March 26, 1998 - Art Bell
02:47:13
Participants
| 
| Speaker | Time | Text |
|---|---|---|
| All right. | ||
| Um, Dan Rather announced, and I guess it is true, if Dan says it, it must be true, right? | ||
| That the rotation of the Earth actually is slowing down due to the effects of El Niño. | ||
| Now, I don't know what any of this means. | ||
| The Earth's rotation is slowing down, excuse me, that's what they say. | ||
| It's slowing down. | ||
| And I honestly don't know what it means. | ||
| I've got a facts here from Richard Hoagland who says, oh, the rotation slowdown is not El Nino. | ||
| It is directly due to hyperdimensional physics. | ||
| Of course it is. | ||
| We'll explain during our segment later this morning. | ||
| Okay. | ||
| Well, it's occurring as El Nino is occurring, and then I also want to know if anybody can explain what it means that the Earth is slowing down. | ||
| That's really weird. | ||
| Really, really weird. | ||
| The other item is, and I'll leave it up there for about another half hour, I have received in today's mail the Stephen Gibbs time machine. | ||
| The coils, the giant electromagnets, the machine itself, I've done it all. | ||
| The only question is now, oh, what to do? | ||
| To try it? | ||
| And already I get feedback here, or don't do it. | ||
| You have an obligation not to use the time machine till after the cruise. | ||
| Especially since I just found out my mother and sister have signed on to go. | ||
| That's one side of it. | ||
| The other side is that was from Elaine. | ||
| And she's in Canada. | ||
| Yeah, please take Ontario, Montreal. | ||
| And then this art, please try the time machine. | ||
| Let's do it while you're on the air with a studio cam on so you can describe to us what you're doing and what you're feeling, and we can see you. | ||
| It'll make for great radio. | ||
| From David, the opera singer in Las Vegas. | ||
| So on the heels of all this news about NASA and JPL, suddenly, and I'm telling you, I'm telling you, you can believe it. | ||
| You are the ones who got that done. | ||
| Now, what it means, it's like they're slowing down. | ||
| Who knows? | ||
| All right. | ||
| Just a brief intro. | ||
| I have to do this. | ||
| And I know it's tiresome to those of you who know David Oates so well. | ||
| But David John Oates discovered reverse speech. | ||
| He is the father of reverse speech. | ||
| It is a process, a very simple process, in which you simply tape somebody speaking as I am now speaking, and then you reverse it, and you look for relevant, coherent words and or sentences in reverse. | ||
| And these are from the other side of your brain, and they definitely reflect the truth. | ||
| That is what David says. | ||
| If somebody is lying, it will be apparent they are lying in reverse. | ||
| If they are telling the truth, they will be whatever they say in reverse will also come out the same way, and the truth is revealed. | ||
| David has done all his life speech research. | ||
| He has a bit of a speech impediment, although lately it seems like it's been going away to me. | ||
| And that started him into the research of speech and led to this whole thing. | ||
| He has been suggested to be nominated for a Nobel Prize or reverse speech. | ||
| Here is David John Oates. | ||
| David, welcome. | ||
| Thank you very much for having me back again, Ad. | ||
| I know that people should understand how much work you have to do to prepare for a night like tonight when you're going to do Kathleen, Willie, Dr. Malin, Major Ed Dames. | ||
| How many hours would go into that? | ||
| Well, this particular one was monumental because Ed Dames was four hours of solid talk. | ||
| Probably, well, at least 100 hours' work. | ||
| I did this one gradually over a period of three weeks. | ||
| I was very intense in the last week as the showtime came up. | ||
| But at least 100 hours. | ||
| I mean, it sounds fairly simple. | ||
| Just want to take backwards and hear these phrases, but it's nowhere near that simple. | ||
| They're very quick and sharp. | ||
| It takes a lot of fine-tuning of your ears and patience to find them. | ||
| Then I'm very strict about which ones I document. | ||
| I would say probably only about 30 or 40% of the reversals I actually document ever make it to air or to my website. | ||
| I go through them one by one, checking off the syllable count and the consonant and the vowel sounds. | ||
| Sometimes when I do a broadcast, people will email me and say, well, David, you missed this reversal or that reversal. | ||
| but the fact is I did find it. | ||
| I just didn't think it was good enough to I'll tell you what. | ||
| You know the fellow who wanted to challenge you, David? | ||
| Yes. | ||
| He has called the show, I don't know, two or three times since you were last on. | ||
| Right. | ||
| And I told him he had better send me some email with his phone number, and he hasn't done that. | ||
| But he did come on the air with some audio from the Area 51 caller, which indicated or would have led one to believe if you used that reversal, that the Area 51 caller was faking it. | ||
| Right. | ||
| Now, you heard about that, I take it, and you went and researched the same stuff. | ||
| Did you find that? | ||
| Well, I didn't hear the actual segment itself. | ||
| I heard that the reversal said fake. | ||
| I'm faking it or whatever. | ||
| That's what I heard. | ||
| I went through my files actually today to find that particular reversal. | ||
| And I did find a word which at first glance appeared to be fake. | ||
| And actually, I've got this track up, so let's run it, but it's one of the ones that I rejected too. | ||
| Okay, but let's hear it. | ||
| Okay, well, this is the thought section where I found it. | ||
|
unidentified
|
And there's a lot of safe areas in this world that they could begin moving the population to now aren't. | |
| No, actually, I can't even remember the actual dialogue. | ||
| It's something I'm faking or I'm with a fake or. | ||
|
unidentified
|
The Euranthius. | |
| Okay, there we go. | ||
| Let me hear that. | ||
| I can't hear what you say. | ||
| Well, it's one of the ones I rejected. | ||
| They are fake, but it sounds more like a C. Do You hear that? | ||
| It almost sounded to me like they are faces or something. | ||
| Which is why I reject it. | ||
| Now, I'm not sure whether that's the one he was talking about. | ||
| You've got the there, you've got the R, you've got the F A, but then the C, but it's more of a C rather than a K, especially when you slow it down. | ||
| Now, I must say that what he played sounded more definitive to me. | ||
| And what I would like to do... | ||
| This is the section that I found in my regen file. | ||
| I want this guy to listen. | ||
| If he's out there tonight, and I know he is, email me right now with your phone number. | ||
| We'll get you on the air. | ||
|
unidentified
|
No problem. | |
| You've got to get me a phone number, though, because I didn't retain the one you sent so long ago, as I said, on the air. | ||
| So give me that phone number. | ||
| We'll get you on the air with David. | ||
| The other thing I'd like to say with Area 51 Section 2, it's a tough one to really pin down. | ||
| I only found four reversals that I could quote. | ||
| They appear to me that he was telling the truth. | ||
| Certainly some of the callers who called in afterwards felt that, but it was only four reversals that I felt I could quote. | ||
| And I was leaning towards him telling the truth. | ||
| But you need more than that to really get a good argument down. | ||
| All right, I'm going to assume, because it is certainly true, that there are a lot of new listeners who haven't heard you. | ||
| So just indulge me, everybody else who's heard it, bear with me. | ||
| Let's do Neil Armstrong very quickly and one or two baby things, and then we'll get on with Biz. | ||
|
unidentified
|
Okay. | |
| This is to kind of calibrate everybody's ears so you understand what reverse speech really is. | ||
| Okay, this is Reverse Speech 101. | ||
| What I'm going to do tonight, I'll play some of this classic ones first. | ||
| I'm going to be telling you initially what you're hearing, but as the night goes on, I want to run a few bioart and see if you can hear them without me telling you. | ||
| I want to do that as well. | ||
| I'll always wish for that. | ||
| Let me just quickly cover the theory I'm proposing. | ||
| I'm proposing that language is bi-level, forwards as well as backwards. | ||
| It's the natural function of the human mind as the brain constructs the sounds of speech. | ||
| It puts them together in such a way that two messages are communicated simultaneously, forwards conscious and backwards unconscious. | ||
| When I'm talking about the unconscious, what does that mean? | ||
| Does it mean another part of the human mind? | ||
| Does it mean the soul or the spirit? | ||
| Does it mean we're tapping into anything else? | ||
| I'm not too sure. | ||
| So I'm just proposing, my basic theory is that language is bi-level, forwards as well as backwards. | ||
| So let's begin with the classic example, Neil Armstrong. | ||
| This is actually the very first reversal I found in normal speech back in 1984. | ||
|
unidentified
|
And here he is. | |
| That's one small step for man. | ||
| One step step for man. | ||
| And you run that in reverse, and it's simply man will spacewalk. | ||
|
unidentified
|
And here we go. | |
| Man will spacewalk. | ||
|
unidentified
|
Man will space fall. | |
| Yeah, let's run that forwards and backwards. | ||
| Here it is, forwards. | ||
|
unidentified
|
That's one small step for man. | |
| And backwards. | ||
|
unidentified
|
To man with spacefall. | |
| A very, very clear example of reverse speech. | ||
| Let's look at another classic. | ||
| This is the second example I ever found in speech. | ||
| I found this the same day as Enil Armstrong, actually about an hour or so later. | ||
| It's a live commentary of the JFK assassination in Dallas, Texas. | ||
|
unidentified
|
Several police officers are wrecking up the hill at this time. | |
| Stand by. | ||
| Just a moment, please. | ||
| Something has happened in the motor station. | ||
| Stand by, please. | ||
| Barkland Hospital, there has been a shooting. | ||
| Barklin Hospital has been advised to stand by for a severe gunshot wound. | ||
| Okay, you run this in reverse, and right at the point where he realizes the shooting has occurred, you can hear the very clear phrase, he's shot bad. | ||
| Hold it, try and look up. | ||
| And that's straight backwards. | ||
| And just an exceptionally clear reversal, I think. | ||
| And here it is, forwards. | ||
| And backwards. | ||
| Very clear. | ||
| Extremely clear. | ||
| Now, let me throw you another one on speech, and then we'll move on to kids. | ||
| I'm often asked, okay, so this is here. | ||
| What good is it? | ||
| I mean, how can this benefit me? | ||
| And I'm actually quite amazed when I hear that question because the opportunity to look inside your own mind and to see what is really going on is really quite exciting. | ||
| And it helps me personally quite a lot in my own everyday life. | ||
| I use this every single day. | ||
| I use it with my clients. | ||
| I have a therapeutic practice in San Diego. | ||
| What it does for the therapeutic process is just amazing. | ||
| It allows us direct access in. | ||
| And this is a reversal that really illustrates how reverse speech can be used. | ||
| And this is one of my own clients in my own office. | ||
| And we're talking about the session we did last week. | ||
| And he's telling me, David, you went and found the reversal that fit my situation. | ||
|
unidentified
|
And you found the reversal that fit the. | |
| Okay, now I don't think I've played this one on your program, aren't you? | ||
| No, you have not. | ||
| I'm going to run this. | ||
| I want you to listen to this and tell me what you hear, okay? | ||
| All right. | ||
|
unidentified
|
run at a couple of different speeds. | |
| And what's more? | ||
| Do you hear anything there? | ||
| Yes, but I'm not certain yet. | ||
| Give it to me at regular speed, won't you? | ||
| Okay, here it is one more time, and then I'll tell you. | ||
| What have we got? | ||
| I don't want to change. | ||
| I don't have it down well in it. | ||
| Okay. | ||
| It simply says, they will serve you with life, David. | ||
| You can hear my name on the end of the reverse. | ||
| Now play it. | ||
| Let me see if I hear it. | ||
| Okay, here we go. | ||
|
unidentified
|
What's up here, let's live to money. | |
| All right. | ||
| Where I didn't get it, David, was the David. | ||
| And even now, the David is not quite clear to me. | ||
| Right. | ||
| Well, his voice drops down at the end. | ||
| You've got that classic sing-song tone of reversals beginning. | ||
| They will serve you with life. | ||
| And then his voice drops off down to the David. | ||
| Let's do that at the slowest speech. | ||
| All right. | ||
| I still maintain I will serve you with life. | ||
|
unidentified
|
Clear. | |
| David, not. | ||
| Okay. | ||
| Well, that's fine. | ||
| I guess the point I'm saying is I'm illustrating that here we have reverse speech itself, saying that it can help us with our life. | ||
| And I really do believe that. | ||
| Reverse speech at its deepest level taps into what is commonly known as the collective unconscious, the storehouse of knowledge that we all have buried deep inside of us. | ||
| And just imagine the opportunity to touch that deeper, spiritual, even sacred part of it. | ||
| All right, David, here's the only thing that I worry about. | ||
| Yep. | ||
| That either consciously or unconsciously, I mean, for example, you just told us you did 100 hours of work to come up with the reversals we're going to hear tonight. | ||
|
unidentified
|
Yep. | |
| Okay, 100 hours. | ||
| That's a long time. | ||
| Yes, it is. | ||
| Now, if you go into a situation with a preconceived notion, and it may well be, and I've had a sense that you don't particularly like this president. | ||
| Well, otherwise I have not liked, if that is correct. | ||
| Okay, it comes through loud and clear. | ||
| Now, could you take the Kathleen Willey material and come up either with a series of reversals that would show her to be absolutely telling the truth or find another series of reversals, she talked for a long time, that would show that she was a lying? | ||
| I do not believe that that is possible. | ||
| I believe what is there is what is there. | ||
| We've done this in class time and time and time again. | ||
| We've had different students go out and analyze the same tape from a variety of cross-sections of opinions and perspectives and come back with the same conclusions, the same analysis. | ||
| I do agree that it is possible, like with any skill or any technique, to let your own bias come into your analysis. | ||
| And I would be a fool to say that wasn't so. | ||
| Okay, well, how sure are you that that is not happening to you? | ||
| Because of very strict research protocols that we have laid down that I teach in my training class. | ||
| I teach my students and myself to analyze according to the phonetic sounds that we hear, the consonants and the vowels and the syllable count. | ||
| My students are taught not to listen to the track forwards first. | ||
| We're only running the track in reverse, so we cannot hear the verbal content of what we are listening to. | ||
| Well, that is a pretty good control, actually. | ||
| Oh, sure. | ||
| Yeah. | ||
| For the first, probably the first, at least the first eight to nine years that I did this, I never listened to the forward dialogue primarily because I was very much aware of the tendency to project into it. | ||
| I think when I was personally confident that I had overcome that was when I started to hear all my own issues in reverse. | ||
| When I first started doing my own reversals, I was not able to hear some of the more nasty, darker sides of my nature. | ||
| It's consciously, you don't want to hear that stuff. | ||
| And I swapped over about seven or eight years in. | ||
| I suddenly dropped down to a new layer and started to hear all these things on me that were really very devastating. | ||
| Oh my God, I'm a rotten person. | ||
| Listen to this. | ||
| Right. | ||
| Right. | ||
| Sure. | ||
| You show me someone who doesn't have a dark side to me. | ||
| Oh, I know. | ||
| We all do. | ||
| There's no question about it. | ||
| And I think one of the great things about reverse speech is if we have the courage to look at it, we can actually see our darker sides and come face to face with it and learn to work with it and have it be our friend rather than be our adversary. | ||
| Give us a quick baby. | ||
| Okay, quick baby. | ||
| Yeah, I love kids. | ||
| Kids are marvelous. | ||
| Let's begin with your favorite. | ||
| And which, oh, we just put up the wrong file. | ||
| We'll do that again. | ||
| I guess this is your favorite. | ||
| This is me. | ||
| This is actually my daughter at seven months of age. | ||
| I'm chasing her around the room with a tape player. | ||
| she suddenly sees his tape player and reaches out for it. | ||
| That's it simply, what's that? | ||
| Baby gibberish. | ||
| Hit it again at regular speed. | ||
| Okay, I mean, you tell me how else you can hear this. | ||
| I don't know how else you could hear this rehearsal. | ||
| And again. | ||
| No question about it. | ||
| Absolutely no question about it. | ||
| Extremely clear. | ||
| And here's a very amusing one. | ||
| This one here is a kid with a dirty diaper. | ||
| One of my students found this in class. | ||
| Yeah, real quick. | ||
| Okay, this is a kid with a dirty diaper. | ||
|
unidentified
|
Hey, man, I got a diaper for you. | |
| A diaper. | ||
| Yeah. | ||
| And where the baby says a diaper backwards he says, help me out. | ||
|
unidentified
|
Help me out. | |
| And again, help me out. | ||
| There we go. | ||
| You can't miss it. | ||
| I mean, that's. | ||
| Plus, that wonderful ethereal sound with children and all that. | ||
| It's wonderful. | ||
| All right, David, look. | ||
| We're at the bottom of the hour. | ||
| Yep, hold on. | ||
| We'll be right back with something relevant for you. | ||
|
unidentified
|
Her hands are hollow, gold. | |
| Her lips sweet surprise. | ||
| Her hands are never cold. | ||
| She's got better days. | ||
| She turned her music on me. | ||
| You won't have to think twice. | ||
| She's got it. | ||
| Okay, here we go. | ||
| David, are you there? | ||
| Yes, I have to. | ||
| All right. | ||
| I have one, Ken Ryer, from, I believe, Las Vegas. | ||
| Ken, are you there? | ||
| Hello? | ||
| Oh, wait a minute. | ||
| Here we go. | ||
| Ken, are you there? | ||
|
unidentified
|
Yes, I am. | |
| All right. | ||
| Las Vegas, right? | ||
|
unidentified
|
Yes, I am. | |
| Hot Talk 105.1. | ||
| Oh, that's the way to do it, Promo. | ||
| All right. | ||
| What are the right words? | ||
| Do you want to challenge David Oates? | ||
| And if so, on what basis? | ||
|
unidentified
|
Yes. | |
| Well, before I say I want to challenge Mr. Oates, I want to say it is a pleasure. | ||
| It is a tremendous pleasure to speak with Mr. Oates. | ||
| I have no ill feelings about him. | ||
| I think he's doing a good job, but I have to take him to task. | ||
| Okay, on what? | ||
|
unidentified
|
On the Area 51 call. | |
| All right. | ||
| Let's get a couple of things straight at the beginning here. | ||
| Do you believe reverse speech is a real phenomenon? | ||
|
unidentified
|
Absolutely. | |
| Not only is it a real phenomenon, but we have used it, and I'd love to show you examples that even Dave himself has confirmed. | ||
| Okay. | ||
| Okay. | ||
| So we have a difference of opinion over the analysis of Area 51 and not the validity of reverse speech itself. | ||
|
unidentified
|
Yes, is that correct? | |
| Yes. | ||
| The difference is, oh, yes, like night and day. | ||
| Okay, okay. | ||
| Well, you know, the Area 51 call was only a two-minute conversation anyway. | ||
| You know, I tended to lean towards the fact that he wasn't deliberately lying and he was telling the truth. | ||
| David, how many reversals did you find in that two minutes? | ||
| I found four. | ||
| You found four reversals. | ||
| I found four reversals that I felt I could quote. | ||
| I had people email me. | ||
| I probably had more emails about this one than I did about any other reversal. | ||
| Okay, fine. | ||
| The bottom line is you found four. | ||
| I found four that I could quote. | ||
| All right. | ||
| And Ken Ryer, how many did you find? | ||
|
unidentified
|
I found, I'd say, about 20 in the same two minutes. | |
| The same two minute. | ||
| Well, see, that's the difference between. | ||
| See, that's the difference between I am ultra conservative in my documentation, and I have to be conservative. | ||
| I'm the founder of this whole technology. | ||
| If I do not maintain a very strict standard and strict guideline, then the foundation stones that I lay down will be very, very weak. | ||
| And, you know, it's just the way it is. | ||
|
unidentified
|
All right. | |
| In the interest of time, here's what I would like to do. | ||
| Can you have a specific reversal that you played on my program once before about the Area 51 caller and faking it? | ||
| Something about faking it, right? | ||
|
unidentified
|
Yeah, for sure. | |
| Would you cue that one up, please? | ||
|
unidentified
|
Okay. | |
| I'll give you the one about you, what you said. | ||
| Okay, here we go. | ||
| This is what you said, and then I want to play one at the end, too. | ||
| Okay. | ||
|
unidentified
|
Well, here we go. | |
| Well, let's begin by finding out whether you're using this line properly or not. | ||
| I can barely hear it. | ||
|
unidentified
|
Okay, did you hear it? | |
| I can barely hear it. | ||
| You need more audio. | ||
| I can barely hear it. | ||
|
unidentified
|
Oh, boy. | |
| I asked you if you had your audio, Stray, remember? | ||
|
unidentified
|
I had it, but there's no harm. | |
| Can you raise the volume on the audio? | ||
| Could you raise on your end, Art? | ||
| Well, I've got it up as high as I can go. | ||
| It's your end where the problem is. | ||
| You've got to either turn up the volume or hold the phone closer. | ||
| I don't know what you're doing, so. | ||
|
unidentified
|
Yeah, let's hear this one. | |
| Do you want me to volume one? | ||
| Art? | ||
|
unidentified
|
Yes. | |
| Hey. | ||
|
unidentified
|
Whoa, wait. | |
| Using the line properly or not? | ||
|
unidentified
|
Harry said you mustn't. | |
| Got it. | ||
| Did you hear that? | ||
| Yeah, it sounded at the wrong speed. | ||
|
unidentified
|
Well, that's Dave's little machine I'm using right now. | |
| Okay, I'll let you. | ||
| What I got right here is Unreal or Not, now you have some to say. | ||
| You're not playing enough. | ||
| I'm making this up. | ||
| And listen carefully. | ||
| Here we go. | ||
| Are we open for the new year? | ||
|
unidentified
|
Wait. | |
| Unreal or not. | ||
|
unidentified
|
Come make yourself up. | |
| All right. | ||
| I think it's very weak. | ||
| I heard a makeup at the heard of one, but was that on art or was that on the caller? | ||
| That reversal was an art. | ||
| Was that on me, Caller? | ||
|
unidentified
|
Yeah, that was on you. | |
| Ken. | ||
|
unidentified
|
Right, well, we got to. | |
| Well, then that's baloney because I have no idea who the Area 51 caller is. | ||
| So I couldn't have been making anything up. | ||
|
unidentified
|
Okay, I got... | |
| I got one on you, Art, when you said you don't have enough time, so give us something quick. | ||
| Look, are you just holding your phone near the speaker? | ||
|
unidentified
|
I'm holding it as close. | |
| This illustrates. | ||
| David, hold on a moment, please. | ||
| Ken, again, are you holding the phone near the speaker? | ||
|
unidentified
|
I'm holding it as close as I can. | |
| Can you turn up the volume then? | ||
|
unidentified
|
Turn up the volume. | |
| I wish I could on this machine, on this reverse tape machine. | ||
| I'll tell you what. | ||
| Could you call me... | ||
| Can you call me at the. | ||
| Well, what's it did? | ||
| This phone sounds great. | ||
| Your voice is perfect. | ||
|
unidentified
|
Okay, because I thought, because when I play it to my colleague, he hears it loud and clear. | |
| It's got to be on your. | ||
| No, it's not on my end. | ||
| No, it's the reversals A. You're going to hear it. | ||
| Everyone will hear it. | ||
| So go ahead and play another one. | ||
| Just do the best you can, Ken. | ||
|
unidentified
|
Okay. | |
| Could you talk to Dave just for a sec while I queue one up, okay? | ||
| Dave, you've got to be ready. | ||
|
unidentified
|
Well, I was ready. | |
| I was going to play it in succession. | ||
| Okay, here we go. | ||
| This is where the 100 aliens. | ||
|
unidentified
|
Here we go. | |
| You ready? | ||
| Yes, I can. | ||
|
unidentified
|
Okay, here we go. | |
| Here we go. | ||
| Okay, well, what we're thinking of as aliens are extra-dimensional beings that an earlier precursor of the space program made contact with. | ||
| They are not what they claimed to be. | ||
| Okay, now if you play it backwards, it is so clear, and you can't miss it, that there were four reversals in there. | ||
| Okay, I'll play only one of them. | ||
| I'll play one of them. | ||
| Here in reverse, he says, Hear me milk it, and now I add it. | ||
| Here we go. | ||
| Huh? | ||
| okay here we go Did you hear that? | ||
| I sort of heard it, but it wasn't clear to me. | ||
| Yeah, it's not a clear reversal. | ||
| See, that's one of the reversals I would reject. | ||
| I wouldn't Quote that. | ||
| I'm looking for very clear and concise sentences that are very plain and very obvious. | ||
| Now, let's take an example. | ||
| David, say one of the reversals that was clear. | ||
| Okay, all right. | ||
| Well, let me pull up this one immediately. | ||
| This is right at the very end of the interview, and here it is. | ||
|
unidentified
|
They want those major population centers wiped out so that the few that are left will be more easily controllable. | |
| And then the verse here says, feel the heat. | ||
|
unidentified
|
Feel the heat. | |
| No, it isn't. | ||
| Feel the heat. | ||
| Okay? | ||
| Dave? | ||
| Yeah. | ||
|
unidentified
|
Dave, no, no, it isn't. | |
| It's not feel the heat. | ||
| And it's... | ||
| It's not feel the heat. | ||
| This is exactly it. | ||
|
unidentified
|
No, it's heal the feet. | |
| It's heal the feet. | ||
| As a matter of fact, if you play the feet. | ||
| All right, hold on, caller. | ||
| Jen, hold on. | ||
| Play it again. | ||
| And you're saying it's heal the feet. | ||
|
unidentified
|
Yes. | |
| Heal the feet. | ||
| play it, David. | ||
| You know? | ||
| You know, it could be. | ||
| David, it could be. | ||
| I can hear that you might be able to hear an F on the H. Yeah. | ||
|
unidentified
|
What's it? | |
| What's it? | ||
| It could be, David. | ||
| I don't know what to tell you. | ||
| Do you hear it? | ||
| Oh, yeah, I can certainly hear what he's hearing. | ||
| Yeah. | ||
| Well, let's look at another one here. | ||
| All right. | ||
|
unidentified
|
Okay. | |
| This is the one right at the very end. | ||
|
unidentified
|
All right. | |
| Jen, hold on. | ||
| You're not going anywhere. | ||
| Relax. | ||
| Okay, no, you're not here. | ||
| This is the one right at the very end, which I thought was fascinating because someone said he called back a while he was in a veteran's hospital or something. | ||
| That's right. | ||
| And this is where the satellite goes down, and he's got a little comet right at the end. | ||
| And back was this going to get a shot or going to get a shot, which I didn't know when I presented. | ||
| Was that a bullet shot? | ||
| Was that an inoculation? | ||
| All right. | ||
|
unidentified
|
Give me a shot. | |
| Give me a good shot. | ||
| I mean, it's a touch of. | ||
| It's a difficult one to present anyway. | ||
| That's not one I would want to stake my reputation on, that whole Area 51 call. | ||
| All right, Ken? | ||
|
unidentified
|
Did you hear that? | |
| That's controversial. | ||
| That's iffy. | ||
| That's hard. | ||
| That's not too easy. | ||
| But the one that Dave played earlier, Heal the Feet, okay. | ||
| What it really says, and I can't play all of it on the air. | ||
| I had to, because it had profanity. | ||
| It says, it's all BF. | ||
| Heal the feet. | ||
|
unidentified
|
Throw me a loop. | |
| Fell with it. | ||
| Away from me. | ||
| And I'm going to play it for you. | ||
| And I'm going to let you listen. | ||
| I'm going to just go start where it says heal the feet, okay? | ||
| Well, now, wait a minute. | ||
| You just said it had profanity in it. | ||
|
unidentified
|
Well, I said I'm going to start where it says heal the feet. | |
| I'm going to get rid of the BF. | ||
| I see. | ||
|
unidentified
|
Okay, let me. | |
| Okay, hold on. | ||
| Let's see. | ||
|
unidentified
|
So that the few left will be more heat of the feet. | |
| Did you hear that? | ||
| I heard it, but it was not clear. | ||
| Yeah, I'm hearing feel the heat or heal the feet. | ||
| I mean, it's such a short phrase. | ||
| It's really nothing. | ||
| I would want to state my reputation on that one. | ||
| And, you know, I mean, see, what this highlights is this highlights the whole urgency that we need to have some serious, accredited research into this. | ||
| I think what I would love to do is get people like Ken and the thousands of other reverse speech people across the country. | ||
| Let's get them all together in a cassortium, a research body, to make this thing happen and to answer all these questions. | ||
| Well, I think the most important point Ken has made so far is that it could have been as easily healed the feet, at least to my ear. | ||
| So what we should do for the rest of this program is listen carefully to the consonant and the vowel sounds. | ||
| And I would like the listeners to do that. | ||
| Let's dissect these things down. | ||
| You know, I'm the first person to admit that I do not have all the answers. | ||
| And if some of my students are out there, they may even want to call in and let's talk about how we do this. | ||
| All right, Ken, we don't have a lot of time left before the top of the hour. | ||
| Ken, any other really important ones you want to lay on us? | ||
|
unidentified
|
Well, yeah, well, what he says, what we're talking about, we're thinking about his aliens, Arthur, in reverse, and I played to you on your show. | |
| There are no aliens. | ||
| I want to get through. | ||
| It was clear as day. | ||
| So we agree with the want to get through. | ||
| Why don't I play that one? | ||
| Do you have that one? | ||
| Yeah, I got that one handy right now. | ||
| Let's find out. | ||
| Wait a minute. | ||
| I was wondering if Ken also had it. | ||
|
unidentified
|
Yeah, let me, yeah, I got it right here. | |
| Here we go. | ||
| All right, let Ken go first. | ||
| Okay. | ||
|
unidentified
|
Okay, here we go. | |
| Okay, well, what we're thinking of as aliens, Arthur. | ||
| Okay, um... | ||
| Riped off the kneeling after that. | ||
| I want to get through. | ||
| Well, I mean, there's a one to get through. | ||
| Let me run it here. | ||
|
unidentified
|
Well, when he says they're extra-dimensional beings, what we're thinking about is aliens, Arthur, the extra men. | |
| The truth is, he says, that's me BSing it. | ||
| There are no aliens. | ||
| I want to get through. | ||
| All right, Ken, hold on. | ||
| Let's play the one to get through, and I'll tell you why I didn't document the word alien. | ||
| That's clear. | ||
| So we agree on that. | ||
| Now, I do not document the word alien in reverse, because it's exactly the same forwards as well as backwards. | ||
| You're speaking to a machine and say alien, and it comes out as alien in reverse. | ||
| So I avoid documenting that one. | ||
| Plus, there's some other phrases that what I call constant reversals. | ||
| They will always reverse to say the same thing. | ||
| There's about 50 of them that we teach in class. | ||
| And unless it's in a very concise, coherent sentence with direct complementarity, I avoid documenting them. | ||
| And I deliberately didn't document Alien in that particular one because it was only a two-minute tape. | ||
| And I want to hear a lot more than that and Put my reputation on that. | ||
| Ken, your reversals finally did come through clear. | ||
| I don't know what you did to fix it, but they were finally loud enough to hear. | ||
| I want to thank you for being here. | ||
| Before you go. | ||
|
unidentified
|
Yes. | |
| Would you be interested in starting up a local chapter of Dorsa in Las Vegas? | ||
| What Dorsa is, is the David Oates Reverse Speecher Alliance. | ||
| It's a series of chat clubs set up across the United States that's been in formation for about a month now, and it's a group of researchers just like yourself who are getting together to look at all this stuff and to answer all these questions. | ||
| And if you want to, there's a phone number I can give you to call for the local Dorset chapter. | ||
| Well, actually, the national coordinator is a chap called B.J. Ruchok, B-R-U-C-H-O-K. | ||
| And you can call him at area code 360-876-6296. | ||
| That's 360-876-6296. | ||
| And see, what I want to see happen is there's so many people like you who are really enthused and really excited about this. | ||
| And currently, all our efforts are fragmented. | ||
| You're doing your thing, I'm doing my thing, Joe Blow's doing his. | ||
| If we can all come together under one national organization, DORSA, and let's pool our research results and resolve these questions. | ||
| I mean, this is a very new field. | ||
| Obviously, there is something there. | ||
| After all my work, 15 years, there's very strong and definitive evidence that this exists, but it's such a new field. | ||
| There's so much research left to be done. | ||
|
unidentified
|
I got one last reversal. | |
| Yes. | ||
|
unidentified
|
This is the one that I believe. | |
| This right here is a lot of safe areas in this world that they could begin moving the population to now, Art. | ||
| What he actually said is they're all lies because they shield it up in their room, room or womb, and they milk it. | ||
| And here we go. | ||
| Okay. | ||
|
unidentified
|
They're all lies or listening to shielding off in your womb. | |
| Okay, that was very clear. | ||
|
unidentified
|
Okay. | |
| Well, that's one of the ones that I quoted, too, if you recall. | ||
| The shooting off your room was I quoted that on your program. | ||
| I don't hear that there's lies. | ||
| I think that's unclear based on my opinion. | ||
| No, see, I did think I heard that. | ||
|
unidentified
|
And he also said, and they milk it. | |
| So you omitted the beginning and the end. | ||
| So in a way, you might have taken the reversal out of context. | ||
| And I've had about 98% of the people that I talk to hear very much what I hear. | ||
| And I mean, I believe I could state with metaphysical certitude that the Area 51 call is a fake. | ||
| And matter of fact, Art, on the second time a guy called, and when you said, when you said you didn't know my name, listen to it. | ||
| No, Ken, we're out of time now. | ||
| It's the top of the hour. | ||
| I think you have a major point. | ||
| Thank you. | ||
| I'm going to have to take both of you off right now. | ||
| We have got a break right here, and we're already behind schedule. | ||
| But I did want to get that done, and I think it points out a couple of really, really interesting things. | ||
| And one of them was that when I was told what to listen to, I heard that. | ||
| How about you all out there? | ||
| More research. | ||
| I'm Art Bell, and this is Coast to Coast AM. | ||
| Coast AM Now, back to David John Oates. | ||
| David, we're way behind schedule here, but... | ||
| But I thought, you know, that was worth doing. | ||
| And in the one instance, it was quite clear. | ||
| I could as easily hear what he said as what you said. | ||
|
unidentified
|
Yep. | |
| Well, you know, it's the whole problem of the illusion of sounds, both forwards and backwards. | ||
| Now, if you can do the same thing with a section of forward speech, listen to it over and over again, just one or two seconds, and your ears will switch and hear different things. | ||
| We've validated that ourselves many times. | ||
| And as a point of fact, I'd like people at home to try that. | ||
| And it's one of the reasons why I'm so conservative in my documentation. | ||
| But on the other hand, with all the work he has done, he absolutely is a passionate believer in reverse speech. | ||
| But it brings up what I was talking about, David, and that's agendas. | ||
| In other words, if you decide somehow that this person is telling the truth, then even subconsciously, David, not consciously, I'm not accusing you of doing anything nefarious. | ||
| But subconsciously, you are then, at some point, beginning to listen to things that validate what you have begun to conclude. | ||
| That's a natural human thing. | ||
| Right. | ||
| I believe you can be trained out of that. | ||
| I believe that it's possible to be trained to the level where you are just documenting what is actually there. | ||
| The syllables, the consonants, the vowel sound, there are some phrases in reverse that you can hear two or three different ways. | ||
| I do not document them. | ||
| I completely skipped them, generally. | ||
| And I noticed when I was doing the Ed Dame's tapes, he said the very similar thing about remote viewing. | ||
| The more people he has doing it, the greater is the accuracy. | ||
| Absolutely correct. | ||
| And that's the same with reverse speech. | ||
| It's the same with any new discipline like this. | ||
| All right. | ||
| Let us drop it at this point, and maybe our friend Ken or others will get a good system to play into the phone so we can be better judges. | ||
| Oh, yeah, I would love to do that. | ||
| I mean, I would love to get all these people together and let's pull Our results. | ||
| As I've said many times, I don't have all the answers, but I've got sufficient answers and sufficient evidence to say there is something to this. | ||
| I agree with that. | ||
| He agrees with it. | ||
| So let us proceed then with what we're going to do. | ||
| And the first would be Kathleen Willie, right? | ||
| Yeah, well, we can. | ||
| Okay. | ||
| All right. | ||
| Let's continue with Kathleen Willie. | ||
| I actually had a reversal up to play, but we'll do that. | ||
|
unidentified
|
All right. | |
| Okay. | ||
| So Kathleen Willey was the woman on 60 Minutes who claimed that Bill Clinton had basically made a pass at her. | ||
| And I analyzed this tape, and this is what I've come up with. | ||
| And I will just play the reversals one by one, and we will gradually draw a conclusion on this. | ||
| Here we have the first one. | ||
|
unidentified
|
How would you characterize, at that time, your relationship with the president? | |
| We were friends. | ||
| We had had the occasion to speak with him on election night. | ||
| He had called us right after the election, called me, just to thank us for our help. | ||
| I would say good friends. | ||
| Okay, now where she says I would say good friends, she says backwards, how it's tipped. | ||
| Yes. | ||
|
unidentified
|
Now flip, yes. | |
| And again. | ||
|
unidentified
|
Some narrow flip, yes. | |
| Do you hear that? | ||
| Yes, but I don't know what it means. | ||
| No. | ||
| It's now flipped. | ||
| Let's do it again. | ||
|
unidentified
|
Now flip, yes. | |
| And again. | ||
|
unidentified
|
Now flip, yes. | |
| Now flipped, yes. | ||
| It's flipped around. | ||
| We were good friends. | ||
| You were after me. | ||
| Now I'm after you. | ||
| I see. | ||
| Is the way I see that. | ||
| The whole situation has flipped around. | ||
| Okay, but that's somewhat metaphoric. | ||
| Okay, let's do it. | ||
| Yes. | ||
| You see that as metaphoric? | ||
| Sure. | ||
| Huh. | ||
| Okay. | ||
| I would have thought that was fairly straightforward, though. | ||
| If she said something like, it's my turn for revenge, that would be quite direct. | ||
| Right. | ||
| But see, it is somewhat metaphoric, yeah. | ||
|
unidentified
|
Okay. | |
| Well, maybe I've been doing this for so long I'm so used to the metaphors and think of them as normal. | ||
| So here we have, let's move on to the next one. | ||
|
unidentified
|
And when I got home that afternoon, there was a phone call from Nancy Harmwich asking me if I would come up and meet with her that the president had an interest in my working someplace else other than correspondence. | |
| Now in this one, I'm hearing the brothel in the power. | ||
|
unidentified
|
The darth winnifal. | |
| The dartho wien nipalef. | ||
| And again. | ||
|
unidentified
|
The dartho winnipal. | |
| The brothel in the power? | ||
|
unidentified
|
Yeah. | |
| Yeah, I could hear that. | ||
| I thought that was quite amusing when I found it. | ||
| It's essentially, you know, well, there is a lot of, this, Kathleen Willie is not the first woman who has come forward. | ||
| And I thought that was very interesting. | ||
| It was clear, anyway. | ||
| Okay, and then in this one here, she's talking about walking down the hallway. | ||
|
unidentified
|
And we started walking back down the hall towards the Oval Office, and he said, why don't you come in here into my study? | |
| We can talk better in here. | ||
| And backwards, she says, they've seen us. | ||
| They're full of eyes. | ||
| In other words, they've been watched as they walk down. | ||
| People are spying them with great care, I suspect. | ||
|
unidentified
|
They're seeing themself all about you. | |
| They're seeing a surf all about you. | ||
| Okay? | ||
| Yeah, so can be. | ||
| Yeah, that's very clear. | ||
| Just do it at normal speed. | ||
| Okay, all right. | ||
| And now I'm kind of moving through these fairly quickly. | ||
| And here we, because I'm anxious to get on to Malin and Dave, which is the real meat of everything, is the real meat of this whole broadcast tonight. | ||
| And here she is talking about Bill Clinton in his office. | ||
| They were facing each other. | ||
|
unidentified
|
He stood and leaned. | |
| I was leaning against the door jamb. | ||
| He was in the office. | ||
| We were standing facing each other, and I told him what had happened. | ||
| And here she says, you're lusting yourself, you're natural. | ||
|
unidentified
|
I think she's referring to Bill Clinton here standing in the office. | |
| I like me and Sophie and that's her. | ||
| I like me and Sophie and that's her. | ||
| Okay. | ||
| Give it to me at regular speed again, please. | ||
| Here we go. | ||
|
unidentified
|
Everybody can use that for you, Matt. | |
| Sure. | ||
| Everybody can use that for you, Matt. | ||
| Okay, I got you're lusting yourself very clearly. | ||
|
unidentified
|
Right. | |
| I'm not sure about the rest. | ||
| The natural, well, the R's rolled on the natural. | ||
| Let's do it one more time. | ||
| And again. | ||
| Okay, I've got it. | ||
| Okay, all right. | ||
| Now, here's a reversal that really quite threw me when I found it, primarily because it's almost exactly the same word that Hillary Clinton used in an early reversal. | ||
| So I want to play this one alongside of Hillary Clinton, and I will let people decide for themselves. | ||
| I want you to listen to the forward words because there's completely different forward words on this one and completely different forward words on Hillary Clinton. | ||
| Okay. | ||
| You think he betrayed your friendship? | ||
|
unidentified
|
Absolutely. | |
| Especially since he knew my husband also. | ||
| Now this one says her sore lips are hammering it, which I think is a sexual reference. | ||
| And I don't know who the her is. | ||
|
unidentified
|
That's why not so how many you're hammering me. | |
| And again. | ||
| Again, I would put that, I hear it clearly, but I would put that in the metaphoric category, wouldn't you? | ||
| I didn't know what to make of it. | ||
| When I first found it on Hillary Clinton, I assumed it referred to hammering the accusations home. | ||
| Okay? | ||
| Evil, because Hillary's reversal was evil lips are hammering it. | ||
| Hammering it is to drive a point home forcefully. | ||
| Let's define what we mean by a metaphor, David, so we know what we're talking about here. | ||
| This is not something that somebody would say as a directed comment in normal speech, is it? | ||
| Correct. | ||
| Reverse speech has a very unique language. | ||
| Over 70 to 80% of all the language in reverse speech is metaphoric in language. | ||
| And those metaphors can get very difficult to understand. | ||
| That's really strange because I would never... | ||
| Well, you go and think about some of your dreams. | ||
| You think of dreams, the surrealistic daydreams that we have sometimes. | ||
| The unconscious thinks and processes in a completely different fashion to the conscious mind. | ||
| And part of my theory is that it thinks and functions in pictures and images or metaphor and archetype. | ||
| Carl Jung, well-known European psychologist, spent his whole life studying the metaphors of the unconscious mind, claiming that on the unconscious world, which is 90% of all consciousness, we are thinking in a completely different fashion than conscious mind. | ||
| And what reverse speech, I believe, is doing, it is seeing these unconscious pictures and translating them to words. | ||
| I just think it's harder for the public to understand the relevance when it's metaphoric. | ||
| when you hear Neil Armstrong say man, hear man will spacewalk in reverse, that is so clear and so relevant to what is being said forward that there's no question about it. | ||
| But when we get off into these other areas... | ||
|
unidentified
|
Well, what, continue with the metaphor discussion? | |
| No, with Willie's. | ||
| Okay, well, let's look at the one on Hillary Clinton. | ||
| And maybe we could talk about metaphors more as we go along. | ||
| It's really been the thrust of my career. | ||
| It's been the whole metaphoric development of reverse speech. | ||
| And here's this one on Hillary Clinton I wanted to look at. | ||
|
unidentified
|
You know, initially, when this first started, and I would be accused of something, or my husband would be accused of something, I would be really upset. | |
| Now, this one says, evil lips are hammering it. | ||
|
unidentified
|
Eat the lips are hammering it. | |
| Eat the lips that are hammering it. | ||
| Eat the lips hammering it. | ||
|
unidentified
|
Very clear. | |
| Now, it really hit me because I've never heard the word hammering it in reverse ever. | ||
| And here I have it twice now. | ||
| You're right. | ||
| Wow. | ||
| One from Kathleen Willie, one from the first lady. | ||
| That's remarkable. | ||
| Yeah. | ||
| And, you know, part of the things I've documented in reverse speeches is what I call a peer group metaphor. | ||
| Certain people who operate together tend to have the same metaphoric language in reverse speech. | ||
| Like if you hang around with a group of Aussies, you'll hear the word mate all the time. | ||
| But if you hang around with Americans, you'll hear buddy or dude. | ||
| And we all have our own unique language, which you can also see in reverse speech, but it's a metaphoric language. | ||
| And here's this, let's use the one on Willie, once again, her sore lips are hammering up. | ||
|
unidentified
|
That's why, Mr. Halliny. | |
| Yep. | ||
|
unidentified
|
And again, oops, one more time. | |
| That's why, Mr. Hallini. | ||
| And see, I think this is the unconscious mind thinking in a completely different way. | ||
| And what do you think it's saying? | ||
| What do I think that means? | ||
| My opinion is it's referring to a sexual act. | ||
| I think that there is a sexual metaphor running throughout the White House. | ||
| So you think that's oral sex? | ||
| That is the opinion I finally came to after receiving many emails I first presented on your program as hammering the accusations home. | ||
| But when you look at evil lips and sore lips, I mean, I'm not sure, unless he's referring to females who are hammering accusations home, like Linda Tripp, for example, when you're dealing with metaphors, it's tough to tell, which is why I keep away from them in my public appearances. | ||
| Now, when you're working with metaphors in the therapeutic context, you're in a whole different field all together, because this is literally how human behavior and how the unconscious works is through pictures and images. | ||
| And many, many, and a lot of the psychiatric trends nowadays is moving towards dealing with images and trance journeys. | ||
| And you've had Robert Ghostwolf on several times. | ||
| He would talk about the totem animals and our spirit beings. | ||
| And that is what I believe the metaphors are tapping into. | ||
| They're tapping into this extra dimension or the soul or the sacred nature of our consciousness that we really don't have much understanding of in this physical world. | ||
| All right, fair enough. | ||
| We're way short on time. | ||
| So if you have more relevant on Kathleen Willie, let's do them. | ||
| I have a couple more that I think are fairly relevant. | ||
| This one here really concerned me when I found it. | ||
| She's talking about Bob Bennett talking to her about this. | ||
|
unidentified
|
We were together at some point before a court hearing, and he mentioned that he had just left, he had just been at the White House, and the president asked for me and told him that he just thought the world loved me. | |
| Now, but that's what she says. | ||
| They could kill you. | ||
| And I think she's actually afraid. | ||
| And this is like, this is, well, let's just lay it. | ||
|
unidentified
|
They can tell you. | |
| Yeah, that's clear. | ||
| And I think she's a woman who is afraid. | ||
| She's talking about the brothel in the White House. | ||
| They're talking about people who have seen her. | ||
| She's talking about you're lusting yourself, talking to Bill Clinton. | ||
| The sore lips are hammering it. | ||
| She doesn't say my sore lips. | ||
| It's her sore lips. | ||
| They could kill you. | ||
| This is a woman in fear, I suspect. | ||
| And I think let's just look at one more reversal and then we'll move on to. | ||
| All right. | ||
| Back now to David Oates, and we are going to complete the reversals on Major Ed Dane. | ||
| Okay. | ||
| All right. | ||
| We're going to pick this up. | ||
| This one here, he's talking about a volcanic eruption. | ||
|
unidentified
|
The next type of event, for instance, the next volcanic eruption in North America that limits the geographical area to North America. | |
| And we know that when you perceive, let's say, Mammoth Mountain blowing its top, that that is the next volcanic eruption. | ||
| Now, once again, we have the word warn again. | ||
| Hope you know I warn you. | ||
|
unidentified
|
It'll be a nilp. | |
| Hope you know I warn you, no problem. | ||
| And this is what I think the fourth or the third or fourth of author reversal. | ||
| I played on the word warning. | ||
| It was over and over and over throughout the entire tape. | ||
| And like I said, I went out and bought gold this week. | ||
|
unidentified
|
Okay, okay. | |
| So it's nothing like hearing reversals to make you spur into action. | ||
| I quite agree. | ||
| Now, this one here, we get down to the more probably the side of remote viewing that he probably enjoys greatly, like with reverse speech. | ||
| I enjoy working with my clients and actually helping people. | ||
| And here he's talking about finding missing children, which is also a compassionate way to use the technology. | ||
|
unidentified
|
Another one that's even more difficult to do is missing children. | |
| Almost always missing children are out there. | ||
| They're street urchins or they're with a family member. | ||
| But it's the ones where a child has been killed or sometimes tortured that are very difficult to. | ||
| Okay, and backwards he says they must feel it. | ||
| That's when I grow. | ||
| They must feel it. | ||
| That's when I grow. | ||
|
unidentified
|
That's when he gets his most satisfaction out of this. | |
| And the feel that's that I scroll. | ||
| And the field. | ||
| That's that I scroll. | ||
| And again. | ||
| And the sweet, that's that's grow. | ||
| Right. | ||
| And you see his humanistic, emotional, compassionate sigh coming out in that reversal. | ||
|
unidentified
|
That reversal actually quite touched me when I found it. | |
| Now we're moving on to the subject of disease again. | ||
| A very simple reversal on this section, straight to the point. | ||
|
unidentified
|
We'll not be able to develop vaccines, antidotes, antibiotics in the case of bacterial infections fast enough to be able to keep up with these diseases. | |
| They're going to really kill us off. | ||
| Back with very simply go naget disease. | ||
|
unidentified
|
Naget disease. | |
| On the get disease. | ||
| On the disease. | ||
| Boy, that's clear. | ||
| Yeah, exceptionally clear. | ||
| If nothing else, he is certainly very congruent about what he is saying. | ||
|
unidentified
|
There's no cons going on here that I can see. | |
| Okay, we are moving on to talking about projecting the future of a corporation. | ||
|
unidentified
|
That is one thing that we can't use that for. | |
| We cannot discern alphanumerics, but we can look and we can perceive the trajectory in time of an enterprise like a company or a corporation, what they're going to do. | ||
| So it can be used in the stock market. | ||
| So when he says it can be used in the stock market, a very congruent reversal, a back with the share broker in the market. | ||
|
unidentified
|
The share of book growing in the market. | |
| Now, yeah, just very straightforward reversal. | ||
| Now, the next one comes out of left field a little bit, getting back to the topic of guns and military. | ||
| Reversal is the scram in the fight, first the gun, scram, run for cover. | ||
| And I think this is getting back to there is some calamity that is going to come. | ||
| And, you know, I've got to tell you, I have found reversals on me and some of the people associated in my organization that are also of equal concern. | ||
| Reversalists say move, get away, run, escape. | ||
| Now, whether that is just to collect this fear, that I'm finding similar information in reverse feet to what he is saying in remote viewing. | ||
| So anyway, scram in the fight. | ||
| Earth begun. | ||
|
unidentified
|
Scram in the fight and earth is none. | |
| Scram in the fight. | ||
|
unidentified
|
Scram in the fight and earth is none. | |
| Yes. | ||
| Scram in the fight and earth with none. | ||
| Okay. | ||
| Yes. | ||
| Okay, now we're getting on to, he's talking about a stargate that he has found here that he's a mote view with a, once again, a very simple reversal. | ||
|
unidentified
|
And we are playing that right now. | |
| There is a scene. | ||
| There is a, I'll call it a thing for all intents and purposes, that's already in place and essentially has been waiting. | ||
| Waiting for someone to find it. | ||
| He's referred to a Stargate, I think. | ||
| He said that. | ||
|
unidentified
|
And then the back it says, that heels NASA. | |
| That heels NASA. | ||
| Well, that heels NASA. | ||
| Okay, so we're just looking at some very straightforward, simple reversals here. | ||
| There's a no-doubt O to what they mean. | ||
| We just look at the complementarity. | ||
| And he is a man of concern. | ||
| This one here is a very, very strong reversal. | ||
| He's talking about sanctuary, places that are less affected by the Mad Max scenario. | ||
|
unidentified
|
There are sanctuaries, evidently, places that will be less affected by the Mad Max scenario. | |
| I've talked about these before, too. | ||
| And backwards, he says, damn the love, or it could be damned the love. | ||
| I was hearing this one both ways. | ||
| They have to sell. | ||
| In other words, get out. | ||
| Forget your attachment. | ||
| Move. | ||
|
unidentified
|
Sell. | |
| Get to a safe place. | ||
| Damn the love, they have to sell. | ||
|
unidentified
|
Damn it, I'll be fast to sell. | |
| Damned out this has to sell. | ||
| Damned it up. | ||
|
unidentified
|
Okay? | |
| Yes. | ||
| Speaks for itself, I think. | ||
| And let's just look at one final reversal here that I found interesting. | ||
| He's theorizing about pre-existence. | ||
|
unidentified
|
Okay? | |
| And here we go. | ||
| We have this physical bicameral brain now, this mind that associates itself with the physical reality that we have. | ||
| The reality that we are before we come into existence in this body is so very different. | ||
| The milieu is so very different than this physical milieu. | ||
| Now, this one will just raise some thoughts. | ||
| People who talk about the reality is very different. | ||
| He says they knock you off, you cry, whatever that means. | ||
|
unidentified
|
Nehemah, you won't be cry. | |
| Nehemach, you won't be cry. | ||
| Well, it'd be interesting. | ||
| Yeah, it'd be interesting to ask Ed Dames what he thinks that means. | ||
| Given that, that sounds somewhat metaphoric to me. | ||
| Well, okay, I just kind of thought it just meant exactly that. | ||
| You know, we're sort of thrown into this world, and we wake up crying and go, oh, my gosh, where are we? | ||
| Yeah, but see, again that seems to me to be an interpretation. | ||
| David, go ahead and give out your information. | ||
| I know you want to give out information to people on your new what what are they, clubs? | ||
| Right, yes. | ||
| It's called Daughter, the David Oats Reverse Speech Alliance. | ||
| The national chairman is a chap by the name of B.J. Brutchop, B-R-U-C-H-O-K. | ||
| He's in Washington State. | ||
| He has so far organized seven different chapters. | ||
| These things are growing very, very fast. | ||
| I'm stunned at the growth of this. | ||
| And you can contact him by calling Aericode 360-876-6296. | ||
| That's 360-876-6296. | ||
| Now, the main reverse beat office, if you want to get hold of reversing machines to do this for yourself, we actually have a sale going on now. | ||
| We've brought in some cheaper models. | ||
| You can call the office at 1-800-669-5789. | ||
| That's 800-669-5789. | ||
| For those people waiting for our newsletter, Bat Talk, it is in the printers now. | ||
| We're going to be mailing that out next week. | ||
| I'm going to be in Denver this weekend at the Art Bell Chat Club. | ||
| I will be lecturing there on Saturday night. | ||
| For more information, you can call Aericode 303-695-6621. | ||
| 303-695-6621. | ||
| The main reverse speech number, once again, is 1-800-669-5789. | ||
| All right. | ||
| A very interesting program tonight. | ||
| That's all I can say. | ||
| All right, David, thank you very much. | ||
| Thank you very much. | ||
| And take care. | ||
| I will tell you what I think. | ||
| I think that a reverse speech is real. | ||
| And I have formed that opinion based on many, many shows that we have done with direct reversals. | ||
| In other words, congruent reversals that seem to either validate what the person says or will show it to be a lie. | ||
| But I think that although there may be something, I cannot deny it, there may be something, very much something to these metaphoric reversals, I think that metaphors, even in the, when they're said in, you know, completely forward speech, are interpretive. | ||
| And I think that David tends to get in trouble when he uses them in a public forum, whether it would be on my program, or it would be in front of a chat club, or it would be in front of any group that is hearing reverse speech for the first, second, third, or even fourth time. | ||
| The metaphors are a real problem and do the credibility of reverse speech harm. | ||
| That's my take on it. | ||
| And I'm just, you know, I'm an Neophyte. | ||
| As you, I have heard quite a bit of reverse speech. | ||
| And in the first many programs we did, when we stayed away from metaphors, and I have consistently advised David for the sake of credibility to stay away from metaphors, the interpretive, I think it went very well. | ||
| But I think when you get into a lot of these metaphoric statements that can mean this or can mean that, you get into trouble. | ||
| That's my view. | ||
| West of the Rockies, you're on the air. | ||
| Hi. | ||
| Hello? | ||
| Well, I guess not. | ||
| East of the Rockies, you're on the air. | ||
| Good morning. | ||
| Hello? | ||
| No, you're not. | ||
| A wildcard line, you're on the air. | ||
| Good morning. | ||
| I can't hear you, dear. | ||
| Oh, I see what's wrong. | ||
| I'm sorry. | ||
| Hold on a moment. | ||
| I see why this isn't working. | ||
| Let me hear this line. | ||
| Let me go back to this line. | ||
| Hello there. | ||
|
unidentified
|
Hello? | |
| Yes. | ||
|
unidentified
|
Yes, this is Paul in Kansas City. | |
| Yes, Paula. | ||
|
unidentified
|
And I wanted to speak up in defense of the metaphors for a minute because I have a David Oaks machine. | |
| All right. | ||
| And I bought a metaphor dictionary to go with mine. | ||
| And what I have seen is that everybody is using these same metaphors in reverse speech. | ||
| And the thing about it is it proves that everyone is communicating in this other language all the time, or we wouldn't all have it. | ||
| Oh, look, I think that's... | ||
| Let me get rid of the echo here. | ||
| I think that is absolutely correct. | ||
| My only point is that to the uninitiated, the new listener, reverse speech is difficult enough at best as you begin to absorb what's going on. | ||
| And when you get into the metaphors, you make it doubly and triply difficult for the newbie to even begin to grasp what they're hearing. | ||
|
unidentified
|
Well, I agree with you on that. | |
| I just think, and what I don't think has been mentioned by David Oates or brought up is the fact that, like, we have a whole bunch of metaphors who are using forward speech, and they're also used in reverse, but there's this whole other set. | ||
| And then, like you said, there's certain groups have kind of their own inside metaphors. | ||
| And the fact that, like, even the ones that everybody uses, like this wolf, he mentions quite often. | ||
| Wolf is frequent. | ||
|
unidentified
|
Yeah. | |
| Okay. | ||
| The fact that the whole general public is that's showing up in everybody's reverse speech. | ||
| It doesn't matter who you put in there in reverse. | ||
| Some common ones keep showing up. | ||
| What could be said about the metaphors would just be the fact that everybody's using them proves that we are all communicating on this other level or we wouldn't all have the same other vocabulary. | ||
| I agree. | ||
| You see what I'm saying? | ||
| And I think that that might, every now and then when a metaphor comes in, that might help the understanding of a little bit. | ||
| And I do agree that though some of them are hard to determine now, on that Area 51 call, I had a bunch of reversals, more than David had, but, you know, I can understand maybe why he didn't put some of them on there, and maybe he didn't find some of the same ones. | ||
| But I had heal with thee instead of healed the feet or whatever. | ||
| But I had the word heal, you know, in there. | ||
| And I also had one that said, now weep with Harry. | ||
| And he was crying. | ||
| And now weep with Harry, something about the looseness of spiritual life. | ||
| And there was quite a few that, you know, that might have been something to interpret too. | ||
| So that might not be one that he wanted to put on the air. | ||
| Exactly. | ||
| I am. | ||
|
unidentified
|
You know what I mean? | |
| But it was the fact now weep with Harry, he was crying. | ||
| And I think that what made his very hard to reverse was the fact that he was crying. | ||
| And, you know, when people crying, they kind of clip their words off. | ||
| Yeah, but on the other side of the coin, David says that very emotional moments yield the best and clearest reversals. | ||
|
unidentified
|
Well, they well, if they are, if your forward speech is like when he was saying the fire, the house is on fire. | |
| He said that clearly. | ||
| But when person's crying, they're kind of, you know, their voice jumps up and drops. | ||
| Yeah, it's true. | ||
| All right. | ||
| Thank you very much. | ||
| It's true. | ||
| Again, I'm just saying that in the early shows that we did with David, the reversals were not metaphoric at all, and they were clear, they were easy to understand, and they related directly to what was being said forward. | ||
| For example, the Sidonia reversal. | ||
| Yes, oh, I love that one. | ||
| You bet I did. | ||
| It was very clear to me, and it demonstrated, I guess, to any of it, that reverse speech, that there really is something to it. | ||
| But when you get down to these interpretive statements, I think people are more easily able to say, what a bunch of BS and just mentally reject it. | ||
| That's all I'm saying. | ||
| East of the Rockies, you're on air. | ||
|
unidentified
|
Hi, Art. | |
| How are you today? | ||
| Fine. | ||
| I hope that we can fit all this in because it's getting to the bottom of the hour. | ||
| Right. | ||
|
unidentified
|
But I have it's a very powerful show tonight. | |
| It's fantastic. | ||
| And my name is John, and I'm listening from Marshall, Michigan. | ||
| Okay. | ||
| So I have to listen to outlying, and you bait in and out on me, but I've got you on a bunch of different locations and sounds all over with the radio. | ||
| Okay. | ||
| I'm wondering about the Courtney Brown affair. | ||
| Oh, my God. | ||
| That's ancient now, but what are you wondering? | ||
|
unidentified
|
Has anybody tried to reverse the speech on that? | |
| Oh, yes. | ||
| We did that long ago. | ||
|
unidentified
|
Oh, I missed out on it. | |
| Yeah, long ago. | ||
|
unidentified
|
I really feel bad about missing out on that. | |
| I was wondering about, since I have the tape, I was wondering about getting a machine and then trying to do it myself. | ||
| Do you think it's a difficult thing to learn how to do? | ||
| No. | ||
| Yes and no. | ||
| In other words, if you're looking for straight reversals that are congruent with what's being said forward, I think you will find them. | ||
| And I think you cannot do it with a computer. | ||
| You've got to find them with a tape machine. | ||
|
unidentified
|
Okay. | |
| And then once you've found them, you can then put the forward part and the reverse part on a computer if you wish. | ||
| And it makes it easy to play, as David does, on the air. | ||
|
unidentified
|
Do you have any conscious memory of how that ended up turning out, the reversals on that? | |
| It was so long ago. | ||
|
unidentified
|
Did it work out towards his benefit or against his benefit? | |
| Pretty much against. | ||
|
unidentified
|
Okay, because I was noticing on these reversals with Ed Dames that it was working out towards his benefit. | |
| It seemed to be, yes. | ||
|
unidentified
|
It seems very interesting. | |
| All right, thanks, Art. | ||
| Appreciate it. | ||
| Thank you, sir, and take care. | ||
| I agree. | ||
| It showed Ed Dames to be congruent, and I'm not surprised. | ||
| Now, we could have a big argument about whether Ed Dames and remote viewing is a valid discipline. | ||
| If you want to have a big argument about that, you can. | ||
| But I think that it showed what I thought all along, and that is Ed Dames is passionate about what he's saying and believes what he's saying. | ||
| And I think that's what came through in the reversals. | ||
| Clearly came through. | ||
| There was an awful lot of warning in there, and that's what Ed Dames does. | ||
| His nickname is Dr. Doom. | ||
|
unidentified
|
He knows that. | |
| So I'm not surprised that it came out the way it did. | ||
| Now, whether remote viewing is an accurate discipline or not, people will argue about that, I suppose, through the incongruity. | ||
| But surely, I think it came through clearly that Ed Dames believes what he's saying. | ||
| We'll be right back. | ||
|
unidentified
|
We'll be right back. | |
| Malin and get Richard on the line. | ||
| Yes, indeed. | ||
| Let's get on to this stuff. | ||
| This is not a part of reverse speech I particularly enjoy, is this uncovering of stuff like this. | ||
|
unidentified
|
Did you say anything to her? | |
| I remember saying to her, I think, you are just not going to believe this. | ||
| And backwards, she says, but we messed up. | ||
|
unidentified
|
Uh-oh, yes, yep. | |
| Uh-oh, yes, yep. | ||
| And again. | ||
|
unidentified
|
Uh-oh, yes. | |
| And she's talking about talking to Linda Tripp. | ||
|
unidentified
|
Very clear. | |
| Very clear. | ||
| And, you know, I just think things didn't go the way they wanted it to go. | ||
| She's a woman clearly afraid. | ||
| I think she's telling a true story. | ||
| And you can go to my website and see the rest of the talk. | ||
| Oh, that's right. | ||
| Now, we should tell everybody you have a very extensive website. | ||
| If you will go to my website, folks, right now and just scroll on down to David John Oates name and click on that. | ||
| You will go to his website, and there you can listen to audio clips that he has prepared. | ||
| You probably by now have hundreds or thousands of them up there. | ||
| Oh, there's probably a couple of thousand clips up there at least. | ||
| It's a very extensive website. | ||
| Some of those reversals are exceptionally clear. | ||
| A lot of my research information is covered there. | ||
| Some of the tests that I've done. | ||
| If you want to do it yourself, there's a product section there. | ||
| We've actually got a special on machines now. | ||
| Or you can call the office at 1-800-669-5789. | ||
| 800-669-5789 for more information. | ||
| And just have a tour through the website. | ||
| And there you go. | ||
| All right. | ||
| David, Hold on. | ||
| We're going to take a break here at the bottom of the hour. | ||
| We are going to connect with Richard Hoagland if everything goes as planned. | ||
| And when we come back, the reversals on Dr. Malin, the man, the contractor who is in charge of the photography. | ||
| And we've had an amazing statement from JPL today that they are going to go after the Mars face. | ||
| It is a two-page document in which they say they're bowing in effect to public pressure, and they're going after it soon. | ||
| We'll be right back. | ||
|
unidentified
|
We'll be right back. | |
| All right. | ||
| Richard Hoagland is here with us now. | ||
| And in the interest of time, I am going to ask Richard C. Hoagland to be brief, which is like asking the president to become a monk. | ||
| But I'm going to try it. | ||
| Richard, there are some remarkable, remarkable things going on today. | ||
| Number one, the big release from JPL entitled Mars Global Surveyor to attempt imaging of features of public interest. | ||
| So they actually come right out and say virtually that public pressure is there and they're going to do it. | ||
| It's quite an announcement. | ||
| What do you make of it? | ||
| Well, it's even better than that because if you go to the web and you look at the codes, you know how various web codes are written in HTML language? | ||
| Sure. | ||
| The actual file for this press release is Sidonia.html. | ||
| So although they kind of try to obscure it in the first paragraph, they do say that they will attempt to take several images of features of public interest ranging from the Mars Pathfinder and Viking mission landing sites to the Sidonia region. | ||
| Now what's really interesting at the bottom of this release, down at the bottom of the first page, it says the Mars Pathfinder and Viking landers are very small targets to image, even at the closest distance possible, because they are the smallest objects that the camera can see. | ||
| The Sidonia features, on the other hand, are hundreds to thousands of times larger, and the camera should be able to capture some of the features in that area. | ||
| Yes, I'm reading along with you. | ||
| There has been a 180-degree tone difference. | ||
| Remember how Dr. Malin, who we'll get to in a few moments here, has been saying for years how incredibly, impossibly, stupidly difficult it is for him to take a picture of the face? | ||
| It'll be in the tape, yes. | ||
| Oh, he has gone over and over and over again how impossible and how the chances are very small and it's a postage stamp size thing and he's moving so fast and he can't really target and he can't really scan the camera. | ||
| Suddenly this release comes out and says that these things are thousands of times bigger than the Viking lander which he's going to try to take pictures of. | ||
| And undoubtedly they will get, should be able to capture some of the features in the area. | ||
| In other words, there has been at some level a political sea state change. | ||
| And I think you are absolutely right in crediting this audience, the 20 million people who are listening to us right now tonight, with being a major part of that C-State. | ||
| All right. | ||
| Do you take this C-change at face value? | ||
| Well, if it wasn't for David Oates, I would. | ||
| David, by the way, good morning. | ||
| David, are you there? | ||
| Yeah, I'm here. | ||
| Okay. | ||
| I'm Richard. | ||
| When David called me up a couple days ago, of course, you had scheduled this show with David as your sole guest tonight about a week ago. | ||
| We did not know until a few hours ago that NASA was going to release today on the JPL website across the world this announcement. | ||
| And it was because of the timing and because of David's interesting reversals on Mailin that he asked you if I could do the show with him in terms of interpretation. | ||
| So this has all converged together. | ||
| And what was the reversal I played you yesterday, Richard, about going public? | ||
| If it weren't for the Mailin reversals, I would take this press release as evidence that maybe, just maybe, we were winning. | ||
| But when you hear what Dr. Malin is secretly thinking and planning and contemplating and hiding, I frankly think that we're being given another shaggy dog story. | ||
| And as the next few minutes progresses, people across America are going to hear for themselves what kind of a double agenda is behind this mission. | ||
| All right. | ||
| I guess that's your cue, David. | ||
| Okay. | ||
| Well, I'm going to go through these reversals one by one. | ||
| I have about 10 of them to play, and I'm going to get Richard to help me with the interpretations because he's far more knowledgeable than I am. | ||
| He is the first one. | ||
| When the spacecraft is in its far or most of the orbit, it's pointed towards the sun. | ||
| What we do is we try to take a picture as the spacecraft goes from that orientation where the camera's looking backwards to the orientation where the spacecraft is looking at the sun. | ||
| Okay, talking about the process of taking the pictures. | ||
| Now backwards on this one, the reversal is her ship will get the dust. | ||
|
unidentified
|
Her ship will get it out. | |
| Now, I don't know what ship he's talking about. | ||
| We had the ship on the several ships on the NASA public on the reversals we did on Ray Savage and Don Villard, all the other way around. | ||
| And they talked about ships in the Sidonia. | ||
| I haven't heard any of this. | ||
| And I'm going to make a guess right now that they're talking about a dust storm. | ||
| Well, we have a reversal up there coming up about a storm. | ||
| Her ship will get the dust. | ||
| Richard? | ||
| Let's just take that at face value and move on quickly. | ||
| They're much more interesting. | ||
| During the heating, the camera is not looking away from the direction of motion, so it doesn't feel the full force of the atmospheric friction. | ||
| And reversal on this one is her ships carry the vibrant. | ||
| And there's the ship once again. | ||
|
unidentified
|
A ship carries the vaibla. | |
| The ship carries the vibra. | ||
| And again, the ship carries the vibla. | ||
| Okay? | ||
| Yes, oh yes. | ||
| Like exceptionally clear reversal. | ||
| Now, let me pause here. | ||
| This reference to her is very interesting for reversals that we'll get to in a couple of minutes. | ||
| And the big question is, who is the her that Malin is referring to? | ||
| Right. | ||
| Her is not NASA. | ||
| Her is not the United States of America. | ||
| Her is not Lady Liberty. | ||
| Who is her? | ||
| Let's keep on going, shall we? | ||
|
unidentified
|
Okay. | |
| But I can't be any more specific than that any more than you could predict what the stock market's going to be in three years. | ||
| Now, this gets down to your storm comment. | ||
| This reversal says, between the dome in the land, they give us the storm we need. | ||
| Now, who is they? | ||
| What is the dome in the land that they are talking about? | ||
| Let's run this and then we'll discuss it. | ||
|
unidentified
|
Between the unit and the unit, the unit is on the east. | |
| Between the unit and the unit is on the east. | ||
| And again, between you that I missed it, very clear. | ||
| Very clear reversal. | ||
| I totally agree with that. | ||
| And I was stunned with the clarity on some of these reversals. | ||
| All right, Richard. | ||
| Well, again, I think it's important, and I want to refer back to some comments on the Area 51 call from your colleague Ken, that in any one reversal, you can debate certain parameters, you can debate certain intonations. | ||
| What's important is, to me, the total context, the gestalt. | ||
| In other words, if you take a long interview and you get lots of reversals, what you can do is kind of get a consensus, a kind of an overview of the veracity of the backward information compared to the forward information. | ||
| And then you may even be able to get specific meanings that are references that you understand. | ||
| It's very important to listen carefully when David says that reverse speech is highly metaphorical. | ||
| You and I have had our interesting differences regarding symbolism. | ||
| The world we are living in when we're dealing with reverse speech is mostly symbolism. | ||
| What's astonishing, and this is where we're going to get to in the next couple of minutes, is that the symbolism, the gestalt of the symbolism involved in Malin's subconscious, as he was talking to Linda, is part and parcel of the incredible Egyptian symbolism I have found with the computer going back 30 years in the landings and liftoffs and configurations. | ||
| Who do you then conclude is her? | ||
| Do you have, David, the reference to the wolf serves the throne? | ||
| Yes, I do. | ||
| All right. | ||
| Play the forward one on that, and then we'll play the reversal. | ||
| I actually wasn't going to play that one because I thought it was too metaphoric. | ||
| So there's nope, let's go. | ||
| Richard's quite right. | ||
| You cannot understand reverse speech fully with understanding the entire metaphoric content of it. | ||
| And this is primarily the major topic of my classes is understanding the metaphors of the unconscious. | ||
| That occurs from about 8 to about 20 minutes after the closest approach to the planet. | ||
| Now, the latitude at which that heating pulse occurred, that pass through the atmosphere occurs, started out about 35 degrees north latitude and has been migrating northward very slowly. | ||
| So all he's doing is just casually describing the mission. | ||
| And now we hear this exceptionally clear reversal, and I'll play the reversal, then I'll give my brief interpretation of it, then Rich is going to come in and say something too. | ||
| This reversal very clearly says the wolf serves the throne. | ||
| That period of time. | ||
| Sorry, coming up. | ||
|
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The wolf here is wolf here at Nukthone. | |
| And again. | ||
|
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The wolf here is the Rookstone. | |
| Okay, do you hear that? | ||
|
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Yep. | |
| Now, wolf is a very common metaphor in reverse speech. | ||
| It refers to the part of us that is the hunter and the protector. | ||
| That is our prime motivator, our motivating force behind behavior. | ||
| Throne is where we seat ourselves. | ||
| Throne is our importance, our ego. | ||
| Now, so on that note, Richard, you take over because we discussed this privately. | ||
| Well, when David played this one for me, I had one of those aha experiences in reference to the two previous ones, Her Ships Will Get the Dust and Her Ships Carry Survivor. | ||
| In the Egyptian hieroglyphs, and this has been known since Chapollion deciphered them, there is a throne symbol. | ||
| The throne symbol stands for the goddess Isis. | ||
| And all Egyptologists to this day can understand why this powerful goddess, one of the central figures of the whole Egyptian pantheon, is replicated or depicted as a throne, as a seat, as a chair. | ||
| All right? | ||
| Now, I think this gets very close to David and his interpretation, because the throne of goddesshood is the throne of power, of might, of dispensation, of all favors, that kind of thing. | ||
| There is far more behind this Mars mission than merely a scientific expedition. | ||
| All the reversals that I have analyzed on this describe an undercount of a spiritual quest, a coming back home, so to speak. | ||
|
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And let me play a... | |
| So she then or her is a goddess. | ||
| Is that correct, Richard? | ||
| There was a specific reference in the Pathfinder reversals that we did on the press conferences, David. | ||
| Yes. | ||
| To the goddess. | ||
| Going to meet the goddess. | ||
| You have that one handy. | ||
| You're going to accept the goddess, huh? | ||
| You have that one handy. | ||
| I can pull that up real quick, and then I want to play the really, we've got two very significant reversals to play after that. | ||
| Let's see. | ||
| I'm pulling this one up right now. | ||
| I was hoping for a yes or no answer, Richard. | ||
| All right. | ||
| This is a reversal Richard's talking about. | ||
| Let's just run a small section forward. | ||
|
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|
That contains a set of basically discrete motion commands. | |
| Now, this is a very unusual reversal in a scientific context. | ||
| Did you accept the goddess? | ||
| did you accept the goddess did you accept the goddess did Now, let me run you another reversal now on Malin. | ||
| That's a very, very similar theme, and I'm just talking a little bit while I pull this one up. | ||
| And the overall theme with all these Mars missions that I have done is this undercurrent of a spiritual mission in this whole thing. | ||
| And this reversal is remarkable. | ||
| Well, the thing I normally tell them is, I'll certainly give it a try, but I can't guarantee that I'm going to get a picture of it. | ||
| Now, this reversal says, going to meet your new father in the light. | ||
| Notice the whole religious, spiritual context behind this. | ||
| going to meet your new father in the light. | ||
|
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Did I hear his father in the light? | |
| You got that? | ||
| I got it all right. | ||
| I'm just not as good at connecting the metaphors as apparently the two of you are. | ||
| In forward speech, he's talking about he's going to try to get a picture of the face, but he cannot guarantee he will get a picture. | ||
| In reverse, his unconscious subconscious is saying, going to meet your new father in the light. | ||
| The face on Mars to Mike Malin represents the father, the Godhead, Osiris, etc. | ||
| There is a consistent theme here going back 30 years, which we've proven with the computer, this Osiris Sirius ISIS business that we find over and over and over again. | ||
| What we're finding in the reversals, which of course when I started looking at the computer constellation configurations, I had no idea we'd ever had this kind of data available. | ||
| We find that in their deepest, innermost emotions and feelings and needs, these priests, this priesthood, this inner elect select sect, is carrying out what they deem to be a religious ritual of pursuing the Godhead with our money and keeping us, the unwashed, the profane, the ones that are not in the in-crowd, from knowing what they're doing. | ||
| This is a dream. | ||
| Hold it, everybody. | ||
| David, does your analysis of these metaphors agree with that? | ||
| It absolutely agrees with that. | ||
| There is this whole spiritual mission to going back to Mars. | ||
| For some reason, the NASA people are thinking that this is a spiritual pilgrimage to return home. | ||
| Look, this is a reversal I found on Ray Savage actually describing the face. | ||
| I'll just play the reversal. | ||
| He says, that's divine. | ||
|
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That's divine. | |
| Remember this one I played? | ||
| I do. | ||
| And I played that one. | ||
| And this was followed immediately by where riding a shielded vessel. | ||
|
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Ribwat and Shielded Vessel. | |
| Riwat and Shielded Vessel. | ||
| And then this whole thing of a mission, they're on this spiritual quest. | ||
| I was stunned when I found these reversals, and I didn't even want to play these. | ||
| This is right out of left field from what my whole research is heading into. | ||
| And when I was at Richard's conference in Pasadena, I reluctantly started playing these ones, and Richard's getting light bulbs going off everywhere, and it's connecting with all this other data. | ||
| What I want to know is why is there this spiritual reason for going back to Mars? | ||
| I think, though, that Richard's metaphoric light bulbs in this area go off easier than mine. | ||
| Well, you see, it's a whole specialized field. | ||
| But that's also true when Richard and I are discussing mythical and metaphoric things, even in forward speech. | ||
| So I'm not surprised. | ||
| Nevertheless, I do follow what you two are saying. | ||
| David, what's very impressive to me is before you and I ever met, before we had our first conversation, before Art ever sent you that first nasty interview, I was looking in the computer at the landing and liftoff times of various planetary missions. | ||
| And what we found, and I've had aerospace experts in celestial mechanics totally verify, is that the, quote, coincidences of key religious alignments of these constellations which were central to the ancient religious Egyptian calendar thousands of years ago in Egypt were showing up with incredible repetition and incredible coincidence over and over and over again. | ||
| All right, Richard. | ||
| The most non-religious activity of the 20th century going into space. | ||
| You've got your answer time now. | ||
| Is it the goddess? | ||
| Is that her? | ||
| I believe so, yes. | ||
| Thank you, David. | ||
| Richard? | ||
| I didn't understand the question. | ||
| Is her the goddess? | ||
| Yeah, her is the goddess is Isis, which was Sirius. | ||
| Thank you. | ||
| The star Sirius, which was at 19.5 degrees when Armstrong and Aldrin landed on the moon on July 20th. | ||
| Let me give you a simple down-to-earth analogy of a metaphor that everyone could understand. | ||
| If I'm to say to you, I will stab you in the back, does that mean I'm going to get a knife and stick it in? | ||
| Well, not necessarily, but in these modern days, it could. | ||
| Well, the point I'm making is that is a metaphoric statement that we are very used to in our world. | ||
| No question about it. | ||
| Stabbing the world. | ||
| The world in which you live is full of metaphors, and we understand that. | ||
| We were brought up with it. | ||
| We were raised with it. | ||
| It's part of language. | ||
| Now, the unconscious thinks differently than the conscious, and it has a different metaphoric structure and different meanings to these metaphors. | ||
| And that's where reverse speech is coming from. | ||
| And what reverse speech is saying is that there is a whole spiritual side to us, that we are spiritual beings. | ||
| We are connected to the Creator. | ||
| I believe that. | ||
| And reverse speech probes and taps into some of these mysteries in a way that has not been done ever. | ||
| But a lot of the dialogue sounds like it's right out of Romeo and Juliet. | ||
| Well, or added because you have just been hearing it for the first time. | ||
| It's a learning curve. | ||
| Let's start with reverse speech 101 and move us and move, move up. | ||
| I understand. | ||
| All right. | ||
| Richard, break time. | ||
| Okay. | ||
| Stand by, Richard. | ||
| Everybody stand by. | ||
| The clock will not allow us to go on. | ||
| I'm Art Bell from the High Desert. | ||
| This is Coast to Coast, A.M. And now I'm bringing these two gentlemen back, and I want to read one quick fact, which I agree with completely, and it is as follows. | ||
| And this really goes, Richard, to you and to David with respect to metaphoric analysis. | ||
| It's Daryl in Los Angeles who says, with all due respect, I would advise David Oates, whose work I generally and greatly admire, that when it comes to interpretations presented to the millions who are listening, stick with the concrete and avoid the results of analysis that focus on the abstract. | ||
| I would keep the latter in the classroom and the lab for now. | ||
| And I think that's really good advice, but you... | ||
| We are surrounded art by metaphor. | ||
| Life is built on metaphor. | ||
| Great art, great poetry. | ||
| You were extolling the virtues of Jim Cameron's epic Titanic. | ||
| It is multiple levels. | ||
| Great art always has multiple levels of metaphor and symbolic meaning. | ||
| The problem with it is, Richard, it's interpretive. | ||
| Well, it's interpretive until you get to an aha. | ||
| We are two lines away from an aha, all right? | ||
| All right. | ||
| Let's see if everybody goes aha the same way, all right? | ||
| Predictive model. | ||
|
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|
Okay, let's see if. | |
| Richard, stop. | ||
| Let's see if we all get to the aha moment. | ||
| Well, let me lay it out. | ||
|
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|
All right. | |
| All right. | ||
| The predictive model that I've been working on is that NASA's hidden agenda is an ancient sacred Egyptian religion. | ||
|
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|
Right. | |
| And that we are looking at a bunch of priests masquerading as scientists, spending our money to do something that they think is sacred and crucial and important that we're not supposed to be included in. | ||
| Right. | ||
| Namely, finding God or finding the reality of a civilization out there which somehow was connected to God. | ||
| Our origins. | ||
| Our origins, and that it's intricately linked with this Egyptian cosmology, which has come down to us over the last hundred years in book after book after book after book, and all you have to do is read. | ||
| That's the model. | ||
| Here comes the aha, okay? | ||
| David, do the one about satellite seven. | ||
| Okay, I had the father light queued up again, so let's just go to that one. | ||
| And when I finish talking with Richard, before we get to Ed Daves, I just want to briefly have a final word on this, on the whole metaphors, and how I think that we can help solve this. | ||
| This is clearly a big issue in reverse speech. | ||
| It needs to be resolved. | ||
| All right, here we go, the next reverse. | ||
| You know, to their concern and their upset that it's not going to go, all I can say is, geez, I'm sorry. | ||
| That's the reality of the thing. | ||
| Now, this reversal says, hear the lie with satellite seven. | ||
|
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|
You know why you would satellite spend it? | |
| You know why you were satellite spend it. | ||
| And again, you know how you would satellite spend it. | ||
| All right, I hear, hear the lie, and I hear satellite seven, and I hear a little something in the middle that I can't quite make out. | ||
| And let's do it again. | ||
|
unidentified
|
You know why you would satellite spend it? | |
| You know why you were satellite spend it? | ||
| Well, you know why you would sadly spend it. | ||
| Yes. | ||
| What? | ||
| What are you hearing? | ||
| It's with. | ||
| Okay, this is not metaphorical at all. | ||
| This is very literal. | ||
| A few minutes ago, Ron Brown and I, Ron Brown, Ron Nix and I were having a conversation regarding some of these because I faxed them over to him. | ||
| And I had him take out a pad and begin to note down all of the NASA missions to Mars, okay? | ||
| Yes. | ||
| The first mission in 65 was Mariner 4. | ||
| Then in 69, Mariner 6 and 7. | ||
| In 76, Vikings 1 and 2. | ||
| In 71, I missed Mariner 9. | ||
| And then in 93, we had Mars Orbiter, which blew up. | ||
| And then now we have Mars Surveyor. | ||
| Satellite 7 was Mars Observer, the spacecraft that disappeared. | ||
| Hear the lie with Satellite 7. | ||
| In other words, it didn't disappear. | ||
| And the possibility exists, and this is my greatest apprehension, that the photographs they're going to show us in the next couple of weeks of Sidonia are photographs they actually took five years ago with Mars Observer Satellite 7. | ||
| And they've had five years with supercomputer technology to make your grandmother disappear, let alone the whole solar system, let alone the face on Mars dissolve into a bunch of random rocks when they give us the super, super close-up. | ||
| Okay, let me now prove my point. | ||
| That is your interpretation of the meaning of satellite seven. | ||
| David, are you able to also, with as much conviction, tell me and tell the audience that those statements mean what Richard says they mean? | ||
| Oh, boy. | ||
| I did not know what satellite seven meant, and I rang Richard to ask him for his opinion. | ||
| I stand by the reversal. | ||
| I accept Richard's judgment. | ||
| There you go. | ||
| How's that? | ||
| Okay. | ||
| I do not know what satellite seven means completely. | ||
| I do believe that going to meet your new father in the light, another reverse I'm going to play now is referring to a spiritual mission. | ||
| Clearly, whatever satellite seven is, there is a lie. | ||
| The key word is lie and deception. | ||
| Well, Art, it is interestingly coincidental that the seventh mission to Mars was Mars Observer, the one where I had four JPL engineers call me after our press conference and tell me it was not dead. | ||
| It was alive and well, and NASA had taken it stealth. | ||
| So now, in 1998, Malin says backwards, hear the lie with satellite seven, which segues into the next reversal, which is remarkable in what it tells us the real agenda is. | ||
| Okay, let's move on. | ||
| For example, there are a lot of people who are interested in whether or not there's life on planets around other solar systems, on other stars and so on. | ||
|
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Well? | |
| Okay, so people are wondering whether there's life on other stars and so forth. | ||
| Reversal, through that night, the source of the Nile was sent out. | ||
| This reversal rocked my socks off when I think of it. | ||
| let's hear it And again, you got that? | ||
| Yes, clearly. | ||
| I could hear it. | ||
| Exactly, clear reversal. | ||
| Now, let me make a comment. | ||
| So what do these things mean? | ||
| Let me make a comment. | ||
|
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|
Okay. | |
| In our work, 15 years of me and my colleagues attempting to get NASA to fess up and be honest and level with us as to what they found, we have developed an extraordinary model that links the monuments of Mars with the monuments of ancient Egypt. | ||
| That there's some kind of connection. | ||
| Yes, I know. | ||
|
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Okay. | |
| Malin is saying, through that night, the source of the Nile was sent out. | ||
| Meaning, remember, it follows on the hear the lie with satellite seven. | ||
| When the images came down in 93 from this spacecraft that we thought disappeared, through that night, the source of the Nile was sent out. | ||
| It was sent out from Mars as pictures received here. | ||
| The source of the Nile, the Nile is a metaphor for the Egyptian civilization art. | ||
| Not a big leap, just a little leap, okay? | ||
| It's like when you say the White House, you don't mean the damn building. | ||
| You mean the president. | ||
| You mean the administration. | ||
| That's right. | ||
|
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|
All right. | |
| The source of the Nile, the source of that incredible thing they're worshiping, the basis of the Egyptian cosmology, the Egyptian civilization they revere, was sent out from Mars from the lie of satellite 7, which was Mars Observatory. | ||
| Okay, look, look, I can't deny the possibility that it may be exactly as you suggest, Richard, but what I hear here is metaphoric statements that David has pulled in reverse are being fed to somebody who lives his life in metaphors. | ||
| I do not live my life in metaphors. | ||
| I live my life in numbers. | ||
| But with metaphoric meanings. | ||
| I am a generalist. | ||
| I followed this yellow brick road many, many years ago, wherever it would lead. | ||
| And it had led me, because of the computer and the configurations, this ancient Egyptian cosmology, in all of the NASA liftoffs and landings and missions, you've got to say, wait a minute, this signal is trying to tell us something. | ||
| But when you hear in reverse the unconscious, the subconscious of these major players, Villard and Savage a year ago, Malin now, saying essentially the same things in the same context at very different levels of the agency. | ||
|
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No, I'm with you. | |
| It's the gestalt. | ||
| And when you say certain, no, I am not certain. | ||
| Please do not interpret my enthusiasm for this as certainty. | ||
| What it is is apprehension that we're going to be given the shaft once again because if anything, what this is revealing is that the Dr. Malin who's talking to Linda in forward speech about numbers and orbits and missed distances is not the same Malin who secretly is worshiping a goddess and thinks he's going to go meet the Father in the light when he flies over the face of Sidonia. | ||
| Okay. | ||
| May I make some statements here? | ||
| Sure. | ||
| Okay. | ||
| Let me say this. | ||
| There is a consistent theme through the reversals, all the reversals I have done on all the Mars missions. | ||
| Of that, there's no doubt. | ||
| I've got hundreds of reversals on the Mars missions, and they all have this undercurrent of this Egyptian metaphoric theme to them. | ||
| I don't understand what that means. | ||
| I don't understand. | ||
| I draw on Richard because he's the only person I know who knows about Mars. | ||
| I certainly don't. | ||
| I stand by reverse speech. | ||
| I stand by the fact that these phrases do exist. | ||
| I stand by the fact that there is a spiritual side to the whole Mars mission. | ||
| Now, when we move on to reversals on Ed Danes, you will see another consistent theme that is totally different to the Mars missions. | ||
| All right. | ||
| But did anybody out there see conspiracy theory with Mel Gibson? | ||
| Oh, yeah, I thought it was. | ||
| All right. | ||
| Well, to me, some of this is a little like asking Mel Gibson if he thinks there was a conspiracy in the Kennedy assassination. | ||
| Right. | ||
| I mean, what kind of answer are you going to get? | ||
| Arthur, my dear friend. | ||
| Yes. | ||
| We have a Dr. Malin. | ||
| He's discussing taking pictures of Mars. | ||
| And he says in reverse, through the night the source of the Nile was sent out. | ||
| No, I know. | ||
| I mean, it's like Ray Villard and Savage talking about, you know, we were involved with Sidonia backward, and you saying the other night that a thousand monkeys could type for a thousand years and never produce that. | ||
| And I stand by that statement. | ||
| I stand by it. | ||
| In other words, that was the one that I was thinking. | ||
| Richard, as a matter of fact, would you please cue that one up for me, David? | ||
| Which one are we talking about? | ||
| The Villard statement about Sidonia. | ||
| Oh, sure. | ||
| See, that's the kind of thing I can sink my teeth into. | ||
| And let's see what the audience thinks. | ||
| Yeah, well, we'll just keep on talking a little bit. | ||
| You've got a little bit on the hop. | ||
| Oh, it's the wrong file. | ||
| Well, I mean, that's an amazing reverse. | ||
| It is. | ||
| I mean, Sidonia is something that simply, as I said, 100,000 monkeys, whatever, would not come up within a gazillion years. | ||
| And this is a word I have never ever found before. | ||
| In reverse speech. | ||
| I agree with that. | ||
| All right, so give us the forward and reverse. | ||
| Here we go. | ||
|
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|
Shortly after it got there, when the mapping began that year, Viking Orbiter 1 sent back the picture, and somebody noticed it on there. | |
| And it's kind of a neat thing, too. | ||
| It's kind of a neat thing about the face and mouth and back was very clearly wear involved with Sidonia. | ||
|
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|
No. | |
| Now, that's what causes my light bulb to go off. | ||
|
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|
Right. | |
| Well, the difference is you're dealing with technicians, PR people, versus a priest, a high priest. | ||
| Malin isn't somebody they just brought in off the street. | ||
| Malin has been involved in this all his professional life, going back through Caltech with other people that he was undergraduate, student, under, et cetera, et cetera. | ||
| So the high priest is giving us Shakespeare. | ||
| No, he is giving. | ||
| He is giving us ancient Egyptian religion. | ||
| That was a metaphor, Richard. | ||
| Shakespeare. | ||
| In other words, these. | ||
| It's more like Julius Caesar. | ||
| Well, these reverse metaphors, I think, are very difficult for the public to grasp. | ||
| As difficult as when you come on the air, Richard, and talk about the Egyptian connection. | ||
| People have a very difficult time. | ||
| It would be interesting in your polling facility if you would activate it earlier tonight to see what the actual numbers are. | ||
| You know why we didn't? | ||
| I just got a call from Keith. | ||
| We found that people have discovered how to load the ballot box. | ||
| Uh-oh. | ||
| Yeah, I know. | ||
| Well, let me go back to my point here. | ||
| I am discussing Mars pictures verifying a possible ancient complex on another planet, right? | ||
| Right. | ||
| We're reversing the guy who's now got the power to take the pictures. | ||
| And we have a press release that next week they're going to start this process. | ||
| In the middle of this, he says the source of the Nile was sent out. | ||
| What in the world is he doing thinking about the Nile? | ||
| I don't know. | ||
| But you can't just ignore it. | ||
| You can't say it doesn't mean anything. | ||
| I'm not doing that either. | ||
| When you say you don't know, it must be taken in the context of all the other data, the celestial material, the other references to the goddess, her ships. | ||
| Now, go to the next one, all right? | ||
| David, which one are we talking about? | ||
| I actually have to target the pictures. | ||
| The one after the Nile. | ||
| Oh, okay, right. | ||
| Just give you a little bit of time. | ||
| These are in two separate sub-directories. | ||
|
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|
They are. | |
| Okay. | ||
| This is the one that gives me a little hope that we've got something to work with. | ||
| Oh, now, this is the one that I actually rang you about, and I told Richard on the phone yesterday, they're going to make some sort of announcement. | ||
| They're going to go public with this, okay? | ||
| This is the one you're talking about, right? | ||
|
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|
Yep, that again is. | |
| This is before the announcement was made today. | ||
|
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|
That I got the picture? | |
| You see, I actually have to target the pictures. | ||
| So I say, hey, look, it looks like the ground track's going over the face. | ||
|
unidentified
|
Okay, put that target in. | |
| Okay? | ||
| And we've got two reversals. | ||
| First one says they shifted the rocket. | ||
|
unidentified
|
That's right. | |
| I'm sorry. | ||
| I deleted that one. | ||
| We're going to do this one. | ||
| I found... | ||
| You didn't hear it because it wasn't there. | ||
| Okay, this one, the reversal actually says, I found the vessel. | ||
| Better go public. | ||
|
unidentified
|
That's right. | |
| That's right. | ||
| I hear it. | ||
| I found the vessel. | ||
| We better go public. | ||
| Absolutely. | ||
| And I rang Richard yesterday and I said, they're going to go public. | ||
| They're thinking about it. | ||
| It's on their mind, something's going to happen. | ||
| Now, it is interesting you should say that because earlier today I received a call from a certain Washington lobbyist who said, guess what, Art? | ||
| I'm firmly believing that NASA is getting ready for disclosure with regard to Mars. | ||
| And, Richard, you don't believe that, do you? | ||
| No, I don't, and I'll tell you why. | ||
| But this reversal, which is an insight into Malin's own thinking, remember, Malin is the guy who's been the designated hot seat. | ||
| Everyone you've had on the show, from McDaniel to Carlotto to myself to the NASA people in that secret meeting back in November, they're all saying that basically he's on his own, that he gets to decide what pictures get taken and whether they get made public. | ||
| Is that correct? | ||
| Yep. | ||
| And that he's kind of the rogue elephant, they can't control him, et cetera, et cetera? | ||
| Yes. | ||
| The way I read that is Michael Nalan, if he's not careful, is being set up for an incredible fall. | ||
| And here's why. | ||
| If Nalan, high priest of this, whatever religion he's practicing, decides to keep the Father in the light secret, the photos of Sidonia, and the other guys in the system decide that politically it's time to come clean, he is a designated fall guy. | ||
| He is the bad guy. | ||
| They can say he stole the pictures, he kept them secret, we didn't tell us, we found out. | ||
| You know, in other words, they turn him in, the state's evidence, and become the good guys. | ||
| This reversal indicates to me that because of some things that are going on that he is seeing in the pictures that he's taken to Mars already, that he is beginning to wonder if maybe he'd not better go public after all. | ||
| Well, I must admit, we've got to wrap this up, but I've got to admit the statement from NASA is a remarkable shock of a surprise that they are going to actively go after and think they can get. | ||
| As you read to us, Richard, from this, they think they can get the face nail. | ||
| Suddenly, no problem. | ||
| It's big. | ||
| We'll get it. | ||
| That's a shock. | ||
| Well, remember, there's a lot of other objects, and they have the strip capability of laying down a 100-mile strip of pictures a mile wide. | ||
| I know, but when Nalen was on, it was like 150 million shot or something. | ||
| And now all of a sudden they change. | ||
| You're absolutely right. | ||
| Yeah. | ||
| So I think that is significant. | ||
| About the rest of it, I don't know. | ||
| I don't know. | ||
| But, Richard, I want to thank you for being here. | ||
| Well, let me leave people with an action item, all right? | ||
| Real quick. | ||
| You should not not fax Ted Coppel, Dan Golden, and John Holliman. | ||
| Let them know you want to encourage this in the best possible light. | ||
| You want the right pictures, the real pictures, the accurate pictures, and no funny business. | ||
| It's only because you've been attentive that I think we're getting the politics change that we are. | ||
| So, if you don't have the fax numbers, I will fax them to you to give out after the break. | ||
| All right. | ||
| Well, Richard, I think we did achieve what we were trying to achieve. | ||
| This statement proves it. | ||
| Well, it's not proven, but I'll tell you what, Richard. | ||
| You're in the right direction. | ||
| Richard, you and I will do a separate program, and we'll attack that soon, all right? | ||
| All right. | ||
| All right, good. | ||
| That's Richard C. Hoagland, and those are the Malin reversals. | ||
| Really interesting. | ||
| Coming up, Major Ed Dames. | ||
| I'm Mark Bell, and this is Coast to Coast, A.M. Well, all right. | ||
| Let us get right into it, David. | ||
| We have reversals of the last appearance of Major Ed Dames on my program, Let's Rock. | ||
| Okay, let us go right into this. | ||
| I want to start off a little bit out of context first, but I think it's probably a reversal to step the theme for the entire trend. | ||
| He's talking about crops deteriorating, pathogens killing off plant life, okay? | ||
|
unidentified
|
Right. | |
| Something that would eventually spread and kill all green growing things. | ||
|
unidentified
|
We don't know if it's all green growing things. | |
| We know it doesn't affect algae. | ||
| That's why it doesn't affect algae, that's plant life. | ||
| Now, backwards, he says very simply, decide to warn you. | ||
| Decide to warn you. | ||
| Yes, very clear and very relevant. | ||
| The very common theme throughout his entire session, he must have used the word warn at least, probably at least two dozen times. | ||
| And I eventually stopped documenting it. | ||
| It was probably the most common word of all. | ||
| There are certain things that he believes in very, very, very strongly. | ||
| And the disease, the plant pathogens are certainly way up there. | ||
| But there are also some reversals that cause me some questions. | ||
| So let's move on to one of this one now. | ||
| And now we're going to start running it in order, okay? | ||
| Sure. | ||
|
unidentified
|
Actually, Pitech is working on it now, but we did not have that capability in 1991. | |
| If we did, we would have used it, obviously. | ||
| That would be a nifty tool. | ||
| But we didn't have that. | ||
| He's actually talking about psychokinesis, the ability to not only remote view, but to also affect as well. | ||
| And he's saying forward, you know, we didn't have that ability back then, but we're working on it now. | ||
| In reverse, we have an extremely clear reversal that says, defend that naval weapon. | ||
| And again, defend that naval weapon. | ||
| Exactly correct. | ||
| Very clear. | ||
| Very, very clear. | ||
| Extremely clear reversal. | ||
| Now, I don't know what involvement Ed Dames. | ||
| I don't know Ed Dames. | ||
| I don't know what involvement he has with the Army or the Navy. | ||
| But there are reversals throughout this that talk about military involvement and military activity that is current and ongoing. | ||
| So we will look at some of those. | ||
| I want to look at, this is the next one in order that I am playing. | ||
|
unidentified
|
Evolve these techniques to the point where they are infallible when used by a team, a professional team. | |
| That's a very strong word. | ||
|
unidentified
|
Infallible. | |
| 100% accuracy rate when you do it as a full project. | ||
|
unidentified
|
That's right. | |
| When professionals at SciTech do this as a full project. | ||
| So he's saying forwards that this is infallible when used by a full team. | ||
| But backwards, he says, there's doubt. | ||
| Then there's a little gap followed by offer the city. | ||
| And that's a slightly metaphoric statement. | ||
| City is a common word in reverse. | ||
| He's referring to civilization. | ||
| He has just released his modules on a public basis. | ||
| And I think that there is some doubt. | ||
| Well, particularly when he talks about the modules, there is incongruity there. | ||
| I don't think that they are as infallible as he would like them to believe. | ||
|
unidentified
|
There's no loss of the city. | |
| There's no false for the city. | ||
| You got that? | ||
|
unidentified
|
There's no force of the city. | |
| I hear the city very clearly. | ||
| Okay, we'll do it one more time. | ||
|
unidentified
|
There's no force of the city. | |
| No? | ||
|
unidentified
|
Well, again. | |
| I'm sorry, the city is what I get. | ||
| Okay, all right. | ||
| Well, that's what I heard. | ||
| There's doubt off of the city. | ||
| I thought that was exceptionally clear. | ||
| Well, and then there's a problem. | ||
| I really have a problem with these metaphors. | ||
| I'm sorry. | ||
| I'm just going to skip all the metaphors. | ||
| I left a couple of them in. | ||
| Well, there's a couple I still want to play. | ||
| But defend that naval weapon. | ||
| Very clear reversal. | ||
| I decide to warn you. | ||
| Here we have another warning reversal. | ||
|
unidentified
|
Also, the weather results, as we know, are going to break the bank in many states. | |
| Economies state-wise are going to be going critical quite soon. | ||
| Thank you. | ||
| Talking about economies going critical quite soon. | ||
| We've got two reversals here. | ||
| The first one says, I warn you. | ||
|
unidentified
|
I warn you. | |
| Clear as can be. | ||
| Followed by, I've seen the market. | ||
|
unidentified
|
And again, I've seen the market. | |
| Yep, I presume referring to the stock markets. | ||
| You know what I did after? | ||
| I went out and got some gold this week after doing a day's work. | ||
| I go, all right, that's it. | ||
| Yeah, that's not. | ||
| If nothing else, that's very interesting. | ||
| That's very interesting. | ||
| Yeah, if nothing else, he certainly believes in this. | ||
| And, you know, and he has high congruity over the weather, the disease. | ||
| That is. | ||
| Now, that's not a comment on whether or not remote viewing is real, but it certainly is a comment saying that Ed Dames believes it's completely real. | ||
| Absolutely correct. | ||
| And I'll tell you something very else that was interesting I noted too. | ||
| There are certain words in reverse speech that will always reverse to say the same thing. | ||
| I call these constant reversals. | ||
| I tend not to document them. | ||
| I'm only looking for the ones that are not constant. | ||
| But whenever you said remote viewing backwards, it reversed to I inform you, which is very interesting. | ||
| And the same thing with reverse speech. | ||
| The phrase reverse speech, well, actually, let's look at speech reversals. | ||
| The phrase speech reversal always reverses to soul server. | ||
| It is serving our soul. | ||
| And remote viewing always reversed to I inform you, which I thought was interesting. | ||
| Very interesting. | ||
| And this one, I originally thought it was metaphoric, but I'm actually, I think it means exactly what it means. | ||
| And I'll play it and you decide for yourself. | ||
|
unidentified
|
Well, I mentioned about the winds about a year ago, that the jet streams are becoming erratic, starting to slip and slide and drop down. | |
| And that the winds would be very high. | ||
| And backwards, he says, evil snow with black wood. | ||
| And I actually saw a scene of devastation. | ||
| Contaminated snow, a charred remains. | ||
| Okay? | ||
|
unidentified
|
He boosted them with that foot. | |
| He boosted them with that foot. | ||
| And again, okay, and I just saw that as not metaphoric. | ||
| So, finally, I almost, that was one of the ones that almost knocked out. | ||
| And I need to say, too, that he had, probably of all your guests I've done on your program, Ed Dames had the highest proportion of metaphor. | ||
| I would say probably 60-70% of his reversals were metaphoric in nature, referring to how I, what I believe is the metaphoric structures and the unconscious abilities he has tapped into to do his remote viewing. | ||
| And once again, I don't know Ed Dames. | ||
| One of my students trained under him, a chapter name of Jack Johnson, who I know has listened to this program tonight. | ||
| And I did ring Jack a couple of times while I was doing these to try to get some insight into what was going on. | ||
| In light, here's another interesting one. | ||
| In light, well, no, we won't do that. | ||
| I was going to do a medicine. | ||
|
unidentified
|
Metaphoric? | |
| We'll skip it. | ||
| Listen, David, again, I think the reason that I'm saying this to you is because I struggle with the metaphors. | ||
| Right. | ||
| And I think the majority of the public, particularly those relatively new to reverse speech, also struggle with the metaphors. | ||
| So in getting the message of reverse speech out, it doesn't serve well. | ||
| Well, I think I've tried to follow that with your program. | ||
| I've stick primarily to the first-level reversals. | ||
| I must admit, I've wanted to get into it sometimes. | ||
| I got a little bit frustrated, but I understand. | ||
| You know, it took me years to grasp the metaphors, and I left them alone. | ||
| I started doing this in 84. | ||
| And I started finding metaphors pretty well from the first time I started, but I didn't even begin to mess with them until 88, 89. | ||
| Well, then based on that, you've got to understand how the public is going to receive them. | ||
| I understand that. | ||
| The most important thing for me right now is to get the actual science of reverse speech itself accepted. | ||
| I have got sufficient evidence here to get this accepted. | ||
| And after the break, I want to announce again the formation of a research group that we are forming right across the United States. | ||
| Very exciting development in the whole reverse speech. | ||
| Anyway, let's see how many we can squeeze in on Ed Dean. | ||
| Okay, let's go. | ||
|
unidentified
|
Martian invaders. | |
| National defense does not include that kind of thing. | ||
| And it is an answer that they did not want to hear. | ||
| It was at that juncture, 1985, that I became intensely interested in following up on this. | ||
| What? | ||
| He's talking about UFOs. | ||
| National Defense did not want to get involved in this. | ||
| And Reversal says they make you doubt it, referring to the UFO phenomenon. | ||
|
unidentified
|
Nameski doubt it. | |
| Nameski doubt it. | ||
| Okay. | ||
|
unidentified
|
Nameski doubt it. | |
| Very clearly, they make you doubt it. | ||
| Which is the whole public demeanor and approach, at least on the official level, to the UFO field. | ||
| Right. | ||
| Okay. | ||
| Now, here is a reversal that really I'm still scratching my head over. | ||
| It appears to be totally incongruent with what he's saying forward. | ||
| And I'm just going to run it and let people decipher themselves. | ||
| Maybe Ed could even fatch you and explain it. | ||
|
unidentified
|
Let me tell you what Sitek stands by. | |
| In the Sidonia region, there is one specific feature that we have remote viewed time and time again. | ||
| We were so astounded by it. | ||
| And again, don't forget that these are very interesting to us. | ||
| I'm sorry. | ||
| He's talking about remote viewing Sidonia. | ||
| That was, he says, two reversals. | ||
| Receive the big fund making it up, followed by deny source. | ||
| Very strange reversal. | ||
|
unidentified
|
Very interesting. | |
| Didn't last choices. | ||
| Very spectrum for night an hour. | ||
| Didn't last choice. | ||
| Okay. | ||
| I hear received the big fund. | ||
| Making it up. | ||
| Let's do it again. | ||
|
unidentified
|
Very spectrum. | |
| Okay. | ||
| I hear it. | ||
| Let's do it one more time. | ||
| And that was a concerning reversal to me. | ||
| I do not know what that refers to. | ||
| Okay? | ||
| And maybe he does. | ||
| And now this next reversal is a reversal of obviously some military involvement. | ||
| He's theorizing that if I do what? | ||
| Let me stop here for a second. | ||
| Receive the big fund, making it up. | ||
| That could refer to two things. | ||
| That could either be he's receiving money for the videotapes he's selling and he's making them up. | ||
| Or it could be receive the money and I'm making the whole thing up or faking the whole thing or whatever, however you want to attach it. | ||
| That is true. | ||
| You could look at that either way. | ||
| That is true. | ||
| It's the denied source on the end that concerns me. | ||
| On the other hand, I've seen his videotapes. | ||
| I have them. | ||
| And they are extremely well produced. | ||
| And I've never had anybody who's received the tapes call or fax me and suggest that they think that it's made-up stuff. | ||
| In other words, they are instructional indeed in the ways of remote viewing. | ||
| Right. | ||
| So? | ||
|
unidentified
|
Right. | |
| Oh, you know, and clearly he's very congruent in his warnings about climatic and monetary collapse and the weather conditions which we discussed. | ||
| But I can see what people would imagine either way on that one. | ||
| Sure. | ||
| All right. | ||
| Okay, now this one here, he's talking about if aliens, I think it was aliens, and I just don't have the full conferences, if they were to go to the United Nations, you know, they would wear a certain tie, at least learn how to use the devices. | ||
| It's some conspiratorial statement, I believe. | ||
|
unidentified
|
And my nation was admitted to the United Nations, I would wear a suit and a tie, or at least learn how to use the devices that were present in the UN, the microphones and other things. | |
| Okay. | ||
| And backwards, he says, offer gunmen, are we in it? | ||
|
unidentified
|
Off for coming, are we in it? | |
| Now, is it all four? | ||
| Well, I heard offer. | ||
| Let's listen to all four. | ||
|
unidentified
|
Off for coming, are we in it? | |
| Off for coming, are we in it? | ||
| I'm hearing it. | ||
|
unidentified
|
Off for coming, are we in it? | |
| All right, gunman, are we in it is clear. | ||
| I'm not sure about the first word. | ||
|
unidentified
|
Okay. | |
| That's fine. | ||
| Well, let's just. | ||
| And I'm kind of curious whether everybody else is hearing this as I'm hearing it or whether it's just me. | ||
| Right. | ||
| I heard a clear offer. | ||
| If it's all for. | ||
| See, this comes down to the very clear need for total accuracy in this. | ||
| And I am so conservative in my documentation. | ||
| I mean, I really, really am. | ||
| I must throw out at least 60 to 70 percent of the reversals that I initially hear. | ||
| I want to make absolutely sure that what I hear, I can at least stake my reputation on. | ||
| Hear, here. | ||
| I mean, it's such a new field, and the scepticism out there is not as high as it was when I first went public, but it's still there, and it's got to be approached with great caution and respect. | ||
| And I admonish anyone out there practicing reverse speech, please exercise significant precaution in documentation. | ||
| Make sure you follow the protocol down to the letter. | ||
| And I don't know what else to say. | ||
| Okay, let's move on. | ||
|
unidentified
|
This is another one we're pulling up. | |
| And he's talking about a lethal event in 1999. | ||
|
unidentified
|
Well, the kill shot that SciTech is describing, a very lethal event, we think the best that we can do, as remote viewers, is in 1999. | |
| We're saying spring of 99. | ||
| A precursor that we were talking about, we were saying that something may happen as early as December, and that was a coronal, there was a coronal mass ejection in December. | ||
| Now, here we have another reference to Navy. | ||
| You remember the reversal before, defend that naval weapon. | ||
| Correct. | ||
| He's talking about the Vinny 1999. | ||
| Here he says, Navy will seal the river. | ||
|
unidentified
|
Navy will see Liritv. | |
| Nive will seal the. | ||
| And there's one more. | ||
|
unidentified
|
He says, a message sailor or a message sealer. | |
| I couldn't determine which one it was. | ||
| Send it by hand. | ||
| Now, see, this is like the offer gunman. | ||
| Are we in it? | ||
| There's something going on that he's involved in that he's not telling, I believe. | ||
| Okay, here we go. | ||
| A message sailor or a message sealer? | ||
| Send it by hand. | ||
|
unidentified
|
Or message sealer, send it by hand. | |
| Or message the alert, send it by him. | ||
| Or message the alert, send it by him. | ||
| Okay. | ||
|
unidentified
|
Yep. | |
| Very clear. | ||
| Some of those covert operations going on. | ||
| Clearly, military-type reversals, which we've never seen on your program before. | ||
| And I point out the spiritual-type reversals on the Mars missions. | ||
| I point out the sexual type reversals on the Clinton stuff. | ||
| You remember the satanic reversals on Harlot? | ||
| Yes. | ||
| And now we have a military form, a military man, with military terms. | ||
| I come back to the complementarity. | ||
| These things are complementary. | ||
| They relate. | ||
| Now, the next reversal is probably the most significant of all in the whole transcript. | ||
|
unidentified
|
And I actually did this start. | |
| I don't know, Art. | ||
| There are so many unknowns and so many things that we're perceiving and associated with that particular event in the future where we perceive ourselves there, but we don't know what's going on. | ||
| It's beyond our ken. | ||
| He's talking about some event back there that they don't really know what's going on. | ||
| Now, reversely have a very clear reversal. | ||
| Now I know it's the one. | ||
| And I put my little brackets next to it. | ||
| We're all in trouble. | ||
| That was my own personal note. | ||
| But now I know it's the one. | ||
| This is the key event. | ||
|
unidentified
|
No, no, it's the one. | |
| No, no, it's the one. | ||
| No, I know it's the one. | ||
| My God, that's clear. | ||
| Yeah, exceptionally clear. | ||
| And he's a very, he has a strong conviction over that one. | ||
| Okay. | ||
| Now, this next, how are we going for time? | ||
| I still have a few more I want to get through here that are very important. | ||
| Well, we don't have a lot of time, so hit us with what's important. | ||
|
unidentified
|
Okay. | |
| Well, this is, okay, we've got this. | ||
| Are we going to make it through it? | ||
| I remember in the last program you said, finally, you understood the nature of the discontinuity that you saw. | ||
|
unidentified
|
That was the solar event that we're perceiving in the future that annihilates a lot of life on Earth, yes. | |
| Okay, now this is actually a metaphor, but it's a very obvious metaphor. | ||
| He's talking about annihilation. | ||
| I think this is very important to play. | ||
| Quickly. | ||
| He says, never a loss at Eve's soul. | ||
| Eve is new life, new beginning. | ||
| We will not lose through this. | ||
| We will begin again. | ||
|
unidentified
|
Nazarulo, Shetijo. | |
| Nazirulo, Sheti Zo. | ||
| Okay? | ||
| Nazarulo, Shetijo. | ||
| Yes, I certainly hear it, David, but again, it's a metaphor, and I, for some reason, it's just me, I guess, I have a problem. | ||
| Anyway, stay right where you are. | ||
| This is Coast to Coast AM. | ||
|
unidentified
|
This is Coast to Coast AM. | |
| All right, back now to David Oates, and we are going to complete the reversals on Major Ed Dane. | ||
| Okay, all right, we're going to pick this up. | ||
| This is the one here. | ||
| He's talking about a volcanic eruption. | ||
|
unidentified
|
The next type of event, for instance, the next volcanic eruption in North America. | |
| Yes. | ||
|
unidentified
|
That limits the geographical area to North America. | |
| And we know that when you perceive, let's say, Mammoth Mountain blowing at top, that that is the next volcanic eruption. | ||
| Now, once again, we have the word warn again. | ||
| I hope you know I want you. | ||
|
unidentified
|
You're being around. | |
| I don't know. | ||
| You're being around. | ||
|
unidentified
|
I don't know. | |
| There he is. | ||
| You're being around. | ||
| Hope you know I warn you, no problem. | ||
| And this is what I think the fourth or the third or fourth of reversal, I played on the word warning. | ||
| It was over and over and over throughout the entire cave. | ||
| And like I said, I went out on gold this week. | ||
| I'm going, okay. | ||
| It's nothing like hearing reversal to make you into action. | ||
| I quite agree. | ||
| Now this one here, we uh get down to uh the more um uh probably the side of uh remoting that he probably en en enjoys and enjoys greatly, like with Reverse Beats. | ||
| I enjoy working with my clients and actually helping people. | ||
| And here he's talking about finding missing children, which is also a compassionate way to use the technology. | ||
|
unidentified
|
Another one that's even more difficult to do is missing children. | |
| Almost always missing children are out there. | ||
| street urchins or they're with a family member, but it's the ones where a child has been killed or sometimes tortured that are very difficult to... | ||
| That's when I grow. | ||
| They must feel it. | ||
| That's when I grow. | ||
|
unidentified
|
That's when he gets his most satisfaction out of it. | |
| And the feel of that. | ||
| And the feel of that. | ||
| And again. | ||
| And this feeleth. | ||
| That's the nice growth. | ||
| Right. | ||
| And you see his humanistic, emotional, compassionate sigh coming out in that reversal. | ||
| Sure. | ||
|
unidentified
|
Reversal actually quite touched me when I found it. | |
| Now we're moving on to the subject of disease again. | ||
| A very simple reversal on this section, straight to the point. | ||
|
unidentified
|
We'll not be able to develop vaccines, antidotes, antibiotics in the case of bacterial infections fast enough to be able to keep up with these diseases. | |
| They're going to really kill us off. | ||
| Back with very simply go naget disease. | ||
|
unidentified
|
Naget disease. | |
| Onageta disease. | ||
| Onageta disease. | ||
| Well, that's clear. | ||
| Yeah, exactly clear. | ||
| If nothing else, he is certainly very congruent about what he is saying. | ||
|
unidentified
|
There's no cons going on here that I can see. | |
| Okay, we are moving on to talking about projecting the future of a corporation. | ||
|
unidentified
|
That is one thing that we can't use that for. | |
| We cannot discern alphanumerics, but we can look and we can perceive the trajectory in time of an enterprise like a company or a corporation, what they're going to do. | ||
| So it can be used in a stock market. | ||
| So when he says it can be used in the stock market, very reversal of that would be share broker in the market. | ||
|
unidentified
|
A zero book rolling and it must be a zero book rolling and it must be a hero book rolling and it must be just a very straightforward reversal. | |
| Now the next one, come back to left field a little bit, getting back to the topic of guns and military. | ||
| Reversal is the Graham in the fight, first the gun, Graham, run for cover. | ||
| And I think this is getting back to that there is some calamity that is going to come. | ||
| And you know, I've got to tell you, I have found reversals on me and some of the people associated in my organization that are also of equal concern. | ||
| Reversals say move, get away, run, escape. | ||
| Now, whether that is just a collective fear, that I'm finding similar information in reverse speed to what he is saying in remote viewing. | ||
| So anyway, scram in the fight, earth the gun. | ||
|
unidentified
|
Scram in the fight and earth with none. | |
| Scram in the fight. | ||
|
unidentified
|
Scram in the fight and earth with none. | |
| Yes. | ||
|
unidentified
|
Scram in the fight and earth with none. | |
| Okay. | ||
| Yes. | ||
| Okay, now we're getting on to, he's talking about a stargate that he has found here, that his remote view with a, once again, a very simple reversal. | ||
|
unidentified
|
And we are playing that right now. | |
| There is a thing. | ||
| There is a, I'll call it a thing for all intents and purposes, that's already in place and essentially has been waiting. | ||
| Waiting for someone to find it. | ||
| And he referred to a Stargate, I think. | ||
|
unidentified
|
He said that. | |
| And then the back of it says, that heels NASA. | ||
| That heels NASA. | ||
| Well, that heels NASA. | ||
|
unidentified
|
That heels NASA. | |
| Okay. | ||
| So we're just looking at some very straightforward, simple reversals here. | ||
|
unidentified
|
There's a no-doubt over what they mean. | |
| We just look at the complementarity. | ||
| And he is a man of concern. | ||
| This one here is a very, very strong reversal. | ||
| He's talking about sanctuaries, places that are less affected by the Mad Max scenario. | ||
|
unidentified
|
There are sanctuaries, evidently, that are places that will be less affected by the Mad Max scenario. | |
| I've talked about these before, too. | ||
| And backwards, he says, damn the love, or it could be damned the love. | ||
| I was hearing this one both ways. | ||
| They have to sell. | ||
| In other words, get out. | ||
|
unidentified
|
Forget your attachment. | |
| Move. | ||
|
unidentified
|
Sell. | |
| Get to a safe place. | ||
| Damn the love, they have to sell. | ||
|
unidentified
|
Damned it up. | |
| Damned it off. | ||
| Okay? | ||
| Yes. | ||
| Speaks for itself, I think. | ||
| And let's just look at one final reversal here that I found interesting. | ||
| He's theorizing about pre-existence. | ||
|
unidentified
|
Okay? | |
| And here we go. | ||
| We have this physical bicameral brain now, this mind that associates itself with the physical reality that we have. | ||
| The reality that we are before we come into existence in this body is so very different. | ||
| The milieu is so very different than this physical milieu. | ||
| Now, this one will just raise some thoughts. | ||
| People who talk about the reality is very different. | ||
| He says they knock you off. | ||
|
unidentified
|
You cry. | |
| Whatever that means. | ||
|
unidentified
|
Nehemach, you wolf be cry. | |
| Nehemach, you wolf be cry. | ||
| Well, it'd be interesting to ask Ed Dames what he thinks that means. | ||
| But given that, that sounds somewhat metaphoric to me. | ||
| Well, okay, I just kind of thought it just meant exactly that. | ||
| You know, we're sort of thrown into this world, and we wake up crying and go, oh, my gosh, where are we? | ||
| Yeah, but see, again, that seems to me to be an interpretation. | ||
| David, go ahead and give out your information. | ||
| I know you want to give out information to people on your new what are they, club? | ||
| Right, yes. | ||
| It's called Daughter, the Favored Oats Reverse Speech Alliance. | ||
| The national chairman is a chap by the name of B.J. Brutchop, B-R-U-C-H-O-K. | ||
| He's in Washington State. | ||
| He has so far organized seven different chapters. | ||
| These things are growing very, very fast. | ||
| I'm stunned at the growth of this. | ||
| And you can contact him by calling Area Code 360-876-6296. | ||
| That's 360-876-6296. | ||
| Now, the main reverse seek office, if you want to get hold of reversing machines to do this for yourself, we actually have a sale going on now. | ||
| We've brought in some cheaper models. | ||
| You can call the office at 1-800-669-5789. | ||
| That's 800-669-5789. | ||
| For those people waiting for our newsletter, BatCorp, it is in the printers now. | ||
| We're going to be mailing that out next week. | ||
| I'm going to be in Denver this weekend at the Art Bell Chat Club. | ||
| I'll be lecturing there on Saturday night. | ||
| For more information, you can call Erico 303-695-6621. | ||
| 303-695-6621. | ||
| The main reverse speech number, once again, is 1-800-669-5789. | ||
| A very interesting program tonight. | ||
| That's all I can say. | ||
| All right, David, thank you very much. | ||
| Thank you very much. | ||
| And take care. | ||
| I will tell you what I think. | ||
| I think that a reverse speech is real. | ||
| And I have formed that opinion based on many, many shows that we have done with direct reversals. | ||
| In other words, congruent reversals that seem to either validate what the person says or will show it to be a lie. | ||
| But I think that although there may be something, I cannot deny it, there may be something, very much something to these metaphoric reversals, I think that metaphors, even in the, when they're said in completely forward speech, are interpretive. | ||
| And I think that David tends to get in trouble when he uses them in a public forum, whether it would be on my program, or it would be in front of a chat club, or it would be in front of any group that is hearing reverse speech for the first, second, third, or even fourth time. | ||
| The metaphors are a real problem and do the credibility of reverse speech harm. | ||
| That's my take on it. | ||
| And I'm just, you know, I'm a Neophyte. | ||
| I'm, as you, I have heard quite a bit of reverse speech. | ||
| And in the first many programs we did, when we stayed away from metaphors, and I have consistently advised David for the sake of credibility to stay away from metaphors, the interpretive, I think it went very well. | ||
| But I think when you get into a lot of these metaphoric statements that can mean this or can mean that, you get into trouble. | ||
| That's my view. | ||
| West of the Rockies, you're on the air. | ||
|
unidentified
|
Hi. | |
| Hello? | ||
| Well, I guess not. | ||
| East of the Rockies, you're on the air. | ||
| Good morning. | ||
| Hello? | ||
| No, you're not. | ||
| A wildcard line, you're on the air. | ||
| Good morning. | ||
| I can't hear you there. | ||
| Oh, I see what's wrong. | ||
| I'm sorry. | ||
| Hold on a moment. | ||
| I see why this isn't working. | ||
| Let me hear this line. | ||
| Let me go back to this line. | ||
| Hello there. | ||
|
unidentified
|
Hello? | |
| Yes. | ||
|
unidentified
|
Yes, this is Paula in Kansas City. | |
| Yes, Paula. | ||
|
unidentified
|
And I wanted to speak up in defense of the metaphors for a minute because I have a David Oates machine. | |
| All right. | ||
|
unidentified
|
And I bought a metaphor dictionary to go with mine. | |
| And what I have seen is that everybody is using these same metaphors in reverse speech. | ||
| And the thing about it is it proves that everyone is communicating in this other language all the time, or we wouldn't all have it. | ||
| Oh, look, I think that's... | ||
| Let me get rid of the echo here. | ||
| I think that is absolutely correct. | ||
| My only point is that to the uninitiated, the new listener, reverse speech is difficult enough at best as you begin to absorb what's going on. | ||
| And when you get into the metaphors, you make it doubly and triply difficult for the newbie to even begin to grasp what they're hearing. | ||
|
unidentified
|
Well, I agree with you on that. | |
| I just think, and what I don't think has been mentioned by David Oates or brought up is the fact that, like, we have a whole bunch of metaphors we use in forward speech, and they're also used in reverse, but there's this whole other set. | ||
| And then, like you said, there's certain groups have kind of their own inside metaphors. | ||
| And the fact that, like, even the ones that everybody uses, like this wolf, he mentions quite often. | ||
| Wolf is frequent. | ||
|
unidentified
|
Yeah, okay. | |
| The fact that the whole general public is that's showing up in everybody's reverse speech. | ||
| It doesn't matter who you put in there in reverse. | ||
| Some common ones keep showing up. | ||
| What could be said about the metaphors would just be the fact that everybody's using them proves that we are all communicating on this other level or we wouldn't all have the same other vocabulary. | ||
| I agree. | ||
|
unidentified
|
You see what I'm saying? | |
| And I think that that might, every now and then when a metaphor comes in, that might help the understanding of it a little bit. | ||
| And I do agree that, though some of them are hard to determine now, on that Area 51 call, I had a bunch of reversals, more than David had, but, you know, I can understand maybe why he didn't put some of them on the air, and maybe he didn't find some of the same ones. | ||
| But I had heal with thee instead of healed the feet or whatever, but I had the word heal, you know, in there. | ||
| And I also had one that said, now weep with Harry. | ||
| And he was crying. | ||
| And now weep with Harry, something about the looseness of spiritual life. | ||
| And there was quite a few that, you know, that might have been something to interpret too, so that might not be one that he wanted to put on the air. | ||
| Exactly. | ||
|
unidentified
|
You feel what I mean? | |
| But the fact, now weep with Harry, he was crying, and I think that what made his very hard to reverse was the fact that he was crying. | ||
| And, you know, when people crying, they're kind of clips their words off. | ||
| Yeah, but on the other side of the coin, David says that very emotional moments yield the best and clearest reversals. | ||
|
unidentified
|
Well, if they are, if your forward speech is like when he was saying the fire, the house is on fire, he said that clearly. | |
| But when a person's crying, they're kind of, you know, their voice jumps up and down. | ||
| Yeah, it's true. | ||
| All right. | ||
| Thank you very much. | ||
| It's true. | ||
| Again, I'm just saying that in the early shows that we did with David, the reversals were not metaphoric at all, and they were clear, they were easy to understand, and they related directly to what was being said forward. | ||
| For example, the Sidonia reversal. | ||
| Yes, oh, I love that one. | ||
| You bet I did. | ||
| It was very clear to me, and it demonstrated, I guess, to a neophyte, that reverse speech, that there really is something to it. | ||
| But when you get down to these interpretive statements, I think people are more easily able to say, what a bunch of BS and just mentally reject it. | ||
| That's all I'm saying. | ||
| East of the Rockies, you're on air. | ||
|
unidentified
|
Hi, Art. | |
| How are you today? | ||
| Fine. | ||
|
unidentified
|
I hope that we can fit all this in because it's getting to the bottom of the hour. | |
| Right. | ||
|
unidentified
|
But I have it's a very powerful show tonight. | |
| It's fantastic. | ||
| And my name is John, and I'm listening from Marshall, Michigan. | ||
| Okay. | ||
| So I have to listen to outlying and you faded and out on me, but I've got you on a bunch of different locations and counts all over with the radio. | ||
| Okay. | ||
| I'm wondering about the Courtney Brown affair. | ||
| Oh, my God, that's ancient now, but what are you wondering? | ||
|
unidentified
|
Has anybody tried to reverse the speech on that? | |
| Oh, yes, we did that long ago. | ||
|
unidentified
|
Oh, I missed out on it. | |
| Long ago. | ||
| I really feel bad about missing out on that. | ||
| I was wondering about, since I have the tape, I was wondering about getting a machine and then trying to do it myself. | ||
| Do you think it's a difficult thing to learn how to do? | ||
| No. | ||
| Yes and no. | ||
| In other words, if you're looking for straight reversals that are congruent with what's being said forward, I think you will find them. | ||
| And I think you cannot do it with a computer. | ||
| You've got to find them with a tape machine. | ||
|
unidentified
|
Okay. | |
| And then once you've found them, you can then put the forward part and the reverse part on a computer if you wish. | ||
| And it makes it easy to play as David does on the air. | ||
|
unidentified
|
Do you have any conscious memory of how that ended up turning out, the reversals on that? | |
| It was so long ago. | ||
|
unidentified
|
Did it work out towards his benefit or against his benefit? | |
| Pretty much against. | ||
|
unidentified
|
Okay, because I was noticing on these tapes, on these reversals with Ed Dames, that it was working out towards his benefit. | |
| It seemed to be, yes. | ||
|
unidentified
|
It seemed very interesting. | |
| All right, thanks, Art. | ||
| Appreciate it. | ||
| Thank you, sir, and take care. | ||
| I agree. | ||
| It showed Ed Dames to be congruent, and I'm not surprised. | ||
| Now, we could have a big argument about whether Ed Dames and remote viewing is a valid discipline. | ||
| If you want to have a big argument about that, you can. | ||
| But I think that it showed what I thought all along, and that is Ed Dames is passionate about what he's saying and believes what he's saying. | ||
| And I think that's what came through in the reversals. | ||
| Clearly came through. | ||
| There was an awful lot of warning in there, and that's what Ed Dames does. | ||
| His nickname is Dr. Doom. | ||
|
unidentified
|
He knows that. | |
| So I'm not surprised that it came out the way it did. | ||
| Now, whether remote viewing is an accurate discipline or not, people will argue about that, I suppose, through the incongruity. | ||
| But surely, I think it came through clearly that Ed Dames believes what he's saying. | ||
| We'll be right back. | ||
|
unidentified
|
We'll be right back. | |
| All right, back to the phones we go. | ||
| And East of the Rockies, you're on air. | ||
| Good morning. | ||
|
unidentified
|
Hey, Airpell. | |
| How are you doing? | ||
| I'm fine. | ||
|
unidentified
|
Todd, I haven't talked to you for about a couple of years. | |
| A couple of years? | ||
|
unidentified
|
Yeah, and I listen to you every night. | |
| Too long. | ||
|
unidentified
|
Yes, it has. | |
| I just got two questions for you. | ||
| All right, where are you, sir? | ||
|
unidentified
|
La Crosse, Wisconsin. | |
| All right. | ||
|
unidentified
|
What happened to Madman Markup? | |
| Nobody knows. | ||
|
unidentified
|
I tell you, when I heard that show, that was probably the most interesting show that you had that I really enjoyed. | |
| Well, the answer is nobody knows. | ||
| He's gone. | ||
|
unidentified
|
Huh. | |
| You know, he's gone. | ||
| I have no good numbers for him. | ||
| I'm unable to contact him. | ||
| He's gone. | ||
|
unidentified
|
You can't get hold of him, huh? | |
| No. | ||
|
unidentified
|
You know, it's 75 degrees today here. | |
| Really? | ||
|
unidentified
|
Yes. | |
| Part of El Nino, I think. | ||
| Well, we sure are feeling it. | ||
| And now we're getting news that the Earth's rotation has actually been slowed by El Nino. | ||
|
unidentified
|
By, what, one second, right? | |
| Yeah, but I mean, it'll add up. | ||
|
unidentified
|
Well, that's true. | |
| That's true. | ||
| I mean, there's a lot of strange things been going on. | ||
| What do you think's coming? | ||
|
unidentified
|
Well, I tell you what, I have an open mind, but listening to some of your guests, if we don't get blown away, if we don't have an asteroid that lands on Earth, I don't know. | |
| All right. | ||
| I appreciate the call, sir. | ||
| Thank you. | ||
| Yeah, we're speeding towards something. | ||
| I don't think there's any question about that. | ||
| And the weather change is part of that. | ||
| Are we the reason for it? | ||
| Or is it something that is occurring to us without our input? | ||
| East of the Rockies, you're on there. | ||
|
unidentified
|
Hi, Art, Dominic, from New York. | |
| Yes. | ||
| I loved your show tonight, but you remember I talked to you about we keep taking oil out of the earth? | ||
| Yes. | ||
|
unidentified
|
I think that that's something to do with all of our El Mino and all the weather conditions that we're having. | |
| We can't take things out of a spirit that's inside. | ||
| Well, it could well be. | ||
| Oil is burned or is used as energy and then converted to heat, which goes into the atmosphere. | ||
|
unidentified
|
Right? | |
| Yep. | ||
|
unidentified
|
Okay. | |
| That could easily be. | ||
|
unidentified
|
We've got to think more about our environment in the future before because Dames is right. | |
| He was to move someplace with the last hurrah. | ||
| All right. | ||
| Well, thank you. | ||
| I think, and I'm kind of glad to see it, that Ed Dames is congruent. | ||
| Now, whether everything will occur as he said, and whether you think remote viewing is a valid discipline or not is an argument that you can have. | ||
| But that Ed Dames believes with a passion what he says, I was convinced of before I heard the reversals. | ||
| West of the Rockies, you're on there. | ||
|
unidentified
|
Yes, I didn't hear all of the Area 51's speech when he was on, so I only got the bits and pieces tonight. | |
| But I felt it was kind of ironic from what I heard that when they played the forward speech, and then Richard would give the explanation of the reverse speech, it would be explaining what he was so upset about. | ||
| I don't know if I'm saying that so you can understand what I mean. | ||
| I think I do. | ||
| If someone were able to take Richard's comments and the entire part of the Area 51, I think it would be quite interesting to see how it correlates. | ||
| And then when you had John David Morton on, you mentioned that Neptune was in the house of Aquarius, and that would be strongly affecting the electric magnetic field. | ||
| Yes. | ||
|
unidentified
|
And I was thinking that might be affecting why the animals matter, you know, been beaching themselves. | |
| Absolutely. | ||
| They navigate by lines of magnetic. | ||
|
unidentified
|
Yeah. | |
| Maybe that would also affect this rotation of the Earth, do you think? | ||
| That I don't know. | ||
| Thank you. | ||
| With regard to the slowing of the rotation of the Earth, that one has me lost. | ||
| Richard sent me a fact and said it's hyperdimensional physics. | ||
| Other people will hear. | ||
| El Nino warms the water at the equator. | ||
| As a result, the warm water expands. | ||
| El Nino caused the ocean to be five or six feet higher at the equator. | ||
| As that mass of water is expanded, the Earth slows down. | ||
| As the water cools and contracts, the Earth will speed up. | ||
| The principle is like that of an ice skater. | ||
| When the skater puts their arms out, they spin in place slower. | ||
| As they bring their arms in, they spin faster. | ||
| ABC News at the top of the hour just said there will be pictures of the face on Mars. | ||
| Another woman will come out very soon. | ||
| A flight attendant will claim Clinton dropped his pants to her tube. | ||
| This is, I think, one of our time travelers. | ||
| Now, I think the big news of the night is definitely the NASA announcement. | ||
| And I think that you can consider that you did it, all of you. | ||
| The pressure you put on is what is causing NASA to go and reimage Sidonia. | ||
| There is no question about it. | ||
| As a matter of fact, that is the clear statement at the top of their news release. | ||
| So to you all, I would say congratulations. | ||
| East of the Rockies, you're on air. | ||
|
unidentified
|
Hi, Art. | |
| This is Delana. | ||
| I'm in Boston. | ||
| Hi, there. | ||
|
unidentified
|
Hi. | |
| Okay. | ||
| About the reversal. | ||
| Yep. | ||
| The fundamental problem I see with them is that you can say that these reversals are true, that they're saying these words, but the spin you have to put on them, I think the interpretation is the area that leaves something to be desired. | ||
| I agree with you completely. | ||
| And that's why I have tried to tell David, David, play the unambiguous, clear reversals. | ||
| I'm sure that his research with regard to these metaphors is very interesting, but it's a lot deeper than this audience, and I include myself, is able to grasp and understand. | ||
| And he does not sell reverse speech well to the general public when he uses metaphors. | ||
|
unidentified
|
Well, I'm skeptical, but at the same time, on the surface, intellectually, mechanically, I can say, okay, it's possible that in moments that you're thinking deeply and you may look for words that have similar sounds when they're reversed, you can't arbitrarily assign a meaning. | |
| Nobody can do that. | ||
| I think David's job should just be to point out the reversals. | ||
| He maybe should not even say what he thinks is being said. | ||
| Or what it means. | ||
|
unidentified
|
Definitely not what it means because I think that's out of the job description. | |
| All right. | ||
| Thank you from Boston. | ||
| I tend to agree with that. | ||
| Now, if David does not tell us what we are about to hear, most of us will not hear it. | ||
| The critics of reverse speech will say, well, then that means there's nothing to it. | ||
| No, it doesn't. | ||
| No, it does not. | ||
| The ear takes quite a while to calibrate itself to be able to hear reverse speech. | ||
| I know that's true. | ||
| I was a dispatcher for a 911 system, and before they would ever let me sit there and do my job by myself, I spent six weeks with headphones on just listening to the rapid traffic, radio traffic, before I was able to hear it. | ||
| And that was all in forward speech, by the way. | ||
| And there was a requirement that everybody who was going to do that job would do it because your ear simply wasn't calibrated. | ||
| You could not hear what was being said. | ||
| After about, well, I don't know, six weeks, maybe into the third or fourth week, all of a sudden the light bulb went on and you began to hear it. | ||
| So I don't have a problem with David telling us what we are going to hear. | ||
| Otherwise, it would not work at all. | ||
| Or very rarely, I do have a problem, as the young lady from Boston said, with being told what the interpretation is of a metaphoric statement, which, in my opinion, to the general public shouldn't be played anyway. | ||
| Webster the Rockies, you're on the air. | ||
|
unidentified
|
Yeah, is anybody going to follow up about that religious leader who, the phony guy, recently with the Taiwanese? | |
| Well, I don't know if he was a phony guy. | ||
| God didn't show up on Channel 18. | ||
|
unidentified
|
Well, you know, notice how he retracted. | |
| First he said something about they can stone him if he's wrong. | ||
| I think he did say something like that, didn't he? | ||
|
unidentified
|
Then he says, well, if he didn't show up, this is not. | |
| Well, I do notice that the press conference he gave was not near a rock quarry. | ||
|
unidentified
|
Yeah, well, sure. | |
| But I wonder if he's going to pay all the members that left California to go there. | ||
| Probably not. | ||
| I mean, they probably did it voluntarily. | ||
|
unidentified
|
Well, if he didn't tell them that that's where it was going to happen and all that, I guess they wouldn't have gone, huh? | |
| Well, if somebody said, come to Texas with me and we will watch God on Channel 18, and you fork over your life savings or a lot of your money, and you go to Texas to see God on Channel 18, do you deserve what you get? | ||
|
unidentified
|
Well, it was a small group or something like that from California originally, wasn't it? | |
| They have a branch in California. | ||
| Well, I mean, those who followed him. | ||
| Those are the ones you were talking about. | ||
| Will he give back their money? | ||
| What do you think? | ||
|
unidentified
|
I think he should. | |
| All right. | ||
| Well, thank you very much. | ||
| I doubt that he will, and I'm sure they went voluntarily. | ||
| And I guess my point, driven with a bit of dry humor, was, if you pick up sticks and use your money to go to Texas Seed Dodd on Channel 18, I wouldn't necessarily expect to get your money back. | ||
| First time caller line, you're on the air. | ||
|
unidentified
|
Good morning, guys. | |
| Good morning. | ||
|
unidentified
|
This is Chuck from wet Arizona here. | |
| Hi, Chuck. | ||
| Getting pretty tired, isn't it, all this rain in the desert? | ||
|
unidentified
|
Yes, it is. | |
| Yes, it is. | ||
| I can't believe I got through. | ||
| A lot of people say that. | ||
|
unidentified
|
All the time. | |
| Anyhow, I've been listening to you for about two years, which is great. | ||
| Good show tonight. | ||
| My only thing I was wondering... | ||
| I think very controversial tonight. | ||
|
unidentified
|
It was really good, really good. | |
| I stayed up all night anyhow to listen to it. | ||
| Well, all right then, good. | ||
| Give me your impressions. | ||
|
unidentified
|
Well, I think that when the interpretation, I like the interpretation of the way he interprets it and the different spin that he puts on it. | |
| I know sometimes you can't I don't know. | ||
| He takes off the director sometimes, and I just look at them. | ||
| Like, maybe, maybe not. | ||
| Yeah, okay. | ||
|
unidentified
|
The one thing that I was calling about is when they had, I forget his name because the last guy they did that was Major Ed. | |
| Right, okay. | ||
|
unidentified
|
He said, when I listened to that program, and I've been waiting for it to come on, he said that there was something awakening on Mars. | |
| Under Mars. | ||
|
unidentified
|
Under Mars. | |
| Yes. | ||
|
unidentified
|
And I was waiting for the reversal on that. | |
| Well, maybe there was no reversal because that was a very dramatic statement, as you point out, but there may not have been a reversal. | ||
| I don't know. | ||
|
unidentified
|
I was wishing you'd all thank to hear that one. | |
| All right. | ||
| Well, thank you. | ||
| Yeah, that's all I would have to say, that probably there was no specific reversal involved in that statement. | ||
| I don't know. | ||
| Waltham, you're on here. | ||
|
unidentified
|
Hi. | |
| Hey, Art. | ||
| It's Mike from Florida. | ||
|
unidentified
|
How are you doing? | |
| Oh, fine. | ||
|
unidentified
|
Great. | |
| I talked to you the other night. | ||
| I didn't get the chance to mention that I saw a picture of Comet in. | ||
| Is it he? | ||
| Yep. | ||
| He's beautiful. | ||
| Oh, he is pretty, isn't he? | ||
| He is a very beautiful cat. | ||
|
unidentified
|
I have a cat of my own, and I've always loved cats, and I just didn't get a chance to mention. | |
| I got off the line because, darn, I wanted to tell him how beautiful I thought the cat was. | ||
| Oh, thank you. | ||
| I'm very excited about you getting your time machine. | ||
|
unidentified
|
And I hope that you don't jump too far into the future, and we have to catch up with you. | |
| What do you think I ought to do? | ||
|
unidentified
|
I don't know. | |
| Myself, I couldn't resist. | ||
| I'd have to try it. | ||
| I'd have to at least turn it on just to see what it just, you know. | ||
| Yeah, but that's no trivial decision. | ||
| I mean, if you turn it on and it does work, you might be gone. | ||
| That's exactly what I'm saying. | ||
| And I'm not sure I want to go. | ||
| I mean, if I let me put it this way to you. | ||
| If I was sure that I could get back in one piece, then I would do it. | ||
| I'm not sure. | ||
|
unidentified
|
Well, does he guarantee that you actually physically go, or is it more of a mental thing, though? | |
| Well, both. | ||
| He has observed, and I've talked to people who claim they physically traveled. | ||
| Now, I've got to think real hard about that because. | ||
|
unidentified
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If it works. | |
| Well, yeah. | ||
| Where will you be? | ||
| And when will I be? | ||
|
unidentified
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Oh, I also emailed James Redfield. | |
| You mentioned you might like to have him as a guest. | ||
| Thank you. | ||
|
unidentified
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And mentioned that you'd like to have him on. | |
| He hasn't gotten back to me, but if he does, I'll email you and let you know. | ||
| What I would hope is that did you send me a number? | ||
|
unidentified
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For James Redfield? | |
| Yes. | ||
| No. | ||
| I've got his email address. | ||
| I can send that to you if you'd like. | ||
| Well, that's helpful. | ||
| Anything is helpful. | ||
| So many people will write to me and ask me to have this person or that person on, but no way to contact them. | ||
|
unidentified
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Right. | |
| I figured I'd do it for you instead of asking you to do it. | ||
|
unidentified
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I'd see if I could take care of it. | |
| And he hasn't gotten back to you. | ||
| But it was just yesterday, though. | ||
| All right, my friend. | ||
| Thank you. | ||
|
unidentified
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You have a good night. | |
| You take care. | ||
| Hi, Art. | ||
| Here's the facts. | ||
| Hey, I'll try it. | ||
| The time machine, really? | ||
| Try and send a friend first, or better yet, maybe an enemy. | ||
|
unidentified
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Hee-hee. | |
| But seriously, if you do go, make sure someone is there watching you and documenting it with video or something, so at least maybe they'll be able to help get you back. | ||
| Boy, you know, I am not Madman Markham. | ||
| Now, I was willing to go document Madman Markham's march through the arch. | ||
|
unidentified
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Well, slightly metaphorical. | |
| But I'm not sure that I want my march through the arch documented. | ||
| I kind of like where I am. | ||
| And as I said, if I was sure I could get back, then I'd try it. | ||
| But tonight, I can't tell you whether I'm going to or not. | ||
| Anyway, my time machine arrived. | ||
| I've got a picture of it on my website. | ||
| I'm going to leave it there because I know a lot of you want to see it. | ||
| So, if you go to my webcam, just click on the webcam, you will see the machine. | ||
| I took that photo just a couple of minutes before I went on the air. | ||
|
unidentified
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Second, sec. | |
| West of the Rockies, you're on the air. | ||
|
unidentified
|
King Arthur. | |
| Yes, sir. | ||
| Not a king, though. | ||
|
unidentified
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Well, can I give you a brief rundown as to why I have chosen that moniker for you, Art? | |
| You may. | ||
|
unidentified
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Okay. | |
| It started with the commercial that you have. | ||
| It says, from the kingdom of Night. | ||
| Yes. | ||
|
unidentified
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Okay. | |
| A kingdom needs a king, correct? | ||
| It does indeed, but I am not that king. | ||
|
unidentified
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Okay, let me go on further. | |
| You once said maybe a knight of the round table, and then you went on to say that you had a round table. | ||
| That's right. | ||
| And you have a sword, don't you, on the wall? | ||
| I do. | ||
| How do you know that? | ||
|
unidentified
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because I believe you said it once. | |
| And it may not be Excalibur, but... | ||
| You've got a good memory. | ||
|
unidentified
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And then the last one was, sometime back here, pretty recently, within the last couple of months, I think, you said you've got a crown. | |
| That's true. | ||
| Okay, add it all up. | ||
| But a crown and a sword do not a king make. | ||
|
unidentified
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Okay. | |
| All right. | ||
|
unidentified
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At any rate, the Magic Christian. | |
| Ventura, California. | ||
| Yes. | ||
| And what I wanted to bring up, Art, in relationship to your guest, Mr. Oates, this evening, is, I don't know, do you believe in demons? | ||
| Fallen angels? | ||
| I believe in good and evil, whether they are represented by angels and devils or interdimensional beings or not. | ||
|
unidentified
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I'm not sure. | |
| I wouldn't say I believe in it. | ||
| That's pushing too far. | ||
| I consider it possible. | ||
|
unidentified
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I am a Bible-believing Christian. | |
| Yep. | ||
| Therefore, you know, I do. | ||
| And the thing that I wanted people to keep in mind when you're talking about this reverse speech, I believe that there is something to it, but I also believe that it can be misused by demons. | ||
| And here's my background for it. | ||
| Do you remember the movie The Exorcist? | ||
| Sure. | ||
|
unidentified
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Okay, do you remember what he had to do to convince his Monsignor to move the request for exorcism up the chain of command in the church? | |
| No, I really don't. | ||
| Remind me. | ||
|
unidentified
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All right. | |
| He recorded the voices coming up. | ||
| Yes. | ||
|
unidentified
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And he was messing around with them, and he ended up playing them backwards. | |
| Yep. | ||
|
unidentified
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And you know what he found? | |
| The demons were reciting scripture in Latin backwards. | ||
| Well, that would do it. | ||
|
unidentified
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And that was the convincing factor. | |
| Once the higher-ups were assured that that's what happened, that's when they gave the opportunity. | ||
| But see, that is very specific. | ||
| And that was a point I was trying to drive home to David tonight and even to Richard. | ||
| I think this metaphoric stuff may be absolutely a wonderful path to follow. | ||
| But in terms of getting it on the radio and trying to get the American public to buy into it, you're going down a bad road. | ||
|
unidentified
|
Yeah, you've got to be very careful. | |
| And if, for example, you were to discover scripture in reverse, you've got something really solid. | ||
|
unidentified
|
Well, that would have you scratch in your head, though, wouldn't it? | |
| Yes, sir. | ||
|
unidentified
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Is it good or is it evil? | |
| And more than that, you wouldn't have to wonder. | ||
| Anyway, listen, show's over. | ||
| Got to go. | ||
| You get the honors. | ||
|
unidentified
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Oh, well, like I did the last time that I had the honors on, I'll say this. | |
| Good night, America, and good night, Mrs. Calabash. | ||
| Wherever you are. | ||
| That's it from the high desert. |
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