March 11, 1997 - Art Bell
03:25:33
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| Speaker | Time | Text |
|---|---|---|
| From the high desert and the great American Southwest, I bid you all good evening, good morning, as the case may be across all these many varied time zones. | ||
| From the Tahitian and Hawaiian Island chains eastward, across this great nation, to the Caribbean and the Virgin Islands, U.S. Virgin Islands, south, into South America, north, to the Pole and worldwide on the internet, this is Coast to Coast A.M. And over on the other coast, we would like to welcome WFPG AM in Atlantic City, New Jersey. | ||
| And they're 1450 on the dial. | ||
| Welcome, Atlantic City. | ||
| Great to have you on board. | ||
| I live about 65 miles over the hill from the other great gambling center in America, Las Vegas. | ||
| Now we've got them both and are employed there, KXNZ. | ||
| All right. | ||
| I have had a long, long abiding interest in two things this audience would know. | ||
| One is time travel, the possibility of time travel. | ||
| And the other, of course, is a related incident, the Philadelphia experiments. | ||
| And I've got somebody tonight who can speak on these items. | ||
| His name is Dr. Fred Bell, and I'll tell you more about him shortly. | ||
| I would like to note that in the window described by Jim Birkland, the geologist last night, as you know, we are still in it, and I just heard an announcement of a major 7.0 earthquake near the Philippines. | ||
| So I thought I would call that to your attention. | ||
| All right, now, who is Dr. Fred Bell? | ||
| We're about to find out. | ||
| He is a former NASA engineer and physicist who is internationally known as an expert on preventative medicine, nutrition, and as a lecturer on extraterrestrial science. | ||
| That is interesting. | ||
| But what I would like to talk to him about tonight is, and we'll touch on the pyramids because I know he knows something about that. | ||
| As a matter of fact, his company is Paradigm Inc. | ||
| And he knows something about time travel and something about that great experiment that was said to have taken place in Philadelphia during the Second World War to render a ship invisible. | ||
| Here is Dr. Fred Bell. | ||
| And Dr. Bell, where are you located? | ||
| I'm located in Laguna Beach, California. | ||
| Okay. | ||
| Your PhD is in homeopathic medicine, right? | ||
| That's correct, sorry. | ||
| And where is that from? | ||
| Bernadine University in Pasadena. | ||
| Okay, and your master's in physics. | ||
| Yeah, that's from the United States Armed Forces Institute. | ||
| You stopping you too. | ||
| These are pretty touchy, strange subjects, both of them. | ||
| I'm going to begin by asking you what you know about time travel. | ||
| Is time travel possible? | ||
|
unidentified
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It's possible. | |
| You've got to understand a couple things. | ||
| A lot of people don't understand exactly how time works. | ||
| You need to understand the nature of time itself. | ||
| All right, let's begin there. | ||
|
unidentified
|
Yeah. | |
| You know, if you were to walk into a room and look at it, you know, and there's a chair sitting there, you recognize the chair or any object in the chair. | ||
| And it's a traditional recognition. | ||
| It's a thought process. | ||
| You probably think, oh, it's a wooden chair. | ||
| Maybe this was built in England or someplace. | ||
| It was an antique chair 100 years ago. | ||
| And chairs have probably been around for 5,000 years. | ||
| You get this whole process going about identity. | ||
| That is basically the energy of your consciousness going through a recognition process. | ||
| And so all of the people on the earth are in agreement that they're on the earth. | ||
| They look up in the sky. | ||
| They see the sky. | ||
| They see the stars and things. | ||
| So they all understand this becomes a mutual thought form everywhere. | ||
| And there's different levels of consciousness. | ||
| There's seven different levels of consciousness. | ||
| But right now's discussion, we're talking about the physical plane. | ||
| And when you start to realize the physical plane, you realize that the time that we're experiencing is right at this moment. | ||
| There's no guarantee that you'll even take your next breath or even the world will be here. | ||
| That's true? | ||
| Yeah. | ||
| So what happens is the whole illusion of this form that we're into, this matter in space, you know, is taking place in a period of what we call time. | ||
| So we can reference ourselves to it. | ||
| If you were to imagine time as something in space, you can imagine it as like a comet. | ||
| And we are in the nose of the comet, in the front part of the comet, and behind us is the path. | ||
| So the energy of the path is trailing behind us. | ||
| So the easiest thing for time travelers to do would be go into the path. | ||
| There is no future on the physical plane to time. | ||
| There's absolutely none at all. | ||
| But if you start to realize the next level of consciousness where humans go after they're running around on the physical plane at the end of the day, they go to sleep and they go into a dream world, which is called the astral plane. | ||
| On the astral plane, we dream about probability, we dream about things that could happen, things that have happened, and there's a whole battery or consciousness of energy there occupying a different time. | ||
| So if we were to go into the future, we would only be experiencing a series of probabilities that could happen based on what's going on in the present. | ||
| Okay, so let me boil this down. | ||
| We live in the now, the here and now, the physical plane. | ||
| I understand what you say when you suggest we're like a comet. | ||
| In other words, we're going forward in the present, and then there is a past that is behind us. | ||
| Right. | ||
| And in that world, in that sense, you cannot travel into the future. | ||
| Because there is no future on the physical plane. | ||
| There is none. | ||
| But on the astral plane. | ||
| Then there are a series of probabilities. | ||
| Now, when you, what is so many people use that phrase, astral plane. | ||
| We use it when we hear about out-of-body experiences. | ||
| We use it when we, even I believe, when we talk about remote viewing and other disciplines that travel in that plane. | ||
| What is it? | ||
| It's simple. | ||
| What it is, is first of all... | ||
| This one is not particularly a good phone. | ||
| We don't have a particularly good connection. | ||
| Well, what I could do is I could go and get a different instrument and switch it into this jack that I'm into and see if that's any better. | ||
| All right. | ||
| Why don't we try that? | ||
| Okay, you have to put me on hold. | ||
| I will put you on hold indeed. | ||
| Stand by. | ||
| Dr. Fred Bell is my guest, and I want to be very sure that I hear this. | ||
| Let me remind you of some of the things on the website that you can go and see right now. | ||
| We have a new cat page, and there are some of the most remarkable photographs of cats in there. | ||
| Be sure you see the 50-foot cat. | ||
| You're not going to miss that one. | ||
| You're definitely not going to want to miss it. | ||
| We've got more stupid stories on the Darwin page. | ||
| That is, some human being that contributes mightily to the gene pool by doing away with themselves in some unique and usually rather comical way. | ||
| There is an aura imaged with Curlian photography that I am fascinated with, as you will be on the graphics page. | ||
| There is a photograph from Kansas alleging to be the Virgin Mary crying tears of blood. | ||
| It's a good quality photograph, you decide. | ||
| NASA's X-Series spacecrafts on our space page. | ||
| And we have what we believe to be an artist's conception or image of the Aurora, if it is not one of these. | ||
| So there's all kinds of meteor impact images on the space page, the HARP signal as it came through, the Las Vegas Sun article, and so much more at www.artbell.com. | ||
| www.artbell.com. | ||
| Let us see if Dr. Bell is there. | ||
| Are you? | ||
| Yeah. | ||
| Okay, Doctor. | ||
| Say a few words to me. | ||
| Can you hear me a little bit better now? | ||
| I think so. | ||
| Okay, I switched phone. | ||
| Same line, but different instruments, a newer phone. | ||
| Okay, I think it's a bit better. | ||
| Okay. | ||
| All right, so what is the astral plane? | ||
| I've always wanted a good description of that. | ||
| You've got to understand a little bit about the human body first. | ||
| If you were to realize the human aura, I know you know quite a bit about auras. | ||
| I want to know something about them. | ||
|
unidentified
|
Yeah. | |
| I'll just give you a brief description of the body. | ||
| The body has seven different glands inside of it called endocrine glands. | ||
| And each one of these endocrine glands has hormones in it. | ||
| And these hormones represent a level of consciousness. | ||
| So each level of consciousness is represented in the seven endocrine glands because there are seven levels of consciousness and seven sets of hormones. | ||
| When these hormones go into the bloodstream, they go up to the brain. | ||
| When they go up to the brain, they switch synapses called receptors and effectors. | ||
| The receptor is a synapse that's normally open, and when the hormone crosses the blood-brain barrier, it closes it, causing an electrical current to flow. | ||
| And when there's another synapse that's normally closed, when the hormone arrives there, it opens it, and that's called the effector. | ||
| So this closing on and closing off of signals creates an electrical flow because the brain has solutions in it that are like electrolyte, which is a whole other story. | ||
| I have to tell you the story about that sometime in radiation in the Japanese and World War II we went through at the University of Michigan experimenting. | ||
| But anyway, so what happens is these receptors start turning on and turning off electrical currents that go down through the spinal cord. | ||
| When they go down through the spinal cord, they go down through the different axons. | ||
| These are wires in the body that are sodium, potassium, phosphorus pumps, and it creates electrical flow. | ||
| You have 72,000 major wires going from the base of the spine down through the spinal cord. | ||
| This flow, this flow of energy, creates a magnetic field around the body. | ||
| Anytime you have a wire with electricity moving through it, you'll have magnetism at right angles. | ||
| There's no difference in the human being. | ||
| Right, and so that is the aura that which is on Curlian photography, isn't it? | ||
| Right, right. | ||
| And on Kirillian photography, depending on the body is made up of oxygen, hydrogen, nitrogen, and carbon, three gases and a solid, but depending on the frequency of the hydrogen atom, because the hydrogen atom is both key, will show up what frequency of the color is that comes out on the human aura. | ||
| All right. | ||
| Do you have access to the internet, doctor? | ||
| Yeah, we do. | ||
| We even have pyradynes even on the internet. | ||
| We're on the dot-com pyradine. | ||
| I'm sorry, www. | ||
| Hang on a second. | ||
| I'll ask my paradigm.com is our. | ||
| That's P-Y-R. | ||
| d-y-n-e what no i thought it was That's correct, yeah. | ||
| All right, so it's www.paradigne.com. | ||
| Yeah, www.paradyne.com. | ||
| I think that's right. | ||
| All right. | ||
|
unidentified
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Yeah. | |
| I'm not the biggest internet surfer, but I'm learning, you know. | ||
| All right. | ||
| Okay. | ||
| On my website, I take it your wife is there with you. | ||
| Yeah, she's here. | ||
| Is she able to get into the internet? | ||
| She can't now because the line that we're on is our internet line for the house here. | ||
| All right. | ||
| I've got a photograph of a young lady and her aura. | ||
| And it is quite a remarkable photograph. | ||
| Right. | ||
| Showing it's almost hard to explain. | ||
| It's almost like the Alaskan northern lights around her. | ||
| Very hard to describe. | ||
| You've got to see it. | ||
| And so that is what? | ||
| A magnetic radiation. | ||
| It's magnetic on one frequency. | ||
| Remember, you know, everything is vibration, so you can have sound at one frequency, light color at another. | ||
| Correct. | ||
| There's different octaves of the same thing. | ||
| So it starts out on a magnetic level and shifts up into light frequencies. | ||
| For example, in order for the human eye to perceive light, the electrical impulses inside the body have to run at the same frequency as the outer world in order to perceive the same sound. | ||
| I've got it. | ||
| Right, right. | ||
| So anyhow, that's the five senses. | ||
| Then what happens is when you take an individual, if you had only one person in the world, only one individual living in the world, then that person would have no personality. | ||
| But as soon as you bring two individuals together, you have the interchange of the auras, the magnetic exchange between the two people, and now you have a personality. | ||
| One person would have no personality. | ||
| No, because what are they going to reflect off of? | ||
| Nothing. | ||
| They would have nothing to characterize themselves. | ||
| That's why in extreme isolation, look at Howard Hughes, how strange he got by, you know, he had a personality, but I mean, when you start isolating yourself for a long period of time, your personality begins to fade. | ||
| You know, you begin to lose track of who you are. | ||
| That's very interesting. | ||
| Yeah. | ||
| You've got to have encounters, you know, to react to these encounters, you know, and then that creates what's called karma. | ||
| And this energy, this energy is an emotional exchange of energy, and that builds a field up around you and around the other individual. | ||
| Now, if you add a third person, okay, if you have three people, now you have a triune of energy, and now you've created a second aspect of karma, which is dharma, or you've created a race. | ||
| Now, then usually you have a war. | ||
| Yeah, you usually have a war, but it is true. | ||
| I mean, if you think about what's wrong with the Earth, you know, well, one of the things of the Earth right now, it's got literally billions of people on it, and these billions of people, their summating aura field, the summation aura frequency of all of them is in direct conflict with nature. | ||
| That's why we have all this violence and all this stuff. | ||
| Until we start addressing these racial situations, we're not going to be able to balance the energy properly on this planet. | ||
| So I'll get back to the astral plane now, right? | ||
| Yes. | ||
| Okay, so now if you had, let's say, four people or more, you have a peripheral field of these four individuals, and that peripheral field of the summation of their auras is called the astral plane. | ||
| If one of those persons, let's say you had four people, one of those persons disincarnated, so you only had three on the physical plane, that person's soul would now go into the aura field of the other three, and whatever their belief system would be their heaven world. | ||
| Now, wait a minute. | ||
|
unidentified
|
Whoa. | |
| Yeah. | ||
| Oh, one person disincarnates. | ||
| Dies? | ||
| You mean dies? | ||
|
unidentified
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Dies, yeah. | |
| They go out of their body. | ||
| Now what happens is whatever the belief system of the four is, the fourth person is now sharing that belief system, and he's in that aura field. | ||
| Okay? | ||
| He's in that aura field out of body, in an astral plane. | ||
| You're beginning to lose me here. | ||
|
unidentified
|
Well, okay. | |
| I always thought that a person had a spirit, a soul, their own aura, but what does it have to do with anybody else's aura or spirit? | ||
| Okay, because the Egyptians were very big on this. | ||
| I don't know if you've studied, probably you have. | ||
| Well, I don't know what they were big on or not. | ||
| They were big on respecting the human body because the Egyptians knew, you know, one of the reasons they did the embalming ceremony with some of the higher kings, a lot of the priests started doing it later, but they weren't basically in their society authorized, is to tell the world, you know, to preserve and respect the human body here on the physical plane. | ||
| If we didn't have any physical plane, we'd have a real problem incarnating here because everybody would be on the astral plane. | ||
| So we need to have the physical plane. | ||
| But the belief systems that are established on the physical plane become a reality in the hereafter. | ||
| Not forever, not for eternity, but for a time, for a time period, which is another time period, another series of times that's interrelated with the time here. | ||
| But if we were looking at it, it would be a much longer time period than we have here. | ||
| And that becomes the astral plane. | ||
| And then, of course, the next point is a plane beyond that. | ||
| If you were to go into physics, you would go into atomic particles, you know, atoms. | ||
| You go into subatomic particles, and you go into, like, sub-subatomic particles. | ||
| We could go from, you know, we'd be going from electrons and protons into hadrons into quarks into omega and on and on and on as a physicist. | ||
| This is just the particle standpoint of how the progression goes. | ||
| Okay? | ||
| So when we would deal with the astral plane, we would be dealing with the hereafter. | ||
| And the area of the human soul going through that lesson of incarnating and going to the astral plane and incarnating, in other words, the doctrine of reincarnation takes place until the soul realizes that journey isn't necessary any longer. | ||
| And the person goes into a transcendental, higher, more inner spot. | ||
| All right. | ||
| I don't know how far out you want to go with this. | ||
| Not very. | ||
| What I really want to know about is time travel. | ||
| Yeah, well, we're working on it here, you know. | ||
| Now, if you were to, for example, get into a Pleiadian spaceship, and I'm sure your listeners are probably familiar with some of the Pleiadian photos that have been taken by Billy Meyer in the talk about Pleiadian ships, and you were to go into some ship that's capable of going as fast as speed of light and beyond, | ||
| basically what would happen as you accelerate up toward the speed of light and beyond, size and relative to this, your physical size relative to the physical plane becomes very small until you become atomic in size. | ||
| You follow me? | ||
|
unidentified
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Yes. | |
| Okay. | ||
| And so this is what happens, for example, at death when somebody, you know, the moment they die, the ounce of body changes, weight changes, because the consciousness has accelerated its energy and it's accelerating into the speed of light, and so therefore it takes an energy out of the body and it drops like an owl. | ||
|
unidentified
|
Okay. | |
| So these energies are going into the astral plane. | ||
| All right, doctor. | ||
| We'll pick up with the astral plane when we get back. | ||
| My guest is Dr. Fred Bell, and we're off somewhere into the astral plane. | ||
| We will be talking about time travel and the Philadelphia experiment. | ||
| Coming up, you're listening to the CBC Radio Network. | ||
|
unidentified
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When it's all right, it's coming low. | |
| We gotta get right back to where we started from. | ||
| Love is good, love is strong. | ||
| We gotta get right back to where we started from. | ||
| We gotta get right back to where we started from. | ||
| Call Art Bell, toll-free. | ||
| West of the Rockies at 1-800-618-8255. | ||
| 1-800-618-8255. | ||
| East of the Rockies at 1-800-825-5033. | ||
| 1-800-825-5033. | ||
| This is the CBC Radio Network. | ||
| It is, and my guest is Dr. Fred Bell, and he'll be back in a moment. | ||
| We've got on the website now a very interesting photograph. | ||
| It is an artist's conception, and a very good one, I think it's an artist's conception, of the Aurora aircraft. | ||
| Now, if you look at the X series of aircraft, recently declassified photographs that we've got up there, and compare it to what the artist believes, I think that's an artist's photograph, the Aurora looks like, you will see remarkable similarities as if one came from the other, which I firmly believe it did. | ||
|
unidentified
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I just can't... | |
| I just can't... | ||
| Back now to Dr. Fred Bell. | ||
| Doctor? | ||
| Hi. | ||
| Okay, time travel. | ||
| How is time travel possible? | ||
| Is there an actual physical mechanism that allows it, or how is it done? | ||
| Well, I did some experimenting with it, and my original idea or train of thought came from physics, which is a system called the Wilson Cloud Chamber, which is the way particle physicists look at particles to see if they are, you know, we're looking for new particles with very short half-lives, which is like a time experiment. | ||
| And so I was able to do some experimentation wherein you could accelerate the frequency of the human body, the electrons and protons in the human body, and actually begin to move forward in time. | ||
| It was a physical effect. | ||
| Forward in time. | ||
| Forward, yeah. | ||
| Well, this is how I began. | ||
| This is how I learned, other than, you know, having been told by Eastern masters that I studied with when I was younger, but this is how I learned there wasn't any future by trying to go just like a few milliseconds or microseconds out of this illusion that we're in now. | ||
| And I was successful in doing that on a couple of occasions. | ||
| Into the future. | ||
| But I thought you just said it was not possible. | ||
| Well, there is no future. | ||
| You go into a black void is where you end up. | ||
| You see what I mean? | ||
| But I actually was able to do that, and it caused me to have a new respect for life, basically. | ||
| In other words, there is not a future in this timeline until we create it. | ||
| Right, exactly. | ||
| Until the whole human, the bulk of humanity creates it. | ||
| And the same thing I found out, and I didn't go in the past, but I also found out about the past. | ||
| If you were to go back, let's say, and if you were to get in a time machine and go back in the past and try to get rid of Hitler, as an example, would that change today? | ||
| No, it wouldn't, because only a small amount of energy has gone back into reflection of what time, you know, like the reflection or the echo of time and made a change back there. | ||
| It would cause some changes in the present, but very few and not enough that anybody would notice because the mass consciousness of energy is right here, here and now. | ||
| Why have you not tried to go to the past? | ||
| Because I haven't had. | ||
| The first device I built was there in Laguna Beach in the back. | ||
| I constructed this big, almost like a building, you know, looks like an octahedral shape. | ||
| And I had it, and it caused a lot of problems with the city of Laguna Beach. | ||
| Yeah, it also caused trees to grow in circles around it, and it created this huge field of energy around it. | ||
| exactly was this device well it was a device that Well, yeah. | ||
| You've got to understand now when you say I built something in the backyard, I used to work and build Saturn rockets, so I have the technology. | ||
| I'm with you. | ||
| So I built it in the backyard, and it was pretty large. | ||
| It was about 20 feet tall. | ||
| And because it had to have a large acceleration tube in the center of it, we had to get a lot of energy going in the center of it. | ||
| And what I did is I used a trick that I learned in laser research, because I do an awful lot of work at the present with lasers. | ||
| And lasers are, in effect, demonstrating interdimensional time travel in their operation, the way they create a photon from the astral energies to the physical plane, bringing coherent light down here. | ||
| Because the astral energies would be a coherent light source. | ||
| Like, for example, if you were to hold a prism in the sunlight, you're going to get seven colors from it. | ||
| So what we have to do is put a mass, a Tremendous mass into those seven colors. | ||
| And then that mass then has to influence anything that's around it. | ||
| In this case, the being that would be transmuted would be alongside the what we call a cancel column. | ||
| And what we did is we accelerate energy to a very high degree or rate of speed back and forth. | ||
| Through what means? | ||
| Through what means? | ||
| Oh, okay. | ||
| First of all, let me give you a visual journey real quick. | ||
| First of all, we have an octahedral shape, like a pyramid, a right side-up pyramid, and we have an upside-down pyramid. | ||
| And these are about 12 feet at the base. | ||
| Inside this pyramid structure, and this is made out of a non-conductive material, inside this large pyramid structure is like a large tunnel going from the point of the top to the point of the bottom. | ||
| And this large tunnel is about two feet in diameter. | ||
| Around the outside of this pyramid structure, we have what would be equivalent of a Wimhurst machine, a Wimhurst machine or an electrostatic generator. | ||
| So we would be able to have one disc spinning around the outside in one direction, creating a positive charge, and another disc around the outside spinning in the other direction, creating a negative charge. | ||
| All right, I'm not familiar with this. | ||
| So describe this to me. | ||
| What is spinning? | ||
| Okay, what is spinning is around the outside of this device, this octahedron that we've created, is a circle. | ||
| Do you ever see those old bandigraph generators? | ||
| Oh, yes. | ||
| And they had the old Wimhurst machine, which was like two records. | ||
| One record would go one way and one record would go the other, and a capacitive plate hooked to either side so that it would cause a friction between the two records? | ||
| Right. | ||
| Okay. | ||
| That's what we would have around the time machine on the outside of it. | ||
| We'd have a very sophisticated Wimhurst effect. | ||
| And the reason that we would have that is because we have to do some electrostatic capacitor charging at a very high rate of speed. | ||
| What kind of voltages are you talking about? | ||
| We're talking here about close to a million volts. | ||
| A million volts. | ||
|
unidentified
|
Yeah. | |
| By the way, I want to just tell everybody I'm writing a book on this now called The Secret Promise. | ||
| So I've got, this book is available pretty soon. | ||
| But anyway, so now on each, now we've got to go to the next phase of it. | ||
| On each one of these, we've got eight surfaces we're looking at. | ||
| Now, forget the spinning part in the middle. | ||
| We've got eight surfaces, okay? | ||
| Okay. | ||
| We have, on the eight surfaces, we have a large capacitor shaped like a triangle. | ||
| Okay, we have a triangle-shaped capacitor on the outside of the surface. | ||
| And we have seven different plates or capacitors on each surface. | ||
| Boy, I wish I had a photograph of this. | ||
| Well, yeah, just drawing, I'm kind of like drawing this. | ||
| Just imagine that we're looking at this pyramid on the top, and on each side of the pyramid are seven capacitors that are shaped like the pyramid itself, but each one is a little bit smaller. | ||
|
unidentified
|
Okay. | |
| So we end up with maybe the seventh triangle is one-tenth the size of the original triangle, which is below it. | ||
| Gotcha. | ||
|
unidentified
|
Okay. | |
| So now these, what these are going to do is these are going to, one capacitor is going to charge to a voltage. | ||
| There's seven times, there's 28 different ones on the top, and there's 28 different ones at the bottom, seven on each surface. | ||
| Seven times four is 28. | ||
| So at any particular time, one of these capacitors is going to have a very high rate of charge on it, close to a million volts. | ||
| And it's going to create something which is called the Bifield Brown effect, which you might have probably in your other discussions. | ||
| It has to do with propulsion systems also. | ||
| But basically what we're doing is we're moving matter. | ||
| And we're going to put a charge on these different on these capacitors. | ||
| Doctor, what you're describing sounds an awful lot like what Bob Lazar and others, or very close to what Bob Lazar and others have described as propulsion systems for things they worked at on at Area 51. | ||
|
unidentified
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Right, I understand. | |
| Is there a similarity? | ||
| There is a similarity. | ||
| I was in that work. | ||
| I used to work in those different government facilities. | ||
| I was a consultant, so I've seen, I've been around the block in that area. | ||
| But basically what I'm trying to create here now with these capacitors is a Mobius effect. | ||
| I'm going to get a charge. | ||
| These two rings are going to be spinning in opposite directions, creating a million volts. | ||
| And I'm going to be applying that million volts, you know, not at random, but would appear to be at random by what's called a proximity switch, which then switches these high voltages to these different capacitors. | ||
| So you can imagine a capacitor on the top fires, and one on the bottom goes, and then one on the side goes, and all around at different levels, creating a field. | ||
| I'm going to mock up a field. | ||
| And the reason I'm creating that field is I'm entering the human biosystem, the meridians. | ||
| You've heard of the Qi meridians and all the different energy fields in the body. | ||
| I'm getting the attention of that field to such a degree that the human field itself, the aura field itself, is now being drawn and controlled by this outside force. | ||
| Now that's step one. | ||
| And basically you could call it shaking the tree or getting the electrons and the protons of the person inside this vehicle kind of loosened up. | ||
| You follow me? | ||
| Okay. | ||
| We've got them loosened up now. | ||
| What have we got in the middle of this? | ||
| Yeah, that's the next thing. | ||
| And then inside the net, there's two things inside the middle. | ||
| Now, first of all, we have this long tube going down through the middle. | ||
| This long tube going down through the middle has a coil around it, which is called a caduceus coil. | ||
| Meaning that this coil, anytime you put positive and negative charges into it, because each winding crosses the other like a little X, instead of creating a huge magnetic field, it creates a void. | ||
| It takes a magnetic field and it collapses. | ||
| It's exactly the same way that Bermuda Triangle works under certain astrological conditions, which of course is where the whole Navy Philadelphia experiment started. | ||
| But this is a much more sophisticated version of it. | ||
| And this is somewhat what was on the Eldridge, USS Eldridge, was very similar to this column that I'm uh describing now, which we call a cancel column. | ||
| It's a coil. | ||
| It's basically a wound coil. | ||
| It's a coil, but it's not wound. | ||
| Each turn does the next, the next, to the next to amplify the field. | ||
| Each turn cancels out the other. | ||
| In other words, it's a coil with two sets of windings on it going on. | ||
| I understand, yes. | ||
| Okay, so every whole lot of stuff goes in and nothing comes out. | ||
| You follow me? | ||
| Okay, then what happens is we have a very high-powered laser. | ||
| In the tube itself becomes a very high-powered laser field. | ||
| Okay. | ||
| And so what we end up doing is we start the capacitive work, the outside Wimhurst machine starts creating a huge field. | ||
| We use what's called proximity switches to create a Mobius electrostatic bifield Brown effect around the entire vehicle, which isolates it from the physical plane. | ||
| And then we put a huge amount of laser energy. | ||
| We start moving photons off of the astral plane onto the physical plane. | ||
| And at the precise moment, we collapse the entire field, put all the energy into this column. | ||
| At that moment, the macro. | ||
| Yeah, at the moment, all this energy concentrated with all these different frequencies and cycles going on, it goes to zero. | ||
| There's no output. | ||
| At that point, it pinches through time. | ||
| It actually warps time and it goes on into another space. | ||
| Do you have any way to control which direction it goes? | ||
| Yeah, the way I did it, the way I worked with it, I only knew how to go forward. | ||
| That's the only thing I could do. | ||
| The whole idea of the experiment was to break out of how do you know that you went anywhere? | ||
| What you doing? | ||
| It was so simple because in one of these capacitors, in one of these, the doors that go into this thing had all these capacitors on it. | ||
| I had a hole through it, so I had a porthole in it. | ||
| You could see out. | ||
| And the first time we turned this thing on and collapsed the field, it was real interesting. | ||
| The device went into a state where you could see out. | ||
| I suppose I didn't have anybody standing outside because we did it at night, but you could see out, and there was a car going up the street because we live on a hill. | ||
| The car wasn't moving. | ||
| The car had stopped. | ||
| It had two headlights. | ||
| And one of the headlights, the photon beam coming out of the headlight were a little bitty spot. | ||
| In other words, it wasn't a solid beam like you would see coming out of a car headlight because we were moving up in higher energy. | ||
| We were moving up towards the speed of light in energy now, not traveling physically, but in energy. | ||
| So the photon beam, we were matching its speed, so you could see speckled lines. | ||
| And the left side of the headlight, it was like a bunch of white spots hitting the street, and the right side of the headlight hadn't even hit the street yet. | ||
| That was the interesting thing that happened. | ||
| Wow. | ||
| Yeah, that was the first experiment. | ||
| And the second experiment, we got it going and really wound up more, and there was nothing outside the window. | ||
| And I could only do this for a short period of time because I was using batteries and I I needed about 400 or 500 horsepower to really do what I wanted, and I had to be disconnected from the electricity of the power lines and that because it wouldn't work that way. | ||
| So this was the experiment that we were able to do based on my research. | ||
| All right, so what happened with the city of Laguna Beach? | ||
| Well, we're in a kind of an elite area here, and we have very strict zoning requirements. | ||
| And I used to bring them different mayors up here and then show them what I was doing, and they knew me because I used to do numerous radio shows, and I'm a personality here in town. | ||
| You brought the mayors of Laguna Beach? | ||
| Yeah, up to the house, and then therefore they go down and tell the city, it's okay, this is only temporary, this is a very interesting experiment going on. | ||
| But finally, after four generations, you know, four different mayors in town, I couldn't do my political thing anymore, and they made me tear it down. | ||
| You can't get a zoning permit for a time machine. | ||
| I understand. | ||
| And the electrostatic field, you should see what it does to trees and how things, the whole DNA structure of plants and trees, we had a tree in our backyard that was nearby that when we took the time machine out, this pine tree grew, it looked like a pretzel, the way it grew. | ||
| It grew in spirals like a landing track. | ||
| You wanted Billy Myers' pictures from a pine. | ||
| Doctor, who sat in the machine? | ||
| Was that you? | ||
| Yeah, I was in it. | ||
| It was a guy named Eric Powell who was my assistant at that time. | ||
|
unidentified
|
Yeah. | |
| Has anything happened to you? | ||
| I mean, if trees are growing like pretzels as well, you are in the middle of the table. | ||
| You know, after those experiences, you know, first of all, during this time, this was in 1982. | ||
| We had more flooding out here in California. | ||
| I don't know if it affected the weather or not, but we had, this is when Malibu almost split off into the ocean. | ||
| I remember. | ||
| This was during that time. | ||
| Those three months of solid rain was when we were doing all this. | ||
| And I remember when we stopped doing it, I was very disoriented. | ||
| I mean, it was very disorienting for me. | ||
| My intuition seemed to work backwards, and I could drive down the hill knowing that I've got to make a left-hand turn to go to the grocery store, and I would turn right every time and get about a block and realize what I'd done. | ||
| So it really caused me to face out and behave in a strange way for a while. | ||
| Well, now, as you know, in the Philadelphia experiment, it is legend or it is said that people were affected very much in the same way or even more so or even at the extreme, ended up in the middle of metal in a ship. | ||
| Oh, it was horrible. | ||
| Right, right. | ||
| Well, for example, in this type of time machine, I plan to build another one one of these days. | ||
| The next one will actually fly because you would have to lift, if you were going to go back into the past, for example, you might end up inside of a mountain if you don't get some altitude above the surface of the earth. | ||
| And the Philadelphia experiment, they weren't really Knowing what they were doing. | ||
| It started out as radar invisibility. | ||
| Well, it sounds a lot like your experiment, even though fairly sophisticated, was still kind of a blunderbuss approach compared to perhaps what it ought to be. | ||
| Oh, hey, I agree 100%. | ||
| And this is back in the 80s when I did this. | ||
| I've learned a whole lot more since then. | ||
| I've conditioned myself through holistic practices, keeping my system clear. | ||
| The DNA is definitely affected. | ||
| I've done a tremendous work with human DNA on this stuff and it's definitely affected. | ||
| Well, that's the next thing we're going to talk about. | ||
| I'm going to reflect onto this. | ||
| Okay, I presume that it was an effort of the military. | ||
| I mean, obviously, we're at war, and German submarines are sinking our ships, and we were not real happy about that, so we wanted a way to virtually be invisible. | ||
| I think it began as a radar invisibility project. | ||
|
unidentified
|
Right. | |
| And what happened was, you see that down at the Bermuda Triangle, the Bermuda Triangle is a negative energy vortex that was set up by a previous race, probably in Atlantis, that created some pretty negative things, what we call negative scalar waves, that were very, very hostile to the planet's environment. | ||
| And so the capital of Poseidon, of Atlantis, was destroyed about where the Bermuda Triangle is about 12,000 years ago, leaving this vortex. | ||
| And what happened was, see, minesweepers are pretty much a wooden ship, because if they weren't, they'd set off the mine. | ||
| But a minesweeper, even with it, it's got metal on it, and when it sails around the South Pacific and different places where they go, it gets magnetized by the Earth's magnetic field, just like you would if you were to take a nail and put a magnet to it and rub it up and down. | ||
| Pretty soon the nail's magnetized. | ||
| Absolutely. | ||
| Doctor, hold it right there. | ||
| We'll be back to you. | ||
| And when we do come back, we will talk about the Philadelphia experiment and what you know about it. | ||
| Gee, I wish I'd seen that machine in Long Beach before you had to tear it down. | ||
| You're listening to the American CBC Radio Network. | ||
| I'm Mark Bell. | ||
|
unidentified
|
I'm Mark Bell. | |
| Thank you. | ||
| Art Bell is taking calls on the wildcard line at 702-727-1295. | ||
| That's 702-727-1295. | ||
| First-time callers can reach Art Bell at 702-727-1222. | ||
| 702-727-1222. | ||
| Now, here again, Art Bell. | ||
| All right. | ||
| Once again, here I am. | ||
| My guest is Dr. Fred Bell. | ||
| He built a time machine down in Laguna Beach. | ||
| And we've been talking to him about that. | ||
| He's going to tell us a little bit about the Philadelphia experiment, and I believe he knows something about that. | ||
| And then we are going to take some calls from you. | ||
|
unidentified
|
Thank you. | |
| Well, all right. | ||
| Back now to Dr. Fred Bell. | ||
| Doctor? | ||
| Hello. | ||
| All right. | ||
| Let me, before we go on to the Philadelphia experiment, let me ask you, do you have any photographs of this incredible machine that you built? | ||
| I only had, I have some pictures of it that I took when I was first building it. | ||
| I didn't want a lot of photographs of it getting out. | ||
| However, I have some excellent drawings now in this new book I'm working on that fully describes it. | ||
| And somewhere I had a videotape of it. | ||
| I loaned it to NBC and they lost it. | ||
| And they lost it. | ||
| Yeah, it was really, you know, I won't get into that. | ||
| So I may someday build another one. | ||
| Remember this? | ||
| It was an archaic idea. | ||
| Today I've learned a lot more, and it only allowed us to go probably just a millisecond or so ahead of this time that we're in now, just a tiny bit. | ||
| It wasn't like an H.G. Wells. | ||
| No, I've got you. | ||
|
unidentified
|
It is interesting. | |
| I mean, it could lead to that, but it would need more funding and more all kinds of things. | ||
| It is interesting that when you fully made a transition far enough into the future, even milliseconds, there was nothing. | ||
| There's nothing. | ||
| Trust me. | ||
| I've been there. | ||
| All right. | ||
| Look, during the Second World War, we tried to make a ship invisible. | ||
| What do you know about that? | ||
| Okay, well, what happened was when they were coming in from different areas in the South Pacific, they go through the Bermuda Triangle and the Atlantic, and they noticed, see the weather conditions on the Atlantic down there. | ||
| A lot of times there's fog, there's all kinds of different mists, and the ships try to keep a certain distance from one another. | ||
| And they noticed that when they went through the Bermuda Triangle, some of these minesweepers that were apart from each other became invisible on the radar. | ||
| And usually during the Bermuda Triangle area, in that area, they become invisible on the radar. | ||
| So that's where they got the idea from it. | ||
| They started to explore that phenomenon. | ||
| In other words, if ships under any conditions became invisible to radar. | ||
| Well, yeah, that's stealth. | ||
| That's the beginning of our stealth technology. | ||
| And then they wanted to know why and how they could duplicate it for the war effort, obviously. | ||
| Exactly. | ||
| All right. | ||
| That makes sense. | ||
| Yeah, that's what they did. | ||
| And this was the beginning of our stealth technology. | ||
| And they weren't really trying to make anything invisible physically. | ||
| They just wanted it to go away on the radar. | ||
| Right. | ||
| I understand, yes. | ||
| Yeah, so they, and Newport News is an area where they would end up degausing them, and the Philadelphia Shipyard was another area. | ||
| So that's where they began to make these magnetic readings on the ships that were invisible. | ||
| In other words, the ship that was radar visible was the one that they wanted to study. | ||
| So they began to instrument the minesweepers when they were going through the Bermuda Triangle to measure Gaussian changes. | ||
| Gauss is a unit of magnetic measurement. | ||
| Right. | ||
| And changes over a distance of the ship during this condition. | ||
| In other words, maybe the first two feet of the ship would be a certain Gauss reading, and the next ten feet would be another Gauss reading. | ||
| You see what I mean? | ||
| Yes. | ||
| So you go down in line, and you get a whole series of readings, but the things were highly instrumental, so they were reading practically every square inch of it. | ||
| So then what they did is they decided, well, you know, we got this field here, this field here, this field here. | ||
| Why don't we put coils? | ||
| Why don't we now go ahead and put coils on the board and make these coils behave in the same way as these readings we were getting during the unitrines. | ||
| Yes, well, I had Al Belick on, and he talked to us about the coils and rotating RF fields. | ||
| Right. | ||
| Do you know about that? | ||
| No, because I worked on it at the University of Michigan afterward when we began to explore the coils. | ||
| We forget the ship. | ||
| Where we were at was forget the ship. | ||
| Let's start putting these coils. | ||
| And so we had a, in the Randolph Laboratory, which is an underground lab that I worked in, we had a synchrotron, a Bevatron, and a cyclotron, three big atom spashing toys. | ||
| So what we did is we hooked up their power supply outputs, which would be BEV output, billion electron volt output. | ||
| And we took these billions of volts of output, and we hooked it into what are called general electric pyronol capacitors. | ||
| So we had huge amounts of current available with very, very high voltages. | ||
| I mean, you should have seen the arrangement. | ||
| We had literally capacitors going down hallways, all hooked in parallel and series. | ||
| Huge, you know, three big atomic smashers disengaged because all we wanted was their power supplies. | ||
| Look at these things. | ||
| When was this? | ||
| This was in 1955, 1956, 1954. | ||
| Was this, may I ask, Doctor, the genesis of your idea that turned into the thing you built at Laguna Beach? | ||
| Yes, that was totally the genesis. | ||
| Yeah, sounds like it. | ||
| All right, so anyway, continue. | ||
| Yeah, so anyway, what we would do is we would have these rooms, and we have these big water tanks in these rooms to protect us from the radiation. | ||
| And inside these rooms, we would put these different coils, and we would put these different powers into them. | ||
| And we were trying, I guess what we were trying to do is warp space and time. | ||
| But you've got to realize the arrangement. | ||
| It was so bizarre. | ||
| Back in those days, we didn't have transistors in our computer. | ||
| We had six SN7 tubes, little vacuum tubes about three inches tall. | ||
| So we had, we were buried in, our computer was the size of a large house. | ||
| And we had that underground, and we had all this stuff going on. | ||
| And what we were doing is exploding, basically, as far as I could tell, what we were doing. | ||
| Doctor, where was this? | ||
| At the University of Michigan, Randolph Laboratory at the University of Michigan. | ||
| And Dr. Katz, K-A-T-Z, was the professor in charge of the whole thing. | ||
| All right. | ||
| Yeah, he still exists today, believe it or not. | ||
| And so we were destroying these coils in these sealed rooms, basically vaporizing them into another dimension. | ||
| That's what we started doing in there. | ||
| It's the only thing I could figure out. | ||
| I didn't have the whole scope of the experiment in my eyes, but while I was involved with it, because I was working with that and another thing called the pinch effect, which was very similar, the pinch effect evolved from that, and that later on became cold fusion, what we call in science today as cold fusion. | ||
| So out of our research, a whole bunch of things, different kinds of experiments began to take place. | ||
| And then I, in my career, in my lifespan, I went and explored some of these other things. | ||
| So I got off into all these side technologies, which were equally as fascinating and all involving time. | ||
| So I mean, I just was into a lot of stuff. | ||
| The pitch effect, one of the experiments we did with that, for example, was send shock waves down a tube to duplicate the shockwave from an atomic explosion and how it destroyed buildings and matter and things like that. | ||
| That was one thing. | ||
| Another, of course, was cold fusion, where you sustain the temperature of the sun, surface of the sun, inside of a tube held in place by a very powerful magnetic field like we just described in the Philadelphia experiment. | ||
| And see, because when you start working with these fields, you start compressing energy down into it, it creates a in space, for example, if a sun starts to die, it's supernovas, it explodes, or it collapses. | ||
| If it collapses, it creates another, its own space, its own time, and it creates a black hole. | ||
| So what we were trying to do, the next step was create a black hole in a laboratory with what's called a space-time singularity. | ||
| I'm not so sure that would have been a good idea. | ||
|
unidentified
|
Yeah, it works. | |
| I mean, we did some stuff like that. | ||
| Weren't you a little concerned about the effect? | ||
| Yeah. | ||
| Well, I became radioactive a few times. | ||
| That's how I learned about, you know, about how some people, like some people, for example, can handle ultraviolet from the sun and other people get cancer. | ||
| Well, I learned how to make everybody handle it. | ||
| I learned all this stuff back then. | ||
| You became radioactive. | ||
| Yeah, I was overexposed to radiation several times. | ||
| And I had the proper genetics to be able to survive all of this. | ||
| And I was very young when all this was going on. | ||
| And you've got to realize, I was 16 years old when I was doing some of this stuff. | ||
| And immediately when I was age of going into service, they immediately put me in the Air Force and continued my education. | ||
| So I started when I was 14 years old doing these kinds of things. | ||
| And my career in the government lasted until I was almost 30. | ||
| So, I mean, I had this whole track, this whole time of taking these ideas and going further and further and further and further. | ||
| What did you do for NASA? | ||
| I was a spacecraft. | ||
| The final job that I had was spacecraft checkout engineer, meaning that just before we, when we finished building the ship over here at, you know, this was the different stages of the rocket at Seal Beach, California, we had to run a complete series of dynamic checks on it to make sure it was going to lift off and go to the moon. | ||
| My job was to make sure everything worked. | ||
| And then we shipped it down to Huntsville or we'd ship it down to, you know, we used to call it Cape Carnival in those days, but Cape Canaveral and launched the damn thing. | ||
| Now, and that job, I didn't think, I was very surprised when the first one took off. | ||
| I mean, the things I'd see go on at NASA was so ridiculous, you know. | ||
| I always called NASA a giant WPA project because we already had, the reason I call it that is because by this time I was already working with propulsion technologies that were far better than rockets, which I currently am working with today. | ||
| And some other friends of mine around the country are very, very into some of this stuff. | ||
| And so I got into all of that during the NASA time. | ||
| And it was really interesting. | ||
| What are you trying to do now? | ||
| I mean, what is your current? | ||
| My current thing now is to I'm involved with several things. | ||
| Number one, reverse the aging process and DNA, get rid of the effects of radiation in the human body. | ||
| I formulate supernutritional vitamin formulas for, I've done them for over 75 different companies. | ||
| And making the world a better place to live in. | ||
| I'm not full throttle right now on time travel and hyperspace travel because we need to take care of our planet right now. | ||
| So I'm using my expertise in environmental issues. | ||
| I spent 15 years with the National Health Federation lecturing all over the country on the environment. | ||
| I helped start some of the big rainforest things that are going on. | ||
| I do fundraisers for charities sometimes. | ||
| I'm in all kinds of stuff. | ||
| I produce music. | ||
| We use what's called Pleiadian sound technology where we change consciousness with music. | ||
| For example, you know how there's all these lawsuits going on. | ||
| These bands go out and they create a music sound and a kid hears a sound and goes out and kills somebody? | ||
| You've heard of that, right? | ||
| Yes. | ||
| Okay. | ||
| You can do that with sound. | ||
| You can create that into DNA, you know, if that's negative sound techniques. | ||
| We do it with positive. | ||
| That's otherwise called mind control. | ||
| Right. | ||
| It's more than mind. | ||
| It's control of everything and you can do that through music. | ||
| We do a positive aspect of that and create healing powers out of it, you know. | ||
| Also, we were into a black box technology now, which once again, the music, you know, we started developing sounds from recordings of extraterrestrial Pleiadian ships where we got sound impressions. | ||
| We took them as spectrum analogers, broke down the sound frequencies, and came up with different timbre characters. | ||
| And timbers are, you know how if you play a piano and then you play a violin, they're both the middle note C, but they both sound different? | ||
| That's a timber characteristic. | ||
| And if you look at the sitar, which is an Indian instrument, it's a consciousness-raising instrument. | ||
| It came here to the Brahmins from the rishis, according to the historical volumes of Tibet. | ||
| The rishis supposedly came from the Pleiades, but the sitar, look at the 60s when everybody was doing mind expansion, they had Ravi Shankar playing the sitar, people getting high and listening to the sitar music because it raises consciousness. | ||
| Pretty soon they realized, hey, you don't need the drugs to get high. | ||
| The music is doing it. | ||
| So we got into that. | ||
| We started using synthesizers with different techniques. | ||
| One is called the linear synthesis. | ||
| One is called subtractive synthesis. | ||
| And we began to create these sound patterns with a computer and these rolling synthesizers and put those on transducers to create levitation and stuff like that. | ||
| So I got into a quicker way of doing some of the things that were more complicated in our earlier days. | ||
| So as a result of that, I've written several books. | ||
| I'm finishing up one now. | ||
| Created an educational tape series. | ||
| Created four music albums. | ||
| Right now we're getting ready to release one that's going to go out into the cultural, you know, mainstream rock and roll with using this stuff. | ||
| And you think these create some sort of healing effect? | ||
| Right, right, right. | ||
| I know it does. | ||
| I do a lot with lasers, a lot with lasers. | ||
| Matter of fact, I'm laying right here. | ||
| I've got a six-watt laser beam going over my head, going through the entire framework of my house as I give this interview because the energy of a laser going into crystals is phenomenal. | ||
| Well, crystals amplify laser, don't they? | ||
| No, what they do is, you know, they open the laser energy is the photon released from the astral plane. | ||
| And that's the way a laser, that's the very nature of what a laser is, which also is what we use at the time machine. | ||
| We used a 1 billion watt laser in the center of it. | ||
| And what happens is when... | ||
| You're telling, well, I have some kind of a mission here. | ||
| I don't know what it is yet, but I used to race motorcycles and cars, and I should have been dead by now by the things that I did in my life. | ||
| I just had no fear, you know, I had no fear with this thing here until I realized later what I'd done. | ||
| Then I kind of thought about it. | ||
| I mean, if I'd ever stepped out of this thing when it was charged up, I'd have been fried. | ||
| Fried instantly. | ||
|
unidentified
|
Yeah. | |
| What do you want to talk about? | ||
| Is it your view that the Philadelphia experiment absolutely did occur? | ||
| I'm pretty sure it did, yeah. | ||
| But we didn't call it any Philadelphia experiment at the University of Michigan. | ||
| We just called it experimentation. | ||
| We didn't really have a name for it, you know. | ||
| The name Philadelphia Experiment came later because the Eldridge, of course, was from Philadelphia's normal. | ||
| Yes, right. | ||
| But what did you think that you were doing in Michigan? | ||
| I didn't really know. | ||
| I mean, I was young, and here I'm a young kid. | ||
| I was a student, you know. | ||
| The transistor had just been embedded, so I was playing with that, and though it wasn't being used practically, so I was just learning stuff. | ||
| You know, we were in 1954, we were hooking oscilloscopes up to our head and putting electrodes on our brains and playing with our brain waves. | ||
| I mean, where is that coming from? | ||
| In 1954, when I'm just a kid, I don't know where it was. | ||
| At that time, I didn't know what I was going to be later in life. | ||
| I just knew I had to have my hands into everything. | ||
| And my dad also is a scientist. | ||
| He brought the London Bridge over and put it in Habasu City. | ||
| He invented the alternator on the side. | ||
| Wait a minute. | ||
| Your dad did that? | ||
| Yeah, yeah. | ||
| Him and C.V. Woods and Bob McCulloch did that. | ||
| Alan Bell is his name. | ||
| Why did he do that? | ||
| It was a commercial venture. | ||
| They wanted that, it was called Site 6, and it was a commercial venture to make money because they put the bridge and there wasn't any water in there then. | ||
| Right. | ||
| And then he bought all the land around it and created Site 6 became Havasu City. | ||
| And that was C. V. Woods. | ||
| And my dad's job was to do all the engineering and the design. | ||
| And McCulloch put the money up for the bridge itself, $450,000. | ||
| And he bought the wrong bridge. | ||
| He thought he was buying the bridge in the song. | ||
| He bought the wrong bridge? | ||
| Yeah, it was a big joke to the people in Britain. | ||
| He thought he was buying the bridge that was in London Bridge is falling down, you know. | ||
| And it wasn't? | ||
| No, it wasn't. | ||
| That was on the Thames River. | ||
| It was down the road a little bit further at the time. | ||
| Wouldn't that be awfully disappointing after spending nearly half a million dollars to move a bridge brick by brick? | ||
|
unidentified
|
Yeah. | |
| I thought so. | ||
| I mean, the colleague, I knew him quite well. | ||
| He was a funny guy, you know. | ||
| He had a lot of money. | ||
| You know, he was the sixth richest man in the U.S. in 1954. | ||
| You know, he died broke. | ||
| But, I mean, this guy, he didn't really care. | ||
| Oh, go get the London Bridge. | ||
| Grant somebody a check and off they go, you know. | ||
| And my dad had to number everything, and, you know, all the bricks got numbered, the stones. | ||
| Oh, yeah. | ||
| I remember the story on it. | ||
| So you're sort of a chip off the old block. | ||
| Yeah, I was born at the University of Michigan. | ||
| I took my first breath there. | ||
| And my dad was the freak, and then my great uncle, Alexander Graham Bell, he was, you know, I had the family tree and pictures of him and stuff. | ||
| Wait a minute. | ||
| You're a descendant of Alexander? | ||
| Yeah, he's my great uncle. | ||
| I've got a picture of him hanging on the wall from our family tree. | ||
| I got our family tree. | ||
| And my other relative, believe it or not, is Glenn Bell, and he started Taco Bell. | ||
| I was with him Sunday. | ||
| He retired from Taco Bell. | ||
| Did you hear the bell of Taco Bell? | ||
| No, my friend is Glenn. | ||
| Glenn Bell. | ||
| He's one of my cousins. | ||
| A friend of yours. | ||
| Yeah, a cousin. | ||
| He has a big ranch down there in San Diego. | ||
| He grows fruit and gives it away, you know, vegetables. | ||
| He gives it away to charity. | ||
| He's quite a humanitarian. | ||
| He's retired, of course, with Taco Bell money. | ||
| We're a crazy family. | ||
| Well, you're a Bell. | ||
| You should know. | ||
| Look at you. | ||
| Yeah, but I don't think we're related. | ||
| Are you sure? | ||
|
unidentified
|
No? | |
| No. | ||
| My family tree, check this out. | ||
| My family tree. | ||
| It's a box they gave me. | ||
| My grandfather, Bell, gave me this family tree. | ||
| This 100-year-old box with James, English writing box with secret drawers and stuff in it. | ||
| It's a big square box. | ||
| It's about two feet long by about eight inches high and about a foot thick. | ||
| Yes. | ||
| Handmade in beautiful cherry wood. | ||
| It's got secret compartments. | ||
| The family tree, they started it 100 and some years ago, and I got 100-year-old pieces of paper with a family tree started by my great-great-somethings or others. | ||
| And then my grandparents took over and did another 50 years of it. | ||
| So I could find out. | ||
| All right. | ||
| Well, yeah, I know something about my family tree. | ||
| Doctor, hold on. | ||
| We'll be back to you at the bottom of the hour. | ||
| If you have any questions for Dr. Fred Bell, I don't think any relation. | ||
| Then come now from the high desert. | ||
| This is Radio That Is Strange. | ||
| I'm Art Bell. | ||
|
unidentified
|
I'm Art Bell. | |
| Amen. | ||
| Call our Bell. | ||
| Toll-free. | ||
| West of the Rockies at 1-800-618-8255. | ||
| 1-800-618-8255. | ||
| East of the Rockies at 1-800-825-5033. | ||
| 1-800-825-5033. | ||
| This is the CBC Radio Network. | ||
| It is. | ||
| I'm Art Bell, and my guest is Dr. Fred Bell. | ||
| No relation as far as I know, but you never know, huh? | ||
| Anyway, we'll get back to him in a moment. | ||
|
unidentified
|
We'll be right back. | |
| All right, back now to Dr. Fred Bell in Laguna Beach, California. | ||
| And there are people out there, Doctor, as I'm sure you're aware, who will listen to what you're saying and say there's a nutcase. | ||
| Well, they're freedom to say whatever they want. | ||
| That's right. | ||
| However, some of what you have said makes sense to me. | ||
| Moreover, I have a soft spot in my heart, without a doubt, for people who have been doing the kinds of things that you have done, and you're out on the cutting edge. | ||
| A lot of times, people like you get cut. | ||
| Well, at least we got the wherewithal to get there. | ||
| I pity the person that can't go anywhere, you know. | ||
| Well, you spend your whole life playing around with stuff. | ||
| You learn a few things. | ||
| I'm just a student. | ||
| I really don't know very much, but I know that nothing is impossible. | ||
| Well, I interviewed a young man named Mike Markham, which I affectionately nicknamed Madman Markham. | ||
| Oh, good. | ||
| He built what he considered to be a time machine. | ||
| Actually, he's still working on it, or he's already walked through. | ||
| I don't know which. | ||
| I can't get a hold of him. | ||
| And he was either going to move through time or fry himself alive. | ||
| Yeah, that could happen. | ||
| Yeah, I know. | ||
| And I consider it about equal possibility either way. | ||
| So let's take a few calls, see what people have to say. | ||
| First time caller line, you're on the end of Dr. Fred Bell. | ||
|
unidentified
|
Hey, Artie, how are you doing tonight? | |
| Okay. | ||
| Where are you? | ||
|
unidentified
|
I'm over in Chugiak, Alaska. | |
| Chugiak, all right? | ||
|
unidentified
|
Yeah, well, you know, you know Alaska. | |
| I do. | ||
|
unidentified
|
Okay, and Mr. Bell, interesting. | |
| How are you doing? | ||
| I don't, what's your age, Dr. Bell? | ||
| 53. | ||
|
unidentified
|
53. | |
| I don't suppose you ran across a guy by the name of Jerry Garcia in your travels. | ||
| Oh, no. | ||
| The only one I know is the president of the band, you know. | ||
|
unidentified
|
Mm-hmm. | |
| Oh, so you do know him? | ||
| Well, yeah, yeah, the the Grateful Dead people. | ||
| Yeah, I've met a few of those guys. | ||
|
unidentified
|
I I've worked a number of years with a band called the Moody Blues, so but uh you never you never did any work with those as far as uh you know you were talking about musical instruments and uh the various places they can take you. | |
| Yeah, I've done a lot of work with that. | ||
| I have a recording studio here at my house, even. | ||
| And I have several different albums that I've released, you know, instrumentals. | ||
| I've even did a solo tour in Europe in the 80s. | ||
| Doctor, what did you do with the Moody Blues? | ||
| I was basically their friend and holistic doctor, and they wrote a song about me called Stepping in a Slide Zone, on an album called A Highland. | ||
| Really? | ||
|
unidentified
|
Yeah. | |
| Yeah, it's a story about a time traveler. | ||
| No kidding. | ||
|
unidentified
|
Yeah. | |
| All right. | ||
| Wildcard line, you're on the air with Dr. Fred Bell. | ||
|
unidentified
|
Hi. | |
| Hi. | ||
| My name's Dan, and I'm from Virginia. | ||
| Hello, Dan. | ||
|
unidentified
|
Hi. | |
| I have a question for Dr. Bell. | ||
| People are experiencing a speeding up of energy, of time, of things happening. | ||
| Right. | ||
|
unidentified
|
And there's a lot of consciousness, I think, that's being awakening. | |
| And I was just wondering what your views were on that, since you've already had an experience of that kind. | ||
| All right. | ||
| I call it, Doctor, the quickening, a speeding up of events. | ||
| Well, it's fairly simple. | ||
| You just have to understand how a Swiss watch works, meaning that our Earth and Sun and solar system rotates around a central sun, Alcyon, in the Pleiades, every 27,827.5 years. | ||
| And during this time, we go through a couple of things. | ||
| One is we go through these things they call ages. | ||
| We're coming from the Piscean Age. | ||
| We're going into the Aquarian Age. | ||
| Now, what that means is these are 2,100-year windows where the cell could handle a certain amount of consciousness. | ||
| And that's why you see progression in our society, supposedly. | ||
| 2,000 years ago, up until now, was the Piscean Age. | ||
| And the belief system, the Pisces were a believer kind of consciousness, but they started a lot of religions in the last 2,000 years. | ||
| And they built a lot of churches and all of that. | ||
| That was in the last 2,000 years. | ||
| Now we're coming into what's called the Aquarian Age, whereas we move around this Pleiades a little bit further, the vibratory frequency of a cell, the molecule in the cell, is raised higher, so a higher frequency soul is starting to incarnate. | ||
| Now what that means is when you, you know, I always ask people, I say, now let's talk about consciousness for a second. | ||
| Let's go back 300 years ago. | ||
| Where were all the people? | ||
| We didn't have 8 billion people on this planet 300 years ago. | ||
| Where were they? | ||
| Did they just suddenly, we just created 5 billion souls in the last 300 years? | ||
| No, they were somewhere else. | ||
| They were in another space. | ||
| They were in the astral energies. | ||
| Now they're coming to the physical plane. | ||
| So they did not suddenly simply exist in the split instant of creation. | ||
| Right, right. | ||
| Souls grow from group over souls. | ||
| So what happens is, now remember I said earlier the astral plane had a different frequency than here, and it appeared to be longer. | ||
| Well, it's a higher intensity. | ||
| So as more energy, more souls, more ideas, more idea machines like the brain are being put into one pot with being planet Earth. | ||
| And as this planet Earth rotates around the Pleiades, it diagrams a path of actual fourth-dimensional consciousness or time. | ||
| Did you know Dr. Tim Zee O'Leary? | ||
| Yeah, I knew Timmy. | ||
|
unidentified
|
Yeah. | |
| He used to live here in Laguna. | ||
| Yeah, I didn't know him at the very early days, but I met him in the 70s, who I did a lot of lectures with the Whole Life Expo, and he'd always be there. | ||
| He also traveled with the Moody Blues, too, in the very beginning days. | ||
| Knew him quite well. | ||
| All right. | ||
| East of the Rockies, you're on the air with Dr. Abel. | ||
| Good morning. | ||
|
unidentified
|
Hello. | |
| Hello. | ||
| Hi, this is Chris from Chicago. | ||
| Yes, Chris. | ||
|
unidentified
|
And one of the things I first wanted to comment was about the Philadelphia experiment. | |
| And actually, they weren't trying to make a ship invisible or disappear or teleport or anything. | ||
| It started out first as electronic camouflage or projectile or deflecting incoming firepower projectiles. | ||
| Sort of like the deflectors on Star Trek, the deflector shields, that sort of thing. | ||
| And if you were to read the book, The Philadelphia Experiment by William Moore and I forget the other guy's name right now. | ||
| But anyway, it's out currently in paperback. | ||
| It has been for a few years. | ||
| And they go into some detail about this. | ||
| I, for one, when I first heard of it, thought it was, you know, so much science fiction. | ||
| It was a few lines in a book by Vincent H. Gattis back in the 60s. | ||
| And I thought, you know, I've vacillated back and forth, too, about the Philadelphia experiment. | ||
| However, I've had too many people describe the essence of what the Philadelphia experiment was, beginning with Al-Bilik and winding through people who describe different propulsion machines, | ||
| and then people who, like yourself, Dr. Bell, who talk about time shifting or time travel or whatever you want to call it, using almost identical technologies. | ||
| And so I've got this feeling there's something to it, and I personally would be inclined to experiment with it myself if I weren't doing what I'm doing, and I might be inclined to do it anyway. | ||
| But it's probably very dangerous. | ||
| West of the Rockies, you're on the air with Dr. Bell. | ||
| Hello. | ||
|
unidentified
|
Thank you, Art. | |
| Dr. Bell, nice to meet you. | ||
| Hi, how you doing? | ||
| My question I have is directly orientated towards the Great Pyramid on the Giza Plateau and what it stands for as a monument as a previous structure made by a previous civilization. | ||
| I've been working on some papers pertaining to a technological process that has to do with the alignment of the planets, which NASA has now studied and discovered. | ||
| It has been discovered now for 10 years. | ||
| That's on 552000. | ||
| With this discovery together combined with the pyramid and listening to how you constructed your time machine, would the physics involved in the construction of your time machine have implications from previous civilizations like Atlanteans and the possible arc of the cofinet? | ||
| All right. | ||
| Yeah, no, that's a good question. | ||
| Yeah, it definitely does because I was educated, I had a kind of a dual education. | ||
| I had education of my own school hard knocks through the University of Michigan and the Air Force and all the government things I did. | ||
| And then when I became a contactee, I got the Pleiadian side of it, and they began to educate me. | ||
| They basically started to put together what I sort of intuitively suspected. | ||
| And then in the process of doing that, they said during Atlantean times, which is a 25,000-year shift back from where we are now, civilization was much more advanced in technology now. | ||
| Civilizations rise and fall. | ||
| And the Great Pyramid, for example, the original pyramid is basically 78,000 years old. | ||
| And you can verify that by certain growths that go, there are certain kinds of growths that have been carbon-14 dated on the inside between the stones themselves. | ||
| And the other pyramids came much, much later in Ginza. | ||
| As a matter of fact, even on the Sphinx itself, there's evidence of water erosion, not wind erosion, which means it was there during the Great Flood 6,000 years ago. | ||
| That is true. | ||
|
unidentified
|
Yeah. | |
| And I've been working with a group over in Egypt now that are exploring using sound energy and also ultrasound to look for hidden chambers. | ||
| We did the same thing up at Dulcie, New Mexico, and they're doing it down there now. | ||
| I also ran into the politics of the Great Pyramid working with Zami, who's the curator of the pyramid, who I knew when he was a teenager. | ||
| Are you talking about Zahi Hawas? | ||
| Yeah. | ||
| Yes, yes, I am. | ||
| Yeah, we call him Zami. | ||
| And he, you know, we suspect that they found, the Egyptians found some Atlantean artifacts and have changed them with Egyptian artifacts because if Atlantean artifacts are found in Egyptian pyramids, that means that Egypt are just a bunch of babies. | ||
| The Egyptians are babysitters for a previous civilization. | ||
| That takes away their heritage. | ||
| So there's some real powerful political games going on covering up what the world's going to find out very soon anyway. | ||
| All right. | ||
| East of the Rockies, you're on the air with Dr. Bell. | ||
| Good morning. | ||
|
unidentified
|
Yeah, hello. | |
| Hi, Arrow. | ||
| This is Gary. | ||
| I'm calling from Muskegon, Michigan. | ||
| Yes, sir. | ||
| I had always kind of understood, too, that consciousness is created by the mass of humanity, in effect. | ||
| And going to remote viewing, what, in the doctor's opinion, are remote viewers actually seeing when they do their craft? | ||
| All right, or how are they seeing it might be a better way to put it. | ||
| Well, there's a variety of ways it's done. | ||
| You know, American Indians did it with gymsonweed. | ||
| That's how they, you know, you could have, like, the Apaches, because they used to work with the Apaches, especially at Dulcie. | ||
| You know, they had half of the western United States covered. | ||
| And then what happened was the seer would go out after he went through this gimpsonweed thing, and don't try this at home because it'll kill you, but they'd go out by a cactus plant, basically, and they'd go out of body, and they'd fly around like an eagle and actually see other tribes coming in hundreds of miles away, and then they could dispatch warriors. | ||
| So the Indians had it down to a science, how it worked. | ||
| Native American remote viewing for battle purposes. | ||
| Exactly. | ||
| That's where it really started. | ||
| The CIA picked up on that years ago. | ||
| And then when Albert Hoffman discovered LSD, they found that it was an amplifier, you know, from Sando. | ||
| So there's a whole scenario that went on with all of this. | ||
| But what you're looking at, several different things. | ||
| First of all, one form of remote viewing is looking through somebody else's eyes. | ||
| In other words, in criminal investigations. | ||
| There was a thing on TV the other night. | ||
| This lady goes out and holds an item in her hand and sees a vision of somebody getting killed that this item belonged to. | ||
| Yes, yes. | ||
| Okay, so that is where you're connecting into the astral energies, the emotional energies, and you're actually able to focus on the being that created the act by using some article that identifies them with the person that had the act gone to. | ||
| All right. | ||
| Dr. An example. | ||
| All right. | ||
| Dr. Fred Bell, wildcard line one. | ||
| You're on the air. | ||
|
unidentified
|
Yes. | |
| Am I through it? | ||
| The first time color line, actually, yes. | ||
|
unidentified
|
Yeah, first time color. | |
| Yes, yes, yes. | ||
|
unidentified
|
Yeah, it puzzled me then. | |
| I have a question for Mr. Bell. | ||
| He made a comment earlier that NASA had used somewhat old technology for propulsion or that there were better technologies. | ||
| Now, yes. | ||
| And that what he did was quite primitive. | ||
|
unidentified
|
And I was wondering if he could explain what propulsions he was talking about in some detail. | |
| All right. | ||
| Well, there are several different ones. | ||
| Some of these propulsions came about from what's called reverse technology or reverse engineering, whereby ships crashed. | ||
| There's one ship that flies. | ||
| An associate of mine was in it. | ||
| He works, he had a code name. | ||
| He works for the CIA. | ||
| And he was in it wearing a zero-G suit, meaning it was developed by the Navy SEALs where they go down like 5,000 feet underwater and they breathe a liquid in their lungs so their lungs don't collapse. | ||
| You know what, Doctor? | ||
| It's funny you should say that. | ||
| I just got an article today. | ||
| They have now, they just announced, developed a liquid that you can breathe. | ||
|
unidentified
|
Right. | |
| And it sounds like right out of science fiction. | ||
| No, no, no. | ||
| The Navy Steels have been using it for a long time. | ||
|
unidentified
|
Well, they've got it. | |
| Yeah, the public's just finding out about it. | ||
| It's a classified diving piece of equipment. | ||
| But they have one that you wear, and not only do you put it in your lungs, because when you get really sick, it's really weird because I've had friends that do it. | ||
| And then you have a suit so you don't get crushed because this one type of ship I'm going to describe puts out 33 Gs of lateral force. | ||
| That's a lot of acceleration sideways. | ||
|
unidentified
|
You bet. | |
| And Gary Schultz took a picture one up there at Ponapa, you know, up there at Area 51. | ||
| And that craft is a two-man craft that uses a small plutonium reactor located in the base of the ship. | ||
| That's why it's got so much lead shielding around it. | ||
| And what this plutonium does is it produces a large amount of electrical current, which then goes directly into cells, capacitors like ceramic capacitors in the bottom of the ship. | ||
| And the word in physics is called the Seebeck effect. | ||
| And what they're creating is a non-polarized magnetic field that's very powerful in nature, which gives it an anti-gravity type effect. | ||
| The same kind of field as in a human body, by the way. | ||
| Yeah, see, what you're referring to is exactly what Bob Lazar was talking about. | ||
| Yeah, that's one type of propulsion system, but there's another one where we use element 115. | ||
| There you go. | ||
| Yeah, element 115 is the propulsion system. | ||
| See, when a star collapses, you know, and just as it goes into a supernova, we talked about the first one, we warped the space and time, but the second, we actually supernova. | ||
| When we supernova, we now have a type of matter that, you know, the surface of the sun down to the size of a basketball before it blows up. | ||
| That matter has a very high gravity to it because obviously it could almost warp space and time. | ||
| Sure. | ||
| Okay. | ||
| So the different races of Pleiadians, for example, brought 38 pounds of it here to the Earth. | ||
| 38 pounds. | ||
| Yeah, and so what they use is these focusing grids. | ||
| They use what's called a slow neutron to bombard this element 115. | ||
| It releases gravity waves, and then the gravity waves are then focused. | ||
| All right, Doctor. | ||
| There's another type of propulsion system. | ||
| That's two. | ||
| Doctor, all right. | ||
| We're going to kind of halt it here, but I want to give you a chance to give out a number. | ||
| I think you've got a book, don't you? | ||
| Yeah, I've got several books, and I've got a toll-free number for information. | ||
| All right, go right ahead. | ||
| Okay, it's 1-800-729-2603. | ||
| 2603. | ||
| And then we have a 714 number if that number is busy, which is 714-499-2603. | ||
|
unidentified
|
So the last digits are 2603. | |
| In both cases. | ||
| So 714-499-2603 or 1-800-729-2603. | ||
| Yeah. | ||
| That's how we could be reached during the working hours. | ||
| We're closed right now. | ||
| Because it's dark out here. | ||
| You know, it's 1 o'clock in the morning in California. | ||
| Yes, it is. | ||
| I'm alternating between thinking that you're a sort of a strange kind of a genius and a kind of a Timothy Leary sort of dude, but a scientist and sort of out way out on the edge. | ||
| Does that characterize you, Peter? | ||
| Yeah, I guess that's what I am, but I didn't really work at it. | ||
| I just sort of ended up here. | ||
| Oh, I think you're a natural. | ||
| Yeah, I'm just a student, and believe me, I don't know anything about what I'm talking about. | ||
| I know just enough to get myself in trouble every time, you know. | ||
| But I have had some very good results with experiments and very good results with things I've done. | ||
| I've been successful, but I've been, you know, frustrated because I don't have enough time, you know, to do more. | ||
| You can't do it all, you know, so I can only go into areas that I have enough time to do. | ||
| Well, there's never enough time, Doctor, and there's never enough money. | ||
| No, tell me about it. | ||
| You never have second rule. | ||
| First rule, you never have enough time. | ||
| Second rule, there's never enough money. | ||
| Oh, wait a minute. | ||
| I've got a better piece of bumper music for this. | ||
| I just thought about this. | ||
| All right, Doctor, thank you. | ||
| And we're going to bump out of here. | ||
| We'll have you back sometime, all right? | ||
| Very good. | ||
|
unidentified
|
All right, Dr. Fred Bell, we'll be back. | |
| This is CBC. | ||
| Anybody remember? | ||
|
unidentified
|
Tuesday I told I'm just beginning to feel. | |
| Now I'm on my way. | ||
|
unidentified
|
It doesn't matter to me. | |
| Chasing the clouds away Bye, bye, bye, bye, bye Take it away. | ||
| All this trip, just for me Ride, take a free ride Take my breath. | ||
| I'll find me. | ||
| It's all free. | ||
| Art Bell is taking calls on the wildcard line at 702-727-1295. | ||
| That's 702-727-1295. | ||
| First-time callers can reach Art Bell at 702-727-1222. | ||
| 702-727-1222. | ||
| Now, here again, Art Bell. | ||
| What? | ||
| Come on, call my last race. | ||
| Take my place. | ||
| I've been so far off by. | ||
| I don't know. | ||
| You tell me. | ||
| What did you think of Dr. Fred Bell? | ||
|
unidentified
|
Run like a fire, don't you run in, in the lane of our time, I'm out. | |
| I'm not sure. | ||
| an interesting individual. | ||
|
unidentified
|
And you really... | |
| You know, you spent too much time with Timothy. | ||
| But on the other, a lot of what he said made some sense. | ||
| So I don't know. | ||
| If you're just joining us, this pumper music kind of just a tribute to what we just did. | ||
| And I'm not sure what that was. | ||
| He built a time machine. | ||
| He probably nearly cried himself alive. | ||
| He's done a lot of other stuff. | ||
| And I'm sure we'll get comments. | ||
| He worked with the Moody Blues. | ||
| Timothy Dr. Dr. Timothy O'Bear. | ||
| That's the way we worked with the Moody Blues. | ||
| And I'm going to have to do some thinking on this. | ||
| But, you know, I kind of like the guy. | ||
|
unidentified
|
My world is spinning around. | |
| Everything is what I've learned. | ||
| Anyway, we're about to move into open lines. | ||
| Let me take care of a couple of things here. | ||
| This brings back memories. | ||
| Look, as you know, Hailbop is up there. | ||
| As a matter of fact, yesterday morning at about 4.30 or so, I went out. | ||
| And boy, I'll tell you, that thing had to be 40 degrees in the sky. | ||
| It was way up there, just burning away through cold space. | ||
| And it is the sight to be seen. | ||
| Hailbop is going to be visible and increasing in brightness, possibly through the middle, if not the end of April. | ||
| this is something in your lifetime that I'm telling you, I'm telling you go and see music music music music you Well, all right, we're about to go to open lines here. | ||
| The lead news story is five female soldiers from the U.S. Army's Aberdeen Proving Grounds now say investigators coerced them in seeking statements that the women had been raped by higher-ranking soldiers. | ||
| Oh my. | ||
| The women now say it was consensual sex. | ||
| Consensual sex. | ||
| In other words, translated, they said, okay, let's rock. | ||
| There was no rape. | ||
| There was no force. | ||
| There was no pressure under color of rank or authority. | ||
| They went for it. | ||
|
unidentified
|
Hmm. | |
| Interesting reversal here. | ||
| A proposal to outlaw nude sunbathing on some Florida beaches was nipped in the bud by lawmakers who only have turned it down because they say it will hurt the state's tourism industry. | ||
| It was a measure that would have made it illegal to go on the buff at 10 federal parks across the state. | ||
| But it looks as though, oh, I see why they wouldn't pass that. | ||
| Especially hard hit, it says, would be the state's European market, whose travelers, as a group, are more accustomed to nude sunbathing than their U.S. counterparts. | ||
| Hey, no kidding. | ||
| I was in Europe last year and Scandinavia. | ||
| And I must tell you, the fashions there, for example, I know you're not going to believe this. | ||
| It doesn't matter. | ||
| People who were along with me on the trip know. | ||
| The fashion there was on the street now, mind you. | ||
| See-through dresses. | ||
| I swear to you it's true. | ||
| See-through dresses. | ||
| So the European ideas of morality and so forth are a little bit different than we hold here. | ||
| Compared to a lot of places, despite what you may recall about the so-called sexual revolution, Americans are actually rather prudish compared to our European cousins. | ||
| FBI has seized a Federal Aviation Administration radar tape that allegedly showed an object speeding toward TWA Flight 800 seconds before the plane exploded. | ||
| This is the Associated Press. | ||
| The tape is to be reviewed by a federal grand jury as soon as Wednesday. | ||
| The FBI is, and crash investigators are saying this is baloney, though a missile remains as one of the three principal areas of investigation with regard to what took down 800. | ||
| They say this is nothing more than the same internet stuff. | ||
| So, I don't know. | ||
| You tell me. | ||
| I've got a lot more here, but I think we're going to go to open lines now. | ||
| And I'm going to be thoughtful for a while on what Dr. Bell had to say. | ||
| On the one hand, you could dismiss it as astral gooblygop, you know, but on the other hand, a lot of what he had to say made some sense. | ||
| And I'm going to be a while thinking about what he said. | ||
| What about you? | ||
| East of the Rockies, you're on the air. | ||
|
unidentified
|
Good morning, Art. | |
| Good morning. | ||
|
unidentified
|
I'm glad that you had Fred Bell on there. | |
| I seem to remember having seen a story on him back around 1983, to the best of my memory. | ||
| And I believe it was either in the Examiner or Weekly World News. | ||
| It was a full-page story. | ||
| As I remember it, it had a picture of him and a close associate of his, who's supposed to be a former head of some military division of the CIA-type work going on. | ||
| Yeah, I'm sitting here still not exactly sure what to make of him. | ||
|
unidentified
|
He was working in some kind of workshop, and it showed a picture of an anti-gravity device that he had been given by the same people you mentioned, the Plydeans. | |
| He seems, from what I have read, to be the second most important person around as far as officially elected representatives of the ET's Earth, the first being Billy Meyer over in Switzerland with his contact Samjesis, the woman who appears as a beautiful blonde. | ||
| And then this man, Fred Bell, who appears to be the one who gave us the anti-gravity devices thanks to the Pleadians. | ||
| So you kind of connected. | ||
|
unidentified
|
He seemed to be a Doogie Hauser of physics. | |
| He started, what did he say, 14? | ||
| Yeah. | ||
| Yeah, very, very interesting person, and I'm going to be a while digesting this, and I may well have him back on the air again. | ||
| I've got to think about it. | ||
|
unidentified
|
Nice to have infra-relative. | |
| Well, congratulations. | ||
| Now, wait just one moment. | ||
|
unidentified
|
I have to believe it's the same family. | |
| Well, no, you don't. | ||
| I have never, even though I've joked about it, as far as I know, I am no relation whatsoever to Alexander. | ||
| So that would rule it out. | ||
| Because he says he is. | ||
| Right? | ||
|
unidentified
|
Well, I think family trees are extremely large, and I think you're in there indirectly, if not directly. | |
| Well, I mean, all right. | ||
| in the cosmic sense, we're all related, right? | ||
|
unidentified
|
I saw somebody recently who was an expert. | |
| I've seen an expert in genealogy recently say that there are only 250 families in the European ethnic groups here in America, if you trace them back directly. | ||
| All right, well, there you go. | ||
| All right. | ||
| Thank you very much for the call. | ||
| Usually, I'm able to peg a guest pretty quickly, and I'm not able to peg Dr. Bell so easily. | ||
| It would be easy for some people, and I'm sure there are some of you out there who say, I'm not case big time. | ||
| I don't think that he hit me that way. | ||
| He rubbed me that way, but he also hit me as somebody who may well know things that we should know. | ||
| Do you follow me? | ||
| So I'm not sure. | ||
| I'm going to have to think about it. | ||
| Oh, wildcard line, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
KTL Mercedes, California. | |
| Good morning. | ||
|
unidentified
|
Yeah, I like that guy. | |
| Yeah, yeah, yeah. | ||
| That figures. | ||
|
unidentified
|
What do you mean, that figures? | |
| Well, I mean, it figures. | ||
| You like people who are pretty far out, and I kind of do too. | ||
| But I'm going to remain thoughtful about the doctor for a while. | ||
|
unidentified
|
There's so much to say. | |
| A lot, oh, yes. | ||
|
unidentified
|
And not very much time. | |
| Well, two hours. | ||
|
unidentified
|
Well, that's not very much time. | |
| Well, it's a sample. | ||
| In other words, I want to think about it now. | ||
|
unidentified
|
Okay, I'll let you do that. | |
| Thank you. | ||
|
unidentified
|
Hey, you know what my favorite moody blues song is? | |
| What? | ||
|
unidentified
|
My Wildest Dreams. | |
| My Wildest Dreams. | ||
|
unidentified
|
Huh. | |
| Do you remember that one? | ||
| I'm trying to remember. | ||
|
unidentified
|
You know there was this movie called Electric Dreams where the computer came to life? | |
| And they used it at the end of that movie. | ||
| Huh? | ||
| I love the Moody Blues. | ||
|
unidentified
|
I love something. | |
| I always liked them. | ||
|
unidentified
|
Well, I think they're like really creative. | |
| they are absolutely creative and uh... | ||
| they were Really? | ||
|
unidentified
|
Well, I wasn't around back then. | |
| You weren't? | ||
|
unidentified
|
No? | |
| Huh. | ||
| Scary, huh? | ||
| A lot of things are scary. | ||
|
unidentified
|
Hey, you know what I've always wanted to tell you? | |
| That's the one. | ||
| I love that font. | ||
| You know what? | ||
| You know how you play fonts over and over? | ||
| One day, I play that font when we have the neighbors here patting on the wall. | ||
| Really? | ||
| It's called In Your Wildest Dreams, actually. | ||
|
unidentified
|
I love that song, huh? | |
| Well, dance around. | ||
| Yeah, I can sort of picture you dancing to this, actually. | ||
|
unidentified
|
I do. | |
| A sort of a flowing cosmic kind of dance, eh? | ||
| Is that about right? | ||
|
unidentified
|
That's about right. | |
| All right. | ||
| Well, I thought I'd drag that out for you just. | ||
|
unidentified
|
I'll tell you my story the next time. | |
| Old time's sake. | ||
|
unidentified
|
Thanks. | |
| You want to hear my story or not? | ||
| Yeah, sure. | ||
|
unidentified
|
Okay. | |
| You know how you always talk about the exorcist and how scared you were when you saw that movie? | ||
| Oh, yes. | ||
| Well, you know what? | ||
| I saw that movie. | ||
| I was babysitting alone. | ||
| You know, the kids went to bed. | ||
| And they showed it on Showtime, right? | ||
| Right. | ||
|
unidentified
|
And so, of course, I was frozen in horror. | |
| I could have gotten up at any time and shut the TV off. | ||
| But, I mean, I couldn't. | ||
| I was like, oh, my God. | ||
| I was so scared of that movie. | ||
| You wouldn't believe it. | ||
| So, 2 o'clock in the morning, these people come home, and they are so drunk they can't drive me home. | ||
| Really? | ||
|
unidentified
|
Yeah. | |
| And so I go up the street, I cross the schoolyard, and then have to go through this small little park to have a few picnic benches and stuff. | ||
| And I'm walking around, and I'm like, I'm just terrified. | ||
| You know what happened? | ||
| The automatic sprinklers came off. | ||
| I think I automatically assumed fetal position. | ||
| It was awesome. | ||
| Do you remember a movie called The Babysitter? | ||
|
unidentified
|
Uh-uh. | |
| Okay, well, that's just as well. | ||
| I was going to ask if it was you, but I guess not. | ||
|
unidentified
|
Was she a, was it a nice person? | |
| She was a seductress. | ||
|
unidentified
|
You? | |
| What do you mean? | ||
| What is that supposed to mean? | ||
| What is unclear about that? | ||
|
unidentified
|
Okay, okay, okay. | |
| I'll see you later. | ||
|
unidentified
|
Bye. | |
| Bye. | ||
| West of the Rockies, you're on the air. | ||
|
unidentified
|
Hello. | |
| Good morning, Art. | ||
| Tim in Denver. | ||
| Hi, Tim. | ||
|
unidentified
|
I was expecting Danelle to call me today and try to talk me out of her shirt. | |
| I'd never heard a word from her. | ||
| Oh, well, she's got the number, so I suspect you will. | ||
| Did you get some calls? | ||
|
unidentified
|
Oh, did we ever? | |
| Oh, did you ever, huh? | ||
|
unidentified
|
Talk to some real nice people up in Oregon, some great people down in Florida. | |
| We're going to have a club starting in Sarasota. | ||
| I just got the word tonight from the lady. | ||
| Oregon, Sarasota, they're going to start one? | ||
|
unidentified
|
Sarasota, Florida. | |
| We'll have the, well, as soon as we get our webpage hooked up, the Art Bell Chat Club webpage, we'll have the information on the meetings that will be starting down Sarasota Way. | ||
| But I kind of agree with you. | ||
| Dr. Bell was quite intriguing, and you kind of got filled up real quick, and you need time to digest. | ||
| I do. | ||
| I need time to think about Dr. Bell. | ||
| On the one hand, it would be easy to dismiss him as a nutcase, but he really wasn't quite there. | ||
| In other words, there was something there, and not every guest is easily discernible, and he's definitely in that category. | ||
|
unidentified
|
Well, he came across that way over the airwaves, but I do hope that he doesn't have to be able to do it. | |
| As not easily discernible or as crazy. | ||
|
unidentified
|
No, he didn't sound crazy at all, Art, really. | |
| A little maybe on the fringe, but we've heard that before. | ||
| Well, I live on the fringe. | ||
| I don't have a problem with that. | ||
|
unidentified
|
Yeah. | |
| But I hope you give him another try here. | ||
| I hope we hear from him again. | ||
| Interesting guy, yeah. | ||
|
unidentified
|
I would like to have heard what he had to say about some of the things Ed Dames has come up with concerning Hailbob and the moment of transformation. | |
| Well, I don't, listen, remote viewing is not one of his disciplines at all. | ||
| He only referred to remote viewing in the context of travel in the astral plane. | ||
|
unidentified
|
Right. | |
| So I don't think he could have confirmed or denied what Ed Dames had to say. | ||
| But listen, Tim, one more time, I want to give you a chance. | ||
| You're in Denver and you've got a club there devoted to this program. | ||
|
unidentified
|
Right. | |
| It's not devoted to you personally, sorry. | ||
| That's good. | ||
| It's devoted to the show, and it's kind of an extension. | ||
| It gives people an opportunity to get together and discuss the topics and the guests that you have on the show. | ||
| That's good. | ||
| I wouldn't want it devoted to me. | ||
|
unidentified
|
Well, we do talk about you. | |
| Well, I really wouldn't want it to be fine. | ||
| I'm glad that it's for the topics. | ||
| You know, that's much more fun. | ||
| So, all right, so if somebody wants to join your club or come down and see you. | ||
|
unidentified
|
Right, contact us. | |
| Our next meeting is this coming Saturday. | ||
| And the phone number is area code 303. | ||
| 303-964-964-9090. | ||
| 9090. | ||
|
unidentified
|
Last meeting we had standing room only, and by the end of the month, we'll be moved into a space two doors down with twice the space that we have now. | |
| So we'll have plenty of room to accommodate up to probably 150, 175 people. | ||
| All right, well, if you've really got t-shirts, I'm expecting one. | ||
|
unidentified
|
It's on its way. | |
| Actually, there's two on the way. | ||
| Oh, really? | ||
|
unidentified
|
Well, I can't forget Ramona. | |
| Thank you. | ||
| Oh, I've got a story to tell about Ramona after, as a matter of fact, I will tell it after this break. | ||
| This one will blow you away, Tim. | ||
|
unidentified
|
Great. | |
| Have a good night. | ||
| All right. | ||
|
unidentified
|
You take care. | |
| Yeah, I really do. | ||
| I've got a story I've got to tell you all that you're just... | ||
| All right, I'm Art Bell, and this is the CBC Radio Network. | ||
| Don't touch that dial. | ||
|
unidentified
|
Well, I've never helped you generally to realize what I have found. | |
| I had to hit on the head of one night. | ||
| Call Art Bell toll-free. | ||
| West of the Rockies at 1-800-618-8255. | ||
| 1-800-618-8255. | ||
| East of the Rockies at 1-800-825-5033. | ||
| 1-800-825-5033. | ||
| This is the CBC Radio Network. | ||
| This is the CBC Radio Network. | ||
| Good morning. | ||
| Well, what do you think of Dr. Fred Bell? | ||
| I'm getting all manner of reactions messing around with music. | ||
|
unidentified
|
It definitely, definitely puts you in an altered state. | |
| That's one of the places this man was coming from. | ||
| he may do more. | ||
|
unidentified
|
And listen to the night that's crazy on you. | |
| you Daryl in Rancho Mirage nails it, I think. | ||
| He says, you can almost refer to Dr. Bell. | ||
| You can almost hear his frontal lobe processing at the level of a partially controlled fusion reaction. | ||
| I'll bet his IQ is off scale. | ||
| This is the kind of genius that makes the breakthroughs. | ||
| And then he gives me good marks on the interview. | ||
| Thank you. | ||
| You know, that is correct. | ||
| I think that's right. | ||
| There are a lot of people you listen to, and they're right off on the edge, and sometimes it's a little difficult to tell, but Daryl is right. | ||
| You could hear the man's brain racing along, and sometimes so quickly that it was difficult to keep up with. | ||
| And so I kept trying to slow him down a little bit so that you could grasp what he was saying. | ||
| But I recognized an awful lot of what he was saying as in concert with the kind of technology that was described in the Philadelphia experiment, the kind of technology that was described by Bob Lazar, who is said to have engineered or back-engineered alien craft at an area near me called Dreamland. | ||
| So a very, very interesting interview. | ||
| East of the Rockies, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Hey, good morning, Mark. | |
| Good morning. | ||
| Listening to your show, very good interview with this gentleman. | ||
| Where are you? | ||
|
unidentified
|
I'm calling from Montgomery, Alabama. | |
| All right. | ||
| You know, one thing you've got to say about people like him, those who are exceptionally genius do seem to be a little more on the eccentric side. | ||
| Eccentric, yes. | ||
| He's definitely eccentric. | ||
|
unidentified
|
Now, you know, I think, and I just like to use that word because I'd like to say it's polite as opposed to saying he was touched. | |
| Well, maybe. | ||
| Maybe, but you know, the people that are touched a bit are the ones, as Daryl said, who tend to make the breakthroughs because they refuse to recognize the impossible. | ||
|
unidentified
|
That's right. | |
| You know, when talking about time travel, I was reading a, I'm going to say it was a novel or a short story quite a few years back, and it's either by Heinlein or Asimov. | ||
| I get them both confused. | ||
| It's talking about the dead past. | ||
| And in this, I'll give the shortcut of the story. | ||
| This guy was trying to find an element that would go back to time, that would enable him to make a time machine. | ||
| And the government was trying to keep him from getting this element. | ||
| And the element, for whatever it was, would enable him to be able to go back into the past. | ||
| And the whole hint of the story about the dead past is, you know, he said, when is the dead past? | ||
| You know, a thousand years ago, a hundred years ago, yesterday? | ||
| How about one second ago? | ||
| And the reason why the government wanted to keep this element from him is because if you could view the dead past of one second ago, aren't you actually just looking at the present? | ||
| And in this machine, he was able to be able to go to anybody, you know, go anywhere and see anything he wanted to. | ||
| So therefore, you know, you let the Pandora out of his box by allowing him to be able to see anybody's recent past, if you will. | ||
| Well, let me tell you a couple of things Dr. Bell said that did ring true. | ||
| One was he said he got to the future, but only microseconds. | ||
| And when he got far enough into the future with the crude machine he had, there was absolutely nothing because nothing had occurred yet. | ||
| And I found that intriguing. | ||
| And he also made reference to what you just said, the dead past. | ||
|
unidentified
|
It is there, but it's dead. | |
| The only thing that's really occurring is now, as we create it. | ||
| We leave a trail behind like a comet, and that is a past, but it can't be lived in the way you can live in this one. | ||
| And there is no future until we create it. | ||
| Very interesting. | ||
|
unidentified
|
That's kind of interesting too because when you talk about remote viewing and being able to see future events, as Major Ed Dames has talked about with the special delivery package, you know, how is he able to see something like that if the... | |
| It's really interesting. | ||
| I don't know. | ||
|
unidentified
|
Really? | |
| Well, by the way, Strange Universe was on tonight, and I was trying to listen to them and hear you at the same time. | ||
| They did a story about the Jasper, Arkansas incident. | ||
| And Strange Universe says they have obtained some of the clothing of the children that were sick there. | ||
| Really? | ||
|
unidentified
|
So you may want to contact your friend at Strange Universe and see what their results were. | |
| I will. | ||
|
unidentified
|
They're going to do their own independent testing on it since the government's going to cover it. | |
| Boy, I'll tell you, Strange Universe and this program, we sure do go down similar paths. | ||
|
unidentified
|
Well, you know, people like you need to do it because we're not getting the information we need. | |
| I know. | ||
| I appreciate the call, sir. | ||
| Thank you, Montgomery, Alabama. | ||
| Okay, let me tell you what I was going to tell you before the break at the bottom of the hour. | ||
| It is tentative at this point. | ||
| But I got a fax earlier today. | ||
| Well, let me read it to you. | ||
| Okay. | ||
| Dear Mr. Bell, I am with the CBS news program 48 Hours, which airs Thursdays at 10 p.m. | ||
| Last week I read an interesting Associated Press report on you and your Coast to Coast radio program. | ||
| I was very intrigued by it and thought your story might make an interesting piece for our nationally broadcast show. | ||
| I would greatly appreciate it if you would contact me so that we could chat a bit. | ||
| And then she tells me how to be reached. | ||
| How I can reach her. | ||
| I have a message machine on my phone, blah, blah, blah. | ||
| Look forward to hearing from you, Barbara Lippmann, producer, CBS News. | ||
| Now, 48 Hours has been trying to contact me, apparently, for some time. | ||
| In the effort to try to contact me, they called, I guess, most of the bells, you know, now I've got an unlisted phone number, so don't try to call the bells in the phone book here in Perrump. | ||
| But that's what 48 Hours did, along with a lot of my listeners. | ||
| And there is listed in the phone book an R. Bell. | ||
| And this producer at 48 Hours Thought, well, Ramona Bell. | ||
| And so she called R. Bell. | ||
| Turns out, of course, it is not my Ramona. | ||
| Now, please don't call R. Bell. | ||
| That is not my number. | ||
| And this poor lady, it turns out, has been awakened in the middle of the night several times every night, every night of the week, with people trying to get hold of her. | ||
| She got a call from a preacher last week. | ||
| It might have been Jay-Z. | ||
| And she's, this R. Bell in the phone book is a very nice lady, apparently quite religious. | ||
| And this guy called her about 2 or 3 in the morning and talked her ear off about me for two hours. | ||
| Two hours. | ||
| And of course, being polite, I mean, who's going to hang up on a preacher? | ||
| So this poor lady lost half her night's sleep talking to this preacher, raging on about me for two hours. | ||
| So finally, somehow 48 Hours got my phone number, my fax number, and faxed me, and we went from there. | ||
| Now, that would be an interesting experience. | ||
| My understanding of 48 Hours modus operandi is that they literally come and live with you for 48 hours? | ||
|
unidentified
|
Is that the way it works? | |
| So that is looming on the horizon. | ||
| But please, folks, do not call people in the phone book here in Perump, Nevada, because I have an unlisted number. | ||
| None of the bells who are listed in Perrump would be me. | ||
| None of the Bells would be my wife or anybody connected with me. | ||
| They are poor souls who simply share my name and take the blame if you follow me. | ||
| East of the Rockies, you're on the air. | ||
|
unidentified
|
Hi. | |
| Yeah, Art. | ||
| I just wanted to tell you, make sure you get a USA Today today. | ||
| Comet Hellbop is the front page cover story. | ||
| Good. | ||
| USA Today. | ||
| Also, I heard on another local talk show here in Dallas, Texas, there was a woman last night who was talking about aspartame and NutraSweet, and she claimed that that's what's causing the Persian Gulf illness, that the diet sodas that the people sent over sat out in the sun, and it cooked the NutraSweet and turned it into a poison. | ||
| Well, if that's true, then there ought to be a lot of it going on here a long time ago because they leave sodas in the sun. | ||
|
unidentified
|
Yeah. | |
| Right, so I'm not sure I'd buy that. | ||
|
unidentified
|
Yeah, they sit out at the gas stations. | |
| Yeah, right. | ||
| So I'm not sure I'd buy that one. | ||
|
unidentified
|
Yeah. | |
| Well, I just wanted to call and let you know and make sure you check out a USA Today. | ||
| Appreciate it. | ||
| I will do that. | ||
|
unidentified
|
I'll put a picture of Mr. Hale on the cover there also. | |
| Well, good. | ||
| It's about time. | ||
| And Newsweek is going to have an article. | ||
| They may well mention us in the next issue as well. | ||
|
unidentified
|
It says, comets a whopper on the front. | |
| Good. | ||
| Oh, great. | ||
| Thank you. | ||
| Finally. | ||
| It's about time. | ||
| Would you like to come to Alaska with us? | ||
| We are going to Alaska. | ||
| Ramona will be there. | ||
| I will be there. | ||
| We will have meetings. | ||
| We will allow you to take photographs. | ||
| We will take photographs with you. | ||
| But most of all, the trip, folks, the trip. | ||
| Oh, the trip. | ||
| Alaska, you've got to see it. | ||
| August 23rd. | ||
| And you cannot wait. | ||
| We are trying. | ||
| See, we're going on a brand new ship, the Dawn Princess. | ||
| Brand new. | ||
| Boy, are they fun. | ||
| Wait till you see this ship. | ||
| We begin in Vancouver, B.C., British Columbia, which is a beautiful city. | ||
| There we board this brand new ship and sail toward Alaska, through the famed Inside Passage to Kachikan. | ||
| Then Juneau, the capital of Alaska, which can only be accessed by water or air. | ||
| And then Skagway. | ||
| Then we sail right up to the face of the towering ice fields in Glacier Bay National Park. | ||
| Talk about photo ops. | ||
| And in Majestic College Fjord. | ||
| This is a trip, folks, that will be with you all your life. | ||
| There is not money better spent than on travel. | ||
| Then it doesn't stop there. | ||
| When we get to Seward, Alaska, we go into Anchorage, board the Princess Cruise's luxurious ultra-dome rail cars, and go to the famed Denali National Park, and then on by rail to Fairbanks, Alaska. | ||
| In other words, you're going to see what the tourists see, and then a lot more. | ||
| You're going to see the real Alaska. | ||
| This is, believe me, this is God's country. | ||
| Come with us, won't you please? | ||
| You've got to make your decision very quickly. | ||
| Today is the 12th. | ||
| On the 15th, the price is going to go up unless we can talk Princess Cruise Lines into keeping it down. | ||
| But there is at this moment no guarantee of that. | ||
| So, call, do it. | ||
| East of the Rockies, call 1-800-633-2732. | ||
| That's 1-800-633-2732. | ||
| Or west of the Rockies. | ||
| 1-800-848-7120. | ||
| That's 1-800-848-7120. | ||
| Come on along. | ||
| We're going to have a blast. | ||
| East of the Rockies, you're on the air, hi. | ||
|
unidentified
|
Hi, Art. | |
| Hello. | ||
| This is JJ from Austin. | ||
| Yes, sir. | ||
| First of all, I've got a few things. | ||
| First of all, I was wondering if you had received my faxes yet on the report of my investigation on the Chupacabra story? | ||
| No. | ||
| Hmm, suppose not got it. | ||
| Maybe the facts, maybe I'm not faxing it right. | ||
| I'll have to possibly retry it again. | ||
| All right. | ||
| Well, wait a minute. | ||
| How many pages are you going to do? | ||
|
unidentified
|
It's only two pages and then a paragraph, so it's like on three pages. | |
| That'll be all right then. | ||
|
unidentified
|
Yeah, I didn't, I'm probably just not sending it right. | |
| Secondly, I wonder if you I tried to get through while he was on, but I wonder if he knows of the work that Stephen Gibbs claims that he's done. | ||
| I should have asked. | ||
| I did, of course, mention Madman Markham, not Stephen Gibbs. | ||
|
unidentified
|
Uh-huh. | |
| I'm familiar with your story on Madman Markham. | ||
| Yeah. | ||
| I think Stephen Gibbs' claim is much more fascinating than so far. | ||
| And so far, every time you've discussed this matter, the people that are dealing with this subject on the level that Dr. Bell is dealing with it on, they kind of point fingers in the direction that Stephen Gibbs' claim, how he claims the machine works with all of that. | ||
| I agree. | ||
| I mean, they all seem to be moving in the same kind of direction. | ||
|
unidentified
|
Definitely. | |
| I really would love to hear more stuff on Stephen Gibbs. | ||
| I know me and other callers in the past have been asking a little bit about him. | ||
| Well, I also would like to solicit, thank you right now, anybody else who's got a good guest for me on the subject of time travel. | ||
| I'm definitely stuck on this. | ||
| I know it's a soft spot right here in the middle of my head. | ||
| Time travel, I am absolutely fascinated by it. | ||
| And I really do think it winds into Tesla technology, winds into the technology used during the so-called Philadelphia experiment, and the propulsion technology that so many people talk about. | ||
| And I know this is going to fly over a lot of heads out there, but I'm telling you somewhere there is somebody working on a time machine with today's technology, and I am bound and determined to find them. | ||
| So if you know of a person like that, fax me at area code 702-727-8499 or send me email at artbell at aol.com. | ||
| Artbell at aol.com. | ||
| Try and provide a phone number. | ||
| West of the Rockies, you're on the air. | ||
| Art. | ||
| Yes. | ||
| This is David Nagora. | ||
| Hello. | ||
| How you doing? | ||
| First-time caller. | ||
| Yes, sir. | ||
| The way everybody keeps saying thank you and thank you and stuff, I'd like to thank the listeners and the people that support you, the ones that call in. | ||
| What I want to talk about is out-of-body experience. | ||
| About a year ago, you know, I heard and I've had those dreams since 79 in high school and stuff. | ||
| And I finally figured out what they are. | ||
| And, you know, I've lost a brother and a sister in my last dream that I had with them. | ||
| We were driving in this car and then it ended like I was driving, they were in the back seat, and it was like heading into a tunnel and straight onto a train or something like that. | ||
| And then I was upside down, falling, and they stayed up there, and then I woke up in my bed, and I found out what out-of-body experiences were. | ||
| It was pretty cool. | ||
| I've never done it. | ||
|
unidentified
|
No? | |
| No. | ||
| Not that I know of. | ||
| Yeah, I've been practicing it and stuff and getting good at it. | ||
| And what I'm trying to do is you've got a ham radio, right? | ||
| I do. | ||
| Okay, I'm going to try to come down the antenna and just slide open your closet a little bit later on tonight when you're sleeping. | ||
| Don't you? | ||
| Don't you, don't you. | ||
| No, he don't. | ||
|
unidentified
|
Oh, come on. | |
| No. | ||
| No. | ||
| No? | ||
|
unidentified
|
No. | |
| Go sliding down somebody else's antenna. | ||
|
unidentified
|
Man, I want to open your closet. | |
| No, you don't. | ||
| Trust me, you don't. | ||
| Your astral spirit could get crushed. | ||
| I could get shot, too. | ||
| My physical spirit has almost been crushed a few times opening that closet. | ||
|
unidentified
|
I never try to move anything or something. | |
| If your closet's cracked open, then maybe I'll be listening about midnight tomorrow and you'll be talking about David Nagora who opened your closet. | ||
|
unidentified
|
Oh, yeah. | |
| Well, likely tomorrow, I'll come in, I'll find this giant heap of junk on the floor, some sort of squirming little astral spirit. | ||
| It's like a blob or something? | ||
| A blob, an astral, that's right, an astral blob squirming at the bottom of all this stuff that has fallen on top of it. | ||
| Hey, well, I love your show. | ||
| Found out my aunt listens to you, too. | ||
| She's up all night. | ||
| Your aunt? | ||
| Yep. | ||
| Where is she? | ||
| She's in Santa. | ||
| Santa. | ||
|
unidentified
|
Yeah, Orange County, way. | |
| Well, say hi to your aunt. | ||
|
unidentified
|
I will, and thank you very much, Art. | |
| All right. | ||
|
unidentified
|
And see you tonight. | |
| All right. | ||
| Well, wait a minute. | ||
| Say hi to your aunt. | ||
| Hi, Aunt Susie. | ||
| If you listen, then I love you. | ||
|
unidentified
|
All right. | |
| Stay the hell out of my closet, Eb. | ||
| Believe me, that would not be a safe astral journey for you at all. | ||
| Well, from the radio program that will do anything at all, we'll be back and do more of it. | ||
| Open lines, anything you want to talk about, is fair game. | ||
| I'm Art Bell, and this is CBC. | ||
|
unidentified
|
CBC. | |
| And if it's far away, get you down here. | ||
| You can make it. | ||
| And if it hurts, no words cry, you can make it. | ||
| Hold your head up, hold your head up, hold your head up. | ||
| Hold your head up, hold your head up, hold your head up, hold your head up, hold your head up. | ||
| Art Bell is taking calls on the wildcard line at 702-727-1295. | ||
| That's 702-727-1295. | ||
| First-time callers can reach Art Bell at 702-727-1222. | ||
| 702-727-1222. | ||
| Now, here again, Art Bell. | ||
| Art Bell. | ||
| All right, onward, west of the Rockies, you're on the air. | ||
|
unidentified
|
Hello, sir. | |
| Hello. | ||
|
unidentified
|
I have a question for you. | |
| All right. | ||
|
unidentified
|
I'm curious about the remote viewing. | |
| Okay. | ||
|
unidentified
|
I'm kind of a new listener, and I was listening Thursday, and most of Thursday's show was on that remote viewing. | |
| Correct. | ||
|
unidentified
|
But I'm curious as to exactly what remote viewing is. | |
| I'm not sure. | ||
| That's a very involved question that would take a long time to answer, but basically... | ||
| It is basically the ability of a person using certain protocols to be able to view an object or an event in time, present, future, or past, and actually write or sketch details of what they see. | ||
| And it is a very specific protocol developed in the military and now used in civilian life. | ||
| And so in other words, it's a kind of a psych, let's see, a disciplined psychic is the way you might think of it. | ||
|
unidentified
|
That is interesting. | |
| Yes, it is. | ||
| Military funded a project for it for 20 years. | ||
|
unidentified
|
And they stopped? | |
| Yes. | ||
|
unidentified
|
Well, that's what they say. | |
| I got you. | ||
| But they also say there is no Area 51. | ||
|
unidentified
|
That's true, too. | |
| Well, we love your show. | ||
| Thank you, Art. | ||
| Thank you. | ||
| Where are you, by the way? | ||
|
unidentified
|
I'm actually in Denver. | |
| Denver. | ||
| All right. | ||
| Thank you very much. | ||
| East of the Rockies, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Hi, Art. | |
| Good to talk to you. | ||
| I hope you're going to be on Mike Murphy's program sometime soon. | ||
| Mike and I are very good friends. | ||
|
unidentified
|
That's good. | |
| That's good. | ||
| He's a good guy. | ||
| I actually saw Courtney Brown, I think it was here in town. | ||
| I think it was around the time that he was on your show the first time. | ||
| Right. | ||
|
unidentified
|
And one of the things that he mentioned was his definition of God. | |
| And I heard you refer to that. | ||
| I didn't hear him when he was on your show. | ||
| It's the best I've ever heard. | ||
|
unidentified
|
It was sure interesting. | |
| I don't know if it was the same thing I heard, but wow. | ||
| Well, all right, let's see if it is. | ||
| He essentially said that God was a lonely entity, and that in that loneliness, he finally, in effect, blew himself up, creating all that is now, and the souls, and that we are, in essence, God-parts. | ||
|
unidentified
|
That's the way I got it. | |
| Yeah, I found it fascinating. | ||
|
unidentified
|
Yeah, me too. | |
| I was going to ask you about, I don't know if you've ever asked a remote viewer, I'm always interested in things that they haven't remote viewed, but I wonder if you've ever asked any of them if they've sort of tried to confirm the creation theory, like going back in time and anything to do that. | ||
| Yes. | ||
|
unidentified
|
But you have. | |
| Oh, yes. | ||
| Well, I have not done it. | ||
| I have asked the question, yes. | ||
| And Ed Dames, Major Ed Dames, has confirmed Christ. | ||
|
unidentified
|
What about the origin of man? | |
| Did he have any views on that? | ||
| I don't think I asked him about that. | ||
|
unidentified
|
Okay. | |
| Well, I enjoy your program, and there's nothing else like it, that's for sure. | ||
| No, thank you very much. | ||
| Take care. | ||
| Well, there's nothing else quite like it, is there? | ||
| First time caller line, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
Good morning. | |
| Hi. | ||
|
unidentified
|
Art, I have a... | |
| I'm sorry. | ||
| I never know quite what to say about that. | ||
|
unidentified
|
We have several radio stations here in town that are owned by Chancellor Broadcasting. | |
| Where are you? | ||
|
unidentified
|
Cincinnati. | |
| Cincinnati. | ||
| And you're going to ask, is it the same Chancellor? | ||
|
unidentified
|
You're good? | |
| The answer is no. | ||
|
unidentified
|
OK, because I was wondering if there'd be a way to pressure them into taking it here. | |
| So the answer is no. | ||
| Your town is one we need to get into. | ||
| As you know, we're in Cleveland. | ||
|
unidentified
|
You're in Cleveland, you're in Richmond, you're in Chicago. | |
| Sometimes those signals are a little fuzzy. | ||
| Well, my advice would be as follows. | ||
| Call them up and bug them, but politely. | ||
|
unidentified
|
Right. | |
| and uh... | ||
| eventually we will be there i mean we were beginning to sort of And we have radio stations now calling us. | ||
| As a matter of fact, we're getting into kind of a weird thing now where we've got so many affiliates that we have some markets that are fighting about us. | ||
|
unidentified
|
Oh, really? | |
| Yeah, it's hard. | ||
| You know, you get two radio stations in the same town, and they both want it, and you get into this war. | ||
| It's pretty ugly. | ||
|
unidentified
|
Well, stop me if I'm treading on dangerous ground here, but the big broadcaster here in Cincinnati, J-Corps, is taking over your channel in Rochester. | |
| Uh-huh. | ||
| Yeah, we're on a bunch of J-Corps stations all over the country. | ||
|
unidentified
|
Well, rumor had it at one time that they were going to put on a different show on that 50,000-watt station. | |
| I mean, the rumor that reached me. | ||
| You mean an all-night show? | ||
|
unidentified
|
Yeah, a truck and show. | |
| Oh, a truck and show. | ||
| Well, they might. | ||
| You never know, but I'll tell you this: we're number one. | ||
|
unidentified
|
Well, that's, you know, with the. | |
| You know, I've got the survey for Rochester, and we've been number one for a long time. | ||
|
unidentified
|
Yeah, with the stuff you do, I don't know what I would want to change up there. | |
| Well, I can tell you about the truckers, and I will. | ||
| You know, I don't mind discussing this. | ||
| There are a number of truckers networks out there, and what the truckers do, first of all, let me tell you about my show. | ||
| We do not charge radio stations for this program. | ||
| It's what's called a barter basis, okay? | ||
| And that means they get to run their commercials and we run ours, and everybody's happy, and they don't have to pay us. | ||
| The majority of syndicated radio programs are marketed that way. | ||
| The truckers networks, because of the nature of their programming, which is not necessarily all that popular to the average person, is not of interest to these radio stations except for one thing. | ||
| They pay up to a million dollars a year. | ||
| So obviously, if a radio station gets offered a million dollars a year versus a barter show, there is no contest. | ||
| And if they don't care about their ratings, then they grab the million and run, and I really can't blame them. | ||
|
unidentified
|
Well, the story on this one is that the JCOR flagship station here in Cincinnati carries it, and I think they would like to establish a network and would like to hook on to a couple of 50,000 waters. | |
| And they've got, they have or it's pending the beginning of WHAM in Rochester. | ||
| Right. | ||
| And it might. | ||
| The rumor was that it was going to go on there. | ||
| And perhaps I'm telling things out of school that they don't want it let out yet. | ||
| No, it's cool. | ||
| It's cool. | ||
| Look, if JCOR does that, it's what they do. | ||
| We're on a lot of J-Corps stations around the country. | ||
| But as I said to you, it's really hard to fight somebody who walks in and plunks down a million bucks. | ||
|
unidentified
|
Yeah, or if the company owns it and they say we want to establish our own network. | |
| Well, and that's why they would be doing it for money. | ||
| So, you know, it's all money-driven. | ||
|
unidentified
|
It's an interesting time with radio and the various companies gobbling up lots of radio stations. | |
| Oh, yeah. | ||
| I'm not sure it's all bad or all good. | ||
| It's a two-edged sword. | ||
| I will tell you this, though. | ||
| By survey, we've got gazillions more truckers that listen to this show than any of the truckers' networks. | ||
| Period. | ||
|
unidentified
|
Well, who knows? | |
| Maybe we can talk the local J-Corps station into putting it on here. | ||
| Could be. | ||
| It sure would be better than, say, Rush Limball reruns overnight. | ||
| Well, I like Rush, but, you know, Rush does one thing and we do another. | ||
| And this one fits what is on at night. | ||
| And Rush fits what's on during the day. | ||
|
unidentified
|
Thanks, Art. | |
| Thank you. | ||
| Take care, sir. | ||
| East of the Rockies, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
Good morning, Art. | |
| This is Kate in Dallas. | ||
| Hi, Kate. | ||
|
unidentified
|
I don't know if you got my email like a month ago. | |
| I'm really new at doing this kind of stuff. | ||
| But the things that you talked about with Dr. Hale was exactly the things I needed for my report for school for asteroids. | ||
| So it was really cool. | ||
| It was so helpful. | ||
| It's really interesting. | ||
| You know, I get a lot of email, I'm not sure. | ||
|
unidentified
|
I'm sorry. | |
| And I'm very, and I think that's like the first time I'd ever done it in my life. | ||
| You mean sent the email? | ||
|
unidentified
|
It's always going to work, yeah. | |
| I see. | ||
| Did you hear on the news about that guy in Europe, and he is a history teacher. | ||
| Well, actually, what happened was there was this cave in Europe, and they found these bones. | ||
| And so they had studied, or they wanted to do a study to see if anyone in the community, whose families had lived there for years and years and years and years, if anyone was related to this guy. | ||
| So they took some of the DNA out of his jawbone, and they studied the DNA of those people there that were in the community. | ||
| And they found one history professor that was a direct descendant. | ||
| I thought that was really weird. | ||
| It is. | ||
| It really is weird. | ||
|
unidentified
|
You know, I have a tarantula and I was kind of disappointed because Yeah, it's a Chilean rose. | |
| It's really beautiful. | ||
| It's a rose-haired. | ||
| And she's actually a boy. | ||
| I thought it was a girl. | ||
| But anyway, it's a boy. | ||
| And you know how you always want your pets to have an affection for you and everything? | ||
| How does a tarantula express affection? | ||
|
unidentified
|
Well, I don't know. | |
| You know, you bring it cucumbers and you think, oh, you know, it's hungry. | ||
| And, you know, you kind of think of it like a cat or your dog or whatever. | ||
| Because you think, I don't know. | ||
| You just think that they're waiting for you or whatever. | ||
| Because it's so sweet. | ||
| Wait, wait, wait, wait, wait. | ||
| How do you know that a tarantula, I'm serious about this, is sweet. | ||
| Or that it loves you. | ||
| Or that it even cares about you? | ||
|
unidentified
|
I know, that's the problem. | |
| What's really docile is actually what the term actually would be. | ||
| Because I got this book, and it says that your tarantula doesn't love you. | ||
| It doesn't have any affection at all. | ||
| The only reason it doesn't bite you is because it senses the chemicals in your skin and it recognizes that you would not make a tasty meal. | ||
| That's the only reason it doesn't bite me. | ||
| Well, that is not what I would call affection and love. | ||
|
unidentified
|
I agree. | |
| I was kind of disappointed when I read that today. | ||
| Hey, if you were an animal, what kind of animal would you be and why? | ||
| If I was an animal? | ||
|
unidentified
|
Yeah. | |
| I would be a bird. | ||
|
unidentified
|
Why? | |
| Because I want to fly. | ||
|
unidentified
|
You know, a lot of people have flying dreams. | |
| I have many of them. | ||
|
unidentified
|
I do too. | |
| Well, that's an interesting animal. | ||
| All right, well, it's nice talking to you. | ||
| Good talking to you. | ||
| Thank you very much. | ||
| I would be a bird, I do believe. | ||
| I'm going to prove something to you. | ||
| And what I told that caller, there are a lot of truckers networks out there right now, so-called truckers networks. | ||
| And they somehow think they cater to truckers. | ||
| You know, they play some country and western music, and I guess they talk about traffic jams. | ||
| I don't know what the truckers networks do, frankly. | ||
| But for a long time, I've known that we have gazillions of truckers listening. | ||
| So I'm going to ask why I do this, I don't know, but I want to prove a point. | ||
| So for the next 30 minutes, I want everybody out there to hang up. | ||
| Stop calling. | ||
| On all lines, stop calling. | ||
| That means on the first time, call our line, the wildcard line, the international line, the east of the Rockies line, the west of the Rockies line, hang up. | ||
| Okay? | ||
| And I want to open all my lines for truckers, only for truckers. | ||
| I want to prove a point. | ||
| You should see I get hundreds, thousands of letters and email from truckers. | ||
| And there is no question about it. | ||
| And what I would like is the view of truckers. | ||
| In other words, do you guys sit out there and listen to the truckers network because you're a trucker? | ||
| Or do you listen to this program because of the subject material? | ||
| I really would like to know. | ||
| So, as usual, I will just ask, would everybody else please hang up? | ||
| Anyway, they've been asking me to do this for a long time. | ||
| So all my lines, and I'll give out the numbers, are open for the next 35 minutes only for truckers. | ||
| And I would like to get your comments. | ||
| Because what that caller said is true. | ||
| These truckers networks are going around and sucking up these big 50,000 watt nighttime stations so they can specifically program to truckers. | ||
| And though I haven't done a lot of listening, I believe that the primary content of the programming is, I guess, country music because they figure truckers like country, which is somewhat true, and whatever else they do. | ||
| So I'm going to close all my lines for everybody, every normal person out there, and I'm hereby opening my lines only to truckers, and I'm going to ask you guys what you listen to and what you know about out there. | ||
| And let the affiliates, the radio stations out there, sit and listen. | ||
| And maybe some of the programmers out there will realize as they hear this, which I know they're going to, that programming specifically designed for a trucker is not necessarily what a trucker listens to, you know? | ||
| I mean, they've got a radio dial, they tune across, they can listen to anything. | ||
| So, that's it. | ||
| For the next 35 minutes, if you're not a trucker, hang up and let the truckers get through. | ||
| Here are the numbers. | ||
| First time caller line, area code 702-727-1222. | ||
| The wildcard lines, area code 702-727-1295. | ||
| West of the Rockies, 1-800-618-8255. | ||
| East of the Rockies, 1-800-825-5033. | ||
| And what I'm going to do is I'm about to prove a point. | ||
| Truckers only. | ||
| Let's see if we can do it, okay? | ||
| Wildcard line, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
How you doing, Art? | |
| I'm all right. | ||
|
unidentified
|
I'm calling from my sailor phone. | |
| Am I coming in okay? | ||
| I hear you. | ||
|
unidentified
|
Yeah, uh, well, we were talking about truckers going in their trucks and stuff like that, right? | |
| Yes. | ||
|
unidentified
|
Yeah, the video network and stuff. | |
| I'll turn my radio down. | ||
| Coming up to 7-Eleven. | ||
| Call the wildcard lines. | ||
| Area 702-727-1295. | ||
|
unidentified
|
Just one question I want to ask. | |
| Yes. | ||
| Are you going to be having any guests on pretty soon? | ||
| What guests? | ||
|
unidentified
|
Like somebody UFOs. | |
| You know, I just got to express my opinion real quick right here. | ||
| Y'all, uh, you have this girl who said she, um, that she like she had sex with a lizard, right? | ||
| Pamela. | ||
|
unidentified
|
Yeah, uh, I mean, you're wasting your time with that lady. | |
| You know, you know, you know, you know damn well that's not true, you know. | ||
| How do you know it's not true? | ||
|
unidentified
|
Is it an alien lizard? | |
| That's what she said. | ||
|
unidentified
|
Oh, man, man, she gotta get off the acid. | |
| She needs to stay off the acid. | ||
| You think so, huh? | ||
|
unidentified
|
Oh, yeah. | |
| All right. | ||
| Thank you very much for the call. | ||
| Trucker number one. | ||
| Welcome to the Rockies. | ||
| You're on the air. | ||
|
unidentified
|
Hello. | |
| Yeah, hi, Art. | ||
| Hello. | ||
| Are you a trucker? | ||
|
unidentified
|
Yes, I am. | |
| I'm off tonight. | ||
| I'm not in my truck. | ||
| All right. | ||
| I don't know anybody that doesn't listen to you, to be honest with you. | ||
| What about all these truckers networks? | ||
|
unidentified
|
The TRM? | |
| You know, some of the old fogies listen to that stuff, but, you know, I run down the road at night, and somebody hollers on the CB and says, did you hear what he just said? | ||
| And they're always talking about, you know, whoever you have on tonight. | ||
| Right. | ||
| I'm trying to prove a point, and you're really helping me. | ||
| I appreciate it, sir. | ||
| Thank you for the next 30 minutes, truckers only. | ||
| From the high desert, this is CBC. | ||
|
unidentified
|
CBC. | |
| Her hair is hollow gold. | ||
| They left sweet as pride. | ||
| Her hands are never cold. | ||
| She's got better days of size. | ||
| She's trying to music on you. | ||
| You won't have to think twice. | ||
| She's pure as New York snow. | ||
| She's got better days of size. | ||
| Call Art Bell toll free west of the Rockies at 1-800-618-8255. | ||
| Truckers 1-800-618-8255 Truckers of the Rockies at 1-800-825-5033 1-800-825-5033 This is the CBC Radio Network. | ||
| It is. | ||
| You know, I hear a lot of these trucker shows begging for calls. | ||
| Well, I'm going to prove a point to you right now. | ||
| Truckers only for the next half hour. | ||
| All telephone numbers. | ||
| Everybody else, hang up. | ||
| Truckers talk to each other. | ||
| They've got CB. | ||
| They've got other communication devices. | ||
|
unidentified
|
They sit at truck stops. | |
| They know what they listen to. | ||
| So you watch and you listen carefully because we're about to prove a point. | ||
| First time caller line, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
Morning. | |
| How are you? | ||
| Where are you? | ||
|
unidentified
|
Oklahoma. | |
| Oklahoma, somewhere, huh? | ||
|
unidentified
|
Yeah, south of Oklahoma City. | |
| All right. | ||
|
unidentified
|
Well, what do you know about what truckers listen to? | |
| I don't like the stereotype. | ||
| Don't fit it. | ||
| Don't listen to country crap. | ||
| Well, now I wouldn't say country crap. | ||
|
unidentified
|
Well, I would. | |
| Oh, well, that's all right. | ||
|
unidentified
|
They give us tapes to listen to with the company that I've got three trucks. | |
| Most of my drivers listen to you. | ||
| We talk about it when we're together. | ||
| And we turn CV off and listen to you when we're alone most of the time. | ||
| I don't know. | ||
| I feel more informed that way. | ||
| All right, my friend. | ||
| Thank you so very much. | ||
| I really appreciate it. | ||
| You're beginning to get the idea. | ||
| Wildcard Line, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
Well, good morning, Art Bell. | |
| Hi, where are you? | ||
|
unidentified
|
This is Lonnie in Klamath Falls, Oregon. | |
| Yes, sir. | ||
| Yeah, Art, I just got one thing to say. | ||
| Well, several things, but one thing in particular. | ||
| Truckers are probably one of the most individualistic people in the world. | ||
| You bet they are. | ||
|
unidentified
|
And to try to stereotype us as country and western music lovers, that's ridiculous for one. | |
| If anything, I think probably every driver has their own individual network. | ||
| Just real quick, from here at Klamath Falls to Portland, I pick you up on about four different stations on the back roads I have to take. | ||
| Right. | ||
| North of Klamath, I pick you up on KGO here in Klamath Falls. | ||
| I pick up a station out of Las Vegas for a while. | ||
| Right, KXNT. | ||
|
unidentified
|
And the station out of Portland. | |
| I can't remember the call letters, though. | ||
| KEX. | ||
|
unidentified
|
And then when I'm up against Hood and I can't get the signal, I pick up Como out of Seattle. | |
| Como, 1,000, yes, sure. | ||
| All right, the only point I was trying to prove is that truckers are not stereotyped, and because you present something called a trucker's network doesn't automatically mean truckers are going to go and listen to it. | ||
|
unidentified
|
Oh, it's ridiculous. | |
| You know, most of these people that put these networks together are ex-truckers probably themselves. | ||
| And, you know, they're from a different age. | ||
| Most of your truck stops are owned by ex-truckers who are in their 60s and 70s, and this is what they did. | ||
| And it's just totally different today. | ||
| I appreciate the input, sir. | ||
| Thank you. | ||
| East of the Rockies, somewhere or another, you're on the air. | ||
|
unidentified
|
Hi. | |
| Hello. | ||
| Hello there. | ||
|
unidentified
|
Yep, I'm out. | |
| I'm on I-75 south of about the 127 mile marker, headed for Columbus, Ohio. | ||
| Yes, sir. | ||
|
unidentified
|
And I listen to you, Arch, every night. | |
| Well, do you get a sense from CB or at truck stops of what people listen to? | ||
|
unidentified
|
Oh, yeah. | |
| We were just talking about you tonight at the terminal, about all the things you had on the air, and it's real interesting. | ||
| I'll tell you, we really feel sorry for the people from Desert Storm. | ||
| We really hope that something gets done there and that the President of the United States here recognizes that these guys were given their lives and their families didn't bargain for this and that hopefully this thing gets straightened out and we get these guys on the right track. | ||
| I hope so. | ||
| Listen, what is your attitude about these so-called truckers networks? | ||
|
unidentified
|
Well, I think there is a lot of people who listen to you. | |
| A lot of truckers, you know, they really look for something that piques their interest and you do a heck of a job. | ||
| I'm not a conservative, but I'll tell you something, I really respect you because you're pretty darn fair and that's what I'm looking for. | ||
| You know, I'm just looking for somebody who piques my interest and someone who's fair because just bashing somebody from the other side is no good, you know. | ||
| I know. | ||
| I appreciate your call, sir. | ||
| Thank you. | ||
| And what I'm trying to prove here is that truckers are not a class unto themselves in the sense that they can be programmed to and they will automatically go to the truckers network, whatever it is. | ||
| West of the Rockies, you're on the air. | ||
| Hello. | ||
|
unidentified
|
Yes, I call them from Jubis Truck Stop in Portland. | |
| Yes, sir. | ||
|
unidentified
|
I've listened to you since last November. | |
| I heard about you at a truck stop, and I've, you're my late night. | ||
| I switch off, turn off the CB and listen to you until you go off in the morning. | ||
| Gee, even the CB goes off. | ||
|
unidentified
|
That's right. | |
| Yikes. | ||
| Well, truckers are not exactly stereotyped anymore, are they? | ||
| In other words, because you put on a trucker's network doesn't mean that the truckers all listen to it, huh? | ||
|
unidentified
|
No, you get tired of the music. | |
| Music gets to the point where you get sleepy. | ||
| But I don't have that trouble listening to you. | ||
| All right, my friend. | ||
| Thank you very, very much, and I appreciate the support. | ||
| First time caller line, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
Come on. | |
| Where are you, sir? | ||
|
unidentified
|
I am in Solomon, Illinois. | |
| All right. | ||
| Welcome to the show. | ||
|
unidentified
|
Yes, sir. | |
| First off, I want you to do one thing, Paul. | ||
| Okay. | ||
| You got to get this guy, John, to say Jack. | ||
| You got to get it back on there. | ||
| Oh, you mean the fellow I had on Dreamland Sunday? | ||
|
unidentified
|
Uh-uh. | |
| Yeah, sure. | ||
|
unidentified
|
I mean, this guy is in there. | |
| Yep, very. | ||
| Are you a trucker? | ||
|
unidentified
|
Yes, sir. | |
| And do you generally listen here? | ||
|
unidentified
|
I sleep in the daytime sell to stay up at night just to do this. | |
| So you don't gravitate automatically to the so-called truckers network? | ||
|
unidentified
|
I don't want to. | |
| No, that boy's death. | ||
| I don't listen to him now. | ||
| All right. | ||
| I appreciate the call. | ||
| Thank you. | ||
| Wildcard Line, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
Hello, my old friend. | |
| Hi. | ||
|
unidentified
|
I used to listen to you all the time when I was out on the road. | |
| You did, huh? | ||
|
unidentified
|
Yeah, I drove for 14 years over the road. | |
| Now I'm a night dispatcher for a trucking company. | ||
| Oh, you are? | ||
|
unidentified
|
Yeah. | |
| Now, the main reason that I listened to you is that it kept my mind active. | ||
| Late at night when I'm rolling down the road and I listen to country music or rock music, any type of music, really, it's a mood depressor. | ||
| It either depresses you and puts you to sleep, or you just keep hearing the same thing and you get bored. | ||
| But on your show, everything was all new. | ||
| It was exciting. | ||
| It got your mind thinking. | ||
| And the time passes quickly. | ||
|
unidentified
|
Yes, it does. | |
| I hear you. | ||
| When I've done a lot of cross-country driving and talk radio has kept me company, so I know. | ||
| It's just that, you know, these truckers networks are trying to sell the broadcasting industry on the fact that because they put a trucker's network on, that's what the truckers are going to listen to. | ||
|
unidentified
|
No. | |
| I know. | ||
|
unidentified
|
Truckers listen to basically anything, but at night, the majority of them that I know of, I'll listen to talk shows. | |
| And then at night, I have a satellite system that I can talk to trucks with, and we're always communicating back about your show. | ||
| I appreciate the call, sir. | ||
| Thank you very much. | ||
| East of the Rockies, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Hello, Art. | |
| How you doing? | ||
| I'm doing fine, sir. | ||
| Where are you? | ||
|
unidentified
|
I'm in my rig right now. | |
| I work for the post office in Tampa, and I listen to your show every night. | ||
| In Tampa, Florida? | ||
|
unidentified
|
Yeah. | |
| Okay, that's very interesting. | ||
| Way down there, huh? | ||
|
unidentified
|
Yeah, I'm calling on a cell phone in my rig right now. | |
| I can tell. | ||
| Well, what is your attitude about these so-called trucker networks? | ||
|
unidentified
|
Well, I'll tell you what. | |
| I'm listening to you on AM570. | ||
| I don't listen to trucker networks. | ||
| I don't like country. | ||
| I'm a rock and roller. | ||
| Actually, I am, too. | ||
|
unidentified
|
I just like your show because of the subject matter. | |
| You know, Mel's Hole and all that, and Frank Bell and the people you have on there, it's just a good show. | ||
| It's a great show. | ||
| Thank you, my friend. | ||
| I appreciate it. | ||
| West of the Rockies, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
Oh, is this our sound? | |
| I can barely hear you. | ||
|
unidentified
|
Oh, I'm sorry. | |
| Is this better? | ||
| A little bit. | ||
| Are you a trucker? | ||
|
unidentified
|
Yes, I am. | |
| Where are you? | ||
|
unidentified
|
I am calling from a payphone in Utah here, just outside of Parawan, Utah. | |
| Okay. | ||
| Well, what about you? | ||
| Obviously, you're listening to this program now, but what is your attitude about the Truckers Network, so-called? | ||
|
unidentified
|
I've been out here for two years, and I've only listened to it once. | |
| I don't really care for it at all. | ||
| I don't like the music or anything. | ||
| Only complaints that I have about your show is when I'm going down the road, I usually have to go through two or three stations to keep listening to your show. | ||
| I love your show. | ||
| I thank you. | ||
| Thank you very much. | ||
| I'm just simply trying to prove a point. | ||
| Thank you very much for making the call. | ||
| First time caller line, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Hi, this is John from Highland, California. | |
| I'm Trucker. | ||
| Yes, hi, John. | ||
|
unidentified
|
And I listen to your show every night at home and out on the road. | |
| That is when I can find it. | ||
| All I need to do is get a list of where your stations are. | ||
| But yeah. | ||
| Well, by the way, we do have a full and complete list on our website. | ||
| If you're ever able to get up there, you can print it out and find out every station across the country. | ||
|
unidentified
|
That'd be great. | |
| All right, my friend. | ||
| Thank you. | ||
| Wildcard line, you're on the air. | ||
|
unidentified
|
Hi. | |
| Hi, how are you doing? | ||
| This is Brian from Bellebelle, Michigan. | ||
| Brian, you're going to have to yell at me. | ||
| I can barely hear you. | ||
|
unidentified
|
This is Brian from Belleville Hawkins. | |
| Yes, sir. | ||
|
unidentified
|
Or, I'm sorry, Belleville, Michigan. | |
| Yes, sir. | ||
|
unidentified
|
Calling you from Galesburg. | |
| Love your show. | ||
| Found you about two years ago. | ||
| Are you a trucker? | ||
| Yes, sir. | ||
| So you manage to hold us pretty much as you drive? | ||
|
unidentified
|
Yeah, I do. | |
| Big 50,000-watt stations help a lot. | ||
| Yes, they do. | ||
| Well, that's one of the reasons I'm doing this, because some of the big stations are getting drawn into this truckers network thing, thinking that that's what truckers listen to. | ||
|
unidentified
|
Yeah, I was really disappointed when Detroit's big one left you for that. | |
| For trucking, yes, I know. | ||
|
unidentified
|
So they lost me. | |
| Well, we've got another one in Detroit, WCHR, and they're about to go way up in power, so you'll be able to get us again just fine. | ||
|
unidentified
|
Oh, $1,300. | |
| Yes, sir. | ||
|
unidentified
|
I'll be looking forward to it. | |
| Actually, I think it's $1,200, but they're about to go way up in power. | ||
| East of the Rockies, you're on the air, hi. | ||
| Hello there. | ||
|
unidentified
|
Actually, I think it was 1,200. | |
| Hello. | ||
| Hello. | ||
| Yes, sir. | ||
| Turn your radio off. | ||
|
unidentified
|
Okay, it's off. | |
| Okay, where are you? | ||
|
unidentified
|
Okay, I'm down here just north of Wichita, Kansas. | |
| Yes, sir. | ||
|
unidentified
|
And I'll tell you, I'd rather listen to you than any of the truckers' networks because, well, I mean, like the other drivers did, it keeps your mind active. | |
| It keeps you thinking. | ||
| Well, what do you hear from other truckers? | ||
| I'm sure you must talk to other people about what they listen to. | ||
|
unidentified
|
Oh, I do. | |
| I try to convert them over to listening to you because I talk to them about you, and they say, well, that sounds pretty interesting. | ||
| It's better than music. | ||
| And they'll listen. | ||
| All right, my friend. | ||
| Thank you from out in the middle of the Heartland country on my international line. | ||
| You're on the air. | ||
| Good morning. | ||
|
unidentified
|
Hi, Eric. | |
| Sounds like it's unanimous. | ||
| Where are you? | ||
|
unidentified
|
I'm in Kenadaskis, Alberta, Canada. | |
| Are you a trucker? | ||
|
unidentified
|
Part-time, yeah. | |
| So you listen when you're on the road? | ||
|
unidentified
|
Yes. | |
| Yeah, I drive a snowcat out to the wilderness and then hop in that and do my thing. | ||
| I was actually out there when you played your Yeti Yell, and you're right. | ||
| I don't want to be in the middle of nowhere. | ||
| No, you don't. | ||
| Thank you. | ||
| First time caller line, you're on the air. | ||
|
unidentified
|
Hi. | |
| Hey, Art, this is Wade down here in 34th Florida. | ||
| Yes, sir. | ||
|
unidentified
|
The comet, if you see it tonight. | |
| Are you a trucker, sir? | ||
|
unidentified
|
No, you're. | |
| We're holding the line open for truckers. | ||
| Wildcard line, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Hi, this is Joe. | |
| And I had to turn down the radio. | ||
| Hi, Joe. | ||
|
unidentified
|
Just want to say that the reason that I listen to the show is because there's no, it's an umpity show. | |
| Nobody wants to listen to this crap and this politics about everybody, you know, and sad things and people putting everybody down. | ||
| I like to listen to people that are talking about positive things like your gross and you and Bruce Williams and things that make you happy. | ||
| And the show keeps me interesting and for all the other truck drivers, I'd just like to say that. | ||
| All right. | ||
| We'll get back to more truckers in a moment. | ||
| We're going to do that through the top of the hour. | ||
|
unidentified
|
We're going to do that through the top of the hour. | |
| All right. | ||
| I'm just trying to prove a point, and I think I'm doing it very well. | ||
| Let me continue through the top of the hour. | ||
| First time caller line, you're on air. | ||
|
unidentified
|
Hello. | |
| Oh, Art. | ||
| Hi. | ||
|
unidentified
|
Hi, from a fellow ham and a trucker. | |
| All right. | ||
| I just want to let you know, me and a bunch of other trucker-type hams, I'm in Loudon, Tennessee. | ||
| My name is Nick, and I run Virginia and the Carolinas, Tennessee. | ||
| Yes, sir. | ||
|
unidentified
|
But there's a bunch of us get together on a pretty good coverage repeater in the middle of the night, oh, about a half a dozen of us, sometimes more or less. | |
| And we listen to you, and during the breaks, we talk to each other on two meters about what's going on. | ||
| So I really enjoy your show. | ||
| Well, what I'm trying to do is to talk to the broadcasters, in a sense, and let them hear from you guys, because I know we've got more truckers listening than these so-called Truckers Networks. | ||
|
unidentified
|
Yeah, they're kind of stale. | |
| You know, I'm Charlie Douglas' road gang and stuff like that. | ||
| I've been on the road off and on for about 20 years or so. | ||
| Of course, I don't fit the stereotype anyway. | ||
| I don't wear Tony Llama boots and don't have a chain-dry wallet. | ||
| I'm a rock and roller, too. | ||
| But the truckers network, I guess, are okay if you want to hear a weather forecast in southwest Missouri when you're in eastern Tennessee. | ||
| But I really enjoy your show. | ||
| And like I said, there's a bunch of us out here. | ||
| You're the topic of conversation during the break. | ||
| Hi, thank you, my friend. | ||
| Thank you very much for the call. | ||
| Wildcard line, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Good evening. | |
| My name is Rob Kapp from Blythe, California. | ||
| Yes, sir. | ||
|
unidentified
|
Yeah, I have a couple of questions. | |
| First of all, I thoroughly enjoyed your show on Hailbuff with Dr. Alan Hale. | ||
| Yes. | ||
| Are you a trucker? | ||
|
unidentified
|
Yes, definitely. | |
| Oh, you are? | ||
|
unidentified
|
All right. | |
| I'm not on duty tonight. | ||
| Okay. | ||
| You know, okay, one question is on Dr. Oh, have you ever had Dr. J. Allen Hynek on your show? | ||
| No, I haven't, but I'll see what I can do about that. | ||
| East of the Rockies, you're on the air. | ||
|
unidentified
|
Hello, Art. | |
| Hello. | ||
| Hey, it's good to talk to you. | ||
| Where are you? | ||
|
unidentified
|
I'm in Pennsylvania. | |
| Pennsylvania. | ||
|
unidentified
|
Yeah, I listened to you, oh, I guess about two or three years now. | |
| Two or three years. | ||
| Right. | ||
|
unidentified
|
And, yeah, I've never listened to the trucking shows. | |
| And I like your programs, like what you're doing. | ||
| And one thing is I missed the show on the update on the Kramer case. | ||
| On the Kramer case. | ||
| Well, the update was that Philip Taylor Kramer is dead, and the rest of the information is going to the police in Ventura County. | ||
| And when that part of it is resolved, believe me, we'll get the update on the air. | ||
| West of the Rockies, you're on the air. | ||
|
unidentified
|
Hi. | |
| Hello. | ||
| Hello. | ||
| Hi. | ||
| This is Steve. | ||
| I'm calling from Los Angeles. | ||
| Hello, Steve. | ||
|
unidentified
|
And I just want to say I enjoy your show. | |
| And just, did you receive my email of the Hail Bop image I sent you? | ||
| I did. | ||
| Thank you. | ||
|
unidentified
|
Okay. | |
| And you can post it on your website if you want. | ||
| I don't care. | ||
| I mean, I was very proud of it. | ||
| I understand. | ||
| It's not easy to get. | ||
|
unidentified
|
Yeah. | |
| I just wanted to say, too, that the trucker networks are always so boring that, you know, road conditions and trucker stuff, you know, like motors and transmissions. | ||
| Who cares? | ||
| You know, I just want to drive my truck to listen to you. | ||
| You know, I can keep my mind going. | ||
| All right, my friend. | ||
| I appreciate the support. | ||
| Thank you very much. | ||
| First time caller line. | ||
| You're on the air. | ||
|
unidentified
|
Hi. | |
| Hey, Art. | ||
| Hey. | ||
|
unidentified
|
John in Colorado. | |
| How are you doing, John? | ||
|
unidentified
|
Great, great. | |
| Just making another run five nights a week. | ||
| Yes, sir. | ||
| Well, I just got to say, we listen to y'all. | ||
| Our whole company does. | ||
| We're all across the nation, but we never listen to the other stations, the trucker stations. | ||
| So you guys are not glued to the Truckers Network, so-called? | ||
|
unidentified
|
What's that? | |
| We're not glued to what? | ||
| The Truckers Network, so-called. | ||
|
unidentified
|
No, no, no, no, no. | |
| There's nothing on there that'll keep you awake. | ||
| At least with your show, you know, we have something to think about. | ||
| Keep us awake all night. | ||
| Get it to our terminals. | ||
| I appreciate the call, my friend. | ||
| Thank you. | ||
| And you truckers might call the broadcasters, the stations, you know, that you listen to, and let them know what I'm proving right now. | ||
| Wildcard line, you're on the air. | ||
|
unidentified
|
Hi. | |
| Hello, Art. | ||
| Yes, sir. | ||
|
unidentified
|
Mike in Wyoming tonight. | |
| Hi, Mike. | ||
|
unidentified
|
A lot better than the trucking shows, I've got to tell you, every night. | |
| Well, I've been telling people this for a long time, but I thought after the call I had, I'd finally take about a half hour and try to prove it. | ||
|
unidentified
|
One more plug, Art. | |
| Absolutely fresh flowers. | ||
| The strange thing in the world when you travel like that. | ||
| My wife loves them. | ||
| I guess when you travel as much as you do, it's almost a must, huh? | ||
| It is. | ||
| Thank you, my friend. | ||
| Say hi to your wife. | ||
|
unidentified
|
I'll do that. | |
| Take care. | ||
| All right. | ||
| East of the Rockies, you're on the air. | ||
|
unidentified
|
Hello. | |
| Hey, RPL. | ||
| Yes, sir. | ||
|
unidentified
|
Yeah, it's Roger. | |
| Call from Nebraska. | ||
| Nebraska, all right? | ||
|
unidentified
|
Yeah. | |
| Uh, yeah. | ||
| I had to turn the C V down. | ||
| All right. | ||
| Yeah, just still calling on truckers there? | ||
| Yeah. | ||
| Yeah. | ||
| Yeah, I can tell you're in a truck. | ||
|
unidentified
|
Oh, yeah. | |
| Yeah, I had to turn everything off. | ||
| But I've been listening, well, for about three, four years now. | ||
| I've been out here for nine, just driving at night, but you got a good show there. | ||
| Well, would you think that we can get to more truckers right here, or do you think the Truckers Network get them? | ||
|
unidentified
|
Oh, right here. | |
| I don't even know if Truckers Network ever heard it. | ||
| All right, I appreciate your call. | ||
| Thank you. | ||
| West of the Rockies, you're on the air. | ||
|
unidentified
|
Hello. | |
| No, you're not. | ||
| Wildcard Line, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
How you doing, Art? | |
| I'm all right. | ||
|
unidentified
|
Where are you? | |
| I'm always in Charlotte, North Carolina. | ||
| I got to deliver loads this morning. | ||
| You know, I came from all the way from Seattle with this load. | ||
| I'm here in Charlotte, and I've listened to you every night, you know, the whole trip. | ||
| And the trucking shows that they're talking about, I just heard a caller call and say they're born. | ||
| They are born. | ||
| And they've got them for a reason. | ||
| They're trying to get news out and stuff. | ||
| But it's not necessary. | ||
| And And all this money, the millions of dollars you're saying they're giving to these radio stations, they ought to put it towards a lobby group. | ||
| That's what they're wanting to do, is try to get things done for the trucking industry. | ||
| If they would put these millions of dollars towards lobby groups in Congress and try to help get stuff done, it'd be a better purpose. | ||
| And let them go ahead and do it. | ||
| They'll see that their ratings drop. | ||
| And just like we can't ignore DOT out here on the road, a radio station can't ignore ratings. | ||
| And when their ratings totally drop, you know they're going to turn around and change. | ||
| You are exactly right, my friend. | ||
| Thank you. | ||
| But of course, temporarily, you know, they get very attracted by the money, and they think that that's what the truckers are listening to, because they call it a trucker's network. | ||
| They think that's what truckers are listening to. | ||
| Well, I could have taken a million more, but I thought I'd give you 30 minutes of an example of what the truckers are listening to. | ||
| So, guys and gals, thank you. | ||
| And if you listen to a station, take a minute, call them up, and let them know what you really listen to. | ||
|
unidentified
|
Thank you. | |
| Thank you. | ||
| Art Bell is taking calls on the wildcard line at 702-727-1295. | ||
| That's 702-727-1295. | ||
| First-time callers can reach Art Bell at 702-727-1222. | ||
| 702-727-1222. | ||
| Now, here again, Art Bell. | ||
| All right, we're open for anything. | ||
| Open lines once again. | ||
| Thank you, everybody. | ||
| Just wanted to prove a point. | ||
|
unidentified
|
That's all. | |
| I've been hearing about this for years, you know, truckers networks. | ||
| Like, you start a trucker's network and automatically the truckers come, sort of like in Fuel to Dreams. | ||
| Build it and they will come. | ||
| Well, it's not that way. | ||
| You know, truckers are no different than anybody else, and they like interesting talk radio the same as anybody else does. | ||
| Music by Ben Thede All right, there are a lot of things on my website right now that you really, really, really need to see. | ||
| For one thing, we've got a cat page, some of the cutest cat photographs you've ever seen in your life. | ||
| You know I like cats. | ||
| We've got more hail-bop photos, and we're posting them as they come in. | ||
| Feel free to send one. | ||
| We have got an artist's conception of the Aurora, and we have what we believe are the precursors to the Aurora, the X aircraft. | ||
| Very, very, very interesting photographs of experimental aircraft that probably are what became the Aurora. | ||
| Take a look. | ||
| Decide for yourself. | ||
| We've got the Darwin page now, those who contribute to humanity's gene pool purity by eliminating themselves in spectacular and sometimes very humorous ways. | ||
| We have an aura taken with curly in photography, and I want a guest on that subject. | ||
| Please give me a guest on that subject. | ||
| We have, in Kansas, there is a Virgin Mary crying tears of blood. | ||
| That's on the webpage. | ||
| We've got meteor impact images. | ||
| We've got recordings of harm. | ||
| All of that is up on the website right now at www.artbell.com. | ||
| That's www.artbell.com. | ||
| And I notice that Keith has just put up there, right under my photograph, we are the Truckers Network. | ||
| Thank you, Keith. | ||
| Now look, if you don't have a computer, and I know a lot of you don't, we've got a newsletter. | ||
| And we publish all of these photographs in our newsletter because we know you all don't have a computer. | ||
| So the newsletter is called Art Bell After Dark. | ||
| What does it have? | ||
| It has all the photographs we put on the website and more. | ||
| It has articles on guests that we interview that go into detail that you don't hear on the air. | ||
| In other words, they ask additional questions. | ||
| So how do you get the newsletter? | ||
| Well, you call 1-800-917-4278. | ||
| Right now, if you want to. | ||
| 1-800-917-4278. | ||
| Art Bell after dark. | ||
| West of the Rockies, you're on the air. | ||
|
unidentified
|
Hello. | |
| Yeah, good morning, Art. | ||
| Good morning, sir. | ||
|
unidentified
|
Just heard all the truckers reported, and I used to drive truck, too, and when I was driving truck, if you would have been on the air, I would have had you tuned in. | |
| I'm Charlie. | ||
| I'm calling from Medford, Oregon, and I listen to you on 100,000 watt KOPE 103.5 out of Medford here. | ||
| The big one, the anchor. | ||
|
unidentified
|
The big one, yeah, the Tower of Power. | |
| But just wanted to say a few complimentary things, man. | ||
| Since I've tuned you in, you have been my nighttime entertainment where I work. | ||
| I listen to only you. | ||
| Oh, my God. | ||
|
unidentified
|
And, you know, I'm into flying saucers, extraterrestrials. | |
| I've seen flying saucers when I was younger. | ||
| That'll change it. | ||
|
unidentified
|
Uh-huh. | |
| And I'm very open-minded. | ||
| And one thing I'd like to say to all the people out there who listen to you, man, keep tuned in, Dart Bell, because, man, you can't go wrong. | ||
| And for all the people out there who are doubting Thomas's, man, you know, hey, just look around you in the world today, what's going on. | ||
| If you're a doubting Thomas, look with real eyes at the real world, what's going on around you. | ||
| What you see on ABC, NBC, CBS, realize that most of that is just a big blanket. | ||
| And realize that Art Bell is telling the truth. | ||
| And if he's getting something strange on the air, hey, just in a few short months, what's coming across the Art Bell Show is going to be reality. | ||
| It's coming or it's here now. | ||
| Thank you. | ||
| I don't know if that's true. | ||
| Look, some of what I put on the air is BS. | ||
| You know, who are we kidding? | ||
| Not all of it is true, and I appreciate support. | ||
| It's not all true. | ||
| What I put on is strange, and it's different, and it's chancy, and it's weird, or it's mainstream. | ||
| A lot of times I'll go that way too, but it's out there on the edge. | ||
| Now, a lot of it is true, and a lot of it is stuff you don't hear in the mainstream media, but a lot of it's probably BS2. | ||
| I don't know. | ||
| I try and stay out on the edge and let you hear things that you don't hear elsewhere. | ||
| That's the magic to the program. | ||
| I believe. | ||
| Wildcard line? | ||
| No, international line. | ||
| You're on the air. | ||
| Hi. | ||
|
unidentified
|
Holy smokes, I can't believe it. | |
| I finally got through. | ||
| Yes, you have. | ||
| Where are you? | ||
|
unidentified
|
All right, this is Clay Colling from Victoria, D.C. Yes, sir. | |
| You know, I've been listening to your program for about a month now, I think. | ||
| For the most part, I'm transfixed. | ||
| Every now and then, as you say, there are things that are really questionable. | ||
| But no, it's an intriguing program. | ||
| Call toll-free, 1-800-618-8255. | ||
| Sir. | ||
|
unidentified
|
Really questionable as well. | |
| Well, really questionable is the language you just used. | ||
| You're not allowed to say that on the air. | ||
| That's one of the seven deadly words. | ||
|
unidentified
|
Oh, sorry. | |
| Did you beat me? | ||
| Oh, yes. | ||
|
unidentified
|
Oh, good. | |
| Yes, yes. | ||
|
unidentified
|
Glad to hear that. | |
| Listen, just going back to something the other night when Alan Hale was on. | ||
| Yes. | ||
| I think there was somebody that phoned in with a prophecy. | ||
| Does that ring any bells at all? | ||
| Something about the world ending in 1999? | ||
| Yes. | ||
| Okay. | ||
| I've got something here from Mother Shipton that my grandfather gave me years and years and years ago. | ||
| And just in hearing that prophecy, I thought, you know, geez, I'm going to pull that up, take a look at it. | ||
| Can I read the last two paragraphs of this? | ||
| Yes. | ||
|
unidentified
|
It's written in Quatrain. | |
| Oh, it's very hard to understand. | ||
| Quatrains are interpretive. | ||
|
unidentified
|
Yeah, but there's something about this I think you might want to hear. | |
| Now, given that Mother Shipton was writing somewhere around about 1490, 1495, and there's always some question as to whether her prophecies were entirely complete at a later point in time. | ||
| There's something very interesting, though. | ||
| And giving her the benefit of the doubt that she's out by a few years at this point, listen to this. | ||
| But those who live this century through, in fear and trembling this will do, flee to the mountains and the dens, fog and forest and wild fens. | ||
| For storms will rage and oceans roar when Gabriel stands on sea and shore. | ||
| And as he blows his wondrous horn, old worlds shall die and new be born. | ||
| The world then to an end shall come in the year 1991. | ||
| 1991? | ||
|
unidentified
|
Yeah, so she's a few years off. | |
| But it's interesting, this idea of old worlds shall die and new be born. | ||
| The copy of Mother Shipton I've got carries through and it predicts things like the Civil War, Disraeli becoming prime minister in Britain, the French Revolution, and on and on and on and on. | ||
| You know what I think it's going to sound like? | ||
|
unidentified
|
What? | |
| just like this. | ||
|
unidentified
|
*music* | |
| And then everything's going to start falling down one day. | ||
| West of the Rockies, you're on the air. | ||
| Good morning. | ||
| Who do? | ||
| East of the Rockies, you're on the air. | ||
| Howdy. | ||
|
unidentified
|
Good morning, Ark. | |
| Good morning, sir. | ||
| In a truck, I bet. | ||
|
unidentified
|
Did you know? | |
| Just to try to get through earlier. | ||
|
unidentified
|
And just wanted to say that I break the stereotypical mold of the truckers. | |
| I'm driving along here. | ||
| I have a master's degree. | ||
| I'm in blue jeans and tennis shoes. | ||
| I don't have a cowboy hat in the truck with me. | ||
| No. | ||
|
unidentified
|
I don't listen to the truckers network. | |
| I hate rock and roll music, and I hate country music even worse than that. | ||
| So I break the stereotypical mold. | ||
| I probably also break the stereotypical mold of people who listen to you. | ||
| I probably believe about 10% of what most of the people you have on your programs say. | ||
| But I do enjoy listening to your program. | ||
| It kind of forearms me and kind of keeps me aware of what's going on out there. | ||
| But just wanted to call and let you know that. | ||
| Well, thank you. | ||
| I'm not sure there is a stereotypical trucker anymore. | ||
| Times are a change in. | ||
|
unidentified
|
Well, you'd be surprised. | |
| There are stereotypical teachers, which is what I used to do before I was into trucking. | ||
| And that's kind of the reason I got out. | ||
| The NEA, the liberalism of teaching and all that. | ||
| Oh, I know. | ||
|
unidentified
|
And I always wanted to travel. | |
| Didn't want to join the military. | ||
| So I drive a truck. | ||
| Well, be all you can be, sir. | ||
| Thank you. | ||
| Y'all, you'll travel. | ||
| I might have done that. | ||
| I really, really, really have always enjoyed cross-country driving, particularly at night. | ||
| I like night driving. | ||
| Frankly, I think I've always thought night driving safer. | ||
| I know that may sound crazy, and a lot of people don't like to drive at night, but I think it's safer. | ||
| West of the Rockies, you're on the air. | ||
| Hi. | ||
|
unidentified
|
I do. | |
| My name's Vince, and I'm calling from Tucson, Arizona. | ||
| Are you still taking truckers' calls? | ||
| Well, sure. | ||
| Okay. | ||
| Took me a while to get to a phone. | ||
| First-time caller, for me, myself, I don't listen to music that much. | ||
| I used to carry a bunch of case with me, but I never played them. | ||
| I ended up listening to your show. | ||
| Well, I was simply trying to prove a point that these truckers networks that are popping up here and there across the country are not necessarily an automatic listen for truckers. | ||
|
unidentified
|
I agree. | |
| You know, there is one old truckers network, I guess you would say, that I was born in that city, so every now and then I catch to see what the weather is like or whatever, if I'm on that side of the whatever. | ||
| But if I'm going down the road and everything and I want to listen to something besides the squat box, I turn that fucker off and listen to you. | ||
| If it's daytime, you know, I listen to some doctor shows or whatever, but I'm not really into music that much. | ||
| I hear you. | ||
| I hear you. | ||
| Thank you very much for the call and the support. | ||
| Look, music is all right, and you know me, I love music, but it's only good for a while, and it kind of wears on you after a while. | ||
| And what will really pass the hours is talk radio. | ||
| So, you know, after you've musicked out, and that doesn't take very long, then you're ready for something a little more stimulating that keeps your mind going instead of just going thump, thump, thump. | ||
| First time, call our line, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Hey, Art. | |
| Yes. | ||
| Yes. | ||
|
unidentified
|
Kim down here. | |
| I saw the hailbop the first time. | ||
| Oh, you did? | ||
| Oh, incredible. | ||
|
unidentified
|
I know you've seen it a lot of times. | |
| I saw it and went out and got the Binox. | ||
| Incredible. | ||
| I know. | ||
| I keep trying to talk people into going out. | ||
|
unidentified
|
I hope everyone goes out and looks at it because it's the closest thing we're going to get to God around here in a long time. | |
| Yes, sir. | ||
| I'll tell you what, folks. | ||
| About an hour from now, about an hour from now, in fact, really right now, but about an hour from now, she'll really be high, very high in the sky, about 40 degrees, it seems like to me. | ||
| And it's just blazing across cold space. | ||
| And it's a sight you've got to see. | ||
| It is, I keep telling people, it is worth losing sleep over. | ||
| See it. | ||
| Wildcard line, you're on the air. | ||
|
unidentified
|
Hi, our Dan in the U District. | |
| Hello, Dan. | ||
|
unidentified
|
That's been a great night. | |
| Fred Bill, I thought it was pretty interesting. | ||
| And, gee, I hope you can get him back on. | ||
| And, you know, some of the things he was saying correlates real close to the alien reproduction vehicle. | ||
| I know it. | ||
| I know it. | ||
| I heard all kinds of things that rang bells there and with regard to the technology used during the so-called Philadelphia experiment and all the rest of it. | ||
| It all went click, click, click, click. | ||
| And so he was an interesting guy. | ||
|
unidentified
|
Yes, indeed. | |
| And, you know, somebody who has a lot more stuff yet to tell you, if you could get him back on, it would be Mark McCandlish. | ||
| Oh, yes. | ||
| Well, I've had Mark on, I think, about three times already. | ||
| So we'll have him on again. | ||
| Thank you very much, Dan. | ||
| East of the Rockies, you're on the air. | ||
| Hi. | ||
|
unidentified
|
They are Bill in Minnesota. | |
| Say, just wanted to remind you and that guy that called last half hour that you're going to have that tough time getting Alan Hynek on because he's been dead about five years. | ||
| Okay, well, that doesn't absolutely rule it out on this. | ||
|
unidentified
|
Well, you might have one of these psychic guys that can bring him back from the great beyond. | |
| Who knows? | ||
| Okay. | ||
| Thank you. | ||
| West of the Rockies, you're on the air. | ||
| Hello. | ||
|
unidentified
|
Yeah, hi, Art. | |
| This is Mike from Danville, California. | ||
| Hi, Mike. | ||
|
unidentified
|
Yeah, you always talk about, you know, the shuttle passing overhead. | |
| Have you ever seen it go over? | ||
| Oh, I sure have. | ||
| I've seen it. | ||
| I saw it re-entering one night. | ||
| As a matter of fact, I told the audience about it, and it was the most spectacular thing I ever saw. | ||
| It started as like an orange glow in the west about 20 degrees above the horizon. | ||
| And then all of a sudden, it went right across and left this orange glow behind it just before sunrise. | ||
| It was unbelievable. | ||
|
unidentified
|
Yeah, it was just, I experienced the exact same thing about the same time here about maybe six months ago. | |
| That's right. | ||
|
unidentified
|
And it was magnificent. | |
| Absolutely awesome. | ||
|
unidentified
|
I was expecting, you know, trying to look for a star, you know, I mean, and then when I saw it, it's like, yeah, it's noticeable. | |
| Oh, it's noticeable, all right. | ||
| Just like Hailbop, sir, get out and see that. | ||
| Hailbop is not only noticeable, it will bowl you over. | ||
| First time caller line, you're on the air. | ||
|
unidentified
|
Hi. | |
| Hi, Art. | ||
| Hello. | ||
| Yeah, Gary from Central California. | ||
| I think once we get you truckers started, we can't get you stopped. | ||
|
unidentified
|
Pardon me? | |
| Nothing. | ||
| Go ahead, sir. | ||
|
unidentified
|
Yeah, I was just to say, I've been watching your program for a couple years now, and I'm going down I-5 here with Hailbob on my left shoulder here. | |
| Oh, really? | ||
| Oh, yeah. | ||
| Right out the window. | ||
| Isn't it pretty? | ||
|
unidentified
|
Oh, yeah. | |
| I've been watching it for better than a week now. | ||
| And I got my telescope set up out on the deck of the house. | ||
| I can look right out there and watch it. | ||
| Well, I found that a pair of binoculars or a lower magnification monocular is better than a telescope, actually. | ||
|
unidentified
|
Well, yeah, I do have a pair of binoculars. | |
| They're not too powerful. | ||
| I do. | ||
| They give a better view of vision, I agree. | ||
| And I'm a trucker, you can tell. | ||
| I don't listen to a lot of music when I do is country music, but I listen to you probably 95% of the time at night. | ||
| Well, I appreciate the call and I appreciate the support. | ||
| There's another trucker. | ||
| That's what I've been telling people for years and years. | ||
| And it be true. | ||
| Wildcard Line, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Hi. | |
| Good morning to you. | ||
| Good morning. | ||
| You're one busy pilgrim this morning. | ||
| Why don't you clone yourself so you can get all these calls? | ||
| Oh, I don't want to be a clone. | ||
|
unidentified
|
You don't want to get cloned. | |
| Well, I wouldn't be a clone. | ||
| I'd be cloned, wouldn't I? | ||
|
unidentified
|
You want to be the original. | |
| Yeah. | ||
| Yeah, I have something to say about earthquakes. | ||
| I feel that there's going to be one within the next month with all the rain that we had in California and the way the animals have been acting recently. | ||
| You know, they act kind of weird. | ||
| Well, we're clearly in a window. | ||
| I guess you heard the news there was a seven-point earthquake hours ago in the Philippines. | ||
|
unidentified
|
Oh, there was? | |
| Yes, ma'am. | ||
|
unidentified
|
No, I didn't know anything about it. | |
| Well, then now, no, it's seven-point plus. | ||
|
unidentified
|
Wow, my cat's been acting up all day. | |
| Really weird, doing unusual things. | ||
| Right. | ||
|
unidentified
|
Somersaults and what have you. | |
| Well, I'm not sure that's totally unusual for a cat, but I understand, yes. | ||
|
unidentified
|
Well, you know, and my dogs have too. | |
| They've been doing things that normal dogs don't do. | ||
| You know, normally when animals get out of whack that way, that means that they're feeling things that we normally don't feel. | ||
| I believe that the Japanese were the ones that came up with this theory about animals sensing a lot more than human beings. | ||
| Right. | ||
| I was wondering about your wife, Ramona. | ||
| Why don't you ever put her on your show? | ||
| I have. | ||
|
unidentified
|
You have? | |
| Yes, two or three times. | ||
|
unidentified
|
Why don't you put her on your show to help you with all the calls and to add feedback to your show? | |
| Well, it'll be very interesting. | ||
| You mean kind of like Robin Quivers? | ||
|
unidentified
|
No, not like that. | |
| You know, she'd probably be pretty interesting on your show. | ||
| You know, I will do that one night. | ||
|
unidentified
|
All right? | |
| There's one other thing I have to ask. | ||
| Your trips to Mazaquan, are they always during the summer or during the winter? | ||
| Or do you do this? | ||
| Mazalan, I usually go down there once during the winter. | ||
|
unidentified
|
Do you rent cars down there? | |
| No. | ||
| Do you take trips around the area? | ||
| Absolutely not. | ||
| Because I've been down there and the word is do not drive down there. | ||
|
unidentified
|
Do you not drive? | |
| No, no, no. | ||
|
unidentified
|
No, I mean, just in the little local area, you know, when you go down there to just relax. | |
| We take taxis, we rent vehicles, and have drivers take us. | ||
| Because if you get into an accident in Mexico, bad news. | ||
|
unidentified
|
I've driven down there. | |
| Well, from California all the way to Masa Blan. | ||
| Yeah, you can do it. | ||
| But I wouldn't do it. | ||
|
unidentified
|
Let me ask you another question. | |
| Sure. | ||
| What nationality is Ramona? | ||
| She is Filipino. | ||
| Puerto Rican. | ||
|
unidentified
|
Okay. | |
| Chinese. | ||
| Hawaiian. | ||
|
unidentified
|
Oh, my goodness. | |
| And French. | ||
|
unidentified
|
Wait a minute. | |
| And French Indian. | ||
|
unidentified
|
That's beautiful. | |
| That's quite a mixture. | ||
|
unidentified
|
Now, can I tell you what I think you are? | |
| What do you think I am? | ||
| Are you Hawaiian? | ||
| No. | ||
|
unidentified
|
You don't have any Hawaiian at all? | |
| I do not. | ||
|
unidentified
|
You sound Hawaiian to me. | |
| Have you been in Hawaii? | ||
| I lived on Maui for a while. | ||
|
unidentified
|
Maui is beautiful. | |
| Oh, yes. | ||
|
unidentified
|
That is a beautiful place to be. | |
| But I am not. | ||
| That doesn't qualify me. | ||
| Believe me, I'm Holly. | ||
|
unidentified
|
Oh, why did you bring your wife to the desert? | |
| She's got allergies or asthma, doesn't she? | ||
| The very dry air of the desert is good for her. | ||
|
unidentified
|
Oh, you know what I've heard? | |
| That the ocean air is a lot better for you. | ||
| No, whenever she goes toward the ocean, she gets attacks. | ||
| So in her case, dry air is better. | ||
| And she loves it here, as do I. I see. | ||
|
unidentified
|
Well, I have a son that has quite a few allergies. | |
| Listen, I'm at the bottom of the hour and I've got a scoot. | ||
|
unidentified
|
Tell her to drink coffee. | |
| Oh, I know. | ||
| Thank you, dear. | ||
| All right, take care. | ||
| We'll be right back. | ||
| This is CBC. | ||
|
unidentified
|
CBC. | |
| You know, it will last a long, long time. | ||
| You'll have a good time, baby. | ||
| Don't you worry. | ||
| And we're still playing around for that best time. | ||
| Let's get it right. | ||
| We can't be hiding. | ||
| No, no, no. | ||
| I'm about to do the world, but I think I like it. | ||
| Call Art Bell toll-free. | ||
| West of the Rockies at 1-800-618-8255. | ||
| 1-800-618-8255. | ||
| East of the Rockies at 1-800-825-5033. | ||
| 1-800-825-5033. | ||
| This is the CBC Radio Network. | ||
| I go inside, and I just can't hide. | ||
| No, no, no, no. | ||
| I know, I know, I know, I know, I know. | ||
| This one's for you, Don D. What I wouldn't do to be able to play the piano like that. | ||
|
unidentified
|
Good heavens. | |
| Boiner sisters, it never fails. | ||
| They get my blood going. | ||
| And actually, it makes it hard to get to sleep later, you know? | ||
| You gotta see them on stage. | ||
|
unidentified
|
All daughters of a preacher man. | |
| Absolutely unbelievable. | ||
| I want to meet the Pointer sisters. | ||
| That's one of my goals in life. | ||
| Anyway, back to the lines. | ||
| We go open lines. | ||
| Anything you want to talk about, spare a game, anything at all. | ||
| That's the whole purpose of Open Line Unscreen Talk Radio. | ||
| You never know what's coming next. | ||
| On the international line, you're on the air. | ||
| Top of the morning to you. | ||
| Top of the morning to you, Art, from about 1,200 miles north of the South Pole. | ||
| Oh, my. | ||
| Mark in Melbourne, Australia. | ||
| Hi, Mark. | ||
| How you doing, mate? | ||
| I'm doing just fine. | ||
| What are you? | ||
| Let's see. | ||
| It ought to be, what, afternoon there or something? | ||
| No, mate, it's about 10.35 on Wednesday evening. | ||
| Wednesday evening. | ||
|
unidentified
|
We're about to roll up to Thursday. | |
| You guys, go ahead and enjoy your Wednesday because it's going to be a rip-a. | ||
| Listen, I understand there was a 7-point-plus earthquake near the Philippines some hours ago. | ||
|
unidentified
|
That's right. | |
| We registered it here and also for the past four days. | ||
| Give you a little news info from this side of the planet. | ||
| There's been a class two, what you would call a hurricane. | ||
| We call it a cyclone down here, setting off about 700 miles east of the top end area, which is Queensland in Northern Territory. | ||
| It's been causing a lot of heavy swells, doing a lot of erosion, and hasn't decided whether it's going to pick up speed and move away or come on in, but they've been experiencing a lot of rain and stuff like that. | ||
| So listen, I am curious about something. | ||
| Here in America, in North America, we've been having certainly odd, inexplicable weather. | ||
| And I wonder if you have noticed unusual weather patterns on your side of the world. | ||
| Absolutely. | ||
| This summer in the southern third of the bottom third of The country, which would be from your friend Stan's area around Perth, straight across over towards Sydney, which would include Adelaide and Melbourne. | ||
| We've had really hot, hot, hot spells of, of course, we're in Celsius, so I'll change this for you, but there have been days when there's been four or five days that reached 39, 40, 41, 42, which is 39 Celsius is just a little over 100 Fahrenheit. | ||
| So it's just been extremely hot ongoing here throughout the summer. | ||
| And, you know, there's been really freaky things weather-wise going on down here as well. | ||
| Well, join the crowd. | ||
| I think it's worldwide. | ||
| How do you manage to hear us? | ||
| I take it you listen on the internet. | ||
| I listen on the internet. | ||
| When I was doing some work for a company up in Hawaii, I picked you up off of the Honolulu station. | ||
| Got totally addicted. | ||
| And since then, I've just been plugging in every day, actually, to listen to you. | ||
| Or if I have to miss it, I pull it down off the Internet archives. | ||
| I only wish, and this is for the wonderful people at AudioNet, please put the Art Bell Show on a 28-8 stream feed instead of a 14-4 because sometimes it gets a little echoey, uckoey, uckoey down here. | ||
| I know. | ||
| Well, I'm sure they're listening in Dallas. | ||
| They're good people. | ||
| They're very good people, and they do a lot of work. | ||
| They do great work. | ||
| I really appreciate what we've got because, you know, it's about the only way that you get any really different types of news and stuff that's really going on around the world because there's only a couple of folks that own the big news medias down here, newspapers, radios, televisions, and stuff like that. | ||
| News Limited is one of them with Murdoch. | ||
| And it's pretty limited as far as global scope. | ||
| Well, listen, my friend, I'm going to move on and wish you good day. | ||
| It is, I believe. | ||
| Yes, good eye. | ||
| Good day. | ||
| All right. | ||
| Take care. | ||
| And good eye to Mona as well. | ||
| And you guys, keep up the good work. | ||
| Thank you, David. | ||
| Take care. | ||
| Very nice. | ||
| First time caller line, you're on the air. | ||
| Good morning. | ||
|
unidentified
|
How you doing, Art? | |
| This is Mike in Billings, Montana, listening to you on 910 KBLG. | ||
| Hi, Mike. | ||
| Hey, just curious. | ||
|
unidentified
|
I'm going to be heading down towards Salt Lake here to watch the Wildcats play in the NCAA tournament. | |
| And I was wondering what station are you on down in the Salt Lake area? | ||
| UNS. | ||
| Let's see. | ||
| Utah. | ||
| And I will tell you in about one second. | ||
| How about KTKK 630 on the dial in Salt Lake City? | ||
|
unidentified
|
All right. | |
| Sounds good. | ||
| All right. | ||
| Keep up the good work, Arthur. | ||
| Thank you. | ||
| Take care. | ||
| 630. | ||
| West of the Rockies, you're on the air. | ||
|
unidentified
|
Hi. | |
| Hi, I just wondered if you ever realized that, or has anybody ever realized that all the predictions all these people make, the scientists and everything, the poll shifting, all that, it's being generated through the media and it's building in everybody's head. | ||
| And reality is being created right before everybody's eyes, and it's the blind truth that nobody knows. | ||
| You know what? | ||
| I've wondered about the same thing myself, sir. | ||
| In other words, are we, in effect, creating our own reality? | ||
| Are we creating it? | ||
| Are we observing it? | ||
| Or are we, in effect, creating it? | ||
| That is a topic unto itself, and we'll spend a lot of time on that one night. | ||
| I'm not sure myself. | ||
| I don't have all those answers. | ||
| First time caller line, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Hey, Art, this is the trucker calling you again. | |
| How are you doing? | ||
|
unidentified
|
You got us started. | |
| I'm calling from Running Rebel Country here. | ||
| Just passing Blue Diamond and headed to your house to get some breakfast there. | ||
| Oh, you're coming over the hill. | ||
|
unidentified
|
Yeah, I'm coming over the hill here. | |
| I'd just like to say that trucker station there just primarily used for like bad weather and road conditions, which you won't get over other channels. | ||
| You know, you couldn't tell me what's going on in Canton, Ohio, up there in Washington as far as weather and road conditions. | ||
| So I think that's the only time a trucker really uses the trucking channels there, right? | ||
| I would say it's probably raining. | ||
|
unidentified
|
Okay. | |
| I love your show. | ||
| I've been listening to you for a while there. | ||
| And you can hear this work going on. | ||
| We've been in this runway here by the airport there. | ||
| But I just do a good job there. | ||
| And to all the truckers out there, y'all have a good time. | ||
| All right, let me hear your horn. | ||
|
unidentified
|
One time. | |
| Holy mackerel. | ||
| All right, thank you. | ||
|
unidentified
|
See you later. | |
| See you later. | ||
| Oh, that was a beautiful, wasn't it? | ||
| On our international line here on the air. | ||
| Hello. | ||
|
unidentified
|
Hi, Art. | |
| Yes. | ||
| Rob from Evanson, Alberta, Canada, calling you air. | ||
| Yes, hi. | ||
|
unidentified
|
So I'm up on your site there, and I'm checking out your cat page. | |
| Oh, pretty cool, huh? | ||
|
unidentified
|
It is. | |
| I figured I'd look at the ones that have clever names and have a look at them. | ||
| My favorite, listen, the one you've got to look at is the 50-foot cat. | ||
|
unidentified
|
Oh, I never saw that one. | |
| Oh, yeah, you've got to look at the 50-foot cat. | ||
|
unidentified
|
Okay, I'll do that. | |
| But anyway, I'd go through the first five or six, and I'm skipping every other one, just look at the ones with the clever names, and everyone's good. | ||
| And then I went back to the first ten, and they're all great. | ||
| It's amazing. | ||
| Give any thought to the year 1999. | ||
| Everything is going to be brown. | ||
| There's going to be no greens. | ||
| It's all going to be brown. | ||
| Browns and grays. | ||
| Well, it sounds like you've been listening to major names. | ||
|
unidentified
|
It is. | |
| But I mean, has that sunk in? | ||
| It's all going to be browns and grays. | ||
| Browns and grey. | ||
|
unidentified
|
That's depressing. | |
| I've got you. | ||
|
unidentified
|
You said the other day that someone asked you if you were going to buy the tapes, but I didn't hear your answer. | |
| The answer is I'm thinking about it. | ||
| I don't know if I want to remote view. | ||
| I probably wouldn't even have to buy them. | ||
| I'm sure Ed would send them if I asked. | ||
| I'm thinking about it. | ||
| That's my answer. | ||
|
unidentified
|
I mean, you can immediately prove to your best friend who says it's not true. | |
| My buddy Dirk, he says that it's not true. | ||
| There's no way it's just a gimmick. | ||
| And I'm thinking, well, I'll get the tape for $250, you know, $350 Canadian, whatever exchange is. | ||
| That's right. | ||
| You guys have to pay a lot of extra money for tax, huh? | ||
|
unidentified
|
It's just the exchange, not the tax. | |
| Oh, yeah, there is a tax. | ||
| There is, too. | ||
|
unidentified
|
Okay, there might be, but mostly just exchange. | |
| I mean, my understanding is that when you order something, they actually come to your door and they collect that right when you get the item. | ||
|
unidentified
|
Really? | |
| Yeah. | ||
| Well, I wouldn't exactly say that. | ||
| When it comes from the states. | ||
|
unidentified
|
No, I don't think so. | |
| No, they don't come to your door. | ||
| No, I've done it. | ||
| They don't come to your door. | ||
| Well, then how do they get their money? | ||
|
unidentified
|
I don't know. | |
| Actually, I never thought about it. | ||
| No, I just give exchange on my credit card when I order the stuff. | ||
| It's that simple. | ||
| I don't know the tax. | ||
| Maybe that's a way around it. | ||
| All right, well, thank you very much. | ||
| Yeah, I don't know. | ||
| Am I going to get the remote viewing tapes? | ||
|
unidentified
|
I don't know. | |
| I don't know if I want to do it. | ||
| Can you understand that? | ||
| I'm interested in it, but I don't know if I want to do it. | ||
| It's kind of like astral travel. | ||
| I'm intrigued by it, but I don't know that I want to do it. | ||
| I might. | ||
| So the honest answer is, I don't know. | ||
| East of the Rockies, you're on the air. | ||
| Hi. | ||
|
unidentified
|
Hey, good morning, Art. | |
| How are you, sir? | ||
| I'm all right. | ||
| I think it's another trucker. | ||
|
unidentified
|
I need to volume the wrong way on the radio for a second. | |
| Yeah. | ||
| It's Dwight in Tennessee. | ||
| Yes, sir. | ||
|
unidentified
|
And I'm also a truck driver. | |
| I can tell. | ||
|
unidentified
|
As you can tell, probably. | |
| And I've called you several times. | ||
| But I'm also a ham operator. | ||
| No CB in the truck. | ||
| I don't care anything about that. | ||
| Well, look, you know, a lot of hams put down CB. | ||
| I'm not necessarily one of them. | ||
| When you're out on the road, CB is pretty handy. | ||
|
unidentified
|
Well, yeah, it can be. | |
| But I have a local route, so I'm never too far from the house. | ||
| Oh, I see. | ||
|
unidentified
|
I've got several guys I talk to on two meters. | |
| There you go. | ||
|
unidentified
|
I really don't need it. | |
| That makes sense. | ||
|
unidentified
|
And, of course, the cell phone here I'm talking to you on and all that. | |
| But don't listen to, what's his name? | ||
| Is his name Dave Nemo or whatever his name is? | ||
| I don't know. | ||
|
unidentified
|
Truckers. | |
| Networks or whatever. | ||
|
unidentified
|
Yeah. | |
| I don't listen to any of that. | ||
| Actually, I think there are several truckers networks. | ||
|
unidentified
|
Oh, yeah. | |
| And it's kind of like they think if they put it up and they play country music and they say, we are a truckers network, automatically it's going to bring the truckers. | ||
| And I don't think it works that way. | ||
|
unidentified
|
No, not necessarily. | |
| I want to ask you one question about somebody that you may have talked to on ham radio without giving his call sign. | ||
| Okay. | ||
| His name is Doug. | ||
| He travels the country picking up wrecked airplanes. | ||
| You may have talked to him on 160. | ||
| I certainly have. | ||
|
unidentified
|
Okay. | |
| Doug is a fine gentleman. | ||
| You ought to meet him sometime. | ||
| I know him personally. | ||
| Yes, sir. | ||
| I've talked to him on 160 meters. | ||
| I just got on 160 about four months ago. | ||
|
unidentified
|
Yeah. | |
| And I've talked to him several times and his wife. | ||
| Oh, yes. | ||
|
unidentified
|
Her name is... | |
| No, no, no. | ||
|
unidentified
|
It escapes me. | |
| Okay, good. | ||
|
unidentified
|
I don't think of her name right now. | |
| But anyway, she's in Oregon. | ||
| And he lives in Oregon also. | ||
| That's right. | ||
| No, I know them. | ||
|
unidentified
|
And Doug's the fine gentleman. | |
| You ought to try to meet him sometime. | ||
| Well, I'm sure it can be arranged. | ||
|
unidentified
|
Oh, yeah. | |
| He comes to Tennessee quite often. | ||
| And we have dinner every once in a while. | ||
| What have you? | ||
| So... | ||
| You do, huh? | ||
| Well, give me a blast on your horn. | ||
| It's trucker's night. | ||
|
unidentified
|
I can do that. | |
| You roll the one to them. | ||
| Yeah, but... | ||
| All right. | ||
| Thank you very much. | ||
| There you go. | ||
| West of the Rockies, you're on the air. | ||
|
unidentified
|
Hi. | |
| Arco. | ||
| Yes, sir. | ||
|
unidentified
|
I'm Aussie. | |
| This is Brian. | ||
| And I'm listening to Casey Casey and San Bernardino Riverside. | ||
| Yes, sir. | ||
| I think those are cool calls. | ||
| I always like Casey Casey. | ||
|
unidentified
|
Yeah. | |
| They're not broadcasting you on the weekends anymore. | ||
| And there's a big uproar out here about it. | ||
| And I'm getting nervous. | ||
| Oh, boy. | ||
| Hey, the comet just cleared the mountains up here. | ||
| And it's a real pretty sight. | ||
| A little bit hazy, though. | ||
| Coming over the hill. | ||
| Well, it will clear as it gets higher. | ||
|
unidentified
|
Yeah. | |
| When is it due to come up in the west? | ||
| Well, it already is, actually. | ||
| I understand that a lot of people have seen it in the early evening. | ||
| But it's very low. | ||
|
unidentified
|
Okay. | |
| About the radio station. | ||
| How can I, you know, ask the program directors to keep you on on the weekend? | ||
| Well, what you do is you call up and you politely request it. | ||
|
unidentified
|
Okay. | |
| And radio stations are responsive to people who call them and act nicely and just make a nice request. | ||
| And usually what you want to try to do is get through to the program director or the manager. | ||
|
unidentified
|
Okay. | |
| And just ask nicely. | ||
|
unidentified
|
All right. | |
| Thank you very much, Art. | ||
| Thank you, sir. | ||
| Take care. | ||
| Wild card line. | ||
| You're on the air. | ||
|
unidentified
|
Hi. | |
| Whoa. | ||
| After a month. | ||
| Hey, I've been researching Art Albie, let's think. | ||
| Yes, sir. | ||
|
unidentified
|
For about a month. | |
| And I found that von Neumann algebras exist and there's books on it. | ||
| All right. | ||
|
unidentified
|
Hilbert Space exists. | |
| It's a big deal in mathematics. | ||
| And Norman Levinson wrote a book, well, a couple of books. | ||
| He was a mathematician from MIT. | ||
| I also found out that a lot of... | ||
| what Tesla was doing it still isn't understood all this stuff about a radiant type of energy that really isn't anything like Hurricane waves no I know and and a lot of what Dr. Bell said earlier rang right down that alley yeah it was I missed it I was sleeping unfortunately the question I have for you right now is have you heard anything from Madman | ||
| or are you going to have Al Beelik on? | ||
| I am desperately trying to get hold of Madman and I would have Al Beelak on again if I could find him. | ||
|
unidentified
|
Oh. | |
| One of those things. | ||
| One of those things. | ||
|
unidentified
|
Well anyway, I'm really intrigued by whether or not that stuff is true and I wish More people could what I think, sir, is that if it's not all true, and it probably isn't, that something did occur. | |
| There was a Philadelphia experiment, something happened. | ||
| Yeah, I'm convinced. | ||
| Thank you very much for the call, and we'll be right back. | ||
|
unidentified
|
Thank you. | |
| Thank you. | ||
| you East of the Rockies, you're on the air, huh? | ||
| Hey, are yes? | ||
|
unidentified
|
Yes, I might ask you a question or two about your guest tonight, about the time traveler. | |
| What's his name, Mr. Bell? | ||
| Dr. Fred Bell. | ||
|
unidentified
|
Dr. Fred Bell. | |
| I tuned in at the top of the hour on your second hour. | ||
| I didn't catch the first hour. | ||
| Did he say could he control the year, the date, the time he could go into the future or the past? | ||
| Not at all. | ||
| Not at all. | ||
| Number one, he was unable to go into the past, and he was only able to go very briefly into the future, he thought, milliseconds into the future. | ||
|
unidentified
|
I heard him say that. | |
| And when he got far enough into the future, there was nothing but blackness. | ||
|
unidentified
|
But you don't remember the guest you had on in January, Steve Gibbs? | |
| Yes. | ||
| You remember he said you could specify putting in a date and I remember, yes, of course. | ||
| Have you had a lot of scientists throughout the United States calling you up saying they had bought one of those machines and done a thorough test and physicist? | ||
| Not yet. | ||
| We are all awaiting the first delivery of the machines and people's reaction. | ||
|
unidentified
|
Well, I know it's been since January, and I thought maybe a physicist at one of the colleges had took a thorough analysis and done a lot of diagnostic tests to see if this thing is really up to what he claims it is. | |
| And I got a suggestion. | ||
| How about Mr. Bell and Steve Gibbs being on the show together and comparing notes? | ||
| What do you think of that idea? | ||
| Well, maybe we'll have a sort of a, and then we could get Madman Markham, get all our time people. | ||
|
unidentified
|
Yeah, that would be interesting. | |
| There you are. | ||
|
unidentified
|
But let me tell you one thing. | |
| I'll give you my opinion about Mr. Bell. | ||
| I think he's more convincing than Steve Gibbs. | ||
| Do you agree or disagree with me? | ||
| I am still considering Dr. Bell. | ||
| I thought he was fascinating. | ||
| And so I'm sorry, I can't be, you know, I'm thinking it over, so I can't be pinned down more than that right now. | ||
| But I will render up to you my opinion. | ||
| I am very thoughtful about Dr. Bell, and I do not dismiss him easily. | ||
| And we may have him back. | ||
| You know, it's one of those things that you listen and you digest and you try and decide, not easily. | ||
| West of the Rockies, you're on the air. | ||
|
unidentified
|
Hi. | |
| This is the Italian stallion. | ||
| Yes, sir? | ||
|
unidentified
|
I just want to compliment you on that rerun show, John Sayjack. | |
| He was right on with a lot of stuff. | ||
| but i think a really interesting show would be on in fact because in fact will be here when we uh... | ||
| all by and they'll be here a long after the world is come to an end they tell us when Just thinking about that is a good reason to step on a couple today. | ||
| First time caller line, you're on the air. | ||
| Hello. | ||
|
unidentified
|
Hey, Art. | |
| How are you doing? | ||
| Okay. | ||
| Hey, great. | ||
| Yeah, you know, not only are you talking to a tricker, but ex-radio DJ and someone who's wearing Dr. Fred Bell's Pleiadian necklace. | ||
| All right. | ||
| If you want to know what results that is, I really haven't had any effect with that necklace. | ||
| Well, yes, I have. | ||
| I guess for a 34-year-old, everybody says I look like I'm in my mid-20s. | ||
| So maybe it is rejuvenating my DNA. | ||
| The necklace, O Youth. | ||
| All right, listen, my program is over, so you're getting the honors. | ||
| You know what they are? | ||
|
unidentified
|
Oh, yes, indeed. | |
| From Austin, Texas, all the way to Perup, Nevada, and Mel Hole and the Galactic Federation out in space. | ||
| Good night, universe. | ||
| Ha ha ha ha. | ||
| From the high desert. |
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