Sept. 23, 1997 - Art Bell
02:41:41
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| Speaker | Time | Text |
|---|---|---|
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unidentified
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Welcome to Art Bell Somewhere in Time, tonight featuring Coast to Coast AM from September 23rd, 1997. | |
| From the high desert and the great American Southwest, I bid you all good evening or good morning as the case may be across all these many prolific time zones. | ||
| From the Tahitian and Hawaiian Islands in the west, eastward to the Caribbean, and the U.S. Virgin Islands, south into South America, north to the Pole, and worldwide on the internet, this is Coast to Coast AM, and I'm Mark Bell. | ||
| Now, we have David Jono scheduled for tonight, but Houston, we may have a problem. | ||
| We've got some hum on the line. | ||
| David is in, of all places, Alaska. | ||
| And we may have some difficulty with audio. | ||
| We're going to find out in a moment here. | ||
| David, I'm sure, is working feverishly to try to take care of it, but we've got hum coming from someplace. | ||
| So we'll see. | ||
| Anyway, scheduled is David John Oates. | ||
| Broken is the rogue market. | ||
| That's right, it's broken. | ||
| They've got it down for maintenance. | ||
| I have a feeling we got them last night, so we'll kind of monitor that situation. | ||
| When the rogue market gets up, I'll let you know. | ||
| We've got a really, really spiffy ghost picture for you up there. | ||
| In fact, a lot of new items on the website, as well, of course, as the Egyptian pictures from last night with Boris Said. | ||
| They remain up there. | ||
| And you're welcome to go take a look. | ||
| If you didn't get a chance last night, the website began to go into breakdown as so many people hit it. | ||
| so in a moment we'll try it with david john oates and see what happens All right, let me give you the lineup for the remainder of the week. | ||
| Tonight, audio allowing from Alaska. | ||
| David John Oates and Reverse Speech. | ||
| Tell you more about that in a moment. | ||
| Tomorrow night, Professor Michio Kaku, Professor of Theoretical Physics at New York University. | ||
| Then Thursday night, it'll be Guy Finley, who will be here talking about, well, the quickening and where the real problem may lie. | ||
| Friday, Bob Lazar, who has not done an interview in a long time and will not be doing one after this, along with Gene Huff. | ||
| And you're not going to want to miss that, Bob. | ||
| A physicist who worked at Area 51 back engineering saucer craft. | ||
| He's hard to get on the air, rare to interview, and that is a program you're surely not going to want to miss. | ||
| And then next week, I am off to all over the place. | ||
| To Greece, to the Greek islands, to Egypt and the pyramids, to Israel, to we're just going to be all over the place. | ||
| And so I'll be gone as of Monday, and we will have the best of on for you, and we've got quite a lineup, quite a stellar lineup, believe me. | ||
| All right, let us try to go to Alaska now and say, hello, David. | ||
| Hi, Art. | ||
|
unidentified
|
How are you? | |
| You're all distorted on me, David. | ||
| Oh, man. | ||
| Well, turn it down a little bit. | ||
| Okay, we'll give it a shot here. | ||
| We have some very strange things going on with not just my audio, but also in the house itself. | ||
| We've got lights doing strange things. | ||
| I'm right out in the middle of the woods here in Alaska. | ||
| What are you doing in Alaska, by the way? | ||
| Well, several things, really. | ||
| I've got some clients up here, and I've come up here for business, doing some lectures and things and clients. | ||
| But just to take a break, I've been working pretty well flat out all year, and it was time to get away for a week, so I had the opportunity to come. | ||
| So I hopped on the plane and came straight up here. | ||
| Well, good. | ||
| I was at Anchorage just a few weeks ago, and the weather was beginning to cool. | ||
| You could sense that autumn was in the air. | ||
| Has autumn arrived? | ||
| It's probably, I've been told this is probably the best week of the year to be here. | ||
| The leaves are all yellow and they're falling off and it just looks really, really gorgeous from where I am. | ||
| So I'm just covered with autumn-filled trees. | ||
| It looks fantastic. | ||
| And it's cold, of course, but that's Alaska. | ||
| And we're going to go and see the glacier tomorrow and have a look around a bit. | ||
| And then I'm back on Friday to a busy work schedule. | ||
| So that's what I'm doing. | ||
| And how's the hum problem now? | ||
| Well, it's there. | ||
| We will see how it does when we try some reversals. | ||
| Right. | ||
| Now, David, as you might be able to discern by his accent if you've never heard him, is Australian. | ||
| David had many years ago a speech impediment problem, which you still can detect in his voice from time to time. | ||
| Though when he gets rolling here, it kind of disappears. | ||
| Hey, you know, David, a lot of people with speech problems, stuttering problems, when they sing, they never stutter. | ||
| How come? | ||
| Well, that's a very good question. | ||
| I really don't know. | ||
| It's certainly one of the things about stuttering that is well known. | ||
| When you sing, you don't stutter. | ||
| I have no idea why. | ||
| Unless, you know, part of my theory about stuttering is that there's a misfire between the left and the right brain hemispheres somewhere. | ||
| And when you're singing, you're completely accessing the right brain. | ||
| Okay, I've got an idea. | ||
| Let's try some experiments. | ||
| You're on a headphone setup now? | ||
| Correct. | ||
| Can you get out of the headphone setup and just pick up the telephone? | ||
| Oh, sure. | ||
| I've disconnected the telephone. | ||
|
unidentified
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I'll be up. | |
| You can just give me dead air for about two seconds. | ||
| That's right. | ||
| We'll see if that makes any difference. | ||
| Okay, and now I'm on the phone. | ||
| All the hum's gone. | ||
| Right. | ||
| Well, it's coming into my system somehow. | ||
| It could be the phone lines up here. | ||
| It could be the power. | ||
| I'm using exactly the same equipment I used back home. | ||
| I brought it all up with me. | ||
| And I remember when I first set up at home, I had the hum problem, too. | ||
| It was just a matter of rewiring and re-wrapping. | ||
| Okay, well, it's all gone. | ||
| It's all gone. | ||
| Well, at least we can talk. | ||
| But you cannot play reversals. | ||
| No, I cannot play reversals without going through my system itself. | ||
| And we can chat a bit and then go back online and play them. | ||
| I think you'll find that once the reversals are being played, it will drown out the hum, I would hope. | ||
| We'll see what happens. | ||
| I mean, I've got some great reversals on the Area 51s. | ||
| Oh, I know you do. | ||
| I know you do. | ||
| Actually, no, there's even a little bit of hum on the phone here. | ||
| Oh, really? | ||
| Isn't that odd? | ||
| It may be your electrical system up there. | ||
|
unidentified
|
Right. | |
| That may be it. | ||
| Well, I guess we can only but try. | ||
| Let's see how it works. | ||
| Now, we have lots of areas we could begin. | ||
| We've got Mark Furman. | ||
| We've got Brother Muhammad. | ||
| We've got, apparently, the Queen on Princess Die. | ||
| Yeah, I've got a real pot pour tonight, a whole bunch of stuff. | ||
| These are all requests I had. | ||
| I've probably had more requests for the Area 51 reversals than I've had ever. | ||
| And then the Queen Elizabeth was next down on the list. | ||
| And so I've got her. | ||
| I've got some great reversals on Mike Tyson when he apologised after biting the man's ear to show where he's really coming from. | ||
| And that's very exciting. | ||
| I've also got a live test I want to do on the air as well where that actually it's a multiple choice question of five or six reversals and one of the criticisms thrown at reverse speech is that we're only hearing these reversals because you are suggesting that we hear them. | ||
| So I want to do this test live on the air and give some people three choices and they can write to me or email or phone and let us know what the results are and next time I'm on we'll come back with the results and see what happens. | ||
| And also tonight if we can get some audio through is I want to just play some of my reversals slightly differently. | ||
| I want to play the reversals and then actually run the whole track backwards which I've never done before on the air and you'll actually hear the reversals embedded amongst the backwards run tapes just to hear how it actually occurs in. | ||
| All right, why don't we see if we're in business here? | ||
| Why don't we go to a couple of test reversals and see if it's going to work. | ||
| All right, let me go back to my patch. | ||
| Just hang on one second. | ||
| All right. | ||
| Off the phone and back to the patch and back to a little bit of hum, I suspect. | ||
| Quite a bit of hum. | ||
| Is there really? | ||
|
unidentified
|
Yeah. | |
| Well, let me run a reversal of Mike Tyson. | ||
| Okay, sure. | ||
| Go right ahead. | ||
| See how we can hear this. | ||
|
unidentified
|
Other than to say when the budget occurs and I thought I might lose because of a severe cut above my eye, I just snapped. | |
| Did we hear that one okay? | ||
| That came through fine, yeah. | ||
| Okay, and we got a reversal on this, quite an amusing one. | ||
| Here I am, rubber duck. | ||
|
unidentified
|
Here I am, rubber duck. | |
| Here I am, rubber drive, rubber duck. | ||
| Yeah. | ||
| Do it once more. | ||
| Did you hear that? | ||
| I did, but what is that supposed to mean? | ||
| That must be metaphoric. | ||
| Well, I've never heard rubber duck in reverse before, and what he says straight after that is nearly cry. | ||
| And he's got this, I'm assuming this is a real childish-like nature. | ||
| He's really taken this very hard, and it struck me as just being so amusing I wanted to play it. | ||
| It's a metaphoric reversal of a childlike nature. | ||
| Let me run it once more. | ||
|
unidentified
|
Here I am, rubber duck. | |
| Yeah, here I am, rubber duck. | ||
| I mean, it's very clear. | ||
| I just don't know what it means. | ||
| And then he says straight after, nearly cry. | ||
|
unidentified
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And it's hate. | |
| Nearly cry. | ||
| Yeah, I mean, it's just, that was the very first two reversals off of him on this apology. | ||
| And the next one we're going to look at is it's really, and we're just going to put up the next file now. | ||
| And he's got several on this whole trend. | ||
| And the next one, we're pulling up. | ||
| My computer's just taking a little while here. | ||
| And this is the next one on the trend. | ||
| And here we go forward. | ||
|
unidentified
|
And I accepted the Nevada State Affairs Commission to hand down a severe penalty. | |
| And I'm here today to say I will not fight it. | ||
| I only ask that it's not a penalty for life. | ||
| And moving on from the rubber duck reversal, he says, yes, I'm not brave. | ||
|
unidentified
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Yes and that, boo. | |
| Yes, and that, we've. | ||
| Yes, and that, we've. | ||
| Yeah, that was very clear. | ||
| Right, and then he says straight after that, "Maybe I'll find the way." Head out on the way. | ||
|
unidentified
|
Head out on the way. | |
| Head out on the way. | ||
| Can you hear that one okay? | ||
| Yes. | ||
| Yeah, okay. | ||
| And what I want to do now is run the whole lot backwards, and you'll hear those two reversals embedded amongst the gibberish. | ||
| Yes, I'm not brave. | ||
| Maybe I'll find the way. | ||
|
unidentified
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All right. | |
| All right. | ||
| Did you hear those? | ||
|
unidentified
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Yes. | |
| Yeah. | ||
| And see, that's how reverse speech occurs. | ||
| You've got these quite short, sharp, incredible, quite short, sharp phrases in reverse that is embedded amongst the backwards runs tape. | ||
| And that's literally how reverse speech works. | ||
| Once every 10 or 15 seconds, you get these very clear and precise reversals mixed in amongst the backwards tape. | ||
| That is, my claim is, a reflection of what the person is thinking and feeling at the time of speaking. | ||
| And let's run just two more on Mike Tyson to see how genuine his apology is. | ||
|
unidentified
|
To those of you who say I should never fight again, I can only say that I'm 31 years old in the prime of my career and I had made mistakes this far because I had no other way. | |
| And he says in reverse, money, get our funds, I shall be rewarded. | ||
|
unidentified
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My name should get out for lunch. | |
| I shall be rewarded. | ||
| All right, well. | ||
|
unidentified
|
Sorry? | |
| I heard that, but not as clearly. | ||
| Right. | ||
| He's got a slight list forwards, and you can actually hear this list in reverse. | ||
| Let me run the forwards again. | ||
|
unidentified
|
To those of you who say I should never fight again, I can only say that I'm 31 years old in the prime of my career, and I had made mistakes this far because I had no other way. | |
| And we'll run the reversal again. | ||
| Money, get out funds, I shall be rewarded. | ||
|
unidentified
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Money, get out for lunch, I shall be rewarded. | |
| And again. | ||
| Can you hear that one again? | ||
| I hear it, but it's not clear. | ||
| Right. | ||
| Okay. | ||
| We've got one more on this trend, and let's see if you can hear this one. | ||
| And we're running the forward. | ||
|
unidentified
|
That was backwards. | |
| Right, I'm running the whole track backwards to hear the reverse from Marks of Gibbish. | ||
| Let's do that. | ||
|
unidentified
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Yeah, we're going to have a good old system. | |
| I'm scared to be in the hand of my mouth. | ||
| Well, you know, we just met out there, you know what I mean? | ||
| My name is good. | ||
| I'm going to get out for a nice little bit of a good one. | ||
| Okay, did you? | ||
| Now, the only word I heard clearly out of that was money. | ||
|
unidentified
|
Huh? | |
| Okay. | ||
| Well, we've got one more in this trend. | ||
|
unidentified
|
Let's do that. | |
| I favor the very clear ones. | ||
| Right, okay. | ||
| Well, we can move on to the Queen and have a look at the Queen's reversals following the death of Princess Di. | ||
| And we will pull this one up. | ||
| And she went public with a press conference straight after, I think about a week after, some interesting reversals on this. | ||
| She was under pressure. | ||
| The royal family was under pressure to show that they cared about Diana. | ||
|
unidentified
|
Correct. | |
| Exactly right. | ||
| We have all been trying in our different ways to cope. | ||
| It is not easy to express the sense of loss, since the initial shock is often succeeded by a mixture of other feelings. | ||
| A very strange reversal to start off with. | ||
| It says, she needs this. | ||
|
unidentified
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She needs this. | |
| She needs this. | ||
| That's very clear. | ||
|
unidentified
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She needs this. | |
| Yeah, I don't know whether the she is the queen. | ||
| The queen has been known to refer to herself in the third person. | ||
|
unidentified
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Sure. | |
| She needs what is the question, and the next reversal gets a bit closer to that. | ||
| In point of fact, the whole trend in the Queen's reversals is that the death of Princess Di has actually been a great service to the Crown. | ||
|
unidentified
|
This week at Darmorall, we have all been trying to help William and Harry come to terms with the devastating loss that they and the rest of us have suffered. | |
| And she says in reverse, the fuss will serve us. | ||
|
unidentified
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The fuss of a service. | |
| The what? | ||
| The fuss will serve us. | ||
| I'm not getting that. | ||
| I'm not getting the word, David. | ||
| Spell it for me. | ||
| Fuss. | ||
| F-U-S-S. | ||
| The fuss will serve us. | ||
| Yeah, the fuss. | ||
| I've got you. | ||
|
unidentified
|
Over the death of Princess. | |
| Sorry? | ||
| Let me hear it again. | ||
|
unidentified
|
A fast reservist. | |
| A fast reservist. | ||
| Yep. | ||
| A fuss with service. | ||
| And we'll look at one more on the Queen. | ||
| And this pretty much sums the trend up. | ||
| A lot of people have suggested to me in emails that there was a murder plot for Princess Dai, and I cannot find any evidence of that in reverse. | ||
| But the whole feel I get from the Queen's reversals is that this is actually very convenient for the Crown because they can use Dai's death to excel the Crown's popularity. | ||
|
unidentified
|
I, for one, believe there are lessons to be drawn from her life and from the extraordinary and moving reaction to her death. | |
| And she says in reverse, sell her, feel it now. | ||
|
unidentified
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Can you hear that one okay? | |
| Yes. | ||
| Sell her, feel it now. | ||
| Oh, that's terrible. | ||
|
unidentified
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Oh, quite, quite terrible. | |
| And when you listen to the forwards, I'll run the forwards again. | ||
| Listen to the forwards, and you'll see how she's really promoting Princess Di. | ||
| And she's trying to literally sell her. | ||
|
unidentified
|
I, for one, believe there are lessons to be drawn from her life and from the extraordinary and moving reaction to her death. | |
| So sincere, huh? | ||
| Extremely sincere to be sarcastic. | ||
| And let me run this whole track back. | ||
| No, no, no. | ||
| Hold on. | ||
| We're at the bottom of the hour, David. | ||
| Oh, really? | ||
| Yeah, that's right. | ||
| We're going to take a break here and we'll be right back. | ||
| This is Coast to Coast AM. | ||
|
unidentified
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You're listening to Arc Bell somewhere in time. | |
| Tonight featuring a replay of Coast to Coast AM from September 23rd, 1997. | ||
| Coast AM from September | ||
| Coast AM from September 23rd, 1997. | ||
| 23rd, 1997. | ||
| Coast AM from September 23rd, 1997. | ||
| You're listening to Arc Bell somewhere in time on Premier Radio Networks. | ||
| Tonight, an encore presentation of Coast to Coast AM from September 23rd, 1997. | ||
| Good morning, everybody. | ||
| David is working on the hum. | ||
| A lot of you don't hear it at all, which is good. | ||
| Kind of depends on the base response of the radio that you have. | ||
| But I'm heartened to hear that, and so I guess we're going to be okay. | ||
| Anyway, the storms are coming. | ||
| Months and months and months and months ago, we talked about the changing weather. | ||
| Now the major media is all over it. | ||
| Satellites are whizzing around, looking at it. | ||
| People are taking ocean temperatures. | ||
| Fish are moving north. | ||
| I could go on and detail what's going on, but one thing is clear. | ||
| The weather is changing. | ||
| Blame it on whatever you want to blame it on. | ||
| Fact of the matter is, there are going to be some big storms rolling our way. | ||
| Did you see what is occurring off the Baja coast? | ||
|
unidentified
|
Yikes. | |
| Thank you. | ||
| Now, back to David Oates in Alaska, Anchorage, Alaska. | ||
| David? | ||
| Hi, sir. | ||
| By the skin of my teeth, we have rushed downstairs. | ||
| I rewired all my equipment, and I can't hear any hum. | ||
| You tell me. | ||
| It's a lot better. | ||
| Right. | ||
| Thank you. | ||
| Much of it better. | ||
|
unidentified
|
All right. | |
| David, give everybody a little idea of what reverse speech is, because there are always new listeners, and they're sitting there saying, what? | ||
| Reverse? | ||
|
unidentified
|
What? | |
| What's this all about? | ||
| Right. | ||
| I totally understand where they're coming from. | ||
| Well, essentially, my theory is that the process of spoken communication is twofold. | ||
| As the human brain is constructing the sounds of speech, it's putting those sounds together in such a way that we're delivering two messages at the same time. | ||
| One is forged from the conscious mind and one is in reverse from the unconscious. | ||
| I maintain this is a natural function of language. | ||
| All of us are receiving the reversals of everyone else every time that we speak. | ||
| It's an unconscious form of communication. | ||
| Now the way we study this is by quite literally recording human speech and running that speech backwards. | ||
| And once every 10 or 15 seconds, embedded amongst the sounds of the backwards gibberish, you can hear these very clear and precise English phrases that my research shows is what the person is thinking and feeling at the time of speaking. | ||
| And this has been a 14-year research project of mine. | ||
| It is all I have done for the last 14 years. | ||
| And I really only went public with this last year for the first time in a major way. | ||
| And I think your program was one of the very first programs I ever went on with this. | ||
| And since that time, we've had quite a few adventures. | ||
| The most significant of which is our house burning down. | ||
| Our home and offices were burnt to the ground six months ago. | ||
| I think by someone who was being very threatened by this technology which literally has the power of accessing the totality of human thought. | ||
| Whatever you are thinking and feeling at the time of speaking is embedded backwards into the sounds of your speech. | ||
| All right, I have a question. | ||
| Yes, sir. | ||
| When you meet somebody, and I think almost everybody has experienced this, you meet somebody and you talk to them for a few minutes and you take an immediate dislike to them. | ||
| Right. | ||
| And you really can't identify exactly why you dislike them, but it's almost immediate. | ||
| It's just a feeling. | ||
| It doesn't come from anything they directly said forward. | ||
| Right. | ||
| But immediately you're on guard and you don't like them. | ||
| Now, I wonder if there is a subliminal communication going on between two people. | ||
| That is most definitely correct. | ||
| My research shows that a lot of our very initial impressions of someone are directed by the reversals that they are delivering. | ||
| I've actually got a classic example of this. | ||
| There was a caller on your Area 51 line last week, or the week before last, the second day you were taking calls. | ||
| And you were quite upset at this man. | ||
| And he was, you'll hear it when I play. | ||
| I can't think which one he was. | ||
| He came on after Steve on the second day and you did not believe he knew anything about Area 51. | ||
| And you got quite upset at this man. | ||
| I remember. | ||
| And he gave two very powerful re-versals in the first couple of minutes of speaking to you that were really quite a direct insult. | ||
| And we will play them and you will actually hear that happen. | ||
| And it's quite interesting to note that your tone of conversation with this man changed very dramatically once he had delivered these two reversals. | ||
|
unidentified
|
Okay. | |
| And we'll look at that after. | ||
| Unless you want to play them right now. | ||
| Oh, no, I thought that's what you were setting up to do. | ||
| Oh, okay. | ||
| Yeah, I can set that up. | ||
| I had a thing, I had a trend I was going to go to here, but no, we can set that one up right now. | ||
| And so I will do that while I'm setting up. | ||
| Let's do that one. | ||
| You've got me interested. | ||
| You did the whole setup, so I might as well go ahead and hear it. | ||
| We will go and do exactly that. | ||
| And while I'm setting this up, I mentioned my house fire recently that we had six months ago. | ||
| Strange Universe has just finished doing an intensive investigation into the whole house fire and they will be airing a special on that tomorrow night on Strange Universe. | ||
| Oh, no kidding. | ||
| Yeah, it's a seven-minute story. | ||
| It's one of the longest stories they have ever done. | ||
| And they interviewed private investigators and fire officials. | ||
| So in other words, we'll get to see the whole story tomorrow night. | ||
| You'll get to see the whole story tomorrow night, including footage of the fire and the house after the fire. | ||
| It's a very dramatic piece. | ||
| So here's this caller, and I'm going to play the first section forwards. | ||
|
unidentified
|
One of the men I answered to was Thomas Moran. | |
| Are you familiar with Thomas Moran? | ||
| And the very first reversal here says, is this man an enemy? | ||
| And I don't know whether that's directed towards you or towards Thomas Moran, but either way, we've got that aggressive type reversal. | ||
| Did you hear that? | ||
| Yeah, is this man an enemy? | ||
| Correct. | ||
| And we'll do it one more time. | ||
| And then the second reversal is even more aggressive than this. | ||
| And as soon as this second reversal is delivered, your whole tone begins to change. | ||
| And we'll run this forward now. | ||
|
unidentified
|
You know all those signs. | |
| And you're aware of all these signs. | ||
|
unidentified
|
You know, deadly force will be used if you go beyond this perimeter. | |
| Yes. | ||
| A very aggressive reversal. | ||
| We all use Nazi love. | ||
| We don't use Nazi love. | ||
|
unidentified
|
We don't use Nazi Wald. | |
| And again. | ||
|
unidentified
|
We don't use Nazi Walder. | |
| We all use Nazi love. | ||
| Nazi love. | ||
| And he's talking forward about the protection and the force that supposedly takes place in this area of 51. | ||
| So I think he's getting into that whole thought pattern. | ||
| And there's a conspiratorial type tone to his voice and the whole way he's speaking. | ||
| And I can certainly see how he would have gotten your backup. | ||
| But is this man an enemy? | ||
| And we all use Nazi love, are two very, two very direct attacking reversals. | ||
| And then your whole tone in the interview shifted fairly dramatically. | ||
| And let me play you the next reversal on you with this is right at the very end. | ||
| And I've got several reversals on you this time. | ||
| You asked me last time, too. | ||
|
unidentified
|
I did. | |
| I said, yeah, go ahead and reverse me. | ||
| Okay. | ||
|
unidentified
|
Which operates a subsidiary in New York called the Council on Foreign Relations. | |
| Oh, here we go. | ||
| There you go. | ||
| Oh, here we go. | ||
| And you obviously meant that, because backwards, you say exactly the same thing. | ||
| Oh, here we go. | ||
| Oh. | ||
| Hear that? | ||
| Yes, I do. | ||
| And let's run that forwards and backwards. | ||
| Oh, here we go. | ||
| And backwards? | ||
| Like you were gone. | ||
| There we go. | ||
| At least I'm congruent. | ||
| You were very congruent in this particular case. | ||
| And in point of fact, most of your reversals were quite congruent. | ||
| I have a couple of questions over some of them, which when we play them, perhaps you can help me solve some of my reverses. | ||
| I'd just love to, if it's me. | ||
| Okay. | ||
| Well, let's get right along with this. | ||
| Before we move on to Area 51, we have a whole bunch of other stuff I want to play, and I want to have a quick look at Bill Clinton. | ||
| And a reversal I found on him the other day that really quite threw me. | ||
| And I'm just going to simply play it and let people draw their own conclusions. | ||
| It was from a press conference at the, he was announcing some changes in tobacco regulations, particularly around teenagers. | ||
| Oh, yes. | ||
| So let's run this forward. | ||
|
unidentified
|
health of our people and especially the health of our children must be paramount in our thinking, in our vision, and in our efforts. | |
| That's why a year ago I worked with the FDA and we launched By complementary, I mean there is this direct contextual relationship. | ||
| And when he talks about the FDA, he says in reverse, they pay for dope. | ||
| And there's my stutter. | ||
| They pay for dope. | ||
| Dope. | ||
| I'm sorry. | ||
| Sorry? | ||
| I'm sorry. | ||
| I keep stepping on it, and I don't mean to. | ||
| So go ahead. | ||
| No, that's right. | ||
| They pay for dope. | ||
| Which really, it's a bizarre reversal to hear on tobacco regulations and teenagers. | ||
| Go ahead and do it again. | ||
|
unidentified
|
Okay. | |
| You hear that? | ||
| Yep. | ||
| And again. | ||
| And then he says another versal straight after that that says, how I agree and I accept this. | ||
| I accept that. | ||
| And that really concerned me quite dramatically. | ||
| They pay for dope. | ||
| They pay for dope. | ||
| And then he goes on and qualifies it by saying, I agree and accept this. | ||
| As I've said many times about reverse speech, some of the reversals I don't understand. | ||
| But if we're to take reverse speech literally, then the question needs to be asked, what are they doing paying for dope? | ||
| I have a question. | ||
| Yes, sir. | ||
| How do you discern between a literal reversal and a metaphoric reversal? | ||
| It's by the terminology that the reversal uses and also by the tonality of the reversals. | ||
| Metaphoric reversals will have an extremely sing-song. | ||
| Well, reversals have a sing-song etheric tone to it anyway, but the metaphors have this very distinct etheric tone. | ||
| And it uses archetypal symbols and mythology, wolf, goddess, Lancelot, Garden of Eden. | ||
| But ultimately, there is still the whole research around what is literal and what is metaphoric is still being researched. | ||
| also they tend to occur in clusters. | ||
| By clusters I mean metaphors will run in three or four metaphoric statements all in a row or literal reversals will also run in a cluster. | ||
| You'll get three or four of them bunched together. | ||
| Typically, I suppose there is no absolute, but typically how much of or how many of the reversals percentage-wise turn out to be metaphoric versus literal? | ||
| Far more than I would wish. | ||
| At least 70 to 80 percent of the reversals are metaphoric in nature. | ||
| And I maintain that is because the unconscious mind thinks and functions in pictures and images or metaphor and the unconscious mind is by far the greatest region of human consciousness. | ||
| Only 5 to 10% of the totality of the psyche exists in the conscious area of the mind and reverse speech is accessing all areas of consciousness. | ||
| So you're getting a vast majority of metaphoric reversals. | ||
| And the whole area of interpretation of reversals is still a science that is being understood and unraveled as we go. | ||
| There's no doubt in my mind and many of the minds of my peers that the phenomenon of reverse speech itself is extremely real. | ||
| I think I validated that beyond any shadow of a doubt as far as I'm concerned. | ||
| Have you done any reversals yet on President Clinton or Vice President Gore regarding the campaign finance scandal? | ||
| No, I have not done any about that. | ||
| I think that's one thing to do, but I haven't done reversals on them yet. | ||
| I've got a reversal on Clinton where he talked about his balanced budget. | ||
| Did I play that on your program when he announced? | ||
| Sure. | ||
| Balanced budget. | ||
| And he indicates that the balanced budget is not real. | ||
| It's a fake. | ||
| Well, to use his own words, see the fake. | ||
| Well, I don't need a reversal to know that, but it would nevertheless be interesting to hear it from his very own reversed mouth. | ||
| Okay, so we're just pulling that one up right now. | ||
| And we've got two reversals here, and here we go. | ||
|
unidentified
|
The budget agreement that we announced today would not be possible had it not been for the tough vote taken in 1993. | |
| And the first reversal here says we had to sign it. | ||
|
unidentified
|
We have to sign it. | |
| We have to sign it. | ||
|
unidentified
|
That's for? | |
| We have to sign the title. | ||
| And that's exactly right. | ||
| They had to sign it. | ||
| Well, they had no choice. | ||
| There was great political pressure. | ||
| And then he continues on. | ||
|
unidentified
|
By investing fully $24 billion, we will be able to provide quality medical care for these children, everything from regular checkups to major surgery. | |
| And then he says, see the fake, look it up. | ||
|
unidentified
|
See the Facebook. | |
| She's the Facebook. | ||
| You hear that one okay? | ||
| Oh, yes. | ||
| Yeah, and you know, look it up. | ||
| All one has to do is go and look at the bill itself to see the fake, to use his own words. | ||
| Is your new house fireproof? | ||
| Oh, boy, what a question. | ||
| We've actually been approached by a couple of builders who are offering to build a fireproof house for us, and I personally think we need to take them up on that, especially once you see the Strange Universe report tomorrow night. | ||
| I live in an extremely risky occupation. | ||
| You do, it's true, you do. | ||
| Yeah, I didn't really take it seriously when I first came out with this. | ||
| I kind of thought a lot of it was just conspiratorial or paranoia mentality. | ||
| And not only have we had the fire, but my office has been broken into several times and we're being followed. | ||
| And it's just extremely bizarre some of the things that have happened to us since we've gone public with this. | ||
| Well, even paranoids occasionally have their homes burned down. | ||
| Yeah, that's true. | ||
| No, it's risky. | ||
| I mean, when you begin to do this to people, to reverse them and expose them, you're not going to be their best friend all the time. | ||
| Well, our world lives, we live in a world of illusions and lies and half-truths and incongruities. | ||
| And I personally think reverse speech is probably the first real technology available to us yet that can go straight to the source of truth. | ||
| And, you know, I don't want to sound like I've got a blase attitude about it, but this is what I do, and this is what reverse speech is, and I'm certainly not going to stop doing it. | ||
| I think it's a tremendous technology, and more and more people are using it all the time. | ||
| We have literally thousands of people out there now with machines and finding reversals, and it's not going to stop. | ||
| In the long term, in my lectures, I use a phrase, I want to start a revolution, and it's a revolution of truth, because we need it so desperately, it's the only thing that will save our planet in the long run. | ||
|
unidentified
|
That's what I'm saying. | |
| You might want to check into what occurred to most of those fine men who signed the Declaration of Independence. | ||
| Right. | ||
| I know exactly what you're going to say. | ||
| And that may be so, but I don't intend to stop. | ||
| I mean, we've talked about this before, you know. | ||
| And if a house fire isn't going to stop me, I don't know what else will at this stage. | ||
| Now, you did, of course, reverse the famous Area 51 caller who knocked my butt off the air. | ||
| Yes. | ||
| Actually dislodged a satellite, if you want to believe that. | ||
| And we'll get to that. | ||
| And Mark Furman. | ||
| I'm most curious, most curious about Mark Furman. | ||
| He has some interesting reversals. | ||
| And Brother Mohammed. | ||
| Did you get many reversals on Brother Mohammed? | ||
| Well, I've got about six I want to play on the air. | ||
| Quite frankly, he was very difficult to find reversals on. | ||
| They were very scattered. | ||
| He spoke in a very monotone voice. | ||
| Yes, he did. | ||
| And you really need a lot of tonal inflections in voices to find the reversals. | ||
| But yeah, I've got some pretty reversals on him that will, I think, show at least where he's coming from. | ||
| You get more from emotion, don't you? | ||
| Oh, most definitely. | ||
| Emotion and casual conversation. | ||
| And the increase is very, very dramatic. | ||
| In the motion, you will get reversals once every two or three seconds. | ||
| But when you get the public prepared script, particularly if someone is reading or they're very monotone or left-brained. | ||
| Then you don't get so many reversals. | ||
| All right, David, hold on. | ||
| We're at the top of the hour. | ||
| You've got a good break here, and we'll be right back. | ||
| David John Oates and reverse speech tonight. | ||
|
unidentified
|
This is Coast to Coast. | |
| You're listening to Art Bell somewhere in Time on Premier Radio Networks. | ||
| Tonight, an encore presentation of Coast to Coast AM from September 23, 1997. | ||
| Coast to Coast AM from September | ||
| Coast to Coast AM from September 23, 1997. | ||
| 23, 1997. | ||
| Coast to Coast AM from September 23, 1997. | ||
| Premier Radio Networks presents Arpelle Somewhere in Time. | ||
| Tonight's program originally aired September 23rd, 1997. | ||
| And here again I am. | ||
| My guest is David John Oates. | ||
| He's all the way up in Alaska in Anchorage. | ||
| And we've got reversals coming for you in all kinds of areas. | ||
| Mark Furman, Brother Tiran Mohammed. | ||
| More Area 51 calls. | ||
| And sort of a potferer of all sorts of things. | ||
| and so we'll get all of that in a moment *Sounds of the wind* Back now to Alaska, where things have got to be cooling off a little bit. | ||
| And David John Oates. | ||
| David? | ||
| Yes, sir. | ||
| Here I am, live. | ||
| All right, good. | ||
| Where do you want to go, David? | ||
| I'll leave it up to you. | ||
| I know what the categories are, but... | ||
| I've got a couple questions. | ||
| Then I'll let you know where you want. | ||
| Art, would you please ask David, this is Bob in Norco, California, if more than one person used the same sentence, word for word, would the reversal be the same? | ||
| Generally speaking, no, it would not be the same, especially if they are speaking in different intonations and accents. | ||
| Reversals are not caused by the words that we use, but rather by the sounds of speech. | ||
| But if you could repeat the same sentence exactly the same way as it was spoken, I mean, if two people speak it in exactly the same context and exactly the same accent, they may get something sounding similar, but generally the way we speak in natural conversation is not that way. | ||
| Sentences vary dramatically, and so that would generally not be the case. | ||
| So there we go. | ||
| Okay, well, look, what I'm going to do is I'm going to just, I've got our friend Brother Thiron Muhammad Ali queued up, so I'm just going to play three or four reversals on him. | ||
| Then I want to do a live reversal test. | ||
| I spoke to you about this off the air. | ||
|
unidentified
|
Correct. | |
| And then we'll go on to Mark Farman. | ||
|
unidentified
|
Okay? | |
| Yes, sure. | ||
| Okay, so here we have Brother Thiron when he first came onto your program. | ||
|
unidentified
|
I am Brother Thiron. | |
| I am a member of the Nation of Islam. | ||
| Okay, speaking with fairly with some confidence for us, but in reverse he says, I'll sit in shame. | ||
|
unidentified
|
I'll sit in shit. | |
| You hear that one okay? | ||
| I'll sit in shame. | ||
| Exactly. | ||
| Now, why would he sit in shame? | ||
| Well, because of, let's look at his next reversal I want to play, and that may answer some of this. | ||
| Let's start this again, okay? | ||
| Okay, we got a slight problem. | ||
| Here we do again. | ||
| That they are following him because they are planning to assassinate Farrakhan. | ||
|
unidentified
|
It may not be the FBI because the FBI may find all of the information. | |
| So he's talking about the FBI, and in reverse, he says, denied faith deserves to die. | ||
| talking about the FBI. | ||
|
unidentified
|
The night. | |
| The night. | ||
| Oh, God, that's... | ||
| I've got to stop doing that. | ||
| Exceptionally clear of that. | ||
|
unidentified
|
Yeah, exceptionally. | |
| And again? | ||
| Very clear. | ||
| Yeah, and this is generally his entire trend. | ||
| The reversals, a lot of his reversals were not clear enough for public air player. | ||
| They're very low validity. | ||
| But all his reversals were generally full of death and anger, wanting to kill. | ||
| I want to play that one once more. | ||
| Then I'm going to play your reversal that occurred pretty well not long after this one. | ||
| Okay. | ||
| And as you mentioned earlier, reversals can be perceived unconsciously, which is one of the reasons why I think you took an aversion to that Area 51 caller earlier on. | ||
| And then you come on not long after this and say this forward. | ||
|
unidentified
|
Would be a new sensor for everyone. | |
| All right. | ||
| All right. | ||
| Look, let's get down to another very important question at this point. | ||
| You know, it sounds, and then you say, sit down in shock. | ||
|
unidentified
|
Sis Denny Shuffle. | |
| Sis Denny Shoe. | ||
| Sis Denny Shoe. | ||
| You hear that one, okay? | ||
| Yes, I wonder what I meant by that. | ||
| Oh, well, I think, well, the whole interview was very tense. | ||
| And I think probably some of the things that he was communicating to you. | ||
| Oh, man, was it tense? | ||
|
unidentified
|
Yeah. | |
| The whole thing. | ||
| He just wouldn't let up. | ||
| No, he really wouldn't. | ||
| And I think a lot of it was reacting to the Versals themselves, which were full of hatred and anger and violence. | ||
| And this next one, which is the last one I want to play on him, pretty well sums up the whole lot, along with Denied Faith Deserve to Die. | ||
| He's talking about some of the anger the blacks feel in American society and the slavery issues discussed forwards as well. | ||
|
unidentified
|
Amongst the minds of the people where they recognize that we will not get anything from being here in America, we are the descendants of slaves brought here on slave ships. | |
| And then he says her crime in it, I think her is referring to America and the crime of slavery. | ||
| Oh, there's two reversals right next to each other. | ||
| Her crime in it, followed by they feel it, a gun. | ||
| and the they I believe is the blacks and the gun is a symbol of violence I'll go a minute, you've seen it, it's done I'll go a minute, you've seen it, it's done Are you hearing that one okay, too? | ||
| Yes. | ||
| And once more. | ||
| And what I want to do is I want to play this whole track backwards, and you will hear the reversals mixed in amongst the gibberish. | ||
| Two reversals, a crime in it followed by they feel it, a gun. | ||
|
unidentified
|
Amongst the minds of the people, especially El Snotters of the El Slots and Music, Neath Nee Niklis done, can you hear that? | |
| Yes. | ||
| Yeah, so let's just do that one more time for those who missed it. | ||
| A little bit of gibberish beforehand. | ||
| And there's those reversals slapped right bang in the centre of the backwoods gibberish. | ||
| You must go absolutely nuts trying to find this. | ||
| Oh, you have no idea. | ||
| It sounds very easy when I play these on the air, but the work that goes into this is intense. | ||
| I think I've mentioned before, it probably takes me a good 100 hours of work to prepare for one broadcast. | ||
| And it's probably one of the factors that deters students from very serious research into this is that it's such a tremendously time-consuming process. | ||
| But that's about to change. | ||
| I mentioned on the last program we've had some software developed that can actually find the reversals. | ||
| It won't actually decipher them yet, but at least we can go straight to it and find them. | ||
| Reversals have a very unique tonal signature that the computer is able to locate. | ||
| So the computer then just looks for a tonal change? | ||
| Correct. | ||
| It recognizes the way the program works, it highlights the section with a grey colour. | ||
| I mean, I'm not too sure how the software finds it, but you see the waveforms and then this grey colour bar appears scattered throughout the waveforms where the reversals are. | ||
| And we haven't really had the chance to use it yet. | ||
| It's only just come out. | ||
| Are you going to make it available to the public at some point? | ||
| Yeah, we are making that and a whole lot of other stuff available. | ||
| We're having our first reverse speech annual convention in the first week of December, on December 12th, 13th and 14th. | ||
| And our target is to have this software package ready as well as a software package we're currently working on that will turn the computer itself into a reversing machine. | ||
| It will have instant forwards and backwards rather than the highlighting of the sections now we want to reverse, which takes a fair bit of time. | ||
| That software package is halfway through, plus we're designing our own machine with our own brand name, and we're hoping to have that out by December as well. | ||
| All right, well, it seems to me that the fact that software can be designed to locate the reversals by the tonal change validates the whole concept of reverse speech. | ||
| Oh, yeah, most definitely. | ||
| In other words, not just what we think we're hearing, but if a machine can be programmed to detect that tonal change, then you have an extra validation here. | ||
| Oh, right. | ||
| And, you know, you yourself have commented on this unique tonal shift that the reversals have. | ||
| You can hear it auditorily. | ||
| Particularly with infants, which I love. | ||
| They are my favorite. | ||
| Oh, right. | ||
| Actually, we should do a couple of them. | ||
| Yeah, please go right ahead. | ||
| By all means, I presume from time to time people send you their own. | ||
| Oh, yeah, we get quite a few sent to actually. | ||
| I get many reversals sent to me. | ||
| And we're going to pull up a couple of these kids now. | ||
| And you've got to realize while I'm pulling this up that reverse speech as a science is still in its very early stages. | ||
| It's like the crystal radio set is the closest comparison I can get to it. | ||
| And I'm sure 20 years from now I'm going to look back at what we've done in this current time and laugh at the complexity and the labor that we went through. | ||
| And okay, the first kid I'm going to play actually has a very simple metaphor that may introduce you to this whole concept. | ||
| And this is a child. | ||
| I was over the parent. | ||
| This is me speaking, and I was over the parents'house talking, and you can hear the kids singing in the background. | ||
| Ross Puts, it's around the bed. | ||
| $1 million to develop that. | ||
| It's right. | ||
|
unidentified
|
You're amazing. | |
| You're right. | ||
| You're amazing. | ||
| Okay, do you hear the baby crying in the background? | ||
| Yes. | ||
| And backwards he says, I miss my little pony, my little pony, my little pony. | ||
| And in this case, pony was his identification with his father. | ||
| It was a security blanket in a sense. | ||
| And the mother and father had only broken up a couple months beforehand. | ||
| This is one I haven't played you before. | ||
|
unidentified
|
This is one I haven't played you before. | |
| Did you hear that okay? | ||
| Just barely, but you know, I could just barely hear it forward, so I'm hearing it as well in reverse as I heard it forward. | ||
| Okay, well, let's go to perhaps one a little bit clearer then. | ||
| And this is my daughter in the bathtub. | ||
| She's trying to pick up a cup, and I've played you this one before, and she can't pick it up, and she reaches out to me for help. | ||
|
unidentified
|
and we'll run this forward now. | |
| And backwards, he says, David, help me. | ||
| That's very clear. | ||
| She says, David, help me. | ||
| David. | ||
| I'm convinced she says David again at the end. | ||
| Right, and that's an exceptionally clear reversal. | ||
| And let's look at one. | ||
| This is a kid whose pants has fallen down and broken. | ||
| And dad is bringing him a new pair of pants. | ||
|
unidentified
|
And we're running it forward now. | |
| You are. | ||
| Yeah, you're a very, you're a not crying baby. | ||
| You're a happy baby. | ||
| your babies and pants are going to stay up. | ||
| And the baby says, it broke, mommy. | ||
|
unidentified
|
It broke, mummy. | |
| It broke, mummy. | ||
| Very clear. | ||
| Oh, very clear. | ||
| It broke, mommy. | ||
| Yeah, and let's whip through a couple of other ones. | ||
| Oh, here's one I don't think I've played on your program. | ||
| One of the things I'm finding is that children are speaking in reverse from as early as four months of age. | ||
| And this is one such example. | ||
| to single word, which is usually, you know, they're pronouncing single words first and then gradually expand out to two or three words. | ||
| And we'll run that in reverse and right at the end you hear this very clear how, how, how. | ||
|
unidentified
|
I love you. | |
| I love you. | ||
| Okay. | ||
| Ooh, I heard that. | ||
| And again. | ||
|
unidentified
|
Hello. | |
| Hello. | ||
| Oh, that makes sense. | ||
| That'd be your first word. | ||
| Oh, yeah, that is one of the very first words. | ||
| Well, certainly with this one, I think this was found by one of my students at four months of age. | ||
| And kids are just great in reverse. | ||
| Here's another one I think I played as well. | ||
| I've just got so many of them. | ||
| And I tend to go to my standard sound bites, you know, and I forget some of the incredible portfolios I've got of them. | ||
| and here's a three-year-old, and there's two children playing together, and one of them notices an inoculation mark on the other child's arm. | ||
|
unidentified
|
You have an injection, but what do you do? | |
| You might be better. | ||
| And in reverse, she says, I hated them. | ||
|
unidentified
|
I hated them. | |
| And again, I hated them. | ||
| I hated them. | ||
| All right, now, I've heard this again and again and again and again and again on these children, this ethereal kind of wavy, odd sound. | ||
| It sounds like it's coming from the Twilight Zone or something. | ||
|
unidentified
|
Right. | |
| And why? | ||
| I don't totally have an explanation for that. | ||
| Some people just say it's the audio quality of kids, I mean, or a tape recorder in the background with echoes, but I don't buy that. | ||
| Oh, I don't either, because you hear the same thing with adults, the same kind of echoey background in many of the forward and then reversals, and you don't get that ethereal quality. | ||
| No, you really don't. | ||
| My own personal theory, and it's a theory only, and it's a little bit bizarre, but this is what I think. | ||
| I think that at the base level of consciousness, that consciousness is comprised not just of one ego or one id, but it's comprised of a multitude of different parts that all make up consciousness. | ||
| And it's very common in reverse to hear self discussing with self different concepts. | ||
| I shall do this, I shan't do this, I will do that, I won't do that. | ||
| And sometimes I think all of these different voices speak together in the one voice. | ||
| And it almost sounds like many different voices speaking, speaking. | ||
| Well, maybe it's a kind of a collective consciousness before the individual emerges. | ||
| I think that's a very good explanation for it. | ||
| I really do. | ||
| Yeah, that's the word I would have used, is the collective unconscious or a collective consciousness of different parts. | ||
| Boy, there's so many things, David, that we don't understand about ourselves. | ||
| Yes, there's so many things that I don't understand about myself. | ||
| I had a fairly good self-image before I started reverse speech. | ||
| I kind of figured I knew how the world worked and how everything went and who I was and why I was here. | ||
| And in the first few years, reverse speech just tear away everything I knew about myself and everything I believed. | ||
| And it's pretty shocking to look at yourself in the mirror and see what's really there. | ||
| When you expose people to their own reversals, and you don't hold back. | ||
| Yes. | ||
| What reaction do you generally get from people? | ||
| Do you find that it changes them? | ||
| Does it work on them as a psychiatrist would go to work on them? | ||
| Or do they get angry? | ||
| It depends on the person. | ||
| It depends on how congruent they are with each other, with themselves. | ||
| I remember one case at the top of my head where the person got so angry and so vicious, they stormed out of my office halfway through the presentation. | ||
| And I had a sheriff knock on my door a week later with a summons to appear in court. | ||
| they were absolutely livid and were suing me for malpractice. | ||
| And I want to... | ||
|
unidentified
|
Uh-huh. | |
| Malpractice, huh? | ||
| How are they going to nail you for malpractice? | ||
| Well, they can't. | ||
| They had no basis. | ||
| They were essentially saying that the basis of the lawsuit was that I tore their psyche apart. | ||
|
unidentified
|
I see. | |
| I told them that they were not the great person they thought they were. | ||
| The woman claimed I insulted her and was rude and unsympathetic. | ||
| When we come back, we're at the bottom of the air. | ||
| I would like to hear what the judge had to say about that one. | ||
| Oh, okay. | ||
| All right, David, hold on. | ||
| Malpractice, huh? | ||
| I wonder if David hangs out a reverse speech shingle. | ||
| This is Coast to Coast AM. | ||
| I'm Art Bell. | ||
|
unidentified
|
You're listening to Art Bell somewhere in Time. | |
| Tonight featuring a replay of Coast to Coast AM from September 23rd, 1997. | ||
| Coast AM from September 23rd, 1997. | ||
| The whole time wheel can turn it. | ||
| My love is in my love, it's in life and turning to the base. | ||
| The End | ||
| Thank you. | ||
| You're listening to Arkbell somewhere in time. | ||
| Tonight, featuring a replay of Coast to Coast AM from September 23rd, 1997. | ||
| Once again, here I am. | ||
| This is amazing. | ||
| David, I know you're listening, so cue the one up again with Mike Tyson talking about the rubber duck. | ||
| I want you to get that one out, and I've got a reason for it. | ||
|
unidentified
|
You'll find out in a moment. | |
| By the way, I got a request for a Danien update. | ||
| I haven't said much because he continues to get better. | ||
| Nothing but better. | ||
| Is now out of intensive care, which is a good sign. | ||
| Still is in the hospital and will be for some time now. | ||
| But he is out of intensive care and out of immediate danger. | ||
| Now, I will tell you this. | ||
| Beginning tomorrow, they are going to have to put him back on Koumadin. | ||
| Koumadin is the blood thinner. | ||
| And that is going to be a critical moment, of course. | ||
| Koumadin is required for the heart valve he has, which is what he received when he was struck by lightning. | ||
| As I told you before, Koumadin was also what was killing him. | ||
| So obviously, at the moment he goes back on Koumadin, which he has to do, there will be a moment of truth, of course, and we will all pray the bleeding continues to remain stopped. | ||
| If it does, then his recovery from that point should be fairly rapid. | ||
| Once again, here is David Oates. | ||
| David, if you've got the Mike Tyson rubber duck thing, play it again. | ||
| Okay, here it is. | ||
| I'm very curious what you've got to say about this. | ||
| You'll run it forward first. | ||
|
unidentified
|
Other than to say when the button occurs and I thought I might lose because of severely of a cut above my eye, I just snapped. | |
| And the verse was, here I am, rubber duck. | ||
|
unidentified
|
Here I am blubber duck. | |
| Here I am blowing up. | ||
| And once more, here I am blowing up. | ||
| All right, the following comes from Al Collier in Little Rock, Arkansas, who says, Art, regarding Mike Tyson's rubber duck, as a former semi-pro boxer during the 1960s and 70s, the term rubber duck was an insider's term for punch drunk or a fighter who was mentally beat but whose body was still standing, a person who was literally too dazed to fall down. | ||
| Oh my gosh. | ||
| How about that, huh? | ||
| I had no idea. | ||
| Well, either did I. And, you know, I almost didn't play that reversal. | ||
| It made no sense to me. | ||
| I'm going, run a duck. | ||
|
unidentified
|
Yep. | |
| Wow. | ||
| There you are. | ||
| Wow. | ||
| Well, you know, I've got to tell you, these sort of things happen to me every single week when I'm working with clients. | ||
| Well, particularly when I'm working with clients, I'll find a reversal that just makes absolutely no sense to me whatsoever. | ||
| And then I'll apply it and it'll have this very deep personal meaning. | ||
| I mean, people have strange terminologies that they use themselves that no one else does. | ||
|
unidentified
|
Exactly. | |
| Punch drunk, hey? | ||
|
unidentified
|
Yep. | |
| Well, well, well, there you go. | ||
| And, you know, we had another instance to this on your program a couple of times back. | ||
| I played a reversal from the Mars conferences that said the alpha searched the hill and shake the loose dirt. | ||
| And I had no idea what alpha meant. | ||
| And you had a reader fax in to talk about the alpha spectrometer. | ||
| That's correct. | ||
| And that's something I didn't know either. | ||
| And see, it's these type of things that constantly validate reverse speech. | ||
| And when you get these validations all the time, I mean, constantly, you've got to Ask the questions. | ||
| There is so much evidence that comes up to validate this. | ||
| How can anyone deny it? | ||
| Especially after all the times I've been on your air and all the contextual relationships and all the facts that we uncover that subsequently turn out to be valid. | ||
| Quite true. | ||
| All right, why don't we move on to Mark Fuhrman? | ||
| Let's go straight to Mark Fuhrman. | ||
| He was an interesting character. | ||
| Oh, yes. | ||
| To be quite frank, I went into this with a fair amount of bias. | ||
| I really didn't like the man from all the media and press reports. | ||
| But what I found in reverse was not what I was expecting to find. | ||
| And I'll just lead into this slowly. | ||
| And most of his reversals occurred in the very first half of the program where he was talking about his work with gangs and the kids. | ||
| And he obviously had a great love of that. | ||
| And reversals dropped off when he started talking about OJ. | ||
| But this is the first one. | ||
| And he's talking about his new career direction. | ||
|
unidentified
|
Kind of a long way around the barn. | |
| Instead of now working for a corporation as an investigator, what I plan on doing, I am currently investigating and researching an unsolved homicide. | ||
| But he has finances on his mind in this case, and he says in reverse, I'll send sharebroker. | ||
|
unidentified
|
As then share broker. | |
| As an ensure broker. | ||
| Sorry, I sent sharebroker. | ||
| Well, do that again. | ||
|
unidentified
|
As an sharebroker. | |
| Okay. | ||
|
unidentified
|
As an in-share broker. | |
| I sent sharebroker. | ||
| Right. | ||
| Now, either that's about his financial career move, or maybe there was a sharebroker involved in the crime that he's currently investigating. | ||
| But he mentions money three or four times in this transcript, more so than I've seen other people mention. | ||
| Well, I would imagine he would be concerned about it, retired now. | ||
| Oh, sure. | ||
| Yeah, absolutely right. | ||
| And, you know, the fact that he mentions money is not an indictment on his character at all. | ||
| Money makes the world go round, as you said, in one of the Area 51 callers. | ||
| And I've got a very interesting reversal to play to you on that one as well. | ||
|
unidentified
|
All right. | |
| And you are next up on the left. | ||
| You're talking about how Las Vegas has changed, and now it's run by gangs. | ||
| Well, not now. | ||
| But things changed. | ||
| You know, Las Vegas became a sort of a combination gambling, gaming town, Disneyland, and politics changed, sheriffs changed, things changed. | ||
| Now, there's gangs. | ||
| Now, there's gangs. | ||
| We did this reversal in class, and everyone burst out laughing. | ||
| It's a fairly long reversal, so you have to listen to it. | ||
| It's got a slight metaphoric context, but the verse is saying, then aliens at night, you're making ill maidens share the muck. | ||
| And ill maidens referring, I guess, to the prostitution business in Las Vegas. | ||
| Mermail wins this night, and you're making ill maidens share the muck. | ||
| Is that too long for you? | ||
| Well, I don't know if I heard it clearly. | ||
| I heard aliens. | ||
| Yeah, then aliens at night. | ||
| Let me just play that half first. | ||
| Aliens at night, that I heard. | ||
| Then aliens at night. | ||
| We'll do it again. | ||
| And then you go on and say, you're making ill maidens share the muck. | ||
|
unidentified
|
You're making ill maidens share the muck. | |
| Okay. | ||
| So let's do that again. | ||
| We'll do it in two halves. | ||
| Yeah, these long reversals are pretty difficult to get all at once. | ||
| And then you're making ill maidens share the muck. | ||
|
unidentified
|
You're making ill maidens share the muck. | |
| What's it like hearing your own reversals, Art? | ||
| Bizarre. | ||
| Bizarre. | ||
| And I'm interested in your catch. | ||
| Have you caught me in what would seem to be an incongruity? | ||
| No, I really haven't. | ||
| And I was looking for it, but no, pretty much what you see from you is what you get. | ||
| I'm just going through the transcript of the verbals I have to play. | ||
| And no, I really didn't. | ||
| Sometimes you're just commenting on just the controls and what you're thinking and getting the program going. | ||
| And I really didn't. | ||
| At least not this time. | ||
| But maybe next show I will. | ||
| I know the audience sitting out there probably going, oh, come on. | ||
| There's got to be, he's just being nice to Art. | ||
| There's got to be, I want you to go and look for incongruities next time, all right? | ||
| You want me to specifically look for them? | ||
| That's right. | ||
| Well, you know, you've got to lead people into this slowly. | ||
| I don't want a repeat of my lawsuit I had with my client who'd stormed out of my office. | ||
| By the way, yes, what did the judge say? | ||
| I meant to ask you. | ||
| The judge found the whole thing very bizarre, to be quite frank. | ||
| And he's saying, what, he played the tape backwards, and that's what she got upset about. | ||
| And he found the whole thing really quite incredulous. | ||
| And she really lost the case because she started accusing me of using Charles Manson cult practices and mind programming. | ||
| And she really went quite paranoid, and that's what lost the case essentially. | ||
| But the other thing, too, was all my clients, before I take them, sign a re-lease, it's a standard release form, and absolving me of all responsibility. | ||
| And that's essentially what happened. | ||
| 100%. | ||
| Okay, so let's move back to Mark Furman, and he's talking about the gangs here. | ||
|
unidentified
|
It was a neighborhood territorial type of structure. | |
| Kids that maybe weren't great students or didn't have a great home life or they were criminals already. | ||
| And she says in the verse, Dear Demented Girls. | ||
|
unidentified
|
Dear the Vented Girls. | |
| Dear's the Ventish Girls. | ||
| Hear that one okay? | ||
|
unidentified
|
Sure. | |
| If you only run that whole track backwards and you'll hear the reversal amongst the gibberish. | ||
|
unidentified
|
Did you hear that? | |
| Oh, yes, very clearly. | ||
| Yeah, very clear. | ||
| And you know, these things just stick out amongst the gibberish, and once you know what you're looking for, they are so plain. | ||
| Sometimes I'll gasp in shock as I find one. | ||
| Okay, and still talking about the gangs and then we'll play a couple more on this and I'll may skip some and go into AJ Center. | ||
|
unidentified
|
I'd leave in their weapons. | |
| They had more. | ||
| We had a real money problem and then there was no more neighborhood or territorial issue. | ||
| And he says in reverse, no one's running in the love home bad. | ||
|
unidentified
|
No one's running them below. | |
| Home bay. | ||
| No one's running them in the love. | ||
| Home bay. | ||
| You hear that one again? | ||
| Yes, but I don't know what it means. | ||
| Oh, okay. | ||
| Well, he has a genuine compassion for these people here. | ||
| No one's running with love, and they come from a bad home. | ||
| No one's running in the love, home, bad. | ||
| I've got you. | ||
| Dear, demented girl. | ||
| And part of the issue in determining what reversals mean, see, you've got to realize they don't come in long, elaborate sentences. | ||
| They're almost like footnotes from the unconscious. | ||
| You'll get four or five words, and it's condensed down, so you don't get this encyclopedia definition. | ||
| And it's a different language, a different feel. | ||
| And once you get used to it, I mean, that's what training is all about. | ||
| Probably half of my training program of my year course is spent in actually teaching people how to decipher what they mean. | ||
| And okay, so now we've got another one on you coming up. | ||
| What we're seeing in Mark Sherman, though, at least so far, is a fairly compassionate man. | ||
| Both of these reversals are reversals of compassion. | ||
| These people don't have love. | ||
| I'm dear, demented girls. | ||
| And as you start to move on, this is you next. | ||
| And here we go. | ||
| And then I guess it became, as you said, a battle for territory. | ||
| And what they did control, they were selling in, and what they wanted to control, they fought for. | ||
| You say, I make him sing on it. | ||
|
unidentified
|
I make him keep singing on it. | |
| I make him sing on it. | ||
| Yeah, and I actually heard you say that forwards in one of your interviews, talking to someone. | ||
| I'm making him sing. | ||
| And I can't remember which interview that came from, but sing. | ||
| Oh, that would have been an Area 51 call, I'm sure. | ||
| Right, to spill his gut. | ||
|
unidentified
|
Yeah. | |
| And that's what you're trying to do, make him sing. | ||
| And I'm very curious to hear you track your emotional state as we get into some more reversals on you. | ||
| A lot of my clients, when they hear the reversals, say they get this very bizarre feeling. | ||
| Some people get goosebumps up and down their spine. | ||
| Okay, now we are moving on to O.J. Simpson, type reversals, and let us move. | ||
|
unidentified
|
Up and didn't happen in this case. | |
| And I kept it very close to the best. | ||
| I kept it to myself. | ||
| Even my good friends, when this book finally came out, go, how did you not tell us? | ||
| You know, my response was, you didn't need to know. | ||
| So he's talking about some of the inner workings of the case. | ||
| That's right. | ||
| First aversal, surprisingly enough, I think to many people, will be, I sensed the bigots. | ||
|
unidentified
|
Wow. | |
| And again, now he was the one who was accused of being the bigot. | ||
| But yet here we have him projecting that on to the others. | ||
| And there's two more reversals. | ||
| First one is, I make, the next one is, I make enough. | ||
| And it's referring to money, as you'll tell by the reversal coming after. | ||
|
unidentified
|
I make enough. | |
| I make enough. | ||
| Okay? | ||
| I make enough. | ||
| I make enough. | ||
| But then he says, those snobs around money. | ||
| Once again, not directed at him, but to the other people involved in the case. | ||
|
unidentified
|
Those snobs around money. | |
| You hear that? | ||
| Yes. | ||
| Okay. | ||
| And let's just run the whole track backwards again. | ||
| And I sense the bigots. | ||
| I make enough. | ||
| Those snobs around money. | ||
| You'll hear that all embedded in the backwards gibberish. | ||
|
unidentified
|
Well, I'm just going to get to see those knobs around me. | |
| Yes. | ||
| So I'm just going to make enough cups in the... | ||
| There it is. | ||
| Okay. | ||
| Yes, and was that all actually together? | ||
| Well, there was a little bit... | ||
| You didn't patch that? | ||
| No. | ||
| Oh, no. | ||
| No, this is exactly straight backwards. | ||
| That's not patched together. | ||
| That's what I call a cluster. | ||
| When I say reversals occur once every 10 seconds or so, that's an average. | ||
| But generally, the way you'll find them is three or four will be together in a batch, or what I call clusters. | ||
| It's part of the theory I teach of how to interpret clusters. | ||
| And then you'll get a gap of 15 or 20 seconds, and then you'll get another cluster. | ||
| And you can actually track them. | ||
| When you draw it out, they go in and out, very similar to sound waves going in and out. | ||
| And I think it's the unconscious influence rise to the surface. | ||
| You'll get a batch of information, then it goes down and like the tides of the ocean is a very good analogy. | ||
| That's the cluster. | ||
| And then we have another reversal straight after, and this is about money again, but this is his need for money now. | ||
|
unidentified
|
When the political climate, I can take so much heat. | |
| And I did. | ||
| And I went to Idaho and I'm working and I'm retired and I'm leaving everybody alone. | ||
| Okay, he's retired. | ||
| Now, you remember the very first reversal I sent share broker talk about his retirement. | ||
| Now he says, your money, I need your money. | ||
|
unidentified
|
Your money, I need money. | |
| Your money, I need scroll money. | ||
| And again. | ||
|
unidentified
|
Your money, I need to. | |
| Your money, I need your money. | ||
| Yeah, very clear. | ||
|
unidentified
|
Right. | |
| And, you know, I mean, he's making his money now from book sales and lectures, I guess and I was actually trying to find a reversal on me that someone found on me in one of your programs. | ||
| And I was talking about my book and getting people to buy my book. | ||
| And there was a reversal on me that says it will give me more money. | ||
| But I couldn't find the reversal to play. | ||
| I was figuring I was going to talk about Thurman's need for money. | ||
| I better show my side of the coin as well. | ||
| Anyway, none of us escape from reverse speech. | ||
| I understand. | ||
| And I'm sure you would find the same thing on me when I'm doing advertisements, that kind of thing. | ||
| Oh, sure. | ||
| Absolutely correct. | ||
| And one of my analysts who's recently graduated from the course is actually wanting to pursue a career in approaching advertising agencies to analyze their adverts. | ||
| Are their adverts congruent or not? | ||
| Or does the commentator say you're advertising a washing machine? | ||
| Is the commentator saying this will be the best thing for you? | ||
| Or this machine is a load of rubbish? | ||
| Yes, well then there would be a commercial application, it seems to me. | ||
| Now we all know the FCC has prohibited backwards or masked messages in commercials, but if you were able to incorporate in the way you said something about a product something that would absolutely appear subconsciously to be congruent, | ||
| you could legally, it seems to me, send a subconscious message to buy a product. | ||
| That is very true. | ||
| You are utilizing a natural function of the human mind, reverse speech. | ||
| Backward messages do occur in advertisements, and maybe I should, I haven't got anything to do with it. | ||
| And if they had David Oates there, they could recut the commercial until they got the reverse congruent speech that they wanted, and then presumably the product would sell many times over. | ||
| There is no doubt in my mind about that. | ||
| There are certain ways one can speak and certain emotions one needs to create and not just have a false creation, but a genuine access that will produce certain specific reversals. | ||
| Well, the next question is, David, would it be possible to fool reverse speech, as some people are said to be able to fool a lie detector? | ||
| At this stage of my research, no. | ||
| I have not yet been able to fool it. | ||
| I have achieved, I've been able to reduce the number of reversals of the way that I communicate, but no, you can't. | ||
| At this stage of the work, no, you cannot fool it. | ||
| That doesn't say that at some future stage someone may come up with a method to do that. | ||
| But currently now, no, I don't believe you can. | ||
| I really don't believe you can because it's out of our conscious control. | ||
| Well, I am told that people who really believe their lies, now that might be a different situation, are able to fool a lie detector. | ||
| In other words, if they have somehow mentally convinced themselves of the lie. | ||
| David, hold on. | ||
| We're at the top of the hour. | ||
| We'll be right back. | ||
| And let us delve when we get back into Area 51. | ||
| How about that? | ||
| Okay, we can go straight to that. | ||
| All right, good. | ||
| Stay right where you are. | ||
| David in Alaska is my guest. | ||
| I'm Mark Bell, and this is Coast to Coast. | ||
|
unidentified
|
Listening to Mark Bell, somewhere in time on Premier Radio Networks. | |
| Tonight, an encore presentation of Coast to Coast AM from September 23rd, 1997. | ||
| Keep your shoes up, but you're further down. | ||
| While you and your friends are worthy of flowers on the wall that don't bother me at all. | ||
| Playing sober pairs alone with the deck of 51. | ||
| Smokin'cigarettes and watchin'Captain Chang. | ||
| KELSEY PELOSI | ||
| KELSEY PELOSI You're listening to Arc Bell somewhere in time on Premier Radio Networks. | ||
| Tonight, an encore presentation of Coast to Coast AM from September 23rd, 1997. | ||
| Once again, here I am. | ||
| Good morning. | ||
| A message from the id reverse speech. | ||
| And we're about to delve into the area of 51 calls with the one particular call in mind. | ||
| Wonder what we're going to get in reverse. | ||
| A lot of people have actually come forward and said, well, I've got this or I've got that reversal, but I thought I would wait for David. | ||
| And so all of you out there who have done that can now compare your results with what you're about to hear from David John Oates, Mr. Reverse Speech, the man who has been suggested to be nominated for a Nobel Prize for his work. | ||
|
unidentified
|
Thank you. | |
| Tomorrow night is going to be Professor Michio Kaku, professor of theoretical physics at New York University. | ||
| And then Thursday, Guy Finley on The Quickening, which really is talking about us. | ||
| And then Friday will be Bob Lazar and Gene Hoff. | ||
| Bob Lazar rarely, rarely does interviews. | ||
| And following this one, we'll not do one for a long time, so you're not going to want to miss that. | ||
| Back now to David John Oates in Alaska. | ||
| David's up in Anchorage, Alaska. | ||
| And David, you've got, I had a whole slew. | ||
| I opened an Area 51 line, of course, and got a lot of callers who claim to be Area 51 employees, past or present. | ||
| And then, of course, we have that one wild caller who literally, I think, knocked me off the air or somebody did something with our satellite. | ||
| And so let us move in that direction if we can and see what you've got. | ||
| Okay, well, we will start off with the caller who called me by the name of Steve. | ||
| Ah, yes. | ||
| Then we'll go straight to your caller. | ||
| I want to hear about Steve. | ||
| Oh, I'm sure you do. | ||
| I'm sure Steve's listening to this right now. | ||
| He had to issue that. | ||
| So let us begin. | ||
| Well, that makes sense. | ||
|
unidentified
|
I can tell you who you can call me. | |
| It's actually my first name. | ||
| Neck Eddoff. | ||
| Oh, okay, okay. | ||
| Here we go, the first reversal. | ||
| And your voice is actually overlaid on this. | ||
| You can call me by my first name. | ||
| Reversal is make it up. | ||
| Now, whether it refers to the name or his story, we'll wait and see. | ||
|
unidentified
|
Neck Eddoff. | |
| Neckidoff. | ||
| Can you hear that with your voice? | ||
| Yeah, make it up. | ||
|
unidentified
|
Yeah. | |
| And then he moves right along. | ||
|
unidentified
|
They were like, you know, where you have junk, everybody's got junk. | |
| But if you've got junk like that, you're not going to take it to the landfill. | ||
| And its reversal is, I beef it up. | ||
|
unidentified
|
I like beef it up. | |
| I like beef it up. | ||
| Hear that? | ||
| I beef it up. | ||
| Yeah, I beef it up. | ||
| You know, I make it sound better than what it actually is. | ||
| I beef it up. | ||
| I'm exaggerating. | ||
| I'm expanding on the story. | ||
| I make it up. | ||
| I beef it up. | ||
| I am not surprised. | ||
| and here we are I want to play them more just to leave people in suspense for the imprime event. | ||
| This is an interesting reversal that came in right out of the blue. | ||
| In one of your earlier programs, I think I mentioned that often in reverse, we will hear reversals before something is discussed forwards. | ||
| And this is the unconscious mind leading the conscious. | ||
| And so we'll play one of these now. | ||
|
unidentified
|
S4. | |
| You worked at S4? | ||
| That's the area where I was living. | ||
| Oh, my. | ||
| And E to C reverse, he simply says it's September. | ||
|
unidentified
|
Yes, that's unbox. | |
| And again? | ||
|
unidentified
|
Yes, that's done. | |
| Why is that so fascinating? | ||
| Because very shortly afterwards, you spent quite some time talking forwards about it now being September. | ||
| And I'll run you that forward section now. | ||
| Yesterday was September 11th. | ||
|
unidentified
|
Well, it is September 11th on your time, isn't it? | |
| It is still now September 11th, my time, yes. | ||
| Notice you said it's September three times forwards. | ||
| Wow. | ||
| Immediately after he, not long after, he said it's September backwards. | ||
| Let me play about reversal again. | ||
|
unidentified
|
It's September. | |
| Yes, that's unbelievable. | ||
| Okay. | ||
| So a classic example of the unconscious leading the conscious. | ||
| Yes. | ||
| And then here's a reversal on you. | ||
| It's a very quick one. | ||
| Just two words. | ||
| Here is a four. | ||
|
unidentified
|
You're saying you were ordered to come and say all this tonight? | |
| Yes. | ||
| And then you simply say, be honest. | ||
|
unidentified
|
You understand? | |
| Okay. | ||
| I hear that. | ||
| Yeah, be honest. | ||
| And that just speaks for itself. | ||
| Another, they're going to do another reversal on you this. | ||
| David, are you sure you're not just being kind to me? | ||
| I have yet to hear the first incongruent reversal on me. | ||
| Honestly, I really didn't find them. | ||
| I really did not find incongruent reversals on you. | ||
| I'm not that good, David. | ||
|
unidentified
|
Huh? | |
| I'm not that good. | ||
| Well, also, I need to say I didn't find many reversals on you, period. | ||
| I would do long sections of you without finding them, and I would get quite frustrated. | ||
| I think you're in your radio mode, you're on the air. | ||
| It doesn't true. | ||
| And you're just not putting one out. | ||
| Here's a long one on you. | ||
| I hesitated about playing this one. | ||
| It's a metaphor, but I want to play it anyway, because both you and Steve are talking about reverse speech. | ||
| And you say something complimentary to me in this reversal, and then Steve comes in and says something a little bit nasty. | ||
| This is a lot of the kind of stuff that David Oates talked about when he reversed the speech of the NASA guys. | ||
| Oh, yes. | ||
| And the reversal says, the sign of the sheep that serve you, we know. | ||
| The sign of the sheep that serve you, we know. | ||
| And again? | ||
| You hear that? | ||
| Oh, that's very clear, but I don't think I'm that metaphoric and deep, am I, really? | ||
| Well, we all are. | ||
| And you're referring to reverse speech. | ||
| Reverse speech actually describes itself as being the tool of the sheep, or the sign of a sheep. | ||
| I bet you heard that reversal before. | ||
| And the sheep referring to us, the human race. | ||
|
unidentified
|
Oh, sure. | |
| Sure. | ||
| Yeah, the sign of the sheep. | ||
| That is what reverse speech is. | ||
| It is how we are really communicating and really thinking, and it is our way eventually when mankind begins to embrace this technology that I think we are going to come back home to ourselves. | ||
| And then to hear Steve continues. | ||
|
unidentified
|
They remember all that comes from what they were thinking subconsciously, more or less. | |
| And it could get jumbled together. | ||
| I'm not very familiar with that. | ||
| I just heard it in passing at the time. | ||
| Talk about reverse speech. | ||
| And he says backwards, the rotten schmuck and I'll remember here. | ||
| And it's a future tense reversal. | ||
| I'm a rotten schmuck because I'm exposing that he's not being completely kosher and he will remember this radio interview. | ||
| The rotten schmuck and I'll remember here. | ||
| Hear that? | ||
|
unidentified
|
Yes. | |
| And we'll do it once more. | ||
|
unidentified
|
Okay. | |
| and Steve was on the phone for an awfully long time so we did get a lot of reversals on him and we just want to do They're really quite funny. | ||
| Here is one. | ||
| He's saying he tells the men in black what to do. | ||
| And here it is. | ||
| Well, it's that kind of psychology. | ||
| What do you mean they can't get to you? | ||
|
unidentified
|
Because I tell them what to do. | |
| I tell them what to do, but that was he says they stole my life. | ||
|
unidentified
|
Stole my life. | |
| Stole my life. | ||
| Oh, it just stole my life. | ||
|
unidentified
|
Stole my life. | |
| Stole my life. | ||
| Yeah. | ||
|
unidentified
|
Wow. | |
| Interesting. | ||
| And I actually think in his second interview, he gave something away. | ||
| I actually think he does have some knowledge of something, but to use his, or it did in the past or something, but to use his own words, he beefs it up. | ||
| And this next one would cause some people to think, too. | ||
|
unidentified
|
Atlantis. | |
| Atlantis. | ||
| Atlantis that was destroyed because there was no intervention or what? | ||
|
unidentified
|
Oh, no. | |
| There could not be any intervention down. | ||
| And then he says, find the script. | ||
|
unidentified
|
Undescript. | |
| And he's actually, I think he's reading or leading or feeding information to us that's been given to him. | ||
| By script. | ||
| Yeah, exactly right. | ||
| They stole my life on the men in black and find the script. | ||
| I'm beefing it up. | ||
| Strange. | ||
| And then this is the laugh of Ersnelham just as he signs off. | ||
| And I had to laugh myself silly when I found it. | ||
| Well, I have no way of knowing whether one word of what you have said is true, but you said it well. | ||
|
unidentified
|
Well, thank you very much. | |
| Well, he says, well, thank you very much. | ||
| Macquisie says, I'm arrogant. | ||
|
unidentified
|
I'm arrogant. | |
| I'm arrogant. | ||
|
unidentified
|
I'm Aravagan. | |
| Oh, boy, is that clear. | ||
| I'm sorry, Steve, if you think I'm a rotten schmuck, but you will remember this interview. | ||
| To use your own words. | ||
| Ah, take that, Steve. | ||
| Okay. | ||
| He's arrogant, all right. | ||
|
unidentified
|
Yeah. | |
| The final script is interesting, and the men in black stole my life. | ||
| He doesn't deny having contact with him, whoever the men in black are. | ||
| And, you know, I don't know much about men in black, but I hesitated saying this, but I'm going to. | ||
| You know, the conference we had with Richard Hogan on Thursday night a couple of weeks ago. | ||
| Yes, you know, there was a man in black there. | ||
| Well, he was dressed completely in black. | ||
| He was extremely, it's the most bizarre encounter I've ever had in my life. | ||
| He came up to me, asked me to step outside on the balcony. | ||
| He wanted to speak to me, and I'm going, there ain't no way I'm going to step out on the balcony with you. | ||
| And he actually got quite insistent, and I just wouldn't do it. | ||
| And then he pulled me aside in the corner and just simply said to me, my employer is very interested in what you're doing, Mr. Rhodes, and we will be in contact. | ||
| Well, I have talked to Ron Nix. | ||
| I have talked to a number of people who were there who said this absolutely was a man in black. | ||
| And at one point, I believe at the very end, when Richard finally presented the big one, the big picture at the end that was the clincher, he got on a cell phone and told somebody, we've got a problem. | ||
| Yeah, the actual words he used were we have a serious situation here. | ||
| Yeah, there you go. | ||
| And it was creepy. | ||
| I've never met anyone like him. | ||
| I got chills down my spine. | ||
| He was dressed completely in black. | ||
| I mean, black tie, black suit, black shoes, black sock, prim and proper, not a stitching out of place. | ||
| And, you know, I still get chills as I think about it, and I'm waiting for him to get in contact with me, as he said he would. | ||
| And he introduced himself as Sean. | ||
| That was the name he used. | ||
| Sean, huh? | ||
| Yeah. | ||
| For what it's worth. | ||
| Okay. | ||
| Okay. | ||
| All right. | ||
| Now we're going to move on to the caller. | ||
| The caller. | ||
| Do you want to play the whole commerce phone call forward first? | ||
| By all means. | ||
| Just to remind your listeners, it's two minutes long, but I've got it on hard drive. | ||
| No, that's quite all right. | ||
| Go right ahead. | ||
| Okay, we're going to run this whole call forward now. | ||
| On my Area 51 line, you're on the air. | ||
|
unidentified
|
Hello. | |
| Hello, Art. | ||
| Yes. | ||
| Hi. | ||
| I don't have a whole lot of time. | ||
| Well, look, let's begin by finding out whether you're using this line properly or not. | ||
|
unidentified
|
Area 51. | |
| Yeah, that's right. | ||
| Were you an employee or are you now? | ||
|
unidentified
|
I'm a former employee. | |
| Former employee. | ||
| I was let go on a medical discharge about a week ago and I've kind of been running across the country. | ||
| Oh man, I don't know where to start. | ||
| They're going to triangulate on this position really, really soon. | ||
| We can't spend a lot of time on the phone, so give us something quick. | ||
|
unidentified
|
Okay. | |
| Okay, what we're thinking of as aliens are extra-dimensional beings that an earlier precursor of the space program made contact with. | ||
| They are not what they claim to be. | ||
| They have infiltrated a lot of aspects of the military establishment, particularly the Area 51. | ||
| The disasters that are coming, I'm sorry, the government knows about them. | ||
| And there's a lot of safe areas in this world that they could begin moving the population to now are. | ||
| But they're not doing anything. | ||
|
unidentified
|
They are not. | |
| They want the major population centers wiped out so that the few that are left will be more easily controllable. | ||
| You start to go down now? | ||
| Yes, George. | ||
| And one more, yeah? | ||
| And that's it. | ||
| And that's it. | ||
| At that Point the satellite, according to GE Americom, lost Earth lock and we went away. | ||
|
unidentified
|
Right. | |
| Well, I received many factors and emails about this one. | ||
| I think of all the requests I've ever had, this has probably been the most requested reversals I've done. | ||
| I've received probably two or three dozen transcripts at least of people who've done reversals on this. | ||
| I have checked some of them. | ||
| There's essentially only three reversals that I'm very sure about. | ||
| I have very strict research protocols as to what I've documented and what I don't document. | ||
| And, you know, they're really, a lot of reversals people sent to me, although I can hear what they're hearing, there's only three I'm completely sure of. | ||
| And I've got to say that probably half of the people found at least two of these three reversals I'm about to play. | ||
| Really? | ||
| All right. | ||
| It's interesting because I, too, received script after script after script. | ||
| And I had people coming on the air saying, let me play this, let me play that. | ||
| And I thought, no, let's just let everybody hold on to what they've got and wait for Mr. Reverse Speech, David, you, to come on the air and then let everybody check that, what you're going to say against what they have. | ||
| Rather than trying to throw all kinds of stuff out there. | ||
| Right. | ||
| I appreciate your trust in me and doing that. | ||
| And part of the thing I'm trying to do in my broadcast with you is to teach people how to find them. | ||
| I mean, listen to the verses I play and listen to the consonant and the vowel sounds. | ||
| Listen to the syllable count, the spacing between the words, the tonal shift, and document reversals that sound like the ones I'm playing. | ||
| Because after 14 years of doing this, I do know what I'm doing. | ||
| I bet you do. | ||
| All right, David, we're going to hold that, the reversals on the two minutes you just heard until after the bottom of the hour. | ||
| Stay right where you are, David. | ||
| I've had a whole lot of requests. | ||
| During the very critical time that Daniel was ill, I played a song for him, and everybody is asking me who it is. | ||
| The answer is, this is Crystal Gale. | ||
|
unidentified
|
It's been a too long time with no peace of mind. | |
| And I'm ready for the time to get better. | ||
| This is Coast to Coast AM. | ||
|
unidentified
|
You're listening to Arkbell somewhere in time. | |
| Tonight featuring a replay of Coast to Coast AM from September 23rd, 1997. | ||
| I've got to tell you I've been racking my brain. | ||
| Hoping to find a way out. | ||
| I've had enough of the continued changes are coming, no doubt. | ||
| It's been a too long time with no peace of mind. | ||
| And I'm ready for the night To get ready To get ready You seem to want from me what I cannot give. | ||
| I feel so lonesome at night. | ||
| I have a dream that I wish I could live. | ||
| It's burning holes in my mind. | ||
| It's been a too long time. | ||
| It's burning holes in my mind. | ||
| It's burning holes in my mind. | ||
| Radio Networks presents Art Bell Somewhere Incline. | ||
| The night's program originally aired September 23rd, 1997. | ||
| The Kingdom of Nye. | ||
| Yes, indeed. | ||
| Hello, everybody, and good morning. | ||
| This is Nye County, Nevada. | ||
| In case you're curious, everybody always calls us, what does he mean by the kingdom of Nye? | ||
| Nye County, Nevada, and we are the closest thing to a kingdom you'll ever find in this country. | ||
| And now, what you no doubt have been waiting for, here come the reversals on the Area 51 caller, the wild man who knocked me off the air. | ||
| David? | ||
| Okay, we're going to look at these. | ||
| There's no doubt in my mind, as a precursor to this, that this was a very genuine call, and you were definitely knocked off the air. | ||
| I base that opinion not just on these reversals, but on some reversals of other Area 51 people who called in after. | ||
| So I want to get through all of these. | ||
| All right. | ||
| All right, you bet. | ||
| Here we go with the first one. | ||
| Can't spend a lot of time on the phone, Joe. | ||
| So give us something quick. | ||
|
unidentified
|
Okay, um, um, okay, well, what we're thinking of as aliens are they're uh they're they're extra-dimensional beings. | |
| And the verse on this one is, they want to get through. | ||
| You hear that okay? | ||
| No, sure, they want to get through. | ||
| And again, you know, I want you to compare this to the reversals on Steve, who he played earlier, which indicated he was not being completely truthful. | ||
| Now, this one here is adding extra dimensions to the story. | ||
| He's not saying this is not true. | ||
| His reversals is giving extra information to what he's saying forwards. | ||
| And that reversal there was also found by many, many people who emailed and faxed me. | ||
| So a lot of people who found that, you did a very good job. | ||
| And here's the next one. | ||
|
unidentified
|
I'm sorry, the government knows about them and there's a lot of safe areas in this world that they could begin moving the population to. | |
| Okay, this next one refers to the U.S. government. | ||
| I believe that's on the section it occurs. | ||
| Reversal says they're shielding off in your room, or it could be womb, and I'm not too sure which way to call it. | ||
| So you listen, they're shielding off in your womb or your room. | ||
| One of the two. | ||
|
unidentified
|
And again, I get room. | |
| That's what I'm leaning towards. | ||
| A couple of my staff said it with womb, but I can hear definitely room. | ||
| Yeah. | ||
| Yeah, I think it's room. | ||
| And I think, personally, I'm leaning towards room too. | ||
| And I think it's simply referring to they are shielding you off. | ||
| Somehow they're going to cut you off the air or they're doing something else. | ||
| I'm not sure if it's directed to you or someone else. | ||
| But it's certainly a warning, I think. | ||
| It certainly is. | ||
| Let me play it one more time. | ||
|
unidentified
|
Okay. | |
| You know, I mean, this is a guy who's very serious. | ||
| He believes what he's saying. | ||
| He's genuinely scared. | ||
| But particularly in this next reversal I'm going to play, which I would see well over 50% of the people who emailed me also found this reversal as well. | ||
|
unidentified
|
They want the major population centers wiped out so that the few that are left will be more easily controllable. | |
| And reversal simply says feel the heat or feel the pressure is the way I would interpret it. | ||
| But feel the heat, the heat of the police or whoever's chasing him. | ||
| Okay? | ||
|
unidentified
|
Yep. | |
| Feel the heat. | ||
| Yeah. | ||
| And there are three reversals I'm totally convinced about. | ||
| I'm going to play another one as well. | ||
| I don't want to stake my reputation on this one, but I want to play it because of the significance of it. | ||
| And this is right at the very end. | ||
| He's crying. | ||
| His voice is choked. | ||
| Just choked. | ||
| And then your satellite goes down and we've got a little bit right on the end. | ||
| And when I first heard this reversal, I heard it as going to get shot. | ||
| But my staff tell me that it says going to get a job. | ||
| So we've been arguing about it. | ||
| But I want to play it because of this significance. | ||
| It's difficult to call it because he's crying. | ||
| gonna get shot or gonna get a job and get a job and get a job I'm going to hear shot at the end. | ||
|
unidentified
|
I'm going to get a shot. | |
| Oh, it's Sean. | ||
| Yeah, I mean, that's exactly how I hear it. | ||
| And I'm going to run that again. | ||
| I'll let other people call it. | ||
| There's an extra syllable in there. | ||
| But see, he's crying. | ||
| His voice is all choked. | ||
|
unidentified
|
Yeah, let me do it again. | |
| You can hear the shot right as hell. | ||
| Oh, I see. | ||
| And again. | ||
| There's no question about it. | ||
|
unidentified
|
Yeah. | |
| This is a man who's very genuine. | ||
| He's in genuine stress. | ||
| He has genuine information to communicate. | ||
| I don't think he's being delusional. | ||
| I really don't. | ||
| Simply, when he's saying they're shooting off in your room, he says, forward, they're going to triangulate me. | ||
| And I think he's recognizing, listen, you're going to get taken off the air here, you know. | ||
| I'm going to get taken off the air and he's going to get shot. | ||
|
unidentified
|
Right. | |
| And you want to hear what some of the people who call in say to you. | ||
| These are ex-Area 51 employees. | ||
| He's a man who claims he's an ex-security guard. | ||
| This isn't a totally significant one, but I'll run it anyway. | ||
|
unidentified
|
What about your interruption? | |
| The last caller. | ||
| Yes. | ||
|
unidentified
|
I don't think you're going to hear from him again. | |
| And he simply says, mega man free, which I've no idea what that means, but I didn't know what rubber duck meant either. | ||
| Mega man free. | ||
| You hear that? | ||
| He might have been saying make he might have been saying make a man free. | ||
| Okay. | ||
| Let me hear it again. | ||
| Okay. | ||
|
unidentified
|
Mega man free. | |
| Mega man free. | ||
| I think he's saying make a man free. | ||
| Okay. | ||
| Once again, I've got Karen here next to me who's saying, that's what I said it says, David. | ||
| You know, as people get better trained, they become more vocal. | ||
| All right, let's move on with a man who claimed he was a cleaner for Area 51 about acid and the holes in the desert and stuff. | ||
| Any idea why I was tossed off the air like that? | ||
|
unidentified
|
I have a good idea. | |
| We worked with some things, some different satellite operations in the Gulf War where we cut down certain transmissions. | ||
| And he says, you were well fogged. | ||
|
unidentified
|
You were world fogged. | |
| You were world fogged. | ||
| And you were, too. | ||
|
unidentified
|
You were world fogged. | |
| We sure were. | ||
| Yeah, we'll do that one more time. | ||
|
unidentified
|
You were world fogged. | |
| Yeah, you know, there is no doubt in my mind this is a genuine event that happened to you. | ||
| Oh, sure. | ||
| And which makes you, which you must ask the question. | ||
| If you were generally shut down, the first time in your career, first time this has ever happened, what did this man have to communicate that was so threatening, you know? | ||
| Did you get any reversals from me through all of that? | ||
| Yes. | ||
| Not this one, the one after I'm going to play. | ||
| Okay. | ||
| I've got another one. | ||
| This is a man, a wrestler man who said he'd only stay on for 45 seconds. | ||
| Let me just say something about that. | ||
| Are you an Area 51 employee? | ||
| Not currently, no. | ||
| Were you? | ||
|
unidentified
|
Yes, I was. | |
| But I only will stay on the line for 45 seconds. | ||
| And this one says, oh, so I say, warn you. | ||
|
unidentified
|
So I say, who you're on you. | |
| Very clear warning. | ||
| So you on you. | ||
| Hear that? | ||
| Yo, very clearly. | ||
| Yeah, well, there was a lot of things. | ||
| there was one little tiny gibberish before warn you. | ||
| That's you speaking, chipping in. | ||
| That's me. | ||
| Yeah. | ||
| All right. | ||
| Hear it again in the slow speed. | ||
|
unidentified
|
So if he on you. | |
| Okay. | ||
| Wow. | ||
| And that was you. | ||
| Let me do the last beat again. | ||
| The warn you is very significant. | ||
| Very clear reversal. | ||
| Perfectly enunciated. | ||
| Perfect tonality. | ||
| You can hear his seriousness behind it. | ||
| Warn you. | ||
| Take note. | ||
| All right, play it at regular speed, David. | ||
| Okay, here we go. | ||
| So I say, warn you. | ||
| He's emphasizing his point here. | ||
| Take note. | ||
| Listen to this, okay? | ||
| You were well thugged, my friend. | ||
| Well thugged. | ||
| And he has another reversal as well. | ||
|
unidentified
|
And tonight was one of the very rare nights that I didn't tape it. | |
| I'm going to hang up now. | ||
| Right, you're exactly right. | ||
| 45 seconds on the nose. | ||
| And then he says, my man had a gun. | ||
|
unidentified
|
Fine buggy had a gun. | |
| Fine bugger had a gun. | ||
| And again? | ||
| Oh, that's clear. | ||
|
unidentified
|
Yeah. | |
| And it makes you wonder who this guy really was, quite frankly. | ||
| Yeah. | ||
| I warn you, my man had a gun. | ||
| And we hear the other guy saying, gonna get shot. | ||
| I mean, something came down, Art. | ||
| Something really came down. | ||
| I got chills doing these reversals. | ||
| Okay, now here's one on you. | ||
| Wow. | ||
| All right, now I've heard it. | ||
| Thank you, folks. | ||
| I was unable to hear that myself until just now. | ||
| Weird, weird stuff. | ||
| And here you say they force our battery. | ||
| Niflos now, battery. | ||
| Niflis now battery. | ||
| Okay. | ||
| Oh, yes. | ||
| Did you go on backup battery systems or referring to the batteries in the satellite or what? | ||
| Any idea? | ||
| We went on landline backup, digital landline backup. | ||
| Now, if I was referring to something that had to do with the satellite, I'm not aware of it. | ||
| Right. | ||
| So I'm not sure. | ||
| Okay. | ||
| Well, they forced our battery. | ||
| I just assumed it was a backup system. | ||
| Well, when I think of backup, which is certainly what we were trying to get on at that moment or had just achieved, I would think of battery backup. | ||
| So that's probably congruent. | ||
| Right. | ||
| That's what I suspect, too. | ||
| Here's another. | ||
| I've got a couple more important ones to play yet. | ||
| Let's continue. | ||
| Absolutely. | ||
| Absolutely. | ||
| And it's a necessity. | ||
|
unidentified
|
And, you know, at one time it did pay my bills. | |
| Naive assassin. | ||
| Naive assassinist. | ||
| Na eat assassinist. | ||
| Na eat assassinist. | ||
| Okay. | ||
| And look at the trend that's coming in all of these reversals. | ||
| All of them. | ||
| Yes, oh yes. | ||
| In the genuine callers. | ||
| This is a man who's a current security guard. | ||
| Let's run this one. | ||
| And here we go. | ||
| Are you not afraid of retribution for making this comment? | ||
|
unidentified
|
No, because we're security. | |
| And that's why Area 61 exists. | ||
| Okay, two reversals here. | ||
| The first one says, the theory all set. | ||
|
unidentified
|
The theory elsewhere. | |
| The theory all set. | ||
| The theory elsewhere. | ||
| What theory is all set? | ||
| Yeah. | ||
|
unidentified
|
The theory else that. | |
| And the next reversal says, they'll shut you down. | ||
|
unidentified
|
And the situations have been cleaned tonight, especially. | |
| They'll shut the gym. | ||
| Damn. | ||
| They'll shut the gem. | ||
| Hear that? | ||
| Yes, oh, yes. | ||
| Too clearly, thank you very much. | ||
| They'll shut you down. | ||
| Absolutely. | ||
| You know, I don't know what to tell you about this. | ||
| It's something very seriously happened. | ||
| And you're getting warned from people who are either current or ex-Area 51 employees who, in my mind, know exactly what they're talking about and know exactly how things work. | ||
| And you've been warned. | ||
| This gives me the heebie-jeebies. | ||
| Oh, yeah. | ||
|
unidentified
|
Yeah. | |
| And I remember them from that night, but hearing this now really gives me the heebie jeebies. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| And here's another one on you. | ||
| And then at the very end, this is all stuff you didn't hear. | ||
| It was a kind of a scream and a screech and a cutoff. | ||
| And you say, and did we fuss? | ||
| And did we fuss? | ||
| Just a statement of fact, you know. | ||
| Yes. | ||
| Fussing around, trying to work out what's going on. | ||
|
unidentified
|
Sure. | |
| Okay. | ||
| Well, you know, that's practically it. | ||
| I've got a couple more, and then I'm done with the Area 51 calls. | ||
| And, you know, I mean, I've still got more on Furman to play. | ||
| It depends on how you want to run the program tonight. | ||
| I can go for another hour at least, but it's up to you. | ||
| Let us continue on here. | ||
|
unidentified
|
Well, you know what, Art? | |
| I think you're more prophetic than what you realize. | ||
| Prophetic? | ||
| Do you say prophetic, prophetic, or prophetic? | ||
|
unidentified
|
Prophetic. | |
| Yeah. | ||
| And you're laughing, and back would you say, broke us up, get us off. | ||
|
unidentified
|
Broken us off, get us off. | |
| Broken us up. | ||
|
unidentified
|
Broken us off, get us off. | |
| Broken us. | ||
| I think it refers, I don't know whether it refers to you're laughing, you know, you're breaking up laughing, or whether you're still reflecting on the whole night that happened. | ||
| Yeah, I'm not sure either, but it was very clear. | ||
|
unidentified
|
Yeah, okay. | |
| And this is one more on Steve in the second day that he called in. | ||
| And this is probably his one redeeming reversal in all of the other ones that he had. | ||
|
unidentified
|
Just inside the Russian border, there were American troops involved. | |
| Soviets would not let the Americans come in, even though they did the troops out. | ||
| And Kennedy knew about this, and he was about to tell everyone about it. | ||
| And then he says in reverse, I pierced the big enemy. | ||
| I especially. | ||
| I pierced. | ||
|
unidentified
|
I espierced the big enemy. | |
| Okay. | ||
| Yes. | ||
| And that's basically it. | ||
| The clear reversals are found on the O51 reversals. | ||
| And, you know, I've got several more on Surman, all the Simpson stuff. | ||
| I've got the test that I want to run. | ||
| It's up to you. | ||
|
unidentified
|
All right. | |
| Why don't we run the test? | ||
| Do you have time? | ||
| Yeah, we've got 10 minutes. | ||
| I don't know whether we'll get it in in 10 minutes. | ||
| Oh, no, no, no. | ||
| It's going to take 10 minutes. | ||
| Really, 10 to 1, is it not? | ||
| How long is the test? | ||
| Well, it is about five reversals. | ||
| And what I want to do is, well, we'll get in as much of it as we can. | ||
| And I want people to get their pencil and papers out now. | ||
| And I'm going to play you several reversals. | ||
| And I'm going to give you a multiple choice of what they say. | ||
| And this is the format, what I'm going to do. | ||
| We'll just do a trial run to start off with. | ||
| I'm going to play your reversal at three different speeds. | ||
| And this first reversal, I'm going to give you the answer to this at the end, then I'll run the rest. | ||
| This reversal either says, get back in it, big truck fix it, or there's a crack in it. | ||
| So listen, what does it say? | ||
| Get back in it, big truck fix it, or there's a crack in it. | ||
| Get back in it. | ||
| And here's the forwards on that one. | ||
|
unidentified
|
And he cut defense, an extra $60 billion. | |
| Get back in it. | ||
| What did you hear in that one, Art? | ||
| You really want my answer? | ||
| Because if I give you my answer and I've got it, it will influence others. | ||
| Okay, well, that was just my first test run. | ||
| All right, answer is get back in it. | ||
| Exactly correct. | ||
| Okay, now the rest of them I'm not going to tell you, okay? | ||
| All right. | ||
| So now we're going to run it. | ||
| Here's example number two. | ||
| This one either says we were going too fast, they pulled out the grass, or cover the car with brass. | ||
| Which one does it say? | ||
|
unidentified
|
They found out the wrong. | |
| They found out the wrong. | ||
| They found out the wrong. | ||
| I want you to tell me, and we're going to run the your forward dialogue. | ||
|
unidentified
|
Baby! | |
| Ow! | ||
| Oh, really? | ||
| Okay, and one more time. | ||
| Okay, now here's test number two. | ||
| And this one either says, you were being so catty, who was ever the daddy, or you were never my daddy. | ||
| And which one do you think this says? | ||
|
unidentified
|
And we're going to play this now. | |
| and he is a forward on this. | ||
|
unidentified
|
He's tearing me apart because I keep this lie saying that he did do it, but I know he did. | |
| Mom, I love you, and I love Robert and Rachel too, but he did it. | ||
| And here's a verse one more time. | ||
| Okay, and now we're going to go to another one. | ||
| And this one either says, hear the lie, tell me why, or fear the lie. | ||
| And, you know, in these examples, I've tried to make them all sound very similar, so they've got the same syllable count, but they sound very similar, you know, and this should really give a good test for reverse speech. | ||
| So here it is. | ||
|
unidentified
|
You the liar. | |
| So you that you've been, this person who dreams and isn't in reality about who your husband really was and what your marriage really was and who you really were, has to go. | ||
| And here's Reversal again. | ||
|
unidentified
|
You're the liar. | |
| Okay, now. | ||
| I have absolutely no problem with these at all. | ||
| It's going to be interesting to see how the audience reacts, that's for sure. | ||
|
unidentified
|
Oh, yeah. | |
| All right, look, we're at the top of the hour, so we will do one more hour. | ||
| And when we get back, after you finish the test, let's just go to some of the best classics of all time. | ||
| Okay, we'll do exactly that. | ||
| All right, good. | ||
| David John Oates is my guest. | ||
| We're talking reverse speech. | ||
| I guess we shouldn't put it that way. | ||
|
unidentified
|
We're talking about reverse speech. | |
| And you're hearing some of it. | ||
| I'm Arkbell, and this is Coast to Coast AM. | ||
|
unidentified
|
You're listening to Ark Bell somewhere in time on Premier Radio Networks. | |
| Tonight, an encore presentation of Coast to Coast AM from September 23, 1997. | ||
| Coast to Coast AM from September | ||
| 23, 1997. | ||
| Coast to Coast AM from September 23, 1997. | ||
| Coast to Coast AM from September 23, 1997. | ||
| Coast to Coast AM from September 23, 1997. | ||
| Coast to Coast AM from September 23, 1997. | ||
| Premier Radio Networks presents Art Bell Somewhere in Time. | ||
| The night's program originally aired September 23rd, 1997. | ||
| Once again, here I am. | ||
| Howdy, folks. | ||
|
unidentified
|
Howdy, folks. | |
| All right, back now to David John Oates in Alaska. | ||
| David, you're back on the air. | ||
| Now, is there more of the test or are we done? | ||
| Well, let me just do one more example on the test, okay? | ||
| Sure. | ||
| Then we're done. | ||
| And the purpose of this test is very simply to discount the idea of suggestion or projection. | ||
| You know, of course, reverse speech is real and it does exist. | ||
| And I think we can disprove projection fairly, fairly easily. | ||
| One of the reasons why I'm doing this is a major university in Australia has just come out with a report on reverse speech. | ||
| And it's the first negative report to be issued yet. | ||
| And most of the reports, independent studies, have all been very positive to reverse speech. | ||
| But they're claiming that it is through suggestion only that people are hearing the phrases. | ||
| So we intend to combat that and do our official test of our own. | ||
| We've got two universities in San Diego who have agreed to run it. | ||
| And this is the first of it. | ||
| So we have one last example left. | ||
| And this is a musical piece. | ||
| and does this say wolf in white van you're a quiet man or vets still in nam And again. | ||
| And forwards. | ||
|
unidentified
|
All right. | |
| Okay. | ||
| Well, good luck to them because I couldn't get that one. | ||
| Right. | ||
| Well, I threw that in at the end. | ||
| It's a little bit tougher. | ||
| The either says, Wolf in White Van, you're a quiet man, or Vet still in NAM. | ||
| And people, if you could please send me your answers or email me at backwards at reversespeech.com. | ||
| Also, if you want information on our very first annual reverse speech conference to be held in San Diego on December the 12th, 13th and 14th, contact us. | ||
| And also, we are bringing out a newsletter called Back Talk. | ||
| And this was actually in production many years ago. | ||
| It was a fantastic publication. | ||
| I'll be wanting to bring it out again. | ||
| And our first issue will be out in a month. | ||
| And it will be a free issue, the first one. | ||
| So once again, if you want to get a hold of Back Talk, be on the subscriber list or come to our conference or send me the answers or get books, tapes, machines. | ||
| All right. | ||
| All right, before we're going to go to some classics, but a couple of facts is here. | ||
| On David Oates' reversal of what I said on the Area 51 employee line, quote, you won't be hearing from him again. | ||
| And reverse it came out, make a man free. | ||
| Thought you might be interested to know that early in my career, I was told by a Buddhist monk in Laos that part of my journey was to release souls, that I always considered that death was indeed making one free. | ||
| Oh boy. | ||
| Or this. | ||
| Dear Art, I love reverse speech. | ||
| The hysterical Area 51 caller before the satellite cutoff. | ||
| I listened very closely. | ||
| Listen to it again. | ||
| He didn't say, I'm going to get shot. | ||
| I very clearly heard, you're going to get a shock. | ||
| the consonant sound at the end is more of a K instead of a T. Hmm. | ||
| I don't know. | ||
| I got shot, but... | ||
| Roll it again. | ||
| Sorry? | ||
| Roll it again. | ||
| Oh, okay. | ||
| Let me go and pull that one up right now. | ||
| You caught me on the hop on this one. | ||
| All right, it's either I'm going to get shot or it's you're going to get a shock. | ||
| Let's see what happens. | ||
| Okay, and we have it right now. | ||
| Computers are marvelous things, aren't they? | ||
| All these sub-directories. | ||
| And here we go. | ||
| Here's that reversal again. | ||
|
unidentified
|
Here we get a shot. | |
| Here's your shot. | ||
| Well. | ||
| Well, excuse the pun, but I'm sticking by my guns here. | ||
| I'm going to get shot is what I heard. | ||
| It's such a tough one because the guy's crying, you know, and you can barely hear what he's saying forwards, you know, let alone backwards. | ||
| And let's run the forward section again. | ||
| See if someone can tell me what he's saying forwards on this one. | ||
| And that's all we got. | ||
| Here's the backwards. | ||
| I'd like to commend the person for the facts. | ||
| That's what you've got to watch for. | ||
| Watch for the consonant sounds. | ||
| Watch for the syllable. | ||
| Watch for the vowels and consonants. | ||
| That's a really tough one to call, you know, and I wouldn't like to stake my reputation on that one, man. | ||
| All right. | ||
| I got calls from several people, and we did spring this on the audience just now. | ||
| I just got a fact saying, Art, have David tell the story about the man in black again. | ||
| I just wasn't ready for it, and it caught me off guard. | ||
| Michael, the fact of the matter is I got several calls after Richard Hoagland's Pasadena conference. | ||
| And every one of them said there was a man in black there during the whole thing and that he was sporadically making cell phone calls. | ||
| He was, well, the story simply is, I saw him at the door watching, occasionally watching while I was lecturing. | ||
| He was extremely conspicuous. | ||
| I mean, he wasn't inconspicuous at all. | ||
| There was no doubt this man's presence filled the entire place. | ||
| He was dressed completely in black, I mean black tie, black suit, black shoes, immaculately dressed, groomed to the tilt, not a stitch of clothing out of place. | ||
| When I finished, now the conference went on till 3 o'clock. | ||
| It was an incredible conference. | ||
| It went from half past 7 until 3. | ||
| I'd say 75% of the people stayed right to the very end. | ||
| And when we finished, I went outside and he was pacing up and down on the balcony. | ||
| And as soon as he saw me, he went straight towards me and simply said, I want to talk to you now. | ||
| I brushed him off at first. | ||
| I pretended I had some other stuff. | ||
| I didn't know who the guy was. | ||
| I just got this really uneasy. | ||
| You know, you meet someone sometimes and you just get the creeps. | ||
| This guy creeped me out to the max to use some Aussie slang. | ||
| And then he finally caught me again when I was packing up and he said to me, Mr. Oates, I'd like you to step out on the balcony. | ||
| I've got a few things I'd like to say to you. | ||
| I'm going, yeah, right. | ||
| I'm going to step out on the balcony with you. | ||
| And so I didn't. | ||
| He asked me two or three times I wouldn't go outside and finally he pulled me off into a corner and just simply said, my employer is very interested in your work and we will be in contact with you shortly. | ||
| Then, what was Richard showing? | ||
| What was the last gotcha photograph that Richard showed to the audience? | ||
| Well, the thing that really hit home and really got this man nervous was he showed a plaque that was on the space, the lander. | ||
| And simply, the plaque was that of a skull. | ||
| There was a symbol of a white skull attached to the lander. | ||
| And Richard simply says that that is representative of the whole mission up there. | ||
| They had a lad there present a very convincing paper about some of the occult involvement in the whole Mars mission, claiming that they're on a spiritual mission and it's run by people. | ||
| Gee, I can't really describe it to you. | ||
| I think the report's on Richard's website about connections back to Alistair Crowley and their spiritual mission. | ||
| and that is presented by the skull symbol that was on the spacecraft all right and at that point the man in black made a call And I want to play you a reversal of the white man's skull. | ||
| You remember that reversal I played? | ||
| Go ahead and play it, yeah. | ||
| I want to play this again. | ||
| And I was absolutely stunned, totally stunned by the correlations of what Richard was saying and what I was finding in the reversals. | ||
| And we came to our conclusions totally independently. | ||
| And so here's this reversal. | ||
|
unidentified
|
And then set even greater land distance rover records on Mars by going a full six meters in autonomous fashion, as will be described later, over to this region behind these two rocks named Calvin and Hobbes. | |
| That's the forwards. | ||
| And the reversal is, well, actually, there are two reversals. | ||
| First one says, reveal the dark city. | ||
| And then the second one says, and the white man's skull, we see it now hidden. | ||
|
unidentified
|
And the wife means it now hidden it. | |
| And we'll do it once more. | ||
| And you can go to Richard's website at www.enterprisemission.com and you can actually see the plaque on the side of the lander that has what I think is a very clear picture of a white man skull. | ||
| Very chilling. | ||
| And it was that actual image that Richard showed, and I think I played the reversal at the same time, that sent this guy into a severe panic. | ||
| He was really quite panicked and quite scared. | ||
| Well, not scared, but very concerned. | ||
| All right. | ||
| And I don't know what to say. | ||
| Well, there is the story of the man in block in Pasadena. | ||
| That's what happened. | ||
| That's all I can tell you. | ||
| And there was no way I was going to step out on the balcony with him. | ||
| Don't blame me a bit. | ||
| How many floors up were you? | ||
| Only one, but, you know, I don't want to even fall one. | ||
| You know, my daughter just fell off a brick wall. | ||
| Oh, no. | ||
| I can almost see the headline now. | ||
| Reverse speech guru breaks neck in shortfall from balcony. | ||
|
unidentified
|
Right. | |
| Yeah, well, I didn't have any security people with me on that night, and knowing, you know, I wasn't going to pat him down myself. | ||
| Oh, no, no, no, no, David, no. | ||
| All right, let us move on to some great classics. | ||
| Okay, well, the first one I've got up is the classic one from Colonel Haynes in the Raw World Press Conference. | ||
| Kidoki, here we go. | ||
|
unidentified
|
Let me read my prepared statement, and then we'll roll a short video that Captain McAndrew will talk about. | |
| And when he talks about the short video, he says, we faked it. | ||
|
unidentified
|
Miss Fashioned. | |
| Miss Fashioned. | ||
| There it is. | ||
| Miss Faced. | ||
| It just speaks for itself. | ||
| And there's another one here on the Roswell 12. | ||
| If I can just, well, I can't see that off the top of my head, so we won't do it. | ||
| Well, that other one was awfully clear. | ||
| We faked it. | ||
|
unidentified
|
Yeah. | |
| They don't come any better than that. | ||
| No, they really don't. | ||
| And let's look at the, what we'll do is we'll look at the famous Mars NASA broadcast. | ||
| It still stands in my mind as the best broadcast that I've ever done on your program and talking about the Mars missions. | ||
| All right, was that the gentlemen that were on my program from NASA? | ||
| Don Savage and Ray Villain. | ||
| Yeah, see, that's because they were speaking, forced to speak, because we had so much time extemporaneously, and they, you know, they just let loose. | ||
|
unidentified
|
Right. | |
| They had so many re-versals. | ||
| For the guests that I've done on your program, they had the most reversals and the clearest reversals of all. | ||
| I think it's because while they were talking very casually and naturally, it was just an extremely good condition for finding re-versals. | ||
| And this is the first one. | ||
| This is on Ray Billard, and he's talking about some of the research projects they want to pursue and how they go about choosing those projects. | ||
|
unidentified
|
The selection on who gets to use Huddle is made by committees, peer-reviewed committees of other astronomers who come to Baltimore, meet at the Institute, they sort through the proposals, make their recommendations to our director. | |
| And simply what's locked up with their starship, this needs to be known. | ||
| Note he's asking a question. | ||
| And my question back is, what starship? | ||
| are we talking about here hmm And again? | ||
| I mean, you know, just a very clear reversal. | ||
| Very clear. | ||
| It speaks for itself, I do think. | ||
| Here's one I haven't played again, and I've been wanting to play this one on your program ever since I've been back on it again. | ||
| It's just an amusing reversal. | ||
| They're talking about the space station Mir. | ||
|
unidentified
|
What I've heard was they did have a couple of situations of, I think, a leak in a coolant system. | |
| And it showed... | ||
| I was just laughing at it. | ||
| And the Mir is, I keep calling it, an experiment in mortal terror. | ||
| Oh, really? | ||
| and the reversal says, "Show this old bucket. | ||
|
unidentified
|
I shall wish to fill a bucket." I shall wish to fill a bucket. | |
| I shall wish to fill a bucket. | ||
| They're presently trying to make up their mind whether they're going to risk another American on Mir or not, and there is no decision as of yet. | ||
| Right. | ||
| I think the guy's name is David Wolf. | ||
| He's the astronaut who wants to go back up there again. | ||
| Well, the astronauts, I mean, I understand they always want to go, yes, yes, yes, oh, yes, I'll go. | ||
| But I think that his safety needs to be considered aside of his heroic interest in going anyway. | ||
| Right. | ||
| Okay, we'll just do a couple more on here. | ||
| This is about the space on Mars. | ||
| I mean, I've played this one on your program many times, so let's do it again. | ||
|
unidentified
|
Shortly after it got there, when the mapping began that year, Viking Orbiter 1 sent back the picture and somebody noticed it on there, and it's kind of a neat thing. | |
| Many of these scientists were downplaying their entire interest in the space on Mars, involved in the Sidonia region. | ||
| Backwards he said, were involved with Sidonia. | ||
|
unidentified
|
Very mad at Sidonia. | |
| And again. | ||
| Oh, that is so clear, so unambiguous. | ||
| It speaks totally for itself. | ||
| And I get back to the conference that JPL, that Richard and I did, and there is no doubt in my mind that there is great interest in Mars. | ||
| All right, David, hold tight. | ||
| We'll be right back. | ||
| This is Coast to Coast AM, Reverse Beach Night. | ||
| Don't forget, tomorrow, Michio Kaku, Professor Kaku, about other dimensions. | ||
| He's a theoretical physicist, and you will absolutely love this show. | ||
|
unidentified
|
You're listening to Arc Bell somewhere in time. | |
| Tonight featuring a replay of Coast to Coast AM from September 23rd, 1997. | ||
| Coast to Coast AM from September | ||
| Coast to Coast AM from September 23rd, 1997. | ||
| 23rd, 1997. | ||
| Coast to Coast AM from September 23rd, 1997. | ||
| You're listening to Arc Bell somewhere in time on Premier Radio Networks. | ||
| Tonight, an encore presentation of Coast to Coast AM from September 23rd, 1997. | ||
| Coming up for another half hour, David John Oates. | ||
| Reverse speech is what it's all about. | ||
| And I just don't know how you can listen and not believe. | ||
|
unidentified
|
Let's go. | |
| I feel like I'm like a beautiful. | ||
| Every time I think about it, I won't cry. | ||
| The bones will be kicked and come. | ||
| Go away, baby, and I'm in your hall. | ||
| You ever sit down and just listen to the words to this thing? | ||
| You know who this is, right? | ||
| its heart. | ||
|
unidentified
|
Well, I tell myself that I'm a do it all right. | |
| There's nothing left to do at night. | ||
| But don't bring me on you. | ||
| Crazy on you. | ||
| Good morning, everybody. | ||
|
unidentified
|
Good morning. | |
| Good morning. | ||
| Back now to Alaska. | ||
| Alaska, I said, and David John Oates. | ||
| David, in this last segment, why don't we just hit him with all of the best? | ||
| That's what I'm going to do. | ||
| I've just got one more queued up on NASA, so let's do that. | ||
| And we'll go to Neil Armstrong and all the classic ones. | ||
| All right. | ||
| Here we go with NASA first. | ||
|
unidentified
|
This feature that looks like a face, I believe it's about a mile across. | |
| Okay, and it's way below Hubble's resolution. | ||
| The resolution we have is good for sort of global monitoring of virus and sort of. | ||
| And this is the one that says we're riding a shielded vessel. | ||
|
unidentified
|
Ribwat and shielded vessel. | |
| Ribwat and shielded vessel. | ||
| And what's more. | ||
| Ribwat and shield vessel. | ||
| Well, that is a classic. | ||
| That is a classic. | ||
| And based on some of the information Richard Hoagland found out, I think that's probably very true. | ||
| You need to go to his website and speak to Richard about that. | ||
| He is far more knowledgeable about that than I am. | ||
| I just find them. | ||
|
unidentified
|
Right. | |
| Okay, we're going to go to Neil Armstrong. | ||
| And this remains probably one of the classic reversals of all time, if for no other reason, as it was the very first reversal I ever, ever found in human speech. | ||
| And the way it is, I actually found the reversal first. | ||
| I was running the tape straight backwards. | ||
| It was a compilation of radio broadcasts, and I had no idea what was on the forward. | ||
| And I heard this very clear phrase, man will spacewalk and reverse it to hear this. | ||
|
unidentified
|
That's one small step for man, one giant leap for mankind. | |
| Okay, and in reverse, man will spacewalk. | ||
|
unidentified
|
Man will space fall. | |
| And again. | ||
|
unidentified
|
Man will space fall. | |
| I mean, you know, it's very clear. | ||
| Let's just run it forwards and backwards. | ||
|
unidentified
|
That's one small step for man. | |
| Man, we're faithful. | ||
| Okay, no question about that one. | ||
|
unidentified
|
Yeah. | |
| You know, and it's obviously his hope for mankind as he moves forward into space. | ||
| All right, I have a quick question for you. | ||
| Please ask David if he has ever reversed someone talking in their sleep. | ||
| That's Marion Longmont, Colorado. | ||
| No, I haven't. | ||
| I've wanted to many times. | ||
| Some people try to catch me talking in my sleep, but you can't leave a tape recorder running all night. | ||
| I would love to do that. | ||
| If someone's got a tape of that, send it into me, and I will do that. | ||
| All right, if anybody out there has a tape of themselves or their mate, better yet, talking in their sleep, send it to David, and we'll destroy your marriage for you right here on the air. | ||
| Absolutely. | ||
| And also, look, I've just been asked, too, the free issue of Back Talk that we'll be releasing in a month, I've been asked if people could send a stamped, self-addressed envelope to my mailbox for that. | ||
|
unidentified
|
Okay. | |
| Okay. | ||
| Now, this next reversal is a classic reversal for me. | ||
| I don't think I've played it on your program much. | ||
| This got me into a lot of trouble in Australia. | ||
| It's Australia's Prime Minister, Bob Hawke, and he was a heavy drinker and a womaniser. | ||
| He's actually in the Guinness Book of Records and winning the World Beer Drinking Championship contest. | ||
| And you'll actually see him there. | ||
| Well, Australia has a different moral standard than America. | ||
| The bigger and louder and more rowdier you are, the better chance you've got of getting into office. | ||
| And that's the Australian spirit for you. | ||
| The more beer you can drink, the more votes you can get. | ||
|
unidentified
|
All right. | |
| But he actually ran for election this time on the basis that he'd given up drinking. | ||
| So he'd just won, and someone's a reporter sarcastically asked him, well, how do you plan to celebrate? | ||
| And this was his answer. | ||
|
unidentified
|
Thank you, button. | |
| What are your celebration plans now? | ||
| Oh, several cups of tea. | ||
| Several cups of tea and backwards, he says, used to smoke the best marijuana. | ||
|
unidentified
|
Mias respectable rift war. | |
| And again. | ||
|
unidentified
|
Mias respectable rift war. | |
| For the similar reverse on Clinton tonight, they pay for dope, whatever that means, referring to the FDA. | ||
| Okay, and here's your favorite reversal. | ||
| I haven't played it for a couple of while now. | ||
| This is my daughter reaching. | ||
| I'm chasing her around the room with the tape player. | ||
| This is my favorite, yes. | ||
| And he's actually got a tape player in her face. | ||
| This is before she could talk, folks. | ||
| before she could talk and she reaches out for it. | ||
| And backwards, what's that? | ||
| And again? | ||
| I mean, exceptionally clear reversal. | ||
| What's that? | ||
| Oh, so clear. | ||
| Yeah. | ||
| And we'll do another one on kids. | ||
| And the truth is that they're clear when they're very young, and they tend to get more muddled as they get older. | ||
| They do. | ||
| And if someone can flash back to my broadcast with the reversals on Philip Corso, you'll notice that they were muffled reversals. | ||
| Yes, indeed. | ||
| A lot harder to hear. | ||
| Nevertheless, very congruent. | ||
| Oh, absolutely. | ||
| And, well, Philip Corsa is definitely telling a true tale. | ||
| And here is a baby with a dirty diaper. | ||
| Daddy's bringing him a clean diaper. | ||
|
unidentified
|
I got a diaper for you. | |
| A fine forward. | ||
| Yeah. | ||
| And that would help me out. | ||
|
unidentified
|
Help me out. | |
| And again. | ||
|
unidentified
|
Help me out. | |
| And here it is. | ||
| Forwards immediately reversed. | ||
|
unidentified
|
A fine forward. | |
| Help me out. | ||
| A diaper. | ||
| Help me out. | ||
| That one's cute forward, I think. | ||
| Oh, yeah, that's just a classic reversal. | ||
| I love that one. | ||
| Some other classics. | ||
| What are some other classics? | ||
| Let me have a look here. | ||
| Oh, here we go. | ||
| I've played this one many times. | ||
| This is a live commentary of JFK's assassination. | ||
| We pick it up. | ||
| Rather point commentator realizes a shooting has occurred. | ||
| Just a moment, please. | ||
| Something has happened in the motorcade. | ||
|
unidentified
|
Stand by, please. | |
| Clark and Hospital, there has been a shooting. | ||
| Clarkland Hospital has been advised to stand by for a severe gunshot wound. | ||
| And Rather Point Commentator realizes the shooting has occurred. | ||
| He says in reverse, he's shot bad. | ||
| Hold it. | ||
| Try and look up. | ||
| Sexually clear reversal. | ||
| Yeah, he's shot bad. | ||
| Yeah, he certainly was. | ||
| and here it is forwards and backwards. | ||
|
unidentified
|
"Fontal hospital, there is a ship. | |
| "We shall die for the fall of the house." You know, I don't know how people can doubt this technology. | ||
| I don't either. | ||
| I was about to say the same thing. | ||
| Oh, really? | ||
| I mean, these things are so stunningly clear. | ||
| And they've been confirmed time and time and time again. | ||
| I mean, we had a classic confirmed tonight on the air. | ||
| Rub, rub, rubber duck. | ||
| You know, here I am, rubber duck. | ||
| Tyson had no idea what it meant. | ||
| I almost didn't play it for that reason, and I'm glad I did, you know. | ||
| Punch drunk. | ||
| Okay. | ||
| Here's another classic one. | ||
| This is me, and I'm talking about reverse speech. | ||
| It's been funny thrust into this role where I have people coming to me and saying, David, I want to know what's going on inside my head. | ||
| And I think, funny, how are you asking me? | ||
|
unidentified
|
All I do is play tape backwards. | |
| And then I'm starting to get a good point. | ||
| And where I say all I do is play tape backwards on those precise words. | ||
| Note the contextual relationship. | ||
| It says in reverse, look at that. | ||
| There's a little bit of gibberish followed by all I am inside. | ||
| And let's just run the all I am inside just by itself. | ||
| And that's what reverse speech is. | ||
| All that we are inside. | ||
| And the implications of that is really quite monumental if you sit down and consider that momentarily. | ||
| Well, here's a reversal I don't think I played. | ||
| This is the four is not all that significant. | ||
| It's me meeting a new friend and we're just chatting away generally. | ||
| He's talking about some photographs he wants to give me. | ||
| I was hoping if that one acts. | ||
| Yeah, well, obviously, I have it there. | ||
| I'll give it to you. | ||
| And he says in the verse, please to be your friend. | ||
|
unidentified
|
Please be my friend. | |
| Please be my friend. | ||
| You hear that okay? | ||
| Oh, clearly, yes. | ||
| Yeah, once more. | ||
|
unidentified
|
Please bring me more friend. | |
| Now what gets me is, and I want to make note here, when you play the children, we get that incredible ethereal sound. | ||
|
unidentified
|
Yeah. | |
| But this particular reversal had a tremendous amount of echo on the forward portion of it, and yet you did not get the ethereal sound in reverse. | ||
| Ah, very good point. | ||
| Yeah, very good point. | ||
| And I really don't know why that is so. | ||
| I really don't. | ||
| And a lot of my work is still in researching. | ||
| I document what I find. | ||
| Sure. | ||
| And hopefully, as we can get to more people interested in this, we can answer some of these questions. | ||
| And that's one of the reasons why we're having the conference on the first week in December, 12th, 13th, and 14th, second week in December. | ||
| I want to form an independent research organization. | ||
| And we want to appoint a board of directors to supervise the research. | ||
| And I would love as many people as possible to come along and let, you know, I've held on the reverse speech fairly tightly, I must admit, and I've had a lot of people calling for me to open it up. | ||
| It's not mine anymore. | ||
| And they're right. | ||
| As hard as it is for me to let go, it's time to let it go. | ||
| And one of the reasons why I'm having this conference is to get as many people from across the country as possible. | ||
| Let's come in, let's pull our resources. | ||
| I want to open the technology up and let's get answers to these questions. | ||
| What does it mean? | ||
| I don't know, you know? | ||
| And hopefully we can start a whole brand new movement, quite frankly. | ||
| Gotcha. | ||
| Okay, what else have we got here? | ||
| Oh, what's that one you liked? | ||
| She's a fun girl to kiss. | ||
| Oh, I love that one. | ||
| Yeah, okay. | ||
| I've just found it. | ||
| Here we go. | ||
| Everybody, alert in Washington, D.C. You guys are going to love this. | ||
| This is our president. | ||
| Right, this is Bill Clinton being asked, how does he avoid being unduly influenced? | ||
| And actually, I'll play another one after I don't think I'll plan your program. | ||
| Oops, we have a little computer glitch. | ||
| Let's do that again. | ||
|
unidentified
|
Trial lawyers and campaign, that means campaign financing. | |
| How do you personally avoid being unduly influenced by people who give you money or give you services in your campaigns? | ||
| Well, I try to articulate my positions as clearly as possible. | ||
| Tell people what I stand for and let them decide whether they're going to support me or not. | ||
| Now, the contextual relationship is important here. | ||
| He's a forward to get. | ||
| I try to articulate my positions as clearly as possible. | ||
|
unidentified
|
Well, I try to articulate my positions as clearly as possible. | |
| And then backwards. | ||
| She's a fun girl to kiss. | ||
|
unidentified
|
She's a fun girl to kiss. | |
| She's a fun delicious. | ||
| She's a fun girl to kiss. | ||
| Okay. | ||
| And here's another one. | ||
| Gee, I don't know whether I can play this one live on the air. | ||
|
unidentified
|
Well. | |
| Ah, sure you can. | ||
| Okay. | ||
| And if you can't, I'll bleep it out. | ||
| Okay, well, here we go. | ||
| I'm sure I can play this on the air. | ||
| I love this one. | ||
| I've actually got the video clip of this. | ||
| This is Clinton. | ||
| He's giving a speech, and he spies this nice, cute woman down the front row, and you actually see his eyes shift. | ||
| Oh, and incidentally, we're also in this conference, we're bringing out a video software. | ||
| Do you know when you run videos backwards, the lips mouth out the speech reversals? | ||
| It's an incredible visual effect. | ||
|
unidentified
|
And you get these connections with body language signals. | |
| Sure. | ||
| Right as Clinton gazes down the woman down front, here's the forward. | ||
|
unidentified
|
Battling discrimination against mental illness. | |
| Caring for children and veterans who suffer from a terrible disease. | ||
| And backwards he says, See his little breast. | ||
|
unidentified
|
See his little breast. | |
| See his little birth. | ||
| And once more, see his little birth. | ||
| I don't think I'll play that one on the air yet. | ||
| Well, we'll see how long we stay on in Washington. | ||
| Well, I see I'm still here. | ||
| More to the point, I'm still here. | ||
|
unidentified
|
All right. | |
| Okay, there's just some classic ones here. | ||
| Oh, look, here's another one on Clinton. | ||
| Let's just pull the lawyer on Quinton. | ||
|
unidentified
|
This is my favorite reversal on Bill Clinton. | |
| There still has not been a single solitary shred of evidence of anything dishonest that I have done in my public life, not only as governor, or not only as governor and as president. | ||
| And backwards, he says, denied the habits, and I said, dang you. | ||
| And you've got that southern accent there. | ||
|
unidentified
|
And then I'd be habits, and I said, dang you. | |
| And then I'd be habits, and I'll say, dang you. | ||
| All right, well, I'll tell you what. | ||
| Now, to be absolutely fair, let us do the one where George Bush got fired. | ||
| Oh, yes. | ||
| Okay, let's find that one. | ||
| And this is Bill Clinton's inauguration, and it's a commentator introducing Clinton. | ||
| No, introducing the... | ||
| Somehow or another, they were just fed up. | ||
| They'd had enough. | ||
| He ran a lousy campaign, and it was more or less a firing. | ||
| Okay, go ahead, David. | ||
|
unidentified
|
Here we go. | |
| And we have a long leader on this one. | ||
| Today, our nation bids a gracious goodbye to an outgoing administration and warmly welcomed in a new one as William Jefferson Clinton takes office as the 42nd President of the United States. | ||
| And the verse occurs in this section here. | ||
|
unidentified
|
Gracious goodbye to an outgoing administration. | |
| And here it is backwards. | ||
| You're fired. | ||
|
unidentified
|
And again? | |
| Let me run that again. | ||
| I've got a little bit of effects on this one. | ||
|
unidentified
|
Today, our nation is a gracious goodbye to an outgoing administration. | |
| and backwards. | ||
| Very true. | ||
| That could not be more incongruent. | ||
| Forwards, a gracious goodbye. | ||
|
unidentified
|
Oh, God. | |
| And let me play the week time here. | ||
| Let me play the reversal on my house fire. | ||
| Oh, yes. | ||
| This was when David's house caught on fire. | ||
| And don't forget, Strange Universe, tomorrow night, they're going to do an entire piece on the house fire. | ||
| So watch it and find out what really happened. | ||
| When my house burned down, you'll see the videos. | ||
| And I mean, the whole place went in 45 minutes. | ||
| It was a 5,000 square foot home, totally destroyed in 45 minutes. | ||
| It went up like an inferno. | ||
| And here's me, I'm in the office with a client of mine, and my secretary suddenly runs in and says, David, the house is on fire. | ||
|
unidentified
|
Excessive smart energy. | |
| Excessive watch. | ||
| Yes? | ||
| What? | ||
| Help me back. | ||
| Thank you. | ||
| Oh, God, that gives me the chill. | ||
| I know. | ||
| I know. | ||
| I feel it too. | ||
| Yeah, and backwards, she says, exactly. | ||
| Well, almost exactly the same. | ||
| The house is on fire. | ||
| Our house is on fire. | ||
| and here it is backwards. | ||
|
unidentified
|
There's a new car! | |
| No! | ||
| Hurry up, don't worry! | ||
| Ugh, he does say that. | ||
| There's a new car! | ||
| No! | ||
| Hurry up, don't worry! | ||
| And let's run it forwards and backwards. | ||
| And backwards. | ||
| You know, I'm just glad my kids were at home at the time, you know. | ||
| It was such a devastating thing. | ||
| A devastating thing. | ||
| We had probably three minutes to get out. | ||
| It went so fast. | ||
| So fast. | ||
| Well, that was a maximum emotional moment. | ||
| Oh, yeah. | ||
| Yeah. | ||
| And that's why the verse is exactly the same. | ||
| And that's why you get that chills down your spine. | ||
| Yeah, totally congruent. | ||
| Completely. | ||
| And I'll never forget that. | ||
| Just standing, watching. | ||
| And, you know, the fire department took 45 minutes to get on scene. | ||
| Well, I guess all of that will be covered in Strange Universe tomorrow night, right? | ||
| Oh, yeah. | ||
| And the most amazing thing is, well, not the most, one of the amazing thing is they will play you the 911 tape they sent me, which is completely different from the official 911 tape, which they finally managed to get a hold of. | ||
| And you'll see two completely different versions. | ||
| Clearly a cover-up in this whole theme. | ||
| Well, all right. | ||
| Strange Universe tomorrow night. | ||
| In the meantime, to order any reverse equipment, to take part in the little test that we did earlier, for any other reason, to get a copy of the free BackTalk newsletter that's coming up. | ||
| If you've got articles you want to submit or some reversals you want to have published in BackTalk, please send them in as well. | ||
| They will all be considered. | ||
| I want this to be a fantastic newsletter. | ||
| My conference, first annual conference, December 12th, 13th, and 14th, so please contact us about that. | ||
| You know, well, gee, there's just so much. | ||
| All right, we're out of time, David. | ||
| That's it. | ||
|
unidentified
|
Well, thank you, Al. | |
| I appreciate it. | ||
| I wish you good luck in Egypt when you go, and thank you for bearing with me with my audio problem. | ||
| You've been having a safe trip back, David. | ||
| Again, take care. | ||
| All right, that's it, folks, from the high desert. | ||
| Tomorrow night, Professor Michio Taku from New York University, a theoretical physicist. | ||
| It'll be a good night. |
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