March 5, 1998 - Art Bell
02:21:38
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| Speaker | Time | Text |
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| And um I've got to give you credit that Rox is a freelance author. | ||
| His last name is Rox R Ux of two books on UFOs, Architects of the Underworld, Unriddling Atlantis, Anomalies of Mars, and the Mysteries of the Sphinx and Hollywood versus the Aliens. | ||
| Subtitled The Motion Picture Industry's Participation in UFO Disinformation, both available from Frog Books. | ||
| You know, like the things that fell out of the sky the other day, Frog Books in Berkeley, California. | ||
| He is a professional stage actor and award-winning playwright with a master's in playwriting and dramatic criticism. | ||
| He has researched UFOs, ancient civilizations, and secret government agencies for most of his life. | ||
| He has personally seen all but a literal small handful of the more than get this folks 600 movies written about Hollywood versus the aliens. | ||
| Wow! | ||
| Since 1993, Bruce has devoted himself to the study of UFOs and all interrelated subjects full-time. | ||
| He wrote to Congress in 1993 to share some of his findings following the observer failure and has met or corresponded with several names in the field, including Jacques Fillet, Linda Moulton Howe, and David Jacobs. | ||
| You know them all from this program. | ||
| In 1994, he went on a special invite tour of Egypt and the Sinai with respected ancient astronaut theorist Zachariah Sitchin. | ||
| That must have been something. | ||
| Bruce's thesis is that the human race, all of us, migrated to Earth from Mars in antiquity and that Mars is still an occupied planet. | ||
| Various world governments have become increasingly aware of this fact since the turn of the century or before and have devoted considerable time and resources to investigation of the subject, primarily in an attempt to duplicate the superior technology of the ancients. | ||
| U.S. intelligence, especially, has at different times utilized popular entertainment media to educate or deflect the populace at large concerning the subject of E.T.s. | ||
| Its most successful venue having been post-World War II Hollywood. | ||
| Here is Bruce Rux. | ||
| Bruce, welcome to the program. | ||
| I'm glad to be here. | ||
| So you have watched all but just a very few of the, my God, 600 movies of Hollywood versus the Aliens? | ||
| Yeah, actually, it's more than 600. | ||
| I had to go through my index to see how many were in there, and then I went through over a period of time and noticed three or four that I forgot and left out. | ||
| So, yeah, it's over 600. | ||
| What from cataloging and watching all of these movies, and I watch them too, so I can talk to you about a lot of them, what do you discern? | ||
| Do you see a pattern? | ||
| Oh, definitely. | ||
| What I'd noticed some time ago when I read Clear Intent and Above Top Secret was that a lot of the information coming out through Freedom of Information Act documents concerning UFOs happened to tally identically with stuff that I'd seen in these movies back in the 1950s and 60s and TV shows and things like that. | ||
| And following that lead, of course, I'd seen all these things for years, and I knew them all very well, and I've got a lot of them on tape. | ||
| I was able to very quickly ascertain that the people that made those movies were connected to the military intelligence community and or the CIA. | ||
| Wow. | ||
| So it seemed pretty obvious to me that they knew this information well before it had come out, and they were putting it in the movies to either deflect people or educate them. | ||
| Oh, my, that's a very, very serious allegation. | ||
| How do you support that? | ||
| I've got to ask. | ||
| I mean, you say you talk about a bunch of movies, and then you say, and the military intelligence community or people involved in it were behind the movies. | ||
| How do you know that? | ||
| Well, it's very simple. | ||
| You just check their backgrounds. | ||
| Those aren't secret. | ||
| You can find the resumes on a lot of these people. | ||
| Roger Corman's background was in hard aviation physics. | ||
| He was in the V-12 officer training program for the Navy in World War II. | ||
| He didn't get above the rank of apprentice seamen, but he was still connected with them. | ||
| And once he left the military, he went to Europe. | ||
| And most of his boasted activities, I mean, the things that he talks about quite a bit in his autobiography are... | ||
| He was offered a job smuggling, I think, $10,000 worth of gold in the chassis of a car, which is straight out of Goldfinger, as a matter of fact. | ||
| He's talking about this openly in his autobiography. | ||
| Uh-huh. | ||
| That's remarkable. | ||
| And then what does he have to do with any movie? | ||
| Oh, Roger Corman? | ||
| Good heavens. | ||
| He was very closely associated with American International Pictures. | ||
| He was their primary director. | ||
| And American International Pictures put out probably the silliest of the Flying Saucer movies, along with some extremely accurate mind control movies. | ||
| The information on mind control that the CIA's MKUltra program was involved in didn't start coming out until the church committee hearings, really, in the mid to late 70s. | ||
| But you'll find very accurate information pertaining to that in the early American International Pictures in the 1950s. | ||
| And this is no surprise because the listed advisor on two of Corman's pictures was William Joseph Bryan Jr. | ||
| William Joseph Bryan Jr. was the CIA's big head honcho in the MKUltra program. | ||
| He was the advisor for the Manchurian candidate in 1962. | ||
| But he had also, before that, been in American International Pictures. | ||
| And what kind of movies did they turn out that you are suspect of because of these storylines? | ||
| Or even better yet, what kind of storylines are you suspect of and why? | ||
| Well, it's not suspect of so much. | ||
| It's more just noticing that the actual facts concerning UFOs Happen to match those in these movies. | ||
| Do you want some titles? | ||
| Well, why not? | ||
| We can talk about movies. | ||
| Sure. | ||
| Oh, sure. | ||
|
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Yeah. | |
| On the mind control front, for instance, I was a teenage werewolf. | ||
| It was 1957. | ||
| Oh, yes. | ||
| This has accurate mind control information in it concerning hypnosis, suppression, and amnesia, stuff that simply was not being talked about at any great length by anybody at that time. | ||
| I had last night on this program, I don't know whether you heard him, a DOD, DIA veteran who was here talking about this kind of thing and actually remote viewing, but we were talking about MKUltra and mind control experiments. | ||
| And he assured me, assured me, that our government, though they might have at one time done something like that with MKUltra, which he had to cop to, that we are doing nothing of the sort now. | ||
| Not a chance. | ||
| Well, personally, that's probably not true. | ||
| It was a very successful project. | ||
| What more than likely happened, I mean, theoretically, they stopped it with MKUltra in, what was it, 1963, I think. | ||
| Right. | ||
| But we were hearing about it in the church committee hearings in the 1970s, and George Bush was shredding all the documents on that at the time. | ||
| So you know that they're hiding some stuff concerning that, and I'm pretty sure that, like the remote viewing program, it might have been officially terminated at some level. | ||
| But when they officially terminate any successful project, all they do is shuffle it over to some other department and give it a new name. | ||
| That's right. | ||
| That's exactly right, Bruce. | ||
| And I happen to believe that firmly. | ||
| In other words, with respect to remote viewing, if it worked, despite the politics and whatever else might have officially killed it, if it worked, there is no way that RCIA, NSA types are not still doing it. | ||
| I mean, if it's effective... | ||
| Well, they never drop it. | ||
| And I'm sure the same goes for mind control. | ||
| How much do you know about mind control? | ||
| A great deal, primarily from John Marx and Victor Marchetti, who were the most outspoken researchers on the CIA and especially mind control abuse, things of that nature. | ||
| They were very successful in their project early on. | ||
| As early as 1953 or 1954, they got a secretary from one of their offices hypnotized into firing blanks at a supposed rival. | ||
| And this is a woman that she knew and had no problem with. | ||
| But they convinced her under hypnosis that this woman was a romantic rival and needed to be killed. | ||
| Oh, you see, I am told that cannot be done. | ||
| That you cannot. | ||
| According to the official documents, it can. | ||
| This is from their documents. | ||
|
unidentified
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Okay. | |
| So they're... | ||
| William Joseph Bryan Jr., who I mentioned earlier, boasted many times in the course of his career that he could hypnotize anybody to fire blanks at someone in six months, and in 9 to 12 could get them to fire real bullets. | ||
| Really? | ||
| Yeah. | ||
| Then I don't properly understand the process of hypnosis, but I have questioned many hypnotists that I've interviewed about exactly this. | ||
| In other words, yes, you cannot get somebody to do something they wouldn't normally do, but you can continually give them suggestions that would set up a scenario in which they would do something. | ||
| Yes, it's a process of conditioning combined with hypnosis. | ||
| And in some cases, drugs as well. | ||
| Yes. | ||
| When they get into narcosynthesis, as it's called, that's going to a very, very deep level for mind control. | ||
| And you can't do it with everybody in the population. | ||
| You can only do it with about 5 to 10% POPs. | ||
| They have certain indicators. | ||
| There's what's called the hypnotic induction profile, which was come up with by Dr. Bernard Spiegel came up with that. | ||
| He was involved to some extent with the government's research. | ||
| And he was another person who said, yes, you probably could condition someone to actually fire bullets. | ||
| So there could be, conceivably, a bunch of Manchurian candidate types out there still running around. | ||
| I mean, if you look at our history, there are lots and lots of examples of people that have committed crimes, that have assassinated people, that... | ||
| And let me move into one other area, and that is the old senseless crime area. | ||
| Right. | ||
| Here's something that people have wondered about this for a long time. | ||
| Every time there's a piece of gun control legislation pending in Congress, now this goes back, of course, prior to the Republican Congress we have now. | ||
| Every time they would get gun control, because they more or less had the votes, just prior to a vote, somebody would go postal and kill a whole bunch of people, get arrested or be killed usually in the ensuing gun battle with the police or the SWAT teams or whatever. | ||
| And I have thought, as many others have, that these could be Manchurian candidate types. | ||
| What do you think? | ||
| I would agree with you. | ||
| It doesn't mean necessarily that all of them are, but I would not at all be surprised to discover that some of them were. | ||
| Because they could very easily be conditioned. | ||
| It seemed to occur with regularity at just the right time, and that should make a reasonable person suspicious. | ||
| Well, when Robert F. Kennedy was assassinated that same week in the Dick Tracy comic strip, everyone was blaming things like the Dick Tracy comic strip for having created this kind of thing because they had just violently gotten rid of Tracy's arch nemesis at that time. | ||
| And they said, well, look, look how comic book violence is influencing our society. | ||
| But they're not looking at the background of Sir Han Sir Han or of William Joseph Bryan Jr., who he probably knew, and any of these connections. | ||
| All right, so you firmly believe in that. | ||
| Then there's one other thing. | ||
| You've studied motion pictures and, no doubt, television on the subject of ufology. | ||
|
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Oh, yes. | |
| Yeah, very extensively. | ||
| It is possible to put hidden messages in television programs and movies. | ||
| You're aware of that. | ||
| You mean the subliminal type thing? | ||
| Yes, sir. | ||
| Okay. | ||
| I believe that there are laws against it now, but could it be going on? | ||
| It could be. | ||
| I don't really address that particular issue in the book. | ||
| I'm going for the straight conscious manipulation and stuff that they're just very, very knowingly and deliberately putting out there in the content of the actual show. | ||
| There may be some sort of subliminal thing added, but I didn't really research that particular area. | ||
| All right, let's talk about some specific motion pictures. | ||
| When do you think an actual agenda, if you look back at Hollywood and the genre of these films, when do you think that an agenda was part of the production? | ||
| When did that begin? | ||
| With what movie? | ||
| With The Thing and with The Day the Earth Stood Still, which came out the same year. | ||
| Why? | ||
| And most people know those movies. | ||
| So tell me, what in those movies did you see as an agenda? | ||
| Well, first off, in The Thing, what you have is a virtual reproduction of the Roswell crash, which how many people knew any of the particulars about that back in 1951? | ||
| True. | ||
| This is a movie, remember, that was made by Howard Hawks, who was synonymous with the defense industry back then. | ||
| You have a saucer that has skidded to a location. | ||
| It's left a skid mark. | ||
| That's how it's identified and how it's found. | ||
| The saucer is completely destroyed, but they recovered the occupant. | ||
| The occupant is, for all practical intents and purposes, a robot. | ||
| It's bulletproof, blast-proof, blade-proof, bomb-proof, and they finally get rid of it by electricity. | ||
| It's going to overload it, you know? | ||
| It was actually, wasn't it frozen? | ||
| Yes. | ||
| It's the only real difference if they changed the location from the desert to the North Pole and the South Pole. | ||
| Yeah, and they brought it out in a block of ice, I think, and it melted, right? | ||
|
unidentified
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Right. | |
| And it came in. | ||
| And they recover an occupant that by all rights should be dead, but it's still animated, and its parts operate independently of it. | ||
| It's like a robot. | ||
| A movie I've been searching for is the remake. | ||
| You remember they remade the thing? | ||
| Oh, yeah, drastically different. | ||
| They went back to the original short story to remake it. | ||
| It was really an incredibly gripping movie, the remake, and I can't find it. | ||
| Oh, it's a fabulous movie. | ||
| Now, the best place to catch it, Watchboard on USA Network. | ||
| They do a very slight editing job on it, but they do an excellent editing. | ||
| I'm sure they do, because there was some pretty graphic stuff in there. | ||
| They leave most of that in. | ||
| Really? | ||
| And yeah, it's a wonderful print. | ||
| The print they show is the best I've seen, actually. | ||
| All right. | ||
| Just keep your eyes open for it there. | ||
| And it's still out on video, I think. | ||
| So, you think the thing was from Roswell or reflecting Roswell or trying to tell us, look, this, here's how it happens? | ||
| Yes. | ||
| What they were doing, if you stop and look at all the particulars in that movie, it's got a lot of stuff that reflects accurately. | ||
| First off, the elements of Project Twinkle, which was not even partially declassified for another five years. | ||
| I don't even know what Project Twinkle is. | ||
| Okay, Project Twinkle took place in 1953 or 1954. | ||
| There were these green fireballs whizzing over New Mexico, which happened to be our most heavily concentrated defense state at that time. | ||
| Yes. | ||
| There were no green fireballs anyplace else. | ||
| There were UFO reports, but no green fireballs. | ||
| Oh, we have green fireballs here, Bruce. | ||
| Oh, I know. | ||
| Lots of things back then. | ||
| Okay. | ||
| The only place that these things were being seen was in New Mexico, and they happened to be always around atomic plants or defense sites. | ||
| And there was a major, major project that was being undertaken by the Atomic Energy Commission. | ||
| The FBI was called in on it, probably for sabotage implications. | ||
| I'm almost certain of that. | ||
| Just about every government bureau or agency was called into this thing to investigate it. | ||
| And they admitted that they had a lot of them identified, that they were definitely objects, they were controlled, but they couldn't specify exactly what they were. | ||
| And this study of them terminated right with the beginning of the Korean War. | ||
| They lost their funding, though I'm sure they'd already come to their conclusions, probably. | ||
| Probably. | ||
| And that was Project Twinkle. | ||
| That was Project Twinkle. | ||
| Well, how that all started, they called in Dr. Lincoln LaPaz, who had also been called in on the Roswell crash. | ||
| He was a meteor expert, and he was quite sure that the objects being seen were not meteors based on all of the reports that he was given and the fact that he could find no fragments where they supposedly came down. | ||
| You know, Bruce, we're in the same situation today. | ||
| Greenland, El Paso, Colorado, again and again and again. | ||
| We've got these things coming down. | ||
| The scientists always refer to them immediately as meteors. | ||
| I don't know how they do that because until you find it and it's a rock and you go, oh, look, a meteor, how can you declare something that has entered our atmosphere very dramatically, automatically, without question, just duh, it's a meteor? | ||
| Well, it depends on who you're asking, basically. | ||
| If you're asking the Air Force, they're going to tell you definitely it's a meteor. | ||
| Oh, I know. | ||
| And the thing changes trajectory, which is what was happening back in Project Twinkle. | ||
| They know it's controlled. | ||
| All right, Bruce, hold it right there. | ||
| We'll be right back. | ||
| This is Coast to Coast AF. | ||
| We have a picture of exactly what the flesh-eating disease does on the website. | ||
| Now, you can choose to go up there and see it or not see it as you will. | ||
| But unfortunately, it is a real photograph as we continue to follow that story. | ||
| And, of course, you can check in on my now very clear webcams. | ||
| In fact, if you listen in the next hour, I am going to tell you how you can get the exact same camera that I am using now for the web pictures. | ||
| So you might get a piece of paper and a pencil. | ||
| I'm going to tell you all about it next hour. | ||
| Right now, back to Bruce Rux. | ||
| I originally saw the thing, Bruce, in a drive-in movie. | ||
| And actually, I didn't see a lot of it. | ||
| That was the nature of drive-in movies. | ||
| But that doesn't mean that I was not affected by it. | ||
| And it could have been a sort of a subliminal message that got through to me every time I would, you know, reach up and try to unfog the front window. | ||
| Oh, absolutely. | ||
| I think that was the preliminary intent. | ||
| In the earliest movies, which are some very accurate stuff coming out, but there's this slant that is very much, yes, they're here. | ||
| They're evil. | ||
| They mean to take us over. | ||
| They want to take our whole world. | ||
| They want to suck our blood. | ||
| We need to mass up against them, which I think has been the defense industry's stance from the beginning on all of this. | ||
| All right. | ||
| That was almost inevitably the theme back then. | ||
| In other words, none of the aliens were ever really good. | ||
| It wasn't. | ||
| Yeah, I was about to say that. | ||
| Which the military did not give its cooperation to, just by the by. | ||
| They would not allow their resources to be used in That movie, once they read the pacifistic script. | ||
| You're kidding! | ||
| No, I'm not. | ||
| Boy, you are full of information. | ||
|
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So, the day the Earth stood still and used National Guard stuff for that. | |
| And the Army would not participate because the alien was friendly. | ||
|
unidentified
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Yep. | |
| And because we fired weapons at it and we made the Army look bad. | ||
| That's right. | ||
| Straight up. | ||
| Really? | ||
| In that case, what kind of cooperation has there been in more recent motion pictures like old Close Encounters, for example, of the Third Kindle? | ||
| Close Encounters also did not get any cooperation. | ||
| What happened there, Steven Stielberg wrote to NASA, and his only real official advisors consisted of J. Allen Hynek, who always waffled on UFO stuff when he got before the cameras, but who privately would admit to a lot more than he would ever in front of anyone. | ||
| And one person who had been, excuse me, maybe two controllers who had been at the 1952 Washington, D.C. sightings. | ||
| These were his advisors for that movie. | ||
| And Jacques Villais may have had a background advisory thing. | ||
| I mean, they put one of the characters in the movie to represent him, François Truffaut. | ||
| But in any event, these were his only official advisors. | ||
| And he wrote to NASA and sent them a copy of the script. | ||
| And they sent him back a 20-page letter, which did not comment on the accuracy of the script. | ||
| They just said, don't do it. | ||
| Do not make this movie. | ||
| Don't do it. | ||
| What they were saying all through that 20 pages was, you don't want to make this movie. | ||
| With any reason? | ||
| No. | ||
| No reason. | ||
| Well, they said there's nothing to it. | ||
| Don't bother. | ||
| Don't talk about this. | ||
| And that's what made a true believer, quote unquote, out of Spielberg. | ||
| What made a believer out of you? | ||
| I mean, as you investigated this connection between Hollywood and these movies, when did it all go click for you? | ||
| Well, there were several things, actually. | ||
| One was the movie connection. | ||
| A lot of it had to do with research into Mars, which is a major connection with all of this. | ||
| I'd been following Richard Hoagland's research, of course, and I'd done some of my own and determined that the faces on Mars, the main Sphinx face, was actually that of a hawk or raw, and the cliff Sphinx face is actually that of a baboon or Thoth. | ||
| If I have the two major gods of Egyptian mythology, pyramids on Mars, built in the same idea as the pyramids built down here, in the same fashion, well, plainly there's a connection between Egypt and Mars, and we have to reexamine our ancient civilization. | ||
| On the personal level, I had known someone many years ago who told me a story, and she was very upset. | ||
| She made a special point to come over to my house, and I hadn't seen her in quite some time. | ||
| And she told me this story about something that had visited her in the night in her apartment. | ||
| And she specified very plainly that this thing did not threaten her and was not menacing in any way. | ||
| What she described was a perfect UFO gray, but she never did any kind of UFO research the whole time I knew her, and she was never remotely interested. | ||
| And at the time, I wasn't that into it either. | ||
| But what she was describing when I cast my mind back was pretty much a perfect UFO gray, even down to a few unpublished particulars, or things that are now getting to be talked about a bit more, but weren't back then. | ||
| And she said this thing spoke to her. | ||
| She couldn't move. | ||
| She gave the classic abduction experience report. | ||
| I could tell that she was upset by it, but she did specify that this thing never threatened her minister or even hurt her. | ||
| She was just scared by the fact that she didn't know what it was. | ||
| Of course. | ||
| And once I realized that she was actually describing that experience, it wasn't until I read David Jacobs' book many, many years later that I recognized every single particular she had told me was accurate. | ||
| And not only that, I'd known her for many years, so lots of other things that she'd told me, too, were also written about in that book. | ||
| Have you been following Dr. Jacobs of late? | ||
| I haven't. | ||
| He's supposed to have a new book coming out, and I haven't been able to find it. | ||
| I think it probably just hasn't hit the presses yet. | ||
| Yeah, I will get it as soon as I find it. | ||
| Well, I happen to have a copy, and basically, Dr. Jacobs has concluded that the visitors, as we'll call them, I guess, are by no means friendly and by no means intend any goodwill whatsoever toward us. | ||
| And he has concluded this painfully through a lot of research and, as you know, many hundreds of regressions. | ||
| In his first book, he was saying 60-some, 60-some. | ||
| Well, no, he's had a familiarity with more than 200. | ||
| You're right. | ||
| Yeah, there's been a lot of regressions under the bridge since. | ||
| Yeah. | ||
| So he has concluded that we're in trouble. | ||
| Well, I can't say for a fact that he's wrong, but by the same token, from this one person that I was telling you about who had told me these things, she did not, the only thing that had upset her was that she didn't understand the whole thing. | ||
| She said, actually, this entity was very gracious to her. | ||
| I mean, you know, it was all efficient. | ||
| It just said, look, don't worry. | ||
| We just have to take a couple quick tests. | ||
| Nothing, no harm's going to come to you. | ||
| We'll drop you right back off again. | ||
| Just relax. | ||
| But she was just scared because she didn't understand what was happening. | ||
| And I've talked with some other people who I believe are genuine abductees who have said pretty much the same thing. | ||
| Jacobs has kind of changed his stance. | ||
| He used to be sort of middle of the road. | ||
| I know. | ||
| And I think that heart of that may be that the defense establishment puts a lot of fake abductees out there. | ||
| And I'm not sure whether they're able to tell the real ones from the fake ones. | ||
| Now, you want to roll by that one again? | ||
| The defense structure. | ||
| Right. | ||
| The defense industry wants us to believe. | ||
| That which Eisenhower, the military complex. | ||
| Is actually feeding abductees out, no doubt, to go on programs just like mine and scare the hell out of people. | ||
| Yes. | ||
| That is my belief. | ||
| The Pentagon, for instance, was hyping Fire in the Sky when that came out in their own newsletter, Pentagram. | ||
| They were talking about what a great movie it was. | ||
|
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Go see this. | |
| They were hyping. | ||
| Excuse me, their newspaper is called Pentagram? | ||
| Pentagram, yeah. | ||
| Funny, isn't it? | ||
| What's even funnier about that, actually? | ||
| The Fire in the Sky movie is completely inaccurate. | ||
| The entire abduction experience is not at all what Travis Walton reported. | ||
| Una Momento. | ||
| Now, I interviewed Travis and I interviewed his boss. | ||
| And while you're absolutely correct, they took a great deal of dramatic license. | ||
| And do you know who it was that did that, the screenwriter? | ||
| Well, I mean, that's what Hollywood does, though. | ||
| I know, but you know who that screenwriter was. | ||
| No, who? | ||
| That was Tracy Tormay. | ||
| Tracy Tormay has actually sat in on some of Bud Hopkins' progression sessions. | ||
| Okay. | ||
| And he was also one of the producers of that movie. | ||
| Nevertheless, the abduction was absolutely real. | ||
| You mean has Travis reported it? | ||
| Has Travis reported it on my program? | ||
| Has Travis reported it to the numerous lie detector investigators that he has dealt with? | ||
| Have you read his book? | ||
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Yes. | |
| The recent edition, as a matter of fact. | ||
| And you do not agree with it? | ||
| Well, no. | ||
| What he said in his recent one, he reported the same thing that he'd always reported before, which was that he'd seen the greys. | ||
| He got scared by them, and they ran out of the room. | ||
| He wandered into another room, and then he met up with a couple people in blue spacesuits who were as human-looking as you could get that didn't say anything to him, but they showed him around and smiled at him. | ||
| And the next thing he knew, he was walking on the road. | ||
| That's right. | ||
| Or in the movie, they've got him being shrink-wrapped by these evil reptiles. | ||
| And as a matter of fact, Travis even said that he thought they might be robots. | ||
| The Greys might be robots. | ||
| But here in the movie, they've got him shrink-wrapped. | ||
| They've got needles being stuck in his eye. | ||
| There are these half-eaten human body parts all around. | ||
| And he didn't report any of that stuff. | ||
| Well, no, that's true. | ||
| That is Hollywood dramatic license. | ||
| But you see it as a lot more than dramatic license. | ||
| You see it as a deliberate ploy. | ||
| Agenda. | ||
| Yeah. | ||
| Designed to scare us so that we will continue funding the military-industrial complex with billions of dollars. | ||
| You got it. | ||
| That quick, huh? | ||
| I got it that quick. | ||
| Yeah, it makes perfect sense. | ||
| You have to figure who had this investigation from the very beginning, who was investigating UFOs. | ||
| It was the U.S. Army specifically. | ||
| Very quickly after Roswell, within two months. | ||
| It was the Army at that time. | ||
| It was the Army then. | ||
| Right, and the U.S. Army Air Force. | ||
| Right two months after the Roswell crash, we suddenly have the National Security Act. | ||
| We have the CIA. | ||
| A couple months after that, or very shortly after, we suddenly have the Air Force separated from the Army. | ||
| That's right. | ||
| We have increased bureaucracy. | ||
| We have increased security, and we have these people studying UFOs. | ||
| We have Project Blue Books. | ||
| Yes, exactly. | ||
| Oh, by the way, I did some quick checking. | ||
| Project Twinkle was not 1953, 54. | ||
| They had a recurrence then. | ||
| Originally, it was 1948. | ||
| A recurrence. | ||
|
unidentified
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Right. | |
| All right. | ||
| Now, what about the modern genre of films? | ||
| For example, Men in Black, Independence Day. | ||
| I could go on and on. | ||
| Let us talk about Independence Day. | ||
| Now, the one really cool thing that I enjoyed about that movie more than any other was there was no messing around other than the baloney about the president going to Area 51 at the end. | ||
| And not having any idea about it. | ||
| The aliens came down. | ||
| Their spaceships, size of cities, hovering over cities. | ||
| And they had no agenda other than to kill us. | ||
| That's all. | ||
| They didn't want anything from us. | ||
| They didn't issue any ultimatums. | ||
| This is the best thing in the movie, Rita. | ||
| What do you want from us? | ||
| They didn't want you to die. | ||
| That's exactly right. | ||
| They didn't snap up Earth Girls, none of that. | ||
| Just, boom, we're going to kill you. | ||
| And I thought, you know, that was pretty realistic, that part of the movie. | ||
| But I bet you see that, too, as exactly just more of that agenda thing. | ||
| Well, see, there's a conflict here. | ||
| You get differing reports, and they're strongly differing reports. | ||
| You either get a bunch of people who kind of throw out the same practically rehearsed line that says we're just lab rats do them. | ||
| And in fact, there was a National Geographic's topics. | ||
| They did an abduction thing, which was not very thoroughly researched. | ||
| And every single person that got up would say, oh, we're just lab rats do them. | ||
| We're just lab rats do them. | ||
| We're just lab rats do them. | ||
| And every single one of them said it. | ||
| It was like they'd rehearsed it. | ||
| And I thought, you know, look, there are other people with different reports out there. | ||
| Antonio Velos Boas, the first recorded abduction in the modern age, didn't feel at all like that. | ||
| And neither did Travis Walton. | ||
| Neither did Betty and Barney Hill. | ||
| They were scared. | ||
| But once they got rang in perspective, they adjusted to it and they were all right. | ||
| Well, there are many, like David Jacobs, and I'll tell you what he said of late. | ||
| He said, look, Art, a lot of what you run into with regard to the first stories you get from these people, those who do report abductions, is kind of like a screensaver. | ||
| It's an instilled memory that hides what really happened behind it. | ||
| This may be the case. | ||
| He would know probably a little bit more about that than I would. | ||
| I trust his research on that. | ||
| But I'm not sure if I agree with his conclusions. | ||
| Men in black. | ||
| What you have in Men in Black is probably what's been going on with the National Security Agency from the beginning. | ||
| Technically, if you look at it, what have you got? | ||
| You've got your basic nameless government stooges who monitor aliens, quote unquote. | ||
| Well, if you substitute the word aliens for people who have had alien contact, then you would probably have the National Security Agency. | ||
| I'm pretty sure they were probably formed in the beginning for a number of reasons, but one of those would be to monitor anyone who was suspected of having any kind of contact with UFOs. | ||
| So we abduct these. | ||
| Do you believe there are real men in black? | ||
| Oh, sure. | ||
| You mean, will actual men in black show up and start harassing you? | ||
|
unidentified
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Or something like that? | |
| Well, let us say that you were in possession of alien artifacts or some sort of very significant evidence. | ||
| Or if they thought that you had had some sort of significant contact. | ||
| Yeah. | ||
| Right. | ||
| Oh, yeah. | ||
| I believe they're out there. | ||
| But let me put it to you this way. | ||
| If you reach a level of prominence at all in this kind of research, if you're investigating UFOs especially, and if your research is good, and especially if you're talking about it, someone will come visit you. | ||
| It won't be a guy in a black suit, but someone will come visit you, and he will sit you down and have a talk with you. | ||
| That's just pretty well a given. | ||
| I have had agency people come and see me. | ||
| Yes, I have two. | ||
| Oh, you have? | ||
| Oh, yeah. | ||
| Do you. | ||
| I really can't talk about what happened with me, but you tell me what happened with you. | ||
| Well, I'll give you the reader's digest version because this is an ongoing thing. | ||
| Oh, honestly. | ||
| No, I haven't they actually haven't dropped by and spoken to me in quite a while. | ||
| It's been, what, two, three years now, I think. | ||
| Yes. | ||
| But yeah, occasionally someone will drop by. | ||
| When I first got my publisher, within about 10 days of my getting a publisher, I had a visit at the place where I hang out. | ||
| And this guy came in, just some average-looking guy, and sat down in the booth behind me. | ||
| Yes. | ||
| And at one point, I was talking with someone, and he said, oh, you write books? | ||
| And I said, yes. | ||
| And he said, what about? | ||
| And I told him, and he was interested. | ||
| And I started showing him what I had. | ||
| And after we'd been talking for about a half hour, he interrupted me and started, I won't go into the details on all of this, probably for the same reason that you're not. | ||
| But he interrupted me specifically to rattle my cage a little bit and let me know who he was. | ||
| And after he had rattled his saber, he then calmed down and said, don't worry, they're not out to get you. | ||
| They just want to make sure that you're not out trying to incite a riot or create a cult or anything like that. | ||
| And we chatted for about three and a half hours after that. | ||
| Yes. | ||
| And from then on, it was a pretty pleasant chat. | ||
| And I haven't had any further problem with them. | ||
| Interesting. | ||
| Do you think that you are monitored? | ||
| Yes. | ||
| Ongoing. | ||
| Yes. | ||
| I'm reasonably certain of it. | ||
| You don't have any absolute proof, but you think you're not. | ||
| No, I don't have any absolute proof, but I'm reasonably certain of it. | ||
| What would be, in your opinion, the outstanding motion pictures that make your point? | ||
| Well, I'll start by saying when you can notice certain transitions taking place, like you brought up Independence Day. | ||
| Yes. | ||
| You'll notice during different administrations there's a change in emphasis on UFO movies. | ||
| Like during Carter's presidency, Carter put $20 million into UFO research, quote unquote, that who knows where it went. | ||
| The budget for Quotes Encounters, which is about the first movie that came out in his administration, was $20 million. | ||
| I think he was sort of funding the educational project, if you will. | ||
| I mean, Jenny Randalls had heard in the House of Lords from one of her sources in there that there had been an educational project in Hollywood exactly like this. | ||
| And at the time, she blew it off. | ||
| But the more she thought about it, she thought, you know, there probably is. | ||
| And then when I see that kind of connection, the $20 million, it's very interesting. | ||
| Plus, Jimmy Carter promised before he went into office that he wanted to publicize everything he could about what the government knew about UFOs. | ||
| He did. | ||
| And never came up with a blessed thing. | ||
| And never came up with a blessed thing. | ||
| He met the boys. | ||
| He gets into the National Security Council. | ||
| They sit him down and say, you will not talk about this. | ||
| And he won't. | ||
| I mean, since Dealey Plaza, who's going to cross these guys? | ||
| Do you believe that when a president is elected, he is, after taking the oath or maybe even before, taken into some great big room with a great big table and instructed in the real facts of life? | ||
| More or less. | ||
| The real question is, what do they tell him? | ||
| I mean, if you look just at Vietnam, there are different advisors saying, gee, there's really no problem in Vietnam. | ||
| And other ones saying, oh, Mr. President, it's awful. | ||
| You wouldn't believe it. | ||
| The Russians are in there. | ||
| If they fall, it's all going to fall. | ||
| It'll be World War III. | ||
| And, you know, they've got their own agenda. | ||
| Well, during the break, which we're now moving toward, work up for me what exactly you think a president would be told by those who would do the telling. | ||
| Because obviously you believe that it does occur. | ||
| This is Coast to Coast A.M. That's R.U.X. He is a freelance author of two books on UFOs, Architects of the Underworld, Unriddling Atlantis, Anomalies of Mars in the Mystery of the Sphinx, and Hollywood versus the Aliens. | ||
| That's the new one, Hollywood versus the Aliens. | ||
| Subtitle, The Motion Picture Industry's Participation in UFO Disinformation. | ||
| And that is indeed what we have been talking about. | ||
| Bruce, welcome back. | ||
| Hello. | ||
| All right. | ||
| Bruce, imagine for me that there is a new president. | ||
| He takes the oath of office, and then somebody says, Mr. President, there is a special meeting that all presidents go to, and you are now on your way to it, and he is escorted into a big room with a gigantic mahogany desk where he sits down with a group of people, I would presume, or maybe just one, and he is instructed in the ways of life. | ||
| Now, what would you imagine would be said to that president? | ||
| That would be his first real private National Security Council meeting when they actually sit him down and say, guess what? | ||
| We've all been privy to this for a while, and we don't tell all of our elected officials this because they don't need to know. | ||
| But you do. | ||
| This is exactly what happened with the Manhattan Project. | ||
| When FDR died, his vice president didn't know anything about it. | ||
| And suddenly there's Truman taking office, and they took him into their confidence immediately and said, guess what? | ||
| We have this thing in development. | ||
| It's just about ready, and we need to know whether to drop it or not. | ||
| So I'm sure it's pretty much the same thing when our new elected official comes in, they sit him down and explain to him that, yes, UFOs are real. | ||
| You may or may not have suspected that. | ||
| They are visiting us on a regular basis. | ||
| They sabotage our military bases on a regular basis. | ||
| They abduct, hypnotize, and mind control a substantial member of the population for reasons not entirely clear, but probably toward purposes of continuance of sabotage activity against our nuclear and defense sites. | ||
| There are people who think that. | ||
| All right, all right. | ||
| Okay. | ||
| Make me the president. | ||
| I'm the president. | ||
| And I'm going to look at you and I'm going to say, look here, son, I was just elected by 43% of the people out there. | ||
| That's a mandate, son. | ||
| Now, I'm an elected official. | ||
| I represent the American people. | ||
| They have a right to know this. | ||
| Why can't I tell them? | ||
| You'll look like a stupid ass if you do. | ||
| Not a single one of us will defend you. | ||
| We will all laugh at you. | ||
| Our people in the press are going to laugh at you. | ||
| And we're just going to make a real circus out of you. | ||
| You'll lose your credibility overnight. | ||
| In other words, you are going to politically assassinate me if I open my mouth. | ||
| Oh, we don't even have to. | ||
| You'll assassinate yourself if you do. | ||
| You'll lose confidence, you'll lose credibility, no one will listen to you again because not a single one of us is going to stand up and back you. | ||
| Rather convincing argument. | ||
| All right, the movie Contact. | ||
| This is one of my favorite movies of all time. | ||
| It's been by Carl Sagan, who was involved in Mars. | ||
| He was studying all the stuff from the Mars probes immediately from the start. | ||
| Indeed. | ||
| Now, in that movie, we bounce back the other way. | ||
| No Independence Day slaughter. | ||
| No, we're going to kill you. | ||
| We're here to kill you. | ||
| We don't want anything. | ||
| We just want you dead. | ||
| In contact, on the other hand, we are, in effect, I guess the first step is taken and we are welcomed into the Galactic Federation. | ||
| More or less, we're handed an invitation, right? | ||
| Yeah, that's right. | ||
| And it's a friendly contact. | ||
| But what happens, mind you, I haven't seen the movie of that one yet. | ||
| I have read the book. | ||
| You haven't seen Contact? | ||
| Not yet. | ||
| But I've had it explained to me in great detail, so I know what goes on in it. | ||
| All right. | ||
| Well, you read the book. | ||
| That's good. | ||
| Right. | ||
| Going from the standpoint of the book, first off, it isn't just her in the book. | ||
| It's her and like three other astronauts or three other people who are going to go. | ||
| Right. | ||
| And they all have this experience, this completely benign experience that takes place over quite a period of time in which they meet these superior extraterrestrials who lay things out for them and say, look, we would like you to come join our community. | ||
| You're not exactly ready yet. | ||
| We do keep our eye out on you, and we are guiding you as best we possibly can. | ||
| And we, of course, would appreciate it if you would go back and let other people know this as well. | ||
| So they all do, and immediately they disembark from the machine. | ||
| No one perceives that they've been gone anytime at all. | ||
| It seems like they've been in there for 30 seconds or so, and suddenly they're out. | ||
| But they all come out and they say, man, you wouldn't believe what just happened to us. | ||
| And they all tell the same story, but they're all taken individually away. | ||
| And they are informed that they will not talk to anyone about this. | ||
| They say, look, you might have hallucinated. | ||
| We don't necessarily believe you. | ||
| And if you do go around talking about this, we're going to dredge up every ugly thing from your past and make you look like just a total ass. | ||
| We are really going to smear you. | ||
| So you just shut up. | ||
| Don't talk about it. | ||
| And my guess is that's probably what's happened to all the Apollo astronauts when they go into that little decontamination period for three weeks when they're brought back. | ||
| Well, I have interviewed many astronauts now, and to the man, they deny that they ever saw even a hint of anything in orbit or on the way to the moon or back or anything else. | ||
| And I've talked to them and talked to them and talked to them. | ||
| However, many of them now, strangely, years later, are almost ufologists. | ||
| I mean, they're going to UFO conferences and this sort of thing. | ||
| And to the man, they say, well, I never saw anything. | ||
| However, I believe. | ||
| Or someone told me. | ||
| Sometimes I'll do that one, too. | ||
| That's right. | ||
| So are they part of the disinformation or conditioning campaign? | ||
| Well, what I think happened is exactly what we just started off this whole segment with, which is they sat down. | ||
| Carl Sagan would have known about this. | ||
| Told the facts of life. | ||
| Yeah, exactly. | ||
| They sit him down and they give him the facts and they say, look, you can shoot your mouth off all you want to, but no one's going to believe you but your mother. | ||
| We're just going to really pull your pants down every chance we get and make a complete ass out of you. | ||
| And if they do start believing you, well, we'll bring out heavier guns. | ||
| But yeah, all we have to do is intimidate them or condition them. | ||
| And I mean, these are all military boys in the first place, except for Neil Armstrong. | ||
| Well, I'm glad you mentioned the name Neil Armstrong because he went to the White House. | ||
| He hardly ever says anything publicly, but he did. | ||
| Many of them do. | ||
| He retired and did it. | ||
| Yeah, yeah, but two years ago or three, at Christmas, he went to the White House and said and gave strong hints that there are things out there, and I can't remember the exact quote, I'm sorry, but we cannot possibly imagine adventures to have. | ||
| I mean, he just went on and on and on. | ||
| He did everything but say, we'll meet him when we get there. | ||
|
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Sure. | |
| Yeah, it's like, again, with Carl Sagan, publicly, if you bring up UFOs or anything like that, this is a guy who would always scoff. | ||
| He would debunk. | ||
| He would give a very suave performance, making it look like it was completely idiotic. | ||
| But if you catch what he had to say at American Astronautical Society conventions and things like that, he'd take the exact opposite stance and say that it was even probable that we'd been visited a great many times in antiquity by superior extraterrestrials, that they'd probably left behind landmarks that we would recognize, that there were probably such landmarks on the far side of the moon. | ||
| He made all kinds of very categorical statements that are completely opposed to his public stance. | ||
| And then when you see him writing something like Contact, well, this is a guy who would know how the whole intimidation policy works, and he's pretty much laying it out for you. | ||
| So yeah, I'm pretty sure the astronauts went through the same thing. | ||
| And if you get some of them now talking or beginning to talk, and they're getting older, what have they got to worry about now? | ||
| Plus, I think there's a bit more openness coming on all this. | ||
| And we're getting much more awareness on UFOs publicly than has ever been at any time before. | ||
| All right. | ||
| What is all this leading to? | ||
| In other words, are we about to experience contact? | ||
| Have we been, if you look at all of this as a conditioning program psychologically, then you should be able to project where we are roughly in this program. | ||
| Well, we have a basic problem, which is that it's not a unilateral program. | ||
| You have one faction of people in the government who want to educate people to the realities of extraterrestrials, to get them used to this meeting and the fact that, yes, folks, they are out there. | ||
| Don't panic. | ||
| It's all okay. | ||
| And you've got the other faction, which would be the military, which is saying, look, we have a lot of money in Star Wars, and guess what? | ||
| We're going to keep it. | ||
| So they're going to make it as threatening as possible, as often as possible. | ||
| Do you know that there is some evidence that what are called fast walkers, things moving through our atmosphere at about 25,000 miles an hour or better, have been fired upon from Earth or from space by us? | ||
| I know there was an excellent piece of footage they used to show on sightings. | ||
| I'm sure they still bring it up from time to time. | ||
| There's this one piece of footage where you see some objects drifting through space, and suddenly one of them stops. | ||
| There's this streak of a shot down from the lower left corner of the screen. | ||
| Yes, you're referring to STS-48. | ||
| Right. | ||
| And this thing suddenly streaks away at a completely different direction at a very, very fast rate of speed, getting out of its way. | ||
| That's correct. | ||
| Right. | ||
| Yeah, I'm quite sure that we have a lot of space defense stuff set up, and we've been doing it from the beginning. | ||
| I mean, if you look at how paranoid we were at the end of World War II to begin with, and we'd been investigating UFOs before that, the military was already involved in it, both in Britain and the United States, and probably, I think, considerably before that. | ||
| But General Douglas MacArthur definitely was. | ||
| The RAF was definitely officially investigating it. | ||
| And these guys were coming out and making some pretty hardline defensive statements whenever they said anything about UFOs after the war. | ||
| All right. | ||
| To try and understand your thesis here, let's look at nuclear war. | ||
| Okay. | ||
| now for years and years and years the cold war ravaged away uh we were told to get uh I did. | ||
| And we were barraged with movie after movie after movie about nuclear war. | ||
|
unidentified
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Yes, that started again during Reagan's administration, too, when we went to that nuclear war. | |
| Yes, that started again during Reagan's administration, too, when we went to that major, major defense buildup, just like we had under Eisenhower. | ||
| As a matter of fact, that's correct. | ||
| And I would almost be willing to bet that you would consider that genre of movies, motion pictures, to be trying to achieve exactly what it is you're talking about the alien movie of today doing. | ||
| Bingo. | ||
|
unidentified
|
Dead on. | |
| I'm good at bingo. | ||
| Yes. | ||
| So all of it, then again, related to the military-industrial complex, that which Eisenhower warned us so strictly against. | ||
| At the end of his administration, before he got that friendly to him. | ||
| Beware, he said. | ||
| That's right. | ||
| And also, once again, what happened when Reagan came into office? | ||
| This guy, I mean, you have to know Eisenhower was military-friendly from the start. | ||
| So by the end of his tenure, he changed his tune substantially and warned everybody. | ||
| Pretty shortly after that, we have Dealey Plaza, that whole mess. | ||
| When Reagan comes in, again, we've got a very covert action-friendly president. | ||
| He overturned so many different things against domestic CIA influence and signed all kinds of executive orders increasing their power. | ||
| So you know he was a real cowboy. | ||
| This was an informer against communists during the McCarthy thing. | ||
| He was agent T-10. | ||
| He just loved that kind of secret stuff and having all these clearances and playing cowboy. | ||
| And George Bush. | ||
| George Bush, our CIA president? | ||
| Yes, he was. | ||
| Spreading documents on MK Ultra stuff as it was coming out. | ||
| Yeah. | ||
| As soon as he came into office, there was a different emphasis again. | ||
| It was largely the way it had been during Reagan's administration, but with a much, much harder emphasis on solidarity against anything not immediately recognizable as coming from this planet. | ||
| And introduction to the concept of one, excuse me, the new world order. | ||
|
unidentified
|
Yeah. | |
| Yeah, very much so. | ||
| And you can see, if you actually, and I do this in the book, I'm kind of doing it chapter by chapter, you can see these different administrations suddenly taking these different stances or modifying the stance that had been before. | ||
| Just suddenly there's a shift in emphasis on these particular movies. | ||
| Well, through today, we have not yet had nuclear war. | ||
|
unidentified
|
Correct. | |
| But we did spend an awful lot of money stockpiling weapons to ensure that the entire world would be destroyed just in case there was a nuclear war. | ||
| That's right, and we still do. | ||
| And we still do. | ||
| Now, could it turn out the same way with regard to the aliens? | ||
| In other words, is it all baloney? | ||
| Maybe there are no aliens at all, and these movies, this entire genre, is just like a nuclear war. | ||
| Yes, it could be. | ||
| The reason that I think it isn't is, A, because of the artifacts on Mars. | ||
| I don't think those have been faked. | ||
| And the fact that UFO sightings almost invariably come exactly when Mars is in opposition to Earth. | ||
| Oh, yeah. | ||
| And the artifacts on Mars are not faked. | ||
| There's no question about that. | ||
| Tom Van Flandren and others are saying things like, the world had better prepare itself. | ||
| We're about to get high-definition photographs of the face on Mars and the artifacts. | ||
| I bet we don't see them. | ||
| But anyway. | ||
| Is this Richard or is this Bruce? | ||
| What do you mean? | ||
| That was a joke. | ||
| Richard Hoagland. | ||
| He would say the same thing, that he would bet we don't get to see them. | ||
| Well, I don't agree with him on everything, but I do agree with him on that. | ||
| I'm sure we have them right now. | ||
| We've got photographs of the face? | ||
| Oh, probably. | ||
| Theoretically, the reason that we're not getting pictures back from the Mars Global Surveyor right now is because Mars is on the other side of the Sun. | ||
| I just don't believe that. | ||
| We have sufficient satellite link-ups that we could beam those pictures back right now. | ||
| Let's talk a little bit about Mars. | ||
| Do you think, let's, for the sake of our conversation, say that these things are not natural? | ||
| They were put there. | ||
| Yeah, I definitely believe that. | ||
| Okay, good. | ||
| Well, then that'll make this easy. | ||
| Do you believe they were put there by some gypsy traveling group of aliens who wanted something to be seen from space? | ||
| Or do you think they were put there by Martians who are now part of the Red Dust? | ||
| Or do you think they were put there by us? | ||
| I think that the people, I think that Mars is still an occupied planet. | ||
| As I said at the beginning, we migrated here a long time ago. | ||
| It's in all of our mythologies. | ||
| And we just forgot about it down here, but they didn't forget about it up there. | ||
| We forgot about them, but they didn't forget about us. | ||
| And what we're dealing with is just another branch of the human race, probably living beneath the surface of Mars. | ||
| There's some support you could get from that from the remote viewer program. | ||
| Oh, I know. | ||
| Ed Dames on your show, as a matter of fact, writing about machines beneath the surface of Mars. | ||
| It's not just Ed. | ||
| Yeah, exactly. | ||
| Very advanced artificial intelligence, robots, and quote-unquote biological entities controlling them, which he did not specify anything about. | ||
| My answer to who those biological entities are are that branch of the human race that remained behind on Mars. | ||
| Well, that answers my question. | ||
| In other words, the Martians are us. | ||
| It was an entire previous civilization that left Earth, or is it one that just remained behind, that never migrated here. | ||
| In the mythologies, you'll notice that there are wars between men and the gods. | ||
| The gods are people just like us. | ||
| They're just technologically superior. | ||
| All right, we are now at the bottom of the hour, and I want to get the phone lines open. | ||
| But when I come back, I want to ask you about one other very important movie. | ||
|
unidentified
|
Sure. | |
| Mars Attacks. | ||
| Oh, yeah. | ||
| All right, so we'll do that when we get back. | ||
| Stay right where you are. | ||
| This is Coast to Coast. | ||
| Bruce is my guest, and he's got books. | ||
| We'll tell you how to get his books. | ||
| The latest being Hollywood versus the Aliens. | ||
| Bruce, Mars Attacks. | ||
| When that movie came out, my mailbox filled up immediately, and people were saying, oh, my God, they have destroyed your town. | ||
| I live, of course, in Drump, Nevada, and indeed, they destroyed Prump, Nevada. | ||
| Now, a lot of people out there saw a coincidence in that. | ||
| Oh, yes, no doubt. | ||
| I'm not at all surprised that, yes, it probably was not perfect. | ||
| There is one other reason they would have said it in Nevada so that they could do all the stuff that was going on in Las Vegas and have all the Egyptian settings and backgrounds during all of that. | ||
| Did you notice all the Egyptian stuff that was there throughout? | ||
| Of course I did. | ||
| And Las Vegas seems to be some sort of connection as well. | ||
| Well, sure, you can Area 51 and all that mess. | ||
| Yeah, I'm right out in the middle of it all. | ||
| And so that brings to mind another very important question. | ||
| Here I am with the largest all-night radio program in America. | ||
| And what is it that I talk about, Bruce? | ||
| All the things the government doesn't want talked about. | ||
| And therefore, it leads many. | ||
| As a matter of fact, a guy wrote his art bell, a black ops guy or whatever it was. | ||
| He wrote a big article. | ||
| It was on the internet. | ||
| It's probably going to show up in the Washington Post here shortly. | ||
| And I, from time to time, frankly, have asked myself, what am I doing? | ||
| In other words, am I part of this? | ||
| Could you be duped into it? | ||
| Yeah. | ||
| Could you be used, in other words? | ||
| I think there are several people. | ||
| You were talking about David Jacobs earlier. | ||
| Yes, sir. | ||
| I think that Jacobs and Bud Hopkins are probably very largely targeted for exactly that kind of work, and to some extent it's probably succeeding. | ||
| There are some of my favorite guests. | ||
| Yes. | ||
| Well, I'm not speaking against them. | ||
| Understand this. | ||
| No, I do. | ||
| I'm asking you to just level with me. | ||
| I mean, could I be part of this? | ||
| Well, I think how that works. | ||
| What happens is that you get some genuine researchers with the best intent, and those are the easiest ones to lead astray frequently. | ||
| What will happen is that if someone wages a sort of campaign against you or sends enough people your way to say the same stories or close enough to the same stories, you'll start believing them whether they're true or not. | ||
| And then they're sort of conditioning you and getting you ready for any other BS they want to throw your way. | ||
| So potentially, yes. | ||
| As to whether you are, I have no earthly idea. | ||
| Oh, man, it's like I have miles and miles to go. | ||
| Well, for all of us, all we can do is get the best information we possibly can and try and put it all together and make sense out of it, and then share notes. | ||
| This is why I write books. | ||
| I say, look, you might dispute me, but at least I can show you exactly where I got all of my material. | ||
| This is where the information came from. | ||
| I got it from this book, this page number. | ||
| Go look it up yourself, and we'll go from there. | ||
| All right, I've got a few faxes that I would like to read to you, questions, and then we'll go to the phones. | ||
| Oh, certainly. | ||
| All right. | ||
| Here's one for you. | ||
| Is a new president advised of the facts of life? | ||
| Question mark. | ||
| Why else does their hair turn gray within about the first few months of office? | ||
| Remember Jimmy Carter? | ||
| Before and after? | ||
| Yes. | ||
| I'm in complete agreement with that particular thought. | ||
| I always, before I was even into all of this stuff, I always wondered why the presidents always came out looking so much more haggard when they came out. | ||
| And I used to say, well, it must have something to do with all the nuclear stuff and all of that. | ||
| Plus, I was sure it had something to do with the UFO question, but not exactly what. | ||
| Yeah, I'm sure there's a connection with that. | ||
| Yeah, they do give him the facts of life, but how do they give him the facts of life? | ||
| They can easily distort the information that they've got. | ||
| Bear in mind, it is the military that's briefing him primarily. | ||
| They're the ones that have had control of this from the beginning, and they're going to put it in the least favorable light. | ||
| If there's anything questionable, they're going to drag out the ugliest possible evidence and slant it in their favor in order to scare the president. | ||
| Because if they scare the president, and if they scare everybody else, their defense business keeps shooting up. | ||
| All right. | ||
| Jason in Michigan says, I would be just as interested to know what the organization, in quotes, would not tell the new president. | ||
| They would probably not tell him the more favorable aspects. | ||
| Like I was saying, if you go to the actual written documents, the original cases of abductions like Antonio Velos Boas, Betty and Barney Hill, Travis Walton, if you read their original accounts, you won't find anything threatening, menacing, hostile, evil, nasty, any of that stuff. | ||
| You don't find evil space reptiles eating the human race or vivisecting them or anything like that. | ||
| My guess is that they downplay all of that as much as they possibly can and emphasize the potential threat aspect. | ||
| I mean, you know, all they have to do is say, Mrs. Clinton, they're going to pick up your daughter. | ||
| They're going to be surgically opening her up. | ||
| God knows what they'll be doing to her. | ||
| And, you know, she's just going to be quaking in her boots. | ||
| And they can do the same thing with just about any president that goes in there. | ||
| They can slant it any way they want to. | ||
| Do you remember that information? | ||
| Do you remember a program called To Serve Humanity? | ||
| Oh, yeah. | ||
| I talked about that one. | ||
|
unidentified
|
You do? | |
| Oh, yeah. | ||
| Now, if ever there was an agenda-driven diddy, there it is. | ||
| Sure. | ||
| To serve humanity. | ||
| Tell them about it. | ||
| Well, in this particular episode, you have an alien called Canameat. | ||
| That's a real hard one to figure out, right? | ||
| Canemete comes down and tries to convince the human race that he's our friend and he's showing us all these beneficial things we can do to increase the yield of our crops and improve our medicine and all this. | ||
| And there's an intelligence team that's studying him and trying to determine whether he's legit or not, whether his race really wants to help us. | ||
| And he's looking for some people to go back with him to his planet. | ||
| And they've got this long waiting line of people that want to go, and this one intelligence guy is going to go with them. | ||
| And the only thing they've been able to translate, he has this big book that he carries around. | ||
| And they've been able to translate the cover, but they haven't been able to get the rest of it because the character is a little bit different. | ||
| And the cover says, to serve humanity. | ||
|
unidentified
|
And of course, we think, yeah, here they are. | |
| They're here to El Bazaar. | ||
| And sure enough, they seem to be. | ||
| But then as this guy, the intelligence guy is getting on the saucer and getting ready to go, and this is a big ball alien, the classic gray, only he's large instead of small. | ||
| It's Richard Keel, the guy who played Jaws in the James Bond movies. | ||
| And as he's getting on board the saucer, his compatriot comes running out and says, no, no, don't get on that saucer. | ||
| We've translated the rest of the book. | ||
|
unidentified
|
It's a cookbook. | |
| He decides to get off, and Daley forcibly puts him on. | ||
| The very last thing you see in this episode, they're on the saucer, and the guy's sitting there, he's refusing all food that they give him. | ||
| And Canameet comes in and just kind of looks at him and says, please eat. | ||
| We don't want you to lose weight or anything like that. | ||
| Can of meat. | ||
| Yeah, as he's walking out, the guy on the saucer looks straight into the camera and he says, it'll be you tomorrow and everyone you know. | ||
| That's right. | ||
| All right. | ||
| Here's another one. | ||
| Your guest is right on, and his book is cool. | ||
| I live in Burbank. | ||
| And one of my best friends and a staple of our film community is an old special effects man by the name of Bob Burns. | ||
| I'm sure your guest has heard of him. | ||
| Bob was the assistant of a special effects wizard, Paul Bladesdell. | ||
| Is it Bladesdell? | ||
| And together, they created monsters for many old movies that we all grew up on. | ||
| Oh, yeah, Paul Blydell. | ||
| Blydell, thank you. | ||
| One movie that created the type for future aliens in films was Invasion of the Saucer Men. | ||
| Absolutely. | ||
| And I was told about an incident, now listen carefully, where Bob had met with threatening men in black types when the original alien design was too familiar to a certain race. | ||
| Bob and Paul were both given actual 3D photos of another alien race to portray the evildoers in that film. | ||
| After the film was completed, Bob's makeup shop was searched and the alien photos, along with the original alien designs, were stolen and a very threatening warning sign was left. | ||
| I would believe it. | ||
| We'll put it this way. | ||
| I would tend to give credence to the story. | ||
| I'd want the evidence, of course, if I were to go publishing that. | ||
| But by the same token, I'm quite sure that incidents like that have taken place. | ||
| Most of the people involved in the program, at least at the very top level, I'm sure, are completely cooperative with it. | ||
| They just pretty well do what they're told and they know essentially what's going on. | ||
| But for people who are a little bit lesser in the production team, you might have to intimidate them or more than likely trick them into getting what you wanted. | ||
| Various alien designs for different movies have been changed to be turned more into gray-looking aliens. | ||
| In other words, to make them more accurate than what the scripts originally portrayed. | ||
| The Fang is an excellent example of that, as a matter of fact. | ||
| Now, it has to be asked, and I will ask it, what's driving what? | ||
| In other words, is Hollywood driving us or are we driving Hollywood or is it a mutual attraction? | ||
| I would say that Hollywood begins driving us, at least on the executive production level, but they pay attention to what the public is picking up and they sort of play with it. | ||
| They probably listen to us or pay attention to what we're thinking or what we're doing and kind of stick that in there too, into the mix. | ||
| Then you have things like the X-Files, which are really confused, where you've got every various kind of alien conspiracy theory popping out all over the place. | ||
| Indeed. | ||
| All right, let us go to the phones. | ||
| You never know what you're going to get. | ||
|
unidentified
|
Yes, good morning, Art. | |
| Let's give it a try. | ||
| Good morning to you, sir. | ||
| Where are you, please? | ||
|
unidentified
|
Dallas, Texas. | |
| Dallas, huh? | ||
| You're on the air with Bruce Rux. | ||
|
unidentified
|
Yes. | |
| What issue that y'all talked about earlier, I've been looking into the mind control aspect of all this. | ||
| And what's really been haunting me is the Oklahoma City bombing. | ||
| I've got a video that shows the early footage locally there that was broadcasted of Oklahoma City where they discussed that the Oklahoma City County bomb crew had found undetonated bombs, more than one. | ||
| Were you aware of that, by the way? | ||
| Was I aware of that? | ||
| I was aware that there were reports early on that there were two other suspected devices in the building, and they cleared for blocks around and began to go look for them. | ||
| And there were conflicting reports about whether they found something or not. | ||
|
unidentified
|
Have you heard of this video by the name of Cover Up in Oklahoma by Jerry Longspow? | |
| No, that's one I haven't heard of. | ||
|
unidentified
|
If I sent you a copy of that, would you watch that? | |
| It's an hour long. | ||
| Yes, I would. | ||
|
unidentified
|
Okay, I'll do that. | |
| I wanted to ask your guest what he thinks about the possibility of Tim McVay being a mind control candidate. | ||
| Also, I've been in some circles here in the Dallas area where one gentleman who traveled the country and talks about mind control and trying to help victims of mind control, he said that there's going to be a date, if I remember correctly, it was December 1999. | ||
| I think the exact date was December 12. | ||
| Right. | ||
| That basically all of these Manchurian candidates, these mind control candidates, are going to go Helter-Skeltzer at a certain date. | ||
| All at once, huh? | ||
|
unidentified
|
Yes, just to create chaos. | |
| If you're familiar with the New World Order saying, you know, order out of chaos, I kind of wonder what's afoot there. | ||
| But it does seem like every time a massive negative thing happens, like it's a terrorist attack or, you know, a gunman going crazy, that we tend to lose our pieces of our Bill of Rights, the critical one being the right to keep and bear arms. | ||
| It's just really disturbing to. | ||
| Well, you heard my example. | ||
| I mean, every time there's gun control legislation, at least when we had a Democrat Congress, there would be an incident. | ||
| A schoolyard would be shot up, something horrible would happen, whatever. | ||
|
unidentified
|
Well, this video I'll send you has a federal witness, a federal worker that worked in the building that was blown up, who gave a video affidavit of what she saw like a day or two before the bombing. | |
| She saw workers or what appeared to be two men in the parking garage handling something that looked like telephone wire and rectangular putty colored bricks. | ||
| All right, I'll tell you what. | ||
| Hold it there. | ||
| I'll watch the video. | ||
| But in the meantime, what I'm going to do is try and get my guest back on the line and ask him about Tim McVay for you. | ||
| So let me do that. | ||
| We somehow lost him. | ||
| Are you over is Bruce Rux? | ||
| They got us. | ||
| Somebody out there threw a switch, Bruce, and they got us. | ||
| Nah, it was just a disconnect. | ||
| Listen, a caller was asking whether you thought Tim McVeigh with regard to the Oklahoma City tragedy might have been one of these mind control types that we talked about. | ||
| I'm really not sure. | ||
| That whole setup just really stinks to high heaven. | ||
| I don't know what exactly went on there. | ||
| It's like trying to figure out Waco. | ||
| It's very, very difficult to untangle. | ||
| I personally find it very difficult to believe that that fertilizer bomb out front could have done what it was supposed to have done. | ||
| I don't know whether he could have been part of something like that or not. | ||
| It is possible. | ||
| But you maintain, nevertheless, that given the right circumstances, somebody can be, over a period of time, with hypnosis only or hypnosis and drugs, conditioned to commit a crime like that? | ||
| I don't maintain it. | ||
| At least three of the top advisors in the MKUltra program maintained it from as early as 1953. | ||
| And in fact, they proved it with one of their own secretaries. | ||
| It's in their own documents. | ||
| So a reasonable person then would conclude that our agencies, which of course don't do this kind of thing anymore, are in fact doing it. | ||
| Well, I'm pretty sure that something of the sort was going on, at least as recently as when Reagan was shot. | ||
| It was a .22-caliber lead-azide devastator exploding bullet that failed to go off inside him. | ||
| If it had, we wouldn't have known what it was. | ||
| But that's a CIA weapon. | ||
| You don't get that at Kmart. | ||
| No, I've never heard that. | ||
| Well, you are now. | ||
| And the doctor that first pulled it out from the surgery immediately when he saw it, he said this was a CIA job. | ||
| Oh, my God, I'm going to go to the next one. | ||
| Wait, wait, wait, wait, wait, wait, wait. | ||
| Where did you get that? | ||
| I got that from Jonathan Vanken. | ||
| He's an award-winning journalist. | ||
| I don't know the name. | ||
| I'm embarrassed. | ||
| I'm sorry. | ||
| I don't. | ||
| That's okay. | ||
| The 50 Greatest Conspiracies of All Time. | ||
| And one that he wrote with John Whalen. | ||
| I'm trying to remember the name of that one now. | ||
| Hold on, I'll figure it out for you. | ||
| It was an exploding bullet. | ||
| Yes, 22-caliber lead-azide poison-exploding bullet. | ||
| It's a CIA-issue weapon. | ||
| And the Hinkleys were very, very, very good friends of the Bushes. | ||
| In fact, John Hinkley's brother had a dinner date arrangement with Neil Bush of the later Silverado Savings and Loan scandal fame for the same night that John shot President Reagan. | ||
| Good Lord. | ||
| Coincidence? | ||
| Yeah, exactly. | ||
| So, no, I'm quite sure that that program did not terminate in 1963. | ||
| And even if it had, those who had been associated with it in any way, shape, or form would understand the mechanism and know how to use it. | ||
| By the way, what did you think of, in the few seconds we have, the movie Conspiracy Theory with Mel Gibson? | ||
| Also haven't seen that one yet. | ||
| Really? | ||
| I meant getting to it. | ||
| I mean, there's so many movies. | ||
| I get to them as I can. | ||
| Oh, but that's one you've got to see. | ||
| Oh, definitely. | ||
| I'm waiting on it. | ||
| Right after contact, you've got to see Conspiracy Theory. | ||
| It's great. | ||
| Absolutely. | ||
| It is one of a very small handful I haven't seen yet. | ||
| All right. | ||
| All right. | ||
| Stay right where you are, and we'll be back to you after the top of the hour. | ||
| Bruce Rux is my guest. | ||
| Rux. | ||
| Bruce, we're going to try and concentrate now on the phones, because I have a lot of people who would like to speak with you. | ||
|
unidentified
|
Sure. | |
| All right. | ||
| One quick thing is a confirmation on that exploding bullet. | ||
| It came from Dr. Benjamin Aaron, who was the head of the cardiothoracic surgery at George Washington University Medical Center and was reported in the mortal presidency by Robert E. Gilbert. | ||
| Okay, I appreciate that. | ||
| You know, if we had our little instant thing, I'm sure your credibility rating would have just gone up two or three ticks immediately. | ||
| All right, lots of people want to talk, so here we go. | ||
| First time caller line, you're on the air with Bruce Rux. | ||
|
unidentified
|
Yes, hello. | |
| Hello there. | ||
| You're not too loud. | ||
| Speak up. | ||
| Where are you? | ||
|
unidentified
|
Okay, can you hear me now? | |
| Oh, yes. | ||
| Where are you? | ||
|
unidentified
|
Thank you. | |
| I'm in Silver Spring, Maryland. | ||
| All right. | ||
|
unidentified
|
Okay, a couple of things. | |
| First of all, the first kind of incident that my family ever had, apparently, was when my grandmother was a little girl, when a meteorite fell from the sky and rolled under a home that was just across the street from where she lived in Meridian, Mississippi. | ||
| There was a woman in the home that was ill, and apparently she died at the exact moment that this object rolled under her house. | ||
| That sort of has set a tone in some strange kind of way with our family. | ||
| My mother ended up working as an administrative aide, kind of a person secretary, I guess you'd say. | ||
| I'm a little nervous, with the Pentagon and with the Air Force on Project Blue Book. | ||
| So I grew up as a child knowing that people were sending in all of these photos and letters describing what they saw as unidentified flying objects and having these little pat answers sent to them saying, you know, thank you, Mr. and Mrs. America, for your concern about the safety of the nation. | ||
| However, there's nothing to it. | ||
| It's a sunspot. | ||
| And then they would, you know, get busy and start doing some investigating to find out what in the world was going on. | ||
| The other thing is with me as a child, I began to have quite a few of what I would call, I can only say they were visitations. | ||
| I don't know what else to say. | ||
| I don't ever see myself being taken up in a spaceship. | ||
| I don't mean to indicate that. | ||
| Nor have you borne any alien children? | ||
|
unidentified
|
No, no, nothing like that. | |
| All I know is that I was informed in some very interesting way about things that were going on beyond this particular planet. | ||
| And it was a very interesting education that lasted through my childhood up to the very first day of high school, at which time I was told that life would have to teach me now. | ||
| Now, you see, you sound so articulate. | ||
| You sound so credible. | ||
| And you know what you might be? | ||
| What? | ||
| You might be a disinformation government agent trying to sit down. | ||
|
unidentified
|
Oh, wait, wait, it gets worse. | |
| Trying to sit down. | ||
|
unidentified
|
Which I'm now. | |
| Wait till you hear the rest of this. | ||
| All right. | ||
|
unidentified
|
So what happened after that was a sequence of other things, which are really two multiples to even talk about. | |
| But the more recent thing, when you said Reagan, that's what made me call in. | ||
| For some reason, known only to God, I guess, or to something. | ||
| Now, I've been listening to the show enough now I'm not too sure what to say, but I began to pick up from Ronald Reagan. | ||
| Don't ask me why, Ronald Reagan, but I began to see him in my dreams and see him sitting in a solitary way outside of the White House. | ||
| And it was so silent and quiet that it was, you know, excruciatingly loud. | ||
| And for some reason, I would pick up things that he was concerned about. | ||
| And I am so sure that that man knew that something was not right about the events that were happening to him. | ||
| Well, all right. | ||
| Listen, time says I've got to go, but you're right. | ||
| And of course, Ronald Reagan made how many references to the possibility that Earth might have to get together to fight aliens or an invading armada from space? | ||
| Especially in the second term, yeah. | ||
| Yeah, both times. | ||
| He did say something. | ||
| There's no question about that. | ||
| All right, I've got a special call for you here, I believe. | ||
| Here is a Hollywood makeup special effects type person, and I bet he's got a word or two for you, Bruce. | ||
| Are you there, Colin? | ||
|
unidentified
|
I am, and I do indeed. | |
| Good morning. | ||
| I don't mean to burst into anybody's bubble. | ||
| Well, before you do that, let's qualify you a little bit. | ||
| What do you do? | ||
| Your special effects? | ||
|
unidentified
|
I originally started off doing special makeup effects in the film industry and then moved into more technical mechanical systems for films and then the theme park industry. | |
| Okay. | ||
|
unidentified
|
So basically, general special effects for both systems. | |
| Even at times, aliens and monsters? | ||
|
unidentified
|
Even at times, aliens and monsters, absolutely. | |
| All right. | ||
|
unidentified
|
Sure. | |
| At this point, from what I can tell, after about 12 years in the industry, I've never been approached by anybody that seems suspicious regarding any connection of what Hollywood produces and what is perceived to be some type of conspiracy theory of the government influencing Hollywood. | ||
| Hollywood is influenced by one thing, and that's money. | ||
| Money. | ||
|
unidentified
|
And saying now that aliens make money. | |
| Regardless of what some special effects artists have said about the alien autopsy film, you know, most everybody else in the industry has said, you know, anybody could do that. | ||
| It wasn't that good of a question. | ||
| I agree with you. | ||
| I think it was shoddy. | ||
| Really? | ||
| Yeah. | ||
| Yes, but I mean, this man is saying to you, Bruce, that, come on. | ||
| I mean, get real. | ||
| The reason they're making these movies Yeah. | ||
| Oh, no. | ||
| Well, of course they're paying attention to that, naturally. | ||
| And if someone were to approach anyone in the industry, it probably would be someone higher up on the production level. | ||
| They don't go to every single person involved in the making of a movie and say, this is our program and this is what we want you to do. | ||
| It's just the person at the very top knows. | ||
|
unidentified
|
That's true, but they don't always make all the executive decisions. | |
| You may have somebody in a position who guides the money on the production of a film, but still the creative decisions, even on down the line as far as maybe what something looks like or how it's visually interpreted, that's not always known up at the top, at least initially. | ||
| Sometimes it comes from the bottom or the middle rank. | ||
| Yeah, but look, I considered a caller myself, so I've got to ask you to consider it too. | ||
| Have you ever considered the possibility that you're part of a much larger machine, you're in a little compartment, and you are an unwitting dupe? | ||
|
unidentified
|
No. | |
| No, not at all. | ||
| How do you know? | ||
|
unidentified
|
Because I've seen all aspects of it. | |
| I mean, even I don't know. | ||
| I do this program, and I've got to sit here and ask myself, am I somewhere out of my mind? | ||
|
unidentified
|
Well, I've been involved in everything from above the line, what they call above the line, and below the line. | |
| And it's about money. | ||
| I mean, I wish it was more exciting than that, but it's not. | ||
| It's about cash. | ||
| And if you want to talk about manipulation and mind control, you know, that's what is happening as people sublimate themselves when they watch professional sports or the like. | ||
| I mean, that's mind control. | ||
| And Bruce. | ||
| I'm not saying that people in the industry are being mind controlled into doing this or anything like that. | ||
| And especially these days, when it comes to the design of aliens, I think they pretty well give everyone free reign. | ||
| But it was much different back in the 1950s. | ||
| There are several bits of evidence where on the production executive level, someone who would submit a script or an alien design would have it changed at the executive level into something that looked much more like a UFO gray. | ||
|
unidentified
|
Well, I've known a lot of the original special makeup effects people who started and go all the way back to, say, the Wizard of Oz. | |
| And most of them would look at this and they'd say, you know, unfortunately, it's absolutely ridiculous. | ||
| This hasn't happened and isn't happening. | ||
| And like I said, I've seen it from above the line, below the line. | ||
| And working in that whole regard... | ||
| What does that mean, above the line? | ||
|
unidentified
|
Above the line are those people that usually handle the money and are... | |
| Below the line would be the rest of the crew that shows up in the contract work and everything else. | ||
| All right. | ||
| There's another incidence in Hollywood where the design of aliens was influenced at the production level, which I talk about extensively in my book. | ||
| Oh, you do? | ||
| Oh, yes. | ||
| Give us an example, yes. | ||
| The thing is one example. | ||
| The guy who wrote the Screenplay kept submitting it, and they kept altering the alien and sending it back until he came up with what it looked like. | ||
| I mean, how it presently appears in the film, which is just this big bald humanoid. | ||
| It's basically just a larger version of a UFO gray. | ||
| But until all those changes had been made, they didn't accept that screenplay and film it. | ||
| How about that, caller? | ||
|
unidentified
|
Well, you know, to be honest with you, a lot of the people at the executive level in the film issue really aren't that bright. | |
| I don't think anybody would be able to contain a conspiracy of that magnitude. | ||
| There's just no way. | ||
| There's too many people. | ||
| Well, Leslie Stevens is that bright. | ||
| He was the executive producer of the Outer Limits in both of its seasons, 1963 to 65. | ||
| He's the second-generation military intelligence man, and he did exactly the same thing with the scripts that came in. | ||
| He altered the aliens until they looked like UFO Grays, among other things, to make them more accurate. | ||
| Now, you've got to admit, Culler, there is the possibility that things have gone on that you are not aware of. | ||
| Now, the genre of film is certainly popular, and there's money being generated by it, and that's driving a lot of it now. | ||
| But what do we know about how it began? | ||
|
unidentified
|
Well, you know, I wasn't there when it began, so no, I can't speculate. | |
| So now you're part of the big picture, don't you see? | ||
|
unidentified
|
No. | |
| All right, Caller, thank you. | ||
|
unidentified
|
Thank you. | |
| Take care. | ||
| There's somebody from Hollywood defending it all. | ||
| East of the Rockies, you're on the air with Bruce Rux. | ||
| Hello. | ||
|
unidentified
|
Hello? | |
| Where are you, sir? | ||
|
unidentified
|
I'm in West Virginia. | |
| Okay. | ||
|
unidentified
|
And I wanted to ask your guest about something I saw on television. | |
| There's a program called Sightings. | ||
| Oh, yes. | ||
|
unidentified
|
And they had on their TV show a program where they had a guy from the Royal Observer Corps. | |
| Now, these are guys who are trained aircraft observers. | ||
| And he said that he has seen a black triangular or delta-shaped UFO following close behind a KC-135 extender tanker in the company of two F-15Es. | ||
| Now, I was wondering if your guest would care to comment upon the possible terrestrial origin of these UFOs or other types of UFOs categorized by, say, shape. | ||
| Oh, I like the question. | ||
| That was my big sighting was a triangular, I saw a triangular right over my head, 150 feet, big UFO. | ||
| And so would you care to comment on the possibility that these are not at all aliens, but in fact are part of this wonderful military-industrial complex we've been talking about tonight? | ||
| I'm sure some of them are, or at least are some experiments. | ||
| I'm sure Area 51 is working on things like that, as well as other different defense complex areas in the country and elsewhere. | ||
| My reason for believing that not all of them can be is that the UFO and Mars opposition correlation has been consistent since well before the military-industrial complex was even around. | ||
| In other words, these visitations go back through history substantially, and I can't believe that the military was behind those. | ||
| My firm belief is that from Roswell on, at least, if not before, that from Roswell, once we started picking up some of the technology, we bent all of our resources toward duplicating it and improving what we had. | ||
| In other words, we're trying to catch up to them. | ||
| And yes, I'm sure that some of the UFOs that are seen probably are Air Force experiments. | ||
| I've got you. | ||
| All right. | ||
| West of the Rockies, you're on the air with Bruce Rux. | ||
| Hello. | ||
|
unidentified
|
Yeah, Mr. Bell? | |
| Yes, sir. | ||
|
unidentified
|
Yeah, there's a few of us that are sitting inside a chat room right now. | |
| We've been kind of listening to your show. | ||
| We do this for every night, and we've been listening wholeheartedly. | ||
| And I have to tell you that we're a little disappointed. | ||
| Okay. | ||
|
unidentified
|
Only in the sense that the gentleman you have on hasn't seen two of probably one of the best movies that have come out. | |
| One is Contact and Conspiracy Theory. | ||
| I really must join you in that. | ||
|
unidentified
|
And he's a guy that's writing books on these topics. | |
| I know, but remember now, he's writing books. | ||
| I've been fully briefed and familiarized with Contact by people who have seen it, and I have read the novel. | ||
| And he read the book. | ||
| And Conspiracy, yes. | ||
| And Conspiracy Theory simply did not enter into what I was writing about. | ||
|
unidentified
|
Well, you were talking about conspiracies earlier. | |
| Yes, but the movie Conspiracy Theory has nothing to do with it. | ||
|
unidentified
|
Well, I understand that. | |
| And I just have one more comment, and that happens to be that one of my best friends happens to be a doctor, and he does hypnosis. | ||
| And I had a talk with him at length about being able to do mind control. | ||
| And he told me, you know, in all the classes that he's taken, he's been doing this for years, that there's no way that you can make someone do something that they don't want to do. | ||
| I know it's a popular line, but the official CIA documentation and all of their bigwigs in the program disagree with it. | ||
| They say that, yes, you can. | ||
|
unidentified
|
Is there someplace that I could go on a website or something else to back that up? | |
| What I would just recommend that you find John Mark's book, In Search of the Manchurian Candidate. | ||
| Yep. | ||
| And there are several other books, too. | ||
| I can't think of them off the top of my head. | ||
| Victor Marchetti's books, Inside the CIA. | ||
| Actually, Victor Marchetti's talked about it in quite a few articles. | ||
| Check my bibliography. | ||
| I've got several things on it. | ||
| Hey, Caller? | ||
|
unidentified
|
Yes. | |
| You would never kill anybody, right? | ||
|
unidentified
|
Absolutely not. | |
| I mean, that's not something you do. | ||
|
unidentified
|
No way. | |
| But let me ask you a question. | ||
| If you thought somebody was about to kill you, you would probably defend yourself with lethal force if you had to. | ||
|
unidentified
|
Then they've done that. | |
| I'm afraid I rest my case. | ||
| In other words, if you could be convinced that you were in a fight-or-flight situation, and mentally that's where you were, and you thought somebody was about to off you, you would off them first. | ||
|
unidentified
|
Yes, if I was in that... | |
| Well, even a personal war, if you thought somebody was coming to do away with you, to break into your house and to shoot you. | ||
|
unidentified
|
But Mr. Bell, what you're telling me does not go with what we're discussing. | |
| Yes, it does. | ||
|
unidentified
|
Well, no, no, no, let me say something. | |
| Let me give you another example. | ||
| In other words, if through a series of hypnotic suggestions, I could finally convince you that somebody was going to show up at 9 o'clock Saturday night with a gun to kill you. | ||
|
unidentified
|
You'd have to be a paranoid schizophrenic in order to get me to do that. | |
| By the time I got done with you, you would be a paranoid schizophrenic. | ||
| So you're not following me. | ||
| Underneath. | ||
| Psychosynthesis. | ||
|
unidentified
|
You know, I want to argue that with you because, for one, there's no way that talking to you or your gentleman here or whatever, you're going to get me that paranoid. | |
| Well, I'm not trying to. | ||
|
unidentified
|
You don't want to know that. | |
| I'm just saying in real life it isn't going to happen. | ||
| All right. | ||
| Let Bruce respond. | ||
| Bruce. | ||
| Well, the point is, as he was trying to tell you, under a period of conditioning, if you combine that with narcosynthesis, when the CIA did have success with this kind of project, what's in their records, what they did was convince someone that a friend of hers was actually an enemy. | ||
| And at that point, she did actually fire on that person with blanks and did not have any memory of it later, at least according to the official CIA documents on it. | ||
| And you can't do it with every single person in the population. | ||
|
unidentified
|
And what you're telling me is they did that strictly through hypnosis. | |
| They did it through hypnosis. | ||
|
unidentified
|
Because, I mean, I agree with you. | |
| During the Second World War, they got people to do all kinds of crazy things. | ||
| All right, look, look, look, look. | ||
| Hold it, hold it, hold it, hold it. | ||
| Both of you, hold on. | ||
| I'll bring you both back after the break, all right? | ||
| Okay. | ||
| Okay, stand by. | ||
| So Bruce Rux is saying, look, folks, they've already done it. | ||
| Read the literature. | ||
|
unidentified
|
Read the literature. | |
| Bruce Rux, what do you think of the idea of my Hollywood line? | ||
| That's a great idea. | ||
| You like it? | ||
| Okay, good. | ||
| I'm glad. | ||
| Here's our caller. | ||
| Caller, you're back on the air again. | ||
| Thank you for holding. | ||
|
unidentified
|
Yeah, the point that I was just trying to make is I was going to say under kind of extreme stress, you could get somebody to do anything. | |
| And the point that I was trying to make was like during the Second World War, when the Nazis were going and they were trying to learn human behavior, they realized that sleep deprivation and stuff like that, you could get someone to virtually go crazy. | ||
| Well, you've made our case. | ||
|
unidentified
|
No, what I'm trying to say is that you were talking about this doing this strictly on a hypnosis point. | |
| You can do it with narco-hypnosis. | ||
| You can convince people of all those conditions, and you can condition them over a period of time into believing it. | ||
|
unidentified
|
So what you're saying is that there's a grand conspiracy here where the, and this is the point that you're trying to make? | |
| Well, the point he's trying to make, I understand that it's possible. | ||
| I believe that it is possible. | ||
| Now, that doesn't mean it's happening, but it's certainly possible. | ||
| I'm not talking about grand conspiracies. | ||
| I'm just talking about mind control experiments and what's been accomplished. | ||
|
unidentified
|
Well, you know, all I know is that from everyone that I've ever talked to and the gentleman that I know personally that's done this hypnosis, it doesn't happen. | |
| Read John Martins, former State Department member. | ||
| He combed through all the documents of the CIA's NK-Ultra program for the Church Committee. | ||
| Believe us, there's killer in you, sir. | ||
|
unidentified
|
No, definitely. | |
| I'm not saying that. | ||
| I'm just saying that you're not going to hypnotize me to get me to do that. | ||
| Maybe not. | ||
|
unidentified
|
And I'm saying I've read novels too. | |
| One of the best novels I've ever read, which you probably, I don't know if I imagine artists probably read this, was Area 51 by Robert Doherty. | ||
| Oh, yes. | ||
|
unidentified
|
That was going to be an excellent novel. | |
| But that doesn't necessarily mean that I'm going to believe every stitch of evidence inside of it. | ||
| All right. | ||
| Well, we ain't basing anything on novels. | ||
| I'm basing it on the actual research and the actual documents. | ||
| Go ahead and quote it again. | ||
| Tell him again. | ||
| I mean, it has already happened. | ||
| When did it happen? | ||
| They got him to fire. | ||
| Morris Allen, who was the head of the CIA's hypnosis branch at that time in 1954, on February 19th of that year, got his secretary to fire a gun full of blanks at a woman, convinced that that woman was her rival. | ||
| And she had no memory of even doing it afterwards. | ||
| That's in the CIA's actual documents, as reported by John Marks. | ||
| If you want to doubt a former State Department member and those documents, you were more than, I mean, you can certainly do that, but that's where it came from. | ||
| All right. | ||
| First time caller line, you're on here with Bruce Roxai. | ||
|
unidentified
|
Yeah, how you doing, Hart? | |
| I'm doing. | ||
|
unidentified
|
Good. | |
| A friend of mine turned me on to you not too long ago, and I've been a fan of her set. | ||
| Good. | ||
| Where are you? | ||
|
unidentified
|
Michigan. | |
| All right. | ||
|
unidentified
|
All right. | |
| I got a question for your interviewer. | ||
| I'm the interviewer. | ||
| He's the guest. | ||
|
unidentified
|
He's the guest. | |
| Sorry. | ||
| Right. | ||
| He was talking about how Hollywood's been portraying a lot of different things about aliens and us accepting them and things like that. | ||
| And we get people talking about hybrids, too. | ||
| And I was just wondering what he thought. | ||
| Maybe there might be people, hybrids, already in Hollywood scene preparing us for what might become. | ||
| In other words, are there actually aliens in Hollywood? | ||
| Well, that goes a bit farther than my research would be able to cover. | ||
| My belief is that the only quote-unquote aliens we're actually dealing with are people just like ourselves. | ||
| They just live on another planet. | ||
| So I really couldn't say. | ||
| Well, if that was the case, then they wouldn't. | ||
| Well, they could walk among us and be undetected. | ||
| Recognize. | ||
| So in that sense, who knows if an advisor drops by and does that, I wouldn't have the slightest idea. | ||
| But it's not something that I would speculate on. | ||
| All right. | ||
| Wildcard line, you're on the air with Bruce Roxai. | ||
|
unidentified
|
Hi, good morning. | |
| Good morning. | ||
| Where are you? | ||
|
unidentified
|
I'm from New York. | |
| New York City? | ||
|
unidentified
|
Yes, New York City. | |
| We're still here. | ||
| Good. | ||
| Amazing. | ||
| I would like to ask you and Bruce both a question about two shows that are now currently appearing. | ||
| All right. | ||
|
unidentified
|
We have one called The Millennium. | |
| Oh, Millennium, yes. | ||
|
unidentified
|
Okay, that's a heavy. | |
| And now we have a new one called Pray. | ||
| I caught the first episode of that tonight. | ||
| Both of these shows seem to deal with this viewer imaging type of thing that you've been talking about with some of your guests. | ||
| And I was just kind of wondering if you have a comment on that. | ||
| All right, let's get it. | ||
| Thank you very much. | ||
| Bruce, Millennium is one heavy-duty series. | ||
| Yes. | ||
| No question about it. | ||
| And she mentioned another. | ||
| Are you keeping up on these? | ||
| Have you seen them? | ||
| Are you married? | ||
| I keep up on them as best I can. | ||
| Yeah, I don't see every episode, but I do tune in periodically. | ||
| I pray I have not yet heard of. | ||
| I guess a group it just started? | ||
| Yes. | ||
| Okay. | ||
| I haven't seen that one yet. | ||
| In fact, I haven't even heard of it. | ||
| All right. | ||
| Any comments on Millennium. | ||
| I mean, here we are moving toward 2000, and they have repeated themes of extreme danger to the planet. | ||
| Now, you know, it's of a different sort. | ||
| It's not the old nuclear war, but it's the same kind of deal. | ||
|
unidentified
|
Yeah. | |
| I think that's a very popular image that the agency is actually trying to put out right now is that we're under our greatest threat from terrorism. | ||
| And what Millennium is trying to do, or if there is a subliminal intent in Millennium, and there could be, what it is, is to just keep people kind of nervous and scared and wanting lots of good, strong federal government protection. | ||
| Basically, you want those good FBI heroes to protect you from Waco and Oklahoma and this weirdo next door who thinks the Millennium is coming and wants to cut your heart out and eat it. | ||
| Whether it's there or not. | ||
| Indeed, East of the Rockies, you're on the air with Bruce Roxai. | ||
|
unidentified
|
Hello, Arddel. | |
| Yes. | ||
|
unidentified
|
You're doing a fantastic job. | |
| Thank you. | ||
|
unidentified
|
This is Thomas from Oklahoma. | |
| I'm a free thinker. | ||
| My wife's an Astro Channeler and I do review viewing. | ||
| An Astro Channeler. | ||
|
unidentified
|
Yep. | |
| Probably the only one. | ||
| She's gone now. | ||
| Are you still speaking with her? | ||
|
unidentified
|
Of course I am. | |
| I mean, it's way out. | ||
|
unidentified
|
I don't want to get into it. | |
| I'm going to write me to ask, but, you know, yes, I do. | ||
| Or I have a comment for, what's his name? | ||
| Bruce Russia. | ||
|
unidentified
|
Bruce, yes. | |
| Do you know that the lower levels, well, I'm in the metaphysics. | ||
| Lower level people, about 20%, can be conditioned and hypnotized to do these things. | ||
| Like in India, they'll put a dagger on the table and a lower level assassinant will assassinate the person by the viewing into the knife. | ||
| And they will pick it up. | ||
| Now, how you think of that? | ||
| I don't know anything about it, so I really don't know. | ||
|
unidentified
|
You can take a bowl. | |
| They do it in Egypt and put love energy into it and heal people. | ||
| All right. | ||
|
unidentified
|
Well, it's beyond my research. | |
| My research is entirely in the actual documents. | ||
| So, you know, unless the CIA was, well, if the CIA was studying it, they might have been. | ||
| I haven't seen any documents to that effect. | ||
| All right. | ||
| Let's see if my idea is going to work. | ||
| Sometimes when I request a special line, it gets jammed with idiots, not what I asked for. | ||
| So we'll try. | ||
| Hollywood Line, are you there? | ||
| Yeah, hello. | ||
| Are you actually in Hollywood? | ||
|
unidentified
|
I'm answering from Glendale, California. | |
| Close enough, I guess. | ||
| Are you in the industry? | ||
|
unidentified
|
Yeah. | |
| Well, I'm glad I got through. | ||
| I started listening to your show about maybe three, four months ago, and it's great. | ||
| I wish I would have known a long time ago. | ||
| But anyway, you have an interesting guest. | ||
| It's very interesting. | ||
| Are you in the motion picture? | ||
| No, no, no, I'm not. | ||
|
unidentified
|
um But anyway, you have an interesting guest. | |
| It's very interesting. | ||
| Are you in the motion picture? | ||
|
unidentified
|
No, no, no, I'm not. | |
| I'm not. | ||
| I'm a first-time caller. | ||
| I've been trying since I started listening to you. | ||
| Okay, well, we were kind of holding this line open for people in Hollywood. | ||
|
unidentified
|
Listen, I'm absolutely sorry. | |
| If you have a quick question, go ahead. | ||
|
unidentified
|
Well, a quick question is... | |
| The question is, if you tried to get on TV, do you think you would be stopped? | ||
| No, I'm trying to stop myself from going on TV. | ||
| I've got so many offers right now, it's ridiculous, and I don't want to go on TV. | ||
| I don't like TV. | ||
|
unidentified
|
Well, I mean, you'll be reaching so many people on Atlanta. | |
| Atlanta, I don't want to go on TV. | ||
| TV is scripted, and TV is rehearsed, and it's a bore. | ||
|
unidentified
|
Well, I guess you're in a business, you know what goes on, and so on and so forth. | |
| Well, yeah, I've been on TV, and I can tell you it really is a bore. | ||
| And if that's a bore, I wonder what motion pictures are like, because it's even worse. | ||
| Anyway, I'm trying to reserve that line away for Hollywood now. | ||
| I will insist that only those of you in Hollywood wishing to take on Bruce call that line, area code 702-727-1222. | ||
| And the higher placed you are, the better. | ||
| I would love to hear from you. | ||
| Directors, producers, script writers, people like that. | ||
| We'll see what we get. | ||
| On my Hollywood line, you're on the air. | ||
| Hello. | ||
|
unidentified
|
Hi, Art. | |
| Hi. | ||
|
unidentified
|
My name is Scott Norris. | |
| I actually produced a web show sometime back called Eon 4. | ||
| I don't know if you were familiar with it. | ||
| Are you in Hollywood? | ||
|
unidentified
|
I'm not anymore, but I used to be. | |
| And, well, all right, then that sort of qualifies you, I guess. | ||
| What could your comment be? | ||
|
unidentified
|
Well, actually, I mean, at the time, I was doing a sci-fi show on the internet called Eon4, which was basically about a conspiracy. | |
| You know, the idea was a. | ||
| I remember it. | ||
|
unidentified
|
Yeah, it was a website that was basically about the idea was hacking into a NASA website and getting information that you weren't supposed to be getting about information being piped back from another planet, another galaxy. | |
| Were you familiar with it? | ||
| I remember Eon 4, yes. | ||
| Actually, I remember someone talking about it, though. | ||
|
unidentified
|
Well, when we created the show, our whole goal was to see how the public would respond to something that was sort of modeled after NASA's. | |
| It was a very, very slick, well-done website that scared the hell out of a lot of people. | ||
|
unidentified
|
Yeah, it did. | |
| And it didn't really... | ||
| I don't think I ever expected to get as many people believing it as they did. | ||
| So then, how are we to know why you did this? | ||
|
unidentified
|
How are you to know why we did this? | |
| Why you did it, yes. | ||
|
unidentified
|
Well, I can tell you why we did it. | |
| Why? | ||
|
unidentified
|
There was a show on the internet called The Spot that was very popular, and a company called Tatal and Collins, which was an ad agency, basically attempted to create a network from that show, and Eon 4 was its second show. | |
| And we had a gentleman by the name of Rockne O'Bannon who wrote Alien Nation. | ||
| I don't know if you're familiar with that. | ||
| I am, yes, yes. | ||
|
unidentified
|
Anyway, he was the writer of Alien Nation, and we got him on board to write Eon 4, which, interestingly enough, we've come to find out in the long run, the story of Eon 4 was very similar to the story of Contact. | |
| But anyway, I mean, my reason for calling was during the creative process of trying to get this show launched, it became very clear to us early on that we were going to have to make the aliens look like the Greys if we were going to get anyone to believe it. | ||
| And it was very successful in getting people to believe it. | ||
| In fact, I would say the show was on for all of about three days when we started getting a ton of traffic coming in. | ||
| And we finally figured out where the traffic was coming from. | ||
| It was coming from your show. | ||
| Oh, I see a big circle here, don't you? | ||
|
unidentified
|
For the first week, most of the people that were writing in, we had a huge bulletin board there. | |
| And the people that were writing in, it was pretty much split down the middle on people that believed it and people that didn't believe it. | ||
| Oh, man, it fired up the whole internet. | ||
| We put a link up on our site. | ||
| I thought it was so good that I put a link up. | ||
| You're absolutely correct. | ||
|
unidentified
|
Well, thanks for the link because it got us cool sight of the day. | |
| And from that point, it launched a 12-month successful show. | ||
| So thanks for that. | ||
| But the interesting thing for me in the whole process was how there were continual spikes of people that would come in who really would believe this stuff. | ||
| And I think part of it was because we went out of our way to try to make it as convincing as possible. | ||
| Oh, yes, you did. | ||
|
unidentified
|
And we had done our research well enough, you know, as far as the alien theories and the UFO theories to try to make elements resemble, you know, all the things that we hear. | |
| I might venture to suggest that if Rockne O'Bannon was associated with it, it's possible. | ||
| I would not know this for a fact. | ||
| It's just a possibility. | ||
| It might have been a test kind of to throw out there to see how people would respond if this type of information got out. | ||
| In other words, make it look as authentic as possible and see what sort of response you get. | ||
|
unidentified
|
Well, that might be, but, you know, having worked with Rockney for a while, I would doubt that. | |
| And further, it was me that was fighting tooth and nail to make sure that the aliens looked like the Greys. | ||
| He had a completely different idea of what they should look like. | ||
| And the whole reason I fought for them to be the Greys was because our idea with this website was if we were going to generate an audience that would participate, we had to make it believable just long enough to where people would suspend this belief, try to figure out what was going on, and our theory was people would either hate us and leave or become very intrigued and stick around. | ||
| Many did that. | ||
| And you know what, Caller? | ||
| You really can't know for sure that you weren't just a cog in a wheel, a bigger wheel of a test. | ||
|
unidentified
|
Oh, I could have been. | |
| And what's funny is that at the time that we were creating the show, the amount of, quote, coincidences that were coming up were just amazing. | ||
| You had lots of good luck getting material and getting... | ||
|
unidentified
|
In fact, things were just falling into place as we were getting all kinds of participation from JPL and NASA surprised me. | |
| You know what? | ||
|
unidentified
|
What? | |
| I get the same thing. | ||
| I'm not kidding. | ||
| If I want a NASA spokesman, I get them. | ||
| Whatever I want, I get, as this show has built. | ||
| It's amazing, isn't it? | ||
| Now, you really have got to sit and wonder, and I do, if there are other forces at work, forces that I don't know about. | ||
| Of course, people accuse me of knowing about them, and I don't. | ||
| But it's all fallen into place for me, too. | ||
| Now, with all that in mind, you've got to imagine it's possible. | ||
|
unidentified
|
Absolutely. | |
| Well said. | ||
| All right. | ||
| Thank you for the call. | ||
| Wildcard Line, you are on the air with Bruce Rocks and Art Bell. | ||
|
unidentified
|
Hi. | |
| Hi there. | ||
| Hello. | ||
|
unidentified
|
This is Jay. | |
| I'm calling from Florida, and I'm on 1200. | ||
| Normally, I'm in Cleveland listening on WTAM. | ||
| I got a comment and a question. | ||
| The comment is, I did recently read a book on hypnosis that was a scholarly work, and the research on that did indicate that you could make anybody do pretty much anything you want them to do. | ||
| Pretty much when they tell people that they won't do things they wouldn't normally do, that that's just to calm them down, to relax them, and gain the trust of the hypnotist. | ||
| My question is whether Bruce has seen Dark City. | ||
| Dark City? | ||
| That's next on my list. | ||
| As a matter of fact, I'll probably see it this week or the very beginning of next week. | ||
| I very much want to see it. | ||
| From the ads alone, it automatically intrigues me. | ||
| You've got what looks very much like an alien abduction movie right from the start. | ||
| You have people who are being picked up. | ||
| They're having medical experiments performed on them. | ||
| Someone is sort of controlling them, but doing so from behind the scenes and erasing their memory of the fact and all of that. | ||
| Yeah, I very much want to see it. | ||
|
unidentified
|
It's very intense. | |
| And if you read the credits at the end, there is a thanks to the young masons in Australia. | ||
| Is that right? | ||
|
unidentified
|
Yeah. | |
| All right. | ||
| Thank you very much for the call. | ||
| Bruce, did you ever see a series called Dark Skies? | ||
| Ran on NBC. | ||
| Yes. | ||
| Straight disinformation. | ||
| Straight disinformation. | ||
| That stuff came straight from Bill Cooper. | ||
| Are you familiar with William Cooper? | ||
| Oh, yes, of course. | ||
| Okay. | ||
| Bryce Zabel, who produced that show. | ||
| I know Bryce. | ||
|
unidentified
|
Okay. | |
| He got contacted by some shadowy inside government figure who claimed to be associated with MJ-12 and all of this. | ||
| Now, before you go any further, you should know that I acted in a scene on Dark Skies. | ||
|
unidentified
|
Do you really? | |
| Do you know who I was? | ||
| No, I don't. | ||
| I was William Paley. | ||
| And do you know where I sat? | ||
|
unidentified
|
Where? | |
| In the boardroom of MJ-12. | ||
| Oh, that's funny. | ||
| Was that that last one where they took the vote? | ||
| Or was that earlier? | ||
| No, it was earlier. | ||
| It was earlier. | ||
| And a lot of the audience will be familiar with it. | ||
| I've got some of the photographs up on the website. | ||
| But I just, you know, as you got ready to take off on him here, I thought I'd let you know I did act in one series. | ||
| Now, what does that do to your level of suspicion regarding me? | ||
| Oh, it doesn't do anything. | ||
| I wouldn't suspect anything on that. | ||
| Damn. | ||
| You're a known figure. | ||
| They would want to It's perfectly natural they'd want to stick you on a cameo someplace. | ||
| Yeah, but a pretty big coincidence, really, in a lot of ways. | ||
| I mean, MJ-12, come on. | ||
| Oh, but you're ideal. | ||
| No, it's precisely because you deal with this kind of thing that you would make for a perfect cameo on that. | ||
| There's nothing suspicious in that at all. | ||
| That's just clever. | ||
| Clark. | ||
| Uh-huh. | ||
| All right. | ||
| All right. | ||
| Hold on. | ||
| We are at the top of the hour. | ||
| You can do one more hour, right? | ||
| Oh, sure. | ||
| Okay, good. | ||
| Bruce Rux is my guest. | ||
| And don't forget, folks, I now have an official Hollywood line open. | ||
| We'll lay heavily into Hollywood in this final hour. | ||
| For those of you who get it, for those of you who don't, ask for it. | ||
| And remember, coming up this Sunday on Dreamland. | ||
| Bruce, are you there? | ||
| Yes, I'm here. | ||
| All right. | ||
| I bring to you then a Hollywood producer director. | ||
| Is that correct? | ||
|
unidentified
|
That's correct, Art. | |
| Welcome. | ||
|
unidentified
|
My name is Susie Garza. | |
| I'm with a company called Alchemy Films, and we have just finished producing. | ||
| Actually, we're in the thick of post-production with a film that, honestly, Art was inspired by your program a little over two years ago. | ||
| Oh, my God. | ||
|
unidentified
|
As I was sitting there struggling with a project that had been in what we call development hell for two years, I was sitting there writing, contemplating moving on to another project, and I heard about this little creature called the Chupacabra. | |
| Oh, of course. | ||
|
unidentified
|
And immediately sat and started writing a script. | |
| We picked it as a very cool vehicle to tell a story full of very interesting characters, and in particular, Latino characters, because I myself am a Latino director. | ||
| And I got to tell you, Bruce, I really, you know, at least in my particular case, and I'm not going to poop on your theories. | ||
| Wait a minute. | ||
| Before you do or don't poop, what is the name of your movie? | ||
|
unidentified
|
Oh, the name of the movie is Chupacabra, and the working title is Chupacabra, The Blood Hunt, but we don't know if we're going to keep the Blood Hunt title because more and more it turned into a really interesting film, and the subtitle doesn't apply as much anymore. | |
| But it will be out later this year. | ||
| As a matter of fact, Art, I know you hate to do movies. | ||
| I know you hate to do television, but I've got the perfect audio role for you in this movie as a dispatcher. | ||
| Something I know you've been in your life. | ||
| As a matter of fact, I have been. | ||
| That's right. | ||
| I might be willing to do audio. | ||
|
unidentified
|
You know what? | |
| I will send you a script. | ||
| It's perfect for you. | ||
| And since you inspired the movie, boy, what a tribute. | ||
| Anyway, Bruce, you know, I've heard of all kinds of crazy things going on in the Hollywood evolved. | ||
| But let me tell you, the real reason we did this movie and the reason why we didn't spend two years in development hell with it was because it was independently produced. | ||
| We raised most of the money ourselves from independent sources who were not related to covert operations. | ||
| And then the other reason is in the past two years, the number one movies at the box office have been ID4 and Men in Black, and two movies that handled aliens in completely different ways, but did have Will Smith in common, oddly enough. | ||
| And the other thing is that we feel that the box office potential for a movie like Chupacabra, especially for an independent film like ours, which doesn't have big stars in it, featuring a Chupacabra is like having a huge star in our movie without having to pay him for it. | ||
| That's true. | ||
|
unidentified
|
So we are very, very excited about it, and we fall very, very short of the theory that Hollywood is being influenced. | |
| Now, I'm not here to say that that type of machinery, you know, movies and television and media in general are a very powerful medium. | ||
| They dictate the way we think, the way we talk, the way we dress. | ||
| And yeah, there could be some forces at work, but I find it very, very far-fetched to believe as an executive working producer in Hollywood that that type of stuff would be going on. | ||
| Well, I don't believe that the CIA or military intelligence is connected with every single producer or every single production about aliens or otherwise. | ||
| But there is a strong connection in some instances, a good many of them, and I cite them in chapter and verse in my book. | ||
| No, a lot of movies are just made by independent producers like yourself. | ||
| That doesn't surprise me at all. | ||
| And I'm not saying there's a big giant overarching conspiracy. | ||
| I'm just saying that I can demonstrate in certain movies and at certain studios, there has been a very strong governmental connection and strong influence on altering various alien movies in order to make them fit closer to the facts. | ||
| Have you ever seen anything like that, Color? | ||
|
unidentified
|
No. | |
| I have heard of very interesting and dark influences in the history of Hollywood art that we don't have time to cover. | ||
| But, you know, Bruce, are you talking about instances that are current that are happening today? | ||
| Well, there are a few still today, but it's much less noticeable for one simple reason, which is, as you say, due to Independence Day and Men in Black and several movies before that, the genre just took off on its own. | ||
| Yeah, in other words, once the snowball starts going downhill, you might not recall who pushed it, but it's getting real big now. | ||
| Exactly. | ||
| Yeah, and it was much more influential back in the 1950s and 60s and a little bit into the 70s, but it's kind of tapered off since then. | ||
|
unidentified
|
Oh, I see. | |
| So you are talking strictly historically here? | ||
| Primarily, yeah. | ||
| You're then possibly willing to buy that. | ||
|
unidentified
|
I'm possibly willing to buy that because of things that I've heard. | |
| I mean, you know, we've all heard the J. Edgar Hoover stories, for example. | ||
| And, you know, the funny part about this is that, you know, I believe in the best of the conspiracies and stuff. | ||
| But in my particular example, and even in the example of ID4, which was produced by a friend of mine called Dean Devlin, who's the co-executive producer of that film and who is now producing Godzilla. | ||
| Well, so I think Dean Devlin is actually kind of hooked up. | ||
| I don't know exactly with who, but I do think he's hooked up. | ||
|
unidentified
|
You know, I find that hard to believe. | |
| Let me tell you, Dean, when I knew him and when we hung out together, was a struggling actor. | ||
| Dean Devlin rolled into a screenwriter. | ||
| Stargate? | ||
| I'm sorry. | ||
| Yeah, became a screenwriter and ended up doing Universal Soldier and Stargate along with a couple of the smaller independent projects himself. | ||
| A lot of the people who happened to have that program were in very much the same boat when they started. | ||
|
unidentified
|
Well, perhaps, but you know, the thing is, he started out very much like I am now, which is the independent route. | |
| And what happens is, this is a business, and you try to keep the pulse on what is going to sell, what is a commercial product. | ||
| Ultimately, movies are a business. | ||
| They're in the middle of the world. | ||
| They'll help cut you a deal if you're doing something that they want you to do. | ||
|
unidentified
|
Well, no, I'm doing something that is dictated strictly by the public, believe it or not. | |
| I'm picking subjects that are high concept and that I'm going to not have difficulty selling. | ||
| That's our move. | ||
| Let's take a look just at Stargate. | ||
| What's the movie Stargate about? | ||
| We've been trying to exploit alien technology, which is Egyptian, that we discovered back in the 1920s. | ||
| We send a nuclear device to the Egyptian planet of man's origins in order to try and forestall a war between them and its occupants. | ||
| This is exactly what happened with the Pholos incident. | ||
| We sent, in 1989, there was the Mars probe that, the Russian Mars probe, the last thing it photographed was a UFO, and it had state-of-the-art Star Wars weaponry on it. | ||
| That's true. | ||
|
unidentified
|
Well, that is very, very true. | |
| But now, what proof or what have you heard about Dean? | ||
| I mean, I'd be curious to know. | ||
| Well, I don't say in the book that he's hooked up or anything like that because I don't know, and I haven't done enough personal research on him to say. | ||
| But I do find it very interesting that he was making a movie that seems to tally so very closely with actual ascertainable facts. | ||
| And that, of course, the most recent thing he did was this major doomsday, Independence Day thing. | ||
|
unidentified
|
Right. | |
| Well, but you realize now he's doing Godzilla. | ||
| I mean, what are the repercussions there? | ||
| That a monster is going to come and get us now? | ||
| No. | ||
| I'm not saying that. | ||
| Look, if someone's hooked up with this program, it doesn't mean that every single movie they make is hooked up with it. | ||
| I see. | ||
| All right. | ||
|
unidentified
|
Let me tell you a little bit about my project. | |
| Before you let me go, the previous one that was in development held for two years. | ||
| Isn't Chupacabra a modern version of Godzilla? | ||
|
unidentified
|
Well, not in our particular take on it. | |
| Not really. | ||
| What's interesting about the Chupacabra is we did research on it. | ||
| We found that this was a mythical beast that had been around in Latino folklore for quite a while. | ||
| Don't be so sure. | ||
| What about the thousands of bodies? | ||
|
unidentified
|
Oh, well, no, yeah. | |
| We do kind of explore that in the film. | ||
| There's definitely something worth looking at. | ||
| I mean, even the stuff about the exanguination of the bodies and the fact that they don't get rigor-mortised for several days, things like that. | ||
| It's fascinating. | ||
| It's a fascinating thing. | ||
| If I did any audio, would I actually get to dispatch forces to get the Chupa government? | ||
|
unidentified
|
Yes, you would. | |
| Okay. | ||
|
unidentified
|
I'll send you the script, Art. | |
| All right, anyway, you were saying. | ||
|
unidentified
|
The script that I had in development held for two years before then that I had written had to do with a situation that is very similar to what is happening with the president now and also tying into a sort of modern-day Robin Hood story and some computer hackers who were getting even with some thieves who were involved in the savings and loan scandals. | |
| Now, that film, I've got stories to tell about some of the stuff that went on there and how that film was prevented from being made. | ||
| I mean, now you get the sort of the conspiracy freak side of it. | ||
| Well, yeah, but I can roll this right back on you and I can say, okay, fine. | ||
| There was one they prevented you from making, but now you're making chupacabra and everything's falling right into place for you. | ||
|
unidentified
|
Well, yeah, but you know, it's definitely by the sweat of our own brow. | |
| I mean, the two executive parties. | ||
| Oh, I'm glad. | ||
| I'm glad you believe that. | ||
|
unidentified
|
Oh, yeah. | |
| Oh, definitely. | ||
| And I can cite you. | ||
| It's coming mostly out of our own pocketbook. | ||
| All right. | ||
| Well, listen, I wish you luck. | ||
|
unidentified
|
Thank you, Art. | |
| Take care. | ||
| I think that's what it comes down to. | ||
| Bruce, I really do. | ||
| In other words, as I said earlier, I honestly at times wonder about myself. | ||
| Not that I'm doing it intentionally because I know I'm not. | ||
| Everything has fallen in place. | ||
| Now, he tried to do a political kind of wag the dog thing. | ||
|
unidentified
|
Sure. | |
| It went nowhere. | ||
| He ran into roadblocks. | ||
| Now Chupacabra and all sweat of his brow, of course, but I mean, things are working. | ||
| Things are going. | ||
| Things are moving. | ||
| And that's the way a lot of people, when they first got started out, actually, Gene Roddenberry is an excellent case in point. | ||
| You've got Star Trek, which has numerous accurate ufological elements in it, which would not have been common knowledge at that time. | ||
| Oh, yes. | ||
| And Gene Roddenberry, I can prove, was hooked up with the CIA because he was the personal protege of LAPD Chief William Parker right before he did Star Trek. | ||
| Really? | ||
| Yeah. | ||
| And William Parker was hooked up with the CIA. | ||
| That's testified to by Victor Marchetti. | ||
| He didn't name Parker specifically, but he did say that the major members, the highest up people in various local police departments, did come down to Camp Peary and train with the CIA. | ||
| Well, I think you're starting to get to me. | ||
| First-time Gauler Line, actually, Hollywood Line, you're on the air with Bruce Rux. | ||
| Hello? | ||
|
unidentified
|
Yeah, but I'm not going to talk to them. | |
| I'm going to talk to you real quick, all right? | ||
| Not if you're not in Hollywood. | ||
| And plus, you have your radio on, too. | ||
| That's a double whammy. | ||
| Goodbye. | ||
| Wildcard Line, you're on the air. | ||
|
unidentified
|
Yeah, hi, Yard. | |
| Hello. | ||
|
unidentified
|
This is the Oregon South Coast. | |
| This is Goy. | ||
| Yes. | ||
| Okay. | ||
|
unidentified
|
You have a very interesting guest, and I feel that he knows a lot more than what he would care to say on the radio. | |
| Hold on. | ||
| Already, that's a good question. | ||
| How much, Bruce, do you know that you have not or cannot talk about? | ||
| How much is there that I know? | ||
| There are things that I won't go into detail on. | ||
| Basically, anything that I talk about, anything that's in my research, I treat it kind of the same way that any homicide detective would, which is to say, I'll tell the press or the public just about everything, except for very minor details. | ||
| And especially as far as abduction research goes or anything like that. | ||
| Because if you get people that claim to be abductees or whatever, you need to have certain things kept secret so that when they toss these things at you, if you're catching something way out of the left field, it only comes from that area. | ||
| The only way you can keep that secure is just not to talk about it. | ||
| So those kind of things, yeah, there are a couple minor little details here and there that I don't discuss, but pretty well everything else I do. | ||
| But how do we know you are not here conditioning our minds, acting as a double disinformation agent? | ||
|
unidentified
|
You don't. | |
| You wouldn't have any way of knowing. | ||
| That's right. | ||
| Any more than anyone would know about you. | ||
| Yeah, that's right. | ||
| East of the Rockies, you're out here with Bruce Rux. | ||
| Hello. | ||
|
unidentified
|
Hello, gentlemen. | |
| How are you doing tonight? | ||
| Okay. | ||
|
unidentified
|
I have three questions I'd like to ask him. | |
| Three, huh? | ||
|
unidentified
|
Where are you? | |
| Atlanta. | ||
| Mike from Atlanta. | ||
| Atlanta, Georgia. | ||
| Okay, Mike. | ||
|
unidentified
|
As they call it, Hotlanda. | |
| Yep. | ||
| Is this book selling Barnes and Nobles? | ||
| Oh, Doug. | ||
| I should have asked that already. | ||
| Yeah, is it nationwide? | ||
| Yes, it's nationwide, and you could order it at any bookstore. | ||
| But Barnes and Nobles and Borders are the major outlet for my publishing distributor groups. | ||
| Is your original book still available? | ||
| Oh, certainly. | ||
| Yeah. | ||
| All right, give the two titles. | ||
| Architects of the Underworld, Unriddling Atlantis, Anomalies of Mars, and the Mystery of the Sphinx. | ||
| That's the first book. | ||
| Right. | ||
| And Hollywood vs. | ||
| the Aliens, The Motion Picture Industry's Participation in UFO Disinformation is the second book. | ||
| All right. | ||
|
unidentified
|
Okay, and then the second question, did you see that X-File series where they had these Air Force pilots who were flying these triangular-shaped things and they would come back? | |
| It was a very good one. | ||
|
unidentified
|
Yeah, it was very, very realistic. | |
| The best episodes that are ever on that show and the most accurate ones are probably the ones dealing with the military and the military's way of going about things. | ||
| They do a very good job of that. | ||
|
unidentified
|
Yeah, I've seen a lot of stuff when I used to live in Montgomery right near Maxwell Air Force Base. | |
| I've seen a lot of weird craft fly over that area. | ||
| I'm surprised. | ||
|
unidentified
|
Yeah. | |
| And I just want to say that I really enjoyed the show tonight. | ||
| It's just fantastic, you know, that there's information that's being let out and all. | ||
| Thanks very much. | ||
| All right, my friend. | ||
| Thank you for the call. | ||
| Take care. | ||
| West of the Rockies, you're on the air with Bruce Rux. | ||
|
unidentified
|
Hi, Art. | |
| Another good show. | ||
| This is Dan in the U District. | ||
| Hi, Dan. | ||
| Say, I had a question. | ||
| The movie Dave Yours Stood Still was taken from a short story, I believe. | ||
| Harry Bates. | ||
|
unidentified
|
I'm sorry? | |
| By Harry Bates. | ||
| Well, that's who did it. | ||
|
unidentified
|
Yeah, okay. | |
| And I was wondering if you knew anything about him or how he got the inspiration for that. | ||
| I'm not sure about Harry Bates. | ||
| I do know that he was one of John W. Campbell Jr.'s protégés. | ||
| Campbell was the one that wrote the story that The Thing from Another World was based on. | ||
| Both stories were substantially changed from their original material to more closely match accurate ufological facts that were not then known at that time. | ||
| They were not common knowledge at that time. | ||
| I do know that much. | ||
|
unidentified
|
I'm really enjoying the interview. | |
| Thank you very much. | ||
| Thank you very much. | ||
| And take care. | ||
| On my Hollywood line, you're on the air. | ||
| Where are you calling? | ||
| You're in Hollywood, right? | ||
|
unidentified
|
Yes, I am. | |
| You are? | ||
| I can barely hear you. | ||
| You're going to have to yell into your phone. | ||
|
unidentified
|
Oh, I'm sorry. | |
| I'm calling from Hollywood. | ||
| Right. | ||
| And what do you do there? | ||
|
unidentified
|
I'm a writer for a cartoon show. | |
| A cartoon show? | ||
|
unidentified
|
Yes, sir. | |
| I work for a company called Gear Productions. | ||
| We're currently developing a cartoon show. | ||
| Unfortunately, I'm under a bit of non-disclosure about it. | ||
| Can't tell you too much. | ||
| But in regards to what you're talking about, I am a sci-fi fan and have a few ideas on the back burner for some sci-fi scripts. | ||
| And I got to admit, like a previous caller said, the guy who was developing the Chupacabra script, I've drawn a lot of ideas just from things I've heard on your show. | ||
| And, you know, being a sci-fi fan in general, most of sci-fi comes from Hollywood. | ||
| And if you've been watching the X-Files, like last week, what Mulder said, that we're starting to feed on our own mythology here, I think what your guest is getting at, well, he has a point. | ||
| Where do we draw the line between everyone being in a conspiracy? | ||
| Are you saying, in effect, that maybe my own stuff is coming back at me? | ||
|
unidentified
|
Exactly. | |
| I'm in Hollywood here. | ||
| I'm listening to your show. | ||
| I know you've been on Dark Skies, which is about what we're talking about. | ||
| People accuse you of being in on the conspiracy, but you know you're not. | ||
| I'm sitting here pondering, writing a script about aliens, graves, maybe, but am I going to have men in black coming to my door? | ||
| Am I just going to have people accusing me that I am in black? | ||
| Well, now that you've decided to write it, it means that they've probably already been there. | ||
|
unidentified
|
Exactly. | |
| Yeah, if they had, you wouldn't even know. | ||
| Look, it's the bottom of the hour, so we're going to have to break it off here. | ||
| Thank you very much. | ||
|
unidentified
|
Yeah, maybe my own stuff's coming back at me. | |
| From the high desert, this coast to coast A.M. Don't touch that dial. | ||
| We'll be right back. | ||
| what you had to say about dark skies uh... | ||
| bruce um... | ||
| you were you were saying that bruce abel uh... | ||
| you take it from there well Bryce Abel He produced the first movie on the sci-fi channel, and right after he did that, he got this call, phone call out of the blue, from someone claiming to have been attached to MJ-12. | ||
| Now, my guess is it was probably William Cooper, only because all of the stuff that comes out in Dark Skies might as well have come straight out of his book. | ||
| And William Cooper is a guy who professes to have witnessed the Kennedy assassination, or more specifically, to have seen Kennedy's driver turn around and shoot him on November 22, 1963, which he could not possibly have done because TV sets blacked out. | ||
| I have to agree. | ||
| But he just flat out states that he did. | ||
| He makes all these really wild assertions, but he doesn't give anything to back them anywhere down the line. | ||
| He comes up with purportedly real documents, but you can't find duplicates of them anywhere, and they frankly sound really ridiculous. | ||
| Anyway, whether it was William Cooper who was the guy that called Bryce Abel or not, it was somebody like William Cooper. | ||
| And the ideas that came out on Dark Skies are exactly like his ideas. | ||
| So he got a call. | ||
| He got a call in the middle of the night. | ||
| Royce, you are going to do a new TV series. | ||
| It will be on NBC. | ||
| Something like that. | ||
| Right? | ||
| Yeah, something like that. | ||
| And then he was hypnotically conditioned, and there it was. | ||
| Okay. | ||
| First time caller line, you're on the air with Mr. Rux. | ||
|
unidentified
|
Yeah, hi, this is Gabriel. | |
| I live in Santa Monica, but I've been a struggling actor out here in Hollywood for five years. | ||
| And what do you act? | ||
|
unidentified
|
Well, the last thing I did on TV, which was closest to what we're talking about, was an episode of Baywatch Nights where I was a guy in a ship, in a cargo ship, looking around in these crates in the bottom of the hull there. | |
| And I see this one crate, and stuff is coming out of it goo and this sea creature type thing jumps out of it and latches onto my face turns me into a monster and I go around killing people. | ||
| But small little roll, nothing big. | ||
| I don't think you would recognize me, I think. | ||
| But by the way, I'm a friend of Sean David Morton. | ||
| Now that's a guy who should work in Hollywood. | ||
| He's got ideas. | ||
| He's good. | ||
| No question about it. | ||
| But I mean, what do you think of the entire concept that we're throwing around tonight, that Hollywood, at least way back when, was influenced and moved in a certain direction. | ||
| And that, of course, the snowball is well underway now, and a lot of movies and TV shows have made money. | ||
| But that the whole thing was directed. | ||
|
unidentified
|
Well, I have a statement and actually a question after that. | |
| First of all, do you know who, Bruce, do you know who Tony Robbins is, Anthony Robbins? | ||
| He's something he's associated with in my mind. | ||
|
unidentified
|
Oh, he is? | |
| Now, give me, just tell me if you can give me something that he was associated with. | ||
|
unidentified
|
He does infomercials on personal power. | |
| He's like the personal power guru, and he has people. | ||
| Now, that guy, he takes people on fire walks. | ||
| He has them walking hot coals, and he has them do it in about three hours of, like, counseling or I don't know what the technique is, but I know people who've takes people on firewalks. | ||
| He has them walk on hot coals, and he has them do it in about three hours of counseling, or I don't know what the technique is, but I know people who've done these firewalks, and the metal zipper on their pants will melt, but nothing will happen to their hand feet, you know, the bottom of their feet. | ||
| I'm familiar with firewalking. | ||
|
unidentified
|
Yeah, so I mean, if he can get people to do it just like that, boom, in three hours, your whole hypnosis thing, I totally believe it, you know, as far as that power of manipulating the mind. | |
| Now, the question is, Murph Griffin, he was a friend of Reagan, Ronald Reagan, president. | ||
| Reagan well he asked Reagan what was it like to negotiate with these powerful people like Gorbachev these rulers of the world isn't it just frightening you know when you have to He said, when I was president of Screen Actors Guild, and I had to negotiate with Jack Warner and the heads, the moguls, he said, that was terrifying. | ||
| These people have a lot of power, you know? | ||
| And I often wondered, you know, what these guys are into and what kind of connections they have. | ||
| I mean, because the scope of the movies, I mean, it moves the world. | ||
| But anyway, how much of this, I wonder, is a conspiracy? | ||
| And how much of this comes from the id or just the collective consciousness of what we're moving into? | ||
| Well, anymore. | ||
| That's a good question. | ||
| But especially in the beginning, which is basically what I'm talking about, conspiracy is really the wrong word. | ||
| What we're talking about is the establishment. | ||
| This is just who these people are, you know? | ||
| Like, the powers that be are the powers that be. | ||
| And they say this is the way we want things to work. | ||
| They sort of shape things and mold things. | ||
| And they would, as you were saying, TV and motion pictures are very, very powerful. | ||
| They're very influential. | ||
| So obviously they would have an interest in controlling that and influencing that. | ||
| If they wanted to either deflect people or educate people on any topic, but something like UFOs especially, then that's the type of place they would go. | ||
| And as a matter of fact, the CIA did recommend in 1953 that Hollywood be used for exactly that purpose. | ||
|
unidentified
|
I noticed that Mr. Rogers, you know, Mr. Rogers' neighborhood, the kids' show, he has a new friend in the neighborhood, and he's from Mars. | |
| Oh, no. | ||
|
unidentified
|
Well, you know, he's a operative. | |
| Originally, Mork from Mork and Mindy was supposed to come from Mars. | ||
| Mr. Spock was supposed to be a hybrid half Martian. | ||
| He's supposed to be half Martian, half human. | ||
| Wait a minute. | ||
| Vulcan. | ||
| That was Mars? | ||
| It was supposed to be Mars. | ||
| Oh, there was planet Vulcan, I thought. | ||
| No, it was supposed to. | ||
| Originally, Mr. Spock was supposed to be a Martian. | ||
| Oh, I see. | ||
| All right. | ||
| Well, all right. | ||
| Listen, I've got Mars, Mars, Mars. | ||
| All right, I've got a fax here. | ||
|
unidentified
|
Sure. | |
| I heard the program with Major Dames. | ||
| You know who he is, right? | ||
|
unidentified
|
Uh-huh. | |
| A few weeks ago, concerning the remote viewing of Mars. | ||
| In that broadcast, he specifically said Mars was occupied. | ||
| However, the occupants were robots and not organic. | ||
| Your guest tonight, Bruce, stated he believes that Mars is still occupied by organic beings living underground. | ||
| This is a slight variance from Major Dames, and I'd like to know why he thinks there are still organic beings there. | ||
| Now, I'm not done. | ||
| Also, Major Dames mysteriously stated that something is waking up when asked by you what's going on with Mars. | ||
| Can Bruce speculate as to what the Major might have been talking about? | ||
| I'm not sure about that. | ||
| Run that one by me again in just a moment. | ||
| But first off, I was not inaccurate in saying that Major Dames said that there were organic people behind the robots. | ||
| He specifically stated, and it was on your show that he said it. | ||
| As a matter of fact, I could look it up in my book. | ||
| It's in my introduction. | ||
| Right. | ||
| But it'll take me a minute. | ||
| Yeah, he did say specifically that there were some kind of organic creatures that were behind the robots themselves. | ||
| And yes, he was very specific that they were robots, extremely intelligent ones, beyond any sort of artificial intelligence we could recognize. | ||
| Right. | ||
| All right. | ||
| Well, the end of this was he did say, and I recall, something is waking up in Mars. | ||
| My guess would be that, well, there are several different possibilities, and it's difficult to speculate. | ||
| It's possible, one of the possibilities of all of this is that they all died off a long time ago, and there's nothing but their machinery still operating and still doing what it was programmed to do. | ||
| In that case, it could be that certain machinery that has been pre-programmed to do something is now coming to life. | ||
| Or it could be that someone is returning there that has gone someplace else. | ||
| I'm really not sure. | ||
| I'd have to speculate more than I could really. | ||
| Here's somebody wanting to ask you about several contemporary occurrences. | ||
| For example, Bruce, a Gulf Breeze, for example, Phoenix, for example, fireballs recently over Colorado, gigantic kiloton range things blowing up over the Skies and crashing into Greenland. | ||
| What do you make of all these recent occurrences? | ||
| Wow, that's an awful lot. | ||
| Well, I'd have to take them in order. | ||
| For one thing, the Gulf Breeze thing has all, it's not exactly been admitted to as a hoax, but I think everyone kind of accepts that it is. | ||
| I've believed that it was a hoax from the start, and I still do. | ||
| That's not to say that there have not been some legitimate sightings in Gulf Breeze, but the actual Gulf Breeze case, I'm pretty sure, is a deliberate hoax in order to deflect people from that. | ||
| You can find that all through the history of UFO sightings. | ||
| They've been doing it from the beginning. | ||
| That's partially when we were getting to the abduction researchers. | ||
| There have been definitely fake abductees. | ||
| That's not speculation. | ||
| That's been proven. | ||
| There was a woman that got her way into John Mack's confidence and then exposed herself as a fake. | ||
| That is in order to make him look ridiculous. | ||
| That's right. | ||
| And Whitley Streeber, frankly, I just don't believe at all on the basis of many of his statements. | ||
| But he also tried to infiltrate Bud Hopkins and initially did. | ||
| Hopkins wised up to him and their association, although he still believed that Streeber is a legitimate abductee. | ||
| I personally don't, or I'm inclined not to at the very least. | ||
| But yeah, these things go on. | ||
| What about Phoenix? | ||
| I mean, here you've got something almost out of ID4 appearing over a city, seen by good zillions of people, photographed again and again and again from about 16 separate locations. | ||
| Almost totally undeniable. | ||
| It was on the nightly news not too long back. | ||
| Oh, yes. | ||
| You can imagine that it might have been some sort of holographic projection, but that's about the best you can do. | ||
| Well, um... | ||
| Yeah, for one thing, is this the one that happened last summer or the one that happened just real recently? | ||
| It was March last year. | ||
| Okay, for one thing, we were going into opposition with Mars, which would fit exactly with my theories. | ||
| It would not be surprising if there was a great deal of activity going on at that time. | ||
| Yeah, I believe that most of these things are probably legitimate sightings. | ||
| If it's something that's operating like no aircraft that we have, and it's larger than anything we could have, it's probably coming from there. | ||
| All right. | ||
| On my Hollywood line, you're on the air. | ||
| Hello. | ||
|
unidentified
|
Yes. | |
| Since where is Bill Cooper as far as the disinformation? | ||
| I have that tape of the driver shooting Kennedy. | ||
| I've seen it clear it is clearly visible on now No, I've seen it, too, Caller, and what you see is a flash. | ||
| That doesn't mean that. | ||
|
unidentified
|
Oh, you do not see a flash. | |
| Yes, you do. | ||
| Well, even if the driver had shot Kennedy, there's no way that William Cooper could have seen it on TV. | ||
|
unidentified
|
Why is black water source to just do the wild thing? | |
| It's 702-727-1295. | ||
|
unidentified
|
Well, I have the tape. | |
| I have it in my possession. | ||
| Well, whether the driver actually did it or not. | ||
|
unidentified
|
The driver. | |
| The Cooper did not see it on television. | ||
| All right, we're going back and arguing an old argument that is so tired and so limp at this point that I don't feel like re-arguing it. | ||
| Wildcard line, you're on the air with Bruce Rux. | ||
| Hi. | ||
|
unidentified
|
Yes, good morning, all right. | |
| Let me turn my radio down here. | ||
| Murphy, Montana. | ||
| You know, the first time I even saw a preview for Mars Attacks, that is the first thing that occurred to me. | ||
| There's no point to making this movie. | ||
| What a terrible use of celluloid. | ||
| It absolutely makes no sense. | ||
| That movie did not need to be made other than for some other purpose. | ||
| It's not art. | ||
| It's not even good cinema. | ||
| Yeah, there was art in it. | ||
| Don't you remember art? | ||
|
unidentified
|
Yeah. | |
| And I have one other sort of crazy notion. | ||
| Now, wait a minute. | ||
| Having said all you just said, it was littered with big-name stars all the way through. | ||
|
unidentified
|
Absolutely. | |
| That's the only way they could get anybody to watch it. | ||
| You see my point? | ||
| Well, the point is it was a major funded Hollywood production. | ||
| I mean, it was a huge thing. | ||
|
unidentified
|
Absolutely huge, but that's the only way they could ever even get anyone remotely interested in the entire plot or subject or, you know, anything. | |
| It would lead you with kind of a sour feeling toward Mars, right? | ||
|
unidentified
|
I'm sorry? | |
| And it would leave you with kind of a sour feeling toward Mars. | ||
|
unidentified
|
Absolutely. | |
| Right. | ||
|
unidentified
|
Right. | |
| I mean, heck, if people watch it, if there was a purpose to making it, the only way they could get anyone to watch it, you know, to get that information out and to discredit or whatever disinformation that they were trying to produce, the only way they could do it is to get big-name stars. | ||
| I guess, you know, the first thing that struck me is that there's absolutely no way this movie needed to be made. | ||
| Well, but that could be said of so many movies. | ||
| I personally said that after suffering through any number of bad movies, and I don't know if I put that in it category. | ||
| I mean, I laughed. | ||
| It was a comedy. | ||
| It was funny. | ||
|
unidentified
|
Well, I don't know. | |
| I had another crazy notion. | ||
| What if all of Nostradamus and the Edgar Cayce's of the world Normal concepts. | ||
| Make a movie out of it. | ||
| You can tell it's getting laid. | ||
|
unidentified
|
Yeah, I want to discuss a Hollywood movie. | |
| I'm going to tell that to you. | ||
| It's on Tanya. | ||
| Somebody had to know that that scenario was the scenario many believe was responsible for the assassination of Robert Kennedy with a second gunman. | ||
| Are you before that? | ||
| Are you involved in the production of that? | ||
|
unidentified
|
Well, but I wanted to discuss that issue because I thought it was so important. | |
| There's a source material that people can get on the web from Prevailing Winds magazine that deals with a lot of these issues at www. | ||
| No, no, no, no. | ||
| Don't give it out. | ||
| You want to go ahead and make your comments on that, Bruce? | ||
| You began to. | ||
| Hold on. | ||
| I'm trying to think what it was I was saying. | ||
| The Parallax View and the assassination of Robert Kennedy. | ||
| Oh, well, yeah, the Parallax View, something like that was kind of happening, which is very interesting. | ||
| It's an excellent movie. | ||
| There was a corporation that Clay Shaw worked for. | ||
| You remember the whole Jim Garrison Clay thing? | ||
| Oh, I certainly do. | ||
| Oh, yes. | ||
| He was hooked up with a particular corporation, the name of which escapes me right at the moment, although I'm sure I'll remember it as soon as we're done with this. | ||
| No doubt. | ||
| Which is exactly what that parallax corporation was supposed to represent. | ||
| They were basically presenting that theory, and it's a very valid theory. | ||
| All right, and to the caller, I'm sorry, I don't allow people to give out World Wide Web addresses because I too many times have sent gazillions of people to porn sites by mistake by letting somebody give out an address that did not turn out to be what it was supposed to be. | ||
| So until I confirm them, I don't do that. | ||
| East of the Rockies, you're on the air with Bruce Rux. | ||
| Hi. | ||
|
unidentified
|
Hello. | |
| I just had one question. | ||
| During one of the breaks, I heard my local station do an ABC report on the Democrats and Republicans presently going through a pre-adolescent debate on, you know, did not, did to, did not, did to with the with some kind of a Democrat funding. | ||
| But do you think it's time or has been time for a while to do the necessary adjusting or making a new Constitution? | ||
| And on the flip side, if that did happen, would it make any difference? | ||
| Personally, at this point, I don't think we'd be able to. | ||
| That's not to say that we shouldn't, but I'm not sure we'd be able to. | ||
| There are many people who believe, Bruce, that all of this alien business is going to culminate in some great setup that is going to cause us all to welcome with open hands some single world unified government that would protect our butts. | ||
| Yeah, I would not disagree with that. | ||
| I think it's a valid theory. | ||
| All right. | ||
| On my Hollywood line, you're on the air. | ||
|
unidentified
|
Oh. | |
| Hello. | ||
|
unidentified
|
Hi. | |
| Hi. | ||
| Is it your belt show? | ||
| Yes, we can barely hear you. | ||
| You're going to have to speak up for us. | ||
|
unidentified
|
Okay, is this better? | |
| Yes. | ||
| Okay, maybe one of the reasons you haven't been getting much calls from Hollywood areas is because Oh, X-Files and all those shows, you know, like Lake Manalium. | ||
| Are you in Hollywood? | ||
|
unidentified
|
No. | |
| Well, see, that's why we're not getting because you're jamming up the line that we're holding open for Hollywood. | ||
| Why do people do that? | ||
| Wildcard Line, you're on the air with Bruce Rux. | ||
| Hello. | ||
|
unidentified
|
Hey, good evening, Art. | |
| Good evening, Bruce. | ||
| This is a professor here in Columbus, Georgia. | ||
| Yes, sir. | ||
|
unidentified
|
A lot of interesting. | |
| This is one of the most interesting shows you've had in a while, Art. | ||
| I'm really impressed. | ||
| I called Sandal earlier and told him he needs to get it. | ||
| Can I relate to you a dream vision I had less than a week ago? | ||
| You're going to really love it. | ||
| It's the darndest thing you ever heard. | ||
| Does it somehow relate to what we're talking about? | ||
|
unidentified
|
Oh, yeah. | |
| All right. | ||
|
unidentified
|
And big time. | |
| Now, Art, you know, I'm the caller that speculated on the Phoenix lights being holograms. | ||
| You just mentioned that earlier. | ||
| Yes, I did. | ||
|
unidentified
|
When you had Lamb Lamb Fear on. | |
| Well, here's how it starts. | ||
| I'm told at 7 o'clock there's going to be a meeting with a bunch of police forces, state, local, municipal, county. | ||
| And at the meeting, my watch stops at 7 o'clock. | ||
| I just relayed this to Stan. | ||
| It's real interesting. | ||
| The more you discuss something, the more aspects of it you reveal to yourself. | ||
| So I go to the meeting, and it's kind of like mandatory. | ||
| They're stopping cars, making people get out. | ||
| They've got to make this announcement. | ||
| It was not at an old Navy store, was it? | ||
|
unidentified
|
No, but you're going to love this. | |
| They showed us the guns that wouldn't be outlawed, and they were 22s. | ||
| I called Stan and I asked him, I said, what caliber of gun can you own? | ||
| He said, 22. | ||
| Yeah, in Australia. | ||
|
unidentified
|
Yes, it gets tonight. | |
| It gets stranger. | ||
| Okay, so after they show us the guns, they show me some books. | ||
| They show all of us, a bunch of us, books that we can't own anymore. | ||
| And some of them are titles that I own, and they're all about freedom and liberty. | ||
| It gets stranger. | ||
| After that, and I keep looking at my watch, and it's stuck on 7 o'clock. | ||
| It's the darnest thing. | ||
| And I'll tell you what that means in a minute. | ||
| Well, you don't have a minute because the show is ending, so you've got to get to the punchline here. | ||
| How does that relate to what we're talking about? | ||
|
unidentified
|
Okay, at the very end, the overseer and director of the region, as these forces were regionalized, I go to, he's sitting in a chair, he turns around, he's a two and a half foot tall black chalk, like a chalkboard, slate-colored individual who's laughing at me, sneering, and he's basically talking about a victory. | |
| Think about it. | ||
| All right. | ||
| Well, that's all we're going to have time to do because the program is ending. | ||
| Bruce, it has been sure fun having you on the air. | ||
| I've enjoyed it much. | ||
| Let's do it again. | ||
| Is there an email address or anything people can contact you? | ||
| No, I'm real low-tech. | ||
| Real low-tech. | ||
| But you can write to my publisher. | ||
| Hopefully, it's me. | ||
|
unidentified
|
All right. | |
| You want to give the address? | ||
| It's Frog Books. | ||
| That's Berkeley, California. | ||
| Frog Books. | ||
| Right. | ||
| That would be at P.O. Box 12327. | ||
| That is in Berkeley, CA, 94712. | ||
| All right. | ||
| And a real quick note, it was the August 29th, 1996 episode of your show that Ed Dames said that there was a biological, quote-unquote, command and control element beneath the Martian surface. | ||
| Been a pleasure. | ||
| I gotta go, Bruce. | ||
|
unidentified
|
Okay, great. | |
| Good night. | ||
| Good night, Bruce Rux. | ||
| Good night across the Americas and the world. |
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