Speaker | Time | Text |
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I'll get to that. | ||
Believe me, I'll get to that. | ||
Useless, futile as it may be, I'll get to that. | ||
Everything by those time zones covered by this program post-post AM otherwise worldwide. | ||
I'm Mark Bell here to escort you to the weekend. | ||
It's my honor. | ||
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It's my pleasure to do so. | |
Obviously, the big news is about the post passing, and we will cover that in a moment. | ||
Let me cover sort of the beginning program things here for you. | ||
My webcam photograph tonight is kind of selfish, but there's a kind of a cute story that goes with it. | ||
To a lot of people, it will mean nothing. | ||
I'm a very, very proud amateur radio operator, ham radio operator. | ||
I have the two latest, greatest ham radio operating rigs in the world. | ||
You'll see the picture there. | ||
The bottom one is the new one from Yesu. | ||
On the first delivery in the United States of this radio, and it's about an $11,900 machine. | ||
Incredible technology. | ||
Up on top of it, another absolutely incredible piece of technology made by ICOM, the 7800. | ||
So one thing that doing this program has allowed me to do is buy the latest and greatest toys. | ||
And Yesus sent me this radio. | ||
They called me on Friday and said, you're going to get the first one on planet Earth. | ||
And I, wow. | ||
And they sent me a tracking number for it. | ||
You know, it's a pretty expensive piece of gear. | ||
So I checked the tracking, and it was due to arrive Monday. | ||
And I said, good, cool. | ||
I'll do the weekend shows, and there it'll be Monday. | ||
And I relaxed. | ||
Ramona came in and said, oh my God, Art, there's this giant box down inside the gate. | ||
And I went out there and looked and went, oh my God. | ||
It left Cerritos, California on the 31st of March and arrived here April 1st. | ||
And somehow they got this 84-pound box over the fence, this sensitive, expensive, electronic piece of gear over the fence. | ||
And so we rushed it in, Ramona more than myself, you know me and my back. | ||
I've, by the way, damaged it a little, doing everything I had to do to get it going. | ||
So my back is twitching on me a little tonight. | ||
But, I mean, who could resist, right? | ||
So anyway, checked out fine, and I'll be checking it out some more. | ||
But all is well, even though it came on April 1st, and it's serial number 13. | ||
So for all my amateur radio friends up there, there it is, guys and gals. | ||
The newest of the new, 9000D. | ||
And I'll know more about it next week after I've had an opportunity to explore in depth. | ||
So that's a webcam photo. | ||
Now, there is going to be a time change. | ||
At 2 a.m., your time, it will suddenly become 3 a.m. | ||
Traditionally, twice a year, I have railed against this insanity they call a time change. | ||
I tire of it. | ||
It's stupid. | ||
But no one listens. | ||
Well, actually, that's not true. | ||
Twice a year, I get a million emails agreeing with me, stop the insanity. | ||
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For God's sakes, Congress, do something. | |
Stop this. | ||
Let us have no time change. | ||
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We can live with it. | |
And so there's my plea. | ||
But I know, like all other years, twice a year, my rantings and ravings will do no good. | ||
I'm going to have to go around and correct. | ||
I've already taken care of, well, I don't know, 20 or 30 clocks, and I've got 20 or 30 to go. | ||
So twice a year, we go through this nuttiness that we call daylight savings. | ||
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Anyway, nothing's going to happen. | |
Appeal to the logic. | ||
Everybody agrees. | ||
Nobody does anything. | ||
But I guess I have to make my idiots. | ||
Why don't you idiots do something? | ||
Well, I shouldn't call them idiots, should I? | ||
Why don't you deep-thinking legislative geniuses draft up something to stop this insanity? | ||
How's that? | ||
That's better. | ||
All right. | ||
Coming up in the next hour, EVP. | ||
And there are people who complain about EVP, not me. | ||
I think EVP is the real McCoy, and I'll go into great detail about why I believe that and what you're really hearing is indeed the voice of the dead. | ||
It really is. | ||
It's the only answer. | ||
And if you dare to listen, I think you'll come to the same conclusion. | ||
There are a couple of particularly disturbing EVPs that you're going to be hearing tonight. | ||
So I'll give you sort of a pre-warning about that. | ||
I have received a large number of emails with regard to a prediction apparently made by Father Wingate about the Pope. | ||
Sadly, they did not come true. | ||
Pope John Paul II, who helped topple communism in Europe, and he did, and left a deep conservative stamp on the church that he led for 26 years, died Saturday night in his Vatican apartment, ending a long public struggle against debilitating illness. | ||
He was 84. | ||
The Undersecretary of State, Archbishop Leonardo Sandre told Ozedko, quote: We all feel like orphans this evening. | ||
The crowd was about 70,000 at St. Peter's Square. | ||
Quietly at home, or with heads bowed in church, Americans marked the death Saturday of Pope John Paul II, recalling him as a great leader who combined warmth with moral power, a call to care for the poor with an emphasis on liberty, bells tolled at Roman Catholic churches across America, as in fact they did at the Vatican and around the world. | ||
Religious leaders of all faiths spoke out to honor the Pope, as did all of our political leaders. | ||
Flags lowered to half-staff, black bows replacing Easter wreaths at a Wisconsin Cathedral. | ||
Now there is going to be a process that you all are, many of you who are not old enough and have never gone through this are going to be amazed at. | ||
The process to pick a new Pope is an amazing process. | ||
The intense guessing game over who will be the next Pope only has one certainty. | ||
The cardinals must decide whether to follow John Paul II with another non-Italian or hand the papacy back to its traditional caretakers. | ||
The Polish-born John Paul was the first non-Italian pope in 455 years. | ||
And he brought indeed a new vitality to the Vatican, challenging parochial attitudes throughout the church. | ||
One view holds that the papal electors will want to maintain the spirit by recognizing the Roman Catholic centers of gravity outside Europe and in Latin America and Africa. | ||
Now, it really is something to see. | ||
So, those of you who don't remember the way it works, there will be intense deliberations and prayer and voting, and nobody, I guess, really knows exactly what goes on. | ||
But at the end of the process, a white smoke will emanate from the Vatican, indicating they have chosen a new Pope. | ||
And I do recall one time when it took a very, very long time to choose a new Pope. | ||
What I would say of this Pope is, we have lost a great man. | ||
I'm not a Catholic, and so I don't know if I'm qualified. | ||
Well, yes, I am. | ||
I'm qualified to comment on the kind of man that he seemed to be. | ||
He seemed to be the real McCoy. | ||
He didn't go for anything at the end other than suffering to his last breath. | ||
I didn't want to be taken back to the hospital to die. | ||
I think he knew very well he was dying and chose to die in the Vatican. | ||
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Chose no heroic efforts. | |
And the guy was the real McCoy. | ||
This Pope was the real McCoy, in my opinion. | ||
A real man. | ||
We have lost a really important figure. | ||
Now, again, it'll be an educational process for those of you who have never seen it occur. | ||
It's wild when they pick a new Pope. | ||
There's a whole lot of tradition, very steeped in tradition and ritual. | ||
The Catholic Church is very interesting. | ||
Just five months after the presidential election, Democratic lawmakers are traveling throughout the country to campaign anew against President Bush and his agenda. | ||
This time, though, the stakes are the future of social security rather than control of the White House. | ||
And that's kind of the world news with the Pope passing, the Pope's passing, of course, dominating everything, and it will continue to do so in most of the media around the world. | ||
in a moment i've got to a couple of other little items that would fall outside the normal world news you're all This next item of intense interest to me should be to all of you, really. | ||
The headline is, of course, Yucca Probe focuses on possibly faked data. | ||
Emails by several government scientists on the Yucca Mountain Nuclear Waste Zone Project suggest workers were planning to fabricate records and manipulate results to ensure outcomes that would help the project move forward. | ||
Are they out of their minds? | ||
God almighty. | ||
Some of these emails, I know the evening news has been quoting some of these allegedly faked emails. | ||
My God, people, we're talking about a deadly substance that has got to be kept and managed by mankind for 10,000 years at minimum, probably longer. | ||
We haven't done anything in our puny little time on the planet for 10,000 years, and they're going to fake stuff about it. | ||
This could be, according to some lawmakers, particularly here in Nevada, the death knell for the Yucca project, the whole project. | ||
The high-level waste was due to be put in a place called Yucca Mountain, and it would be some years yet before they would do it, if at all, but it would have to be good for 10,000 years. | ||
So this could well be, and perhaps deservedly so, the death knell for this project. | ||
It all involves whether or not radiation would leak Into the groundwater. | ||
Now, I think you can all imagine the consequences of high-level nuclear waste leaking into the groundwater. | ||
It might get, who knows, all the way down to Southern California, it might pollute the groundwater for the western third of the U.S., God knows what it might do. | ||
But faking the results, good Lord. | ||
So I wouldn't even bother to read any of the emails to you. | ||
They generally involve, well, faking the results so the project could go through. | ||
It's hard for me to imagine that a scientist would, any scientist, much less perhaps many, would do this. | ||
Can you? | ||
If you were a scientist and you were gathering the information to either prove that this was going to be safe for mankind or that there was a possibility of mankind dying off en masse because of some error you made, would you fake it? | ||
My God. | ||
So if it's the death knell of this project, then so be it. | ||
After a few close calls, astronomers have finally obtained the first photograph of a planet beyond our own solar system. | ||
As you can imagine, it's a big one. | ||
It would have to be. | ||
At this time, they say they're sure, although some doubt lingers about the exact mass of the object. | ||
The planet is thought to be one or two times as massive as our Jupiter. | ||
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And that's big, folks. | |
It orbits a star very similar to a very young version of our own sun. | ||
The star, called GQ Lupi, has been observed by a team of European astronomers since 1999. | ||
They have made three images now using the very large telescope of the European Southern Observatory in Chile, the Hubble Space Telescope, and the Japanese Subaru Telescope. | ||
Each contributed an image, and so there you have it. | ||
For the first time in all of mankind's knowing, something, a planet, an actual planet outside our own system has been photographed and confirmed as being there. | ||
Now listen, we're about to go into open lines for the balance of this hour. | ||
So if you want to get through, I suppose beginning to dial now would be appropriate. | ||
The following is from Yahoo News. | ||
The headline would be, World oil prices surge after study tips $100 a barrel. | ||
This will go back to last week's program and buttress a lot of what I was saying, I think, last week. | ||
World oil prices surged on a wave of speculative buying sparked in part by a Goldman and Sachs study that predicted levels of more than $100 a barrel. | ||
New York's main contract, Light Sweet Crude for Delivery in May, soared $1.41 to $55.40 per barrel in early deals off a peak of $56.1. | ||
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Yikes! | |
In London, the price of Brent North Sea crude for delivery in May rocketed $2.20 to $54.29. | ||
Goldman Sachs Research brought up concerns about crude oil, saying that the market is headed for an abrupt upward trend because of the tightness of supply and demand. | ||
The investment bank warned of a possible super spike. | ||
That's what they're calling it. | ||
A super spike in oil prices above $100 per barrel. | ||
Quote, we believe that oil prices have entered the early stages of a super spike period, said analyst Arjun Murti, who raised his price range of $50 to $105 a barrel from $50 to $80. | ||
The higher price range was foreseen to last several years because of strength in oil demand and economic growth, especially in the U.S. and, of course, China. | ||
And there's one more item here. | ||
Dr. Don Rose, the legendary morning disc jockey who entertained Northern California audiences for nearly two decades, passed away Tuesday night in his sleep. | ||
And I wanted to note that Rose was, of course, a household name in the Bay Area and the Central Valley as a morning radio host on KFRC, KKIS, KIOI from 73 to 89. | ||
His shows were famous for his one-liners, goofy gag, zany sound effects. | ||
Many people from Sacramento remember him as a man who coined the term Sacratometo. | ||
Over his 13-year career, Rose hosted close to Get This 3,000 shows. | ||
In 1985, after a near-life-threatening injury, Rose even asked to have his studio equipment brought into his hospital room where he continued to do his morning show. | ||
That is dedication. | ||
During his reign as the number one host in the Bay Area radio, Billboard magazine repeatedly honored him as disc jockey of the year. | ||
Rose retired from local radio in 1989. | ||
In recent years, he's lived in his Concord home with family. | ||
He suffered a variety of health problems in recent years. | ||
Now, I want to prepare you a little for tonight and what we're going to be doing for the three hours following the top of this hour. | ||
EVP. | ||
Electronic voice phenomena. | ||
Try as I might, and I'm somewhat technically competent. | ||
Honestly, folks, I cannot find any hole, anything that the two people you're going to hear tonight might be doing wrong, intentionally or unintentionally, that might be an answer for what you're about to hear tonight. | ||
You're going to hear the voice of people who have passed to the other side. | ||
And I've got to add, it's particularly tonight. | ||
There are a couple in there that I'm told, and I haven't listened to them. | ||
The reason I don't listen ahead of time, and I could, I've got the CDs that have been sent right here, so I could listen ahead of time, but I don't do that because I want to react exactly spontaneously. | ||
And so I don't do that. | ||
And I'll hear them as you hear them. | ||
But I really must tell you, with what I do know, and I'm not a genius, but I have a fair technical grasp of things, this is real. | ||
There are not easy answers. | ||
In fact, there are no logical answers for what you're going to hear tonight, except that you are hearing the voices from the other side. | ||
The only other possibility is, in my opinion, that you might be hearing the voices of the now living. | ||
But I think that a lot of what you're going to hear tonight is going to dispel that possibility, leaving just about the only one as the voice of the dead. | ||
And I think that all of us, particularly with the passing of so many well-known names, feeling our own mortality, wants to believe that there is indeed something waiting for us on the other side, not just the end of everything. | ||
The worms crawl in, the worms crawl out, you know that scenario. | ||
I don't buy that. | ||
I have a kind of a definite feeling that there's a reason for all of this and for life that goes beyond the years that we spend upon this planet, however many or few they may be. | ||
No, I think there's something out there. | ||
I think there's something else coming. | ||
And tonight, you'll hear some slightly worrisome proof that that may be exactly so. | ||
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So, open lines in a moment from the high desert. | |
I'm Mark Bell. | ||
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I'm Mark Bell. | |
We've been traveling far. | ||
We've been traveling far. | ||
Abumba Abumba Abumba Abumba You may feel as if I'm not alone Abumba You'll be my happy girl. | ||
I'm not going to be a good one. | ||
Okay, everybody, I want you to listen very closely. | ||
The numbers to call to get through the portals, as it were, are a little different on the weekend. | ||
So, you need to get a piece of paper and pencil and make note of them should you desire to get through. | ||
Here they come. | ||
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To talk with Art Bell, call the wildcard line at area code 775-727-1295. | |
The first-time caller line is area code 775-727-1222. | ||
To talk with Art Bell from East of the Rockies, call toll-free at 800-825-5033. | ||
From west of the Rockies, call ARC at 800-618-8255. | ||
International callers may reach Art Bell by calling your in-country spread access number, pressing option 5, and dialing toll-free 800-893-0903. | ||
From coast to coast and worldwide on the internet, this is Coast to Coast AM with Art Bell. | ||
Oh, incidentally, I want to thank Whitley Streeber. | ||
Thanks, Wid. | ||
I got a lot of emails asking about my welfare because he ran an April 1st story indicating that I had disappeared into Mel's Hole. | ||
That I had gone on an investigation and had disappeared into Mel's Hole. | ||
And no matter how much, it was obviously a joke. | ||
There are a number of people who took it extremely seriously. | ||
I haven't been anywhere near Mel's Hole. | ||
just spiffy. | ||
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*Squad* | |
No matter. | ||
unidentified
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No matter. | |
All right, as promised, in the next segment, this segment, Open Lines. | ||
Let's Rock. | ||
First time caller line, you are on the air. | ||
Hello. | ||
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Hello, Mr. Bella. | |
It is an honor to speak with you. | ||
I've been listening to you since about 1994 when I was 13 years old. | ||
The first show I ever heard you do was with a guy that was, I believe he's a Catholic priest. | ||
His name is Martin Malachi. | ||
Father, yes, Malachi Martin, actually, yes. | ||
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Correct, correct. | |
And I had a question first, and then I also had a, well, comment first, then a question. | ||
The comment was, there's a lot of stuff going on with the Pope right now, and the guests you guys had last night said that he wasn't going to die. | ||
So my question about that comment was, is he in exile now? | ||
And then my other question was. | ||
No, no, no, the Pope. | ||
Is the Pope in exile? | ||
What do you mean, exile? | ||
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Because there was a priest on last night that said he wasn't going to die. | |
He was going to go into exile for eight months. | ||
Oh, I see. | ||
I'm afraid the prediction was obviously inaccurate, and I hope sincerely that it does not affect the faith of the man who made it. | ||
I heard something about it, so at any rate, that's my comment. | ||
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Next question is, a friend of mine told me that Malachi Martin died. | |
Is that correct? | ||
Yes, sir. | ||
unidentified
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I'm sorry to hear that. | |
And that's all I had. | ||
You have a great night, Art. | ||
It's been a pleasure listening to you over ten years. | ||
Take care. | ||
You have a very, very good night. | ||
Father Malachi Martin was an extremely special man. | ||
A very special man. | ||
They offered some CDs, I believe, of those programs. | ||
I'm not sure. | ||
I don't think you can still get them, but if you can, they're really, really, really well worth a listen. | ||
There is no new Malachi Martin that I'm aware of. | ||
He was a very special man, consultant to two popes, and had very much an inside track to what was going on in the Vatican. | ||
Some of what he said was very controversial. | ||
Most of it was extremely believable. | ||
And if you ever get a chance to hear any of the shows that I did with Father Malachi Martin, you don't want to pass that opportunity up, believe me. | ||
Well, Cardeline, you're on the air. | ||
Hi. | ||
unidentified
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Hello, Art. | |
This is Greg from WABC Country over here in New York. | ||
All right, Greg, get into that telephone and project like there were millions listening. | ||
unidentified
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Okay, then I'll use my former AFRTS voice. | |
There you go. | ||
Yes. | ||
unidentified
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Well, here's the question. | |
If you could ask the guests coming up, did they plan on going to any historical places, such as maybe Ford's Theater or maybe Monticello or places where former presidents had been or maybe have been? | ||
These two are not moneyed people. | ||
They're just representing a very small group of very dedicated people who do this for nothing for free. | ||
They don't write books. | ||
They don't solicit donations. | ||
They don't do any of that baloney. | ||
They just do this. | ||
That's another thing that sort of sides on the credibility of what they do. | ||
I've looked at this so hard. | ||
So I doubt they'll be traveling very much unless a pot of gold falls in their lap. | ||
unidentified
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Okay. | |
That's kind of the answer. | ||
I know they can't travel too much, so they tend to do it in the regional area where they live. | ||
unidentified
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Well, that sounds interesting to me. | |
I'm still going to listen to them nonetheless. | ||
And thank you very much for making me more aware of so many topics. | ||
Quite frankly, it amazes some of my friends because I talk about something that I've heard on the show, and then a couple of months go by and they say, hey, you weren't kidding. | ||
Yes, I know. | ||
Thank you very, very much. | ||
That's the highest compliment. | ||
Not everything that you hear on Coast to Coast AM is true or comes true, obviously. | ||
However, I think one reason for the show's phenomenal success over the years is that a whole lot of what you hear does come true. | ||
Things that are heard here three, six, even twelve months later come to pass. | ||
And so you get to hear them here first. | ||
And that's always been part of the beauty of the show in that we deal with things and people that other shows wouldn't touch with a 10-foot pole. | ||
And sometimes that results in silliness or BS, and sometimes it results in magic. | ||
Absolute magic. | ||
East of the Rockies, you're on the air. | ||
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Hi. | |
Hi. | ||
This is Alessandra listening in Chicago. | ||
Well, all right. | ||
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Having to DX between Louisville and Cleveland because LS still isn't covering Saturday, unfortunately. | |
Oh, come on, WLS. | ||
What could you possibly have to do that would be more important on a Saturday night? | ||
unidentified
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Couldn't believe it. | |
And the first hour and Sunday as well. | ||
Anyway, I have three quick questions for you. | ||
One about pizza and two related to sleep. | ||
Pizza? | ||
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Yeah. | |
Should I do the pizza first? | ||
You talked about the sauce that Ramona was able to figure out from the stuff that you had had in Paris. | ||
Oh, God, yes. | ||
Pizza Punch. | ||
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Pizza Punch. | |
And I was just sort of curious about it. | ||
Is it a hot peppery thing? | ||
You really want it? | ||
Yeah, it's hot. | ||
It's an oil-based thing with many, many ingredients. | ||
And here's the maybe good news, okay? | ||
unidentified
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Okay. | |
Pizza Punch has been picked up by a gentleman who is forwarding. | ||
He's being taste tested en masse right now. | ||
And they're talking to really big pizza manufacturers. | ||
And Pizza Punch may become a national reality in the next year, within the next year or so. | ||
It's well on its way. | ||
That's a secret I wasn't going to give out. | ||
What the heck, huh? | ||
unidentified
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So cool. | |
So will you keep us posted on that? | ||
Depend on it. | ||
Yeah, sure. | ||
unidentified
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Yeah. | |
Okay. | ||
Well, so how would we find out? | ||
I mean, just to have closure on that. | ||
Oh, I don't know. | ||
I mean, you'll hear on this program or you'll hear someplace about Art and Ramona's pizza punch with a picture of Art and Ramona on the front, like Paul Newman and his stuff, or something like that. | ||
Who knows? | ||
You know, maybe it'll happen. | ||
Maybe it won't. | ||
It's going to have, they're going to have this big commercial taste test. | ||
This stuff is wonderful. | ||
It's incredible. | ||
And so I think it's going to do well. | ||
We'll see. | ||
unidentified
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Wonderful. | |
Okay, two things about sleep. | ||
What was that little technique that you talked about when you have trouble going to sleep and it helps to get you to fall asleep? | ||
Guaranteed to work every time. | ||
Here is what you do. | ||
You're tossing, you're turning. | ||
You're saying, why am I even in bed trying? | ||
This is painful. | ||
And so here's what you do. | ||
You lie in bed, you take two gigantically deep breaths. | ||
Then you close your eyes and one thing at a time, you consciously work on this in your mind. | ||
You relax your hand, you relax your arm, you relax your upper body, you relax your feet, your legs, one at a time. | ||
You go through it mentally. | ||
It's like counting sheep, except you're not. | ||
You're consciously relaxing each part of your body. | ||
And if you're not asleep by then, which you probably will be before you finish off all the body parts, you take a couple of more big, deep breaths of oxygen, and baby, you're gone. | ||
You're asleep. | ||
unidentified
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Okay, well, I won't do it until post is over. | |
And here is the other thing that I have been wanting to ask you for a long time. | ||
A few years ago, you were telling us about these dreams that you were having where you actually felt like it was a second existence, something about being a person in Mississippi. | ||
Remember this? | ||
No. | ||
Oh, you said you were having all these dreams. | ||
I was in Mississippi once. | ||
I remember that. | ||
unidentified
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No, you said you were having these dreams, and it was actually like a second life, and it kept recurring and recurring and recurring. | |
Well, I didn't know why. | ||
I sort of do remember that, actually. | ||
unidentified
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And I was just kind of wondering if that had continued, or if you'd ever done any research on the place or whatever to try to figure out why you were having that kind of dream. | |
No, it has not continued, thankfully. | ||
I like going to sleep and just having the world blank out. | ||
I love that. | ||
With the exception of a few dreams. | ||
But basically, it's work. | ||
I mean, like, if you're running away from a monster. | ||
unidentified
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That's work. | |
That's work. | ||
You bet it's work. | ||
My God, the teeth are getting closed. | ||
And, you know, when you wake up, you're in a sweat and you go, oh, my God, thank God it was a dream. | ||
Oh, okay. | ||
Thank you very much for that. | ||
unidentified
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Thank you. | |
It's been great talking to you. | ||
Take care. | ||
Yeah. | ||
Lately, I've been sleeping exceptionally well, which probably indicates that I have a fairly, you know, that life is pretty good right now. | ||
And I've been getting a lot of sleep, which I think also is good. | ||
I think the body, you know, does a lot of healing, its best healing work when it's getting deep sleep. | ||
But what do I know? | ||
West of the Rockies, you're on the air. | ||
Hi. | ||
unidentified
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Hi, Ari. | |
Hello. | ||
Yesterday, Fox News, Reuters News, the Italian News Service, and then an Italian cardinal got on the air and said that the Pope had died and gone home to Jesus. | ||
And then that story was later recanted. | ||
Do you think it's possible that Pope John Paul II was physically unable to perform his duties as Pope and that the Vatican wanted to move into a new direction and that he agreed to step down and then picked April Fool's Day as his departure date? | ||
And once they discovered that that was a signal date, being April Fool's, they changed it to April II today. | ||
Well, and then Father Wingate's prediction. | ||
You should get Father Wingate on. | ||
Why? | ||
unidentified
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Because George Norway believes that Father Wingate is a Catholic priest and that he met with Pope John Paul II. | |
And all of his predictions have come true, and George says he will continue to have him on as a guest, regardless if there's some flaws in his prediction. | ||
But I believe that the Pope is still alive and in exile. | ||
I see. | ||
All right. | ||
Well, thank you very much for the call. | ||
I don't believe that. | ||
I think the Pope is indeed passed on. | ||
I can't imagine why there'd be any reason to believe otherwise. | ||
I think he has passed, and I think he was a tremendous, he really was a tremendous Pope. | ||
He was a tremendous man. | ||
The world has lost a tremendous man. | ||
He really was something. | ||
This Pope was something else. | ||
A man who was as straightforward as you can be. | ||
You know, normally there's so much secrecy from the Vatican, but he stopped that. | ||
He just stopped it. | ||
And he said, no, no, no, no. | ||
With regard to my suffering, let them see it. | ||
And let it all be natural. | ||
And let the world see it. | ||
And that's exactly what he did. | ||
You have to have a lot of respect for that. | ||
First time caller line, you're on the air. | ||
Hello. | ||
unidentified
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Hi. | |
Hi. | ||
unidentified
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I'm on the air. | |
You are? | ||
unidentified
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Oh, hi. | |
Art. | ||
Yes. | ||
Yes, we don't have screeners. | ||
You just boom on the air. | ||
unidentified
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What I was wondering is why the subject you're going to have tonight, why you think that why are you so credulous about it? | |
Because I've looked at it so damn hard, sir. | ||
Honestly. | ||
From a technical point of view, I've looked at this as hard as a person can look at it. | ||
And I've looked at the people involved. | ||
I don't see any holes in this. | ||
And then, of course, there was, if you're a long-time listener, you know that there were other people doing this work virtually since the invention of the telephone, as a matter of fact. | ||
And so many people greater than the two of us combined believed it was true. | ||
And I've looked so hard at it because I want to know as much as anybody else out there, approaching my 60th birthday, I might add, whether there's a life following this one. | ||
And this is one of those things that leads us in that direction. | ||
Technically, I see no holes in what they're doing, sir. | ||
None. | ||
unidentified
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Okay, when you say there's no holes, though, during the discussion that you have, can you explain how you looked at it? | |
Because to me, it just seems like something that would be real easy to fake. | ||
Something that's on a recorded technological program. | ||
Well, toward that end, we live in a unique day and age, as you know, with every kind of audio and video program to morph anything into anything that you want. | ||
But we were doing this program with these people back in the days when it was tape only. | ||
Very noisy compared to what they have now. | ||
And I guess I look, regarding whether it could be a fake, I look to the people themselves more than anything else. | ||
And these people aren't trying to make any profit from what they're doing. | ||
unidentified
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I can understand that. | |
Well, what else? | ||
unidentified
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What other measure would you do? | |
It's like outsider art. | ||
There's lots of painters and artists who do things just for the fun of it, just for the beauty of it, you know. | ||
And a hoax can be a beautiful thing, you know, the way that certain people look at those kinds of things is just its own reward. | ||
Well, all right, here's another one then. | ||
if they were hoaxing this, and let's say they were fundamentalist religious people trying to lead the world into believing that there's a life after this one, you know, believe me, they wouldn't hoax some of the disturbing things that are said during these EVPs. | ||
They would very much slant it toward, you know, I'm in heaven, it's wonderful, God and Jesus are here with me as well as my relatives. | ||
That's not what we're getting. | ||
unidentified
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So I'm- I like the stuff, you know, the scary stuff. | |
I'm just like real skeptical. | ||
I'd like to hear more. | ||
I am too. | ||
Listen, I'm with you. | ||
But this is the best that I've seen of what we do in this area. | ||
I think it's very convincing. | ||
So I'll grill them pretty hard tonight, all right? | ||
unidentified
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Okay, thanks. | |
Take care. | ||
Great show. | ||
Thanks a lot for what you do. | ||
You bet. | ||
Take care. | ||
We'll grill them pretty hard tonight. | ||
But I've done that in times past. | ||
They're good people. | ||
Their motivation seems clean and clear. | ||
Their results certainly are a little disturbing at times. | ||
And you're not exactly sure what the meaning is of some of what you get, but the process itself and the technical aspects of it seem so cleanly straightforward to me. | ||
And it's not just these folks. | ||
You can go back through some of the experiments that I played for you on Halloween, for example, and all the way back to Alexander Graham. | ||
And they all thought that voices from the other side could indeed be captured electronically, and there's reason to believe it may be so. | ||
Wild Card Line, you're on the air. | ||
unidentified
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Hello. | |
Hello, Art. | ||
How are you? | ||
It's Joe from WRKO Radio in the rainy city of Boston. | ||
Hey, Joe. | ||
unidentified
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How are you doing? | |
I'm going to give my condolences because I am a Catholic, and it's a shame what happened to the pulpit, but we're all going to go that way. | ||
Of course. | ||
unidentified
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I have two other questions. | |
Did I hear you correct? | ||
You say Hilly Rose died? | ||
No, I didn't say that. | ||
unidentified
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I'm sorry. | |
I'm sorry. | ||
I did not know. | ||
You said somebody with a radio station. | ||
Don Rose. | ||
Don Rose, who did a show, a number one show in the Bay Area, passed away. | ||
unidentified
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Okay. | |
My other question is, when are you going to do more programs on Area 51 and get more stuff like this out? | ||
I really am interested in that because I'm interested in Bob Lazar's idea with hydrogen, but no one seems to be able to get in touch with his company because people would like to, I'm sure, maybe get more. | ||
Well, it's not like you can pick up the phone and call the Area Information and Tourist Line. | ||
unidentified
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No, but he is not in Area 51 anymore. | |
He has a company. | ||
No, he isn't. | ||
Would I like to have a news source, somebody who's been inside Area 51? | ||
You bet I would. | ||
So if there's anybody else out there who would like to spill their guts, who has been in Area 51, worked in Area 51, has knowledge of Area 51, the mysterious Area 51, very close by. | ||
In fact, you know, I'm within scanner range of Area 51, meaning I can hear a lot of the security radios and some of the stuff that's unencrypted that goes on at Area 51. | ||
But yes, I would love to have some new inside info. | ||
So if you have worked in Area 51 or have information that I would like with regard to Area 51, please send me an email. | ||
You can find me. | ||
I'm artbell at AOL.com or artbell at mindspring.com. | ||
That's A-R-T-B-E-L-L. | ||
All in lowercase, of course, at AOL.com or Artbell at mindspring.com. | ||
All right, coming up in just a moment, the GIS and, if you wish to believe it, voices from the other side. | ||
I think that's what they are. | ||
And we'll discuss what alternative explanations there could be for what you're about to hear. | ||
I'm warning you ahead of time, some of what you're about to hear is going to be very disturbing indeed. | ||
But it's a fascinating adventure we're about to have. | ||
So, I don't know. | ||
Turn up, if you've got the nerve, turn up the volume on the radio and with the rest of us, prepare to be a little chilled as we move to the other side from the high desert in the middle of the night. | ||
unidentified
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this of course is coast to coast a m the | |
Don't you love her, barely? | ||
Don't you need her barely? | ||
Don't you love her, waiting what you say? | ||
Don't you love her, baby? | ||
Don't you love her, wait? | ||
Don't you love her as she's walking out the door? | ||
Like she did one thousand times before Don't you love her ways? | ||
Tell me what you say Don't you love her as she's walking out the door? | ||
All your love All your love All your love All your love All your love is gone To sing a lonely song On a deeper dream Seven horses seem to be on the mark Wanna take a ride? | ||
To talk with Art Bell, call the wildcard line at area code 775-727-1295. | ||
The first-time caller line is area code 775-727-1222. | ||
To talk with Art Bell from east of the Rockies, call toll-free 800-825-5033. | ||
From west of the Rockies, call 800-618-8255. | ||
International callers may reach ARC by calling your in-country sprint access number, pressing option 5, and dialing toll-free 800-893-0903. | ||
From coast to coast, and worldwide on the internet, this is Coast to Coast AM with our bell. | ||
Good morning, everybody. | ||
Coming up in a moment, Brendan Cook and Barbara Macbeth. | ||
They're both members of the Ghost Investigators Society, otherwise known as the GIS. | ||
The Ghost Investigators Society is a non-profit organization dedicated to the investigation of ghosts. | ||
Not only do they conduct investigation, but they also instruct, assist, and educate anyone who believes they may be experiencing ghostly phenomena or those who are just simply curious. | ||
In an effort to educate the public about ghosts, the GIS hopes the EVPs or electronic voice phenomena presented will help demonstrate that the consciousness does survive after the body dies and that these voices may help to give a different perspective about life, death, and ghosts. | ||
And I will add a little warning here that without question, some of the material that you're about to hear is disturbing. | ||
If you are easily disturbed by this sort of thing, then you might want to tune out right now. | ||
I think we're one of the only programs that on a semi-regular basis invites people to do that. | ||
I don't want you to be unnecessarily disturbed. | ||
However, for many of us, I include myself here, a search for what is going to come of us is an ongoing mission of life. | ||
Perhaps a question never to be answered until the moment that we leave it. | ||
I don't know. | ||
But what you're going to hear tonight is going to make you question, or should make you question, about, you know, what comes next and whether there is something next or whether it's just all over. | ||
Well, I don't believe the latter. | ||
I believe the former and that there is something. | ||
unidentified
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in a moment g_i_s_ uh... | |
uh... | ||
Ladies and gentlemen, here is Brendan Cook and Barbara Macbeth. | ||
You two, welcome back to the program. | ||
Thank you. | ||
Good morning, Art. | ||
Good morning. | ||
I think I've had you two on now. | ||
Are you keeping count? | ||
Actually, we just talked about this the other day. | ||
I want to say it's close to 20 shows now. | ||
20 shows. | ||
A caller called in the first hour and said, hey, Art, why do you believe so much in what these two are doing? | ||
And it's really more than two of you. | ||
The GIS is made up of how many? | ||
It's a pretty small group, right? | ||
Five of us. | ||
Five? | ||
We want to say hello to Barry. | ||
He's sick tonight and can't be here with us. | ||
All right, you're going to have to speak up a little for me, Barbara. | ||
Get real close to the phone. | ||
Okay. | ||
That's good. | ||
So one of you has fallen ill. | ||
Yes, Barry has. | ||
Barry has. | ||
So a total of five. | ||
And how did you all get together? | ||
How did that happen? | ||
Well, we've all had an interest in ghosts, and we happened to meet at a Brendan and Jenny, and Roger and I had attended a meeting where we met, and on a presentation that we were doing, Barry came, and we met Barry there for the first time, and we just kind of clicked and formed a group. | ||
okay but this is not the subject that would come up in you know some little casual conversation and i think that they have to be something that would start this out It's something I think every member of this group has always had an interest in ghosts. | ||
Hey, we're going to do something. | ||
Brennan, I want you to go get on the phone that Barbara's on. | ||
And Barbara, I want you to go get the phone that Brennan's on, all right? | ||
Okay. | ||
Right now, switch. | ||
We'll wait. | ||
We've done this before. | ||
And one of these phones is better than the other. | ||
And Barbara has a smaller voice, not quite as loud as Brennan. | ||
So we'll see what happens when they switch. | ||
It should be interesting. | ||
All right. | ||
Barbara's grabbing the other one. | ||
Now you're on the one she was on? | ||
That's correct. | ||
Hmm. | ||
We've got to teach Barbara to project. | ||
I don't know, Barbara, say a few words. | ||
Is this better? | ||
Yes, I think it is. | ||
All right. | ||
All right. | ||
So something started this out. | ||
I mean, you don't just get together with somebody and say, hey, you know, why don't we all get together and see if we can record Voices of the Dead. | ||
You don't do that, right? | ||
So how did that happen? | ||
Well, with me, you know, I always believed in ghosts, but as far as EVP goes and recording Voices of the Dead, I was skeptical of it. | ||
I mean, nothing sounded crazier to me than going out into a cemetery at 1 o'clock in the morning and basically, in essence, talking to yourself. | ||
Yes. | ||
And, you know, I mean, the worst thing you can do is try it for yourself. | ||
I mean, you're out how much money with one recorder. | ||
And, you know, we went out there and tried it. | ||
And, you know, it probably took us three or four tries before we ever recorded anything. | ||
But that first voice is just so, I mean, it's one of the biggest adrenaline rushes I could ever have. | ||
Just because you hear that and you know that nobody was there at the time. | ||
And that voice is directly responding to you. | ||
All right. | ||
Here's something else. | ||
Folks, you can do it at home. | ||
Those who doubt, those who are skeptical, we more than invite you, and I'm sure these two would agree with me, to get some of the equipment that you're going to hear tonight and go try it yourself. | ||
I've had so many emails from people who said, What a bunch of trash, but I thought, you know, I'll go out and I'll give it a try, and they came back different people, just absolutely amazed. | ||
Not everybody gets, it's like fishing, right? | ||
You don't always land one when you cast for a while, but eventually, being patient, you're going to get one. | ||
I mean, you know, it's so weird. | ||
We have had so many people write us, and, you know, they're skeptical of what we're doing and what we're presenting. | ||
You know, they've said that, well, we're writing books for this, and we have to point out that, you know, we've never written a book. | ||
We offered to write books, and we still don't do it. | ||
It's a good thing. | ||
I think that, hard as it may be, you're going to have to maintain that, because all of this is hard enough to believe. | ||
But if people saw a money motive, then it would make it very difficult for you. | ||
It really would make it hard. | ||
I know. | ||
You know what? | ||
Earlier I said I think they don't even take donations, but that's wrong. | ||
I think you probably do, don't you? | ||
No. | ||
No, we don't. | ||
There are people that have sent in, you know, $10, $20, you know, very appreciative. | ||
We put that towards things that we're doing for, you know, the GIS. | ||
But, I mean, we certainly don't ask for them. | ||
We don't post anywhere on our website that we would like donations. | ||
I mean, we've had people go so far as to try and prove that we're making money saying that we have some kind of companionship with recording companies like tape recorders. | ||
Oh, for heaven's sakes. | ||
I mean, just people go so far to try and show that there's something else here. | ||
Well, in the beginning of those 20 shows or so that we have done, you were using tape recorders, right? | ||
And one of the controls that I recall is you would never use the same tape twice. | ||
You would always unwrap a brand new tape so there could have been nothing recorded on it previously. | ||
You were that careful with tape, right? | ||
That's correct. | ||
Now, what would you say? | ||
That you switched to digital. | ||
What percentage of the new recordings we're getting are digitally recorded instead of on tape? | ||
Well, just the clips that we're going to play tonight, one is from an analog tape. | ||
Every other one is digital. | ||
All right. | ||
It seems like you made that switch, I don't know, two or three years ago. | ||
Is that correct? | ||
Or began to? | ||
Yes. | ||
Well, I did. | ||
Not all of us, but most of the members slowly followed, and Barbara was the last one to hold out. | ||
Barbara, have you finally given up the ghost? | ||
Almost. | ||
I found a nice recorder, a digital recorder, not too long ago that is easy for me to use and understand. | ||
Well, all right. | ||
The concern was as follows. | ||
We all thought, I think many of us thought, that the way the voices were getting on these recorders was with the tape head. | ||
You've got a magnetic pickup. | ||
And we thought, well, maybe it's imprinting, if not by the microphone, then directly onto the magnetic tape head. | ||
And so there was some concern that switching to digital would produce fewer or even zero results. | ||
That didn't turn out to be the case. | ||
And I'm wondering what you all attribute that to. | ||
What does that mean? | ||
You know, I really think it is somehow it's a sound in the atmosphere. | ||
And I almost wonder if, and this goes back to one of our earliest theories on EVP, and again, like I said, this is just a theory, but a lot of times you'll hear these voices and they are directly after a noise or somebody is saying something. | ||
And it's almost like these voices are using that sound that's already in the atmosphere and using that to project their own voices or their own sounds. | ||
so apparently it can be done with any kind of electronic recording equipment that might even include video tape or Yeah, we've recorded voices on our videotapes. | ||
Okay. | ||
Again, let's find out for most of the voices we're going to hear tonight, we now know that one of them is the old analog tape system. | ||
The rest are done how and specifically with what? | ||
They're actually done with a combination of recorders. | ||
You know, there's your standard built-in flash media digital recorder, you know, the mini-digital recorders. | ||
And we've actually gone so far as to now, especially in the later recordings that you'll hear tonight from the mental hospital, they were recorded through a laptop sound card, a sound card that I had tuned to record EVP. | ||
No kidding. | ||
With, or I guess with a microphone. | ||
Yes, definitely with an external mic. | ||
So now beginning to use a laptop, in other words, going directly to hard drive, right? | ||
And there's no reason not to. | ||
And I believe in one of the tracks, you hear me talking about the benefits of using the laptop because essentially you've got a 60 or 80 gigabyte hard drive to do that. | ||
Absolutely. | ||
I mean, not only for EVP, but you can document everything that we're doing that night. | ||
Everything. | ||
I mean, it just kind of all culminates into one little machine. | ||
Do you guys have other regular everyday jobs? | ||
Yes, we'd have to support this somehow. | ||
Exactly. | ||
What kind of work do you do? | ||
I don't want to know where or anything, but what type work do you do in real life? | ||
Well, right now I'm in collections, credit and collections for the company I work for. | ||
Okay, Brendan? | ||
Well, with me, it's actually interesting. | ||
My job I actually got through your show. | ||
Really? | ||
I was hired by a guy that was listening to your show one night. | ||
His name's Jamie. | ||
To do what kind of work? | ||
Web server administration. | ||
Good. | ||
So there you have it. | ||
That's what you do in real life. | ||
And these jobs support the work of the GIS, I assume, along with the other members, correct? | ||
That's correct. | ||
Everybody has their own job. | ||
I mean, we've talked about this, and we basically work to support this. | ||
Here's another sort of thing that a caller threw up, and I want to address it with you. | ||
and that is uh... | ||
do you have a religious bias in other words we everybody's looking for well Maybe they've got some sort of religious bias, and they're trying to convince the world that heaven and God await on the other side. | ||
Well, there's Mormons and Catholics. | ||
You're in Utah, right? | ||
unidentified
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Yes. | |
Mormon country. | ||
There's Catholic members and Mormon members. | ||
Oh, I see. | ||
So this is not a religious group. | ||
This is not a fundamentalist kind of we're going to prove to the world there's a God and another side. | ||
Besides, my answer to that caller was, look, if that's what it was, it seems to me, and they were faking these things, we'd be getting God is great, heaven is what you all await, Jesus, get right with Jesus, you know, whatever, those kind of messages, and that's not what we get. | ||
No, definitely not. | ||
I mean, there are happy-sounding voices that we have recorded. | ||
Certainly nothing that mentions, you know, heaven per se or God or anything like that. | ||
That in itself is, I guess it's concerning a little bit. | ||
I cannot imagine, though, a ghost being in that state of mind because I don't believe that I don't think the mentality of the ghosts that stay have that mentality about them. | ||
I think that they're more in a turmoil or sad or regretful state of mind that keeps them here. | ||
Is there anything that the two of you think that you've learned about the nature of the other side? | ||
If you're asked by someone collectively with all of these voices and descriptions you've heard, how would you describe the other side? | ||
I believe that these voices that we record, I mean, you can hear the personality in them. | ||
You can hear the emotion that they display. | ||
And I think that, you know, however you act in life is how you're going to act on the other side. | ||
And, I mean, obviously there are a lot of loving and caring and nice people in the world now, and the majority of them so. | ||
And a lot of grumpy SOBs. | ||
There are a lot of people. | ||
And they end up the same way on the other side. | ||
Now, that means that your personality, that which is you, is carried forth. | ||
Oh, yes. | ||
Yeah, definitely. | ||
Or, already I'm getting people commenting. | ||
Could it be another dimension that we're hearing? | ||
that is possible i don't believe it is the case but i am so Okay, I'm sorry. | ||
Yes, thank you. | ||
I don't think that that is the case, but I have to say that there is the possibility because we do not know. | ||
Or it could be the other side is another dimension. | ||
Sorry, I was just about to say that. | ||
I mean, because technically that's really what you're looking at. | ||
I mean, it is another dimension. | ||
It's something else that we don't see, but there's something there. | ||
All right. | ||
This is a very important question. | ||
Many times you get a response to some comment one of you made that appears to be a contemporary. | ||
In other words, an immediate response to something you said, indicating that whoever it is and wherever they are, they're able either to hear or understand or see us on this side. | ||
Do you both believe that to be true? | ||
Yes, I believe some of them are aware of us and they can hear us. | ||
I believe, you know, at times I believe that they are aware of us and they're aware of what we're doing and what we're saying. | ||
And other times it seems like we're almost tapping into almost like you're listening to somebody who isn't aware of you, but they're having their own conversation. | ||
And we don't get that a lot of the time. | ||
The majority of the time, like Barbara said, they are aware of us. | ||
they're at least, if not aware of what we're doing, they're aware of us being there and interacting with each other. | ||
Well, all right. | ||
Is there anything that I've missed in all of this? | ||
I mean, I always look to motive and I look to the equipment. | ||
I'm very happy with the precautions you take so that you know you're not getting some broadcast or some CB or some ridiculous thing like that. | ||
How do you discount that when people make that charge that you're just getting some sort of broadcast or something? | ||
See, no, I'm glad you brought that up because that really is one of the biggest questions that people come up to us with is saying, you know, how do you know this isn't a CB transmission or anything like that? | ||
Fair question. | ||
And there's two really good ways to discredit that. | ||
And one way is a lot of the times when you hear these voices, they reflect the background ambience of the environment that we're recording in. | ||
They echo when we're in a mausoleum. | ||
They're very tinny if we're in a small room. | ||
Oh, that's such a good point. | ||
And the next point is a lot of times, well, maybe I wouldn't say a lot of times, I would say 40, 50% of the time, we get some sort of a contemporary information. | ||
Some kind of information that is directly responding to us or the environment that we're in. | ||
And when we research it, we have no, I mean, prior to that recording, we had no idea what it was talking about. | ||
And then after, I mean, in the back of my mind, I'm thinking of the Plastic Eyes voice that Barbara recorded. | ||
Do you both think that this is not necessarily the traditional heaven that the people producing these voices are in? | ||
That they may be in sort of a transition or even stuck here on this planet? | ||
Oh, definitely. | ||
I definitely don't think this is heaven. | ||
All right, hold on right there. | ||
No, some of it does not sound like heaven. | ||
I'm Art Bell. | ||
unidentified
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Riders on the storm. | |
Riders on the storm. | ||
Into this house we're born. | ||
Into this world we're thrown like a dog without a bone. | ||
Happy run alone, writers on the road. | ||
Happy run alone, writers on the road. | ||
Some building morning without a straight. | ||
I'm gonna open up your gate And maybe tell you'bout Phaedra And how she gave me life And how she made it in | ||
A velvet warden that I am streamed Flowers growing on a hill Driving flies and dive for dills Learn from us very much | ||
Look at us but do not touch Phaedra is my name Thank you. | ||
To talk with Art Bell. | ||
Call the wildcard line at area code 775-727-1295. | ||
The first-time caller line is area code 775-727-1222. | ||
To talk with Art Bell from east of the Rockies, call toll-free at 800-825-5033. | ||
From west of the Rockies, call 800-618-8255. | ||
International callers may reach ART by calling your in-country sprint access number, pressing option 5, and dialing toll-free 800-893-0903. | ||
From coast to coast and worldwide on the internet, this is Coast to Coast AM with Art Bell. | ||
It is, and we're about to get into it. | ||
That is to say, the actual recordings, the new ones that have been received since the last appearance of the GIS represented by Brendan Cook and Barbara Macbeth, some incredibly disturbing, in some cases, stuff. | ||
So we'll start off easy, and then incredibly, they've gone to a mental hospital, or I guess what was a mental hospital. | ||
We'll get that whole story coming up. | ||
Stay right there. | ||
unidentified
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Stay right there. | |
Once again, Barbara Macbeth and Brendan Cook. | ||
We'll try and switch around the first credits here a little bit. | ||
All right, guys, a couple of more questions from the audience. | ||
Cameron in Richmond, Virginia says, Hi, Eric. | ||
Question for your guests. | ||
multiple identical sound recorders were set up in parallel two or more do they usually both received the e_v_p_ or does it inevitably occur on only one We all have separate recorders, and varying by proximity to each other, we all record the same thing. | ||
There are times when I would say about if we're next to each other, record a voice, I would say probably 80% of the time. | ||
No kidding. | ||
And I mean, this is also including video cameras that are set up in the location. | ||
Right. | ||
That's amazing. | ||
Now, if you're not in proximity, I wonder if you've done any of these tests. | ||
In other words, if one is 20 feet, 40 feet, 100 feet, 100 yards away, at what point does it not be true? | ||
Well, there's occasions when there's been like three of us standing in real close proximity and only one or two will record the voice and the third one won't. | ||
There are other times when we're spread out quite a bit and when, in fact, there's been some of the voices that we use from the prison where we were spread out in the prison and one person will pick up the voice, it'll sound like it's next to them, and the other people will record it, but it's in a distance. | ||
Okay. | ||
Fascinating. | ||
All right. | ||
Well, of course, recently there has been a motion picture out about this very topic. | ||
And I'm sure that you guys received a lot of email, got pretty excited when you heard there was a movie going to be called White Noise about EVP. | ||
And David in Charlotte, North Carolina says, hey, Art, the movie White Noise indicated that about one of every 12 EVP messages Are threatening in nature. | ||
Have your guests received any threatening EVP messages? | ||
And if so, is that ratio true, do you think? | ||
I don't believe in the ratio being true. | ||
I mean, we have received threatening EVP. | ||
You'll hear two or three tracks tonight that are somewhat threatening. | ||
But I believe this, I mean, it all varies by location. | ||
And this goes back to what I was saying, that it's your personality that survives. | ||
So if we are, say, recording in a prison, a lot of things are going to be threatening. | ||
These people were not nice in life. | ||
They were very unhappy. | ||
You're probably in a prison or a graveyard or maybe tonight, like we're going to be in a mental hospital after a while. | ||
Because why? | ||
Why? | ||
Why these places of pain and disturbance in the case of a mental hospital? | ||
Why? | ||
Well, the theory on this is ghosts are caused by emotion or severe distress, which technically, I guess, is emotion. | ||
And when you look at the case of like a prison, I mean, these people, especially people that have been in there for 40, 50 years, this is all they know. | ||
And they have become, in a way, almost insane. | ||
And I mean, they just, they get so used to this habit of doing the same thing over and over and over again that they end up passing on. | ||
They don't know anything else, and that's what they continue doing. | ||
And then if you go to, say, a cemetery, I mean, how much emotion is actually involved in the cemetery? | ||
I mean, with people coming to mourn people that have passed or to remember people that have passed. | ||
True, true. | ||
There's so much there. | ||
All right. | ||
All right. | ||
We should get to it. | ||
That's what we're here for. | ||
But I think a lot of these questions were important. | ||
They're things that people need to know. | ||
The credibility of your group, I think, is very high. | ||
And I haven't found any holes in what you do. | ||
So I'm up for it. | ||
Let's rock. | ||
What are we going to begin with tonight? | ||
All right. | ||
Well, I should first mention that what we have done, and we did this the last show, we have on our website posted a link to these EVPs so people, as we play them on the show, they can go to our website, click on the Coast to Coast April 2nd, 2005 link, and listen to these EVPs again if they think they heard something different or just want to hear them again. | ||
Okay. | ||
And they will want to do that. | ||
And your website is? | ||
It's ghostpics.com. | ||
GhostPics. | ||
Indicating there's pictures as well up there, right? | ||
That's true. | ||
All right. | ||
And videos and stories. | ||
All right. | ||
All right. | ||
So now to our first new recording. | ||
And this takes, by the way, folks, the work involved in what they do is staggering. | ||
It means going to these locations, doing hours and hours and hours of recording, and then hours and hours and hours of listening, and then, I suppose, hours of kind of sitting down as a committee and deciding what was said when you do get that magic voice. | ||
Oh, yeah. | ||
Trying to decide what it's saying. | ||
And to some degree, it's subjective. | ||
And because you say it's saying that doesn't make it true, right? | ||
It could be something close. | ||
You could be wrong about what's being said. | ||
Oh, it's definitely subjective. | ||
I could say one thing, and then you will listen to it and go, oh, you know what? | ||
I hear that. | ||
But if somebody else said something completely different, you probably would have heard that also. | ||
Right. | ||
All right, so away we go. | ||
Number one, what have we got? | ||
All right. | ||
Well, this voice, this was recorded in a place called the Inn on Capitol Hill, which was, it's an old bed and breakfast in Salt Lake City. | ||
And we were called to do an overnight investigation in this area. | ||
You were called? | ||
Yes. | ||
Yes, that's correct. | ||
Meaning what? | ||
The owner? | ||
It was actually the owner had contacted, I believe it was a radio station. | ||
Yes. | ||
They were looking for actual haunted locations in Salt Lake, and they had related stories to this radio station of all the guests that have had experiences and things like that. | ||
So the radio station ended up calling us and saying, you know, we'd like to have you come in here and do this. | ||
And whatever you record, there you go. | ||
All right. | ||
So we go in there, and, you know, we stayed overnight. | ||
And the lady who was the curator of this location, she was explaining the history of it, the people that owned it. | ||
It was a doctor that had originally built it. | ||
And in this clip, you're going to hear her say, she's actually looking through a picture book. | ||
And you hear her say, this was, yeah, this was the main guy. | ||
His name was Dr. Edward Woodruff. | ||
And then she turns the page, and you'll hear her say, and this is his wife. | ||
and then you hear this grassman and say very feisty and it's almost like this man is saying you know she was Is that what I mean? | ||
You know, I was telling Barbara when we heard this, and this may show what I'm into a little bit, but it reminded me of the old Monty Python sketch, the Nudge Nudge, Wink, Wink sketch. | ||
Right. | ||
And it just cracked me up the way he does this and the way he says that. | ||
All right. | ||
here it comes folks Okay, so there's no question. | ||
I heard that very clearly, very feisty. | ||
No question about it. | ||
We'll do this one more time for those who are listening, and I know that people are listening very carefully, so we're going to do this again. | ||
And the pre-dialogue was, yeah, this was the main guy, Dr. Edward Woodruff, and his wife. | ||
And that's where the human voices stop in this case. | ||
And the voice that you're going to hear is going to say, very feisty. | ||
unidentified
|
Yeah, this is the main guy, Dr. Edward Woodruff. | |
Why? | ||
Bird's wife's team. | ||
All right, very feisty. | ||
There you have it. | ||
The way I might have described my wife, Ramona, she's a love her dearly, but boy, I'll tell you what, she is one feisty woman, no question about it. | ||
So this man described his wife that way. | ||
That's fine. | ||
And you caught it. | ||
Now, there was personality in that. | ||
A lot of personality in the way he said that. | ||
Quite full of emotion about her. | ||
Yes. | ||
Just going back to touch on what we said a moment ago, this man who said this, you think he was in some kind of middle ground, folks? | ||
Do you think he was before another incarnation, that he was between here and heaven and hell, in some middle ground stuck on earth? | ||
Is that kind of what you conclude about these? | ||
Yeah, with him, I do think so. | ||
There are some that seem to be almost a residual imprint that's in the atmosphere that you're picking up. | ||
But him, I definitely think he was there, and he was aware of it. | ||
He was aware of what we were saying. | ||
And, I mean, certainly it sounds like he's responding to that. | ||
Well, residual imprints can't make contemporary comments. | ||
No, no, definitely not. | ||
But there's no way to tell if she was very feisty. | ||
Well, that's true, unless you could go back and get the opinion of somebody who knew her. | ||
Yes. | ||
Very, very true. | ||
But definitely the personality aspect of it is still there, and that's of great interest to me. | ||
I hope that's true. | ||
I hope whether we remain on There's probably no way for you to know that, huh? | ||
I mean, it would be a complete guess. | ||
You know, I mean, we don't know. | ||
We don't have definite answers on this thing. | ||
Do you get a lot of controversial controls? | ||
Do you, speaking of controversy, do you get a lot of angry email from religious people You know, when we started this back in 98, I was almost preparing for it. | ||
I really thought that there would be some people that were so upset by this and, you know, so almost emotionally affected by it that we would hear a lot more than we have. | ||
And I can recall in seven, eight years, maybe three or four emails like that. | ||
Tops. | ||
What do you do with all of the submissions? | ||
I mean, people do go out and try this on their own, and then I bet they send you MPEGs and all kinds of things of what they have captured. | ||
What do you usually do with those? | ||
Basically, we post them on the site and share them with everybody. | ||
I mean, that's, in essence, that's really what our group is. | ||
We collect this and we share it with anyone that listens to it. | ||
I mean, you know, if you don't believe in this, we're definitely never going to change your mind. | ||
If you're already set to say this doesn't exist, then I just think it's foolish. | ||
Well, there you go. | ||
But, I mean, we basically present this all for people who want to hear it or maybe questioning, is there something on the other side? | ||
Right. | ||
Okay. | ||
Let's move to number two. | ||
All right. | ||
This was recorded in our house. | ||
We were sitting around our kitchen table. | ||
In your house. | ||
Yes. | ||
And you're going to hear a friend of ours say, you know, that's the one place I have not been to, Northern California. | ||
I would not mind that at all. | ||
And then we recorded this voice there throwing it, and I have no idea what that means, what it's referring to. | ||
It's interesting, this lady, you can hear almost an English accent. | ||
I mean, it's very, it definitely doesn't sound like any of us. | ||
Really? | ||
Okay, here it comes. | ||
unidentified
|
I've not been to Northern California. | |
I would not mind that at all. | ||
Sin. | ||
All right, I could quite, yes, an English accent. | ||
I think that's right. | ||
I hope that I'm not falling victim to suggestion. | ||
In other words, Brendan and Barbara are telling us what we're going to hear. | ||
Now, this is done in the interest of time, but there is always the possibility of suggestion, of the, you know, that they're telling me I'm going to hear a woman's voice, that it's going to seem like it has an English accent. | ||
But if we were to do it any other way, we just would never get through all of these, nor if I keep talking all the time. | ||
Here it is, one more time. | ||
unidentified
|
I've not been to Northern California. | |
I would not mind that at all. | ||
It's true. | ||
All right, let's address that very quickly, this suggestion business. | ||
Clearly, I heard what you suggested I would hear. | ||
How big of an issue is this suggestion if you weren't telling us what we were about to hear beforehand. | ||
In some cases, it's definitely power of suggestion. | ||
I mean, it's very subjective. | ||
And in other cases, it is so blatantly clear what is being said that, I mean, everybody you play it for, you haven't even told them what you think it sounds like. | ||
It comes up with exactly the same thing. | ||
Exactly. | ||
They all say this is exactly what's being said. | ||
How do you do this? | ||
Once you've captured the various voices, do you then sort of have a meeting where everybody sits around and you play them and try and come to a group conclusion? | ||
Or how is it decided on? | ||
That's exactly what we do. | ||
How do we do it? | ||
Because there's like this last voice that we played, I think that it sounds like they're throwing it, but I really think that she's saying something else. | ||
Really? | ||
I don't recall what they're throwing it, but I don't think that that's what she's saying. | ||
Do you recall what you thought it was? | ||
I can't make out for sure what she's saying, but I don't think that it's what what has been decided on. | ||
I mean, that's basically what it is. | ||
It's a vote between the members on how many people think it says this and how many think it says that. | ||
Sure. | ||
It is nevertheless important for the show. | ||
Otherwise, we'd get hopelessly bogged down, I suppose, and we'd never get through the list at all. | ||
That's true. | ||
I think we've got time for one more, number three. | ||
Okay, now this one, this was also recorded in Barbara and Rogers' house. | ||
And it should be mentioned that both Barbara and Rogers and Jenny and I's house, I believe, are both haunted now. | ||
And I'm not sure if this is something that's followed us or something that's maybe always been here. | ||
I'm betting that's something that has followed us from some investigation. | ||
Well, we have a lot to talk about on that subject, indeed. | ||
But fine, let's go ahead and play it. | ||
Let's do the setup here. | ||
All right, now what you're going to hear is Barbara saying, but he was by himself when he got that voice. | ||
He wasn't in that room. | ||
And she's just referring to a voice that we had recorded earlier. | ||
And then you hear me say, oh, okay. | ||
And then you hear a woman say, why can't they shut up? | ||
Alrighty. | ||
unidentified
|
But he was by himself when he got that voice. | |
He wasn't in that room. | ||
What? | ||
*crying* *crying* | ||
I heard it. | ||
What's the future? | ||
What's the future? | ||
Oh, that one was great. | ||
A little attitude there. | ||
unidentified
|
But he was by himself when he got that voice. | |
he wasn't in that room All right. | ||
There you got it. | ||
My guests are Brendan Cook and Barbara MacDeath, two of the five members of the Ghost Investigative Society, the GIS, from the high desert, middle of the night. | ||
I'm Art Bell. | ||
Good morning. | ||
Stay where you are and be warned. | ||
It's going to get rough. | ||
unidentified
|
watch the sun rise And in the shadow, every love And if you know we love to dance. | |
You'll never leave me alone. | ||
To talk with Art Bell, call the wildcard line at area code 775-727-1295. | ||
The first-time caller line is area code 775-727-1222. | ||
To talk with Art Bell from East of the Rockies, call toll-free at 800-825-5033. | ||
From West of the Rockies, call ART at 800-618-8255. | ||
International callers may reach Art Bell by calling your in-country sprint access number, pressing option 5, and dialing toll-free 800-893-0903. | ||
From coast to coast and worldwide on the internet, this is Coast to Coast AM with Art Bell. | ||
This piece of bumper music fits in so well with so much of what I do, including tonight. | ||
The GIS are here. | ||
Brendan Cook, Barbara Macbeth, are part of a group that record the voices of the dead. | ||
That is what I think we're listening to tonight. | ||
unidentified
|
And rougher stuff is directly ahead. | |
Soon, they'll take us to a mental hospital. | ||
And that will be rough stuff. | ||
Stay right there. | ||
unidentified
|
Stay right there. | |
But he was by himself when he got that voice. | ||
He wasn't in that room. | ||
What was this time? | ||
What was this time? | ||
What was this time? | ||
Could that voice have been referring to you, too? | ||
We were just talking about that. | ||
Brendan was saying that he wondered if she was talking about us or to the other ghost voices that we record. | ||
Interesting Point. | ||
Now, again, these were recorded in your home. | ||
And folks, you and I have had some number of discussions about this. | ||
I know, Barbara, you do some incantation when you're leaving a graveyard or wherever else you're leaving to please not be followed home. | ||
unidentified
|
Yes. | |
But it may not have worked. | ||
Well, I think our house had occupants in it when we moved in. | ||
Really? | ||
When we first moved in. | ||
But I don't have a problem with any coming home with me. | ||
unidentified
|
No? | |
No. | ||
No, well. | ||
You can only pick up so many stray cats. | ||
I know. | ||
I mean, come on now. | ||
why would you not have a problem with that why would you want I think it's a normal part of our world. | ||
It's just something that we don't understand. | ||
unidentified
|
Hmm. | |
It bothers me that it doesn't bother you. | ||
All right. | ||
All right. | ||
Let us move forward. | ||
Number four. | ||
All right. | ||
This was around our kitchen table also. | ||
And you're going to hear Jenny say, did you hear about that girl in Texas, that Walmart girl? | ||
And she's referring to the girl that was murdered, kidnapped out of the parking lot there. | ||
And Roger answers, yep. | ||
And then this voice, it sounds to me like it's kind of a younger voice. | ||
He says, he cut. | ||
unidentified
|
What did he cut? | |
Let's take a listen. | ||
He cut. | ||
What did he cut? | ||
All right, here we go. | ||
unidentified
|
Did you hear about that girl in Texas, that Walmart girl? | |
Yeah. | ||
hard I'm not. | ||
That one's hard to hear. | ||
Again, supposedly he's saying he cut, what did he cut? | ||
Now, these are only the guesses of the GIS about what's being said, and you're welcome to make your own. | ||
But again, what you're listening for is he cut, what did he cut? | ||
If you don't think it's that, what do you think it is? | ||
unidentified
|
Did you hear about that girl in Texas, that Walmart girl? | |
Yeah. | ||
Yeah. | ||
Okay. | ||
Yeah, that seems like that's what it's saying. | ||
All right. | ||
He cut, what did he cut? | ||
And I don't know if that girl was cut. | ||
I know that the man shot her, but I don't know. | ||
We tried to research that, and we haven't been able to find anything about that. | ||
All right. | ||
These are all recorded in your home. | ||
These are, in your opinion, very different voices, yes? | ||
Yes. | ||
So there is beginning to be some reason to believe that there are some number of prior personalities in your home. | ||
You know, we talked about this, and I almost wonder if these voices kind of project how they're feeling. | ||
So if for some reason the person feels very young and vibrant, they come off sounding younger and almost like a child. | ||
But at other times, they can sound, you know, like an old lady or a young man. | ||
Do the sounds of the voices come through unimpeded, or is there some common sort of sound with the voices that you hear? | ||
You know, sometimes we actually have noticed that maybe a second, two seconds before you hear a voice, there is almost a popping noise. | ||
Really? | ||
A click or, I mean, you can really only describe it as a pop. | ||
That's a new one. | ||
I hadn't heard that. | ||
Well, it's something that I think recently we have really started noticing. | ||
And it's, you know, not with every voice, but there's quite a majority that you can hear a click right before the voice comes in. | ||
One other item. | ||
The American public, the world's public that are listening to this should know that you're not the only ones who have done this. | ||
This goes back to the very beginning of electronic voice transmission, right? | ||
Oh, yes, yes. | ||
There have been people, since you can record sounds, there has been people that have tried this and people that have tried to go so much farther than what we have done. | ||
For example, the work of George Meeks. | ||
Yeah, the Spiracom research, and they even went into Viticom research, and we're actually working on trying to get a tape of that now. | ||
But I mean, it goes so much farther than that. | ||
The work of George Meeks was astounding. | ||
They had an ongoing conversation with one who had passed. | ||
And folks, I played it on Halloween, probably at risk of my job because it was, I don't know, I played a lot of it. | ||
And I actually got a lot of thanks for it. | ||
I was surprised. | ||
I thought people were going to go berserk when I played that. | ||
But I thought it was so important. | ||
So important that it really had to be heard. | ||
So you're not the only ones doing this. | ||
And it really does go back to the beginning of voice communications. | ||
There's something about electronic voice communications that allows the other side to communicate with us. | ||
Oh, yeah, definitely. | ||
I mean, the other side is something. | ||
Yes, it is recording something. | ||
All right, let's move on. | ||
Number five. | ||
All right. | ||
Now, this one, this was the last voice that was recorded in Barbara and Rogers' house. | ||
And you're going to hear my wife, Jenny, say, seeing in Ireland where they had the Euros, it was less expensive. | ||
And she's talking about, this was back in September when we went on our honeymoon over to Ireland. | ||
Right. | ||
And after that, you're going to hear a man that it doesn't sound English. | ||
It sounds Gaelic. | ||
I mean, there's a Gaelic dialect to it. | ||
Can you tell what's being said? | ||
I cannot speak Gaelic whatsoever. | ||
I don't know if it is Gaelic, but I can't understand what's going on. | ||
Well, somebody in the audience will. | ||
let's try it. | ||
Here we go. | ||
unidentified
|
See in Ireland, where they have the euros, it was less expensive. | |
Uh, stupid giving. | ||
Oh. | ||
Uh, stupid giving. | ||
Uh, stupid giving. | ||
Ooh, I don't know what that is. | ||
I don't know what's being said. | ||
Clearly, it's a different voice. | ||
Somebody in the audience may speak whatever language is involved here. | ||
So your help, folks, listen very carefully once again. | ||
unidentified
|
See, in Ireland, where they have the euros, it was less expensive. | |
Ah, stupidity. | ||
Ah, stupidity. | ||
Ah, stupidity. | ||
Wow. | ||
You know, you want my shot at what was being said? | ||
I thought the voice might have said, I seek delirium. | ||
Now, see, that's the brain going to work. | ||
Now, my having said that, would you all listen one more time, please? | ||
Hold on, folks. | ||
I thought the voice said, I seek delirium, or something like that. | ||
See if you hear that. | ||
unidentified
|
See, in Ireland, where they have the Euros, it was less expensive. | |
i seek delirium I don't know. | ||
I don't hear that, Arch. | ||
No, huh? | ||
Okay, we'll see what the audience has. | ||
It may be another language, and it may be something out there that somebody can decode. | ||
How frequently do you get other languages? | ||
Not very. | ||
And I think a lot of that has to do with the location that we're in. | ||
I mean, obviously the primary language is English. | ||
And I really don't think that we've recorded, well, let's say maybe 5, 10% at the most has been some form of other language, whether it's German, Spanish. | ||
5 or 10%. | ||
Of the work that is going on, ongoing in Europe now, in your field, do they get German voices? | ||
Do they get Irish? | ||
Do they get whatever? | ||
Oh, yeah. | ||
They definitely record the voices of the native language to the location that they're in. | ||
And, you know, you mentioned German. | ||
I think the majority of the EVP work now is being done in Germany. | ||
Really? | ||
I mean, it's just, if you go to our website, there's a link to an amazing German site. | ||
It actually has an English translation for it. | ||
Why do you think the Germans have jumped on this so hard? | ||
They have for many years. | ||
Yeah. | ||
I mean, it's not something recent in recent years. | ||
The Germans have been researching this for over 20 that I know of. | ||
Any ideas about why? | ||
In other words, does religious interest enter into this? | ||
What puts somebody on the trail of this? | ||
I guess the wanting to know about the other side, what reasons do people become involved? | ||
You know, I think it's, I mean, obviously with some people it is religious. | ||
But I think with a lot of other people, it's personal exploration. | ||
They just want to know for themselves. | ||
I mean, whether anybody else believes what they're doing or not, they can at least prove to themselves this is what's happening and at least, you know, affirm in their minds that this is what's going to happen or at least know that when they die, that's not it. | ||
Well, that's certainly motive number one for me. | ||
You all have made pacts, haven't you, to try and come back and have a word or something? | ||
Others have. | ||
Others haven't, but some of us have. | ||
Some of you have. | ||
Okay. | ||
All right, number six. | ||
All right. | ||
This one was recorded at Brendan and Jenny's house. | ||
I was listening to a recording with my headphones on, and I'm referring to this recording, and we had stepped outside during this recording, and I say, boy, we were out for a long time, and this voice was recorded that says, let me go. | ||
Let me go. | ||
Okay, here we go. | ||
We were out for a long time. | ||
Oh, yeah. | ||
unidentified
|
And that's good. | |
That's very clear. | ||
Let me go is very clear, and the implications of it are a little scary, I think. | ||
Let me go. | ||
Let me go. | ||
unidentified
|
You were out for a long time. | |
I'm gonna pick you off. | ||
all right that wouldn't seem to be related to what you were what you were saying i mean it just seemed to be Let me go, let me go. | ||
Right? | ||
Yes. | ||
And he might have been wanting to go out where we had been. | ||
I don't know. | ||
Strange stuff. | ||
That completely unrelated. | ||
All right. | ||
Now, how in the world did you two end up in a mental hospital? | ||
This actually, we had an email from a lady, oh, I believe it was around the 16th of February. | ||
And she had asked if we could come in and investigate this building that she had just purchased, or rather her husband had purchased for her. | ||
And she gave us some history on the building. | ||
She said that it at one time was a mental hospital. | ||
It had been closed for the last 20 years. | ||
Originally, it was built as an accounting office. | ||
There was a bank inside of it and all that. | ||
And for, I believe it was from 1967 or 68 until 1981 was used as the local mental hospital. | ||
Right. | ||
And she gave us some history as far as she knew that there were seven people that had died in the building that she knew of. | ||
There was three who were murdered in 1932. | ||
One was an accountant and two others his secretaries. | ||
And then there were four suicides during the time that it was a mental hospital. | ||
Wow. | ||
And, you know, I'm sure there were many other things that were reported. | ||
Excuse me. | ||
You know, things that people just don't know about or weren't documented. | ||
And when we went into this place, it was, you could tell that it just, there was something weird about it. | ||
Really? | ||
They claimed, you know, I mean, like I mentioned, it's been closed for the last 20 years and has severe amounts of water damage and vandalism and all that. | ||
And they're in the process right now of restoring it. | ||
And, you know, we mentioned to them as they're doing this that they may see an increase in activity because a lot of times when you, you know, a spirit becomes attached to a location, when you start changing the location, renovating it, making any kind of changes, that tends to stir up some kind of activity, whether it's good or bad, you'll notice an increase in it. | ||
Well, I know people don't like changes. | ||
Maybe ghosts don't like changes either. | ||
Oh, I don't doubt that at all. | ||
They do become attached then to places. | ||
And environments. | ||
You know, there's cases where they become attached to things or people even. | ||
Well, we all do. | ||
As people, we certainly become attached to the places we live in. | ||
Even for cats, they are, this is their universe. | ||
This is their world. | ||
They're inside cats. | ||
And it is their world. | ||
It is such a strong imprint on their little cat brains that when they get outside the house, they don't like it. | ||
They want to get back into what they're comfortable with, what they recognize. | ||
And if indeed we survived death, I would imagine we'd be no different. | ||
That's correct. | ||
I think that a lot of times ghosts tend to be linked and haunt a location that they were linked to in life. | ||
I wonder if haunt. | ||
I guess haunt is the right word so everybody can understand, but maybe they're just going on as in death as they did in life. | ||
But once again, maybe it's important that we make this distinction. | ||
Not everybody, or at least I guess you believe, don't you, that not everybody that you get to record, let's put it this way, that the majority of those who pass on go somewhere else. | ||
They're not stuck in this sort of mid-world. | ||
They're not stuck on the earth. | ||
That's what I believe. | ||
I do not believe that everybody that dies stays here as a ghost. | ||
No, I do believe that there is, you know, a heaven and a hell, and there are people that go either way. | ||
But for whatever reason, there are some people that just do not go where they're supposed to. | ||
And there are so many theories on why, you know, loved ones keeping them here, you know, a tragic accident, and they don't realize that they've even passed on. | ||
But I do believe that there are a very small amount that do stay here. | ||
You too, is there any suggestion in your work that reincarnation is real? | ||
Is there anything that you've heard that would lead you to believe that reincarnation is what happens? | ||
No. | ||
No, not to deal with ghosts. | ||
Brendan? | ||
You know, I'm trying to think back to any EVPs that we've recorded or anything that would help me come to that conclusion. | ||
Well, has anybody ever mentioned another life? | ||
No. | ||
No. | ||
I mean, nothing like that. | ||
I really can't think of anything that you could even kind of generalize if that's what they're talking about. | ||
Is there ever an opportunity for you to take something that one of them said and prove it? | ||
In other words, go to somebody who knew that person or that they say something that can be proven, that did happen. | ||
Cases like that. | ||
I'm very curious. | ||
We'll come back to that when we get back. | ||
And then when we get back, we're going to begin recordings, very troublesome recordings made in a mental hospital. | ||
You can imagine those would be troubled, and sure enough, they are. | ||
From The High Desert, I'm Mark Bell. | ||
unidentified
|
I can feel my back in your saddle where you do what you don't confess. | |
Something you better take care. | ||
I hate you round my bedstead. | ||
Something you better take care. | ||
I find you've been creeping round my best dead. | ||
She's been looking like a queen in a sailor's dream. | ||
And she don't always say what she really means. | ||
Sometimes you could read my mind, love what a tale my thoughts could tell. | ||
Just like an old-time movie, how to ghost no wish it well in a castle yard or a fortress drawn with chains upon my feet. | ||
I will never be set free, as long as I'm a ghost you can see I could read your love, but a different thought could tell. | ||
Just like a big hole, the time just goes when you reach the part where the heart is to talk with Art | ||
Bell. | ||
Call the wildcard line at area code 775-727-1295. | ||
The first-time caller line is area code 775-727-1222. | ||
To talk with Art Bell from east of the Rockies, call toll-free at 800-825-5033. | ||
From west of the Rockies, call 800-618-8255. | ||
International callers may reach ART by calling your in-country sprint access number, pressing option 5, and dialing toll-free 800-893-0903. | ||
From coast to coast and worldwide on the internet, this is Coast to Coast AM with Art Bell. | ||
We're about to be off to the mental hospital, but in a moment, I do want to ask again about the proof. | ||
In other words, utterances have been made and recorded. | ||
know the will is under the mattress things like that that would have come from conscious thought after death The SpiritCom recordings were astounding. | ||
We published the literature on SpiritCom. | ||
We published the schematics for the equipment to produce the sounds, the multiple sounds, that spirits could use to modulate to conduct an ongoing actual conversation with the dead. | ||
And I'm hoping that some people have picked up on that information and are building that equipment. | ||
And I trust that we will hear from you when that occurs. | ||
In the meantime, back to the GIS represented by Brendan Cook and Barbara Macbeth. | ||
And the question of proof is what I raised. | ||
In other words, have there been utterances from the other side that indicated where something was or that made a statement about something that could be checked out? | ||
That kind of thing? | ||
We had a license plate told to us one time. | ||
Close to the phone, Barbara. | ||
I'm sorry. | ||
We had a license plate that was told to us on a recording on a vehicle that was in the cemetery where we were. | ||
No kidding. | ||
And then actually, I think one of the best ones that I can think of is we were in a cemetery and recorded a woman's voice that we've actually played on your show before. | ||
It was a woman saying Alma Berg here. | ||
It was just such an odd name to me. | ||
I've never even heard a name like that. | ||
Alma, I've heard, but Berg just sounded odd. | ||
Right? | ||
And, you know, sure enough, after we recorded that, we went back to the cemetery and did find a headstone that said Alma Berg. | ||
Oh, boy. | ||
All right, let's get on to the mental hospital. | ||
This is going to be disturbing. | ||
Tune out if the kind of thing disturbs you. | ||
It might. | ||
So this first one is going to require some special attention, right? | ||
Yeah. | ||
Tell me about it. | ||
This one is easily the oddest recording that we have ever recorded, even ever heard. | ||
It's just so different from anything we've played. | ||
Why? | ||
The length of it, for one, it's almost two minutes long. | ||
Oh, my goodness. | ||
And at the time this was recorded, nobody was in the room. | ||
What had happened is I had been recording at the upper level of this mental hostel for a while. | ||
unidentified
|
Right. | |
And my battery started going low on my laptop. | ||
Right. | ||
So I moved the laptop downstairs into this room that was way off at the very end of the building and plugged it in and set it on a shelf and just let it sit there and record. | ||
And after I did that, I started walking out of the room and went outside and everybody else had followed us out there and everybody was sitting outside at the time this was recorded. | ||
And it sat there silent for about seven minutes. | ||
And then all of a sudden, after about seven minutes, you hear what can only be described as a child. | ||
And followed by the child, you hear an older man, and then the child again. | ||
And the child keeps going on and on. | ||
This was recorded again in a completely empty room. | ||
Yes. | ||
And there's no chance that conversation going on outside that room by any of you or anybody else could have been what we're about to hear. | ||
Oh, no, no, definitely. | ||
For one, it is, to me, definitely a child. | ||
There's no question that... | ||
We never have children. | ||
We don't allow anyone under the age of 18 anywhere near our investigations. | ||
The other odd thing is for about 15 to 20 seconds at the end of this recording, you hear water, and you hear it splashing and splashing back and forth and almost a thrashing sound. | ||
And then you're going to hear a thud, and the sound just dies. | ||
You hear nothing else after that. | ||
In fact, the next thing you'd hear is me coming in to pick up the laptop and move it. | ||
We didn't include that on this clip, obviously. | ||
How do you interpret that splashing and thrashing? | ||
To me, listening to this over and over and over again, and this is what really bothers me, Barbara and I and the rest of the GIS had a big debate on whether this should even be included in the show, because I thought it was almost too disturbing to play. | ||
But to me, it sounds like what you're hearing is a kid saying, help me. | ||
I can't breathe. | ||
I couldn't breathe. | ||
A child drowning is what you think? | ||
Yeah. | ||
I mean, I can't take it any other way. | ||
And you know we've played this for quite a few people that aren't in our group, that don't normally listen to EVP. | ||
Yes. | ||
Didn't tell them what they were going to be listening for other than everything you hear in this clip should not have been there at the time. | ||
And they all come up with the same conclusion that this sounds like a child being murdered. | ||
Oh my God. | ||
All right. | ||
Anything else we should know before I play it? | ||
About the only other thing you should know is you will hear water in this clip being thrashed around. | ||
Really? | ||
There was absolutely no water in this building. | ||
The water, I mean, this building hasn't had water for over 20 years. | ||
I mean, it doesn't have water running to it, period. | ||
All right. | ||
Let's let everybody decide for themselves. | ||
unidentified
|
Here it is. | |
can't breathe | ||
God. | ||
all right uh... | ||
unidentified
|
uh... | |
All right. | ||
I want to go over exactly what they just heard. | ||
I've got the transcription here, and it says rough translation. | ||
Kid, help me. | ||
I can't breathe. | ||
I couldn't breathe. | ||
Deep man's voice, murder. | ||
Kid, I can't breathe. | ||
Very low man's voice. | ||
I couldn't breathe. | ||
Kid's voice continues, not sure what's being said. | ||
Woman's voice, I couldn't breathe. | ||
Just after this, you begin hearing the water thrashing sounds for around 15 or 20 seconds, followed by a big thud. | ||
I heard that. | ||
And then silence again. | ||
Now, again, folks, this was recorded in a completely empty room, so there should have been nothing at all, of course. | ||
They broke down the voices. | ||
What I'm going to do is I'm going to replay this, but I'm not going to play the bit at the end, where they just repeat the voices again and again. | ||
You will hear, again, this, and it's pretty hard to hear in the beginning, but boy, when that water starts. | ||
So I'm going to play the first part only again. | ||
we go. | ||
unidentified
|
Thank you. | |
Thank you. | ||
You have never, ever had anything like this and brought us anything like this ever in the past, have you? | ||
We have never heard anything like this that we've recorded. | ||
I mean, this. | ||
Or anybody else that's recorded anything like this. | ||
When I heard this, when I was going over the tape or the recording and I heard this, I was so bothered by it. | ||
I mean, when I first heard it, that was the only way I could take it is that's what's happening. | ||
I mean, is this a murder caught in some giant horrible loop? | ||
Is it the echo of the murder, the incredibly strong emotions involved in a moment of that sort? | ||
Or is it somebody's memory? | ||
Or, my God, what are we hearing? | ||
Yeah, exactly. | ||
That's what, you know, what is this? | ||
We've, you know, we've thought about this, and my feeling on it, and Barbara differs on this, we've talked about this before, I feel that it is almost like a residual piece. | ||
It's something that was so traumatic it was recorded in the atmosphere, and for whatever reason gets played back from time to time, and we just happen to pick it up. | ||
Barbara thinks something completely different. | ||
On everything that I've researched and read about Residual hauntings is usually everything that I know about when residual hauntings are taking place and witnessed, they are always in the location that the actual event took place. | ||
Where this certainly wouldn't be. | ||
There would be no history of any pool or bathtub even, right? | ||
There's no tubs in the building. | ||
As far as I can tell, there never was because it was always used as offices in this area. | ||
But downstairs, in the basement, there is a well. | ||
unidentified
|
Oh. | |
So you had quite a debate about even whether to air this, huh? | ||
Yes, I did. | ||
It was very disturbing. | ||
I mean, it really bothered. | ||
It's bothered everybody that's heard it. | ||
I think Roger, you know, the day that I recorded this and brought it over to play for everyone else, I mean, it almost looked like Roger was crying when he heard it. | ||
It was, I mean, just to hear it is so disturbing. | ||
Even if you, you know, we don't break it down and tell you what it says, I mean, you really can't come to any other conclusion. | ||
Well, I've got to agree. | ||
There's a child's voice there, clearly, a child's voice. | ||
The thrashing, the thump. | ||
God, that is disturbing. | ||
And I almost want to hire somebody to dive down that well. | ||
Really? | ||
Yes. | ||
Have you ever done anything that extreme? | ||
No? | ||
No, but this makes me want to. | ||
unidentified
|
Yeah. | |
I guess. | ||
I mean, I tried everything to rationalize this and try and pass it off as, you know, could it be a radio signal that we've picked up? | ||
That sounds like a sound. | ||
No, that didn't sound like any radio show. | ||
Uh-oh. | ||
Period. | ||
No. | ||
No way. | ||
No way. | ||
unidentified
|
Wow. | |
All right. | ||
You got me on that one. | ||
You really got me on that one. | ||
I guess let's just move on. | ||
I don't know. | ||
Maybe we'll come back to this. | ||
That was really disturbing. | ||
Yes, it is. | ||
You want to go to the next one? | ||
Yeah, I think so. | ||
I do, yeah. | ||
Number eight. | ||
This was in the same building. | ||
You're going to hear a voice, the voice first, and it says, I will kill you, bastards. | ||
And then you're going to hear Brendan say, okay, I will go see how much time is on the laptop. | ||
Completely unaware that that's what was said. | ||
unidentified
|
Oh, yeah. | |
Yeah, I was definitely unaware that that's what was said. | ||
Let's see how clear it really was. | ||
Oh, man. | ||
I'm going to see one of the signs on the line. | ||
unidentified
|
I'm going to kill you faster. | |
I'm going to kill you faster. | ||
Transcription by CastingWords All right. | ||
Fine. | ||
Fine. | ||
Now, this kind of thing is obviously disturbing, but remember, we're in a mental hospital. | ||
But yes, that was quite clear to me. | ||
will kill you bastards and i would take such a thing seriously one more time that was the yes That's got to worry you. | ||
When you listen, even though you're hearing this later, not right on the, I mean, if I heard that right on the spot, I might really want to make tracks. | ||
But of course you don't. | ||
You don't, reminding everybody, folks have hours of tape or recordings to go through, and so they don't hear these until they get home, right? | ||
That's correct. | ||
All right. | ||
If you had heard this live, how would you have handled it? | ||
I probably would have asked why. | ||
unidentified
|
I mean, why they'd want to kill us. | |
But then again, like you said, I mean, it is in a mental hospital. | ||
And, I mean, it's not exactly the most rational place in the world. | ||
So, obviously, the theory would be that the voices that we're going to record don't exactly match what we would normally record in a, you know, say... | ||
unidentified
|
Yeah. | |
This is going to seem like an irreverent remark, but it's hard for me to imagine a God who would allow a mentally disturbed person in this world, a severely mentally disturbed person, to remain a mentally disturbed person after they pass. | ||
But, hey, I'm not the one drawing out the plans. | ||
It just, it, doesn't it seem odd? | ||
Or maybe it doesn't, because it seems like personalities carry over no matter what they are. | ||
They seem to be that on the other side, but gee. | ||
It gives weird. | ||
It takes pause, doesn't it? | ||
Yes. | ||
Yes, and maybe that's why you ought to be careful, pay very careful attention to what you do in this life, because that's what you're going to keep doing. | ||
Yeah, your personality doesn't seem to change how you are in life. | ||
It seems like that's how you are after you die. | ||
Either one of you believe that somebody on the other side has the power to kill anybody? | ||
Ever wonder? | ||
I mean, when you hear a statement like, I will kill you, bastards. | ||
No, I really don't think so. | ||
I mean, especially a ghost. | ||
I don't see that they would have that power. | ||
I think, if anything, that was more of a threat to intimidate us. | ||
But, I mean, certainly we've been doing this for so long and recorded so many voices and never had anything physically threatening happen. | ||
unidentified
|
It would have worked for me. | |
Guarantee you. | ||
Incidentally, what was your review of White Noise? | ||
Some number of people were somewhat disappointed in it or their expectations were higher. | ||
You know, people who listen to this kind of program and the kind of stuff we do here. | ||
How about y'all? | ||
Um, you know, to be honest, we we heard such horrible things that we have yet to see it. | ||
Really? | ||
We, I mean, everything that we heard in email and reviews, you know, message board posts on our website was just so horrible. | ||
I just decided, you know, this technically really doesn't have anything to do with EVP, so why go see it? | ||
Wow. | ||
All right. | ||
Hold it right there. | ||
Brendan Cook, Barbara Macbeth, two of the five GIS members who do this as a non-profit operation in Utah from the high desert, middle of the night, darkness, where we operate best. | ||
I'm Art Bell. | ||
unidentified
|
You don't count reason. | |
You know you don't count reason. | ||
You don't count reason. | ||
You know you don't count reason. | ||
But the thing you do, you wanna see the blues and your own don't come easy. | ||
You don't have to shout all these the vows, you can even play them easy. | ||
You can't run by the past. | ||
I'm not a fan of the vows. | ||
I said you love, I thought you'd win I'm gonna do that. | ||
I have to give, why did it have to stop? | ||
You're blowing all sky high, by telling me a lie, without a reason why. | ||
You're blowing all sky high. | ||
You're blowing all sky high. | ||
Our love happens to fly. | ||
We could not touch the sky. | ||
You're blowing all sky high. | ||
Oh, oh, oh, oh. | ||
To talk with Art Bell, call the wildcard line at area code 775-727-1295. | ||
The first-time caller line is area code 775-727-1222. | ||
To talk with Art Bell from East of the Rockies, call toll-free at 800-825-5033. | ||
From West of the Rockies, call ARC at 800-618-8255. | ||
International callers may reach Art Bell by calling your in-country sprint access number, pressing option 5, and dialing full-free 800-893-0903. | ||
From coast to coast and worldwide on the internet, this is Coast to Coast AM with Art Bell. | ||
Good morning, everybody. | ||
unidentified
|
Some songs just have so much power in them, don't they? | |
Brendan Cook, Barbara MacFett, members of the GIS, the Ghost Investigation Society, or Investigators Society, are my guests. | ||
They have a website. | ||
You can follow what you're hearing tonight on that website. | ||
We've got a link up. | ||
You can also investigate a great deal of what they've done in the past. | ||
In the past, we've had some pretty chilling stuff, although I must admit, this last cut that we had to deal with maybe topped it all. | ||
I don't know. | ||
that was quite some cut the Once again, Brendan and Barbara from Utah. | ||
All right, you two are back, and what I'd like to do is cover the remaining clips we have between now and the bottom of the hour, and then be able to take some calls for about a half hour at least. | ||
Can we do that? | ||
All right, good. | ||
It should work out. | ||
Number nine is coming up. | ||
I still can't get shape number seven. | ||
I probably, I should tell you all, Brennan called me before the program and said, Art, you better listen to number seven before we air it. | ||
And I said, no. | ||
I'm not afraid to run anything. | ||
As long as it doesn't have, you know, language I can't run. | ||
The disturbing aspect of it wouldn't stop me. | ||
So I had not heard it until you all heard it. | ||
And I can see why. | ||
It'll stick with me for a while. | ||
All right, number nine. | ||
All right. | ||
Well, this one was also obviously recorded in the mental hospital. | ||
And you're going to hear me in this clip say, okay, what we're going to do is just feed it straight into the sound card. | ||
Yeah, I mean, in essence, what you're doing is just cutting out the middleman so it's going straight in and we can take it straight back out. | ||
And I'm just referring to the microphone that's being hooked up to the laptop and basically how we're going to extract voices for that night. | ||
Absolutely. | ||
And directly after me saying this, you hear a man. | ||
Actually, it almost sounds like two voices put together. | ||
It sounds like a man saying, for the love of God, why won't they die? | ||
Oh, brother. | ||
Okay, here we go. | ||
unidentified
|
So what we're going to do is we're going to feed it straight into the sound card. | |
Yeah, I mean, in essence, what you're doing, you're just cutting out the middle man. | ||
So, I mean, it's going straight in and then we can take it straight back out. | ||
What's the job? | ||
Why will they die? | ||
What's the job? | ||
Why will they die? | ||
What's the job? | ||
Why will they die? | ||
There's a strange kind of hitch in that voice before the word won't. | ||
But again, it's saying, for the love of God, why won't they die? | ||
Brendan's voice is quite clear, clearly understood. | ||
And here it is one more time. | ||
Listen very carefully. | ||
unidentified
|
Now, what we're going to do is we're going to feed it straight into the sound part. | |
Yeah, I mean, in essence, what you're doing, you're just cutting out the middle head. | ||
so it's going straight in and then we can take it straight back out uh... | ||
so anybody want to take a shot at that meetings or what i think on that one you pretty much like the one before it just kind of take it at face value Yeah. | ||
God, but what does it mean? | ||
It's so easy to understand the ones that are contemporary that make reference to what you're doing or something that's currently going on. | ||
But the ones that just are out of nowhere, I guess we're all guessing. | ||
Yeah. | ||
All right, number 10. | ||
Right, in this one, you're going to hear the lady that owns the building, and we were asking about the room that we were in, what it was originally used for, and she says, no, you're in the bank right now, you're in customer service. | ||
And then this voice was recorded right after that. | ||
Okay, you were in what had been a bank, but also what had been a mental hospital, right? | ||
unidentified
|
Right. | |
All right. | ||
So again, no, you're in the bank right now. | ||
customer service He's been cut open. | ||
All right. | ||
unidentified
|
Now you're in the bank right now. | |
Your customer is a servant. | ||
You didn't grab anything? | ||
You didn't grab anything? | ||
You didn't grab anything? | ||
Wait a minute. | ||
That's a woman's voice, isn't it? | ||
unidentified
|
Yes. | |
Oh, okay. | ||
You agree with that. | ||
I thought you were saying it was a man's voice. | ||
No, it's a woman's voice. | ||
He's been cut off in the lunch. | ||
One more time. | ||
unidentified
|
You're in the bank right now. | |
Your customer's sure of it. | ||
You didn't start anything? | ||
Again, no relationship to anything around you that you knew of, right? | ||
Right. | ||
Just he's been cut open. | ||
I have no idea what they could be, what she could be referring to. | ||
Well, you could have had that one in a morgue. | ||
A lab somewhere or something. | ||
Yikes. | ||
Again, also, you only get that much. | ||
I mean, you would imagine a conversation going on on the other side that would have more to say, but you seem to get small slices of what's being said. | ||
Any thoughts on why? | ||
We've thought about this and figured that it mainly has to do with the amount of energy that these spirits have to exert to even speak what we do record. | ||
Are you able to record any increased electromagnetic energy or any other kind of energy for that matter at the time of these recordings? | ||
Oh, yeah, we have. | ||
I mean, there is the popular theory that ghosts manifest or manipulate the existing electromagnetic field, and we do use EMF meters, thermal scanners, things like that. | ||
But again, I mean, this is all theory, and nobody knows for sure that this is how they do it and this is why they do it. | ||
I mean, it's just it takes people like us and all the other researchers out there to basically come to a common denominator on what's causing it. | ||
And you would welcome a university-level investigation of what you're doing, right? | ||
Without a doubt, yes. | ||
All right. | ||
Number 11. | ||
All right. | ||
Now, this one, I had set the laptop up again to record, and I was actually walking out of the room at this time and passed some people that were in the building with us. | ||
And I was telling them, yeah, when you go in that room, the laptop's sitting on the shelf, so be careful. | ||
I say the mic's kind of sticking out of that little wooden thing also. | ||
And then you hear what sounds like a kid saying he was ugly. | ||
Really? | ||
Here we go. | ||
unidentified
|
Yeah, when you go in that room, that laptop's sitting on the shelf, so be careful. | |
The mic's kind of sticking out of that little wooden thing also. | ||
home. | ||
I'm not awake. | ||
I'm not awake. | ||
All right. | ||
No question about it. | ||
That was a child's voice, and I guess we're going to have to talk about that again. | ||
A lot of recordings of children. | ||
Very disturbing, but it's what it is. | ||
unidentified
|
Yeah, when you go in that room, the laptop's hidden on the child, so be careful. | |
The mic's kind of sticking out of that little working thing also. | ||
Turn that way. | ||
Turn that way. | ||
Turn that way. | ||
Hmm. | ||
So I'm not sure that the child said ugly. | ||
It sounded kind of like ugly, but maybe. | ||
But definitely a child. | ||
No question about the fact that it was a child. | ||
And you get so many recordings of children, a disproportionate large number of children. | ||
How come? | ||
Your guess would be as good as mine. | ||
unidentified
|
God, the whole thing is so full of guesses. | |
What do you recommend to people who are going to go out and try this on their own? | ||
First of all, I would recommend that when you go out there, have the mentality that these are people. | ||
Don't go out being afraid that these are demonic forces that are going to possess you and things like that. | ||
I mean, it's simply it's not the case. | ||
Not to worry about those little voices that I'm going to kill you, bastards, and similar things. | ||
Don't worry about that, folks. | ||
Just be cheery and smile. | ||
Well, they're just, I mean, all they are, they're threats, but they actually, I mean, they don't do anything. | ||
Doesn't mean a thing. | ||
I mean, the only thing I can think of ever happening that was physically, you know, physically maybe endangered us was Barbara had a bolt thrown at her, but it wasn't even hard enough to hurt her. | ||
Okay. | ||
Number 12. | ||
All right. | ||
In this one, you're going to hear me say, please come and talk with us. | ||
And this voice was recorded. | ||
unidentified
|
It says, be careful. | |
This is another child. | ||
unidentified
|
I believe. | |
Oh, again. | ||
All right. | ||
Please come and talk with us. | ||
unidentified
|
I'm careful. | |
Again. | ||
Please come and talk with us. | ||
unidentified
|
Be careful. | |
Be careful. | ||
I heard something like thumping or making a noise in with that. | ||
Did you? | ||
Yeah, that was Barbara walking. | ||
Oh, it was. | ||
Oh, okay. | ||
So the mic was picking up both. | ||
And there are lots of occasions, you've told me in the past, I believe, where you've talked over each other or you have been talking when a voice says something and they mix together, right? | ||
unidentified
|
Yes. | |
Making it more difficult. | ||
Extremely frustrating because you could have this amazing, amazing, loud, clear EVP, but you get somebody talking over it and it just becomes useless. | ||
Indicating they're both coming in the same way. | ||
Do you think, in other words, actually through the microphone? | ||
I do believe that, no. | ||
You know, as you mentioned at the beginning of the program, we did have the theory that these were being imprinted through electromagnetic fields and things like that. | ||
Yes. | ||
I do believe that they are being recorded through the microphone. | ||
In that case, there ought to be occasions where you are able to actually hear what's being said audibly. | ||
And there are very few occasions. | ||
There have been times that we have heard these voices as they're being recorded, but not often. | ||
Very, very rarely. | ||
All right, number 13. | ||
Okay, now this one, this was I was sitting in a room by myself, and I thought that a friend of mine was in the room with me, and you'll hear me say, hey, Lee, Lee, and of course, nobody answers me. | ||
He's not even in the room with me anymore. | ||
And then a child comes in and says, I'm hungry. | ||
And to me, this child sounds like the same child in track seven. | ||
All right. | ||
Oh, really? | ||
Okay, here we go. | ||
unidentified
|
Hey, Lee? | |
I love you. | ||
Oh. | ||
The same voice as, well, that's a hard call to make because the child's voice in seven was, you know, about breathing was just really hard to hear. | ||
Yeah, yeah. | ||
I mean, this comes from us listening to it over and over again. | ||
I mean, it sounds the same. | ||
The pitch is almost the same. | ||
All right, people are asking about what you do. | ||
Now, obviously, you chop out a little piece and you appear to increase the gain a little bit in the three playbacks that we get. | ||
Is that all the processing you do, or is there more? | ||
Most of the time, it's just simply amplifying the loops that we include at the end. | ||
There are times, you know, in the case of track seven, because we were recording in that little room and there was so much background atmosphere sounds, you know, electricity humming sounds and things like that, we did in track seven do a hiss reduction to get rid of that. | ||
And on the website, we're actually including the original unedited piece that was straight off the laptop. | ||
And you can basically hear all the static that we had to cut out. | ||
Oh, okay, good. | ||
And so on the website, you can go and you can pair number 13 to number 7 and see if you hear the identical voice as well. | ||
That's correct, yes. | ||
And hear the raw recording. | ||
Number 14. | ||
All right, this one, you're going to hear Brendan say, all right, let's go on. | ||
And then I say, you think that'll be all right? | ||
And Brendan says, yeah, that'll be fine. | ||
And then this voice came in and says, it will be for us. | ||
Meaning fine for them, do you think? | ||
I don't know. | ||
Let's play it and see. | ||
unidentified
|
it will be lost. | |
I didn't get that out of that at all. | ||
It sounded like one word that was being said there. | ||
Well, really? | ||
Yeah. | ||
You got it will be for us. | ||
It sounded much shorter than that to me. | ||
Really? | ||
Yeah, yeah. | ||
I distinctly hear five syllables in that. | ||
It will be for us. | ||
Really? | ||
All right. | ||
I'm listening again. | ||
We all are. | ||
See what you all think. | ||
unidentified
|
All right. | |
Alright. | ||
Yep. | ||
It'll be fine. | ||
It will be lost. | ||
Wow, I don't get that. | ||
I get just a much shorter. | ||
We'll see what the audience has to say. | ||
All right. | ||
We have one more, number 15. | ||
Let's go ahead and get to that before the bomb of the hour here. | ||
All right. | ||
Now, this one, I was actually testing the sound card and the microphone on the laptop. | ||
And you'll hear me say to Roger, hey, Rog, and then he says yes. | ||
And I say, say something, just talk for a second. | ||
Then you hear Roger say hello. | ||
And then you'll hear me say, do it again. | ||
And then Roger says, hello again. | ||
And then I say, okay. | ||
And then you hear what sounds like a woman saying, I was working. | ||
And then I finish up saying thank you. | ||
All right, here we go. | ||
Hey, Roger. | ||
unidentified
|
Yes. | |
Say something. | ||
Just talk. | ||
unidentified
|
Hello. | |
Do it again. | ||
Hello. | ||
Okay. | ||
Uh-uh. | ||
unidentified
|
Thank you. | |
uh-huh There you have it. | ||
We'll do that once more. | ||
I was working comes through. | ||
I think very clearly. | ||
unidentified
|
Yes. | |
Say something. | ||
Just talk. | ||
Hello. | ||
Do it again. | ||
Hello. | ||
Okay. | ||
thank you Well, there you have it. | ||
I think that's right. | ||
I was working is exactly what was said. | ||
And again, tonight has been full of more than any other night I think we've ever done with respons, or I don't want to say responses, with tracks that seemed totally not responsive to anything any of you said. | ||
In that location, that's true. | ||
And you think because it was a mental hospital, that is why we came up with such a non-responsive well I think that I mean I think definitely there was a lot of residual energy in this location. | ||
And obviously a lot of these tracks, like you mentioned, don't seem to be responding to us. | ||
Right. | ||
But I mean, I think a lot of it has to do with the emotion of that building and the things that may have been recorded there. | ||
Of course. | ||
And the people that stayed there. | ||
Yes. | ||
well all right i don't know what the audience is going to ask but i can imagine after hearing all of this there would be a lot of questions they would have things that perhaps we didn't cover and uh... | ||
once again folks uh... | ||
the website uh... | ||
bremen if you would give it Ghostpics.com. | ||
So that would be a place to continue your investigation if you have been intrigued. | ||
the meantime your calls coming up from the high desert maybe the highest mountain This is Coast to Coast AM. | ||
I'm Art Bell. | ||
unidentified
|
Music If you need me, call no matter where you are, no matter how far. | |
Just call my name. | ||
I'll be there in a hurry. | ||
On that, you can depend and never worry. | ||
No wind, no wind, no rain, no rain. | ||
Winter's cold Can't stop Winter's cold Falling in love was the last thing I had on my mind. | ||
Holding you is a warmth that I thought I could never find You can't see me alone Just trying to decide I'll take the moment alone I'll stay by your side'Cause I'm so strong I know I could try I just can't but answer the questions that keep going through my mind | ||
Baby, you're gonna die Is it time? | ||
Is it time? | ||
Is it time to wait? | ||
Falling in love with the office day Is it time? | ||
Is it time? | ||
Is it time to wait? | ||
Falling in love with the office day I've seen visions of someone like you in my life Falling in love with the office day A love that's strong Wishing out Holding me to the darkest night Falling in love with the office day Falling in love with the office day To talk with Art Bell, call the wildcard line at area code 775-727-1295. | ||
The first-time caller line is area code 775-727-1222. | ||
To talk with Art Bell from east of the Rockies, call toll-free at 800-825-5033. | ||
From west of the Rockies, call 800-618-8255. | ||
International callers may reach Art by calling your in-country sprint access number, pressing option 5, and dialing toll-free 800-893-0903. | ||
From coast to coast and worldwide on the internet, this is Coast to Coast AM with Art Bell. | ||
It is. | ||
Good morning, everybody. | ||
Brendan Cook and Barbara Macbeth are my guests, two of the five GIS members. | ||
They record voices from the other side. | ||
I think I'm convinced there really is something to this. | ||
More questions about it all than answers, to be sure. | ||
but there's something to it. | ||
All right, folks. | ||
Brendan, Cook, Barbara Macbeth, GIS, they're all yours now. | ||
Are you two ready to take some calls? | ||
unidentified
|
Yes. | |
Obviously, people are going to have a lot of questions about this. | ||
Not that you can answer them all, but let's see what we've got out there. | ||
First time caller line, you're on the air with the GIS. | ||
Hi. | ||
unidentified
|
Hello. | |
Hi. | ||
unidentified
|
Hi, I wanted to say hi to Art and Brendan and Barbara. | |
Hi. | ||
Hello. | ||
Hi. | ||
I was just going to say it's so weird that you were talking about EVP tonight because I've always believed in that stuff. | ||
Every house I've ever lived in has had a ghost, and it's followed me from place to place. | ||
And I was talking with a friend last night who told me that a co-worker has a disruptive ghost in her house, and she was freaked out, doesn't really understand it. | ||
So me and some friends went to her place tonight with a recorder and a digital camera, as well as a regular camera. | ||
And we went around, took pictures, asked questions. | ||
We came home, and we got a voice of a child that is saying, please, please help. | ||
And it's just creepy to hear this. | ||
And in some of these pictures, we took pictures in reflective services like mirrors and windows because we heard that you can actually get faces and images in reflective images like that. | ||
And we've actually got faces that are looking back out at us. | ||
And it's just incredible. | ||
And when I heard this tonight, I said, well, I have to call and tell this because I heard someone call and say they didn't think this was real, that it was a hoax, but it's not. | ||
No, I know it's not. | ||
And the best way for people to assure themselves of that is to go try it yourself. | ||
There's nothing like that in the whole world. | ||
I mean, if you're intrigued enough, try it yourself. | ||
Now, we should warn you, you may not get anything. | ||
Is there any place? | ||
I mean, you guys are always coming to us with prisons, mental hospitals, graveyards, I mean, all the places that most of us wouldn't go. | ||
Would you recommend they visit these kinds of places or not at all? | ||
Well, no, they can go, and they don't have to do it at nighttime. | ||
They can go during the day and take a little walk through a cemetery with their recorder on and see if they can. | ||
So you do recommend cemeteries in those kinds of places? | ||
Okay, Wildcard Line, you're on the air with the GIS. | ||
unidentified
|
Hi. | |
Hello. | ||
unidentified
|
Hey, Art. | |
Yes. | ||
Thanks. | ||
Thanks for taking my call. | ||
Sure. | ||
unidentified
|
My name's Quentin, and I'm from Wagner, South Dakota. | |
Yes, sir. | ||
unidentified
|
And I have a theory about why there's so many children EVPs. | |
I'd like to hear that. | ||
unidentified
|
Okay, first, what we always tell children to do when they're young is don't go to strangers if they don't recognize, you know, if you don't recognize the stranger. | |
Of course. | ||
unidentified
|
And then the second, children, you know, usually have a lot of energy, so maybe the residual energy from as well. | |
Children do have a lot of energy, but I don't understand how the first part relates. | ||
unidentified
|
Well, it doesn't. | |
That's the second part. | ||
No, no, no. | ||
The first part where you say we tell children don't go to strangers. | ||
True enough, but how does that equal they get a lot of children? | ||
unidentified
|
Well, they're on the other side. | |
Ah. | ||
And that carries over. | ||
Well, Brendan and Barbara would be strangers, wouldn't they? | ||
unidentified
|
That's true. | |
Yeah. | ||
All right, sir. | ||
Thank you very much, and take care. | ||
East of the Rockies, you're on the air with the GISI. | ||
unidentified
|
Hello. | |
Hello. | ||
unidentified
|
Hello, yeah. | |
My name's Howard from Port Aranzas, Texas. | ||
Yes, Howard. | ||
unidentified
|
I've been listening to your show a long time, and Barbara and Brendan, very interested in the GhostPics.com. | |
And I've gone out and recorded several voices myself. | ||
And I happened to record a voice of a very dear friend of mine at her grave, and the voice came out the same as it was hers in life. | ||
Oh, my goodness. | ||
unidentified
|
Yeah, and I have a videotape of her in life, and I have the tape recorded five years after she passed away. | |
And I was wondering if it'd be possible ever to compare those to see if they are the same. | ||
Oh, yeah. | ||
Yeah, it's definitely possible. | ||
I mean, if you want to, if you could, you can send us clips of both the live recording and the EVP recording. | ||
We can certainly, you know, run it through our programs, take spectrographs of it, and send them back to you and let you see what we found. | ||
Or you go to our website and we can show you how to do it yourself. | ||
unidentified
|
Okay, that would be wonderful because I've wanted to do it for years. | |
Did your friend have a message for you? | ||
unidentified
|
Yes, she did. | |
When she passed away, she was 26, and she was a bartender with me at a large spring break club in South Padre Island. | ||
And she was let go one night and got angry, had too much to drink, and was involved in a drunk driving accident that killed herself that night. | ||
Very violent. | ||
And she also ran into another family of four. | ||
And they were taken care of by the nightclub. | ||
And it was five years afterwards that just happened to move to Puerto Ramse, one block away from where she was buried, and went over and got the recording, and it came out, woe is my life. | ||
All right, sir. | ||
I very much appreciate the call. | ||
Thank you. | ||
How about that, you two? | ||
Have you had other reports of that? | ||
In other words, people going to, for example, specific grave sites and getting the voice of the deceased? | ||
unidentified
|
Oh, yeah. | |
Yeah, we've had, I mean, especially people sending invoices, much like he just talked about, you know, having a father or an uncle pass away, and, you know, especially pass away tragically. | ||
Sure. | ||
And going to their grave site or their tomb in a mausoleum and recording and being able to hear their voice or, you know, a voice that sounds like them saying their name or the person doing the recording's name, you know, something like that, something that's meaningful to them. | ||
Sure. | ||
Welcome to the Rockies. | ||
You're on the air with a GIS hi. | ||
unidentified
|
Yes, hi. | |
It's great to speak with you, Art. | ||
You're hard to hear, hon. You're going to have to be honest. | ||
unidentified
|
Can you hear me now? | |
That's much better. | ||
unidentified
|
Yes. | |
Okay, it's really great to speak with you, my favorite talk show host and my favorite guest. | ||
Thank you. | ||
I have a brother who is an electronics genius, and I have really tried to take the George Meeks ball and run with it, trying to find any of his relatives or associates to glean any information on reproducing the equipment. | ||
I've been unsuccessful, so I wanted to ask you, Art, or Barbara or Brendan, if you might know anybody who has a bit more information for my brother to grab onto this and really try to make a go of it? | ||
Very good question. | ||
I do, actually. | ||
He'd actually asked that we don't give his name out publicly. | ||
If you can email me, I will give you his email address and you can contact him. | ||
unidentified
|
I tried to email you regarding this. | |
How do I put in the subject line so I can really get your attention? | ||
Just put in regarding SpiritCom. | ||
unidentified
|
Okay. | |
And I'll definitely do that. | ||
unidentified
|
Because we're just biting at the chomp here. | |
Thank God. | ||
Thank God there are people out there chomping at the bit, is what I think she meant. | ||
To follow up on the meek work, I've just been really hoping upon hope there are a number of people who take the technical specs that we gave and the story, and I'll do it again, if necessary, and follow up on this, because I believe that he had an ongoing communication with the dead. | ||
Is there any question in either one of your minds about that? | ||
No, not at all. | ||
You know, I am shocked at how interested in this people are. | ||
I mean, we posted the SpiritCom recordings on our website, and I mean, right now, I think they are one of the most downloaded things on our website. | ||
Well, and for good reason. | ||
I mean, for those of you who didn't hear it on Halloween, I played the Spiracom Tape, and it was long, involved. | ||
If you didn't know what you were hearing, you'd say, oh, gee, isn't that boring? | ||
But if you did, it stood the hair on the back of your neck up, I guarantee. | ||
And so I'm pleading for people with the technical specs that we had on the web to please follow up. | ||
This man's work needs to be continued. | ||
Ongoing, real-time communication with the dead is possible. | ||
He proved it. | ||
We need to follow up. | ||
It's not surprising that the ball got dropped. | ||
Yeah. | ||
Well, we're going to see to it it gets picked up. | ||
International Line, you're on the air with Brendan Cook and Barbara Macbeth. | ||
Hi. | ||
unidentified
|
Hi. | |
I'm calling you back track seven, Barbara, Brendan, and Art. | ||
I was listening to that, and you played it over and over, and I swear, every time during the water thrashing part, I heard gasping. | ||
Yeah, so did we. | ||
We did too. | ||
unidentified
|
You hadn't mentioned it, and I wanted to make sure that someone else heard it, too. | |
Well, I didn't hear it. | ||
We didn't think it would come across too clear on the radio, so we, I mean, we didn't even mention it. | ||
It was more something if you just heard the track straight as we recorded it. | ||
Wow. | ||
unidentified
|
I heard it. | |
It was there, and it made it more eerie than it would have been. | ||
It does, yes. | ||
unidentified
|
Thank you so much. | |
Thank you. | ||
Thank you. | ||
Maybe I'm just as glad I didn't hear it. | ||
That is such an odd EVP. | ||
Any idea why? | ||
Of course you have no idea why. | ||
I mean, there it was in a room all by itself and captured this. | ||
There are so many. | ||
There's a million questions attendant with that particular recording. | ||
Have you tried similar circumstances to try and get a similar long recording like that? | ||
No, not yet. | ||
Well, every time we record... | ||
unidentified
|
Well, yeah, well... | |
That obviously is going to be done very soon. | ||
I'm sure it took the breath out of all of you. | ||
That goes without saying. | ||
First time caller line, you're on the air with the GIS. | ||
Good morning. | ||
unidentified
|
Hello. | |
Hello. | ||
unidentified
|
Oh, hi. | |
This is Lori from Portland, Oregon. | ||
Good morning, Lori. | ||
unidentified
|
Good morning. | |
Fascinating show. | ||
Thank you. | ||
I wanted to call referring to the last recording. | ||
I'm sure what we're hearing over the radio is probably not what you guys are hearing exactly, but to me, it sounded when Brendan's friend was saying hello, hello, that the woman said hello there. | ||
Or something like, well, hello there. | ||
I don't know what you guys had said that she said. | ||
Well, the last one we played was, I was working. | ||
The voice said, I was working. | ||
unidentified
|
See, that's not what I heard at all. | |
I heard her saying, like, hello back, as if to say she was saying hello back to... | ||
Yeah, I mean, I don't know if she could play it again, but I didn't hear at all what you guys thought. | ||
It sounded like she said either, like, hello there, or, well, hello there. | ||
Really? | ||
unidentified
|
Yeah. | |
Well, I can do anything. | ||
unidentified
|
It just came across so clear to me, but, of course, I'm on kind of, you know, AM radio, and it's my little clock radio, so who knows? | |
All right, here. | ||
Listen carefully. | ||
unidentified
|
Here up? | |
Yeah. | ||
Say something. | ||
Just talk to me. | ||
Hello. | ||
Do it again. | ||
Hello. | ||
Okay. | ||
Thank you. | ||
Oh, look. | ||
Oh, look. | ||
Ha, ha, ha, ha. | ||
I mean, that sounded a bit different that time because I'm on the phone. | ||
Really, I guess. | ||
Really? | ||
unidentified
|
Yeah, because I wasn't listening to my radio just now. | |
I'm just listening to you guys on the phone. | ||
So maybe it didn't quite sound like that, like what I thought. | ||
You know, it ought to come over on the phone and the radio just the same way. | ||
unidentified
|
It was a bit clearer on the phone, but it's just, you know, that's reception for you. | |
That's the way it goes. | ||
unidentified
|
Okay, so anyway, I just thought I'd ask. | |
All right. | ||
unidentified
|
Thanks. | |
Take care. | ||
unidentified
|
Bye. | |
Wild card line, you're on the air with the GIS, hi. | ||
unidentified
|
Hello, this is Joe in lovely Detroit. | |
Yes, sir. | ||
unidentified
|
Hey, I'd like to start doing this, and actually, I'd like to try and solve some murders. | |
So what do they recommend I do? | ||
Do I go to the crime scene where the body's found, or the grave site? | ||
Where should I go? | ||
Well, let's ask the primary question. | ||
You two, would this be a useful tool in solving murders, do you think? | ||
I think it possibly could be. | ||
Really? | ||
Uh-huh. | ||
And I would recommend that he go to the site first where the body was discovered. | ||
I mean, there's definitely, there's been a lot of talk about it. | ||
You know, people saying that they have solved the murders or at least heard the murder victim on recordings. | ||
There you are, caller, so you go to the scene of the crime. | ||
unidentified
|
That's what I'm going to do. | |
And I'm going to actually, before I investigate, I'm going to try it and see if I can get a name before I actually know who it is. | ||
That's the way to do it. | ||
Thank you very much, and take care. | ||
Hey, you two. | ||
Sort of a related, loosely related topic, and for the whole audience, too. | ||
My wife and I have stumbled into this incredible new program called Medium. | ||
Have you seen it? | ||
We actually haven't seen it. | ||
Then make plans and see it. | ||
It's a weekly show. | ||
It's called Medium, based on the true life of some gal in Arizona. | ||
Yeah, we have heard a lot about it, actually. | ||
It's well done. | ||
Boy, is it well done. | ||
Okay, East of the Rockies, you're on the air with the GIS. | ||
Good morning. | ||
unidentified
|
Good morning. | |
Hi. | ||
unidentified
|
I have a suggestion way out of the past. | |
You're familiar how when you're soldering eutectic solder that it comes down to a certain temperature and congeals? | ||
If you would have seen a man a century ago doing plenums with a soldering iron, that plenum would be a sound box and the trail of the cooling eutectic solder would be a recording of the sounds of people talking at the moment. | ||
You could go clear back and catch a dinosaur roaring as it was bleeding to death or so by the chemical differences, say, in congealing blood. | ||
Maybe so. | ||
I don't know, sir. | ||
Maybe you're onto something. | ||
I don't know. | ||
unidentified
|
Your audience can more actually come up with a hundred other things. | |
Well, you're blowing glass with different compounds of glass. | ||
There could be a trail in the glass. | ||
It may be that you're young. | ||
You know, there's a theory, you two, that, and this may even relate to EVPs for all I know, but there is a theory that everything, chairs, tables, windows, particularly windows, actually have some kind of memory. | ||
And if we knew how to draw out from them, we could hear things from the past. | ||
Has this ever been presented to you? | ||
Oh, yeah, we've definitely heard of that. | ||
And, you know, I really think that plays into what we were mentioning on track seven, this residual haunting and this almost recording that's being played back for some reason. | ||
I do think, you know, that it is some kind of memory that the location retains. | ||
that the location retains well is there any way of going back to find out if there ever was a bathtub in that room a pool in that room some something would You're on it now, huh? | ||
All right. | ||
First time caller line, you're on the air with the GIS. | ||
Hello. | ||
unidentified
|
Hello. | |
I'm calling from Calgary, Alberta. | ||
Oh, yes, ma'am. | ||
unidentified
|
And I just have a theory about what we're hearing about those voices. | |
Sure. | ||
unidentified
|
And I'm kind of a religious person myself, and I agree with you on the fact that you said you find it hard to believe that God would let a mental person stick around as an insane person in another lifetime. | |
I do, but I don't know God's mind, so. | ||
unidentified
|
No, I know, but I agree with you. | |
And I think, you know, what we're hearing is perhaps, like, I was, like, there was a theory that when you die, that you relive your sins. | ||
And perhaps, like, what we're hearing is, and somehow we get connected into the other world. | ||
And we are hearing someone reliving their sins and seeing what they did in another life. | ||
Like, so, for instance, the woman that we hear is, I'm working. | ||
Perhaps we're seeing or hearing what happened her telling her husband that she was working, whereas, in fact, she was doing some, like, committing a sin or like a sin of adultery or something in her life. | ||
And we're actually hearing what, like, hearing what she's reliving in her next life. | ||
Got it. | ||
unidentified
|
Does that make any sense? | |
Yes, it makes a lot of sense. | ||
And it's as good as any, except when you get to the contemporary current information, in some cases, direct responses. | ||
You didn't hear a lot of them tonight, although what you heard was very shocking tonight. | ||
You didn't hear a lot of direct responses, but there are in EVP. | ||
I don't know what percentage it makes up, YouTube, what you tell me. | ||
Hi. | ||
Yeah, the majority of our recordings are responsive and, you know, are even contemporary. | ||
Listen, you two. | ||
We're out of time. | ||
Show's over. | ||
As always, whoosh! | ||
Went right past us. | ||
See you next time. | ||
All right. | ||
Good night. | ||
Good night. | ||
Take care, Art. | ||
Take care. | ||
That's it, folks. | ||
We are out of time. | ||
Be back tomorrow night. | ||
We'll be talking about nanotechnology. | ||
Until then, from the high desert, here's Crystal with exactly the right words. | ||
Good night. | ||
unidentified
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Good night in the desert, shooting stars across the sky. | |
This magical journey will take this on a ride. | ||
Filled with the longing, searching for the truth. | ||
Will we make it to tomorrow? |