pussy?" My son said that you said, '[I would love if you woul=

d remove that damn cat].' Is it true?" I made that rumor. The show's vulg=

ar.

Carson: "No, I think I would have recalled that."

Insurance, Marketing and Sales and Advertising

For insurance companies, analyzing reversals could save hundreds of thous=

ands of dollars a year on fraudulent claims.

In marketing and sales organizations, studying sales-people's reversals c=

an pinpoint their strengths, weaknesses, motivations and beliefs in the p=

roduct or service, which, in turn, can lead to more effective sales calls=

 and presentations.

Reverse Speech can also verify the effectiveness of advertisements and id=

entify which ads contain reversals that are counter-productive to selling=

 a product or service. This in turn can lead to the development of more e=

ffective marketing strategies.

For example, here's a 60-second advertisement that I analyzed for a South=

 Australian Lending Corporation whose product was home loans. The video s=

cene shows a husband and wife looking for a house in the newspaper. The a=

dvertisement was an experiment using common abbreviations for extras in t=

he house such as BIRs and UGPs, most of which meant nothing to the averag=

e viewer and created confusion, which resulted in the advertisement's bei=

ng ineffective. The reversals reflect this confusion and also show high b=

uyer resistance to the salesman.

Woman: "Hey. This one looks good. 3BRs, [lounge, Sep DR,] AC, BIRs. . ." =

I hate this smile (referring to the salesman).

Salesman: "Tell him about the quality drapes, outfits and WWCs throughout=

=2E Go on! You can afford it! =



=2E . . The Institution's loan at market rate. A fixed interest loan. . .=

 Or, you can make a high start while you're both working with a lower rep=

ayment when the kids come along."

Woman: "[Now you're talking.]" He forced me on. (buyer resistance).

Salesman: "What do you think?"

Woman: "[I think I'll put a pat stroke] perg at the side." What's that? I=

 don't want this stuff!

(Confusion, resistance high.)

The advertisement was subsequently taken off the air. My analysis of the =

reversals prior to putting the ad on the air might have saved the lending=

 institution a significant amount of time and money.

Education

People who teach, instruct, or give group presentations can greatly benef=

it from reversal analysis of themselves, of the group and of individuals =

within a group.

For example, teachers can increase their effectiveness by analyzing both =

their own reversals and the reversals of individual students. They can ob=

tain valuable insights into students who have behavioral difficulties.

Presenters can study their reversals in order to refine and polish their =

deliveries. In addition, they can monitor subtle attitudes or the disposi=

tion of a group. For example, just as an individual speaker uses particul=

ar voice patterns and inflections, a group of people, or an audience, has=

 similar, but collective inflections, mumblings and breathing patterns=97=

fertile ground for reversals. An audience, in which the members are laugh=

ing and in high rapport with each other and with the speaker, sometimes c=

hants words such as Power, power, power in reverse.

Conclusion

Reverse Speech will add an entirely new dimension to the business communi=

ty, to the media and to society in general because it by-passes the often=

 poised eloquence of outward forward speech. It shows us that it is what =

is contained in the heart, or the hidden attitudes and agendas, that has =

the real impact behind anything we say. Ultimately, it will cause a compl=

ete quantum shift in our approach to communication and honesty in general=

=2E That is because Reverse Speech speaks the total Truth, conscious as w=

ell as unconscious and forward speech speaks only the version of the trut=

h that we want people to hear. Its revelations are long overdue. The only=

 question now remaining is do we have the courage to accept it?

=0DDeveloping Areas

Of Research



If the truth hurts most of us so badly that we don't want it told, it hur=

ts even more grievously those who dare tell it. It is a two-edged sword, =

often deadly dangerous to the user.

=97Judge Ben Lindsey (1869-1943) Revolt of Modern Youth

If you shut up Truth and bury it under the ground, it will but grow and g=

ather to itself such explosive power that the day it bursts through, it w=

ill blow up everything in its way.

=97=C9mile Zola (1840-1902) J'accuse

As with any new science, the various applications become more evident as =

people experiment with the discovery. As experimentation expands, anomali=

es emerge, creating new possibilities for experimentation and growth. The=

 implication that almost any profession could benefit from Reverse Speech=

 applications is obvious. It is also obvious that as expertise from vario=

us professions is joined in the research, current articulations will be c=

larified, "old" wisdom will see new light and additional layers of "new" =

wisdom will be unveiled. The opportunities for research studies are virtu=

ally endless.

The only absolute certainty in the current process of discovery is that m=

ore "students" of the process are essential. These people could come from=

 every walk of life. For example:

Computer programmers might be interested in writing programs to easily id=

entify reversals in recorded speech.

Linguists might want to compare the reversals found on English-speaking p=

eople with the reversals found on non-English speaking people, or on peop=

le who speak several languages.

Historians might trace a certain reversal back through time to discover t=

he impact of particular events.

Sociologists might study and compare the reversals found on select groups=

 such as members of a political party or a religious sect.

Psychologists might analyze the reversals found on people under the influ=

ence of drugs or alcohol to discover patterns of readiness for change.

Physicians might analyze patients' reversals to identify causes of diseas=

e and its state of progression/remission.

Theologians might use the process of oral tradition to see if they can un=

ravel the very words used by famous spiritual leaders.

Business people might study their competitions' reversals in order to plo=

t successful marketing strategies.

Futurists might anticipate emerging trends and possible upcoming events b=

y studying Future Tense reversals.

Below are some other ideas and projects for enterprising researchers to e=

xplore.

Locating Reversals

Locating reversals quickly and efficiently requires intentional skill dev=

elopment.l  Many people find it difficult to learn the new "language" and=

 "accent" of Reverse Speech. This fact has been significant in preventing=

 independent, controlled testing of the phenomenon. The frustration assoc=

iated with a lack of training deters many from further study and research=

=2E

Deciphering reversed patterns is an acquired skill that one learns with p=

ractice, patience and persistence. The pattern of growth in training clas=

ses is fairly standard.

Beginning students tend to interpret "gibberish" for the first few weeks.=

 They tend to miss clear, obvious reversals.

Next, students begin to locate robotic, mechanical sounding phrases. Afte=

r somewhere between 4 to 12 weeks, students begin to locate genuine rever=

sals. Integral to this learning process is their ability to recognize ton=

al variation.

Students who relax and "experience" their way through the sounds, who app=

roach the study of reversals from a more right-brain perspective and spen=

d at least fifteen hours a week studying and listening, usually find lear=

ning the easiest. Essential to this is the release of strongly-held attit=

udes and biases.

As the patterns of learning are more clearly identified and the collectiv=

e knowledge of reversal identification expands, the task becomes progress=

ively easier. Future students of Reverse Speech will have cause to be for=

ever grateful to those who have pioneered this learning curve.

Reversals and Other Languages

Currently, research indicates that if a forward language is English, the =

reversal will also be in English. Likewise, if the forward language is Ge=

rman, the reversals will be in German.

If people speak English, but have limited knowledge of English, their rev=

ersals will generally be in their native tongue. People who have been spe=

aking English for years and who think in English, even though English is =

their second language, have reversals primarily in English. The controlli=

ng factor seems to be whether they are thinking in their own tongue and s=

ilently translating as they speak. Proficient English speakers who have a=

 native tongue other than English, however, still use scattered reversals=

 from their native tongue.

Some tests have been conducted with people who are bilingual, but these t=

ests have been minimal and the findings are not yet conclusive.

Reversals in Sanskrit?

Some unconfirmed information, reported by Australian Reverse Speech devel=

oper and researcher Paul Von Stroheim who speaks fluent German, complicat=

es the above issue. Paul says that he has found a small proportion of Ger=

man phrases on tapes exclusively in English spoken by people who did not =

know how to speak German. He proposes that through the process of oral tr=

adition, one might find other languages in Reverse Speech=97all the way b=

ack to Sanskrit.2

Reversals from "The Dreamtime"3

Australian researcher, Greg Albrecht, has conducted some exciting and wel=

l-documented studies. Greg is fascinated with the Australian Aborigines, =

speaks a little of their native dialect and is now the Aboriginal resourc=

e teacher for a large section of the Australian near-outback. This puts h=

im in contact with many Aborigines and, with his trusty tape recorder and=

 reversing machine in hand, he has come up with some amazing tapes and ne=

w theories concerning oral tradition and the nature of structural metapho=

rs.

Greg has found numerous reversals on Aborigines in their native dialect=97=

when they have been speaking in both English and their native tongue. In =

addition, he has found many structural metaphors that stem back to the le=

gends of "the Dreamtime." Greg hopes that he may be able to trace these s=

tructural metaphors to their roots in "Dreamtime" and uncover some of the=

 many mysteries that surround the Aborigines' appearance in the land of t=

he hot sun.

English Reversals, Foreign Tongues

Here are some English reversals that I found on languages other than Engl=

ish during my initial research into music and public speeches.

"Veraland" by Jim Reeves. The song was sung in Afrikaans: F--k off Satan.=

 / F--k off in the name of the Lord.

Hitler speaking in German during a pre-war speech: There is no God. Armag=

eddon, your Fuhrer. / Come to Fuhrer. There is no oil. (The phrase There =

is no oil is significant because Germany lacked the basic raw materials t=

hey needed for their war machine. They obtained these by plundering invad=

ed countries.)

"La Bamba" by Ritchie Valens. The song was sung in Spanish: I am a believ=

er, are you? God gave us faith I know. I was lost but now am found.

Reversal Control

Can reversals be controlled? Studies have clearly shown that it is possib=

le to consciously alter one's mind states. Is it possible to alter the st=

ate of the unconscious mind sufficiently to consciously control reversals=

?

In some initial experiments, hypnosis has been used to access the part of=

 the mind responsible for the formation of reversals. Neurolinguistic Pro=

gramming (NLP) "change" techniques have been used to request the unconsci=

ous mind to alter reversals accordingly.

Only minimal, relatively transitory success has been achieved with this s=

o far. The major problem seems to be in the nature of Reverse Speech itse=

lf, which is a reflection of the unconscious mind. To change reversals, t=

he unconscious mind must also be changed. Every evidence exists that this=

 is possible and is being done in many other contexts. What works most ef=

fectively, exactly why it works and how long it takes seems to vary with =

every individual. Experimentation in many fields will need to be shared t=

o test and verify this process of intentionally expanding consciousness.

In one experiment, however, reversals were "turned off," in that the rate=

 of reversal delivery was extremely low. In fact, a reversal was delivere=

d during this experiment that said, Do not listen to my reversals. On ano=

ther occasion, a hypnotic suggestion was made to prompt sexual reversals.=

 The ensuing reversals were so strong and phallic that the initial sugges=

tion had to be reversed. The "control effect" was adversely affecting tho=

se who were communicating with the subject. So far, reversal control appe=

ars to be temporary, lasting only a few hours.

Reversal Feedback

Experimentation has begun with the effects of using a person's own revers=

als in therapy, trance inductions, or conversations. In my own work, I ha=

ve used a client's reversals, found in previous sessions, to induce a tra=

nce state in the client. I have also asked clients what some of their rev=

ersed metaphors meant. The results have been fascinating=97identifying pe=

rsonal metaphors, archetypal relations and more. This early research will=

 be reported in a future volume.

I have also used people's reversals while speaking to them in casual forw=

ard conversation. On one occasion when I was traveling with my children f=

rom Adelaide to Brisbane, my daughter Symone was extremely upset during t=

he overnight stopover. She had been crying for several hours and I was no=

t able to calm her. Knowing the high proportion of her reversals that use=

d the word help, I held her in my arms and said repeatedly "Daddy's helpi=

ng you. You have help." Within minutes, she calmed down and drifted off i=

nto a sound, peaceful sleep.

Similarly, an Australian therapist reports that since she learned about R=

everse Speech, she has frequently used reversal language in her therapeut=

ic techniques. She reports some interesting results and quotes one case i=

n particular where a breakthrough was made with a client when she casuall=

y used the reversed metaphor another one. Her client immediately responde=

d with, "I wish I could," and the therapy took a major turn as the client=

 began to discuss her desire to have another partner.

Consciously Hearing Reversals

I have done some research exploring the possibility of learning how to he=

ar reversals consciously as they occur while someone is talking. Hypnotis=

t and NLP practitioner, Graham Townsend, has done some initial work with =

me along these lines. In these experiments, Townsend gave my conscious mi=

nd instructions to reverse small sections of speech sounds as I spoke the=

m, in the same fashion as a tape player is reversed to hear reversals.

Three instances of success were obtained in the final of six sessions. Pe=

rsonally, it was an eerie experience. All forward sounds suddenly disappe=

ared from my mind, as though a tape player had been switched off and a cl=

ear ghost-like voice reverberated in my head. Still under hypnosis, I rep=

orted the voice that I had heard. When I came out of trance, we reversed =

the recording and the three reversals were located exactly as I had repor=

ted them.

"Jason" Speaks

A second set of experiments was done with hypnotist Martin Stiles that us=

ed a different method. I was under hypnosis while Martin contacted that p=

art of my mind responsible for the formation of reversals. It called itse=

lf, "Jason."

Jason was asked to relay to the conscious mind the reversals that he was =

hearing. No success was obtained under hypnosis. However, several days la=

ter, I had four separate experiences, similar to those noted above in the=

 Townsend experiments. Only one of these occurred while recording, so it =

was the only phrase we were able to confirm.

The others could not be confirmed and the experiences gradually faded ove=

r time.

Metaphor Restructuring

Probably the most exciting phase of my research with Reverse Speech conce=

rns the development of a technique I have entitled Metaphor Restructuring=

=2E It came into being as a result of my frequent successes with analyzin=

g session transcripts. As I became better able to hear metaphors backward=

s and deliver their meanings to my clients, I found that the desire for s=

elf knowledge and subsequent change was intense. That is because Reverse =

Speech goes far deeper than any other technique known and accesses the co=

re structures of the mind immediately. This information can sometimes be =

shocking and disturbing for people and I found that most of my clients we=

re unable to instigate their own behavioral changes. Traditional counseli=

ng techniques were hopelessly inadequate for the depth of issues that Rev=

erse Speech session work would bring to the surface and I therefore began=

 to experiment with techniques that would alter these metaphors, hoping t=

hat their behavior would alter as a result.

The theory that I proposed in my experiments stated that, at the deepest =

levels of consciousness, the mind thinks and organizes human behavior thr=

ough a series of pictures and images. These images come together like a m=

ovie plot and the metaphors of Reverse Speech are characters and stage se=

ttings for this internal movie. What we find in Reverse Speech transcript=

s is simply an audible description of the ongoing movie within. As the mo=

vie plays itself out according to the preprogrammed script, human behavio=

r and personality structures respond accordingly.

On this basis, I then proposed that if we were to change the picture of t=

he movie plot, or the metaphor, then it was possible that this change mig=

ht also change behavior or personality that the picture represented. And =

thus I began.

My first experiments were simple. A man with a problem of low motivation =

might have a reversal that said my Wolf is weak. I would place this perso=

n under hypnosis and ask him to create a picture of a wolf. Amazingly, he=

 would nearly always picture the Wolf exactly the way the reversal descri=

bed it, even though he may have had no prior knowledge of the reversal (I=

 would sometimes conduct the trance without showing him the transcript). =

I would then ask my client to change the shape of the wolf and make it st=

ronger.

One of the first things I noticed in my early experiments was that the st=

ate of hypnosis would be far deeper than anything I had been able to acce=

ss using traditional hypnotic techniques. Trances were frequently very vi=

vid and often left my clients disassociated for hours afterwards. The nex=

t obvious thing to occur was a definite and noticeable change began to sl=

owly unfold in the person's life. Motivation would become stronger and ge=

neral strength and demeanor generally strengthened. As I began to experim=

ent with other simple metaphors such as Goddess and Lancelot and Eden plu=

s others, I found similar trends. People would nearly always experience t=

he image the same way it had been portrayed in their transcript, and the =

change would correspond with the basic meaning of the metaphor. A Goddess=

 strengthened would offer more hope and the Garden grown would stimulate =

greater creativity within the individual. =



These observations confirmed my initial thoughts that Reverse Speech meta=

phors were universal in nature. They meant the same thing and described t=

he same behavioral pattern, no matter who was speaking. Just as the physi=

cal body has a normal structure and its many parts perform the same funct=

ion from person to person, so too does the unconscious body. Reverse Spee=

ch metaphors are universal. They have been adopted through the process of=

 Oral Tradition as verbal descriptors of complex images within the uncons=

cious mind. These images represent, and possibly even are, the core struc=

tures of the psyche. They activate and orchestrate the multi-faceted func=

tions of all aspects of human psychology: emotional, mental, physical and=

 even spiritual. By changing these images, the deep psyche itself can als=

o be changed.

Take, for example, a woman who has difficulty with relationships. She mig=

ht run an unconscious sabotage pattern where she falls rapidly and deeply=

 in love, only to become scared shortly afterwards. She may then instigat=

e arguments with her partner that eventually results in the collapse of t=

he relationship. Reverse Speech analysis may reveal that the woman has a =

highly active Goddess which causes her to fall rapidly in love at the exp=

ense of her own emotional safety. To protect herself from this pattern, s=

he may also have developed a large and powerful Wolf. It is the job of th=

e wolf to protect the person and, perceiving a rapidly approaching threat=

, the Wolf springs into action and creates a situation where the relation=

ship is severed.  =



To change this pattern, rather than attempting to rewrite the conscious m=

ind with conscious words, my approach was to rewrite the unconscious mind=

 by changing the metaphors. My trances slowly became more elaborate. I wo=

uld attempt to change not just one metaphor, but half a dozen or more in =

one sitting. Thus my trances were becoming like mini-movies in their own =

right and my clients would thoroughly enjoy them. However, I soon found t=

hat this enhanced practice led to complications. It would occasionally ov=

erload the psyche and some of my clients began to go into shutdown. Some =

even began to experience some rather nasty side-effects from the trances.=

 These included depression, nausea, maybe even disassociation for days. I=

 therefore began to split up the process and conduct two or three trances=

 over a period of a few weeks, rather than attempting to shift everything=

 in one sitting. This reduced the side-effects for a time, but as I becam=

e even more skilled at this new process and accessed deeper levles of the=

 unconscious, new side-effects appeared.

My experiments turned to a new direction yet again one fateful day when a=

 client I had been working with had the most serious side effect yet. I h=

ad been attempting to shift metaphors from my client's childhood. It had =

been a relatively bold trance that had shifted several metaphors in one s=

itting with a trance that lasted a little over an hour. A few days after =

the trance had occurred, my client called me in panic. He wanted to see m=

e straight away. When he came into my office, I also panicked because he =

walked in like a cripple. His legs were twisted, his body out of shape an=

d his walk was little more than an uncomfortable shuffle. Then he told me=

=2E As a young child he had polio, a fact he had not told me beforehand a=

nd the trance I had performed on him had caused the symptoms of his polio=

 to return.

I was horrified and amazed at the same time. Horrified at the condition I=

 had unwittingly caused and amazed that one trance could cause so much to=

 occur. I immediately did another trance on him and attempted to reverse =

the images of my first experiment. It worked and within a few days, the m=

an returned to normal. I ceased experimentation for a while and pondered =

on the significance of this new process I had developed entitled Metaphor=

 Restructuring.

At this point, I knew I had a very powerful process on my hand. I knew th=

at Reverse Speech Metaphors were far more significant than I had ever dre=

amed. They really were the central core structures of the mind and by shi=

fting them, changes could be instigated throughout the entire psyche. I s=

topped experimentation for about three months at that stage while I re-ev=

aluated my notes and transcripts. It was during this time that I introduc=

ed the most significant step in the process.

Essentially, up until that time, my process worked like this: I taped an =

initial session with my client and found the speech reversals after the p=

erson left. In the next session, I would present the client with a sessio=

n transcript and discuss the reversals. I loved this part, because it was=

 the person's own voice and unconscious mind diagnosing the problem and n=

ot my own ideas and perceptions. This factor alone makes Reverse Speech s=

hine. Then, I would map out the trances using the session transcript as t=

he guide. This is where I had made the earlier mistake, because I was the=

 one who was attempting to best determine how to shift my client's metaph=

ors, not my client. And this is where the next step in the process began.=



I introduced what I called the pre-trance tape. I decided to conduct an a=

dditional taping session with my clients where I asked my clients themsel=

ves how to fix the problem. Their reversals gave me the answer. I would a=

sk, "How do I increase the size of the wolf?" A reversal might come back =

that said "Take the wolf to the stream and have it drink." Or, if the God=

dess was dysfunctional, I would ask, "How can I heal the Goddess?" A reve=

rsal would come back that might say "Let the Goddess go to the Garden and=

 soak up the sun." And that is exactly what I would do.

My session process changed almost overnight. The trances became even rich=

er and more rewarding. Side-effects dropped off and the change became dee=

per and more encompassing. People began to experience changes not only in=

 the specific area for which they came to see me for, but it encompassed =

all areas of their lives. A year or so later, I instigated yet anther ste=

p that I entitled the Post-Trance tape. In this taping, I would ask the p=

erson exactly what had happened as a result of the session work. The reve=

rsals that came back told me what had shifted, what had not and what coul=

d be done to kick in the final steps.

Thus, I now had an all-encompassing process that used Reverse Speech to s=

hift and alter human behavior. It consisted of approximately ten steps.

First recording session

Discussion of reversals

Pre-Trance tape

Between two and four Metaphor Restructuring trances

Post-Trance tape

Discussion of Post-Trance reversals

Final follow-up hypnosis session

My success rate was and still is phenomenal. The process seems to work mi=

racles because it uses the mind's own voice and endless wisdom to diagnos=

e and provide solutions for mental, emotional, spiritual and even physica=

l conditions. Like Reverse Speech itself, Metaphor Restructuring is a mon=

umental breakthrough in the healing professions.

Historical Research

Reversal analysis may prove useful to answering questions about historica=

l events. For example, a short extract of reversals from President Nixon'=

s retirement speech has already hinted that perhaps there was more to Wat=

ergate than what we have been told. Imagine analyzing all the available t=

aped recordings of the Watergate scandal! Also, who really killed Preside=

nt Kennedy? And, just how involved was Colonel Oliver North in the Iran-C=

ontra affair?

All this information and much more may be available on taped recordings o=

f interviews with historical figures. An experienced researcher simply ha=

s to locate the reversals. The archives of many capital cities are gold m=

ines of recorded information for the daring researcher, who may find hims=

elf or herself opening a veritable Pandora's box!

Or, speaking of Pandora's box, Reverse Speech may help enhance the evolut=

ion of consciousness by eventually revealing the "why?" behind the develo=

pment of our brain's structure. One of my first students in Australia, su=

ggests:

I've given some thought to the remnants of the Reptilian brain cortex as =

discussed by Dr. David Suzuki, the environmentalist par excellence. Is it=

 the operative impulse in reversals? Could well be. Putting some message =

forth for evermore. Basic and non-threatening and that maybe our present =

forward speech is and always has been, a mere corruption of universal tru=

ths.4

Controlled Experimentation

One of my prime objectives with the research of Reverse Speech is to prov=

ide irrefutable evidence that such a phenomenon does exist. Future experi=

ments should include:

Extensive EEG testing to determine what is actually happening inside the =

brain in connection with speech reversals. These tests should include the=

 collection of appropriate, recorded data, the mapping of brain matrix pa=

tterns and the preparation of results for publication.

A statistical analysis that compares Reverse Speech patterns to the corre=

sponding forward phrases responsible for them. This would involve the dev=

elopment of computer programming, the end goal of which would be to accur=

ately verify the verbal content of reversals.

A controlled experiment to further establish confidence in the existence =

of Reverse Speech. This could take the form of analyzing recordings of pe=

ople from three separate groups: non-English speakers, people who have st=

udied and spoken English for less than five years and people for whom Eng=

lish is a native language. The tapes would then be analyzed "blind" to lo=

cate English reversals. If Reverse Speech were merely a coincidence of so=

und, one could expect to find an equal number of reversals throughout the=

 tape. Verification of the non-coincidental nature of reversals would app=

ear as substantially different frequency rates for each group.

Greater Reliability

More work is needed to increase the reliability of locating and analyzing=

 reversals. This might include:

Collecting additional recorded data by competent professionals, particula=

rly in the field of psychotherapy and police investigations. As of this w=

riting, there are only a few people who are proficient in locating and in=

terpreting reversals and only a few therapeutic centers and investigative=

 agencies using this technology.

Extensive analysis of video-taped recordings to study the connection betw=

een body language with the appearance of reversals, which would provide a=

n additional "control" factor. Some connections already noticed include l=

ip movements synchronized with reversed phrases.

Development of a computer program that uses voice recognition chips and n=

euro-net circuitry to automatically locate reversals. Investigations alre=

ady conducted show promise that this can be achieved, but the funds neede=

d are beyond my current financial resources. Such a program, however, wou=

ld negate the need for hundreds of hours of laborious, exhausting work, s=

ignificantly reduce the human-error factor and allow for analysis immedia=

tely following the recording session.

Conclusion

Speech reversals hold an important key to the secrets of the human mind a=

nd the nature of language. The question, therefore, is not, "Should resea=

rch continue?" but rather, "How quickly can it continue?"

Historians answering age-old questions and solving ancient riddles. . . W=

olves walking in the garden and changing behavior. . . Futurists predicti=

ng upcoming events by studying Future Tense reversals. . . Is this the "s=

tuff" of science-fiction? Not necessarily.

Reverse Speech allows us to perceive, as never before, the gestalt of lan=

guage and the wholeness of human consciousness. It unfolds the psyche, ex=

posing our very Souls. Now that it is possible to consciously hear words =

that were always present in speech, but which were previously delivered a=

nd received unconsciously, humanity has the opportunity to revolutionize =

its understanding of itself, its heritage and its future.

We stand at the edge of a new frontier. Reverse Speech is a scientific, r=

eliable way to listen to and "read" human thought. Its significance is mo=

numental, the dawn of a new era for the human race. My work has just begu=

n.

Welcome to the world of Reverse Speech.

Footnotes

CHAPTER 1 The Discovery Of Reverse Speech

William Poundstone, Big Secrets, Corgi Books, London, 1985, p. 228.

Jeff Godwin, The Devil's Disciples, Chick Publications, Chino, CA 1985, p=

=2E 147.

U.S. Congress House, A bill to Require that Jackets in which Phonograph R=

ecords Containing Backward Masking Are Packaged Bear a Label Warning Cons=

umers of such Backward Masking. 97th Cong., 24th sess., 1982. H.R. 6363.

Poundstone, op.cit., p. 243, provided almost identical independent confir=

mation.

Ibid., p. 237.

Stan Deyo, The Cosmic Conspiracy, W.A.T.T., Perth, 1983, p. 73.

Also in Jesus Christ Superstar in the song "The Trial Before Pilate" the =

reversals Idiot, Dimwit, and Get F--ked Master exist.

CHAPTER 2 The Initial Research

Rock and Roll=97A Search for God, Reel to Reel Productions, Washington, D=

=2EC. This video presents a Christian fundamentalist view of the role of =

rock music. The author viewed the video in Australia in 1987.

To date, about 35 of these coincidental reversals have been documented.(S=

ee Appendix IV.) "Another One Bites the Dust" by Queen created a great st=

ir in some circles. "Another one" is a coincidental phrase that consisten=

tly creates the reversal Marijuana whether spoken or sung.

Letters have been received claiming techniques for writing songs, forward=

 and backward. Some examples quoted used phrases that were phonetic coinc=

idences.

David John Oates and Greg Albrecht, Beyond Backward Masking: Reverse Spee=

ch and the Voice of the Inner Mind, Jovamhaz Publications, Adelaide, 1987=

, presented the earliest research. The Theory of Reverse Speech as presen=

ted here has been dramatically revised and expanded over the last ten yea=

rs.

CHAPTER 3 The Source Of Reverse Speech

"The NLP Center for Counseling and Training," brochure, Richardson, Texas=

, 1990.

Richard Bandler and John Grinder, The Structure of Magic, Science and Beh=

avior Books, Inc., Palo Alto, 1975, p. 24.

John Suess, "Myndslink," NLP training course, Brisbane, Australia.

Dr. John Grinder, seminar held in Sydney, Australia, June 1988.

Don Holdaway, The Foundations of Literacy, Ashton Scholastic, Sydney, 197=

5, p. 13.

Tony Buzan, Use Both Sides of Your Brain, E.P. Dutton, Inc., New York,197=

9, pp. 16-20.

Ibid.

Dianne Van Lancker, "Old Familiar Voices," Psychology Today, November, 19=

87, pp. 12-14.

Martha M. Evans, Dyslexia, An Annotated Bibliography, Greenwood Press, Lo=

ndon, 1982, p. 84.

This is explicit in many of Carl Jung's writing. Further recommended read=

ing: E .A . Bennett, What Jung Really Said; C.G. Jung, The Archetypes of =

the Collective Unconscious, particularly pp. 275-354.; C.G. Jung, The Str=

ucture and Dynamics of the Psyche.

C.G. Jung, The Structure and Dynamics of the Psyche, Princeton University=

 Press, New York, 1969, pp. 151-152. Also on page 185, Jung says: "The un=

conscious depicts an extremely fluid state of affairs: everything of whic=

h I know, but of which I am not at the moment thinking; everything percei=

ved by my senses, but not noted by my conscious mind; everything which, i=

nvoluntarily and without paying attention to it, I feel, think, remember,=

 want, and do; all the future things that are taking shape in me and will=

 sometime come to consciousness: all this is the content of the unconscio=

us mind... Thus far the unconscious is a fringe of consciousness."

Ibid., p.151. Also on p.148, Jung says: "Underneath [the unconscious] is =

an absolute unconscious which has nothing to do with our personal experie=

nce. This absolute unconscious would then be a psychic activity which goe=

s on independently of the conscious mind and is not dependent even on the=

 upper layers of the unconscious, untouched=97and perhaps untouchable=97b=

y personal experience. It would be a kind of supra-individual psychic act=

ivity, a collective unconscious, as I have called it, as distinct from a =

superficial, relative, or personal unconscious."

CHAPTER 4 The Communicative Nature Of Reverse Speech

Illustrated Contemporary Dictionary, Encyclopedic Edition, J.G. Ferguson =

Publishing Company, Chicago, 1978.

Mr. John Hampel was a technical pioneer in Australia's early television d=

ays. He is now retired as an amateur radio operator (VK5SJ), designing an=

tenna systems.

This is from personal correspondence with Mr. Hampel. AMPOL is one of the=

 largest petroleum corporations in Australia. The distinction to be clari=

fied here is that the direct command to BUY had a significant, measurable=

 impact on PELACO sales. The less direct subliminal impact of only the we=

ll-known logo had no discernible impact on sales.

"Subliminal Advertising" Australian Broadcasting Tribunal, Sydney, 1984, =

p. 1.

Many resources are generally available that detail research on the struct=

ure and use of subliminals. These resources will enable the reader to dis=

tinguish the study of subliminals as a totally separate field of research=

 with little or no relation to Reverse Speech as it is presented here.

Vincent Bugliosi, Helter Skelter: The True Story of the Manson Murders, W=

=2EW. Norton, New York, 1974.

Reversals sequentially in these songs: "Touch Too Much," "Shot Down in Fl=

ames," "Get it Hot," "If You Want Blood," "Love Hungry Man."

Compiled from various media reports in Australia, 1987, and the United St=

ates, 1990.

Reversals sequentially in these songs: "Exciter," "White Heat Red Hot," "=

Better by You, Better Than Me," "Stained Class," "Savage," "Beyond the Re=

alms of Death," "Heroes End."

CHAPTER 6 Reverse Speech Images

Paul Von Stroheim, personal correspondence, 1988: "Reversals may be comin=

g from those parts of the mind that are being ignored or overlooked by ot=

her louder parts. For example, most people would have experienced times i=

n their lives when they faced conflicts and two contradictory elements wi=

thin them were fighting for control (e.g. you want to buy an ice cream bu=

t you know you shouldn't because you'll ruin your diet). If some part of =

the being is being ignored or 'gone-over-the-head-of,' then that part may=

 revenge itself in some way on the psyche. Speech reversals may provide a=

 safety valve for those parts."

E.A. Bennett, What Jung Really Said, Schoken Books, New York,1983, p. xii=

=2E

Jung, The Structure and Dynamics of the Psyche, op.cit. pp. 145-149.

Ibid.

Ibid.

This and all references to or quotes from The Holy Bible are taken from t=

he King James Version, World Publishing Company, Cleveland, OH.

Jung, loc. cit.

C.G. Jung, The Archetypes of the Collective Unconscious, Princeton Univer=

sity Press, New York, 1969, p.51. (Also recounted with additional details=

 in The Structure and Dynamics of the Psyche.)

The book was titled Eine Mithrasliturgie.

Jung, Archetypes,. loc. cit. (Taken from Eine Mithrasliturgie, p. 6ff.)

See also editor's note in Archetypes: "As the author (Jung) later learned=

, the 1910 edition was actually the second, there had been a first editio=

n in 1903. The patient had, however, been committed some years before 190=

3."

Jung, Structure and Dynamics, op.cit. p. 151.

Jung, Archetypes, op.cit., p.52.

Bennet, op.cit., p. xii.

Jung, Archetypes,. op.cit., pp. 23, 30.

Contemporary Dictionary, op.cit.

King James Version, op.cit.

Chu Yuan, Songs of the South: An Ancient Chinese Anthology, Trans. David =

Hawkes, Penguin Books, New York, 1985.

Juan Mascsaro, The Upanishads, Penguin Books, Middlesex, 1965, p. 53.

Encyclopedia of Mythology of All Races, Marshall Jones Company, Boston, 1=

932, Vol. IV, pp. 9, 83, 179, 181, 182, 286; Vol. VI, pp. 233, 236; Vol. =

VII, pp. 81, 247; Vo1. VIII, pp. 67, 70; Vol. IX, p. 274; Vol. XI p. 323.=



William James, "Frederick Myers' Service to Psychology," Proceedings of t=

he Society for Psychical Research, London, 1903, p. 13.

The Enchanted World, The Fall of Camelot, Time Life Books Inc., Amsterdam=

, 1986.

CHAPTER 8 Sex

As heard through the headphone in my ear while being inter. viewed. Also =

confirmed during the commercial break by the commentator.

In this session, Elvis was frequently found on the reverse of the forward=

 word "subliminal." It was initially thought to be a phonetic coincidence=

=2E It did not occur every time she said "subliminal" however, nor did it=

 occur when other speakers said "subliminal." To research this further, I=

 conducted a quick test by saying the word "subliminal" into a tape and r=

eversed it. "EIvis" did not occur in the reversed phonetics. With further=

 testing involving numerous other subjects, this coincidental reversal pr=

oved to be peculiar to certain individuals only.

CHAPTER 10 Music

Jacob Aranza, Backward Masking Unmasked, Huntington House, Inc., Shrevepo=

rt, 1984, p. l.

Ibid., p. 12.

Jacob Aranza, More Rock, Country and Backward Masking Unmasked, Huntingto=

n House, Inc., Shreveport, 1985, p. 9.

Aleister Crowley, Magick, Samuel Weiser, Inc., York Beach, 1973, p. 482.

Aranza, Backward Masking Unmasked, op.cit., p. 4.

King James Version, op.cit.

Godwin, op.cit., p. 1.

Ibid., p. 158.

Stephen Davis, The Hammer of the Gods, William Morrow and Company Inc., N=

ew York, 1985, p. 335.

Raymond B. MacPherson, private letter, Melbourne, 1988.

C.R. Cammell, Aleister Crowley, New English Library, London, 1969.

Ibid.

Davis, op.cit.

Davis, op.cit. p. 146.

Godwin, op.cit. p. 152.

A reference to Luke 22:42.

CHAPTER 11 Personalities and Politicians

Ian Thurnwald, "The Chamberlain Case: The Anthropology of Social Dramas a=

nd Myths," dissertation, The Adelaide University, Adelaide, Australia, 19=

88, p. 10.

Paul Stewart, attorney. Partially compiled from a lecture given to the Re=

verse Speech Education and Research Institute, Dallas, TX, August 1990.

CHAPTER 12 Reverse Speech and the Professions

My quest for reversal accuracy is intense. I am approximately 80% accurat=

e the first time I analyze a transcript and 95% accurate the second time =

through. My initial tapes, when I began my research, have been estimated =

to be 50% accurate, which increased as time progressed to my current leve=

l. This has been determined by checking old research tapes with other tra=

ined analysts. New students begin with approximately 60% accuracy (second=

 analysis) to 80% accuracy after six months of intense study (second anal=

ysis). Figures are based on the monitoring of 50% of students over an eig=

ht=97year period.

Paul Von Stroheim has been involved with Reverse Speech since 1988. He re=

gularly makes suggestions, conducts research and develops new concepts. H=

e communicates through frequent correspondence.

"The Dreamtime" is a word the Aborigines use to describe their collective=

 mythology and legends of creation.

Personal correspondence. Published in "Letters to the Editor," Backtalk, =

May 1990.

NOTE:

All otherwise unattributed initial chapter quotes have been taken from Th=

e Illustrated Contemporary Dictionary, Encyclopedic Edition, J.G. Ferguso=

n Publishing Co., Chicago, 1978.

Author's Biography

David John Oates was born in the Outback of South Australia in 1955. He i=

s married and has three children. In his early career years, he owned an =

insurance agency and conducted lectures in sales training and human commu=

nication skills. He also worked extensively with "street kids" and manage=

d half-way houses and rehabilitation homes. At that time, he was also an =

active amateur radio operator.

In 1984, while running a half-way house, he first began his research into=

 Reverse Speech. Since that time, he has pursued this career with fervor =

and founded and developed the Reverse Speech technology.

David, maintains a successful hypnotherapy practice in San Diego, Califor=

ia, using Reverse Speech techniques. He lectures extensively on Reverse S=

peech, conducts regular training programs, and is a popular guest on radi=

o and television. To date, he has conducted in excess of 200 media interv=

iews regarding Reverse Speech, including CNN's "The Larry King Show," "St=

range Universe" and "Discover Magazine."

Appendix I

Locating Speech Reversals

Learning how to locate speech reversals requires much patience and persis=

tence. Like learning any new language, it will take time. I recommend tha=

t new students in my training class spend at least fifteen hours a week i=

n private study. If they spend this time, they will begin to find a reaso=

nable proportion of genuine speech reversals within four to six weeks. A =

good level of accurate proficiency takes longer, approximately six months=

, and after eighteen months most new students are skilled enough to condu=

ct personality profiles with detailed session overviews.

Do not expect to suddenly turn a tape player on, play it backwards and in=

stantly hear all these reversals that occur once every 5-10 seconds. That=

 is like expecting to understand French or German after one lesson. It is=

 possible, however, for anyone to hear the occasional reversal here and t=

here when one first begins and this is usually sufficient incentive to ke=

ep going.

You must be on constant vigilance for imagination. The tendency to projec=

t into the gibberish is high. Analysts must be aware of their own belief =

systems and prejudices and try to separate from these so that independent=

, unbiased documentation is possible. Genuine speech reversals have sever=

al distinct characteristics. They will usually be separated from the gibb=

erish by a split second space on either side. They will frequently have a=

 distinct tonal flow and appear in a sing-song voice. This melodious qual=

ity of speech reversals makes it very obvious to the trained ear among th=

e surrounding gibberish. Once finding what one thinks is a reversal, it n=

eeds to be analyzed meticulously. Check for the syllable count, consonant=

 and vowel sounds and the beginnings and endings of words.

The equipment one uses is important. Reel to reel players can be made to =

go in reverse but that usually makes it difficult to check the forward di=

alogue. The forward dialogue where the speech reversal occurs is extremel=

y important because speech reversals are complementary with the forward. =

They can either confirm it, deny it or add additional information. Some c=

omputer sound cards are capable of almost instant forward/reverse motion =

but they tend to be slow and time-consuming in performing these functions=

=2E It is important to be able to vary the speed of the soundtrack instan=

tly. That is because reversals can run a lot faster than the forward dial=

ogue. Varying the speed enables one to be able to hear them with greater =

ease.

The best piece of equipment to use is a specifically modified auto revers=

e cassette player with a variable speed control built in. This will enabl=

e the researcher to listen to vast sections of tape in any one sitting. C=

omputer sound boards tend to be limited. Modified cassette players also a=

llow for the instant forward/reverse motion that is necessary to determin=

e speech complementarity, as well as the rapid back/forth motion to check=

 the phonetic construction of the reversal. The variable speed control is=

 a distinct plus as the speed of reversals varies frequently and rapidly =

from reversal to reversal.

The most important ingredients, therefore, are patience, objectivity and =

the right equipment. I personally suggest that anyone who is serious abou=

t this technology partake in the professional training course provided by=

 Reverse Speech Enterprises. This will save hundreds of hours of frustrat=

ion and will rapidly lead you into proficiency. Reverse Speech Enterprise=

s also sells professional, reversing machines that are specifically desig=

ned to locate speech reversals.

I wish you good hunting.

DAVID JOHN OATES

Appendix II

Getting Involved

With Reverse Speech

Much more information about Reverse Speech can be found by accessing our =

web site at:

http://www.reversespeech. com

or by contacting us at:

	P.O. Box 1037

	Bonsall, CA 92003-1037

Examples of Reverse Speech can be heard by telephoning 1-900-USA-4300 (Th=

is call costs $2.99 per minute and is billed to your telephone account.)

Training and Certification Programs

One of our highest aims is to ensure the integrity and the accuracy of th=

e technology. Reverse Speech, by its very nature, is highly susceptible t=

o abuse and misinterpretation. Consequently, to ensure the highest ethics=

 of operation and to encourage the ongoing search for additional knowledg=

e and understanding of the phenomenon, we offer several educational progr=

ams and standards of operation.

The Reverse Speech Process,=99 as defined and taught in Reverse Speech Tr=

aining Manuals and partially detailed in this book, is protected by all a=

vailable trademark, copyright, and intellectual property laws. These righ=

ts are owned by David John Oates, the founder of the Reverse Speech techn=

ology. All entrants into training programs must sign standard contracts a=

nd agreements.

Once graduates successfully complete various stages of training, they are=

 issued certificates that testify to their expertise in the Reverse Speec=

h process. Along with these certificates come various rights, including t=

hose for trademark use, commercial ventures, and other privileges.

The first step for anyone who desires to learn and participate in Reverse=

 Speech is to undertake a training program. The Reverse Speech office may=

 be contacted for further details.

Appendix III

Reverse Speech

Metaphor Dictionary

This dictionary lists the more common words that have been found in Rever=

se Speech. The meanings should be used as a guide only. A word can have s=

everal different implications depending on its context. The dictionary pr=

inted in this appendix is an extensively edited version only. It has been=

 included to give the reader some indication of the meanings of metaphors=

 quoted in this book. The full Dictionary expands upon these definitions =

considerably and contains hundreds of additional references. It is due fo=

r public release sometime in 1997.

Metaphors vary in their significance depending upon the context. The comp=

lementarity contained in the forward dialogue and subject matter of the c=

onversation, the immediate circumstances of the individual, and that indi=

vidual's background and experience can provide additional clues. For exam=

ple, the word whirlwind usually means either personal or external energy.=

 If whirlwind appears continuously when a person talks about depression, =

then it may be assumed that the person's personal energy system revolves =

around depression. If whirlwind often appears as a person discusses his o=

r her work situation, then it can be assumed that the individual's person=

al energy system revolves around work.

What may be a metaphor in one context may also be used as a fact in anoth=

er context. For example, the word shoot is a common metaphor that refers =

to intense emotional energy. However, if it is used in the context of a p=

erson shooting a gun, then it probably means exactly what it says. This d=

ictionary details common meanings that have come to be associated with th=

ese words in Reverse Speech. Different common explanations are separated =

in this text with commas. Again, the meanings listed should be used only =

as a guide. The entire dictionary is in a constant state of evolution. As=

 the frequency of appearance of a word increases, the broadening referenc=

e base is used to clarify and update these definitions. Next to each word=

 are italicized descriptions of their most common level of appearance in =

Reverse Speech:

Metaphors that can appear in all levels: First, Second, and Third Level r=

eversals are designated (multi).

Operational metaphors or Second Level reversals (operational) indicate th=

e behavioral effects of the root causes

Structural metaphors or Third Level reversals (structural) point to root =

causes of behavior.

ACID (operational) an instrument of harm or destruction, the opposite of =

water

ADAM (structural) as in Adam and Eve, the spiritual man, innocence

ALADDIN (structural) meaning imprecise, possibly a charmer, the part of u=

s that can achieve wonders

ALBUM (operational) memories of the past, may be affecting current behavi=

or

ALEXIS (structural) meaning imprecise, possibly female seeking male chara=

cteristics, feminism

ALLAH (multi) another name for God

ALPHA (structural) shortened form of Alpha and Omega

ANIMAL (structural) a part of the psyche that is primordial and basic

ANOTHER ONE (operational) usually means another sexual partner, but can a=

lso appear in other contexts

ARMOR (operational) personal protection

ARROW (operational) to move toward a goal

BEAST (structural) primordial instinctive nature

BOOTS (operational) to move, instrument of movement, also Australian meta=

phor indicating the movement of truth

BOY (operational) a masculine and innocent part of the psyche, the "littl=

e child," also found in homosexual contexts

BOX (operational) phallic connotations, vagina

BRITISH (operational) a "proper attitude," organized, usually a descripto=

r rather than a behavioral structure directed toward others, See also: Lo=

ndon

BUST (multi) broken, damaged, faulty

BUY (operational) to secure, to convince to have

CAESAR (structural) white male dominance

CAMELOT (structural) from the Legend of King Arthur, the fortress, an ult=

imate goal of life's quest, usually appears in the context of that which =

is unattainable

CANCER (operational) disease, something that is destroying uncontrollably=



CASTLE (structural) the inner fortress, ultimate refuge or strength, the =

conclusion of life's quest

CELLAR (operational) a deep part of the mind, a place where things are re=

pressed, a place to hide

CITY (operational) an active place, populous

C-M (operational) phallic connotations, to ejaculate

CURSE (operational) to insult, damage, reject

CYBORG (operational) half human, half machine, automated behavior, a sens=

e of de-personification

DAME (operational) feminine counterpart of fellow, opposite of person, so=

meone who has no real significance to the speaker

DEAD (operational) also refers to emotional death or death of energy, dri=

ve, or purpose in life

DEFEAT (multi) to overcome, to conquer, to fade away

DELIVER (multi) to deliver something, to be free of something

DEMON (structural) harm, emotional pain, negative behavior

DESERVE (multi) to have something for actions done

DEVIL (operational) usually treated as a soft word, mischievousness, some=

times has potential for destruction, uneasiness

DIE (operational) emotional death, give up, defeat

DINE (operational) spiritual connotations, to take in sustenance, to inte=

ract

DISEASE (operational) something that is destroying emotionally or spiritu=

ally, acute illness

EAGLE (operational) meaning imprecise, possibly referring to strength and=

 stamina, a visionary nature

EARN (multi) to receive as a reward

EARTH (operational) grounding, stability, strength, spiritual connection,=

 relating to things of the earth

EDEN (structural) spiritual center, image of perfection

ELVIS (structural) superstar, well-known, king, potential for self-destru=

ction in achieving greatness

ERROR (multi) fault, to come short

EVE (structural) as in Adam and Eve, the spiritual woman, innocence

EVIL (operational) wrong, inaccurate, harmful

EYE (operational) vision, insight, goals, dreams, intuition

FACE (multi) the essence of Self, the real "I," the Persona

FALL (multi) to come short of expectations, compromise resulting in harm

FANTASY (operational) something that is unreal, an ecstatic creation of p=

erceived reality

FAT (operational) the essence of someone or indulgence=97depending on con=

text

FEATHER (operational) meaning imprecise, possibly to give subtly, to ligh=

ten a load

FEED (multi) nourishment, to give or receive nourishment or energy

FEEL (multi) kinesthetic predicate

FEET (operational) stability, movement, strength

FELLOW (operational) the masculine counterpart of dame, opposite of perso=

n, someone who has no real significance to the speaker

FIG (structural) from the Garden of Eden, to protect, hide from shame

FILM (operational) a life drama, life seen as a movie without personal co=

nnection, disassociation

FILTH (operational) personal inadequacy, emotional overload

FIRE (operational) high emotion, purify

FOB (multi) to ignore, to put aside, to procrastinate, to disregard =



FOOD (operational) emotional or spiritual sustenance, energy source

FORCE (multi) male/ female energies, personal power; sometimes meaning wh=

at it says, to persuade

FOUL (operational) severely unpleasant

FOXY (operational) desirable, perception of love, capable of fulfillment

F--K (multi) harm, hurt, intercourse, damage, invasive

FUSE (multi) to join with, to work together

FUZZY (operational) unclear, not in good vision, a perception not yet suf=

ficiently formulated

GARDEN (structural) See: Eden

GIRL (operational) the child within, sometimes an affectionate term for a=

 partner, sometimes used with lesbian connotations

GOD (multi) usually as it says

GODDESS (structural) the perception of the perfect woman, desired but oft=

en unattainable, the ultimate dream or quest, sometimes the inner healer

GUARD (multi) to protect, to hide

HAND (operational) to relate, instrument of interaction, point of contact=



HEAL (multi) to help, restore, bring together

HEAR (multi) auditory predicate

HEAVEN (multi) usually as it says, peace, source of wisdom

HEAVY (operational) painful, difficult, oppressive

HEBREW (structural) Christian, God's people

HELL (operational) an expression of displeasure, pain, suffering

HELM (operational) the control of one's life

HOME (operational) inner refuge, security, safety, belonging

HOUSE (operational) See: Home

HOWL (operational) a deep cry from within, usually agony

HUNGRY (operational) a need for emotional or spiritual sustenance

JERUSALEM (structural) someone's spiritual center, a source of teaching a=

nd wisdom

JESUS (multi) usually as it is, sometimes positive emotion

JUICE (operational) generally neutral, the essence of energy desired, mor=

e frequently found on males

KILL (operational) to cause harm, to keep quiet

KISS (operational) connect, interact, touch with significance

LANCELOT (structural) the perception of the perfect man, often unattainab=

le, knight in shining armor sometimes with hidden dark aspects

LANTERN (operational) guidance, to be illuminated

LAW (operational) usually indicates rigidity, lack of compromise

LESSON (operational) as it says, usually a life lesson, spiritual lesson,=

 karmic lesson

LICK (operational) to connect softly, to explore a relationship

LIGHT (operational) to understand, to perceive truth, motivation

LIP (operational) sexual connotation, to communicate, to connect

LIPSTICK (operational) meaning imprecise, possibly fancy surface projecti=

on

LONDON (structural) a "proper attitude," organized

LOOSE (multi) to free forcibly, to break free from a behavioral pattern

LORD (structural) sometimes as it says, area of importance, control facto=

r in life

LOVE (multi) many meanings depending on context and level, usually affect=

ion or attachment, the key to interpretation of this word is complementar=

ity

LOVELY BIT (operational) phallic connotations, sexual organs

LUCIFER (structural) sometimes as it says, negative behavior

LUST (operational) a strong desire or need

MAGICIAN (structural) enchanter, magic worker, enticing personality, the =

part that can overcome obstacles, also to transform

MAKE UP (operational) also a definition of self-structure, false or true =

depending on context, see lipstick; See also: Lipstick

MAN (operational) deep masculinity in its purest sense

MARK (operational) harm, damage to the psyche, to emphasize, scar or woun=

ding

MASK (operational) a covering of the real self, a projected image

MAST (operational) phallic connotations, essential to life's movement

MASTER (structural) the one with control, organizer, teacher

MEN (operational) general description of males

MESSAGE (operational) an instruction, usually from the unconscious

MIDDLE (operational) usually treated as the emotional center

MILK (operational) nourishment, closeness, healing, the essence of femini=

nity

MISSION (operational) a quest, a goal, usually with religious-like fervor=



MONEY (operational) exact meaning imprecise, usually associated with the =

sex/power metaphor group

MOVIE (operational) disconnection from life, non-attachment to event

MURDER (operational) to emotionally destroy, to harm, to suppress

MUSIC (operational) something pleasant, positive energy, opening of the h=

eart

MUST (multi) insistence, dominance

NAKED (operational) willingness to be exposed, freedom, fulfillment

NAME (operational) the representation of the self

NAZARENE (structural) meaning imprecise, possibly defining religious atti=

tude

NAZI (structural) strong evil, domination

NEED (multi) strong desire, essential for emotional survival

NERVE (operational) to be nervous, unsettled

NEST (operational) a place of safety and security

NIGGER (operational) a derogatory term, regardless of race

NIMROD (structural) the first king of Babylon, an insatiable quest for mo=

ney and power

NOOSE (operational) an instrument of self-destruction

NUDE (operational) imposed, unwanted exposure; oppressed, fear, inhibited=



OCEAN (operational) the waters of life, life's circumstances

ODIN (structural) meaning imprecise, usually false perception, can appear=

 grandiose with deceptive hidden characteristics

OEDIPUS (structural) inappropriate sexual relations, perceived or factual=

, depending upon context

OWL (operational) false perception of knowledge or wisdom, self-made argu=

ments, words with no substance, rhetoric

OXYGEN (operational) source of personal strength or energy, emotional nou=

rishment or relief

PERSON (operational) someone of significance, an important person

PLASTIC (operational) false, shallow

PONY (operational) only found in children to date, security, stability

POWER (operational) high energy, protection, fulfillment

PROGRAM (operational) fixed behavioral pattern, to alter without consent

RAPE (operational) violate, forcibly intrude

RAYMOND (structural) a recently discovered word, meaning and origin are c=

urrently being researched

REEF (operational) an obstacle in life's journey

REFILL (operational) a desire for more energy

RELIEVE (multi) comfort, reduce

REFUND (operational) to desire something back and to not receive it, usua=

lly associated with loss

REPEAT (multi) refers to a repetitive behavioral pattern

REVERSE (multi) to alter, the opposite, often to alter behavior or emotio=

ns

ROCELIN (structural) from the tales of King Arthur, a deceptive person, o=

ne who drains strength from any available source: the opposite sex, someo=

ne's symbol system, etc.

ROCK (operational) strength, stability

ROPE (operational) a way out, an escape, a solution to a problem as in "t=

hrow me a rope"

RUSH (multi) intense excitement, adrenaline rush, to hurry

RUST (operational) to waste away, not used, loss of energy

SAIL (operational) to travel, to move through life

SALARY (operational) to receive for favor

SALE (operational) to give something for exchange, negotiation

SALT (operational) to preserve, keep, restore, possibly purify

SAM (multi) usually appears as a shortened version of Uncle Sam, or the U=

nited States

SAMSON (structural) a perception of strength that is easily weakened, som=

ething that looks nice and attractive, but which has weaknesses, one with=

 a mission

SAND (operational) something shaky, non-lasting, insecurity

SATAN (structural) usually intense emotion, strong negative sense, powerf=

ul almost unshakable destructive behavior patterns, strong power

SEAGULL (operational) meaning imprecise, possibly from "Jonathan Livingst=

on Seagull," spiritual freedom, no boundaries to personal growth

SEAL (operational) to agree, protect, unbreakable bond

SEAT (operational) center of self, inactivity, stability

SEE (operational) very complex visual predicate inclusive of how one perc=

eives, visions, dreams, establishes viewpoint and understanding; See also=

: Eye

SEED (operational) often appears in sexual context, semen, to create some=

thing new

SELL (operational) to persuade, convince, demand something in return, an =

unequal exchange

SERMON (operational) conditioning, imposed behavior

SERVE (multi) to help willingly, to assist without personal glory

SEX (multi) connection, union, power, fulfillment

SHACK (operational) home, refuge

SHADOW (operational) elusive, the hidden part of the self, alter ego, oft=

en refers directly to the unconscious mind =



SHAFT (operational) phallic connotations, penis, an instrument of sexual =

energy

SHAKE (multi) to disturb, to bring to realization

SHEPHERD (structural) teacher, leader, spiritual guide, one to be trusted=



SHERIFF (structural) meaning imprecise, possibly guardian of behavior or =

behavioral parameters

SHIFT (multi) to alter, to modify

SHIP (structural) the part that moves us, or the part of us that is movin=

g, life's voyage, instrument of traveling through life

SHOT (operational) to receive high emotions

SHOOT (operational) to deliver high emotion

SHOW (operational) something put on, a performance, dissociation

SHOWER (operational) inundated, to be overcome, high energy

SICK (multi) not well, removed from normality; sometimes SIC as in "to at=

tack"

SIGH (multi) to relieve, to release emotions, to let go

SIGHT (operational) See also: eye

SIGN (operational) to agree, unite, confirm

SILHOUETTE (operational) similar to shadow, elusive part of the self or o=

f the unconscious mind

SILK (operational) fine outer protection of self, non-deceptive concealme=

nt, smooth

SILVER (operational) something precious, valued, refined, a fine outer pr=

otection or covering of self

SIN (operational) personal shortcoming, error, danger

SING (operational) charm, lure, to announce to those around you

SIT (operational) to take no action, inactivity, restrain

SKIN (operational) an outer protective appearance, personal protection

SLIP (multi) to give discreetly, to fall short of expectations

SMELL (operational) to assess, to explore possibilities, usually sexual c=

onnotations, see sex

SNAIL (operational) lack of action, slow to decide

SNAKE (multi) meaning imprecise, deception, cunning, temptation, strategy=



SNIFF (operational) to explore sexual possibilities, tease, ego indulgenc=

e

SNOW (operational) purity, cleanse, safe

SO (multi) adds emphasis

SORCERY (operational) a strong, enticing force, to charm or deceive

SORE (operational) damage to psyche, an unresolved issue, personal pain

SOURCE (operational) male/female energies, a means of attaining personal =

strength and power

SPEAR (operational) like sword with emphasis on harm

SPELL (operational) charm, deceive, entice

STIFFY (operational) phallic connotations, erection

SUCK (multi) to drain energy, to deplete, to improve ego at the expense o=

f others, to control

SULTAN (structural) meaning imprecise, part of the self that would be kin=

g, leader, great and powerful

SUN (operational) a source of energy, spiritual power, source of light or=

 enlightenment

SUNNY (operational) nice, pleasant, invigorating

SURF (operational) the movement of life, activity

SWEAT (operational) the scent of sexual attraction

SWORD (operational) personal strength and defense

SYSTEM (operational) personality, behavior, operating methods

THIRST (operational) emotional deprivation, need

ULYSSES (structural) meaning imprecise, possibly warrior, traveler

VESSEL (operational) meaning imprecise, possibly connected to "ship," als=

o to hold or protect

WALRUS (operational) request for a story, metaphor, an analogy, a differe=

nt perspective

WAR (structural) conflict, turmoil, struggle

WARHEAD (operational) instrument of destruction, delivery of emotions or =

ideas

WARRIOR (structural) a fighter, one with a mission, an intense desire or =

commitment

WASH (operational) to change, alter, cleanse

WATER (operational) means of fulfillment, to fill emotional need

WEATHER (operational) life's hazards, the movement of life

WHIRL (operational) softer version of whirlwind, also confusion, high act=

ivity

WHIRLWIND (structural) energy, power, empathy, activity

WIND (operational) softer version of whirlwind, also speed, haste, intera=

ction with others, rapport

WINE (operational) spiritual connotations, something nice, refreshing

WISDOM (operational) deep knowledge, insight, universal truth

WOLF (structural) part of psyche that is hunter and protector, a prime mo=

ver behind behavior, also called (very rarely) "she-wolf' and "were-wolf"=

 in its strongest form

WOMAN (operational) deep femininity in its purest sense

WOMEN (operational) general description of females

WORD (operational) spiritual connotations, divine guidance, wisdom from d=

eep within

ZEUS (structural) meaning imprecise, another word for God, a sense of mys=

tery

Appendix IV

Coincidental Reversals

Certain words and phrases will sometimes reverse to say the same thing. T=

he following list details some of the more common coincidences. They will=

 not always reverse as shown (it depends on the tonality) but they may. C=

oincidental words should NOT be documented unless they appear in an entir=

e sentence.

Reverse

Forward

Reverse

Forward



Crime

America

Sex

Discuss

Dad

=0DDad

Shallow

Relationship

Elvis

=0DSubliminal

Shock

Question

Firearm

My wife

Shoot

Push

=0D

My life

Shows this......

Situation

First

Surf

Emotion

F--k

Confront

Simone

Enormous

I'm not

=0DI'm not

Sit

Just

Love

Father

Sleep

Its

Marijuana

=0DAnother one

Surf

First

Memory

Remember

You must

Tell me

Money

You know

Whirlwind

Well

Mum

Mum

World

My mum

Mother

Work

Murder

=0DI don't

Wolf

Forward

Say

=0DYes

Four

Serve

Reverse

Before

Appendix V

Media, Professional

And Client Comments

"I believe that [David Oates'] work is of the highest importance, breakin=

g entirely new ground, with significant implications for the way we under=

stand and utilize our human capacities for communication... David is sing=

le-minded and relentless in his pursuit of the field he has developed."

Dr. Timothy Pascoe, Ph.D., =



(Cantab.), M.B.A. (Harvard), B.E., B.Ec.

"This is a form of communication lying completely outside of conscious aw=

areness. If it is validated, as I suspect it will be, after examining the=

 evidence thus far, this discovery may prove to be of Nobel caliber.  It =

is rare that a truly novel, creative and profoundly important discovery i=

s made in the field of communication. These events are unusual, only a fe=

w in any century. Mr. Oates' stunning findings seem to fall into this cat=

egory."

Dr. Larry Dossey, M.D.,

American Board Of Internal Medicine

"David Oates brought his genius, skill and determination, displayed in hi=

s pursuit and development of Reverse Speech, to his therapeutic work. Wit=

h his unique investigative tool, David is able to engage the therapeutic =

patient very rapidly and intensely. This can produce rapid change quickly=

, even in chronic situations."

John Suess,

Founder of Myndslink, Australia

"This new frontier can be used as an exciting and new investigative tool.=

=2E. the police department in Australia did verify that [Reverse Speech] =

located a murder weapon in the basement."

The National Private Investigators Journal

"He makes serious claims to support his theory... a pioneer in linguistic=

 theory... anyone prone to criticism of Reverse Speech theory would be ad=

vised not to have their comments recorded."

The Brisbane Sun (Australia) March, 1989

"This may turn out to be a discovery that could turn our knowledge of lan=

guages and how the mind works with language, into a world-shaker!"

Journal of Australian. NLP Society

"He can prove that he has discovered the seventh sense, a way to read peo=

ple's minds... it's a totally new area (and) the influence of this discov=

ery could be enormous." =



Australian People Magazine

"As Oates played back some famous speeches, you could hear audible gasps =

of recognition in the audience... Think of the fun journalists will have =

next time a politician says, 'Read my lips.'"

Dallas Times Herald

"Oates is convinced that psychologically significant messages are buried =

backward in speech, messages that people send and receive without being a=

ware of it... the theory reached the courts in the 1980's... (however) ne=

ither legal team wanted to put a guy on the stand who would say, 'Of cour=

se Stained Class had backward messages, and so does Sesame Street, and so=

 did the Judge's conversation with his wife that morning'... It's a shame=

 to think that there are tools going unused that could give some sense of=

 what our office - seeking fellow citizens have really got in mind."

Discover Magazine

"David says we often unconsciously comprehend the backward messages of ot=

hers and recognize the messages as intuition... he is adamant that he is =

onto something big here - new insights into human communication with impl=

ications for police interrogation and psychiatric analysis. He's dubbed i=

t Reverse Speech and suggests it may be humankind's seventh sense. Believ=

e it or not, the way forwards may just be backwards."

The Adelaide Advertiser

"What is revealed in Reverse Speech... can help the client achieve a dept=

h of self-understanding never before achieved. Reverse Speech is a major =

breakthrough in communication... and we are only seeing the tip of the ic=

eberg."

Dr. Merle McElroy,

Department of Psychology,

Oklahoma State University

"In my private sessions with Mr. Oates, it does seem to me that the rever=

sals that he has found on cassette recordings of our conversations hit me=

 with a certain subjective jolt, and that jolt is the jolt of truth."

Dr. Richard H. Williams, Ph.D.,

Professor of Psychology,

Imperial Valley College

"I have heard your tapes and am personally satisfied that it does clearly=

 exist... It would seem that it is open to the police to use tapes to sea=

rch for reverse communication which may help them with their investigatio=

ns... It seems it would have significance to finding out information of a=

 sensitive political, military or industrial nature... I think it is such=

 a can of worms that it will be dutifully ignored by all and sundry with =

a desire that you will go away and hide the research."

James Rossitor,

Attorney at Law, Australia

"Your technique for helping me reach my core beliefs about myself was tru=

ly mind altering and above all, outstanding!! I have been involved with m=

any forms of growth awareness techniques, but none that was as enlighteni=

ng or allowed me to make the changes as easily and effortlessly as with R=

everse Speech. The fact that I was able to see, hear and have an understa=

nding of what I was telling myself, and not have to rely on another perso=

n's perception of what he/she "thought" I was saying, was absolutely inva=

luable to me!!"

Cynthia Marshall,

Personal Manager

"Oates is downright evangelical when it comes to the practical applicatio=

ns of his research."

The Daily Texan

"As a new and potential leading edge personal growth, transformation and =

optimal health and healing technology, it is my present observation and o=

pinion that Reverse Speech uniquely offers an individual with an in-depth=

 look at the unconscious hidden beliefs and metaphors that generally resu=

lt in dysfunctional habits and patterns, and which usually result in seri=

ous pain and 'disease."

Paul Ash, Ph.D., D.Sc.,

CEO, American Wellness Association, La Jolla, California

"...I embarked with my wife on an initial taping session. We shared basic=

 day-to-day type concerns regarding office practice, marriage, etc. David=

 took this half-hour taping and proceeded to spend the next three to four=

 hours dissecting it in reverse. What he found and what he revealed to us=

 as a result of our half-hour conversation fascinated us. We were fascina=

ted how a person who did not know us could be so insightful as to who we =

were." =



Dr. James F. Murphy, Jr., D.O.,

Doctor of Osteopathy

"Nothing I heard in my Reverse Speech session was new to me. The Reversal=

s were more akin to soft whispers of truth that have been rubbing up agai=

nst my consciousness, and hearing and reading them was merely an exercise=

 in recognition. Through my Reversals, my Soul has spoken to that part of=

 me heretofore disconnected with the Divine.  My Soul pinpointed what was=

 keeping me from my own salvation, clearly outlining how my conscious min=

d was guiding me into a hell of my own making."

John McMasters

"Reverse Speech is the bright new star on the horizon of humanity's searc=

h for Self. Man's imagination will be the fertile ground upon which Rever=

se Speech takes root and grows. The possibilities are endless. The revela=

tions are pure. The results are enlightening. Reverse Speech is a journey=

 back into the Garden of Eden, where truth and knowledge await those who =

seek it. If this is your quest, Reverse Speech is a doorway, and David Oa=

tes is holding the keys."

Dr. Jeffrey S. McCombs, D.C.

"Reverse Speech will completely change life... make that reverse life... =

as we know it. It allows no skirting of issues, no denial, no escape from=

 reality. Reversals go straight to the core. It exposes our hidden uncons=

cious programs, personality quirks and behavior patterns. It snaps us out=

 of oblivion, finally giving us a choice of action again. In my opinion, =

there is no tool in existence that comes close to the perceptiveness or e=

fficacy of Reverse Speech."

Dr. Karen Boone, O.M.D., Ph.D., L.Ac.

Index

A

Aborigines, Australian  184

Dreamtime, the  214

AC/DC

Highway to Hell album  41

Andrews Sisters, the  =



"Mum, He's Making

Eyes at Me,"  =



"Rum and Coca Cola"  181

Anokin, Dr. Pryotra  25

Aranza, Jacob  172-173, 183

Archetypes of the Collective Unconscious, The.  75, 78-79  See also Jung,=

 Carl and archetypes; Metaphors, structural

Armstrong, Neil  18

Auntie Aggie and the BBC  180

"Australian Bicentennial Song"  183

B

Backtalk  202

Backward masking 5

definition of  13

intentional, in music  6-7, 9-10, 12

research on  13-16

'satanic messages,'  171-174, 177-179, 183, 186

in Gospel music  173, 178

unintentional  6, 10-12  See also Reverse Speech warning label for music =

 6

Backward Masking Unmasked  172

Bakker, Jim  101

Bandler, Richard  24

Bannatyne, Alex  33

BBC  180

Beatles, The  5-6, 8-9, 11, 19, 172

See also Backward masking, intentional, various songs and albums  5-11

"Paul-is-dead" conspiracy  7

Beethoven  173

Belknap, Ray  42  See also Judas Priest, on trial

Berry, Chuck

"Johnny be Good"  181

Big Bopper, the  85

Body language. See Reverse Speech, body language of

Boleskine  175-177

Books of Sacred Magic of Abra-Melin the Mage  175

Bowie, David

"1984"  182

Boy George

"Miss Me Blind"  182

Brain. See also Reverse Speech and brain functions and Reverse Speech ele=

ctroencephalogram testing =



hemispheric specialization  31

figure of  31

Bread =



"Baby, I Want You"  180

Buchanan, Pat  203-204

Bush, George.  102  See also Case studies, Persian Gulf conflict =



campaign reversals  102

Persian Gulf conflict,  201-202

C

California State Assembly  175

Case studies =



birth process, the  60

child molestation  68

children playing doctor  67

church service  17

client-therapist co-dependency  156-157

client-therapist tensions  167

father and daughter discuss their relationship  70

interview with murder suspect  190

journey in the outback, a  54

legal hearing, of a  198

Malok speaks  52

man and woman discuss business partnership 128-129

man and woman discuss their relationship 112-118, 135-149

man discussing his business  128-129

murderer confesses,  190

pain from a past life  56-57

Persian Gulf conflict  201-202

revealing suppressed memories 160

second birthday party  64

sex as warfare  132-133

sex in the media  149

teenager with chest pains  162, 166

therapeutic dynamics  159

woman with communication problem  156-159

CBS  5, 42, 149  See also Judas Priest, on trial  =



Chamberlain, Lindy  189

Chapman, Mark  5

Cheney, Defense Secretary Dick  201  See also Case studies, Persian Gulf =

conflict

Cline, Patsy =



"Love Sick Blues"  181

Clinton, Bill  205-206

CNN =



body language of  3-4, 12, 19, 224

discussion of reversals in Judas Priest trial  149

first coverage of "Simone" and Reverse Speech  202

Persian Gulf conflict, and the  201-202

Congruency in reversals. See Reversal(s), congruency and incongruency

Consciousness. See Reverse Speech, levels of consciousness

Creedence Clearwater Revival

"I Heard It Through the Grapevine,"  182

Crowley, Aleister  9, 172, 175

Cruise, Tom  208

Cry in the Night, A  189

D

Davis, Stephen  174-175, 177

Deep Purple

"Black Knight"  11

Denver, John

"It's About Time"  11

Devil's Disciples, the  174

Diamond, Neil

"Soolaimon"  12

Dieterich, Albrecht  78

Dion

"Only Jesus"  16

Dole, Bob  204-207

Double Fantasy album  5

Dragon, ascending  88

Dreams.  See Jung, Carl =



Dyslexia  26, 33

E

Eagles, the

"Hotel California"  179

Edwin, Gail  149-152

Electric Light Orchestra Face the Music album  9

Electroencephalogram (EEG) testing. See Reverse Speech, electroencephalog=

ram testing

Epstein, Brian  19  See also (the) Beatles

Extrasensory perception  4  See also Reverse Speech, and extrasensory per=

ception

F



Francisco, Don  =



I've Got to Tell Somebody album,  "Steeple Song"  178

Fonda, Jane  208

Forbes, Steve  204

Freud, Sigmund  35

G

Glossolalia  17

Godwin, Jeff  174

Goldberg, Whoopi  208

Great Spirit, the  87

Grinder, John  24

H

Hair, the Rock Opera  =



"The Dawning of the Age of Aquarius"  182

Hammer of the Gods  174

Hampel, John  40

Hawke, Prime Minister Bob  18

Hitler, Adolph  215

Holdaway, Don  =



Foundations of Literacy, The  25

Holly, Buddy =



"It's Too Late"  181

Hoodoo Gurus, the =



"What's My Scene?"  183

Hypnosis  26, 173, 217-219, 222

I

Incongruency in reversals. See Reversal(s), congruency and incongruency

Intuition  4, 99  See also Reverse Speech, and intuition

Iraq. See Case studies, Persian Gulf conflict

Iron Maiden Piece of Mind album, =



"Still Life"  10

J

Jackson, Michael  =



"Thriller"  89

James, William =



transmarginal field  88

Jesus Christ Superstar  11

Joplin, Janis =



"Tell Mama" 182

Judas Priest  149, 152

on trial  6, 42-43

Stained Class album  6

Jung, Carl  35-36, 75-80, 84-85, 88, 93

archetypes  75, 78-79, 84, 93

Archetypes of the Collective Unconscious, The  75-79, 81, 84, 88-89, 93, =

95

dreams  75-77, 79

process of oral tradition  93-95

K

Kennedy, President John F.  222

assassination of  18, 27

Key, Bryan  149-152  See also Judas Priest, on trial

Kramer, Eddie  175

Kristofferson, Kris

"Anthem 84"  90

Kuwait. See Case studies, Persian Gulf conflict

L

Larry King Show, the  149

Led Zeppelin  85

Stairway to Heaven album  11, 174-177

Lennon, John  5-9, 19  See also  (the) Beatles

M

Magick  172

Manson, Charles  5

Marley, Bob

"Give Thanks" and "Trench Town"  182-183

Matelele  87

McCartney, Paul  5, 7-9, 51  See also (the) Beatles =



"Hi, Hi, Hi"  128

Merlin  91

Meta-language  3-4, 12

Metaphors  34-37

Adam  90

Aladdin  142, 147

another one  127-128, 134, 167

armor  16, 143, 147

beast  16, 89

box  127-128

boy  89, 129, 167

Broceliande. See herein Rocelin

buy  209

Camelot  91

castle  91

children, in  62-63

curse  83, 85, 91, 113, 116-117, 178

defining human needs, emotions and conditioning  82

earth  183, 185

Eden. See herein Garden of Eden  =



Elvis  94, 150-152, 207

Eve  77, 90

face  82, 127, 134, 143, 161; definition of  90

fig  115, 117-118

force  34-35, 209

Garden of Eden  79, 85, 90

God  16-17, 28, 85, 88-89, 178, 181, 190, 215

Goddess  91, 129-131, 133, 149, 151-152, 219, 221

helm  83, 165

King Arthur  79, 91

Lancelot  91-92, 110, 133, 135

Lucifer  89, 178, 181-182, 185-186, 167

Luther  94

magician  73

naked  82, 90, 128, 137

Nazi  182-183

nude  110, 112, 116-117, 129, 134, 136, 157, 159, 167, 207;  =



definition of  82

ocean  83, 129

personal  117, 125-127, 129, 130, 132, 135, 141-144, 146-148, 150, 152-15=

3, 166, 168, 201-202, 205, 207

power  177, 183, 185

program  185

rape  114-116, 118, 139, 146, 162, 167

reef  83

refund  158

restructuring  218, 221-222

Rocelin (Broceliande)  91

Satan  8, 10, 16, 89-90, 141, 144-145, 147, 176-178, 180-182, 184-186

serve  115, 117-118, 128, 133, 138-140, 146, 160, 178, 185, 200

sex  125, 127-128

ship  83

shoot  191-192, 207

sin  11, 17, 28

snow  143, 148, 160, 194

spear  34-35, 82, 91, 111

structural  81, 84, 86-89, 93, 127, 133, 140, 150, 163, 178, 181, 184;  =



definition of  84

surf  83, 129-130, 140

sword  82, 84, 207

thirsty  136-137

warhead  134

water  162

weather  137

Whirl(wind)  34-35, 84-89, 113, 116-117, 135, 140, 142, 147, 149, 151-152=

, 182, 201

in Biblical literature  86

in Eastern religious literature  86

wisdom  106, 111, 149, 151, 160, 169, 198, 207

Wolf  85, 90-91, 111, 115-116, 118, 130, 132-133, 140-141, 147, 218, 220-=

221

Miller, Steve =



"I Want to Make the World Turn Around"  182

Mithraic cult  78

More Rock, Country, and Backward Masking  172

Motley Crue  =



"Shout at the Devil"  10

N

Neurolinguistic Programming

(NLP)  12, 24

Niniane  91

North, Colonel Oliver  222

Ntotwatsan  87

O

"Onward Christian Soldiers,"  173

Operation Desert Storm and Desert Shield. See Case studies, Persian Gulf =

conflict  =



Oral tradition. See Reverse Speech, oral tradition

Oswald, Lee Harvey  18

P

Page, Jimmy  175-176

Patillo, Leon  =



"Star of the Morning"  16

Patti, Sandi

"More Than Wonderful"  16

Perot, Ross  203, 205

Persian Gulf conflict  201-202

Peter, Paul, and Mary

"This Train" 181

Pink Floyd =



"Empty Spaces"

"Good-bye Blue Sky"

"The Wall"  9

Plasmastics  =



Coup d'Etat album  10

"Popeye the Sailor Man"  128

Presley, Elvis  94

"Burning Love"  11

"Patch It Up"  182

Prince Andrew  19

Psychology Today  32

Pundjel and Pallyan  87

R

Ramirez, Richard  41

Reeves, Jim =



"Veraland"  215

Reversal(s). See also Case studies =



analysis  112, 124

categories  108, 112, 117, 123

check points, clarity, validity factors  14, 97, 102-104, 112, 118

clusters  98, 106-107, 112, 116-117

coincidence of sound  7, 12, 15, 25-26, 28-31, 33, 224  See also  Appendi=

x IV: Coincidental Reversals  265

congruency and incongruency  108, 123, 136-137, 142, 147

control  215-216

feedback  216

frequency 98, 104, 118

future tense  15, 51, 138, 142, 144, 212, 225  See also herein tenses =



levels (first, second and third) 35, 79-80, 84, 92-93  adding additional =

facts  119, 127  and personal unconscious  176  and sex  127

examples of  93, 112, 118, 121, 135-146

locating  212

mind, and the  26, 28, 34-37, 76, 80-81, 84, 93  See also Consciousness o=

ther languages, in  213-215

prompting techniques  121

sexual energy, and  125-127, 153

tenses  98, 111-112

therapy with  106, 119  See also Case studies typographical conventions  =

xvii  where they occur in speech  97, 99, 102, 106-107, 110-111, 116, 118=

-120, 123

Reverse Speech =



advertising, and  208

archetypes  35

body language of  3-4, 12, 19, 224

brain functions, and  21, 26

case studies.  See Case studies children, in  60-68, 72

conversations in reverse  46

definition and theory of  20

dream states, and  75-76

education, and  209

electroencephalogram (EEG)

tests  20, 46-47, 49, 223

extrasensory perception, and  39, 49

historical research in  222

how they sound  24-26, 28-30, 33

intuition, and  50-51, 57

investigations, and  188

legal implications  189, 196

levels of consciousness; =



first level of the mind  76, 80-81, 84, 93  =



personal unconscious  81, 88  =



definition of  36  =



third level of the mind (collective unconscious) 36, 75, 78-79, 84, 88, 9=

3, 124, 179, 182

mental processes  23-25, 30-32

metaphors.  See Metaphors; Appendix III: Reverse Speech Metaphor Dictiona=

ry  263

oral tradition  93-95, 212, 214, 219

research conclusions  13, 16-18, 21-22

research process notes  xvii

reversing equipment  237-238

sensory modes  120-121

sexual energy in  125-127, 153

speech complementarity in therapy  159

structural metaphors and the oral tradition  214

therapy with.  See Case studies three levels of  See also Reversal(s), le=

vels (first, second and third) =



training and certification in  213, 239-240

Reverse Speech Research  239-240

Roadrunner magazine 175

Robbins, Tony  207

Robertson, Clive  102

Rolling Stone magazine  8

Rolling Stones, the

"Satisfaction"  181

"Sympathy for the Devil,"  90

"Tops"  11

S

Saint

"Steel Killer"  16

Samuels, Dr. David  25

Santana

"Lightning in the Sky"  89

Saudi Arabia.  See Case studies, Persian Gulf conflict

Simone  201-203  See also Case studies, Persian Gulf conflict

Simpson, O.J.  192-196

Sixty Minutes  101

"Soldiers of Christ Arise"  173

Song of the South, The  86

Speaking in tongues  17-18

Spiritual possession  178

Steppenwolf  =



"The Monster"  182

Stevens, Cat

"Peace Train"  182

Stiles, Martin  217

Streep, Meryl  189

Structure and Dynamics of the Psyche, The  77  See also Jung, Carl

Structure of Magic, The  24

Stryper

"Rock That Makes Me Roll"  16

Styx

Kilroy Was Here album  10

Subliminal(s)  =



definition of  39

effect of  39-43, 49  See also Judas Priest, on trial

Reverse Speech, and  197

rock music, in  5, 10, 183, =



Swaggart, Jimmy  81

T

Tai Hua  87

Tchaikovsky  174

Telepathy.  See Reverse Speech, and extrasensory perception

Therapy. See Case studies; Reversal(s), in therapy

Tomlian, Marcus  46

Townsend, Graham  217

Training in Reverse Speech. See  Reverse Speech, training and  certificat=

ion  213, 239-240

Travolta, John  12

U

Upanishads  87

V

Valens, Ritchie

"La Bamba"  215

Van Lancker, Dianne  32

Vance, James  42  See also Judas Priest, on trial

Von Stroheim, Paul  214

W

"We Are the World"  173

Weizmann Institute  25

Whitehead, Judge Jerry  42  See also  Judas Priest, on trial

Williams, Denise

"My Heart's Desire"  16

Williams, Hank

"I Saw the Light"  27-28

Wizard of Oz,  88

Y

Yin, Hung  87

Z

Zappa, Frank  =



"Nanook Rubs It"  180

Zone of Interaction  104-105



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