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She started out casually... and look where it led. #prostate #prostateMilking #prostate_massage #fioterra #fingerass #finger #rimjob #rimming #femdom #beijogrego #punheta #handjob #asslick #assplaying #assplay #buttlick #rimjobgirls #lickmyass

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Project Constitution

51,444 Aufrufe • vor 6 Monaten

This is real footage of Zeros taking off from the deck of the Akagi. For half a year, this single ship was the most successful aircraft carrier on Earth. Its planes struck Pearl Harbor, Darwin, and Ceylon, and it never lost. Then, in a few minutes, she was doomed. This is the story of the Akagi.. ⠀ From Battlecruiser to Flagship The Akagi, named after Mount Akagi in Japan, was not even meant to be a carrier. She was laid down as a massive battlecruiser, but a naval treaty in the 1920s halted her construction. Rather than scrap the enormous hull, Japan rebuilt her into an aircraft carrier, one of the largest in the world. By 1941 she had become the flagship of the Kido Butai, the First Air Fleet. This was the most powerful concentration of naval air power on the planet, six aircraft carriers operating together as a single striking fist, something no other navy had ever done. From her deck, Admiral Chuichi Nagumo commanded the whole force. When Japan decided to open the war with a knockout blow against the United States, it was the Akagi that led the way. The Carrier That Led Japan's Offensive On the morning of December 7 1941, the Akagi sat in the dark waters north of Hawaii, and launched her aircraft toward Pearl Harbor. Her torpedo bombers helped tear apart the American battleship fleet as it lay at anchor. The man who led the entire air attack, Mitsuo Fuchida, flew from her deck. The Akagi was, quite literally, the ship from which America's war began. And she was just getting started. Over the next several months, the Akagi and her sister carriers went on a rampage across a third of the globe. In January they struck Rabaul. In February they fell upon the Australian city of Darwin, launching a devastating surprise raid that sank eight ships and became known as Australia's Pearl Harbor. ⠀ Across the Indian Ocean Then they turned west, into the Indian Ocean. 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Untold War Stories

69,588 Aufrufe • vor 2 Monaten

"Tell us this isn't true." "They had a live being out [near Area 51]." "There were human experiments that went on." 👽🛸 Roswell: A Non-Human Craft or a Darker Secret? 🤫😶 (Transcript is shorter than clip. I don't have room to type more in this post so I'll just wait for replies.) ~ Lex Fridman: "In your book on 'Area 51,' you propose an explanation that I think some people have criticized, at the very end. That this might have been a disinformation campaign from, I guess, Stalin, that the Roswell incident was a remotely-piloted plane with a quote 'grotesque, child-sized aviator.' Just looking back at all that now, years later, what's the probability that it's true? What's the probability it's not?" Annie Jacobsen: (AJ): "So, you know, I've never revealed who that source is." Lex: "Yes." AJ: "You know that? Want me to tell you?" Lex: "Okay, who was the source?" AJ: "So, before I say anything on that, let me speak to the question that you asked, right? So, you asked me, 'What's the probability that that is still standing as an idea, 12, 13, 14 years later,' right? So, I continued to work with that source for years, afterwards. We talked about this. Look, I mean, his whole family knew it was him. And I knew his family because I was an integral part of, you know, I was at his house, met all his kids, grandkids." Lex: "And we should say, the source is the main expert advisor behind the story that it was. Maybe you can explain what the story is that your report in the book, that it was a disinformation campaign created by Stalin to cause mass hysteria in the United States. The very kind that we've been speaking about with the CIA and so on." AJ: "Yes! Predicated on the narrative of the 'War of the Worlds,' right? And the 'War of the Worlds,' when it was a radio program in the United States, made people go crazy. 'Oh, my God, we're being invaded by aliens!' Well, the government was always interested in the story and Joseph Stalin was, too. We know that from declassified documents, right? "And so, the source told me that the reason for this program, and that the real Roswell crash remains, were in fact, it was a black-propaganda hoax infiltrated, you know, or rather, predicated at this idea that you were gonna overwhelm America's early-warning, air-defense system, cause mayhem and maybe be able to attack the United States. That was the plan. And Stalin was also messing with the United States, messing with Truman, who sort of, you know, turned his back on him, right? At Potsdam. "And so, this idea, and the reason that the source is important... And unlike, you know, a lot of people, 'I saw this, I saw that, I learned that.' Was, according to the source, once it was determined that this was a hoax and that Stalin was able to get a craft over the United States, and it crashed. And it had, you know, people inside of it, they were people that were sort of deformed and meant...surgically altered to look like aliens. "The United States government decided that it needed to know what on earth that was all about, and if it was possible for us to have the same program. This, according to this source, right? And so, it sounds preposterous, and if it was just someone saying, 'I...,' you might say, 'Well, it's ridiculous, get them onto another subject.' But, the difference was, is this source, who was very well placed, and friends with all of the other 75 people, you know, told me this as a confession, right? A real, tearful confession, because what he said is he was involved in the American program to do the same thing. And people died, because there were human experiments that went on." "And I write about this in the last 12 pages of 'Area 51.' It was an explosive, you know, revelation, and I felt very confident in writing this because the source wanted it written. Why? Because he said, 'I'm dedicated to my country. I know about being committed to national security, and this kind of thing must never happen. And if you give people too much power, they will take advantage of it.' And he wanted it on the record. "And his wife of 60 years did not know until after the book published. Nor did His children, okay? So, after the book published, I was called to his house and sat there with his family. And they said, 'Tell us this isn't true.' And he said, 'It is true,' right? (We need a tape of this confession or...for his family to confirm they heard this from him.) AJ: "Now that source is Al O'Donnell, who is the nuclear-weapons engineer who armed, wired and fired 186 nuclear weapons, okay? So if you wanna talk about someone..." Lex: "Woooooow." AJ: "You're the first person I've told that on the record, but it's kind of about time." Lex: "Woooooow. Well, you received a lot of criticism over this story, and it confused me why, because it's...given the context of everything you've described with the CIA and other intelligence agencies, it is reasonable that such action would be taken. AJ: "And, the source is extraordinarily credible, right? If you wanted to take the position, 'Well, that person isn't very reliable,' then you have to ask yourself, 'Why did they have Top-Secret clearances that are higher than any in the United States whatsoever?' Because he was responsible for arming nuclear bombs. He was called the trigger man. "And by the way, he told me that I could tell the world who he was. There's a lot of details that are really dark, involving that program. And when is it appropriate, right? Well, it feels appropriate now. First of all, because you and I have been talking for several hours. So this is what is truly a long-form conversation and it's the outcome of, you know, a very long time of my reporting, and also being judicious about what, you know, closing the loop on that, right? Because I do think it's important for people to know that sources have revelations." Lex: "And, like you said, the programs, both on the Soviet side, and the American side, conflicting, I think's the term we used previously? Ethically, morally, on all fronts. People have done some horrible things in the name of security. In your book, 'Surprise, Kill Vanish,' you write about the CIA." ~~~ Jeremy Kenyon Lockyer Corbell: "So, today, I want to focus on a really important story that you once told me, that has never been told all the way [from the] beginning, to all the way to the end. And I just think it's just so cool we get to do this today. So, the question I want to ask is: After you got hooked on the UFO thing, with Bob Lazar, and you as a journalist said, 'I'm gonna start getting sources.' Like, 12 people coming at you, people shut down by the government. You can tell that. But you finally, finally got to a credible individual who had direct, firsthand knowledge about UFOs, exploitation, reverse engineering, and beings. And, oh my God, I want the world to hear this story. Tell us the story." George Knapp: "I've shared some of it in very broad strokes over the years- little bits and pieces of it - without ever actually referencing, in my statements, the guy the source. But this will be the first time I've told it in totality. "And it takes me back to when I first started in this. It's 1989 KLAS-TV, we put together, we spent eight months working on this project called 'UFOs: The Best Evidence.' Nine-part series. It airs on television, it's the biggest thing that's ever been produced for local TV, to this date, and still. "And, along the way, as I'm trying to find...telling the story about Bob Lazar, and his allegations about what was out there at S-4, near Area 51 - recovered discs, alien technology being reverse engineered - I'm looking for people who would support that. And I found about two dozen people, witnesses who had worked out there, who had seen bits and pieces, who could corroborate parts of what Bob had said about these kinds of craft being out there in the Nevada desert. But there wasn't anybody big picture who knew as much as Lazar claimed to have known, so I was still looking for them. "In 1990, I started working on a follow-up series to Best Evidence, looking for new witnesses. And I got a hint from an elected official that I had known, I'd covered him in Nevada politics. He says, 'You know, you should talk to my dad one of these days.' 'Your dad?' 'Yeah.' And he told me what the dad's name was and what he had done, what job he had had. And I said, 'Ah.' So I started stalking the guy. I just started showing up at events where I knew he would be. One of those events was a reunion for employees of EG&G." Corbell (JC): "So I'm assuming that this source was working within EG&G in some capacity, which is, by the way, who Bob [Lazar] said, hired him to go out to Site-4, S-4 at Area 51. So you're like, 'Okay, I can now find out if this is bullshit, or if there's an element of truth to it.' Do I have that right?" Knapp (GK): "Pretty much correct, yeah. So, I'm looking for someone whose credentials are impeccable. Unlike Bob, whose credentials were questioned, and people still attack him on where he went to school and where he worked, and was he at Los Alamos? This guy is documentable. There's a paper trail of where he worked, what he did. There's no question that he was in a position to know. He was the first general manager of EG&G in Nevada. His name was Al O'Donnell, and he has a prominent family. "When I heard that EG&G was having a reunion, I went there. We took a camera [and I figured], 'This is a great chance to get him on camera before I start asking him the questions I really want to ask.'" JC: "And when you say he is a general manager, like, does that give him certain roles and responsibilities that would give him insight? Like, he's not a secretary, so what does that mean?" GK: "He's the boss. He was the boss of the Nevada office. And I'll tell you a little bit about EG&G. So, it was a company that was created in Boston, right around the end of World War Two. Al O'Donnell had been in the Navy, serving during the war. He got out of the Navy while the war was still underway and went to work for a company called Raytheon, which became this massive, gigantic defense contractor that's still around today, still in Nevada in fact." JC: Yeah, they've got a big connection to the UFO topic, right? But, when you say Boston, like, where in Boston was it created?" GK: "Well, MIT is where the company was born. Edgerton, Germeshausen and Grier were the three guys, the EG&G in that. They were at MIT. Scientists, engineers, they created this company there. And Al O'Donnell, who had been working for Raytheon, working on the Manhattan Project. He didn't know he was working on the Manhattan Project, but they were building these devices, complex triggers, that allowed them to detonate nuclear weapons. He learned later what he was doing was part of the Manhattan Project. "He goes to MIT, starts working with EG&G. Their company in those days had, I think, 15 employees, Al said. So it was a very small startup. But it suddenly exploded because the American atomic program exploded in those years. In 1950, Harry Truman decides that we need a permanent, nuclear testing site somewhere in the continental U.S., so they looked at a bunch of places, and they settled on Nevada. "Prior to that, Al O'Donnell had been sent out to the Pacific. They had five of these massive, atomic bomb tests out in the Pacific, and they decided to move it into a continental U.S. location and Nevada's Test Site - it was called the Nevada Test Site in those days - was chosen. Al O'Donnell leads the exodus from Boston, out to Nevada. They start hiring engineers and scientists, physicists and other security, spies." JC: "What are they working on at this time when they make that move?" GK: "Atomic bombs. They're building, testing atomic bombs. EG&G was a really precise organization that was created in order to detonate, measure and photograph atomic weapons. If you look in the history of photography, you'll see some of these amazing photos that they took of, you know, water drops dropping in water and...they're pretty famous shots because of these cameras that they developed. And it was perfect for use and testing atomic weapons and documenting what the process was. "So, EG&G comes out to Las Vegas, they are the managers of the Nevada Test Site. They, subsequently, years later, become the managers of Area 51 when it opens in 1955. So Al O'Donnell is the top guy. He oversees the nuclear testing program out there, manages it for EG&G, works with the Atomic Energy Commission. He has a Top-Secret security clearance and he can go anywhere and see anything. There's, basically, no restrictions, nothing that is outside of his ability to find out and see." JC: "So, this is an impeccable resume. This is somebody who was in position to know, and would know if someone like Bob Lazar was telling the truth or not telling the truth. I find it, personally, humorous that EG&G was, its genesis, its seed, came from MIT, right?" GK: "So, late 1990 or early 1991, I'd have to look up the dates. But somewhere in there is this event, this EG&G reunion. I go there, we got a camera, I interview Al O'Donnell, introduce myself, and say, 'Hey, I'm really interested in this, can we continue this conversation?' So he invites me to his home. He says, 'Come on over, we'll arrange to come over on a Saturday or something. We'll sit down, I'll go through my scrapbooks and show you some documents and memorabilia and photos from that era.' I was like, 'Great.' "So I go to his house and meet this wife. And we sit down, he opens up these big scrapbooks, and he starts showing me all the stuff that he had done. Photos that had been taken out in the proximity of these gigantic nuclear tests. They had great stories about the camaraderie that developed among the engineers and scientists. And he's going through all this stuff and showing me all this. And I love it, I loved every bit of it. I've never had a bad day at the Nevada Test Site, by the way. Every time I've gone out there to do a story, it's just a terrific way to spend some time." JC: "Secrets should be kept, secrets are kept, and you are a proponent of keeping secrets when it's that kind of thing." GK: "Sure, absolutely. And I respected the boundaries that they set up for us in doing these kinds of stories. So I did go out to the Nevada Test Site a lot over the next 40 years or so and put together a lot of different stories. And they knew of my interest in that area that's just outside what the Nevada Test Site, a place called Area 51. In 1955, Area 51 was, basically, created and EG&G got the contract to manage Area 51, and had kept it for the next 30, 35 years. So, whatever went on out there, they had an inside knowledge of what was going on." JC: "So, you meet this guy, Al O'Donnell, for the first time when he's at this public thing. You probably say something like, 'Your son told me to talk to you,' or something. Whatever. It ends up, he invites you to his home, and you're going through scrapbooks, and he's showing you all this atomic testing stuff that he was involved in. GK: "Yeah, and I'm telling him, 'Boy, this is really interesting. That's fascinating. I'd love to do a story on it.' And after we're there for maybe two hours, he closes this one big scrapbook and he goes, 'You're not here to talk about this, are ya?' I said, 'Well, not exactly.' He says, 'I know what you're here to talk about. I know what you want to ask about.' And right about that point, his wife walks in and she says, 'Don't start telling them that stuff! Don't even tell him!' And he kind of joked about it.' JC: "What were you there to talk about?" GK: "UFOs, UFOs. Area 51, Bob Lazar, crashed saucers, reverse engineering, to see if he had any knowledge of that, because I'd been led to believe that he did. So he closes that book and he says, 'We'll have we'll get together another time and we'll talk about it in private.' And over the course of the next two years or so, he and I would meet at coffee shops and talk about it. And I would ask him questions, and really, it was like pulling teeth. He wanted to tell me stuff but he made me work at it." (AJ says his family was there for the confession. Knapp has over two years of meetings with him. A bit confusing.) GK: "And the condition was, I couldn't take any notes. I couldn't record it, I couldn't take any notes. So each time I'd meet with him, I'd rush back to my car and start scribbling notes on pieces of paper so I'd remember everything that he said. And the story that he told me, that evolved over those couple of years was pretty fantastic. "He said that they did have a flying saucer that had been recovered from New Mexico. I think he indicated that it had been taken from New Mexico to Wright Patterson Air Force Base, which is... He never said Roswell, but I think it was the Roswell incident is what he [was] talking about. And it confirmed some of the details about what we know, likely, happened with the Roswell craft." JC: "When he's telling you, 'We have recovered a craft,' did he say it like, this is secret, don't tell anybody?" GK: "Yeah, it was just for my knowledge, my background and information. It wasn't a story I could do then. We were negotiating about how, or when, or if I could ever use that information or make it public. He told me the details about this craft. He said that it had been stored at Indian Springs. Indian Springs is an Air Force Base that's been there for a long time. It's now called Creech. Indian Springs existed before Area 51 was made. "But he says it was there, they kept it there. It might have been in an underground facility, I'm not quite sure. But then when Area 51, after it opened in 1955, they moved it to an adjacent facility. He didn't say it was S-4, he didn't say it was Papoose, but I think that's what he's talking about. Papoose Lake is where Bob Lazar said he worked, and where they had built nine hangars underground, disguised to look like the desert, and where they had other recovered craft. "He says they worked on this recovered craft, reverse engineering, trying to figure out how it worked, who built it. Whether or not they could duplicate the technology because, apparently, they thought this was pretty advanced, and they'd like to be able to build more of 'em. "And he says it was a very closed program, very small. It was only, I think, five of them that were aware of it, at least in the early stages, that were working on this project. And it was very hush hush, and they didn't share it with anybody else in the company, or anybody else in the area, or the military. They just kept it to themselves. "So, after we're having these meetings - and I go back and write down all these notes and stuff, details about what he had shared with me - we have another meeting at a coffee shop, and I said, 'Well gosh, you know, aren't you worried that it would get out, that the word would get out?' "And he says to me, 'We were worried It would get out?' That's right. 'I mean, what...it? What do you mean, it?' It. Meaning a live being, they had a live being out there. I go, 'You had a live being, an alien as well?' [O'Donnell said], 'Tell you the truth, we didn't know what it was.' I said, 'You know, maybe it came from millions of miles away, out in space, and you're keeping it in a cage near Area 51?' He said, 'To tell you the truth, we couldn't communicate with it in the beginning. We didn't know what it was, we didn't know where it was from, and we didn't know what to do with it.'" JC: "When Al O'Donnell says to you, 'We had a live alien, a being,' obviously from another world, what was your feeling?" GK: "Well, I was overwhelmed, because it was, in effect, confirmation of things that I had come to believe, because of the reporting we'd already done. And then the evidence of cover ups and lies that had been told to the public. Here's this guy in a high position, with a high security clearance, telling me that it was true. That they really did have a craft and they had a being. "My second feeling was, one of overwhelming sadness for the being, whatever it was, you know, that was kept out there. I asked him, you know, what had happened to it, what became of it? He says, 'I don't know. I don't know whatever happened to it.' But it was out there for a while, alive, and eventually they figured out a way to communicate with it. "And so I asked him, 'Well, what did it look like?' And he made me guess, as he did with all these questions. He made me guess. He said, 'Well, it kinda looks like a certain political candidate.' I said, 'Well, who? A political candidate? Who?' And at the time, Ross Perot was running for president. He said, 'It looks like Ross Perot. A little skinny guy with a big ears and tiny head.' Not a classic Gray-looking alien, but a very odd-looking creature with really big ears, that looked like Ross Perot. And I laughed. "And so we had these conversations for a while, and I was blown away by the information that he shared. I took all these notes. I was hoping that someday, I might be able to get the information out. And I asked him, 'Look, you're getting up there in age. If I can't record something with you, could you record a statement to the effect of telling me the story on camera, and then when you pass on, I can have the tape?' And he said, 'Yeah,' he would do it." JC: "You know, look, I've heard a lot of wild stories that I can't verify. A guy's telling you something, and you get a sense as a journalist, when you go down a road with somebody, and you take your time and you vet it... Did you feel...I mean, is there any world where he's trying to f*ck with ya? Or is there a world where he's trying to, you know, dissuade...kind of put crazy information into your brain? Like, how did you feel when he was telling you this? Was he like, straight with you?" GK: "Yeah, he was very straightforward. And again, this was not information he was giving up, willingly. I mean, I had to really dig and coax and arm twist to get him to cough things up. And it was very slow-going over about a two-year period, maybe a little bit longer. And I know that this...you always have to be wary of people with different agendas and people that just make stuff up. I didn't get that sense from him because of his standing in the community. He had shared this story with members of his own family." JC: "And that's why they came to you, is because they kind of [gave] you a tip. And these members of his family, they're serious people, too." GK: "Yeah. One of his sons is an FBI agent, or was, he's passed on now. One was an elected official in Nevada. That was the one that gave me the tip." JC: So, I just want to nail this [down] so I understand. You were approached because he had shared this with his family, privately, and then you had to kind of coax to get through to him about the story?" GK: "Right." JC: "I think that's important because look, these things don't happen, like, people [don't] just come to us and say, you know, crazy stuff, and we're like, 'Hh, yeah, cool. Sounds good.' Like, the dynamic of that, socially, as a journalist, like getting in there, taking time. You know, we have to verify if what he said is true, and there are some major bombs coming about that. But it's like, that process is so important. "So here you are, you're sitting with him, he tells you now, they have a live alien. And you felt sad because you're an animal-rights activist, you love animals. I know with your cats at home and you've done horse stories and all the stories about like, the inhumane stuff to animals. So it made you personally sad, makes me sad, too now thinking about it." GK: Yeah. Well, we had these series of meetings, and then the last time we met, after he'd agreed to go ahead and record a tape - and give it to me after making an arrangement so I got it after he passed on - he said that he had been told to not talk to me anymore. He said he had been given a warning [and] it was not a good idea for him to talk to me any more about anything. Not just that topic, but anything." JC: "Well, who knows that you're talking? Who would warn him?" GK: "I don't know. I don't know. But you recall, back in those days, there was surveillance. We had our phones tapped at KLAS-TV. There were guys following us around. Me, Bob Lazar, Gene Huff, maybe Robert Bigelow." JC: "People were also coming to your news station, OSI. And they would come in and try to like, get to you and then they'd show you their card...and take it back. And you know your phones are tapped. So it's like, because of this story, all of a sudden you're on high alert. So, anybody could have called him, been watching you, had meetings with the guy. So what you're saying is one day he just said, 'I can't...I'm not allowed to talk to you any more.'" GK: "Yeah, I've been told not to talk to you anymore. I've been told not to."

Joe Murgia

101,578 Aufrufe • vor 2 Monaten

Former Assistant Secretary of HUD Catherine Austin Fitts describes how the U.S. government stole $50 trillion of taxpayer money, used Epstein to launder it, and then poisoned Americans to shorten their lifespans: "We hit the Great Financial Crisis, and then we have $29 trillion of bailouts. So we had $21 trillion of missing money from the US government, and now we have $29 trillion in bailouts. That's $50 trillion. Okay? So we're talking about putting the United States in a debt trap, and somebody walks off with $50 trillion... "[And] Jeffrey Epstein made his first visit to the Clinton White House arranged by Bob Rubin, who was the Secretary of Treasury when the money started to go missing. Okay? And at the time he was national economic adviser. [So] I believe Jeffrey Epstein ran the SWIFT system on the missing money, is my guess what he was up to. And... the sex was just part of creating related control files that they used." This clip of Fitts, a former Assistant Secretary of Housing and Urban Development, investment banker, and founder of the Solari Report (The Solari Report | Catherine Austin Fitts), and combat correspondent Michael Yon (Michael Yon: Callsign BIG HONEY), as well as journalist Masako Ganaha (我那覇真子 Masako Ganaha), is taken from a video posted to Yon's eponymous YouTube channel on February 16, 2026. ----------------Partial transcription of clip--------------- "And it's important to understand that we're not talking, I mean on one hand we're talking about a financial coup. So let me show you our. I just made a new chart on what I call the financial coup because I want to put a little history to this thing. "And we went through this the other night, you know, what happened in the mid-90s. We, had at the end of the, all the fraud during the '80s, we had a big reform effort and one of, part of the reform, and I know because I wrote it was, it was basically a series of reforms we instituted at HUD and then helped OMB take them government wide. "But it required the covered agencies, the top 24 agencies, to produce audited financial statements. So a process began where the government started to confess that they couldn't produce audited financial statements, but they would explain what their undocumentable adjustments were, which was transactions that weren't documented, that weren't, you know, that made it impossible for them to produce financial statements. "The people who ran the financial system tried to come up with a plan to balance the budget, including the retirement, you know, Social Security and retirement. And that led to a big bust up in 1995 when the budget deal cratered. And this event was, or this period was described to me by one of the largest pension fund guys in the country. He said, they've given up on the country. They're moving all the money out, starting this fall. "He told me that in April '96. And that's when enormous amounts of money started to disappear from the federal government. So you're increasing the debt and then money's disappearing out the back door. So think of the treasury as a laundry device that's sucking money. You know, the treasury gives bonds to the pension funds, gets money, the money disappears out the back door. "Now the taxpayers are liable to the pension funds. It's just a laundry device, okay? Anyway, so if you look at this chart, what you'll see is by 9/11 there was, you know, trillions of dollars missing from HUD and DOD. DOD is the big one. "And, in fact, Rumsfeld, the Secretary of Defense, stood up and said, you know, the DOD is missing $2.3 trillion. It's worse than terrorism. It's a greater national security threat than terrorism. Of course we know what happened with 9/11, the Patriot Act passes. But money keeps going missing until finally in 2015, $6.5 trillion was missing. "And Dr. Mark Skidmore, who's a budget expert professor at MSU heard me talking about it and said, 'Oh, she has to be wrong. That's impossible. The army can't be missing many multiples of its budget one year.' "Well, actually, if you look at how the federal credit is managed, can be. And and so he called me, he went to the financial statements and discovered I was right and he called me. And as a result he did a complete survey that was finished in 2017. And he and his students, I had the number up to $12 trillion missing. He found another $9 trillion "And so $21 trillion as of 2017, guess what the outstanding debt of the United States was when he published his report? $21 trillion. So imagine, you know, if you think it's a scam, we use debt to issue the currency, when we could just issue the currency without debt. It's really a scam when the money you raise with the debt disappears out the back door. "[And] it's a no-brainer. All you have to do is issue $21 trillion in treasuries and you finance it. And then you steal it. "So, if you go back to this chart, in 1993, Jeffrey Epstein made his first visit to the Clinton White House arranged by Bob Rubin, who was the Secretary of Treasury when the money started go missing. Okay? And at the time he was national economic adviser. I believe Jeffrey Epstein ran the SWIFT system on the missing money, is my guess what he was up to. And the, you know, the sex was just part of creating related control files that they used. "But in 1995, 1994, the New York Fed and the Fed, which had been members of the BIS from the beginning, had taken the position that being a shareholder was conflict of interest. And they reversed that position in 1994. They bought shares in the BIS. And, you know, my guess, this is a guess, I think, you know, the BIS has sovereign immunity and can move money and hold it on its balance sheet behind, in secrecy, behind sovereign immunity. "And I think the perfect way to launder this money would have been through Fed to the BIS is my guess. But there are thousands. If you look at the ways that they could have laundered this money out, it's like the joy of cooking. There are hundreds of recipes. "And with $21 trillion, you'd need many different ways. For example, my guess is Enron was one of the Laundromats. But I think also if you look at the, money disappearing, then suddenly you have all these sovereign nations around the world who are making huge donations to the Clinton Foundation. And my question is, did that money just get pulled out of HUD, moved through the BIS, over to Norway, and they just give it back? "Okay, so anyway, whatever. We hit the Great Financial Crisis, and then we have $29 trillion of bailouts. So we had $21 trillion of missing money from the US government, and now we have $29 trillion in bailouts. That's $50 trillion. Okay? So we're talking about putting the United States in a debt trap, and somebody walks off with $50 trillion. "Now there are many. You know, we could have a long conversation about where that money might have gone. But one of the things to understand is coming into 2019 in the pandemic because you have, instead of putting the retirement systems on a stable foot, you've decided instead you're going to give up on the country and you're going to take the money and run. It's like a bank robbery. "But now the retirement systems are coming due. What are you going to do? And it's pretty clear what happened next. The first thing they did was they got rid of Epstein. That's the second thing they did was they reviewed the Going Direct Reset, and they started into a reset, a central banking reset. And that reset dramatically lowered life expectancy, which had been dropping ever since 1997 when the financial coup started. "But this is all part of, you put the government in a debt trap. You've moved all the money out someplace else, and those assets and that money is someplace else. So now the government doesn't have the assets it's got, you know, but it owes the debt. You now have it in a debt trap. And now essentially what you do is you turn around to the population, say there's no money, but you weaken the population dramatically and you start depopulating, right?"

Sense Receptor

154,168 Aufrufe • vor 7 Monaten

"It looked like a large piece of saran wrap. It didn't really scare me at that time until it moved and formed the arm that reached over to the other tree." ~Jan Mac The Predator Case of Lima, Ohio "If you saw in the woods some strange thing like that, like The Predator, you'd probably be leery about going back there again, too." ~Bruce Mac (In the replies, I'd love to discuss... If this thing is the same thing that Jay Stratton and Travis S Taylor (and others?) say they saw, what the hell is it and what the hell is it doing? Is it just a peak into a shadow biome that our senses usually can't perceive but every now and then, shows itself? Just a Predator-like being doing its thing? "Hi everybody, I'm just collecting acorns!" ~Pedator Fella As you watch or read, you'll ask yourself: Is what Jan Mac saw, connected to that light that showed up over the high school, and did it originate from elsewhere? Or, is it native to this planet and just trying to misdirect (by having that light pop up at the same time) and make us think it's from somewhere else? ICYMI, here's my post about the alleged Stratton/Taylor Predator experience... ) ~ David Paulides Voiceover: "The last case I want to investigate is even a little deeper down the rabbit hole. It's not about a missing hunter, but instead about a strange experience one hunter faced in Lima, Ohio. It's important to note that this isn't a connection to The Missing, it's simply an odd event that's worth looking into. And it's associated with one of the smartest people I've ever met." The Late Bruce Maccabee - Ph.D., Optical Physicist: "There's a difference, I guess, between being freaked out by things that you imagine and being freaked out by things that you actually see." ~ Jan Maccabee - Bruce's Wife: "This, I have to say, was the most (sighs) terrifying experience. But yeah, I don't know why I didn't react to it, and that bothers me. "The hunting in Ohio is awesome. We have some great, big trophy deer in Ohio, and we happen to have some of the biggest right here on our own property. "It was the most beautiful night to deer hunt. It was the second day of season, I wanted to get my, you know, rear end in the woods to hunt. I was really excited about it. "There was a band over at the high school. By the time I got to my deer stand, I could hear 'em. I was all settled in, I didn't see nothing coming down the paths. Trails, the birds, crickets, everything were normal woods sounds. When you're hunting, you have two of your most keenest senses, is your hearing and your eyesight. "All of a sudden the woods went to this dead quiet. If I had dropped a pin out of that deer stand... It cut off. No birds, no crickets, no nothing." ~~~ Others have told similar stories featuring that detail of complete silence engulfing them. Brandon Fugal: "And as I was walking around to the back of the old homesteads, it was like I entered an anechoic chamber, a soundproof room. And there was an auditory sensation. It was almost like my ears were boxed. And all of the ambient noise, to a degree, was completely muted. "And one thing that we’ve seen that is consistent is the electromagnetic. The cell phone anomalies…Erik Bard has conducted quite a bit of research into what type of acute medical episodes can accompany extreme electromagnetic, interference or events, even the auditory phenomena that I experienced. I related to you my experience of walking around the back of the old homestead and having this auditory sensation where all the ambient noise was essentially muted. And it truly felt like I stepped into a soundproof chamber of sorts. And it’s interesting. Electromagnetic phenomena at times, and that kind of interference can actually create those kind of reactions biologically." Source: ~ And this excerpt from "Skinwalkers at the Pentagon." (Like with Fugal's experience, this took place at Skinwalker Ranch) "Suddenly a cone of silence descended on Kelleher and Witt; the crickets seemed to go silent and even the faint rustling of the breeze in the trees ceased. Turning around, they saw a creature ambling towards them from the south. It was the size of a 150-pound pig and should have been making considerable noise as it walked. Yet, the cone of silence dominated the moonlit scene as the creature glided past within 30 feet of Kelleher and about 50 feet from Witt. To Kelleher, it appeared the animal had a series of dinosaur-like spines on its back and also sported a very large, flattened beaver-like tail. It noiselessly coasted past the pair and disappeared around the southwestern corner of the building, still not making a sound. Even Kelleher, who had spent hundreds of days and nights on Skinwalker Ranch and had already been exposed to his fair share of bizarre anomalies on the property, felt a distinct chill as he watched the surreal animal shuffle silently away." Longer excerpt: ~~~Back to Jan Mac and The Predator~~~ Jan: "The sun's still up. We were not calling for bad weather that night. It was a great night to hunt. Also, I felt like I had like a mote in my eye. I even took my finger and wiped my eye, like, when you get that fogginess over your eye, like it's just... I look and I'm thinking, 'What is this thing in the trees?' "It looked like a large piece of saran wrap. It's the only way I can describe it. But this thing was very wide. So I'm up fourteen foot, and it hung quite a ways down. And I'm thinking, 'What is this thing?' It didn't really scare me at that time until it moved and formed the arm that reached over to the other tree. It reached over about twelve to fourteen foot, and then it all, like a blob, like, sucked into it. And it went to the whole other tree. "I had this very euphoric feeling like, something ain't right here. Normally at that time, I'd have probably got down and stopped hunting, but for some reason I didn't." Paulides: "So, as you're sitting in your blind and you're looking across, where did the blob come from?" Jan: "I have no idea, it just appeared in the one tree. As it was moving through the woods, it went from like, tree to tree, and then it just...it disappeared. It didn't continue on. So, where it went, I don't know. It's like it just, poof, right before my eyes, vanished. "And I don't remember taking the picture, but being married to who I'm married to, Dr. Bruce Maccabee, he always said, 'If you see anything weird, get a picture.' "I don't recall, actually, when, either, that the sounds had returned. Because it's like, I don't remember. That's not me to this day. Normally, I would probably crawl down, come running in the house and say, 'You ain't gonna believe what's back there in them woods.'" Paulides: "How much longer you think you stayed in the stand?" Jan: "Umm, about half hour till sundown, when it's time to come out." ~ Bruce: "The sequence of this is: Jan goes out to hunt, we have guests show up, we're having dinner. She comes back from the hunt and says nothing about what happened. It was strange. The guests are about ready to leave. Later on, Matthew sends me an email: There was a sighting by a number of students and the faculty at the high school band practice just before dark." ~ Jan: "I'm like, 'Holy crap! Maybe it has something to do with what I saw in the woods?' And Bruce goes, 'What?' And I said, 'I forgot to tell you about what happened in those woods to me tonight!' And I'm reading this from Matthew, and then I started really getting, I get goosebumps. He said, 'This light appeared above the big stadium lights of the football field.' Had Matthew not sent that email, I'm not sure if I would have remembered even that night to say anything." ~ Paulides: "How many kids were on the field?" Matthew Pheneger - Shawnee High School, Class of 2013: "At least thirty. Thirty to forty, I would say." Paulides: "And was that the high school band?" Matthew: "Yes." Paulides: "And so, this was just before you guys went back to school?" Matthew: "Yes, band camp, late August." Paulides: "Late August. So, what time of night do you think that was?" Matthew: "Uhh, between six and seven. We were rehearsing, normally, out here about six, seven o'clock, doing our normal routine, when all of a sudden there was this bright light in the sky that just came out of nowhere. And we all just kind of stopped and looked at it as one." Paulides: "Where was the light?" Matthew: "So, the light was anywhere...it was above the tree line, for sure, just kind of hovering in the skyline. Close enough that it could catch your attention. Like it shouldn't have been there, I guess. If it was some man-made thing, it was too low to be there." Paulides: "Okay. What was the weather like that night?" Matthew: "Clear and hot. Typical, August Ohio weather." Paulides: "Okay. What color was it?" Matthew: "Candle orange. As far as I could tell, the thing had no definable edges to it. There were no like, dimensions. It was just kind of waxing and waning till it just zapped out. You know, our band director, who never stops for anything, he stopped and turned around and looked at us, and he goes, you know, 'What the hell was that?' Before I had time to even like, think about what I was seeing, it was gone. And then it was just kind of like an imprint in your mind, like I've seen something strange.” ~ Paulides: “So in your gut, are the two issues related?” Jan: “I often wonder now. All I can say is it happened within the same time frame, basically, as my experience here. Probably a half a mile over there, as the crow would fly.” ~ Bruce: “This is a Blackberry. On the back, you have the lens. It's not like the modern ones that have a camera on the front as well as a camera on the back. So I'd be taking your picture right now, but I would not be taking my picture. Something happened to that camera, I don't know what, but there's hard evidence of some weird thing that happened. She took a couple of pictures of herself before the event, which provide a fixed point of investigation, you might say. And she took another picture afterwards, So you have the camera phone doing its normal thing before and after, but right in the middle with this one photo, that something bizarre happened. “The picture she took, the resolution somehow changed for that one picture. You could manually change the cell phone to 1600 by 1200, 1024, by 760, or something like that, and 640 by 480. But it got changed to 500 by 400 or something. Numbers that don't exist. I don't know how to make it do that resolution. You'd have to get in there and rewire it somehow, or change the software. But even changing the software doesn't change the number of pixels along the edge of the sensor. I don't know how to explain this filamentary stuff. I can't imagine what this, what looks like it is well focused. I don't know what that is.” ~ Paulides: “I’ve had people write to me and say, ‘Well, what that is is Jan took a picture of her own hair.’” Jan: “My hair was back through the back of the ball cap, where it adjusts. it was tied back.” Paulides: “So there was no part of you that could have been in that frame?” Jan: “No way, no way.” ~ Bruce: “It would be possible for her to take a picture of her hair. She put her hand back there. But that wouldn't change the resolution of the camera or the byte size of the picture.” ~ Paulides: “So Jan, let me ask you, since that has happened, has it changed your life?” Jan: “Yeah, I've never been back in that woods to hunt that. I actually ended up buying a redneck deer blind. I mean, I want something surrounding me.” ~ Bruce: “You can imagine if you saw in the woods some strange thing like that, like The Predator, you'd probably be leery about going back there again, too.”

Joe Murgia

24,717 Aufrufe • vor 1 Jahr

🎵My Dolly Parton Story🎶 - (Video and additional photos in 🧵 below) Exactly one year before the government shut down the world because of the #CommieVirus — especially killing the live entertainment industry — my bands were firing on all cylinders. My private event band, Bull City Syndicate, was doing especially well. We’d been the headlining entertainment for the past two North Carolina Governor’s Inaugural Balls, and played hundreds of high-end corporate events, charity balls, and top-shelf weddings. On March 2, 2019, we were especially excited to be hired as the featured entertainment for a charity event where Dolly Parton would be the main attraction. Not as a musical performer herself, but to promote her own charity, Imagination Library (Imagination Library), and to do a live poetry reading from her own work. The event was the 25th Anniversary Smart Start Gala. Raleigh’s mayor, the governor of NC, and many other VIPs would be in attendance. While the event planner never suggested that we perform or back up Dolly on any of her tunes, it was, in the back of my mind, something I thought would have been really cool. But not something I’d dare suggest or insinuate on my own. My only preshow contact with Dolly’s organization was with her head of security. The Marble’s Kids Museum in Raleigh, NC is a fabulous venue for fun charity events, but it has only one “green room” next to the staging area. Security informed me that the band would have to completely evacuate that shared space at least 30-minutes before Dolly arrived for her portion of the evening’s proceedings. (Not an unusual or inappropriate request, given her enormous superstar status.) The entire 10-piece band was on stage when Dolly was escorted through the back entrance and into the green room. There was some back-and-forth between VIP speeches and live music, so the band stayed in place throughout. Since the event was completely sold out and standing room only, we knew we’d have the best vantage of Dolly if we just stayed on the stage. Dolly’s presentation was scheduled to be only about 10-15 minutes. While the governor and mayor were delivering remarks just in advance of Dolly taking the stage, I looked back at the green room door, off stage left, and I saw my son, Duncan, in full-on, intense conversation with Dolly! (WHAT?!) Duncan, who was only 20 years old at the time and already a freak-of-nature musician himself, was working on my stage crew that night. I’m the band leader, so I’m having to give full attention to the event host and what’s happening on the speaker’s side of the stage … but only 20 feet away, Duncan and Dolly are chatting away like long-lost friends. Finally, at one of my many glances in their direction, Dolly and Duncan catch my eye and both start waving me over to them. I silently point at my chest, then mouth, “Me?” They both nod, say yes, and wave more insistently. I dart off the stage, over to the dimly lit green room entrance corridor. Duncan, who is much taller than I am, puts his hand on my shoulder and introduces me to “Dolly Parton.” (You can imagine the look on my face. Ha!) He tells me that Dolly has a request. I lean down to put my ear close to Dolly, so that she wouldn’t have to speak too loudly while the governor was talking to the audience. (I can imitate her voice, and I wish you could hear it in her voice and Tennessee mountain accent right now.) She says to me: “I didn’t know there was going to be a band here tonight. If I’d known there would be a band, I’d have had you learn some of my songs.” Then she came right out with it. “Do y’all know any of my songs?” I straightened back up, and over the course of less than five seconds my mind raced through every Top-40 solo and duet hit single of hers I’d ever heard on the radio. Country, pop, and otherwise. I made an immediate band leader decision … and lied my ass off. “Yes, we can play ‘Jolene.’” We’d never performed or rehearsed “Jolene,” or any other Dolly Parton tune, in the 20 years I’d led that band. The conversation continued: DOLLY: “Y’all know ‘Jolene?!’” ME: “Yes, ma’am.” DOLLY: “That’s great! When I finish reading my poem, I’ll tell everyone we’re going to sing ‘Jolene.’” ME: “We’ll be ready. What key do you do ‘Jolene’ in?” DOLLY: “I don’t know.” Dolly’s personal assistant leaned over to me and whispered in my ear, “C minor.” (Cm) The original key for “Jolene” was C-sharp minor (C#m), but I assume at 73 years old she might be lowering keys, as many aging vocalists tend to do. I gave Dolly an assuring look and said, “Thank you.” I looked at Duncan with an eye-raised, “Oh, sh-t” look on my face, then ran to the stage and called an emergency huddle of my rhythm section as Governor Cooper droned on in the background. In whispered, panicked tones, I told them, “Guys, you have 10 minutes to learn ‘Jolene’ … Key of C minor … GO!” The guys immediately took out their phones and pulled up the song, each listening privately through their in-ear monitors or holding the phone speaker close to their heads. They started silently fingering around on the guitar and bass guitar frets, and the keyboards. Our drummer sat quietly and listened to the track on his phone. I darted over to our female lead singer, Danie Ward, and asked her if she knew the words and background harmonies to “Jolene.” She gave me “The Look.” Back story … Danie was with my band for over ten years. She was my all-time favorite female lead vocalist, and we became great friends. She and her husband were very active in their church as pastor and she as worship leader. She and her sisters also performed for many years as a family Gospel group. But Danie, as a Black gospel artist, was immensely versatile, able to sing anything from Aretha Franklin to Lady Gaga and leaving you wanting more. And although a Black Gospel artist, her secret desire and ambition was to be a Country music artist. (I kid you not.) So, when I asked her if she knew the words and harmonies to “Jolene,” THE LOOK she gave me was … “Seriously? You dare ask ME that question?” All I needed in response from Danie was “The Look.” No words spoken, and I slinked away appropriately chastised. My band members were all world-class pros, at every position. Especially that rhythm section. Most of whom had been with me for many years at this point. They ended up with more than 10 minutes to quietly and individually—with no rehearsal—learn “Jolene.” A few more minutes passed before Dolly was introduced and brought onstage; then she took another 20 minutes to deliver her remarks and poetry reading. The guys were ready. Dolly finished her poem to a round of applause and immediately announced she’d be performing “Jolene” for them. They cheered in approval. My drummer clicked a four count with his drumsticks, and they were off. As soon as Dolly began to sing the first words of the song, you can see me — in the video below — walking across the front of the stage with a huge smile on my face. Danie then got the thrill of her life. As soon as she’d finished singing the first round of harmonies behind Dolly’s lead, Dolly turned and looked toward Danie and said loudly into the mic, “Good job!” No one knew how or when Dolly wanted to end the song, so there was no real conclusion. They all just kinda stopped. But the audience was enthusiastically grateful they’d gotten more than what they paid for that night. I do wish the event planner had informed Dolly and her team that a band was at the event. I’d have loved to have learned a handful of her songs for the show. Maybe I’d have even been able to sing with her one of her chart-topping duets that she recorded with Kenny Rogers. Even though I never personally sang or performed a single musical note with Dolly, I’ll always be able to say “My band” performed with Dolly Parton. —— Postscript: A few days after that event, I received a call from Dolly’s personal assistant. (The same guy who whispered “C minor” into my ear.) He said he needed my son's address because Dolly had a gift she wanted to send him. Dolly’s PA explained that Duncan reminded her so much of her late brother, Floyd, when he was Duncan’s age. She wanted to send Duncan something special. For whatever reason, the package never arrived. Whether lost in the shuffle of Dolly’s or her staff’s busy life, or because some porch pirate pilfered it, Duncan never received that gift. But the very thought that was conveyed shows you what kind of person Dolly was. (Photos in thread below.) —— Post Postscript: Later that same year, I was attending the W.C. Handy Music Festival in Muscle Shoals, Alabama. At the time, I was managing a renowned Shoals songwriter and his band, James LeBlanc & The Winchesters. Some members of James’ band were performing a lunchtime show at one of the local Shoals area eateries as part of the 10-day festival’s scheduled events. I arrived a few minutes late, and the place was packed. Seated alone at a table near the stage was a woman with bleached Big Hair. She saw me looking for a spot and waved me over. Before I got to the table, I knew she had to be related to Dolly. Sure enough, it was Stella Parton, Dolly’s sister. Stella has had her own far less notable career in music, so I made sure not to gush over Dolly (just in case, and not knowing the family dynamics), but I did tell her about my band performing with Dolly earlier that year. I will forever and always have that story to tell. ⬇️

Steve Baker

50,752 Aufrufe • vor 1 Monat

"We had people around us that started having things happen. And not all of it was rosy. We didn't know that...it's gonna stay with you for maybe...years and years or the rest of your life." ~Mr. B. A Whole Lot of Not Rosy Robert Bigelow: "And so, it (survival of consciousness research) does have this aspect of things to be concerned about. And you know, I've told you that since we formed this institute (Bigelow Institute for Consciousness Studies (BICS)) in June (of 2020), all of a sudden, we had people around us that started having things happen. And not all of it was rosy, okay?” (I really hope he give details in a future interview because I think it's important to know what happened. Just the formation of an institute that planned on studying consciousness caused phenomena to start taking place and some of it was negative in nature. To me, that's problematic. Did anybody get injured or sick, or were they just scared?) Bigelow: "So, I mean, this is family members, myself, my staff. And none of this we expected, we hadn't asked for anything, positioned anything, decided to do anything in this kind of research. Our whole intention to begin with was simply trying to get ourselves up to speed in the literature, after being away from this for so many years, focusing on [the] space world, right? That's been mainly what I've been doing - except for the Skinwalker Ranch thing for 20 years - is the space world...has been huge in my life to pursue. The legitimate, parochial kind of, you know, using fire engines, rockets to get you there (smiles). "So we didn't expect anything like this to happen." (Again, this is various phenomena that allegedly started happening once they formed BICS with the intention of studying consciousness (including life after death), and apparently, some of it was not good. Again, did anybody get hurt? Exactly how bad was it? Details are sorely needed.) Bigelow: "And so, this Holy Grail is different than the second Holy Grail. If the second one being the ET, is a little bit lower. And this first one: Is there any part of your consciousness that survives your bodily death? That's a big deal, that's a huge story, that's gigantic." (I'd push back and suggest that both Holy Grails may be connected or related and the 2nd one may not be ET at all. This other intelligence (which John Keel labelled, "Ultraterrestrials") may reside in, or be able to enter, the same realms we enter when we die. There’s strong evidence that psychic mediums can acquire information they had no way of knowing about via their five senses. But are they talking to the dead, or is something else going on?) ~~~Excerpt from Operation Trojan Horse by John Keel~~~ In 1866, a New Englander named William Denton declared himself to be the first modern contactee. He claimed to be in telepathic contact with beings from another planet, and he and his whole family later purportedly visited Venus and Mars. Denton wrote a series of books describing saucer-shaped vehicles in detail, which he thought were made of aluminum. (A commercial process for manufacturing aluminum was not invented until 1886.) He also told his audiences (he lectured widely) that the folks who rode around in aluminum airships looked very much like us. His narratives were, in many respects, identical to those of the modern contactees. Trance Mediums and Possession Trance mediums were nothing new in 1850. In the Bible’s First Book of Samuel, Chapter 28 describes how Saul consulted a medium (“… a woman that hath-a familiar spirit”). Mediums acted as oracles in ancient times, and people with this peculiar gift appeared in each new generation. Such persons seem to serve as instruments through which the ultraterrestrials can speak to us directly, and they often come up with amazingly accurate prophecies of the future and precise details of events that could seemingly be known only to the dead relatives of the people who consulted them. Of course, when spiritualism became a national fad, a goodly number of charlatans and hucksters moved in. But most of the genuine mediums exercised their talents carefully and for free. They did not indulge in fancy hocus-pocus and did not need paraphernalia, such as spirit cabinets. They were—and are—people who can apparently summon up unseen entities or alien intelligences and extract information from them. I am not a spiritualist myself, although I have attended a few séances over the years, usually in the role of a scoffer and disbeliever. As a longtime amateur magician, I have been able to see through the frauds, but I have also been genuinely perplexed by some of the manifestations I have personally witnessed. (I recommend everybody read about The Scole Experiment or watch the documentary on YT about it. And...read the book, "Ghost Hunters" by Deborah Blum. Related links here: ) ~ Back to OTH... Essentially, a trance medium lapses into an unconscious state, and while in this condition, his or her body is taken over by some outside influence. This influence is usually a self-styled “Indian guide” from “the other side.” Many mediums have been simple, uneducated people, but when in a trance state they have been able to talk foreign languages fluently. Scientists and clergymen have put countless mediums through severe tests over the years. At one group of séances in the 1920s, sitters, who were all versed in different languages, grilled mediums in everything from ancient Chinese to Swahili, and the controlling entities not only conversed in those languages but corrected the sitters’ grammar! The daughter of Judge Edmunds, president of the Senate in the 1850s, gave incredible performances while in a trance, speaking fluently in Greek, Spanish, Polish, Latin, Portuguese, Hungarian, and several Indian languages. Because the sitters—and the mediums—assume that they are dealing with residents of heaven, they ask mostly spiritual questions. Customarily, the “control” will announce that Mr. Blank is standing next to him and wishes to speak to Mrs. Blank, who is attending the séance. Mrs. Blank excitedly begins to question her dead husband, Mr. Blank. How is life on the other side? Just fine, the control replies, a little bored, everyone lives in vine-covered cottages, and all is sweetness and light. Where did Mr. Blank hide his valuable gold watch before he died? It’s wrapped in an old sock and buried under some papers in the bottom drawer of the old rolltop desk, the control answers. Sure enough, when Mrs. Blank gets home, she finds the watch exactly where the medium’s alter ego said it would be. Try to convince Mrs. Blank that she didn’t talk with her dead husband! In many cases, the medium even begins to talk in a voice that sounds exactly like the dead Mr. Blank, uses his pet expressions, and even refers to things known only to Mrs. Blank, indulges in their private jokes, and so on. Occasionally, a deceased celebrity will “break through.” Recently the late George Bernard Shaw made a tape recording in England that is now circulating in occult circles. Those who knew Shaw claim that it sounds exactly like him, uses his phraseology and vocal mannerisms, and displays his brilliant and distinctive wit. The trance phenomenon deserves extensive study because so many aspects of it are directly related to the contactee phenomenon. The contactees have been told a hundred different stories of what life is like on other planets. If you review the descriptions of heaven produced at the thousands of possibly genuine séances, you will find the same contradictions. The entities will lie transparently at one point in the séance, and a few moments later will come up with astounding information that could not be based upon simple trickery. The mediums themselves have always been aware of their controls’ mischievous sense of humor. They speak of false shades and malevolent spirits who perform outrageous hoaxes. So the mediums and the professional investigators are always wary. The fact that a control can imitate George Bernard Shaw does not necessarily mean that GBS is doing the speaking from the spirit world. The fact that a control knows where Mr. Blank hid his gold watch does not necessarily prove that Mr. Blank is standing at his side “on the other plane.” The medium generally remains completely inert while in the trance or “occupied” state but in some instances can become quite animated and make gestures appropriate to whatever is being said. In a very real sense, the medium’s mind has been blanked out, and his or her body has been completely taken over by the control. The medium has become a zombie of sorts, possessed by an alien entity, an entity who lacks a physical form of his own. Contactees often find themselves suddenly miles from home without knowing how they got there. They either have induced amnesia, wiping out all memory of the trip, or they were taken over by some means and made the trip in a blacked-out state. Should they encounter a friend on the way, the friend would probably note that their eyes seemed glassy and their behavior seemed peculiar. But if the friend spoke to them, he might receive a curt reply. In the language of the silent contactees this process is called being used. A used person can suddenly lose a day or a week out of his life. I have known silent contactees to disappear from their homes for long periods, and when they returned, they had little or no recollection of where they had been. One girl sent me a postcard from the Bahama Islands—which surprised me because I knew she was very poor. When she returned, she told me that she had only one memory of the trip. She said she remembered getting off a jet at an airport—she couldn’t recall getting on the jet or making the trip—and there “Indians” met her and took her baggage. She remembered nothing further after that. The next thing she knew she was back home again. It seems likely the same methods are applied to both mediums and contactees. In the case of the mediums, the mind control serves a useful purpose. It enables the entities to establish direct vocal communication with us and, in many instances, pass along worthwhile information. This process can also be destructive. A young man from Ithaca, New York, called me some time ago at the urging of William Donovan, president of Aerial Investigation and Research (AIR), to tell me of his close brush with death. One evening in the fall of 1967, he said, he left his home to drive to a meeting. For some reason he couldn’t explain, he got out of his car, went back into his house, and carried out several aimless actions such as picking up a book from a table and putting it on the shelf. “Finally, I said to myself, Okay, it’s time,” he told me. He remembers leaving the house and again heading for his parked car. The next thing he knew he was in a hospital bed. He had apparently driven about four miles to a railroad crossing just in time to meet an oncoming train. His car was demolished, but he escaped rather miraculously with only a few minor injuries. If he had not gone back into the house and carried out those meaningless, time-killing chores, he would have avoided the train altogether. It is possible, of course, that the shock of the accident blotted out his memory of that four-mile drive—but he couldn’t even remember putting the key in the ignition. This man had been active in investigating the UFO flap that took place around the radio telescope installations near Ithaca in 1967-68. In his book Passport to Magonia, Dr. Jacques Vallee, a NASA astronomer and computer expert, touches on all this. “In the Soviet Union, not so long ago, a leading plasma physicist died in strange circumstances,” Dr. Vallee states. “He was thrown under a Moscow subway train by a mentally deranged woman. It is noteworthy that she claimed a ‘voice from space’ had given her orders to kill that particular man—orders she could not resist. Soviet criminologists, I have been reliably informed, are worried by the increase of such cases in recent years. Madmen rushing through the streets because they think the Martians are after them have always been commonplace. But the current wave of mental imbalance that can be specifically tied to the rise and development of the contactee myth is an aspect of the UFO problem that must be considered with special care.” So there seem to be both good and evil forces at work in this type of phenomenon. The good guys latch onto people with particularly receptive minds and turn them into trance mediums. The bad guys use the same methods to tamper with the minds of contactees and even to commit murders indirectly. Because incidents of these types can be traced throughout history, it seems probable that these forces have always been extant on this planet. When the good guys worked through mediums, they needed some excuse that we would accept. The answer seemed to be “communication with the dead.” These communicative efforts led to the foundation of spiritualism, and the entities played the role to the hilt, using their complete knowledge of us and our individual lives to provide us with “proof” of the existence of a spirit world. This is the same precise methodology being employed with the UFOs to build up support for the extraterrestrial thesis. We humans need acceptable explanations for unnatural phenomena, so “they” happily—and often humorously—supply us with all the explanations we can handle. At the same time, they give us tiny fragments of the real truth, hoping no doubt that we will be able to digest them slowly. Ever so slowly. In earlier times it seems as if they made a complicated attempt to convey the truth to us through mediums and psychics, but we chose to misinterpret these efforts and placed them within the context of our primitive religious beliefs. We are still doing this, and they are going along with it because even misinterpreted communication is better than no communication at all. Religion may not be truth but may merely be a step on the long path of the real truth. Do the ultraterrestrials really care about us? There is much disturbing evidence that they don’t. They care only to the extent that we can fulfill our enigmatic use to them. The Reverend Arthur Ford is one of America’s best-known trance mediums. For most of his life he has served as an instrument for an entity who calls himself Fletcher. In 1928, Fletcher announced that Harry Houdini (who had died in 1926) was on hand and had a message which he wanted conveyed to his widow, Beatrice. The message was in a code once used by the Houdinis in a mind-reading act. This code was known only to the couple and had never been published or revealed to anyone. Fletcher, through Ford, was able to give precise details of this secret code, and Mrs. Houdini later confirmed that the message had to come from her husband. This was only one of Ford’s many coups. In the fall of 1967, Ford went into a trance on Canadian television and produced a message for Bishop James Pike from his deceased son. Bishop Pike, who was present at this televised séance, avowed that the message seemed authentic and seemed to come from the familiar personality of his son. This well-publicized séance launched a major revival of spiritualism in the United States. Reverend Ford travels in high circles but has never made any material gain from his peculiar gift. He gives freely of his time—and Fletcher’s advice from the other side—at séances all over the country. Mrs. Ruth Montgomery, the well-known author and Washington reporter, tells of the time that Reverend Ford visited her in Washington and lapsed into a trance so she could ask Fletcher for some advice on his behalf. Reverend Ford was then in the process of moving and wanted to know what he should do with some of his things. Fletcher seemed totally disinterested in Ford’s problems, Mrs. Montgomery reported, and when she asked if Ford should visit a clinic for a checkup, Fletcher snapped, “He’d better do something. If he doesn’t, I can’t work through him much longer.” Although Reverend Ford had voluntarily submitted his person to Fletcher’s use for nearly half a century, the entity was apparently completely disinterested in his problems and welfare. This is, alas, rather typical. Even the most helpful entities seem more dedicated to the job of communicating than to any kind of involvement with those to whom (or through whom) they are communicating. The bizarre history of psychic phenomena is filled with Fletchers. Mrs. Montgomery, incidentally, indulges in automatic writing herself and has received constant messages for the past few years, many of which have been valid prophecies and stern advice meant to govern her future actions. There have been innumerable psychic hoaxes for the past 150 years, and many of these parallel the UFO hoaxes. In 1855, the Fox sisters confessed that their spirit rappings were a hoax. They said they produced the sounds by “snapping their toes.” Think about that for a moment. Snapping your toes so that it sounded like a rap on a wall or table would be a most remarkable talent—perhaps even more remarkable than the ability to communicate with the spirit world. I don’t believe I would pay ten cents to hear someone talk to a rapping spirit—but I would happily pay five dollars to examine someone who could duplicate the rapping sound by snapping his toes. Later the two sisters said the confession was false, and they had been bribed to make it. "Mrs. Houdini was genuinely astonished and impressed by Reverend Ford’s messages from her husband, and she made numerous public statements to that effect, as well as signing various affidavits. But later, in the 1930s, she chose to deny it all for a time. Then, shortly before her death, she reversed her denials. In ufology we have to contend with teenagers’ hot-air balloons, and in psychic phenomena we have to worry about youngsters firing rocks at houses with slingshots and phony mediums levitating “spirit trumpets” with black thread. But there are many more UFO sightings than there are plastic balloons, and there are more poltergeists dumping rocks in living rooms than there are wild-eyed youngsters with slingshots. There are also more ultraterrestrial entities than either the occultists or the UFO enthusiasts dream of." ~~~Edit of the Bigelow Interview~~~ Bigelow: "I also, I was...I got very disturbed toward the end (of AAWSAP) about something that happened to some of the government people, and I realized uhh...holy crap." (Read, "Skinwalkers at the Pentagon." I think it's one of the most important UFO books in recent memory.) George Knapp: "Hitchhikers." Bigelow: "Umm... Well, yeah. You know. So, hitchhikers being that you take things home with you. Everybody took things home with them. I took things to my house. Things happened to my wife, and to me. Different things. So, everybody took things home. We all, you know, we did. But we didn't know that, gee, it was like, gonna be kind of permanent. You know, we didn't know that, you know? That it's gonna stay with you for maybe...for years and years or the rest of your life, who knows? "But the ones that bothered me a lot where anybody got hurt or really disturbed... Not that it happened on the ranch, it was when they left the ranch. As you say, hitchhikers. And these were government people and it affected them." Knapp: "In very dramatic ways, though." Bigelow: "Very dramatic ways. Very dramatic ways. You know, and there's a cousin to that that we're facing, but it's abated, at least for now. And this other survival topic, right? The very dramatic kind of things that we wanted to have reduced or stopped." (The "cousin" to the hitchhiker phenomenon features the not-so-rosy things he referred to early on in this clip. But at least it had abated at the time of this interview. Has it started up again?) Bigelow: "But going back to the government people, the buyer (Brandon Fugal) came along at the right time, I had decided I wanted to tone down..." Knapp: "Take this off your plate." Bigelow: "Yeah, take it off my plate, tone it down, and if necessary, just lock it up and forget about it. And next thing I know, you know, [Fugal] comes along and, you know, the rest is history." Knapp: "Before we leave this, though, the incidents that happened to you, to your wife, to Colm (Kelleher), to me, the, you know, you bring it home. How does everybody handle that? I mean, is it spooky at the time, and do you draw the connection that it's ranch related?" Bigelow: "Yes and no. If the events hadn't happened very often prior to the ranch, then it's not ranch connected. But they did happen." (I think he meant to say, if the events hadn't happened prior to him buying the ranch in 1996 and did happen once he made the purchase, then it would seem to be connected just to the ranch. But he says these anomalous events did happen before he bought it. Maybe some events were connected to the ranch and others were not? Or, this precognitive sentient phenomenon, as John Alexander labelled it, was able to know that Bigelow was going to purchase the ranch in the future and began interacting with him and his wife before he bought it?) Bigelow: "And [these anomalous events] did [happen], where we lived with my wife and I. We had a poltergeist event one time that was really fun and very different, and that was before I ever acquired the ranch. My wife was a very strong - and probably still is, in spirit - person. And so she took them in stride. She had a full manifestation of an apparition, a human-form apparition in the bedroom, and looking at her. "And this was a holy cow. And she happened to tell me, kind of like, 'Oh, well, while you were gone, this is what happened here, a manifestation of this.' I've heard this kind of thing many times through other people, and recently. And she felt the bed depress as there was a curiosity going on because the facial features were distinctive enough to be able to...as though, 'Who are you and what are you doing here?' Coming from the manifestation from the apparition, looking at her, right? "And torso up was kind of what was manifested. And being able to see and feel the mattress being depressed as it's looking at you, wondering, 'Who are you?' That kind of look on the face. 'What are you doing here?' You know, usually you think it would be the opposite direction. 'Who the hell are you?'" (Fully-formed apparitions have been reported over the last 150 years or so but many times only partial bodies are seen. In this case, Mrs. Bigelow only saw the apparition from the torso up. When Leslie Kean sat with physical medium, Stewart Alexander, she said she only saw a hand form. The alleged spirits will say that, many times, it takes too much energy to form a full body. Learn more about the Kean encounter here: ) ~ Knapp: "Was [Mrs. Bigelow] freaked out?" Bigelow: "No. No, she wasn't. There was a bar of light - so this was not normal in the survival research, but maybe in the ET - that was between her pillows. A bar of light. It wasn't coming in from shutters or blinds or anything from the room or any kind of other light source. You could cover, put the pillows down, and the bar would not be reflected on the surface of the object above it, on the second pillow. It only happened when you did this. And she did that and said, 'Oh, well.' I said, 'Well, what did you do?' "'Well, I went to sleep.' Went to sleep, so..." ~~~ (In January of 2012, NYT journalist, Ralph Blumenthal wrote an article about Bigelow Institute for Consciousness Studies (BICS). He ended it with this: ) "One personal footnote. Don’t ask me what happened on Jan. 4 at 5:45 a.m. as I lay sleepless, wrestling with this story. A tremendous bang jolted me and my wife and the dog upright. We found the glass door to our 12th-floor terrace completely spiderwebbed with cracks as if struck with tremendous force, but there was no sign of any projectile. Invisible moisture between the double panes? Or something else? There are things I don’t mind talking about and things I do mind talking about." (Was this prosaic or just more of the not-so-rosy phenomena Bigelow referenced? We need to know!)

Joe Murgia

106,462 Aufrufe • vor 1 Jahr

Min Hee-jin (NewJeans Producer) NHK Music Interview 🔗 “Meticulously planned debut ‘Attention’” 🧢: When I was preparing to launch NewJeans, I really struggled with deciding what our first piece of content should be. I thought about it for a long time and considered many possibilities. It was a project that came with high expectations, and for me personally, it was also my first opportunity to prove myself. So how I presented it mattered enormously. Even down to the smallest details… like the impression the very first released photo might give, or what kind of impact we could make at launch. I thought hard about what kind of content would be the most effective… should it be a video or a photo? What time of day would be most effective to release it? I consider things like that very carefully. For example, the way a person experiences content at night versus during the day can feel quite different emotionally. So I even thought about those subtle aspects. Eventually, the conclusion I reached was: “Let’s make the most of our situation.” At the time, the members hadn’t been revealed, and no one knew how many of them there were or what kind of group this would be. So I wanted to maximize that curiosity. You know how the more something is concealed, the more curious people become? I wanted to build that curiosity to a peak and then release everything all at once. That’s why we decided not to release a teaser and instead go straight into a full music video. (This was actually inspired by Hyein suggesting we skip teasers.) I didn’t think still images or photos would be enough to fully convey the feeling I wanted to express. I felt that video and music together would evoke the emotional response I was looking for because people experience things synesthetically. When sound, image, and feeling come together, the emotional impact is stronger. I believed the best way to present the members’ images was through music and a moving picture… that’s why we led with a music video. In the debut music video, “Attention,” there’s a scene where the members act out a little drama. I paid very close attention to that moment and created music that would fit it precisely. For me, I don’t just make content… I design the entire process of how it should be shown for the greatest effect. And I believe that’s incredibly important. That first feeling someone gets when they encounter something… that emotion, that spark… is so important to me. I’m very detail-oriented, but I also value fun deeply. So rather than just releasing content, I want to enjoy the process leading up to it. Even when we released our second album, since we shot the entire music video across the country, the sequence of how we released the videos was critical for me. It’s hard to explain all this simply in an interview, but maybe some people noticed: the first content we released that time was actually a teaser for the last track, “ASAP,” and then we followed that with the full music video for “New Jeans,” which was the first track. That order was a carefully calculated strategy. It was designed to guide the audience’s emotional journey. Seeing the audience react just as I had hoped—that whole process was honestly so fun and thrilling for me. I think I really enjoy that kind of thing. ——— “How 'Ditto' was born” 🧢: People often praise the music of NewJeans, and I hear a lot of talk about genres. But actually, I don’t feel bound by genre at all. I love a wide variety of music. I’m not the type to insist on only one particular genre. What I love are songs that blend genres cleverly… those are my personal favorites. So going forward, my focus is not on genre but on whether something feels fresh and whether it can create an emotional moment. I don’t want to define what kind of music we make. And I think you have to experience the flow of the times to really understand what’s meaningful in a given moment. For instance, the song “Ditto” was chosen because it delivered emotion. It matched perfectly with the winter album concept I had envisioned, both in terms of timing and mood. When I hear a song, I tend to trust my gut. I have a pretty strong intuition for which songs will resonate. It’s not about objectively predicting what will be a “hit,” but about whether a song moves your heart… you can just feel it. Of course, my own taste plays a big role. But I think that’s actually my strength as a producer, not as a composer. When I hear a song, I can immediately picture the visual… what kind of story, what kind of vibe it could carry. That allows me to work faster. For example, when expressing something like school uniforms, there are so many possible variations. But I always like to start from the basics… what’s the original idea of a school uniform? I try to return to that. So with “Ditto,” I wanted to tap into something primal… the pure, basic feeling of liking someone. That kind of emotion is universal. Everyone has it; it’s wired into us. When I saw Director Shin Woo-seok’s interpretation of it, I thought, “Yes, that’s it.” That’s the kind of complete interpretation I look for. I believe the completion of a project comes from every person involved thinking about their part down to the final detail… the maximum quality they can bring out. My role is to unify and refine all of that. I draw out the essence of each person’s creativity, trimming away anything unnecessary. So the final product is something that’s polished and high-quality, just the way I envisioned it. That’s my working style. So it’s not like I’m fixated on retro or stuck in a particular style. I don’t think human taste has changed all that much. Things people liked in the past are the same things we like now. It’s just the form of expression that changes with time. I don’t feel bound by “past” or “present.” I don’t even think in those boundaries. To me, it’s all just good taste. You know how kids sometimes have their own little treasure boxes when they’re young? I think my work is kind of like that. I want to make things that never feel dated—that are timelessly enjoyable. ——— “Dance Expression and 'Hype Boy'” 🧢: I had a vision of what kind of girl group I wanted to create. That’s why I chose a song like “Hype Boy.” And to bring out that feeling, we created four different versions of the music video. Every choice had a purpose, everything was designed to maximize the experience of the song. “Hype Boy” is such a unique song. It has this strange, piercing melody that gives people chills in a good way. To emphasize that tingling feeling, I had to break away from the standard K-pop choreography format… you know, the kind where everyone is in perfect formation, doing synchronized moves. But our songs don’t suit that kind of choreography. Our dances are much harder. They require the body to move very naturally with the groove of the melody and beat. So I think our members are incredible. It’s not easy to express naturalness with your body, and you have to really enjoy it to make it look effortless. But they pulled it off so well. They’re still young, but they’re so talented. And through it all, I wanted to avoid making them look like they were performing just for business. I wanted them to show the pure joy and bright spirit that’s natural for people their age… genuine, carefree, radiant. ——— “The difference between NewJeans and conventional K-POP” 🧢: Ah, for me, it’s all about naturalness. And honestly, naturalness isn’t something you can produce or direct into existence. It comes from how I interact with the NewJeans members on a daily basis… what kind of environment they practice in, how they live and work. There are so many things that don’t appear on camera, but those unseen aspects have to be in place in order for true naturalness to come through. That’s why I wanted to create that kind of environment for the girls. And also, I wanted to shape my own working environment in that way too. Only then can something truly natural, something unforced and not overly stimulating, really come out. To begin with, I don’t believe anyone can be completely natural in front of a camera or under the gaze of others. It’s human nature to become self-conscious. That’s why I think naturalness is our strength, but it can’t be our concept. If you try to turn “naturalness” into a concept, it actually becomes incredibly artificial. So why do I place so much importance on naturalness? It’s because the girls are still so young. While other kids their age are going through school and having a wide range of life experiences, these members are living very different lives. Before they officially debuted, I told them, “This is like studying together with me.” Our standard contract is seven years, which is about the same length as going through high school and college in Korea: three years of high school and four years of university. So I told them, “We’re going to school together. We’re learning together.” And in that sense, I want to be a good teacher to them. They’re also surrounded by an incredibly professional team, people they’d never meet even in a traditional school setting. I’ve never really liked the word idol. These days, that word is used more like a job title, something manufactured by the industry, and it’s far from its original meaning. To me, the term idol feels misplaced. It doesn’t really reflect who these artists are or what they represent. And I’m not the kind of person who clings to labels or terminology. In fact, what I really want is to break the stereotypes and preconceptions that come with the idol industry. I want us to show people something different… to challenge those assumptions and redefine what this can look like. That’s the kind of mindset I have. ——— “Isn't it difficult for the members to express "naturalness"?” 🧢: There were a lot of things I considered when forming the group. First and foremost, I think it was important that the members shared a similar vibe… like how I prefer working with staff who align with my taste. It’s important for the crew to be on the same wavelength. And by that, I mean more than just getting along… it also extends to shared values. Of course, people won’t all share identical values, but when we’re facing in a similar direction, everything becomes easier. It’s also just more efficient to work with people who have overlapping tastes. Now, when it comes to our members, they each have their own individual tastes, but those preferences are still in development. Just like we all went through as kids, they’re still growing, still discovering themselves. They’re not in a finished state. So we didn’t cast them based on some complete or polished version of themselves. It wasn’t like, “This person is fully formed, let’s pick her.” It was more like, “Ah, she has potential, there’s something there.” That sense of a spark… those were the kinds of subtleties I paid attention to. I didn’t cast anyone just because they were pretty or could sing well. I don’t work like that. I really value those finer, more delicate aspects. Even the design of the light stick wasn’t something that came from a long strategic planning session… it was actually a spontaneous idea. I didn’t sit down and think, “Let’s make a light stick like this.” NewJeans didn’t have a fixed logo, but I felt we still needed a unifying symbol. So one night, just before going to sleep, I kept thinking about it. Right before dozing off, I started sketching and it turned into a rabbit’s face. When I drew it out, the shape just continued and turned into a bunny. To me, the NewJeans members are like little bunnies… playful, innocent. Their visuals also resemble rabbits in a way. And rabbits symbolize abundance. That made me think: “Ah, maybe our fans will multiply like rabbits. That would be great.” So that bunny face became both a symbol for the members and the fans. The image came to me all at once, and I imagined a venue completely filled with bunny light sticks. That vision led to the creation of the light stick itself. Since I always prioritize fun in everything I do, the next idea that came to mind was making the light stick customizable. I thought, “Wouldn’t it be great if fans could personalize their bunny?” That way, each rabbit would represent a different person’s character. So we included accessories, allowing everyone to customize their own bunny. It’s symbolic of all these different bunnies coming together and enjoying a good time as one. Our light stick has a big head, so when it’s used in a concert hall, it lights up in heart shapes that are very visible. That was the image I really wanted. And that bunny face… it’s also a heart. It represents both the face of NewJeans and our hearts. It’s the love we’re showing to our fans, and the love we want to receive in return. Every time I see it, I feel deeply moved. It’s very emotional for me because it’s a perfect realization of what I envisioned. As someone with a background in creative direction, there’s nothing more satisfying than seeing an idea materialize exactly the way you imagined it. That kind of work holds deep meaning for me. ⸻ 🧢: Looking back, I think in 2023 we were able to achieve almost everything we had hoped for. I’m so incredibly grateful for that. Of course, this is an ongoing challenge… and the better things go, the more pressure there is. That’s why I always try to return to my original mindset. Just like I tell the members, I try to remind myself of the beginning and keep things fun. Back then, when we were first putting out content, planning the music, and working on visuals, I felt this thrill… this rush of excitement. I don’t want to forget that feeling. So I try hard to engrave that emotion into every album we release. I’m constantly working to rediscover the joy in all of it. So for 2024, I hope everyone can look forward to us with fresh anticipation. And even if we come out with something completely new, I hope people will receive it warmly and with excitement. That’s really my deepest wish. 🙏

1tokki

17,635 Aufrufe • vor 1 Jahr

Dogs and wolves split apart at least 15,000 years ago. Then a golden retriever met a wolf pup, and did something his own owner says terrified him. 97 seconds. Sound on. Watch the video BEFORE you read another word. Then come back. I'll show you why this clip is stranger, and far more important, than it looks. (Long read. Bookmark it now. You'll want it later.) . I'm not going to tell you what happens in that video. Not one spoiler. Not a hint. Because the video does its own work, and it does it better than any caption I could write. What I can do is show you the invisible layer underneath it. The biology. The history. The 15,000 years of evolution that were supposed to make a moment like this impossible. When you press play, you are not watching two animals. You are watching two completely different answers to the same question, standing in the same yard. The question is: what does a creature do when it loves something it was never built to keep? Read on. Then watch again. It will hit differently the second time. I guarantee it. . PART 1. THE SPLIT Let's start with the number that should bother you. Fifteen thousand years. Possibly forty thousand. Scientists still argue about the exact date, and they argue loudly. Somewhere in that window, a population of ancient wolves, one that no longer exists anywhere on Earth, forked into two paths. One path led to the wolf you know from documentaries. Wary. Silent in the trees. Built to survive without us. The other path led to the animal sleeping on your couch. Here's what almost nobody realizes: your dog did not descend from the modern gray wolf. Both descend from a shared ancestor that vanished. Dogs and wolves are less like parent and child, more like cousins who grew up in different countries and stopped speaking the same language. And yet their DNA is almost identical. Different by a sliver. They can even interbreed and produce fertile offspring. Biologically, the gap between them is tiny. Behaviorally, the gap is an ocean. In 2017, a Princeton-led team compared the genomes of dogs and wolves and found something eerie. Dogs carry differences in a region of the genome that, in humans, is linked to Williams-Beuren syndrome. It's a condition famous for one trait above all others: extreme, almost unstoppable friendliness. Researchers are still debating what it means. But the idea is staggering. Dogs may not just be tamer wolves. They may be wolves with a dial turned all the way up on one thing: wanting to be near us. Wolves never got that dial. Hold that thought. It matters more than you think. . PART 2. THE DOG WHO WAS BUILT TO BE GENTLE Now meet the golden retriever. He wasn't found in nature. He was designed. In the mid-1800s, on a vast estate in the Scottish Highlands, a wealthy lord named Dudley Marjoribanks set out to create the perfect gundog. A dog that would swim into cold water, find a fallen bird, and bring it back to the hunter without leaving a single tooth mark on it. Read that again. The defining feature of a golden retriever is what breeders call a soft mouth. A dog that can carry something fragile, something alive or nearly alive, in its jaws, and not crush it. For generations, the goldens who were gentlest got to breed. The ones who were rough didn't. Think about what that does over 150 years. You are not just selecting for a coat color or a size. You are selecting, again and again, for restraint. For an animal that has power in its jaws and chooses not to use it. Today the golden retriever guides the blind. Sits with the dying. Finds people buried under rubble. Walks into hospital rooms and lowers a blood pressure reading just by resting its head on a bed. We took a predator and, over centuries, we bred one question out of it: should I hurt this thing? The golden's answer is almost always no. Now here's the part I can't stop thinking about. That gentleness was never aimed at a wolf. It was bred for birds. For children. For us. So what happens when an animal engineered for tenderness meets an animal that was never engineered for anything, one that is still, in every cell, exactly what the wild made it? That's the video. Go watch it if you haven't. I'll be here. . PART 3. THE ANIMAL THAT WAS NEVER ASKED A wolf pup is born blind and deaf. It weighs about a pound. For its first weeks it knows three things: warmth, milk, and the smell of the pack. Its eyes open at around two weeks, and they are blue. They will change to gold or amber within the first months of life, like a color being poured in slowly. In the wild, that pup is raised by an entire family. Mother, father, older siblings, all of them feeding, guarding, teaching. Forget the "alpha wolf" myth you were taught. The biologist who popularized that term, David Mech, spent decades correcting himself. A wild pack is not a gang with a boss. It's a family. A breeding pair and their kids. Which means a wolf pup's entire universe is built around one idea: the pack is everything. Now think about what it means when that universe collapses. Here's the hard science on why wolves aren't dogs, even when humans raise them from the earliest days. Researchers who want socialized wolves take pups from the den at around ten days old and hand-raise them around the clock. Bottle. Warmth. Constant human contact. It's the closest thing to a perfect human upbringing a wolf can get. In a famous 2003 experiment in Hungary, scientists gave hand-raised wolves and ordinary dogs an impossible puzzle: food locked in a box that couldn't be opened. The dogs did something instantly recognizable. They turned around and looked at the nearest human. Straight at the face. Help me. The wolves, raised by humans since they were days old, looked at people far less. They kept working the problem alone. Let that sink in. Same upbringing. Same people. Same room. And still: one animal looks to us for help by instinct, and the other doesn't think to. That's the dial I mentioned. It isn't something you can install with love and a bottle. It took thousands of years of living beside us. There's a legendary experiment that proves how deep this goes. In 1959, in Siberia, a geneticist named Dmitri Belyaev started breeding silver foxes. He selected for exactly one trait: tameness. Nothing else. No looks, no size, no color. Within a handful of generations, the foxes started wagging their tails. Licking hands. Whining when humans left. Then something nobody asked for started happening. Floppy ears. Curly tails. Piebald coats. Foxes that looked like puppies. Pick for friendliness alone, and a whole different animal surfaces. It took decades of careful selection to make a fox that wants us. Which brings me to the question that makes this video so unsettling. If wanting a human is a trait that takes generations to build, what happens when an animal WITHOUT it forms a bond anyway? And who is that bond really with? . PART 4. THE NOSE THAT READS THE FUTURE Before I say another word about the video, let me tell you about the most underrated superpower in the animal kingdom. You have about six million scent receptors in your nose. A dog has around three hundred million. The part of a dog's brain that processes smell is, proportionally, dozens of times larger than yours. Dogs can detect certain odors at parts per trillion. Picture spotting a teaspoon of sugar dissolved in two Olympic swimming pools. But smell isn't the interesting part. The interesting part is what a dog smells ABOUT YOU. In 2022, researchers at Queen's University Belfast collected breath and sweat samples from people before and after they did stressful math tests. Then they trained dogs to tell the samples apart. The dogs picked out the stressed samples correctly about 94 percent of the time. Your dog can smell your cortisol. Your fear. Your dread. And here's the thing. You don't have to say anything. You don't have to cry. You can hold a perfectly calm face while your body chemistry is screaming. Now add routine. Dogs are pattern-recognition machines. They know what your keys sound like, what a suitcase means, which shoes you wear when you're leaving for an hour and which shoes you wear when you're leaving for good. Neuroscientist Gregory Berns put dogs in brain scanners and found that the reward center of a dog's brain lit up most strongly for the scent of a familiar person. Not a stranger. Not another dog. The person they loved. So when I tell you a dog can KNOW something is coming before anyone speaks, I'm not being poetic. I'm describing chemistry, memory, and pattern, running in parallel, faster than you can think. There's a moment in this video where you'll understand this section in your bones. I won't tell you when it is. You'll feel it. . PART 5. THE EYES Here is a fact that rewires how you see your own dog. In 2015, a Japanese team published a study in Science that stopped a lot of people cold. They found that when a dog and its owner look into each other's eyes, both of them get a surge of oxytocin. The bonding hormone. The same one that floods a new mother when she looks at her baby. A loop. Dog looks at you, your oxytocin rises, you look back, the dog's rises. Two nervous systems tuning to each other through nothing but a stare. And here's the twist that gives me chills. The same team tried it with hand-raised wolves and their human caretakers. The loop didn't form. The wolves didn't hold the gaze the same way. The humans didn't get the same hormone hit. Something that comes naturally between a dog and a person simply wasn't there. It gets stranger. In 2019, researchers published a paper in PNAS showing that dogs have a tiny facial muscle above the inner corner of the eyes that wolves essentially lack. It's the muscle that lifts the inner eyebrow. It's what creates the "puppy eyes" look that makes you feel something you can't argue with. A muscle. Evolved, apparently, for one audience: us. Shelter research backs it up. Dogs that make that expression more often tend to get adopted faster. Dogs learned to speak human with their faces. So eye contact, for a dog, is not a small thing. It's the deepest sentence in the language they invented for us. Which is why, when you watch this video, I want you to pay attention to something most people miss the first time. Watch the eyes. Watch who looks at whom. Watch who doesn't. Because in the dog's language, refusing to look at someone you love is one of the loudest things you can say. . PART 6. THE BOWL Ask any dog behaviorist what the ultimate test of trust between two canines is, and you'll hear the same word. Food. Resource guarding is one of the oldest, most primal instincts a dog has. Food is survival. A dog that doesn't defend its meal was, for most of history, a dog that didn't make it. Growls over a bone are not rudeness. They are ancient math. So the bowl is sacred. In a home with two dogs, watch who eats first, who eats faster, who stands too close, who gets a warning stare. A shared bowl between two animals is a peace treaty signed in kibble. Some dogs will happily share toys, beds, even the couch, and still lock up the moment a bowl hits the floor. Some never share it. Not once. Not with anyone. Now put a wolf pup in that picture. A wolf pup that has known real hunger. Or no mother at all. Or no pack. That's an animal for whom food is not a snack. It's a verdict on whether the world is safe. And put a dog who has never, ever shared his food in that same room. I'm not going to tell you what happens next. But when you get to that moment in the video, and you will know it when you see it, remember this section. Remember what the bowl means. . Pause for a second, because a pattern is forming. Smell tells a dog what's coming. Eyes tell him who matters. The bowl tells him who's safe. Play tells him who's family. Four separate systems, one conclusion, and it's the same conclusion every time. You now know how to read the language. All that's left is to watch someone speak it, with everything on the line. . PART 7. THE GRIEF NOBODY BELIEVED IN For most of the twentieth century, serious scientists were warned not to say that animals feel grief. The word for the sin was anthropomorphism. Projecting human feelings onto beasts. You could lose credibility for even suggesting it. And then the data started rolling in. In 1925, a Tokyo professor named Hidesaburo Ueno died suddenly at work. His Akita, Hachiko, who had walked him to Shibuya Station every morning and met him at the platform every evening, showed up at the station the next day. And the next. For nine years, nine months, and fifteen days. Every single evening. Until his own death in 1935. The Japanese made a statue. The world made movies. But the scientists stayed cautious. One dog. Could be habit. Then in 2022, a team in Italy studied hundreds of multi-dog households where one dog had died. Owners reported that the surviving dogs changed. They sought more attention. They played less. They were less active. Many showed sleep and appetite changes. Not proof of grief exactly as we feel it. Scientists are still honest about that gap. But proof that the loss of a companion reshapes a dog's whole behavior. Here's the honest version, and I'll give you both sides: skeptics say we can't know what a dog feels inside. That's fair. We can't. We can only observe behavior, hormones, brain activity. But if a dog changes when a friend disappears, then that friend was never "just another animal" to him. Which raises the question the video quietly asks: What happens when a dog can see the loss coming? Not after. Before. Does the grief start early? Watch and decide for yourself. . PART 8. PLAY IS A CONTRACT Every canine on Earth speaks one shared language of play, and it's older than domestication itself. It starts with a bow. Front legs down, rear end up, tail high. The famous play bow. Researchers, especially the biologist Marc Bekoff, spent years studying it and found that it works like a punctuation mark. It means: everything I do after this is a game. If I bite, it's not a real bite. If I pounce, it's not an attack. It's a contract. And here's the wild part: wolves use it. Foxes use it. Coyotes use it. Dogs use it. The signal predates the split I told you about in Part 1. Which means a dog and a wolf can meet, with 15,000 years of divergence between them, and still understand each other's opening move. It gets deeper. Play is a negotiation between unequals. A big dog playing with a smaller one will often hold back. Roll over. Let the little one "win." Researchers call it self-handicapping. It's the animal version of a father lifting his daughter onto his shoulders and letting her win the race. And they role-reverse. The chaser becomes the chased. The one on top ends up underneath. That only happens if both animals believe the other is safe. Play, in the animal kingdom, is the most honest test of trust there is. Nobody can fake it. You can't roleplay tenderness with a body that has fangs. You either mean it, or the game collapses in seconds. And it changes as the years go on. Puppies play like puppies. Then they grow. Their size changes. Their strength changes. Their jaws change. The game has to change with them, or it ends. Some friendships don't survive that. Some survive by getting more careful, more precise, more competitive, and somehow more loving at the same time. The end of this video is a masterclass in that. I'll leave it there. . PART 9. THE HARDEST KIND OF LOVE Now the uncomfortable part. The part the internet often skips. Wolves are not pets. Say it out loud and it sounds obvious. But every year, people fall in love with the idea of a wolf, and every year the story ends badly for the animal. A wolf is built to cover up to thirty miles in a day. To live in a family of its own kind. To communicate with howls that carry for miles. Its jaws, its instincts, its stress responses, its needs are those of a wild animal. A house cannot hold that. A backyard cannot hold that. Love, however genuine, is not a substitute for what a wolf actually needs. And here's the tragic loop wildlife rescuers talk about: an orphaned wolf pup that grows up around humans is often too habituated to ever be released. It didn't learn what its mother would have taught it. It doesn't fear what it should fear. So the "rescue" can't end in the forest. It has to end somewhere in between. Somewhere that isn't the wild and isn't a living room. A place built for what this animal is. That's where the real story lives. Not in the rescue. In the decision after. Because the hardest thing in the world isn't loving something. It's loving something enough to hand it to the people who can give it the life it needs, and then living with the hole that leaves. People get torn apart over decisions like that. Not because they didn't love the animal. Because they did. Sometimes the most loving act looks exactly like loss. And here is what stopped me. The human in this story wasn't the only one who understood that. Somebody else in that story understood it too. Somebody with four legs and no ability to speak. I won't say who. I won't say how. Just watch. . PART 10. WHY YOUR CHEST TIGHTENS Have you noticed something strange about videos like this? They don't make you sad exactly. They make you feel something warmer. A tightness in the chest. Goosebumps on your arms. Sometimes a sudden hot wetness at the corners of your eyes, and you don't know why. Psychologists have a name for it now. Kama muta. It's Sanskrit for "moved by love." The researcher who helped define it, Alan Fiske, argues that it's triggered by one specific thing: the sudden intensification of a bond. A reunion. A reconciliation. A loyalty proven under pressure. A stranger becoming family. That moment when two beings who could have stayed apart choose each other anyway. Across cultures and languages, the physical signature keeps showing up: chills, tears, warmth in the chest, a lump in the throat. It isn't sadness. It isn't happiness. It's the feeling of witnessing connection get stronger. Another psychologist, Jonathan Haidt, calls a cousin of it moral elevation. That warm lift you feel when you watch someone do something unexpectedly good. It makes you want to be better. Kinder. It literally makes people more likely to help others afterward. So why do animals trigger it so powerfully? Because animals strip out everything we distrust in human stories. No agenda. No performance. No PR. No "what's in it for me." A dog can't fake loyalty for likes. A wolf can't pretend to love you for status. When two animals from opposite ends of evolution choose each other, we're watching the purest version of the thing we hunger for in our own lives, in a form we can trust. That's why you'll feel it. That's why you'll want to show it to someone right after. And that's why the algorithm will keep showing it to you. . PART 11. SIXTEEN FACTS THAT WILL CHANGE HOW YOU SEE THIS CLIP FACT 1. For every wild wolf on Earth, there are thousands of dogs. One branch of the family tree took over the planet by befriending us. The other stayed wild and stayed rare. FACT 2. Wolf pups are born with blue eyes. Adult wolves usually have gold or amber. Nobody sees the change happen. It just does. FACT 3. Wolves rarely bark. Barking is mostly a dog invention, and one theory says it evolved largely to talk to humans. FACT 4. A dog's tail wag isn't just "happy." Research suggests a wag skewed to the right side tends to signal approach and comfort, and one skewed to the left signals hesitation or stress. A dog is broadcasting its mood in code, and you were never taught to read it. FACT 5. Dogs catch human yawns. Wolves catch yawns from each other, and more so from the ones they're closest to. Contagious yawning tracks emotional closeness, not just habit. FACT 6. A wolf can eat up to twenty pounds of meat in one sitting. Then not eat properly for days. Feast and famine is written into its body. FACT 7. In a dog's brain, praise only lights up the reward center when BOTH the words and the tone are right. Say "good boy" in a flat voice and it doesn't fully land. Dogs process what you say and how you say it separately, then combine them. FACT 8. A wild wolf lives roughly six to eight years. A golden retriever lives ten to twelve. One of them is built for hardship. The other is built for company. FACT 9. Dogs combine faces and voices to read emotion. In one study, dogs shown two human faces while hearing a voice looked longer at the face whose emotion matched the sound. FACT 10. A border collie named Chaser learned the names of more than 1,000 toys, and could pick out a brand-new one by pure elimination. That's reasoning, not tricks. FACT 11. Wolves in a wild pack are a family, not an army. The pups eat, the parents hunt, the older siblings babysit. The word "alpha" mostly belongs to captive wolves forced together, not wild ones. FACT 12. A dog's nose print is as unique as a human fingerprint. So is its bond with you. FACT 13. Dogs hear frequencies far above what you can, up to roughly 45,000 Hz and beyond. The world around you is full of sound they can't stop noticing. FACT 14. A wolf's paw print can be nearly five inches long. Bigger than most dogs' prints. Yet the golden retriever's heart, by any measure that matters, is not smaller. FACT 15. Dogs dream. They go through REM sleep just like you. The twitching, the tiny barks, the running paws: it's a brain replaying its day. FACT 16. The wolf is the ancestor of the dog only in the loosest sense. Both come from a wolf lineage that no longer exists. When you watch these two, you are watching an ancient family reunion between two branches that lost touch before recorded history. . PART 12. HOW TO WATCH IT (WITHOUT ME SPOILING IT) You've made it this far, which tells me one thing about you. You're not a scroller. You're a noticer. So here's how to watch this clip like someone who knows what they're looking at. FIRST WATCH. Just feel it. Don't analyze. Let the story run at its own speed. The clip is under two minutes and it doesn't waste a second. SECOND WATCH. Focus on distance. Notice how close the animals stand. How that changes. How it never quite changes the way you expect. THIRD WATCH. Focus on the dog. Only the dog. Not what he does. What he refuses to do. FOURTH WATCH. Focus on the ears and the tail. Everything a dog can't say, he says with those two things. And he says a lot. And the last five seconds? Do not skip them. Do not scroll early. Watch the final image and ask yourself one question: If this is what the two of them look like now, what did it cost to get here? . CLOSING. WHY THIS MATTERS MORE THAN A "CUTE VIDEO" Let me leave you with the thought that made me write all of this. We live in a world that constantly tells us bonds are transactional. That loyalty is naive. That people, and animals, only love you when you're useful. Then along comes a story like this, and it quietly breaks that theory. A dog engineered for gentleness. A wolf engineered by nothing but the wild. Fifteen thousand years of evolution between them, a wall of biology that says they should be strangers, or worse. And instead: a bond so strong that the humans standing around it were afraid of what it would cost. Not because anyone was in danger. Because one of them understood exactly what was at stake. That's the thing about animals. They don't need the science. They don't need Part 1 through Part 12. They don't know about oxytocin loops or kama muta or play bows. They just know who matters. And they act on it, immediately, with everything they've got. Maybe that's the real reason this kind of video travels the way it does. Not because it's cute. Because it reminds us of a level of loyalty we've quietly stopped expecting from each other. So do these three things. ONE. Go watch the video. All 97 seconds. Sound on. TWO. Come back and reply with the exact moment you felt it. I want the second, the caption, the look. Tell me where it got you. THREE. Send it to one person who needs to see what love looks like when nobody is performing it. You know who. Repost this if the video moved you. Follow me for more stories where science and animals collide. And remember the question from the top of this post, because now you can answer it. What does a creature do when it loves something it was never built to keep? If you watched carefully, you already know. If you didn't, go back. The answer is in the last frame.

Earth Unveiled

50,253 Aufrufe • vor 8 Tagen

Kenalin lia hobinya mancing Seedance 2.5 prompt: Reference mode: Use karakter sheet - location 1 - location 2 (image) # Seedance 2.5 — Lia Morning Village Home Video — 30 Seconds FORMAT: Seedance 2.5 image-reference-to-video. Duration: exactly 30 seconds. Aspect ratio: 16:9. Photorealistic animated video from still-image references, rendered as believable live-action documentary footage rather than cartoon or CGI. Two continuous documentary scenes with only one intentional hard cut at approximately 17.5 seconds. REFERENCE ROLES: * gambar 1 = strict identity and appearance reference for LIA. Preserve Lia as the exact same adult woman throughout the entire video: same facial structure, eyes, nose, lips, skin tone, freckles/skin details, body proportions, tied-back dark brown hairstyle with naturally loose strands, earrings, white fitted top, brown patterned wrap skirt/sarong, and white sandals. Do not redesign or beautify her. * gambar 2 = strict environment and architectural reference for SCENE 1 only. Preserve the modest Indonesian house facade, open tiled front terrace, roof shape, terracotta roof feeling, columns, doors, windows, front yard, trees, plants, overhead electrical cables, scale, and spatial layout. Do not copy any character identity from this image. * gambar 3 = strict environment and composition reference for SCENE 2 only. Preserve the narrow asphalt village road, rice-field surroundings, village rooftops, utility lamp poles, tropical vegetation, distant green hill, open blue morning sky, and rural Indonesian spatial feeling. Do not copy character identity from this image. GLOBAL CHARACTER LOCK: Lia must remain visually identical to gambar 1 in both locations. Same face, body proportions, hairstyle, outfit, accessories, skin texture, and footwear. Her clothes should behave like real cotton and woven fabric, slightly worn and everyday rather than glossy or fashion-perfect. Lia's personality is relaxed and naturally playful. When she talks she becomes noticeably more excited and expressive: bright eyes, quick eyebrow lifts, small head tilts, spontaneous smiles and teasing expressions. Natural Indonesian speech with a light authentic Javanese-Indonesian accent, lively and conversational, never theatrical or caricatured. CAMERAMAN: The cameraman is always physically behind the camera and NEVER appears on screen, in reflections, windows, shadows, or background. His voice is recorded naturally from directly behind the camcorder. When the cameraman speaks, Lia does not lip-sync his dialogue. Lia only reacts with natural eye movement, a small smile, breathing, or subtle head movement. Only Lia's own spoken lines animate Lia's lips. VISUAL STYLE: Ultra-realistic documentary realism. Genuine candid behavior. Unscripted everyday slice-of-life feeling. Natural imperfect body language. Deep environmental authenticity of a rural Indonesian morning. The result should feel like a forgotten family home video recorded in Indonesia in the early 2000s: warm, mundane, affectionate, slightly funny, imperfect and deeply believable. Output may be high-resolution / 8K master quality, but the acquisition aesthetic must strongly emulate an early-2000s consumer DV camcorder: warm slightly faded colors, soft contrast, mild sensor noise, subtle digital compression, limited highlight latitude, natural motion blur, very mild rolling shutter, slightly imperfect white balance, no glossy modern HDR, no modern cinematic color grade, no beauty filter, no excessively shallow depth of field. HUMAN-OPERATED CAMERA: Camera movement must feel physically operated by a real friend holding a consumer camcorder. Use: subtle hand tremor, natural breathing drift, slightly imperfect horizon, small delayed reframing, occasional lens breathing, brief autofocus searching caused by subject movement, minor exposure pumping when moving between shade and bright sunlight. Every camera imperfection must have a physical reason. No gimbal stabilization. No drone. No orbit. No crane. No perfect tracking. No dramatic cinematic push-ins. No stylized speed ramp. No artificial cinematic camera choreography. SCENE 1 — TERRACE MORNING, based on gambar 2 00:00–00:02.8 Begin immediately with Lia already seated casually on the front terrace of the house from gambar 2. Use a loose eye-level medium-wide three-quarter shot, as if the cameraman is standing several steps in front of the terrace. Lia sits relaxed on the existing porch seating, shoulders loose, one foot slightly forward. Her LEFT hand naturally holds a simple glass cup of dark morning coffee. Her RIGHT hand holds one lit cigarette between index and middle finger. Keep object ownership consistent: coffee always remains in the left hand until she puts it down, cigarette remains in the right hand until she extinguishes it. A thin natural stream of cigarette smoke rises and bends with the morning air. Lia briefly takes a small sip of coffee, lowers the glass, casually looks toward the cameraman behind the lens and gives a tiny amused smile. Camera is not perfectly centered and slowly drifts a few centimeters while the operator settles his grip. Tropical morning sunlight illuminates the yard while Lia remains partially under terrace shade. Moving leaves create soft shifting dappled shadows. Exposure reacts slightly to the bright yard behind her. 00:02.8–00:04.5 CAMERAMAN speaks from behind the camera, playful and casually surprised: "widiihh lia santai amat" The cameraman remains completely off-screen. While listening, Lia keeps her lips closed except for a tiny amused smile. She glances toward the lens/operator, lightly raises her eyebrows and relaxes the cigarette hand near her knee. 00:04.5–00:09.7 LIA answers, conversational and excited with a natural light Javanese-Indonesian accent: "iya mas pagi hari itu wajib ngopi dan udud kalau ga bisa pusing loh" Accurate Indonesian lip sync ONLY for Lia. She speaks while sitting naturally rather than performing for camera. Small head movement, lively eyebrows, natural blinking, relaxed shoulders. She gestures once gently with the cigarette hand without waving it excessively. Smoke responds naturally to the movement. Toward the end of the sentence she gives a teasing half-smile. After finishing the spoken line, she takes a tiny relaxed breath; do not make her drink while her mouth is actively speaking. The camera operator makes a very small late correction to keep her face centered. Autofocus briefly breathes, then settles back on Lia. 00:09.7–00:11.5 CAMERAMAN asks from behind the camera: "habis udud mau kemana lia?" Lia remains silent while he speaks. No Lia lip-sync. She tilts her head slightly, looks amused and shifts her weight forward as if preparing to get up. 00:11.5–00:14.5 LIA answers with growing excitement and a playful inviting expression: "ayo ikut aku mancing mas mauu?" Accurate lip sync. On "mauu?" she lifts her eyebrows, smiles toward the cameraman and leans forward slightly, inviting him to follow. Keep the delivery spontaneous, like talking to a real friend, not presenting to an audience. 00:14.5–00:17.5 Dialogue pauses. Lia naturally completes the current activity before leaving. First she places the coffee glass down with her LEFT hand on the nearby terrace surface. Then she taps the cigarette once and extinguishes the cigarette completely in a small simple ashtray using her RIGHT hand. The cigarette state changes from LIT to EXTINGUISHED only after visible contact with the ashtray. After this moment there is no new cigarette smoke. She plants both sandal-covered feet firmly, shifts her weight forward, stands with believable human balance, straightens her skirt naturally and takes her first step away. Realistic cloth movement and hair secondary motion. Foley: soft glass contact, small ashtray tap, woven skirt rustle, sandal movement. CUT LOGIC: At approximately 00:17.5, make ONE simple hard cut after Lia has fully stood and started leaving. No transition effect. No dissolve. No montage. SCENE 2 — VILLAGE ROAD WALK, based on gambar 3 00:17.5–00:21.7 Hard cut directly to Lia already walking along the narrow asphalt village road from gambar 3. Camera follows approximately 2–3 meters BEHIND Lia at natural walking height. Medium-wide rear follow framing shows Lia's full walking movement and enough environment to clearly recognize the road, fields, utility poles, rooftops, tropical vegetation and distant green hill. The cameraman walks behind her, producing gentle vertical footstep bob, mild hand tremor and slightly imperfect framing. Lia walks at an unhurried natural pace. Real heel-to-toe steps. No sliding feet. Her patterned woven skirt reacts naturally to each stride. Her tied-back hair and loose strands respond subtly to the breeze. The cameraman occasionally falls a fraction behind, then naturally catches up. Do not turn this into a smooth professional tracking shot. 00:21.7–00:24.2 Without stopping completely, Lia slows slightly and turns her head and upper torso back over her shoulder toward the cameraman. The movement begins with her eyes, then head, then shoulders. Her lower body continues moving forward slowly. Because she unexpectedly turns back, the camera reacts a little late. Framing briefly drifts off-center and autofocus searches for her face for a fraction of a second before locking. LIA speaks toward the cameraman with teasing curiosity: "mas mau tau aku kemana?" Accurate natural lip sync. Excited light Javanese-Indonesian delivery. Playful half-smile. 00:24.2–00:25.4 CAMERAMAN responds from behind the camera: "kemana tuuuuh" He remains completely off-screen. Lia's mouth stops speaking while his line is heard. She keeps looking back with a mischievous expression, suppressing a laugh. Camera continues physically walking behind her with natural small shake. 00:25.4–00:29.2 LIA gives the punchline: "aku mau cari om om loh mas eee" She delivers it playfully and excitedly, building toward the final "eee". Accurate Indonesian lip sync. Immediately after finishing "eee", she bursts into a genuine spontaneous laugh. Her shoulders bounce naturally from laughter. She briefly squints, smiles widely and turns her face partly forward again while still chuckling. The laugh feels uncontrolled and candid, not like scripted acting. The cameraman reacts physically by momentarily losing perfect framing while continuing to walk. The camera dips slightly and catches up again. Do not add any new spoken words. 00:29.2–00:30.0 Lia is still walking and laughing softly. She begins turning her attention forward again while the cameraman follows. The framing drifts slightly toward one side because the operator is walking and laughing/reacting behind the camera. End imperfectly: the recording abruptly cuts to black MID-MOTION at exactly 30 seconds, without a polished ending, fade-out, pose, title or outro. ENVIRONMENTAL AUTHENTICITY: The environment must feel alive but never distract from Lia. SCENE 1 background: subtle tropical leaves moving in morning air, occasional distant motorbike passing outside the main foreground, one distant resident casually sweeping with a traditional broom when composition permits, small household plants moving, occasional water drip, overhead electrical cables, terracotta roofing, weathered concrete, real glass and ceramic surfaces, one cat may briefly react or cross far in the background only if naturally integrated. SCENE 2 background: rice and grasses moving gently in the breeze, distant village activity, occasional far motorbike, subtle birds, coconut or tropical foliage moving, utility poles remaining stable, no crowds, no staged extras. Background activity must continue independently of Lia as if the village exists beyond the scene. LIGHTING: Natural tropical morning light only. SCENE 1: bright morning yard with softer shade beneath the house terrace. Dappled foliage shadows shift subtly. Consumer camcorder exposure pumps very slightly when framing includes more bright yard or shaded Lia. SCENE 2: strong but natural morning daylight matching gambar 3. No artificial key light. No rim-light setup. No cinematic backlighting. Exposure may briefly adjust when Lia's face turns from forward light to backward-facing light. PHYSICAL MATERIAL DETAIL: Real skin texture with pores and tiny imperfections. No plastic skin. White cotton top moves subtly with breathing. Patterned woven skirt has visible fabric weight and folds. Sandals flex naturally at the feet. Concrete and tiled terrace retain worn real-world texture. Coffee is contained inside a real glass with believable reflections. Cigarette paper, ember and ash behave realistically before extinction. Terracotta roofing, asphalt, dry grass and green vegetation retain physically believable texture. AUDIO: Zero music. Zero narration. No voice-over other than the naturally recorded off-screen cameraman dialogue. No added soundtrack. Use authentic layered location sound. SCENE 1 close layer: Lia's clothing rustle, subtle breathing, glass touching the porch/table, small cigarette and ashtray contact, sandals shifting. Medium layer: broom brushing ground, occasional water drip, leaves rustling. Far layer: rooster crow, distant motorcycle, soft rural morning ambience. SCENE 2 close layer: Lia's sandal footsteps on asphalt, woven skirt swish, breathing and genuine laughter. Medium layer: grass and leaves moving in the breeze. Far layer: occasional rooster, distant motorcycle, birds and rural village ambience. Dialogue must remain clearly intelligible but retain realistic camcorder microphone perspective. The cameraman's voice should sound close to the microphone because he is holding the camera. Lia's voice becomes slightly more spatially distant during the rear-follow scene while remaining clear. MOTION QUALITY: Natural human-scale acceleration and deceleration. Stable foot contact. Correct left/right limb ownership. Real body weight and balance. Natural hip and shoulder counter-motion while walking. Believable hair and cloth secondary motion. No floating. No rubber limbs. No foot sliding. No teleporting. No sudden speed changes. CONTINUITY: Lia remains the exact same person from gambar 1 throughout both scenes. Same: face, skin, hair, hairstyle, body proportions, earrings, white top, brown patterned wrap skirt, white sandals. SCENE 1 prop continuity: coffee = left hand until placed down. cigarette = right hand until visibly extinguished. After Lia leaves the terrace: coffee remains behind at the house. cigarette remains extinguished at the house. Neither object appears in Lia's hands on the road. SCENE 2 begins only after the intentional hard cut. Do not visually morph gambar 2 into gambar 3. NEGATIVE CONSTRAINTS: No identity drift or face redesign. No hairstyle change. No wardrobe change. No changing Lia's body proportions. No beauty filter or plastic skin. No duplicate Lia. No cameraman visible anywhere. No random foreground characters interacting with Lia. No incorrect speaker lip-sync. Lia's lips stay silent during cameraman dialogue. No extra dialogue. No subtitles. No captions. No watermark. No logos. No duplicate coffee glass. No switching coffee between hands. No duplicate cigarette. No switching cigarette between hands. No cigarette magically relighting after extinction. No cigarette smoke during the road scene. No random location morphing. No unexplained teleportation. No random jump cuts. Only one intentional hard cut between the terrace and road scenes. No gimbal stabilization. No cinematic orbit. No drone shot. No glossy cinematic grading. No modern HDR look. No dramatic lens flare. No artificial slow motion. No speed ramps. No background music. No narrator. FINAL GOAL: A believable forgotten early-2000s Indonesian home video — candid, imperfect, funny, warm and unscripted. It should feel as though a real friend casually picked up a consumer DV camcorder one tropical morning, found Lia drinking coffee and smoking on her terrace, chatted with her spontaneously, then followed her down a village road while she jokingly teased the cameraman. The viewer should feel that life in the environment continues naturally whether or not the camera is recording.

CUPANG

32,105 Aufrufe • vor 1 Monat

"I may be wrong about Elizondo...but I think that the rush to condemn him strikes me as premature [and], potentially, damaging to the community and to the disclosure effort." ~Dolan (This is WAY too long, and I probably should have spent my time on something else. But here it is. The video clips give you a taste of Richard Dolan's excellent 31-minute video.) "The theory that's been put out (by Gerb) contains, at least in my view, substantial problems of evidence, of chronology, and, at times, I just have to say, basic logic." ~Dolan "I am suggesting that Elizondo probably helped to create the opening that allowed Grusch to go even further." ~Dolan ~~~ Gerb in March: "When did Lue Elizondo start talking about crash retrievals? That was after David Grusch went public. You will not find him speaking about it beforehand." (As I've shown before, that's just not true. Did Gerb not do his research on that? I'll share A LOT of quotes from this Richard Dolan (Richard Dolan Intelligent Disclosure) podcast, and from my previous posts detailing the various times Lue has addressed crash retrievals. Plus, my take on various points. Dolan starts out by praising Gerb's research. I agree. Then he moves on to the Lue-was-brought-in-by Clapper claim.) Dolan: "The theory that's been put out (by Gerb) contains, at least in my view, substantial problems of evidence, of chronology, and, at times, I just have to say, basic logic." Dolan: Gerb claims Elizondo had to adapt his public position on crash retrievals because Grusch coming forward changed the game. "Gerb called this, adapt or die. "I think I understand what [Gerb] means by the controlled narrative and what it was intended to reveal and what it was supposed to hide (crash retrievals). What I still do NOT understand is why anyone protecting a retrieval program would initiate this type of a strategy." Dolan: Before 2017, one of the most significant protections for any alleged Legacy program was ridicule, silence and ignoring. "As long as UFOs remained culturally disreputable, any claims of crash retrievals were easily just brushed aside without any bother to investigate. That didn't change until December of 2017," and the two NYT articles. "That kickstarted a major, mainstream, national-security discussion. "So, if this was a controlled-disclosure program, my question simply is: You get the government, eventually admitting, that non-human intelligence seem to be operating advanced craft here, who could not know that the next questions would be inevitable? Like, have any of these crashed? Were any of these recovered? Where did the material go? Who's been studying it? In other words, this would, obviously, increase pressure on the retrieval secret. It would not protect it in any logical way. The most safest option would have to be continued silence. "Maybe this strategy could become plausible if insiders believed that something was about to emerge beyond their control, right? Some kind of trigger. Maybe there would be an imminent whistleblower that we do not know about 'til this day, that they were afraid of and they wanted to get out ahead of the narrative. Or some kind of foreign disclosure. Some other reason, some other cause that would prompt the secret keepers to think, 'Okay, we need to get out a controlled disclosure.' But, there really is no evidence that's presented, in any of Gerb's analysis, for such a triggering event. Why would the custodians of this secret, voluntarily, weaken the whole system that had protected them for decades and decades?" (Agree. I've had this convo with friends over the years about the theory that TTSA was created to get ahead of a disclosure effort that was coming from someone/somewhere else. But it never made sense because we could never find anything (disclosure-wise) that was happening before 2017 that would force the hand of the gatekeepers into starting some type of controlled disclosure such as what TTSA was allegedly doing. Except maybe... Dolan talks about how, when Hillary Clinton was running for President in 2015 and 2016, she mentioned UFOs and UAP in various interviews on the campaign trail. Dolan: That was gradually making UFOs, "slightly, and I would say, very slightly, becoming more acceptable to discuss." Plus, John Podesta (her campaign manager) was pushing for declassification of UFO files. "There were people at that time who really did believe that Hillary Clinton would become the Disclosure president." (I wanted to vote 3rd party in 2016 and didn't want to vote for Hillary, but did so, in part, in the hopes (slim hopes) that she would engage in some sort of disclosure, if she won.) Dolan: "I've always interpreted [Hillary talking UFOs during her campaign] as a much more, just pragmatic, you could almost say, cynical, if you want, treatment of the [UFO] subject, just to win some votes. The most that she ever said as a candidate, I think was, she would try to get to the bottom of this, whatever that means." (Well, she said more than that... ⬇️⬇️⬇️ “I think we may have been (visited already). We don’t know for sure.” ~Hillary Clinton That was covered in the NYT in 2015 My full post on that Hillary quote is here. ⬇️⬇️⬇️ And let's not forget the photo of Hillary from August 1995 where she's with Laurance Rockefeller on his ranch and holding Paul Davies' book, "Are We Alone? Philosophical Implications of the Discovery of Extraterrestrial Life." She and President Clinton have an interest in this subject.) ~~~ Dolan: "I just think that the leap from a political opportunity - talking about UFOs during the campaign - to a kind of, James Clapper-managed disclosure operation? I just don't think that's been demonstrated and I don't find it very persuasive." ~~~ Dolan then gets back to this claim by Gerb... Gerb in March: "When did Lue Elizondo start talking about crash retrievals? That was after David Grusch went public (in 2023). You will not find him speaking about it beforehand." Dolan: Gerb said that, "Elizondo, essentially, avoided discussing crash retrievals, except for Roswell, And that is just not accurate." (The Lue-avoided-crash-retrievals-until-Grusch quote from Gerb in March didn't include an exception about Roswell so maybe Gerb saw my posts on that and updated his claim? But it's still wrong. Dolan brought up Lue's comments on Tucker Carlson in May of 2019, but no other comments from Lue. I covered that and much more in various posts, which I'll share here.) Did Lue Avoid Talking About Crash Retrievals Before Grusch Went Public in 2023? From the 12/16/17 NYT article that started it all. "Under Mr. Bigelow’s direction, [BAASS] modified buildings in Las Vegas for the storage of metal alloys and other materials that Mr. Elizondo and program contractors said had been recovered from unidentified aerial phenomena." (Not a direct quote, and not exactly "crash retrievals of vehicles" but the seed had been planted in that first article. We know now (allegedly) that at least one of those buildings was supposed to store exotic materials that Lockheed was going to divest itself from, but the CIA nixed it all. Again, allegedly.) ~May of 2019~ Tucker Carlson: "Do you believe, based on your decade of serving in the U.S. government, on this question, that the U.S. government has in its possession any material from one of these aircrafts?" Lue: "Whoa. Umm…I do, yes." Tucker Carlson: "You think the U.S. government has debris from a UFO in its possession right now?" Lue: "Unfortunately, Tucker, I really have to be careful of my NDA. I really can’t go into a lot of…more detail than that." Tucker Carlson: "Okay." (And that could have been the end of the interview. But Lue decided to add this.) Lue: "But…simply put, yes." ~ NYT article in July of 2020... "Mr. Elizondo is among a small group of former government officials and scientists with security clearances who, without presenting physical proof, say they are convinced that objects of undetermined origin have crashed on earth with materials retrieved for study." ~ "My personal belief in Roswell? 100%. But I cannot speak officially and I cannot discuss about anything else that may or may not have transcribed." ~Lue on "Disclosure Tonight in Feb. 2021 Source: ~ Lue on Clubhouse in July of 2021 Lue: "Am I aware of the notion that there was some sort of retrieval of biological samples? Yes, I am aware of that notion. Am I aware that there may have been some U.S. government involvement in that? Yes, I am aware of that as well. I am aware that people have talked about it and I have heard it as well...regarding, anecdotally, of biological recovery." Source and longer transcript... ~ Lue on Dossier X in April of 2021 Lue: "You said something...that (Roswell) was the 1st time the U.S. gov't was engaged, and I'll share with you, that may not necessarily be true. There may be anecdotal information that indicates that perhaps the U.S. government was involved even before that, in purported, recovery-type activities." Host: "You mean probably 1942, in Los Angeles or something?" Lue: "I don't wanna elaborate, yet. I think some information's gonna come to light here, probably pretty soon, about some interesting incidents. Again, it's not up to me...there are some people out there are willing to come forward, I think. I'm just providing you the information that was indicated to me. I think we need to be careful jumping to presumptions or assumptions that Roswell was the first event similar to what we're thinking about." Source: ~ "I think people would be surprised to know there's more to Roswell than I think most people are aware of. Some people are aware of it. But, you know, there's more to Roswell and there's other similar incidents that are equally compelling." ~Lue on UFO Garage in 2022 Source: ~~~ March of 2022 - My Interview with Lue Murgia: "You said you believe Roswell was real. Are you as confident in other incidents as you are with Roswell?" Lue: "Yeah." Murgia: "Yes?" Lue: "Yeah." Murgia: "Okay." Lue: "Yeah." Murgia: After you were on Tucker and said you believed the U.S. government had material and debris from a UFO, "Eric Davis came out and said, '100%!' And he said landed craft, too. Did you see that when that came out?" Lue: "I'm aware of that." Murgia: "(laughs) Okay." (Probably an inappropriate laugh by me as Lue was dead serious and probably pushing the limits of what he was allowed to say in public about crash retrievals. He later said this in his November 2024 congressional testimony.) Lue in 2024: "I signed documentation three years ago that restricts my ability to discuss, specifically, crash retrievals." (I wonder what would have happened if he had refused to sign that?) ~~~ Dolan: "Grusch definitely went further (than Lue), much further, yes. That's a lot different from claiming that Elizondo kept retrievals outside the public narrative until Grusch forced his hand. And you really have to ask, if Elizondo's job was NOT to reveal the crash retrieval program, why, in 2019 - again, four years before David Grusch, is he going on and putting it out there? It just seems like there's a chronology problem there." (1000%, Richard! Makes no sense. My June 29th post was entitled... If Elizondo Was Brought in to Control the UFO Narrative Away from Crash Retrievals, He Did a Poor Job 🛸 Nice to see Richard and I on the same page with that. Richard speculates how the disclosure effort would look like right now if Lue hadn't gone public. Would we have several UAP hearings in the books by now? Would David Grusch had come forward? No way to know.) Dolan: "But I will say, or suggest, that it's entirely reasonable to think that Elizondo helped to create the institutional and cultural conditions that made someone like David Grusch possible. Elizondo did not keep retrieval out of the discussion." (In July of 2023, I directed this tweet to Lue.) "None of this would be happening without you." ~Murgia (Over the top and a bit fan-boyish? Probably. But... Knapp talking with Senator Harry Reid about Lazar and UFOs in 1989 - in a limo headed to the airport that would later bear Reid’s name - was a vital part of getting this whole thing started. Lacatski and Stratton launching the more recent effort around 2005, which eventually led to AAWSAP, AATIP and the UAPTF, was also REALLY important. But Lue going public in 2017 was MASSIVE. The media coverage that followed brought a ton of new people into the topic, and I’m not sure where we’d be today without it. Dolan goes on to talk about Clapper and how it's conceivable he would be on top of any alleged Legacy UAP/crash retrieval program. But he failed to note what Grusch said this past January on "The Megyn Kelly Show." Grusch: "General Clapper was well aware of the crash retrieval issue, managed the crash retrieval issue, and...he placed people in critical roles to manage this issue." (Is Lue one of the people Grusch was referring to? Does he have proof of that? From my own information, I have no doubt that Clapper was instrumental in Lue being connected to the UFO topic. But exactly how that went down and what did it entail? I don't know. I hope Clapper speaks to all of this in detail one day soon.) ~ Dolan: "Gerb has stated that Clapper gave cover to AATIP and, basically, directed the National Security Council retrieval activities. And that he selected Elizondo as the front man. Gerb described Clapper as the mob boss of the NSC crash-retrieval portfolio. "Those are very, very powerful allegations. I'm not saying they're NOT true, but that interview with Ross Coulthart, I would say, did not produce anything in the way that anyone would actually call evidence. Like, there was no documents...or firsthand witnesses that were named, or anything like that. "So you have this, basically, a link from Clapper, to the NSC operation, to AATIP, to Elizondo, to controlled disclosure. This could be true, but no one's seen any receipts on this, and I would like to. "And there's more things that I think raise questions about this whole scenario, frankly. I mean, I think of the Pentagon campaign against Lue Elizondo, which lasted for many years. Any theory that has Elizondo as a controlled-disclosure frontman, I think has to account for the documented, institutional effort by the Pentagon to undermine Lue Elizondo." (When the Pentagon spokespeople said that Lue had no assigned responsibilities for AATIP, it's not so clear cut to say they were trying to undermine Lue, since AAWSAP also had the nickname of AATIP, which I'll call AATIP 1. So, if we're talking about AATIP 1 (AAWSAP), Lue did NOT have any assigned responsibilities, except early on when he did some counter-intelligence. And if we're talking AATIP 2, which Stratton said he created in 2015, Knapp explained in 2019 that it was, "not so much a program as it was a loose network of intelligence officials in different agencies." And on April 8th of this year, Lacatski told Knapp that, "they started using AATIP in 2015-16 to describe their uh...what would you describe that as, more lunchtime get togethers? And George Knapp is laughing. I don't know how else to describe it." That tells me Lacatski felt AATIP was REALLY informal, and that could explain why Lue's role wasn't clear cut in the minds of those spokespeople, and why so many of my contacts told me he wasn't the director of AATIP. But those same folks also told me Lue played in an important role in that effort. My guess is that, since AATIP was so informal, there really was NO official director, but that should be clarified when Stratton's book comes out. Semantics? Maybe.) Dolan: Gerb's hypothesis featuring, "the management of an approved public representative (Lue) of a controlled-disclosure narrative...just doesn't make sense to me. What does make sense to me is something like a factional conflict. I think [that's] much more of a logical explanation for everything that we have seen. You have one group that may have supported some kind of opening - not even necessarily a complete opening - while another fought to preserve the secrecy as much as possible. "But that's a bureaucratic struggle. That's not, necessarily, a unified, controlled-disclosure operation. So I think that is a contradiction that was not really adequately discussed in this hypothesis. "I may be wrong about Elizondo, and I'm not here, again, to be his defense attorney. But I think that the rush to condemn him strikes me as premature. It strikes me also as, potentially, damaging to the community and to the disclosure effort, frankly. We can investigate serious allegations without first assigning everyone the role of either hero or villain. "So, I guess I would say that Gerb may have genuinely identified some real relationships and hidden activity. In fact, knowing his excellent research track record, I would be surprised if he didn't. "Elizondo - probably - does have undisclosed elements in his background, and I have no doubt he knows much more than he has said. When I look at the this idea of, like. you look at TTSA coming out at the end of 2016, and you see, basically, a kind of faction that had a very managed narrative indeed. Like, they did not come out and talk about crash retrievals. They did not at all. They talked about these military encounters and sensor readings and this type of thing. And that's a lot less interesting than crash retrievals. "But I try to look at it from, let's say you're a Pentagon insider and you are trying to fight for an opening in the public conversation. You're not gonna start with crash retrievals. First of all, you may not have the receipts on them yourself, to provide to the public. And also you're gonna know, right off the bat, that that's going to be a bigger hill to climb than just trying to get Congress to look at some of the more easily-verifiable reports that you probably have available. So, you're probably going to take it in a very tactical, strategic way. "That's not the same thing as saying that they're lying. It could simply be that was a strategy that was decided upon by these insiders. It's also possible they may not have believed in an uncontrolled, catastrophic disclosure. We can disagree with them on that, or you can agree with them on that. But again, I don't know that that's the same thing as saying that they're actually being dishonest. "If the factional thesis that I believe in is correct, then you'd have to assume that these people have to have their strategies and tactics in this broader struggle. Like, it would be ridiculous not to assume that. "So, I think, you know, it's entirely possible that someone like Elizondo has elements in his background that we would want to know about that are not there. It is very intriguing, and even plausible, perhaps, that someone like Clapper belongs somewhere in this deeper history. I would like to know what that is myself, and I would like to see something, you know, in the way of what we would call genuine evidence for that. Not saying it's not there. "I'm just suggesting that the current theory on Elizondo and controlled disclosure is asking us to accept several unsupported links, and, essentially, I would say a disclosure strategy that appears self-defeating and really illogical. Again, like, why initiate a disclosure program? Especially if you go back to the beginning of the AATIP era, like 2009-ish, 2010. Where was there any perceived need that we have to do disclosure?" (Not sure why Richard is not calling the 2009-ish, 2010-era, AAWSAP. I wonder if he knows that Stratton says he created AATIP in 2015? Could be relevant to this controversy.) Dolan: "Like, I look back at the situation at that time, and again, I was very, very on top of the scene at that time during those years, and I just was not aware of any public pressure, whatsoever, that would cause someone to say, 'We have to initiate a controlled disclosure of this, in order to protect crash retrievals.' "There's no logic there, it seems to me. It's, in fact, the exact opposite. "Also, the the current hypothesis, I think, really understates Elizondo's 2019 acknowledgement of recovered UFO material. That really has got to be understood. And it leaves the whole Pentagon campaign against Elizondo, in my view, anyway, largely unresolved and unexplained, and really not making sense. "And, I would just add, now that I'm thinking of it, this current hypothesis about Lue Elizondo, I think, actually reverses the the genuine historical sequence. In other words, I am suggesting that Elizondo probably helped to create the opening that allowed Grusch to go even further. "So, these are just logical questions that I have. You may have different questions. You may have rebuttals to what I have to say here. By all means, put them in a comment, I will read them. And again, I'm not here to defend Lue Elizondo, I am just questioning an account that does not yet, in my view, explain its own logic, or match the full chronology. "It is entirely possible that some of this story is well-known to researchers, including Gerb. I think, however, what has been presented so far does not show how all the pieces actually fit together, and I would like to see that. "And again, I say this with total respect to UAP Gerb and to Ross Coulthart, and in fairness to Lue Elizondo, who I think, if nothing else, this aspect of the history really needs to be understood by the broader community. So that is my statement. "And that doesn't mean that I'm right here, but I do think from time-to-time, it's okay to take a stand on a topic where I can see many people are going to disagree with this, but certain things I think need to be understood on this, and I hope that we can have a reasoned dialogue and discussion about this as we move forward with it, because it is a topic that we do need to understand. "My hypothesis has, pretty much, from the beginning, always been that what we are seeing and what we have been seeing since 2017 is, essentially, the result of a factional battle." (I believe Lue spoke about factions early on when he first went public.) "You go back through the history of this phenomenon, and if you read the old books going back to the 1950s, you see it then, too. You see that there were always factions within the Pentagon who did actually support some level of openness on the UFO subject. "You read the books of Donald Keyhoe, read the book by Edward Ruppelt from 1956: 'Report on Unidentified Flying Objects.' A lot of this is in there. And I think that's really never gone away. And so to somehow assume that there are no more factions in a massive labyrinthian structure as large as the U.S. military industrial complex, I think that's kind of ridiculous. There's always going to be factions. And I think that what we are seeing has always struck me as the result of a factional war that is taking place. "And that doesn't mean, by the way, that, you know, the two sides are just white hats and black hats. Everyone's got their own angle, everyone's got their own motivations. But I, nevertheless, tend to think that that is what we are looking at."

Joe Murgia

24,710 Aufrufe • vor 1 Monat

The CIA's information war with American citizens and the operation that started it all. Project Mockingbird. This is one main aspect as to why people are so divided and brainwashed in today's society. Information has always been a crucial component to power and control. Knowledge is power, right? The only difference today from 40+ years ago is that now information flows at a rate that is absolutely mind-boggling and allows you to connect with anyone, at anytime, anywhere in the world, with real-time information 24/7 at your finger tips. So what happens when you have people who are suppose to be giving you accurate, truthful, information, and start to give you information that benefits, manipulates, and persuades the global population with mis and disinformation, protects certain corrupt people and groups by not reporting on other information, and who also lies and slanders other individuals all for the purpose to maintain power and control over the entire population, entirely on PURPOSE? You get what's called PROPAGANDA, aka, a sh*t show of so much purposeful bad and fake information, that it literally starts to persuade and mold the populations overall views and opinions on an array of various topics to fit the nefarious controllers, behind the scenes narrative or agenda. Ultimitely benefitting only them. If you take notice, these campaigns have been around for a long time, depending what side your on, your personal views and where you get your overall information will ultimately decide or be a factor of how much it has affected you or how much you are aware of the deception in the first place. Most legacy mainstream media groups are owned and operated by a small group of wealthy globalist individuals who seem to lean towards the left, and some leaning even farther left than others. These campaigns started to really pick up when Trump entered the picture in 2016. Trump was never suppose to win in the first place. Obama reinstated propaganda to be used on American citizens once again in 2013. The task to slander and attempt to destroy and imprison Trump through multiple operations and media campaigns were in full effect for the deep state to regain control of The White House. The group that these campaigns affected the most were the older groups and the younger groups. The people in the middle basically got to see both worlds play out in their lives at a crucial time period in their lives. They've seen the mainstream shift from what it once was, to an extreme lying, propaganda machine when Trump took office. The older aged crowd was so used to the regular nightly news and not as comfortable with newer technology to access alternative media sites and really just stuck with the mainstream's words and kept their faith in the MSM. Now the younger crowd literally grew up with the fully scripted, CIA, propaganda MSM because that is literally all they've ever known and haven't experienced anything else before or have anything to compare it to. Especially when your indoctrinated in a public school system that has been infiltrated itself with a majority of far-left teachers who usually end up being predators as well. That's a whole other story. The problem this CIA operation has caused was a population with people all in their own separate groups and boxes, fighting with each other over many things, instead of the people who started this mess in the first place, that aren't even true because one side has been lied to and manipulated. Brainwashed from a literal military style operation that's used to topple foreign countries during regime changes. And the worst part on top of all this is that know since Elon has started DOGE, a government efficiency operation, we are now uncovering that all these communist, Marxist, ideas, and operations and slander campaigns, and legal cases against Trump, down to these politicians luxurious lifestyles have been all funded and paid for by us, the TAXPAYERS. On the one example above, through USAID, there is proof of over $9 MILLION dollars that went to Reuters for a campaign named, " ACTIVE SOCIAL ENGINEERING DEFENSE LARGE SCALE SOCIAL DECEPTION," which is a definitive contract. There are thousands of examples just like this for all different companies, influencers, T.V. shows, Magazines, Articles, any type of media, and all of them are left leaning outlets. This has been going on for decades. Then on top off all of that, you have people who own these publishing and media companies who are not only getting paid by the taxpayers from the CIA to deceive us, but many of these owners are best friends with people like Jeffery Epstein and Ghislaine Maxell as you can also see above who is with Laurene Powell Jobs, the owner of "The Atlantic" publication, on vacation just hanging out. You wonder why the media never talks about child trafficking. Their paid to cover it up, or they're literally involved themselves... It just get's better and better. The good news is that it is now being exposed and shut down. Let's dive into the history of PROJECT MOCKINGBIRD now. The story of Project Mockingbird begins in the shadow of the Cold War, a period defined by ideological warfare between the United States and the Soviet Union. In the early 1960s, the Central Intelligence Agency (CIA), under the leadership of Director John McCone, launched a covert operation codenamed "Project Mockingbird." Unlike the broader, alleged "Operation Mockingbird" often cited in conspiracy circles as a sprawling media manipulation scheme, the historical Project Mockingbird was a specific, documented wiretapping effort aimed at curbing leaks of classified information. Initiated on March 12, 1963, and concluding on June 15, 1963, Project Mockingbird targeted two Washington-based journalists, Robert S. Allen and Paul J. Scott, who wrote the syndicated "Allen-Scott Report." These columnists had a knack for publishing articles laced with highly classified CIA details—information so sensitive it included Top Secret and Special Intelligence data. Their scoops, often sourced from government insiders, rattled the Kennedy administration, particularly after a July 26, 1962, New York Times article by Hanson Baldwin exposed details of a National Intelligence Estimate comparing U.S. and Soviet nuclear arsenals. President John F. Kennedy, incensed by such leaks, sought to plug the holes. The operation was a collaborative effort, greenlit by Attorney General Robert F. Kennedy, Secretary of Defense Robert McNamara, and Director of the Defense Intelligence Agency Joseph Carroll. The CIA’s Office of Security, led by Sheffield Edwards, executed the wiretapping, monitoring the journalists’ home and office phones. The surveillance results identified congressional sources, including then-Speaker of the House John McCormack, who spoke with Scott on March 26, 1963. The "Family Jewels"—a 1973 CIA document declassified in 2007—later exposed this operation, revealing its scope and raising questions about its legality. Daniel L. Pines, a CIA Assistant General Counsel, argued in a 2009 Indiana Law Journal review that the wiretapping likely violated legal bounds, as its primary aim was to trace leaks rather than gather foreign intelligence. This historical Project Mockingbird, though limited in duration and scope, planted a seed of distrust between the government, the press, and the public—a seed that would grow into a broader narrative of media manipulation. From Wiretaps to Media Empire While Project Mockingbird of 1963 was a discrete surveillance effort, it became conflated with a larger CIA program dubbed "Operation Mockingbird." This narrative emerged most prominently in Deborah Davis’s 1979 book, Katharine the Great, which claimed that the CIA, under Frank Wisner of the Office of Policy Coordination, had systematically infiltrated American media starting in the 1950s. Davis alleged that Wisner recruited Washington Post publisher Phil Graham to orchestrate a propaganda network, embedding CIA-friendly journalists in outlets like The New York Times, Newsweek, and CBS. Cord Meyer, a key CIA figure, was said to have taken the reins in 1951, expanding the operation’s reach. The Church Committee’s 1975-1976 investigation lent some credence to these claims, uncovering CIA ties to around 50 American journalists and covert funding of front groups like the National Student Association, exposed by Ramparts magazine in 1967. Carl Bernstein’s 1977 Rolling Stone article, "The CIA and the Media," further detailed how over 400 U.S. journalists had covertly worked with the CIA, often disseminating propaganda abroad that would then filter back to domestic audiences. the CIA admitted overreach. By 1976, under Director George H.W. Bush, the CIA publicly pledged to end paid relationships with U.S. journalists. Yet, skeptics argued the agency merely shifted tactics, maintaining influence through foreign media outlets that indirectly shaped American narratives. The line between historical fact and conspiracy theory blurred, setting the stage for modern reinterpretations of Mockingbird’s legacy. They claim. The Turning Point came in 2013 and the Smith-Mundt Modernization Act Fast forward to July 2, 2013, a date that marks a pivotal shift in the Mockingbird saga. Under President Barack Obama, the Smith-Mundt Modernization Act—embedded in the 2013 National Defense Authorization Act (NDAA)—took effect. This legislation amended the U.S. Information and Educational Exchange Act of 1948, commonly known as the Smith-Mundt Act, which had long barred government-funded broadcasters like Voice of America (VOA) and Radio Free Europe/Radio Liberty—overseen by the Broadcasting Board of Governors (now the U.S. Agency for Global Media, USAGM)—from disseminating their content domestically. The original intent was to prevent the U.S. government from propagandizing its own citizens, a safeguard rooted in post-World War II fears of authoritarian overreach. The 2013 amendment, co-sponsored by Representatives Adam Smith (D-WA) and Mac Thornberry (R-TX), lifted this restriction, allowing USAGM content to be requested and accessed by Americans. Proponents hailed it as a transparency win, arguing that taxpayers deserved to see what their dollars funded—news and programming in 61 languages, reaching over 100 countries. Critics, however, saw it as a Pandora’s box. Foreign Policy reported on July 14, 2013, that the change unleashed "thousands of hours per week of government-funded radio and TV programs for domestic U.S. consumption," raising fears of legalized propaganda. The timing was notable: it followed a decade of post-9/11 media scrutiny and preceded a surge in misinformation debates. in 2024 claimed "Operation Mockingbird never ended," tying the NDAA to a supposed CIA media takeover. No hard evidence supports a direct CIA role, but the legal shift undeniably blurred lines between foreign and domestic information flows. While the USAGM insists its mission remains outward-facing—delivering uncensored news to foreign audiences lacking free press—and that its journalists adhere to strict objectivity standards, the repeal stoked speculation. Could this be a modern resurrection of Mockingbird-style influence? The answer is yes. Most projects they say they stopped just get renamed or go black and off the books so Congress doesn't even know it exists or get access to it. Be careful what you read, who you follow, and who you get your information from. Look for patterns and scripts. They're easy to find once you understand what's really going on and their tactics and techniques. Keep asking questions, cross reference everything, do your due diligence, have multiple sources, do not buy everything at face value, go deeper, think about the bigger picture or long term goals. And always remember that there are layers, optics, and timing to everything you see. 90% of everything that comes out gets run by the intelligence agencies first. Lastly, keep fighting for the truth and and continue to help others to wake up as well.

The SCIF

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Ch. 14 of NITRO: The Inside Story of Hulk Hogan's heel turn - #OTD 30 Years Ago (7/7/96)! AS DAY BECAME NIGHT at the Sullivan home, Bollea deliberated his participation in the pay-per-view. “Everybody was telling him that it was the wrong thing to do,” Kevin Sullivan says. “He was getting booed out of the arena, but they were all saying, ‘this is gonna kill him’.” With no end to the discussion in sight, the wily booker casually suggested that Bollea and Young make use of his two guest rooms until the morning. “I isolated [them],” Sullivan admits. “I was just afraid that at the last minute, he was going to use his creative control [clause] and pull out.” If Sullivan could deliver Bollea to the arena by showtime, the finish of the match called for Hogan to star in the most dramatic of surprise endings. In a sequence devised by Kevin Nash, an unannounced Hulkster would shockingly interfere in the match, but only after the heels gained an unfair advantage through cheating. It would be a brilliant misdirection, Nash thought, as fans would instinctively believe Hogan’s appearance to be in support of the babyface team. “I knew there were gonna be 55 different ideas,” Nash says, thinking back to the eve of the event, “[so] I actually put a lot of thought into it. I called Scott [Hall] two or three days before that, and said ‘what do you think about this?’ “We had to make it a 2-on-2 match with Lex Luger getting injured [during the match] and going out. We would cheat to get Macho [Man] in trouble and all of a sudden Hulk comes down, which of course would mean ‘ok, here comes Hulk to make the save’. [Hall] said, ‘I love it’.” There was, however, the looming possibility that Bollea could reject his turn at the eleventh hour. Thinking ahead, Eric Bischoff developed a contingency plan in which Sting would play the role, ultimately revealing himself - despite not having prior experience with the WWF - as the ‘third man’ instead. “I remember Eric came in to the locker room,” recalls Marcus 'Buff' Bagwell, “and said [to Sting], ‘I wanna talk to you about something’. I could hear them going over the idea, and then when they got done, Sting told me what they were talking about. He said that [Eric said], ‘there are only two guys that could turn heel where it would really matter’. That would be Hogan and Sting.” “He was offering Sting the job first, [as I recall], and Sting didn’t wanna do it. He didn’t really say it wouldn’t work, but he just said, ‘it doesn’t intrigue me. I don’t wanna do it’.” According to Andre Freitas, a special effects artist who worked in costume design and character development for WCW, the proposed Sting swerve was to involve the use of a doppelganger - or ‘phony’ Sting - presumably in an effort to fool fans that the real character had switched sides. “That was their original plan,” says Freitas. “Eric showed me a picture of Jeff Farmer (a lower-card wrestler) and said ‘can you make him Sting?’ I told him that they have similar bodies...then we looked at Sting’s hair and Jeff’s hair...and talked about all that stuff. I did a head cast for [Farmer] and some prosthetic and test make-ups. But when they secured Hogan, we didn’t do [the angle].” ----------- Amazingly, even as Bash at the Beach began, Bischoff continued to consider Plan B. “I remember walking by this perforated wall in the Ocean Center,” divulges Nash, “and Eric said to me, ‘Hulk is with Sullivan, and he’s not sure he’s gonna do it yet’. It was up in the air.” Meanwhile, viewers of the pay-per-view - and, for that matter, WCW’s own production staff - speculated as to the identity of the third man. “They were trying to ‘work’ everyone,” asserts Jason Douglas, a WCW producer backstage at his first pay-per-view event. “‘Rocket’ (staff member Rick Sancher) came up to me - they were kinda testing me because I was new on the road - and said ‘hey, I think it’s gonna be [WWF wrestler] Bret Hart’. I guess it was to see if I would leak something, and so I was just like ‘oh, cool, Bret Hart’.” In reality, aside from Bischoff, Bollea, Young, Hall, Nash and Sullivan, the turn would be concealed from everyone - even the announcers, according to orders from Bischoff - as to ensure their most realistic reactions. With less than an hour before the main event began, production staffer Woody Kearce discovered a revealing clue in the parking lot. A Hulk Hogan motorcycle had appeared mysteriously in one of the spaces, sparking another round of backstage conjecture. Finally, with what Sullivan recalls as “thirty minutes” and Bischoff remembers as “forty-five to sixty minutes” left on the air, Bollea belatedly arrived at the Ocean Center. The mood suddenly changed. Upon realizing that his star had been convinced, Bischoff began to relax. “Once he got to the building, I recall a sense of calm,” he reveals. “All of the anxiety, all of the tension, all of the worry, all of the effort to make sure things stayed quiet...all of that just kind of dissipated. It was like fog lifting when the sun comes out - it all just went away. I was thinking, ‘it is what it is, there’s nothing more I can do...so let’s just roll with it’.” To cement the turn, Bollea knew, he would have to deliver a monumental post-match promo to explain his actions. While typically, he enjoyed using Bischoff as a sounding board to rehearse interviews, the need for complete privacy - on this occasion - was unquestionably paramount. And so, away from prying eyes - and ears - the two met up in the most unglamorous of clandestine locations - a utility closet. In the midst of the run-through, Bischoff stopped to emphasize an important point: When you grab that microphone, I want you to say...‘this is the beginning of the new...world...order’. The phrase - ‘new world order’ - lingered auspiciously in the air. Bischoff surprised himself with the utterance, realizing slowly that the term encapsulated everything that the invasion storyline could represent. In 1990, then-president George H.W. Bush famously utilized the same expression in a speech to Congress, although its origin could actually be traced back to the 28th President, Woodrow Wilson. But if Bischoff was unsure as to the source of his spontaneous inspiration, perhaps the answer could be found closer to home - on the preceding Nitro, just six days earlier, announcer Larry Zybysko serendipitously made the following proclamation: “This Sunday, I promise you, there will be a new world order of wrestling…” Fans at the Ocean Center waited anxiously to see if Zybysko’s prophecy would materialize; for after all the hoopla, it was suddenly time for the main event. Before the opening bell, the audience was already on its feet for ring announcer@Michael_Buffer’s pre-match introductions. As Hall and Nash sauntered to the ring for The Hostile Takeover match, Buffer set the scene with theatrical aplomb: “Ladies and gentleman, at this time, let me introduce the men whose plan and goal is to takeover the WCW with force and hostility. We were told there would be three of these interlopers, and I must apologize as I have been informed - as you can see - there are only two. Ladies and gentleman, introducing...the Outsiiiiiders!” In a moment that played off perfectly on television, Sting’s entrance music began - and quickly ended - as ‘Mean Gene’ Okerlund traipsed cautiously into the ring. After exchanging quizzical looks with Buffer and referee Randy Anderson, Okerlund confronted the Outsiders to get some answers, an inspired plot device designed to build the tension even further. “Gentleman,” began Okerlund, “if I could have your attention...I don’t have police protection with me at this time, but I wanna confront you in front of this full house here at the Ocean Center, and millions of others watching across the country and around the world. I don’t see three men here tonight. Where is your partner?” Responding in a manner consistent with their WWF characters, Hall and Nash assured Okerlund that the third man was present - and ready. “Let me tell you something,” announced a confident Nash, “we got enough to handle it right now, right here.” Once more, Sting’s entrance music blared from the arena speakers, this time preceding the man himself, accompanied by Luger and Savage. “Here we go!” screamed color commentator Bobby Heenan as the wrestlers passed an unusually large contingent of security personnel on the entrance way. “The war is on!” Less than two minutes into the bout, Luger collapsed to the outside, a move in accordance with Nash’s plan to even the sides before the climactic reveal. “Now it’s two against two!” yelled Heenan. After a brief delay, the concerned crowd looked on as Luger left the arena on a stretcher, leaving Sting and Savage alone to fight valiantly for WCW. As the match progressed, the contemptible Outsiders used every trick to stall their opponent’s momentum, until a revitalized Savage began a furious rally at the fifteen-and-a-half minute mark. The invaders were suddenly down, but not out - as with the referee distracted, Nash landed a low-blow to bring the Macho Man to his knees. All four men lay on the canvas, exhausted, as referee Anderson started a ten count. As Anderson yelled ‘ONE’, several rows of spectators rose to their feet. Within seconds, the reaction diffused from section to section, the noise level increasing with each passing beat. On the live broadcast, viewers at home caught glimpse of a familiar figure making his way down the ramp. “Hulkamania!” screamed Dusty Rhodes on commentary while Hogan walked methodically towards the ring. Noticeably, the Hulkster seemed oddly disaffected - even out-of-character - but after exchanging the briefest of glances with the crowd, he continued stride with the din reaching fever pitch. “Whose side is he on?” bellowed Heenan, a question that seemed inexplicable given the history of Hogan’s on-screen persona. “Whose side is he on?” repeated Heenan, who as longtime fans could recall, had opposed Hogan for years as a manager in the WWF. For that reason, the comment flew over the heads of most (but not all) viewers; meanwhile, the live crowd was cheering as if their team had won the World Series. Nash and Hall retreated to the floor as Hogan tore off his shirt, an apparent signal that the archetypal good guy was here to save the day again. “Who’s bad now boys?” taunted play-by-play man Tony Schiavone on commentary, confident that WCW’s honor was no longer in jeopardy. Savage lay prone on the mat as Hogan surveyed the scene. Above the cheapest of cheap seats, peeking through a curtain with palpable anticipation, was Eric Bischoff. “I knew that something big was about to happen,” he recalls. “It was either gonna be a big failure, or a big success.” Seemingly out of nowhere, with his unsuspecting devotees enveloped in celebration, Hulk backed up to the corner. With the coldness of a serial killer, the once-honorable hero shockingly shoved referee Anderson, and executed his patented finishing move - the leg drop - to the helpless Macho Man below. The audience became completely, utterly unglued. “I was standing back with the announcers,” remembers Michelle Baines, newly hired as a production assistant. “One of the producers turned to me and said, ‘you need to go to the back’. “‘I said, ‘what do you mean?’ “She said, ‘it’s gonna get ugly real quick’.” “She was right - the crowd turned ugly quick.” In retrospect, it was clear that even as Hogan’s body approached the canvas - contact with Savage just milliseconds away - the gravity of the assault started to hit home. “What has he done?” questioned a crestfallen Rhodes, “is he the third man? What the hell is going on here?” Heenan was even more direct - “Hulk Hogan has betrayed WCW! He is the third man in this picture!” A breathless Schiavone could barely muster more than three words: Oh My God, he repeated. Oh My God, he continued, as Hogan high-fived a grinning Hall and Nash. The courageous Sting, stumbling to his feet to stop the injustice, was quickly dispatched, and in the coup de grace, Hogan tossed Anderson to the floor. Sardonically, he covered Savage for the pin, the contest now clearly a farce. “I hope you love it,” a disappointed Rhodes wailed on commentary. “You just sold your soul to the devil.” The third man was a mystery no more, and Hall, Nash, and Hogan raised their hands in victory to a genuinely astonished audience. The immediate outrage, which first gave way to shock, was now inspiring unmitigated rage. Simultaneously, the evil trio continued to taunt, pose, and antagonize while the announcers lamented WCW’s future. As Sting and Savage hobbled back to the locker room, a visibly distraught Okerlund returned to conduct an explanatory interview, based around the one Hogan and Bischoff had mapped out earlier. “Mean Gene,” commanded Hogan, “the first thing you need to do is to tell these people to shut up if you wanna hear what I gotta say.” For the next four minutes, Hogan rationalized his turn with remarkable clarity. “The first thing you gotta realize, brother, is this right here is the future of wrestling. You can call this the new...world...order of wrestling. These two men right here came from a great big organization up north, and everybody was wondering who the third man was. Well, who knows more about that organization than me, brother? I made that organization a monster. I made people rich up there. I made the people that ran that organization rich up there. And when it all came to pass, the name Hulk Hogan, the man Hulk Hogan, got bigger than the whole organization!” Bischoff watched from his secretive seat in amazement - he had not seen, nor had anyone, this intensity of emotion on display at a wrestling show before. It was almost as if the assembled masses had lost themselves in the performance, perhaps even forgetting, if only for a moment, that they were witnesses to a pre-determined event. Hogan’s actions had ostensibly interrupted their critical faculties; in other words, they had suspended their disbelief by reacting to the incident as if it were real. Moreover, the shock was manifesting in the most volatile ways imaginable, as in an incident edited out of future showings of the pay-per-view, a rather large man, likely intoxicated, ran into the ring before being knocked down by Hall and Nash. Concurrently, a stream of debris rained down from the stands, with one object hitting Okerlund, and the rest filling the ring in a stunningly unique visual. Hogan continued as the trash piled up around him, even referencing Ted Turner in his diatribe: “Billionaire Ted promised me movies brother. Billionaire Ted promised me millions of dollars. And Billionaire Ted promised me world caliber matches. And as far as Billionaire Ted, Eric Bischoff, and the entire WCW goes, I’m bored brother! That’s why I want these two guys here, these so-called Outsiders. These are the men I want as my friends. They are the new blood of professional wrestling, and not only are we going to take over the whole wrestling business...with Hulk Hogan, the new blood and the monsters with me, we will destroy everything in our path, Mean Gene.” “Look at all the crap in this ring,” responded Okerlund. “This is what’s in the future for you if you want to hang around the likes of this man Hall, and this man Nash.” Hogan raised his finger as if to stop the interviewer midstream, the perfect line instantly coming to mind. “As far as I’m concerned, all this crap in the ring represents these fans out here,” he boomed defiantly. “For two years, I held my head high,” ranted Hogan, alluding to his rather uninspired WCW tenure. “I did everything for the charities. I did everything for the kids. And the reception I got when I came out here, you fans can stick it brother! Because if it wasn’t for Hulk Hogan, you people wouldn’t be here. If it wasn’t for Hulk Hogan, Eric Bischoff would still be selling meat from a truck in Minneapolis. And if it wasn’t for Hulk Hogan, all of these ‘Johnny come latelys’ that you see out here wrestling wouldn’t be here. I was selling the world out, brother, while they were bumming gas to put in their car to get to high school!” In closing, Hogan foreshadowed the future state of affairs in WCW with a prophetic preview of coming storylines: “With Hulk Hogan and the new world organization of wrestling, brother...me and the new blood by my side...whatcha gonna do when the new world organization runs wild on you? Whatcha gonna do? What are you gonna do??” Despite mistakenly bungling the ‘new world order’ phrase at the conclusion of his speech, Hogan still provided the perfect punctuation to a sensational heel turn. His promo, inarguably the most dynamic of his career, came across as strikingly authentic (“it felt real, because it was real’,” offered a proud Eric Bischoff upon reflection years later). On commentary, Schiavone - who most inspiredly suggested that Hogan had planned to double-cross WCW all along, since his debut in 1994 no less - added to the realism with some mournful final comments: “We have seen the end of Hulkamania,” he grieved. “Hulk Hogan, you can go to hell! We’re outta here. Straight to hell.” ---- To the layman, there appeared an obvious explanation for the feverous crowd response that accompanied Hogan’s turn. Clearly, the element of surprise - one of the key elements of Nitro’s success - had been exploited to a masterful degree (“nobody on earth thought that the third man was going to be Hulk Hogan,” highlights Nash). To Kevin Sullivan, however, there were several layers of story at play. “People thought that it was an invasion from the WWF,” he begins, implying that the success of the angle could be correlated to its realism. “They really bought into it, and when Hogan turned heel...they were sure of it. “So while Hogan gets the credit for the reaction, it was [Nash and Hall] who set the whole thing up. Those guys built the foundation of heat, and when Hogan came down, it just blew up.” “We were red hot coming off WWF television,” agrees Nash, “and then you had the biggest turn in the world on top of that. The biggest babyface of all-time finally turned heel!” To the ever-meticulous Sullivan, always a keen observer of the nuances present in a wrestling angle, an often overlooked element was also noteworthy. “He did it to Randy [Savage],” the booker emphasizes, speaking of Hogan’s betrayal. “People knew there was real-life heat there. That helped out too, but everyone played an intricate part. “Lightning...you can’t catch it in a bottle but one time.” The above is an excerpt from the book, NITRO: The Incredible Rise and Inevitable Collapse of Ted Turner's WCW. Amazon USA: Amazon UK: Amazon Canada: Amazon Australia: 17+ Hour Audiobook Available at Audible and Apple Books Audible USA: Audible UK: Audible Canada: Audible Australia: Apple Books: Ultimate NITRO Bundle: Deep Cuts - Wrestling Stories in 60 Seconds! David Penzer AdFreeShows.com 83 Weeks with Eric Bischoff On This Day in WWE Allan Conrad the Mortgage Guy IandrewDiceClay WCW Archive Because WCW WCW4Life ᴀʀᴅᴀ Öᴄᴀʟ 90s WWE Secrets of WCW Nitro #WCW #nWo #HulkHogan #BashattheBeach #HeelTurn #Wrestling #WrestlingBooks #OTD #WWE #WorldChampionshipWrestling #Nitro

WCWNitroBook

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