Participants
| 
| Speaker | Time | Text |
|---|---|---|
| The and inclusion policies of companies across the country now may be at risk of being interrupted after But I'm asking, do you know if I'm white? | ||
| I do not know. | ||
| corporate law to challenge DI policies, claiming they may have deprived shareholders of talent and violated employment laws. | ||
| It's a fascinating twist. | ||
| - The radical left Marxists are having their cultural revolution in America, whether you are aware of it or not. | ||
|
unidentified
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- But I'm asking, do you know if I'm white? - I do not know. - Half black? | |
| I do not know. | ||
| Asian Islander? | ||
| Do not know. | ||
| Brown? | ||
| Latino? | ||
| Shouldn't matter that I'm half Mexican. | ||
| It shouldn't matter whether I'm able-bodied or ambulatory or not ambulatory. | ||
| That doesn't have anything to do with what my background is, that I served in these operations in the military, that I gained these skills. | ||
| That I studied this in school, that I proved that I could pass whatever tests under stress and duress and be effective in the field under situations that foreign service officers might encounter. | ||
| Following World War II, the infiltration of American higher education by the Frankfurt School and the rise of the radical left boomers led us to critical race theory and eventually institutionalizing diversity, equity, and inclusion, or DEI. | ||
|
unidentified
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In France, it's about restrictions on the use of pesticides. | |
| The CIA media and its satellite propagandists are covering up a global revolution that is far worse than any war. | ||
| Engineered global starvation in order to rein in the GMO agricultural control of the United Nations Agenda 2030 and the Great Reset. | ||
|
unidentified
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Climate transition is a key priority for our societies. | |
| We need to make sure that our farmers can be a partner in this. | ||
| With our new climate and nature plan, we focus on the following three things. | ||
| First, the green transition. | ||
| Second, the growing physical impact of climate change. | ||
| And third, the risks from nature loss and degradation. | ||
| Our peaceful and united Europe ...is being challenged like never before by populists, by nationalists. | ||
| We hear the propaganda that increases of the gas of life, a trace gas in the atmosphere, will bring a disaster and that we will have runaway global warming. | ||
| Sorry, folks. | ||
| We've known for 200 years, from chemistry, that it's the exact inverse. | ||
| In America, Soros ponds are now making it a priority to wage lawfare on the average farmer, while a backdoor elimination of fertilizer, livestock, and farms by any means necessary is well underway. | ||
|
unidentified
|
In order to get net zero, first off, we'd have to kill all the animals, including ourselves. | |
| Food and energy. | ||
| Nothing else is as important as those two things. | ||
| Water, right, is part of food. | ||
| They haven't decided to cut the water off just yet. | ||
| You know, climate change is a bit abstract. | ||
| Some people understand it really well. | ||
| Some understand it a bit. | ||
| Some just don't understand it. | ||
| Water. | ||
| Every kid knows how important it is to have water. | ||
| When you're playing football and you're thirsty, you need water. | ||
| Four billion of us depend on nitrogen fertilizer, which they now say is bad because it's a greenhouse gas or whatever. | ||
| And in particular what the net zero movement does is it ignores the benefits of fossil fuels and it exaggerates the negative side effects. | ||
| That's the key thing that's going wrong. | ||
| Fossil fuels are crucial to the availability of food for 8 billion people in two ways. | ||
| So anyone want to suggest what are the ways in which fossil fuels are crucial to food? | ||
| Fertilizer. | ||
| So that's one. | ||
| So modern fertilizer is derived from natural gas. | ||
| We cannot feed 8 billion people without plentiful fertilizer. | ||
| Before natural gas, we were trying to use bat guano. | ||
| That was our best fertilizer. | ||
| Bat guano didn't scale very well to 8 billion people. | ||
| So natural gas is crucial. | ||
| There's nothing close to natural gas in terms of fertilizer. | ||
| Meanwhile, a tsunami of illegals is slowly reintroducing screw worms and hoof-and-mouth disease to American livestock our ancestors tenaciously battled with and eliminated from the U.S. | ||
| Our nation is running out of time. | ||
| No one wins in a war against the farmer. | ||
| Everybody starves, and everybody dies. | ||
| John Bowne, reporting for InfoWars. | ||
| First they call you racist and then they starve you to death. | ||
| The old communist playbook. | ||
| Just one of the variety of existential threats humanity faces from the globalists. | ||
|
unidentified
|
It's Tuesday, June 4th, in the year of our Lord, 2024. | |
| And you're listening to the American Journal with your host, Harrison Smith. | ||
| Watch it live right now at band.video. | ||
| I think it's time to blow this thing, get everybody in the stuff together. | ||
| Okay, three, two, one, let's jam. | ||
| Good morning, ladies and gentlemen. | ||
| Welcome to the American Journal. | ||
| I am your host, Harrison Smith. | ||
| We are coming to you live on this Tuesday, 4th of June. | ||
|
unidentified
|
We have survived yet another round of decisions. | |
| The execution has been stayed for at least the next 11 days. | ||
| I'll be here with you on air. | ||
| Infowars.com forward slash show, band.video. | ||
| Now is the time to make your own personal offline backups of band.video. | ||
| Infowars.com, the articles, the videos. | ||
| Everything. | ||
| And of course, go to InfoWarsStore.com. | ||
| Maybe your last chance to get some of our incredible products. | ||
| So stock up now. | ||
| That's InfoWarsStore.com. | ||
| It's the only place that we get funding, of course. | ||
| So we got a lot of news to cover today. | ||
| We'll be joined by Oris Press later in the show. | ||
| We'll take your calls as well. | ||
| It's the age of revelation right now. | ||
| Sort of. | ||
| I mean, kind of. | ||
| Maybe I should say it's the age of confirmation because all of these things were revealed by us four years ago, but now everybody's acknowledging what happened with COVID and so much more. | ||
| So let's get into it. | ||
| Here it is, your Daily Dispatch. | ||
| All right, here it is, folks, your Daily Dispatch for Tuesday, the 4th of June, 2024. | ||
| COVID vaccines may have helped fuel rise in excess deaths. | ||
| This is from the Telegraph. | ||
| COVID vaccines could be partly to blame for a rise in excess deaths since the pandemic, scientists have suggested. | ||
| Well, what do you know? | ||
| What do you know? | ||
| We'll get to that in just a little bit. | ||
| Of course, deaths have skyrocketed across the U.S. and America, around the world, really. | ||
| But the excess deaths are unbelievable, inexplicable if you ignore the obvious cause, which is the COVID vaccine. | ||
| The excess deaths didn't start when we were hit with the once-in-a-century global pandemic. | ||
| No, they only started after the rollout of the vaccine because it's a poison death shot that's killed millions. | ||
| Okay, we'll return to that. | ||
| Meanwhile, Biden to sign executive order limiting entry to U.S. | ||
| by migrants. | ||
| It turns out he could do it the whole time. | ||
| Turns out, you remember a couple months ago when they were letting tens of thousands of people cross every single day and they actually had the temerity, the unadulterated chutzpah to tell Trump supporters that it was Republicans' fault for not voting for the border security. | ||
| Bill, do you remember that? | ||
| Do you remember when they tried to tell you that it was because the Republicans weren't voting for the bill, which is why the border was open? | ||
| Yeah, it turns out that was a lie, just like we said it was. | ||
| Endless lies. | ||
| Endless lies. | ||
| As far as the eye can see. | ||
| Meanwhile, Hunter Biden's federal firearms case opens. | ||
| President Joe Biden's son, Hunter, is headed to trial on federal gun charges in a case brought by his father's Justice Department in a time when America's political and legal worlds are colliding like never before. | ||
| It's true. | ||
| It's true. | ||
| They've never collided like this. | ||
| They've collided in the past, but in those times, it's been a little different. | ||
| See, they're colliding like never before in that Trump is being charged with 34 felonies for what in reality amounts to not even a misdemeanor. | ||
| So that's unlike ever before. | ||
| And the president's son is a crack-smoking felon, psychopath, Criminal. | ||
| Just blatant, absolute criminal, extorter, exploiter. | ||
| It's never happened before. | ||
| I mean, it's never been this bad. | ||
| It's never been this bad. | ||
| These are the two sides of the coin. | ||
| One is you've got the out-of-control legal system going after Democrats' political opponents for nothing crimes. | ||
| Show me the man, I'll show you the crime going after him for whatever they can try to stick him with. | ||
| That's one side of the coin. | ||
| The other side of the coin is the blatant and well-reported criminality of the Democrats going utterly unpunished. | ||
| And we'll show you how the Hunter Biden trial is, believe it or not, already being rigged. | ||
| We'll get into that. | ||
| Meanwhile, the hearings on Capitol Hill from Dr. Fauci are exposing a lot of lies he told. | ||
| He's perjuring himself left and right. | ||
| And he blames Marjorie Taylor Greene for the death threats he's getting. | ||
| Dr. Anthony Fauci, the former director of the NIAID, shares his response from comments from GOP representative Marjorie Taylor Greene in a House subcommittee hearing about the U.S. | ||
| COVID-19 pandemic response for the origins of the virus. | ||
| And he says it's her fault that he's getting death threats. | ||
| It's not his fault. | ||
| It's not his fault. | ||
| For being a mass murderer. | ||
| Now, I don't think there are, I don't think there should be death threats against Anthony Fauci. | ||
| I think there should be a trial. | ||
| And I think the punishment should be execution. | ||
| That's the legal process that needs to take place. | ||
| And even if that's not the ultimate outcome, I think for Anthony Fauci's own safety, we've got to try him and convict him. | ||
| We can't just let, you know, him get away with this because people aren't going to stand for that. | ||
| It's too obvious at this point. | ||
| It's too blatant. | ||
| His lies are too... Too many of them. | ||
| They're too big. | ||
| So everybody knows he's guilty. | ||
| Everybody knows what he did. | ||
| So, you know, the option is let the system actually carry out justice in a lawful way. | ||
| Or he could be in a lot of danger. | ||
| So I think, because we love Anthony Fauci and we don't want him getting killed by some random vigilante, I think for his safety and for the healing process that we're all going through, he needs to be locked in a little concrete box for a couple years. | ||
| You know, kind of like what happened with Owen Schroyer. | ||
| Next story here. | ||
| Supreme Court won't hear InfoWars' host's First Amendment challenge to January 6th conviction. | ||
| Owen Schroer was charged with misdemeanors for what prosecutors said were his efforts to inflame the crowd at the Capitol, literally the opposite of what he was doing. | ||
| InfoWars broadcaster Owen Schroer lost a bid to contest his January 6th guilty plea and conviction at the Supreme Court. | ||
| They rejected this petition, seeking to overturn his misdemeanor guilty plea on First Amendment grounds. | ||
| And there were a number of other issues with the trial that Owen went through. | ||
| We, of course, covered it ad nauseum at the time. | ||
| But that's okay. | ||
| We're just setting precedent. | ||
| You know, we're just setting precedent that journalists covering an event can be charged for what other people did in that event. | ||
| And if they want to claim that all of D.C. is suddenly restricted zone and arrest journalists for being in that, even though they're there covering their jobs, doing everything. | ||
| The entire day on camera and obviously doing the opposite of what they claim. | ||
| It doesn't matter. | ||
| They'll convict you anyway. | ||
| They'll send you to prison and they'll reject your appeal. | ||
| That's how this works from now on. | ||
| And finally, we have this $517 billion in unrealized losses hits U.S. | ||
| banking system as FDIC warned 63 lenders are on the brink of insolvency. | ||
| Oh, you didn't forget about the economic collapse, did you? | ||
| You didn't think it was just World War III, and bird flu, and racial conflict, and demographic change, and rigging the election. | ||
| I mean, you didn't think those were the only things happening right now, right? | ||
| You didn't think it was just AI being unleashed, and World War starting in Ukraine with them firing missiles into Russia, and Israel and Lebanon getting closer and closer to all-out war. | ||
| I mean, you didn't think those were the only things facing humanity? | ||
| And leaving us in an existential crisis. | ||
| I mean, you didn't think it was just the climate change agenda, did you? | ||
| Shutting down all the farms and filling the air with metal to block out the sun. | ||
| You didn't think it was just the over-medication that's poisoning humanity and the rest of the world. | ||
| You didn't think it was just the gain-of-function diseases and the vaccines that kill you. | ||
| I mean, You got to understand the full spectrum attack that we're under right now. | ||
| You have to understand that they're going for broke. | ||
| They're trying to break the entire Western system so they can reforge it in a way that looks similar, but is missing all of those, you know, human rights that we enjoy. | ||
| Oh, you didn't think it was just genetic manipulation and full-scale Destruction of humans' genetic code that's going on. | ||
| You didn't think it was just the surveillance and the hate speech laws and the imprisoning you for your memes. | ||
| You didn't think it was just unlawful or unfair lawfare against political opponents. | ||
| No, it's all coming down all at once, all in a coordinated fashion. | ||
| As they work to steal the election, destroy their political opponents, crush humanity under the weight of endless manufactured crises. | ||
| Crisis upon crisis. | ||
| That's your Daily Dispatch. | ||
| I want to remind you to go to InfoWarsStore.com to keep us on the air and in the fight for the time being. | ||
| This may be one of your last chances to get an InfoWars product. | ||
| And just know that while we're on air, we still need support. | ||
| It still costs a lot of money to run this thing, and it ain't over till it's over. | ||
| And that's really the way we need to be. | ||
| I know I've quoted it many times, but there was an ancient Roman proverb that said, you have not defeated your enemy if he does not believe it himself. | ||
| Something like that, right? | ||
| You have not achieved victory if Your enemy doesn't believe himself defeated. | ||
| So if we believe that we're defeated, we're defeated. | ||
| If we keep going, if we don't give up, if we never surrender, never give in, never let them win, then they never win. | ||
| That's just how it works. | ||
| So please do keep supporting us. | ||
| We will keep fighting and doing everything we possibly can to expose the lies that we exposed four years ago but are now receiving official certification. | ||
| On all of this. | ||
| I have a lot of videos from Anthony Fauci's hearing yesterday. | ||
| And it sort of just goes on and on like it's, it's almost dizzying the number of lies that are being told right now. | ||
| I mean, in just the most blatant way. | ||
| And maybe we'll start with that. | ||
| We'll start with clip number 10 here. | ||
| This is Jim Jordan. | ||
| When this was posted, it says, Jim Jordan appears to have successfully trapped Fauci into lying under oath. | ||
|
unidentified
|
I don't know. | |
| I don't think you need to trap him. | ||
| I think he just did it. | ||
| I think he just lied under oath. | ||
| This wasn't tricky. | ||
| It's just he's lying under oath. | ||
| Now, what I... Yes, he was confronted with a question and he lied about it. | ||
| If you want to say that's Jim Jordan trapping him, Yeah, I guess. | ||
| I guess. | ||
| You trap a liar by asking him a question. | ||
| What I think is happening here is that everybody on both sides know what's going on. | ||
| They know that Fauci was an asset of the intelligence community and is therefore protected by them. | ||
| And so, This is sort of a compromise from the intelligence community going, Fauci can go out there. | ||
| You can yell at him. | ||
| You can make a big show. | ||
| You can fundraise off of this, but there's not going to be any actual punishment. | ||
| There's not going to be any actual charge against him because of national security, of course, because of national security. | ||
| So just before we go to this clip, I do want to remind you, since we're playing this video, Just getting a little distracted here. | ||
| Everybody should read The Real Anthony Fauci by R. F. K. Jr. | ||
| That book is mind-blowing and in many ways horrifying because you learn not just about the way that Fauci manipulated and weaponized COVID in a rather blatant way, but you realize that he's been doing it for literally 40 years at this point. | ||
| And that the system that he's established has been one of the primary driving forces behind the utter collapse in overall health that Americans have experienced under his administration during his tenure. | ||
| It's just one of those things. | ||
| We're watching footage right now for our radio viewers. | ||
| Of Fauci in the 80s when he was, at that time, a villain, an absolute villain, responsible for the deaths of untold numbers of people as he completely botched and or set up the AIDS crisis. | ||
| Or as it was called then, gay cancer. | ||
| So, we're gonna watch Fauci sort of lie under oath right here, beyond any Reasonable or unreasonable doubt. | ||
| I mean, he's just lying blatantly. | ||
| And we're confronted with this situation once again, where it's like, how much evidence do we need until you go to trial? | ||
| How much evidence is necessary before you actually put it to work? | ||
| You know, this is like, A murder happens and you got the murderer dead to rights. | ||
| You got the weapon. | ||
| You got his fingerprints all over it. | ||
| You got a video of him doing it. | ||
| You got statements of him saying he's gonna do it. | ||
| You got him trying to threaten other people that know that he did it into silence. | ||
| You've got his confession. | ||
| On camera, in the interrogation room, and they're just like, wow, but you know, I'd like to see some more evidence. | ||
| We shouldn't go to trial quite yet, though. | ||
| I don't know if we really got this thing. | ||
| No, this thing's in the bag. | ||
| No, we have the evidence. | ||
| It is certain. | ||
| It is unquestionable. | ||
| He is a liar. | ||
| If nothing else, his lies under oath, the cover-ups he engaged in, the lies that he spread, the falsehoods that he was the primary source of, I mean, it It's overwhelming. | ||
| We have too much information. | ||
| It's like, what do you even charge him with at this point? | ||
| Because we have like nine things that he's guilty of. | ||
| Beyond any doubt whatsoever. | ||
| Guilty. | ||
| So where are the charges? | ||
| Where is the trial? | ||
| Where's just any DA in any city? | ||
| Any Attorney General in any state? | ||
| Every one of these cities has victims of Anthony Fauci. | ||
| Every state has victims of Anthony Fauci. | ||
| Where is the charge? | ||
| Well, it doesn't exist because I imagine if you start filing one of those charges, you get a knock on your door from men in black suits. | ||
| I'd like to see somebody try. | ||
| Okay. | ||
| I'd like to see at least one good DA, AG, Sheriff, Constable, somebody do something to punish the greatest mass murderer in our lifetimes. | ||
| But I'm sorry, let's just set the table here. | ||
| Clip number 10, here's Jim Jordan tricking Fauci into telling a lie by asking him a simple question. | ||
| Do you agree that there was a push to downplay the lab leak theory? | ||
| Not on my part. | ||
| Really? | ||
| Really. | ||
| Wow. | ||
| Wow. | ||
| I think most of the country would find that amazing. | ||
| I said 11 seconds. | ||
| But look at the facts. | ||
| I've kept an open mind throughout the entire process. | ||
| All right, I yield back. | ||
| Meanwhile, Fauci in... | ||
| And on the 16th of April 2020, sent a email to director Francis Collins on how to put down this very destructive conspiracy about the Lab League. | ||
| He lied under oath. | ||
| Right there. | ||
| I mean, I don't, you know, I don't know how much more you need. | ||
| That in and of itself is enough to send him to jail. | ||
| So send him to jail. | ||
| You should send him to jail for that. | ||
| I mean, it cannot be more obvious. | ||
| We have all of his emails admitting all of this. | ||
| So what are we doing here? | ||
| What are we doing? | ||
| We've got his top senior aides email where he said, it's all good. | ||
| We will communicate with Anthony via a back channel or I'll just drop it off at his house. | ||
| Yeah. | ||
| That's what he said in an email. | ||
| They're in the emails saying, how do we avoid FOIA disclosures? | ||
| And then, like a year later, he's like, oh, I didn't realize they could access all the emails I deleted. | ||
| Yeah. | ||
| He typed that out and sent it. | ||
| These are the people we are dealing with. | ||
| Yeah. | ||
| They're the worst. | ||
| So it's like, all right, if you can't charge him for the crimes against humanity and the murder spree that he's been a part of, or God only knows, but reasonable estimate would be like 20 million dead because of the vaccines. | ||
| But that's not even getting into the number of people who died as a consequence of missing cancer screenings or because of pneumonia, because they're wearing masks all the time. | ||
| It's not getting into some of the less tangible Damage he's done, the mental capacity of the children that he forced masks on and forced not to go to school, even without any hint of scientific validity to those demands. | ||
| So again, there are victims of Anthony Fauci in every jurisdiction in the country. | ||
| Can somebody bring charges? | ||
| Can just one person do something? | ||
| You put this psychopath, psychopathic little elf behind bars for his safety, remember? | ||
| Remember, he's getting death threats and that's just terrible because of all these conspiracy theorists pointing out his lies. | ||
| He's getting all of these death threats because of the people explaining his actions. | ||
| We'll go to a lot of these videos. | ||
| I mean, I have so many. | ||
| I've got compilations of Fauci just completely contradicting himself over and over. | ||
| But it's not, it's not like contradiction. | ||
| I don't, you know, There's a way to explain that the science has changed. | ||
| That's not what's happening here. | ||
| He's just lying. | ||
| He's just lying. | ||
| When they say contradicted his past statements, no, he's lying about his past statements. | ||
| He's not just saying something different than he said before. | ||
| He's denying ever saying the first thing. | ||
| So this is like beyond hypocrisy. | ||
| This isn't, well, I thought we should wear masks, but now I realize we shouldn't wear masks. | ||
| He's saying, I never said to wear masks. | ||
| Lockdown? | ||
| I've never heard of it. | ||
| I mean, you know, it's ridiculous. | ||
| It's ridiculous. | ||
| And he goes on and on and on and on and on and on. | ||
| We'll go to clip nine here, because again, Here's the emails. | ||
| We have to stifle this. | ||
| There's something we can do to put down this destructive conspiracy. | ||
| Well, let's go now to clip number nine where he repeatedly denies what we know to be true. | ||
|
unidentified
|
Clarify for the record, because today you testified that you did not suppress the lab leak theory, yet in the past you have said, quote, it is a distortion of reality, unquote. | |
| You've said, quote, I've heard these conspiracy theories, and like all conspiracy theories, they're just conspiracy theories. | ||
| That's what you told the American people. | ||
| And so would you like to clarify what science were you following then versus now? | ||
| Actually, I've also been very, very clear and said multiple times that I don't think the concept of there being a lab leak is inherently a conspiracy theory. | ||
| What is conspiracy is the kind of distortions of that particular subject, like It was a lab leak and I was parachuted into the CIA like Jason Bourne and told the CIA that they should really not be talking about a lab leak. | ||
|
unidentified
|
Thank you. | |
| That's the conspiracy. | ||
|
unidentified
|
Appreciate that. | |
| The conspiracy is the nonsense I made up as a straw man that nobody actually says. | ||
| That's the conspiracy. | ||
|
unidentified
|
Welcome back, folks. | |
| What'd you love? | ||
| I love the way it works. | ||
| He's asked about his cover up the lab leak origin. | ||
| And the reason this is important, just put it in context. | ||
| And this is the case, whether you believe in COVID or not, whether you think COVID was really what they said it was, or whether you think it was something else, it doesn't matter. | ||
| If you think that there I mean, they're not on the up and up. | ||
| So I was gonna say, like, if you think they're on the up and up, if you think they're being truthful and honest, like, that's not really, you can't really think that anymore, unless you are willfully ignorant to what's been revealed. | ||
| So we know they weren't honest, but the question is, if you think that they were legitimately trying to get to the bottom of things, they were working their hardest to deal with this unexpected novel virus, Why would they cover up where it came from? | ||
| Why would they go out of their way to publish scientific papers dismissing the lab leak theory if they knew perfectly well that it was the most likely source of the virus? | ||
| I mean, how much did this lie prevent or delay any actual cures for COVID, any actual vaccines, Legitimate investigation. | ||
| And you've got this once in a lifetime pandemic event, global novel emergence of a virus. | ||
| You're trying to find everything about out about it so you can figure out how to combat it. | ||
| But the people at the top are covering up what they know to be the most likely origin. | ||
| I mean, they're hiding all sorts of information that could help Determine what this is and how to deal with it. | ||
| This is criminal at the basic level. | ||
| The basic level. | ||
| Even if everything was just like they said, they didn't know where it came from, they weren't sure, maybe it was lab leak, maybe it wasn't. | ||
| If that was the case and they're going out of their way to silence speculation about a lab leak hypothesis, they're criminals. | ||
| They contributed to the death of everybody who died during COVID. | ||
| This isn't even like a conspiracy theory. | ||
| This is just what happened. | ||
| And then to combat this, he's like, uh, the conspiracy is that I, uh, paratrooped in to CIA and told them to make a thing. | ||
| It's like, that's ridiculous. | ||
| That idea I just came up with that nobody ever said is ridiculous. | ||
| And that's what I reject. | ||
| It's like, nobody ever said, no, it came from a lab because you made it in a lab because you... | ||
| Offshore, the gain of function research to a lab with insufficient security measures. | ||
| And then when it was revealed that you doing that led to the outbreak of COVID-19, which destroyed the world, crashed the economy, killed God knows how many millions of people and traumatized God knows how many hundreds of millions more. | ||
| You covered it up and you tried to hide it. | ||
| These people need to pay. | ||
| Have to pay for the sake of justice, for their own safety. | ||
| it is incumbent on the establishment to imprison Anthony Fauci as rapidly as possible. | ||
| Let's just go to some little compilations just to give you the full timeline view of what happened here. | ||
| Let's go first to clip number three here. | ||
| Dr. Fauci is a homicidal maniac. | ||
| Let's watch. | ||
| What about months or so or two or three ago when people were saying you don't really need to wear a mask? | ||
| People were saying people should not be walking around with masks. | ||
| There's no reason to be walking around with a mask on the part of the health providers who needed it. | ||
| We were thinking we would run out of masks and other things for them. | ||
| So the recommendation was not to wear a mask. | ||
|
unidentified
|
You would recommend locking down schools if you had to do it all over again. | |
| Well, you know, again, first of all, I didn't recommend locking anything down. | ||
| I recommended to the president that we shut the country down. | ||
| Why are you asking me about lockdowns? | ||
|
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Because there were not complete lockdowns in this country. | |
| We can't stay locked down. | ||
| There were not lockdowns. | ||
| I have always said that the high likelihood is that this is a natural occurrence. | ||
|
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Are you still confident that it developed naturally? | |
| No, actually. | ||
| No, I'm not convinced. | ||
| NIH has not ever and does not now fund gain-of-function research in the Wuhan Institute. | ||
|
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Statements made on repeated occasions. | |
| It is not gain-of-function. | ||
|
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By the NIAID director, Dr. Fauci, have been untruthful. | |
| I have not lied before Congress. | ||
| I have never lied. | ||
|
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Yes, they are demonstrably false. | |
| Oh, if she got the flu for 14 days, she's as protected as anybody can be, because the best vaccination is to get infected. | ||
| Many scientists are beginning to believe that a vaccine against AIDS may be impossible to make. | ||
| I never even considered for a moment of resigning. | ||
| Never considered it for a moment? | ||
| A year goes by and everybody's fine. | ||
| Then you say, okay, that's good. | ||
| Now let's give it to 500 people. | ||
| And then a year goes by and everything's fine. | ||
| I say, well, now let's give it to thousands of people. | ||
|
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And then you find out that it takes 12 years for all hell to break loose. | |
| And then what have you done? | ||
| I never even considered for a moment of resigning. | ||
|
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Never considered it for a moment? | |
| Not even for a second. | ||
|
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I'd have to laugh at that. - Right. | |
| I should be prosecuted. | ||
| I mean, what more do you need to see, folks? | ||
| it Again, it's almost amazing. | ||
| Just blatant lies. | ||
| Blatant, blatant lies. | ||
| That's again why I say it's not just contradicting himself. | ||
| That's one thing. | ||
| You can change your mind. | ||
| You can come to a realization. | ||
| You can say two different things that sound contradictory and have a reasonable explanation for that. | ||
| He's not only contradicting his past statements, he's denying he ever made the past statements. | ||
| When you talk about gaslighting, this is just, I slap you in the face and immediately just go, slap you in the, me slap you in the face? | ||
| That's, this is absurd. | ||
| This is ridiculous! | ||
| Now I'm getting death threats? | ||
| Because of these claims you're making? | ||
|
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It's like, you just... Yeah. | |
| So, uh... I'm not in favor of death threats. | ||
| I'm in favor of... appropriate punishment for the crime of genocide. | ||
| And this is, you know, the vaccine just adds another layer to this because everything about COVID, it was all lies. | ||
| It was all hugely damaging. | ||
| It was all bullcrap. | ||
| It was all orchestrated behind the scenes by the intelligence agencies, media. | ||
| And then the vaccine is like a whole other program on top of this. | ||
| Sorry, I don't have time to go to, uh, this compilation quite yet. | ||
| Let's, let's do this. | ||
| Let's, uh, Here about what the reality is. | ||
| Let's talk about what's actually happening now. | ||
| Believe it or not, folks. | ||
| The New York Times. | ||
| June 3rd. | ||
| In the two thousand twenty fourth year of our Lord publishes this, the pandemic probably started in a lab. | ||
| Five key points explain why. | ||
| Oh, really? | ||
| Oh, it probably started in a lab. | ||
| It did. | ||
| New York Times. | ||
| I can't believe what you're telling me now. | ||
| Four years after we figured it out. | ||
| I made a video on January 20th, 2020 saying it came from a lab. | ||
| How did I know? | ||
| How did InfoWars know four years before the New York Times that COVID started in a lab? | ||
| Because everybody knew it started in a lab and we're the only ones to tell you the truth. | ||
| That's the fact. | ||
| That's the reality. | ||
| Everybody knows it started in a lab. | ||
| Everybody knew it started in a lab the entire time. | ||
| They've all been lying to you for four years. | ||
| Don't let them get away with it. | ||
| Don't let them act now like, well, we're just now learning that this is happening. | ||
| This is why they want Infowars off the air, because we were there four years ago, on the ground, telling you, this looks like it came from a lab. | ||
| It came from this lab, the Wuhan Institute of Virology. | ||
| It looks like it came from this type of research. | ||
| It looks like this was the person involved. | ||
| It looks like Peter Daszak got funding from DARPA and the CIA. | ||
| We knew it four years ago. | ||
| Don't let the New York Times trick you into thinking they're just figuring this out now. | ||
| They're liars. | ||
|
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So much favor on your side. | |
| Accept them as your Lord and Savior, I reply. | ||
| Welcome back, folks. | ||
| That's your love, that neighbor. | ||
| There's a lot going on. | ||
|
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There's, we're three. | |
| There's the economic collapse. | ||
| There's the full destruction of our food systems. | ||
| There's immigration and demographic change being engineered. | ||
| There's hate speech laws being passed. | ||
| There's people being sent to prison for memes. | ||
| There's lawfare being waged against us and Donald Trump and their lawyers and anybody else who even remotely supports them. | ||
| There's grandmothers being sent to prison for several years for standing quietly outside of an abortion clinic. | ||
| A variety of existential threats to humanity itself, or at the very least, the freedom we've been able to carve from the brutality of nature. | ||
| All of these things are very important. | ||
| But we're focusing this hour, and we'll probably continue to for at least a little while, on the hearings of Anthony Fauci on Capitol Hill and the scam of the pandemic and the vaccines and the lab leak theory. | ||
| I'll explain why this is important, why this is so necessary to be a primary focus right now, at this moment in particular. | ||
| And that's because they're going to do it again if we don't stop them. | ||
| They are absolutely gearing up to do all of this over. | ||
| From the Daily Mail earlier this year, U.S. | ||
| is collaborating with Chinese scientists to make bird flu strains more infectious and deadly as part of a $1 million project, despite fears that similar tests unleash COVID. | ||
| They're literally doing it again, in exactly the same way, with exactly the same people. | ||
| And it's gonna have exactly the same outcome. | ||
| And this is the most dangerous part of all of this, and you saw it in the last clip. | ||
| When Anthony Fauci is asked about things he would have done differently, he has no regrets. | ||
| He has no regrets. | ||
| He knows, everybody knows, everybody knows this point. | ||
| The masks didn't work, the lockdowns didn't work, they destroyed the economy, they killed God knows how many people. | ||
| The hospitals were empty. | ||
| I mean, everybody knows at this point. | ||
| And yet, if you ask him to say one thing that he would have done differently? | ||
| Nothing. | ||
| Nothing. | ||
| He would have done exactly the same. | ||
| Meaning he will do exactly the same. | ||
| Meaning whoever comes after him will do exactly the same thing because they haven't learned their lesson. | ||
| Because they're psychopaths. | ||
| They're like rabid dogs. | ||
| What we're doing here is like sitting down and trying to have a very serious conversation to chide the dog that's foaming at the mouth and his eyes are spinning and he's rabid and wants to kill you. | ||
| I mean, put the dog down. | ||
| In this peaceful metaphor. | ||
| And again, the frustration with all of this Not only that they're literally doing the same thing right in front of everybody. | ||
| They don't even have the excuse of like, well, nobody knew. | ||
| Everybody knows now. | ||
| Everybody knows and we're just watching them do it. | ||
| And kill millions of chickens and millions of cattle on the basis of this. | ||
| I mean, they're doing it again. | ||
| We have to stop them. | ||
| They're not going to stop themselves. | ||
| The rabid dog is not going to come to his senses. | ||
| And the frustrating part about all of this, as we hear, you know, the, as we hear Anthony Fauci say, he never covered up the lab leak, never said that was a conspiracy theory. | ||
| He's saying this, he said that yesterday in Congress. | ||
| House GOP, this is a story from Infowars, GOP House Oversight Committee release Fauci emails further proving he covered up COVID lab leak. | ||
| Frustrating part about this? | ||
| From January 2022. | ||
| Again, how much more evidence do you need? | ||
| How many more years are we going to pretend like this is being revealed for the first time? | ||
| Is it going to be 2040 and people are going to be going, gee, it looks like actually the lab leak theory might have been accurate. | ||
| We've known forever! | ||
| We've known the entire time. | ||
| It's so frustrating. | ||
| So this is from all the way back in January of 2022. | ||
| When a damning report by Project Veritas showed Dr. Anthony Fauci lied to the American people regarding the NIH funding gain-of-function research in Wuhan, China. | ||
| When even more incriminating evidence was released by Republican members of the House Oversight Committee, a transcribed interview of Dr. Anthony Fauci, where he was warned of two things, the potential that COVID leaked from a lab, and the possibility that the virus was intentionally genetically manipulated. | ||
| And of course, they covered that up. | ||
| That wasn't the only thing. | ||
| We cut to 2023. | ||
| Update. | ||
| Several doctors in January of 2020 told Fauci that COVID was leaked from a lab, then they switched their opinion 180 degrees after speaking with Fauci and receiving millions in NIH funding. | ||
| He coordinated the press attack, the public relations campaign, discrediting the lab leak theory, and he funded it by bribing the scientists with millions of dollars of your tax money. | ||
| How many crimes we dealing with yet? | ||
| It was the creating of the lab, the lying about creating the virus in a lab, lying about gain-of-function research to create the virus in a lab, covering up the fact that you created the virus in a lab, paying other people to cover up that you created the virus in a lab, lying about paying other people to Cover up that it was made a lot. | ||
| I mean, uh, how many how many layers on this layer cake of lies are we in yet? | ||
| How deep have we gone? | ||
| and it's just barely scratching the surface. | ||
| So again, this was from 2020. | ||
| They received millions of funding and. | ||
| Not just that, this from the McCullough Foundation. | ||
| Our new study presents strong evidence that the current HPIA H5N1 bird flu, clade 2.3.4.4b outbreak, is in fact the result of a laboratory leak from the USDA Southeast Poultry Research Laboratory in Athens, Georgia, at the Erasmus Medical Center in Rotterdam, the Netherlands. Georgia, at the Erasmus Medical Center in Rotterdam, the Netherlands. | ||
| These two locations. | ||
| Genetic evidence and historical context suggests that laboratory activities, including serial passage and gain-of-function research, could have contributed to the emergence of H5N1. | ||
| The moratorium on gain-of-function research, including serial passage of H5N1, is indicated to prevent a man-made influenza pandemic affecting animals and humans. | ||
| So McCullough Foundation has actually published this scientific paper called The Proximal Origins of Endemic Highly Pathogenic Avian Influenza H5N1 Spread by Migratory Waterfowl, which remembers exactly what Russia claimed that America was doing in Ukraine, was infecting which remembers exactly what Russia claimed that America was doing in Ukraine, was infecting waterfowl, infecting migratory birds to allow them to then pass over | ||
| fowl, infecting migratory birds to allow them to then pass over farmland and leave their droppings in areas where chickens and other farm fowl live in order to spread the disease that way. | ||
| So they're doing it again. | ||
| I mean, this is why this is important. | ||
| This is why you put a murderer in jail, so they don't murder anymore. | ||
| Why do you put mass murderers in jail? | ||
| So they don't keep mass murdering people, which is what they're doing as we speak. | ||
| They're still pushing the vaccine. | ||
| I mean, this is madness, but it's real. | ||
| It's what's actually happening. | ||
| Again, this is the compounding effect of this. | ||
| You've got the creation of the disease, you've got all the lies surrounding that, you've got the cover-up that stopped people from understanding and therefore confronting and halting the spread of the virus, but then you've got the vaccine. | ||
| Let's go to that compilation about the vaccine efficacy, shall we? | ||
|
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So now we have two vaccines that are really quite effective. | |
| Highly effective. | ||
|
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Virtually 100% efficacious. - Highly effective, highly effective, highly effective. | |
| COVID vaccines, highly effective. | ||
|
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100%. | |
| This is 100% effective. | ||
| 100% effective in teens. | ||
| 100% effective in preventing deaths. | ||
|
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100%. | |
| 100% COVID protection. | ||
| 100% protection. | ||
| Over and over we hear 100% protective in kids, teens, 12 to 17. | ||
| Effective, 99%. | ||
| All right, well, 98, 97. | ||
|
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100% COVID protection, 100% protection over and over. | |
| We hear 100% protective in kids, teens, 12 to 17, effective, 99. | ||
| All right, well, 98, 97. | ||
| I mean, certainly it's more than 96%. | ||
| 95%, 94. | ||
| And it's going down. | ||
| Oh, the effectiveness is decreasing. | ||
| It's dropping like a rock. | ||
| 88%, 87%, 86% effective. | ||
| All right, so maybe it's 84, 83, 82, 81. | ||
| 86% effective. | ||
| All right, so maybe it's 84, 83, 82, 81. | ||
| It's getting less effective, folks. | ||
| One degree at a time. | ||
| It's getting less and less effective. | ||
| We're down to 73% down. | ||
| Now we're at 71, 70%, 69%, 68%. | ||
| Ah, gee, no, it looks like it's getting less effective as the days go on. | ||
| Looks like the more we look at it, the less effective it appears. | ||
| We start at 100%, we're down to 50. | ||
| 50% effective against one variant, 47%. | ||
| 42! | ||
| 42%! | ||
| 41%! | ||
| 40%! | ||
| 39%! | ||
| 33%! | ||
| 20%! | ||
| We'll boost her. | ||
| Well, now we need boosters! | ||
| So it's not super effective, I guess. | ||
| It has nothing to do with whether or not it's effective. | ||
|
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We know it's highly effective. | |
| I don't know. | ||
| - Although it's highly effective. - I don't know, at the end of the day. | ||
| I don't know at the end of the day how effective some of these policies can be, but I know one effective policy, Jail criminals. | ||
|
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Alright folks, I'll move on now. | |
| We're on COVID in the second hour. | ||
| In this first little five minute segment, let me just see if I can do a little speed run of what exactly we're dealing with here. | ||
| In 2020, in January of 2020, I made a video where I said COVID was a lab leak. | ||
| I said that they would use it to introduce vaccines, that it was likely released on purpose. | ||
| Yet somehow, four years later, the New York Times, the Telegraph, everybody is just now learning this. | ||
| So let's just go through some of what we learned recently. | ||
| These stories are all from the very recent past. | ||
| New York Times says the pandemic probably started in a lab. | ||
| Gee, what do you know? | ||
| People got kicked off the internet for saying that thing. | ||
| Meanwhile, The Telegraph reports that COVID vaccines may have helped fuel a rise in excess deaths, which is an interesting way of saying that the COVID vaccines are killing people, helped fuel a rise in excess deaths. | ||
| Translation, are killing people. | ||
| COVID vaccines are killing people. | ||
| And even the Telegraph, a mainstream media, a mainstream outlet from Britain is reporting. | ||
| So in totality, as Dr. Simon Godek reports, Fauci lied and the entire establishment lied about masks, vaccine efficacy, asymptomatic transition, children killing their grandparents, fatality rates, the six foot rule, the lab leak, gain of function research, the six foot rule, the lab leak, gain of function research, PCR testing, ivermectin, I'll add to that hydroxychloroquine and a number of others. | ||
| Yes, he belongs in prison. | ||
| Until... The scaffold can be erected. | ||
| Fauci was informed that hydroxychloroquine was being used effectively to treat COVID-19 in China on March 16, 2020, yet he continued to publicly criticize the drug, according to a newly released email. | ||
| I knew the same thing about ivermectin as well. | ||
| Fauci, of course, perjured himself in a very blatant way when he said he was not aware of any cover-up of the lab leak origin theory, when in his own personal emails he's shown Responding to just that call how to quote put down this very destructive Conspiracy or this very constructive conspiracy, but of course the conspiracy was real. | ||
| It was an actual conspiracy It was actually people conspiring behind the scenes to Cover up their nefarious misdeeds. | ||
| Vigilant News has this story. | ||
| Repost from the Gateway Pundit. | ||
| Dr. Fauci caught in massive COVID conspiracy. | ||
| Talking about how on February 4th, 2020, after a call with Dr. Fauci, British scientist Kristen Anderson wrote that the lab leak was a conspiracy theory despite believing it was a valid theory before speaking to Anthony Fauci. | ||
| Dr. Fauci called Dr. Anderson and ordered him to publicly say that the COVID-19 virus was not lab made, and Tony Fauci offered Anderson a sweet deal if he did so, a huge grant from the NIH. | ||
| So he used grant money to convince scientists who previously thought that it was a lab leak to instead discredit that idea, and then he lied about it. | ||
| Dr. Andrew Huff testified back in 2022 that Dr. Anderson was given $1.8 million and $16.5 million in funding from the NIAID, Dr. Fauci's personal piggy bank, to switch up his story from, it looks like this was a lab leak, to, oh, you just gave me $17 million. | ||
| Gee, it looks like that lab leak thing's a conspiracy. | ||
| We know this was orchestrated by the CIA. | ||
| We know this was done in cooperation with DARPA. | ||
| Fauci admitted he completely made up the six foot distancing rule and the mask wearing, especially on children. | ||
| And they've admitted that the fear that the reason they did it was to create fear of being close to one another. | ||
| They needed the public to fear voting in person. | ||
| This opened the door to justify implementing mass mail-in voting, which the deep state then used to harvest millions of unusable ballots and drop them off in contested swing states in the middle of the night to ensure Trump did not win. | ||
| This is ultimately what Fauci and the Dems are hiding. | ||
| COVID was a significant cog in the coup to overthrow Donald Trump. | ||
| They released a virus on purpose, lied about its origin, lied about its effects, forced anti-social measures to win an election. | ||
| I like how they're destroying Donald Trump's life to win an election. | ||
| Kind of because these people want power and will do anything to achieve it. | ||
| we need to throw them in jail. | ||
| We'll go on to the things that we're warning you about rather than stuff that we tried to warn you about earlier. | ||
|
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|
here. | |
| Tomorrow's news today. | ||
| But of course there is a lot of other insane nonsense. | ||
| As always, it never, ever, ever ends. | ||
| Of course, the fallout from Trump is still going on. | ||
| By the way, we're going to open up the lines for your calls later this hour. | ||
| We'll be joined by Oris Press in the third hour. | ||
| I think this clip number 15, you know, we say InfoWars is tomorrow's news today. | ||
| For American Journal in particular, it should be American Journal this afternoon's hot takes this morning. | ||
| That's how it works. | ||
| There's so much stuff I say in the morning, and then later I see some viral tweet saying more or less exactly what I said. | ||
| That's what happened here. | ||
| It was Jack Posobiec tweeting this out with an image of his earlier tweet saying, basically, if you ask a Democrat what Trump was convicted of, they don't actually know, which, of course, is what I kept saying yesterday which, of course, is what I kept saying yesterday morning. | ||
| so great minds think alike Because I was... Cory copies this. | ||
| Great minds think alike. | ||
| Sometimes. | ||
| Other times, they're copying me, Harrison, the greatest mind of all. | ||
| No, I'm kidding. | ||
| No, I mean, it's kind of obvious. | ||
| But, you know, everybody gets this. | ||
| Everybody understands that this is the case. | ||
| And what they have to then think about is the implications of this. | ||
| That the Democrats are gleeful that Trump got convicted and don't know what he got convicted of. | ||
| Because they don't care. | ||
| Because they aren't concerned about justice. | ||
| They don't actually think that he's a criminal. | ||
| They get that this was a show trial. | ||
| They're fine with that. | ||
| Think about that. | ||
| Think about the moral framework of our enemies. | ||
| The embarrassing ignorance of our enemies. | ||
| They don't know. | ||
| They don't care. | ||
|
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Okay? | |
| So let's go now to clip number 15. | ||
| As a Trump hater crumbles when Piers Morgan asks a simple question. | ||
| I think we're finding out the silver bullet to the Democrats. | ||
| This is their kryptonite. | ||
| Asking them questions. | ||
| This is what we're learning. | ||
| Jim Jordan got Anthony Fauci to commit perjury. | ||
| How? | ||
| Asking him a straightforward question. | ||
| Piers Morgan makes an absolute fool out of this woman. | ||
| How? | ||
| Asking her a simple question about something she claims to be an expert in. | ||
|
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I mean, this is where we're at, folks. | |
| The ignorance is so overwhelming. | ||
| Simply asking them to define things and they crumble. | ||
| This is why they want to censor us. | ||
| This is why they need anybody with our views out of the way. | ||
| Because their views dominate as long as nobody asks any questions about them. | ||
| Their views get shoved down your throat as long as you don't look into them or think about them for a single moment. | ||
| Let's go to clip 15 here. | ||
|
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This is squarely Trump's making. | |
| This has nothing to do with his base. | ||
| It has nothing to do with protecting American democracy, like happened on January 6, according to them. | ||
| This has to do with Trump making his bronzer-stained bed with a porn star, trying to cover it up and then getting caught doing it. | ||
| And out of interest, before I go to Michael, out of interest, Why is Bill Clinton able to have sex with an intern in the Oval Office when he's president and lie to the American people about it on national television? | ||
| And why is he able to pay off Paula Jones $850,000, four times as much, five times as much as the Trump payment to Stormy Daniels, to get rid of a sexual harassment claim, again, while he's president? | ||
| And he has no criminal court recourse for that. | ||
| Why is that deemed to be better than what happened with Trump and Stormy? | ||
|
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I don't think anyone is making that case, Piers. | |
| No, I'm asking you. | ||
|
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What's the difference? | |
| What's the difference? | ||
|
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|
or any predator. | |
| Sorry? | ||
| The difference is that he didn't cook the books financially using his own, like, using back channels in order to pay that person off. | ||
| So paying somebody off who says you sexually harassed her, paying nearly a million dollars while you're the president of the United States, and then having sex with an intern in the Oval Office and lying about it, that's fine because he's a Democrat. | ||
|
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No, Piers, only the leftists in your mind are making that argument. | |
| Sorry? | ||
| Yeah, sorry? | ||
|
unidentified
|
Sorry? | |
| That last statement made just no sense at all. | ||
| I don't even know... I don't know what she was going for there. | ||
| The leftists in your mind are making that argument? | ||
| Is this how disconnected these people are from reality? | ||
| You can make an argument to them and they will look you in the eye and say nobody's making that argument. | ||
| Nope. | ||
| No, I just made that argument, lady. | ||
| You're supposed to respond to it. | ||
| She doesn't have a response, so her response is... | ||
| To say nobody made the argument he just made. | ||
| Do you understand? | ||
|
unidentified
|
Do you get what's going on we just saw? | |
| He's like, here's my argument. | ||
| Respond to it. | ||
| And she goes, nobody's making that argument, Pierce. | ||
| No, Pierce just made the argument. | ||
| You're supposed to respond to the argument. | ||
| No, that argument is something the leftist in your head made up. | ||
| Leftist in my... No, I made the argument. | ||
| You're supposed to respond to it. | ||
| You're the leftist. | ||
| Does she think that Piers is saying a leftist argument? | ||
| These people are unmoored. | ||
| They're pathetic. | ||
| They, like... How? | ||
|
unidentified
|
How? | |
| How did we get to this position? | ||
| Like, it's so embarrassing. | ||
| Everything about America today is just so embarrassing. | ||
| How do we have these people with the confidence to speak the way that they do when they know nothing? | ||
| They're so beyond ignorant. | ||
| They're aggressively stupid. | ||
| They're like, you can be stupid, I don't have a problem with stupid people. | ||
| I like stupid people. | ||
| I got a problem with stupid people that refuse to acknowledge their stupidity. | ||
| That think they're smart. | ||
| I was just amazed at that. | ||
| Nobody is making that argument. | ||
| I'm gonna try that. | ||
| I'm gonna try that from now on. | ||
| And he like, I don't know, arguing with my wife or something, right? | ||
| You said you were gonna lock the door, but nobody's saying that. | ||
| Yeah, nobody's saying that it was, that I was supposed to lock the door. | ||
| Nobody's saying that. | ||
| That's something you made up in your head. | ||
| The gaslighting, the absurdity! | ||
| Nobody is making that argument as a response to an argument being made. | ||
| Okay, great. | ||
| Good to hear. | ||
| But of course, you know, justice is working very, very slowly and tepidly and carefully towards Hunter Biden. | ||
| And we showed the great video yesterday of Byron Daniels, I think is his name. | ||
| And he of course was pointing out the obvious unfairness of the justices and the way they're going after Trump in a egregious way. | ||
| And the CNN reporter says, well, but they're also going after Hunter Biden. | ||
| So what now? | ||
| And he says, I'm glad you brought that up. | ||
| The only reason they're going after Hunter is because Republican party members had to step in and force them to go after Hunter. | ||
| They didn't go after Hunter themselves. | ||
| The DOJ did not inaugurate this investigation. | ||
| What they did was they tried to couch the gun felony violation inside some tax evasion thing. | ||
| Like they tried to hide it in another filing that was not criminal and just sort of brushed off. | ||
| Go, oh, and also he did this. | ||
| And the Republican congresspeople had to find that and go, well, wait, why is this gun charge that's a felony couched inside of this other unrelated charges? | ||
| That's not right. | ||
| This should be separate and this should be tried. | ||
| So that's why he's on trial right now. | ||
| Not because the DOJ is just honest and up, you know, straightforward and forthright and just they pursue the facts no matter what and will punish anybody that breaks the law no matter who they are. | ||
| It's... | ||
| utter utter basely ridiculous lies continuously and so they had to be forced into going after hunter biden but of course as the reports are coming in it looks like his jury is as fox news reports it comically rigged rigged to a comical degree let's go to clip number 14 here a fox news report on the hunter biden jury news reports one juror's childhood best friend died from a heroin | ||
| WE HAVE TO BE IN THEIR Another juror has an alcoholic brother-in-law. | ||
| He called it a disease. | ||
| Brother-in-law is now dead. | ||
| One juror's dad was shot dead, and his brother was arrested for narcotics possession. | ||
| Another juror pled guilty to a DUI. | ||
| Another juror had an older brother addicted to PCP and heroin, but doesn't think people should own guns if they're addicted to drugs. | ||
| Although another juror says weed's no big deal, and you should be able to buy a gun on it. | ||
| And another juror worked for the Secret Service. | ||
| Her husband is still in the Secret Service. | ||
| Ashley Biden reportedly smiling when she heard that. | ||
| Oh, and there's an Obama donor as an alternate. | ||
| So we'll get justice. | ||
| We'll get justice for that, certainly. | ||
| I feel like that jury pool is about as random as Trump's, right? | ||
| Yeah, just about. | ||
|
unidentified
|
This will be the future. | |
| It'll be, you know, they'll make it official eventually. | ||
| Instead of like a jury of your peers, it'll say like a jury of the most radical leftists we can find in your city. | ||
| Okay, we'll just give your fate over to 12 strangers who have been radicalized against you to think that you are an existential threat to trans children and that their God-given right is to punish you for your misthoughts, your wrong think. | ||
| So we'll see, we'll see about the Hunter Biden thing. | ||
| Apparently Jill Biden was there at the hearing. | ||
| Just reminding, you know, just reminding the jury of How important it is that they do the right thing here. | ||
| Let her son off. | ||
| Yeah, everything is. | ||
| Everything's kind of like an unmitigated disaster at this point. | ||
| You guys notice that? | ||
| You guys ever notice that when you look around, everything is collapsing into complete failure? | ||
| You guys... You guys notice that? | ||
| This is why I want to just say to normies, I want to just be sitting at a table of just like people talking about The Bachelorette. | ||
| I just want to be like, you guys notice everything sucks now? | ||
| You guys looked around recently? | ||
| Have they noticed? | ||
| I don't know. | ||
| I don't know if they've noticed. | ||
| Have they noticed all the trash? | ||
| Have they noticed that like when they call 9-1-1 nobody shows up? | ||
| Have they, I genuinely, have they noticed? | ||
| What do they think about this? | ||
| What do normal people think is going on? | ||
| I really want to know. | ||
| Last thing, I try to do my show in a way that like Normie, a Normie could tune in and I just want, I want it to be just like a conversation with just like a total Normie. | ||
| Just go, have you noticed that everything sucks and is terrible? | ||
| You notice how that's like increasing pretty rapidly? | ||
| Like, how's your neighborhood? | ||
| How was it five years ago? | ||
| What's the change been? | ||
| Has that been a positive? | ||
| Have you noticed all of the literal zombies walking around? | ||
| Have you noticed that? | ||
| Should be like a... It's almost like a Rick and Morty episode or something. | ||
| I mean, we're living in, like, the Twilight Zone. | ||
| A Twilight Zone zombie movie. | ||
| I guess it's like Shaun of the Dead, isn't there? | ||
| The beginning of Shaun of the Dead, and he doesn't realize a zombie outbreak has happened yet. | ||
| And all the zombies are like, like going around and he just doesn't notice. | ||
| Just like just living his day. | ||
| That's that's how most Americans are. | ||
| There are literal zombies on the streets. | ||
| Not kidding. | ||
| Come to Austin. | ||
| It's just it's people with like open sores. | ||
| They got they've got like a ragged pair of shorts on and nothing else. | ||
| They're just they're just like covered in mud and like blood and they're just like and just like walking down the street with a machete. | ||
| And people just don't even notice it. | ||
| They don't even, like, if you ask them, like, do you see that zombie we just walked by? | ||
| They're just like, hmm, what, zombie? | ||
| I haven't noticed. | ||
| No, I haven't, I, yeah, can't say I've noticed that yet. | ||
| Really? | ||
| Because it's literally surrounding, you're in a zombie outbreak and you haven't even noticed yet. | ||
| Yeah, this, there are bloody handprints on the freezer. | ||
| You want to ask why? | ||
| You want to maybe, do you wonder what's up here? | ||
| Do you remember that it didn't used to be this way? | ||
| Are you able to remember this? | ||
| I don't get it. | ||
| I don't understand what's wrong with people. | ||
| How they're okay with this and not understanding where this goes. | ||
| I don't know if I printed out today. | ||
| There's a story from our friend Dash. | ||
| Dash Austin. | ||
| He published a report from a woman who like left her So she lost her purse at a bus stop in Austin. | ||
| Somebody took it and they took it to a homeless camp. | ||
| They followed the Find My iPhone thing and they just saw exactly where it was and they called the cops. | ||
| I'll tell you the whole story. | ||
| So she loses her purse. | ||
| Whoever finds it is a homeless person. | ||
| He spends her money like he gets her debit card and goes buys things at a gas station. | ||
| Takes the purse and the phone and everything in it to a homeless camp in the woods in downtown Austin. | ||
| They call the police and say, hey, this guy has our stuff. | ||
| We know exactly where he is. | ||
| He's in this location. | ||
| I mean, they can get it down to within a meter, right? | ||
| Because it's find my iPhone. | ||
| Like, here's where it is. | ||
| And he's spending the money on the credit card. | ||
| We canceled the credit card, but this is a financial crime. | ||
| This is theft. | ||
| Can you go get it for us? | ||
| And the cops say, well, we can file a report. | ||
| We can file a report. | ||
| This lady got her stuff stolen. | ||
| We're gonna file a report saying we know exactly who took it and where it is and we're not doing anything to get it. | ||
| So the obvious next step is that the people just go get it themselves. | ||
| Or they just have to be victims. | ||
| You either just surrender to the criminals and you just go, well, they're criminals. | ||
| The cops won't protect me. | ||
| I guess I just drew the short straw today. | ||
| I'm just the one that gets victimized and that's just how it is. | ||
| So either you just Surrender as if this is impossible to fix, as if this is a rainstorm on your wedding day. | ||
| It's just like, well, it's just something that happens, whatever. | ||
| Nothing you can do about it. | ||
| You either just treat this as a natural phenomenon that just can't be confronted or contended with, or you go into the homeless camp and you get it yourself and you put yourself and them at risk. | ||
| of violence should they not want to hand over the thing they stole. | ||
| And so even then, the best case scenario is you get your stuff back, and the person who stole from you either, like the best case scenario is they just give it to you. | ||
| Worst case scenario is they fight you for it, and you end up with gay aides, yeah, from being macheted in the woods. | ||
| The person never is going to pay a price. | ||
| I mean, they're never going to be punished for it. | ||
| So let's go out and do it again. | ||
| So, have y'all noticed that? | ||
|
unidentified
|
Y'all noticed? | |
| All the crime? | ||
| I just wonder. | ||
| I just wonder if you've looked around recently. | ||
| Because it's not just crime and it's not just the drugs and it's not just the zombie outbreak that people are noticing. | ||
| Clip number two here represents the collapse at the infrastructure level. | ||
| As we not only are spending inordinate amounts of money on things that don't matter and just cause more problems than they solve. | ||
| Like we can't even keep the lights on. | ||
| We are taking the path of South Africa where they will soon be celebrating us for achieving our climate change goals because thieves have stolen all the copper wire from the electricity generators and we aren't a first world country anymore. | ||
| That's where we're headed. | ||
| That's where we're going. | ||
| It's a collapse of morality and decency and intelligence and, uh, you know, competency. | ||
| I forgot I had forgotten about this scene from that's a such a good movie. | ||
| It's it's so accurate. | ||
| It's just exactly what the majority of Americans live like now. | ||
| Just ignoring literal zombie outbreak. | ||
| It's so funny. | ||
| That's exactly what it is. | ||
| I should start filming because it just makes me so mad. | ||
| When I see these people on the street, especially like anywhere near my house, I get this like. | ||
| I don't know. | ||
| You know, get off my lawn attitude. | ||
| Even when they're like, it's like two blocks from my house, I see some guy or some old lady just like wearing a pillowcase and just like... You know, they do the sway. | ||
| It's like the fentanyl sway, where they lean over and they double over and they don't quite fall down. | ||
| I don't want these people anywhere near my kids. | ||
| I don't want my kids to be playing out in the yard When a literal zombie is lurching down the street. | ||
| But that's the world that we live in and nobody even notices. | ||
| It's... It's madness. | ||
| Let's go to clip number two now. | ||
| Because Atlanta... First world... City and first world country... Doesn't have water. | ||
| Let's watch. | ||
|
unidentified
|
Have you seen what's going on in Atlanta? | |
| There is multiple water main breaks and the whole city is without water and they're telling the people they don't have a time frame on when it will be fixed. | ||
| My question is how does a whole city's water supply get knocked out? | ||
| Systems are set up so this does not happen but how do multiple water mains break In the same city at the same time. | ||
| Now I've seen some people talking about the pressure if one water main breaks it can affect the pressure on another one. | ||
| Listen there's valves and they have separate systems all throughout cities so this cannot happen. | ||
| So my question is how did this happen and is this suspicious to you? | ||
| Please leave a comment below This is all strictly for entertainment purposes. | ||
| Have a good day, everybody. | ||
| So it was nice. | ||
| It was nice while it lasted. | ||
| It was nice being a civilization of competent, moral people. | ||
| Really, it was working well. | ||
| It was all going so well. | ||
| But what happened? | ||
|
unidentified
|
All right. | |
| We're going to hit the news hard here in the next segment. | ||
| I'll go ahead and open up the phone lines as well. | ||
| We'll take your calls. | ||
| For the second half of this hour and then we'll be joined by Oris Press in the third hour. | ||
| We've got Israel news. | ||
| We've got a lot of European news. | ||
| We've got a lot of backlash to the migrant crisis and the resulting hate crime laws to get people to stop talking about the effect of the policy of the government in order to stop people from knowing how they are deliberately hurting you. | ||
| We'll get into some Some more egregious, overwrought persecution by the intelligence agencies. | ||
| Scott Ritter, former U.S. | ||
| intelligence officer, has had his passport confiscated and is not being allowed to leave the United States. | ||
| Why? | ||
| Because he speaks out against Israel. | ||
| Well, he understands analytically, he explains the actions of Israel, And so now the American government has deemed him an enemy, and for his words, are subjecting him to punishment. | ||
|
unidentified
|
Welcome back, folks. | |
| We're going to open up the lines for your calls for the next few segments. | ||
| The number to dial is 1-877-789-2539. | ||
|
unidentified
|
That's 1-877-789-2539. | |
| Give us a call here on American Journal. | ||
| Next few segments, the number to dial is 1-877-789-2539. | ||
| That's 1-877-789-2539. | ||
| Give us a call here on American Journal. | ||
|
unidentified
|
We'll take your calls as quickly as possible. | |
| We'll talk about some pretty astonishing immigration news here in just a second. | ||
| and Europe in particular. | ||
| But I just stumbled on this post from Cat Turd, my favorite account. | ||
| He says we were right about the lab leak, natural immunity, masks, lockdowns, the vaccines, boosters, faking COVID numbers. | ||
| We were right about the deadly hospital protocol. | ||
| We were right about ivermectin. | ||
| We were right about Dr. Evil Fauci. | ||
| Evil Dr. Fauci. | ||
| We were right about the evil WHO. | ||
| We were right about it being a world power grab. | ||
| Guess who was wrong about everything? | ||
| Yep, the government chief trusts the science cult. | ||
| And I thought this was important. | ||
| I wanted to highlight this anyway when talking about COVID and the fact that we were right about everything, absolutely everything. | ||
| Absolutely everything. | ||
| Let me reiterate that. | ||
| Because you might ask how? | ||
| How did we know? | ||
| How did we get everything right? | ||
| How do we know it came from a lab? | ||
| How do we know it was released on purpose? | ||
| How do we know it was going to be used to get mail-in ballots that the Democrats were going to cheat and then use the cheating to rile up the Trump supporters to bait them into a false flag to call them all domestic terrorists? | ||
| I laid that whole timeline out in August of 2020. | ||
| And it came to fruition in November and then January of the next year. | ||
| How did we know? | ||
| How did we know the vaccine would kill people? | ||
| How did we know the lockdown would continue until the vaccine? | ||
| How did we know? | ||
| We knew because we started with the supposition that there is a cabal of psychopaths that run the world, that create crises, that attack their own people through a variety of Bizarre and nefarious ways with the sole intent and purpose of culling the population and frightening the survivors into complicity with the one world global government. | ||
| That's how we knew. | ||
| That's how we were right. | ||
| So it's not like we're not asking anymore. | ||
| We're not saying like, please believe us. | ||
| We said that all through 2020. | ||
| Nobody did. | ||
| Everybody believed the liars. | ||
| And now all the liars are coming out saying we were right the whole time. | ||
| So it's not even, we're not asking you to believe us. | ||
| This is just true. | ||
| I'm just telling you what the reality is. | ||
| The reality is that we were right about everything because we're right about the premise. | ||
| See, our interpretation is derived from our premise. | ||
| So if our interpretation is correct, the premise is correct. | ||
| The premise is that globalists are a depopulation cult. | ||
| They're an anti-human cabal of tyrants. | ||
| That's the premise that we're working from and everything lines up to it. | ||
| You can predict the future just as we did and do every day. | ||
| But just ask yourself the question, what would happen if the world was run by a cabal of genocidal maniacs? | ||
| And that's what happens. | ||
| So again, I'm not, I'm not trying to be like, we were right. | ||
| We were right. | ||
| We were right. | ||
| The reason I want you to understand that we were right is because I want you to understand why we were right. | ||
| And the reason why we were right is because we know what their ultimate plan is. | ||
| And this is a step towards that plan. | ||
| This is a data point in this arc. | ||
| Towards total prison planet. | ||
| Human enslavement. | ||
|
unidentified
|
I don't know. | |
| I don't know if that is getting through to people yet. - Yeah. | ||
| But again, our interpretation is derived from our premise. | ||
| The premise is correct because the interpretation is correct. | ||
| The premise Is that everybody in charge is full of crap. | ||
| They're all liars. | ||
| They all know exactly what they're doing. | ||
| They're all in on it. | ||
| They're all willing, perfectly willing, to kill untold numbers of people to get their way. | ||
| To frighten and abuse and exploit and terrorize their own people, their own family, innocent children. | ||
| Does not matter to them. | ||
| Does not matter. | ||
| Doesn't matter. | ||
| That children delayed speaking to such a degree that it became statistically significant because of the mask policies. | ||
| Doesn't matter to them. | ||
| Doesn't matter to them that anxiety in young people, suicide in young people is at levels never even dreamed of before. | ||
| They don't care. | ||
| They know exactly what they're doing. | ||
| The purpose of the system is what it does. | ||
| We've got some interesting calls coming in. | ||
| Let's go to Joe in Corpus Christi. | ||
| Thanks for calling in, Joe, on line one. | ||
| You say the government is issuing iodine to people near a nuke facility. | ||
| What's this about, Joe? | ||
|
unidentified
|
So this morning, I listened to a lot of stuff, as you guys probably do, as everybody does, obviously. | |
| So I picked up that the state of Pennsylvania is issuing iodine pills For anybody living within a certain distance from their nuclear plants, my assumption is, because I don't know why, is either it has to do with power blackout and the diesel engines not having enough diesel to run and do the cooling plants, or maybe an earthquake potential in the area which they've had an uptick of. | ||
| So I don't know exactly why, and I don't know if any other states have. | ||
| But if you put that in reference to your story about that you'd put out a few minutes ago about the water and the other infrastructure issues, we could be in a real problem real quick. | ||
| Yeah, look, if Atlanta can't keep water flowing, how long do you think the nuclear reactors are going to last? | ||
| That's a great point. | ||
|
unidentified
|
Yeah, here's the story here. | |
| Pennsylvania offering free potassium iodide tablets For those near nuclear power plants, the Pennsylvania Department of Health is offering to replace expired potassium iodide tablets for those near active nuclear power plants. | ||
| The tablets are free and available on June 12th to those living and or working within 10 miles of an active nuclear power plant. | ||
| In case of an emergency, the tablets can protect the thyroid gland against harmful radioactive iodine. | ||
|
unidentified
|
Wow. | |
| Now, interestingly, Coincidentally, Joe, you called in about this and said it may be because of earthquake activity. | ||
| And we have Angelina in South Texas, also probably near Corpus Christi, who called in about earthquakes also. | ||
| So I want to go to her and see if these two things are connected. | ||
| Thank you for the call, Joe. | ||
| I had not been aware of that. | ||
| Thank you for bringing that to our awareness. | ||
| That is troubling. | ||
| Hopefully it's just a routine thing, but you never know. | ||
| Maybe the nuclear power plant could be a target for a false flag attack. | ||
| After all, we need to be on alert right now, as that is clearly coming. | ||
| I'll show you a video to prove that on the other side. | ||
| Angelina in South Texas, go ahead. | ||
| What major earthquakes have happened recently? | ||
|
unidentified
|
Sure, sure. | |
| We had two simultaneous earthquakes on May the 16th at about 3.30 in the morning. | ||
| One of them was pretty much around the Mississippi where Memphis, Tennessee is, but it rocked the entire And the other one was to the east where it's Virginia, the Appalachians. | ||
| And so I went, I was just talking with people on X and what they were describing was a magnitude 6 to 8. | ||
| And so I went ahead and I drew my lines of my layers, which are the CERN accelerators I made of the maps before. | ||
| And I was able to locate the one in Virginia. | ||
| It definitely looks like a seven or eight. | ||
| And then the one in the one along the Mississippi, mainly in Memphis. | ||
| As you see, there's a vertical component, which is called the Z axis that goes straight up. | ||
| But the difference between that one in Mississippi and the horizontal components is that the horizontal components had so much were extremely more intense than the vertical. | ||
| And from both quakes, it looks like that the tectonic plates way below have already made their move. | ||
| They shifted because of the difference between the horizontals. | ||
| And the one in Washington, the one in Virginia, was about 220 kilometers. | ||
| The one in... Stay on the line. | ||
| If you will, Angelina, stay on the line. | ||
| We'll go to break here, because I want to hear you break this down on the other side. | ||
|
unidentified
|
We'll be right back. | |
| Welcome back, folks. | ||
| We'll go after your calls here momentarily. | ||
| I want to remind you to go to InfoWarsStore.com to support us and, of course, support yourself. | ||
| Summons are incredibly powerful, incredibly good for you, incredibly effective, and incredibly close to being gone for good. | ||
| So go now while you still can to InfoWarsStore.com. | ||
| Keep us on the air. | ||
| You know, we may go down because of the court rulings. | ||
| We're doing everything we can to fight in that regard. | ||
| But we could also go down just from lack of funding. | ||
| So don't let that happen to us. | ||
| Don't compound our issues here by letting us, you know, fall into insolvency. | ||
| Please do go to InfoWarsStore.com and purchase something, keeping us on the air, keeping us in the fight, paying for all of us here at InfoWars, all of the great crew, all of the people behind the scenes, the writers, people who run the websites. | ||
| Everything is brought to you by InfoWarsStore.com. | ||
| And we thank you so much for your continued support. | ||
| Also want to remind you, you can follow all of us on X. Yesterday, I just like sort of offhandedly mentioned, okay, make sure you follow me on X. And at that moment, I know it's like 15 people followed me. | ||
| I forget that you have to tell people these things. | ||
| You should all be following all of us on X. You can follow me at Harrison H. Smith. | ||
| You can follow Alex at RealAlexJones. | ||
| All I do is Owen. | ||
| You can follow at InfoWarsJournal. | ||
| You can follow the American Journal and get our clips and links through that. | ||
| And you can also get all of the stories that we cover every day on my substack, HarrisonHillsmith.substack.com, where I publish our show notes every day. | ||
| And if you're a paid subscriber, you get access to all of our videos. | ||
| Yesterday, I had 91 videos that I downloaded. | ||
|
unidentified
|
91. | |
| Because I can't help myself, of course. | ||
| Now, Angelina in South Texas called in about some major earthquakes. | ||
| And just wrap it up for me here, Angelina, because I was intrigued with what you were saying. | ||
| You were saying there was something bizarre about the width compared to the depth of these earthquakes. | ||
| Just explain that quickly, please. | ||
|
unidentified
|
Sure, absolutely. | |
| The vertical is like the y-axis, but the ones that's doing the ground shifting, whether north to south or east to west, those are on the two horizontals. | ||
| And I do have them. | ||
| I do have them up. | ||
| And the thing is that the difference from the ones that hit Memphis and it was, it was felt all along the Mississippi. | ||
| Okay. | ||
| Uh, the vertical, when I, I was, it was easy for me to get the vertical, but for me to get the ones with the ground moving horizontally, uh, I had to scale those things way back because that was, um, those were much bigger shots. | ||
| What does that mean then? | ||
|
unidentified
|
Basically, when I'm looking at the depths, especially the one from Virginia, is that the ground movement was going more to a particular direction, which is on the north and south, which means that tectonic plates have already made their move. | |
| Way below. | ||
| And so you're expecting more earthquakes? | ||
|
unidentified
|
Yeah, absolutely. | |
| And then I tried to look at Indonesia from the 2004 tsunami because things seemed to be matching up with that. | ||
| And then USGS or Volcano Discovery blocked me from having access to the 2004 Indonesian quake. | ||
| That was a 9.1. | ||
| And in fact, they wiped out the entire year, and I can't even get access to it. | ||
| Oh, that's creepy. | ||
| Okay, that's very bizarre. | ||
| That's like what's happening with the Antarctic phenomenon stuff. | ||
| Well, thanks for letting us know about that. | ||
| I do want to get some other callers, Angelina, but thank you for letting us know about that. | ||
| And maybe we'll try to get somebody on to talk about that. | ||
| So that's a whole, whole nother element to what's going on right now. | ||
| That, uh, yeah, it's hard to, if you aren't paying attention to it, it's hard to know anything's going on. | ||
| We'll have to, we'll reach out to some people and see if we can't get somebody on later this week. | ||
| Talk about that. | ||
| Let's go to Craig in Ohio now. | ||
| How the sheep are being led to slaughter. | ||
| Go ahead, Craig, you're on the air. | ||
| Morning Harrison. | ||
| Morning. | ||
| Morning. | ||
| So, um, I've talked to you a couple of times I've called in. | ||
| I'm the hedge fund guy from maybe we talked a little bit on some things. | ||
| And so one thing I was going to ask is like, what is the, what is the, just the general amount of time people would consider to be an expert on something? | ||
| I've thrown, I've heard numbers like what? | ||
| 10,000 hours or something. | ||
| I've heard that. | ||
| Yep. | ||
|
unidentified
|
Yep. | |
| So, The only reason I say that is because I've spent 120,000 hours watching these markets, right? | ||
| And so when I listen to Alex talk about, you know, the nuclear attack potential and all these different things that are, you know, cooking behind the scenes and trying to get out front of, like you were talking about, you know, four years ago when it was made in the lab, you know, it's the same kind of thing for me in the markets, right? | ||
| I can see things coming. | ||
| I can feel stuff happening. | ||
| I do forensics on it. | ||
| I do analysis on it every single day. | ||
| You know, energy markets, forex markets, all across the board, right? | ||
| And so what I'm seeing is, you know, it's the same thing, right? | ||
| When you're trying to catch a fish, right? | ||
| You put a worm on a hook, you know, you've used an invisible line, right? | ||
| You try to be as elusive as possible. | ||
| Same thing when you're hunting ducks or deer or whatever. | ||
| You throw apples out there, salt blocks, right? | ||
| You try to lure people in. | ||
| And so the reason I say all that is because, you know, the sheep, right, are are out to pasture right now because, you know, the mainstream media doesn't have a COVID. | ||
| It doesn't have anything that it's creating fear with, right? | ||
| Right. | ||
| What they do is they just let the sheep go out to pasture, right? | ||
| And they're just out there wandering around grazing, right? | ||
| And then they only get afraid, though, when the media makes them afraid, like we saw during COVID and all the thing, you know, eight, you know, eight, 80,000 people die in Arkansas today or whatever, you know, so they obviously create this fear. | ||
| And we're well aware of that. | ||
| But The point that I really want to try to make here with all that set up is that, you know, there's a certain level of manipulation that's going on now. | ||
| It's not just the floor traders on the floor ripping off the banks, right? | ||
| Or, you know, the hedge funds ripping off, you know, another hedge fund and running the stops, right? | ||
| Trying to manipulate it. | ||
| There's something else going on here that's way different than we've ever seen before. | ||
| And I propose, right, and I'm going to stick my neck out there, that it's actually the government, right? | ||
| And they're the ones that have some kind of a portal Some kind of unlimited funds and obviously a manipulative mindset here. | ||
| It's not to make money. | ||
| I really don't believe this has anything to do with making money. | ||
| I think it's, you know, for instance, right, you know, when Trump gets a rigged trial, nothing happens in the market. | ||
| So what do people say? | ||
| Oh, my 401k's up. | ||
| Must not be that big of a deal. | ||
| You know, whatever. | ||
|
unidentified
|
Right? | |
| So we use the markets as a litmus test, right? | ||
| We always spent every, what do we do, right? | ||
| Something bad happens. | ||
| We're like, Ooh, I wonder what's going to happen to the stock market. | ||
| Right? | ||
| So we're just trained to think that way. | ||
| So what I'm saying is that I think there's a manipulation going on and it's to keep us all elevated, right? | ||
| To keep us out the pasture. | ||
| You know what I mean? | ||
| Until they're ready to drop the bomb, you know, and literally potentially the bomb. | ||
| Right? | ||
| I just, I just want to corroborate what Alex is saying, you know, from the market perspective to everyone. | ||
| And there's a lot of things that can be done that people don't, well, I mean, assuming no EMP strike and the whole system goes down, but there's a lot of things that people can do out there to get out of the 401k business, right? | ||
| The 401k is the biggest ripoff in so many ways. | ||
| Like I can go on for hours on it, right? | ||
| I mean, I'd be welcome to come on and talk to this. | ||
| You know, sometime I could hook up with Daria, right, and get on, you know, and talk about this if you, if you would want. | ||
| But there's just so many things that just, the people aren't, not even an awareness, you know, Harrison. | ||
| And that's, that's what concerns me so much. | ||
| And if this system, if this financial system goes down, people don't realize that's what makes the system what it is, right? | ||
| Is the ability to move capital in the markets efficiently, right? | ||
| Yeah. | ||
| We lose that. | ||
| We're toast. | ||
| We are toast. | ||
| So what are you seeing? | ||
| You know, I get what you're saying that, you know, when you're in, when you're just absorbing data continuously and you do it for so long, you start to learn to see trends. | ||
| And even if you can't identify what it is that makes you think something's happening, you can get a sense of, of, you know, overall trends that are sort of lurking beneath the surface. | ||
| What are you seeing exactly that's making you raise your eyebrow? | ||
| Okay. | ||
| So what I see is I see, you know, I hear everybody, everybody's pushing gold, right? | ||
| And silver. | ||
|
unidentified
|
Okay. | |
| You know, everybody, right. | ||
| You know, even, you know, Mike Lindell, the pillow guy, he can't push enough gold now. | ||
| So that has my senses up, right? | ||
| Usually when that happens, you know, usually those markets are at top. | ||
| I look at the commitment of traders, which shows all the positioning from all the big traders to the middle sized traders and the little traders. | ||
| And I can see that that, that what I'm saying is, you know, when, when, when things peak, you're looking for things at extremes, right? | ||
| You know, when, when the last buyer is bought, right, what's left? | ||
| Only sellers, right? | ||
| When the last seller is sold, what's left? | ||
| Only buyers, right? | ||
| You look at these fear mechanisms that are out there and you, but what I really want to point out, I could go through all the markets, but what I really want to point out is one thing that I see that's so distinct to me in the stock market is these manipulative moves where they'll drive a market three, four, 500 points. | ||
| Let's just use the Dow for perspective because people know the Dow. | ||
| So we'll drive at three or 400 points without any balances to the downside, right? | ||
| That is not normal behavior, right? | ||
| That means there's zero indecision, right? | ||
| So that means they're taking that market down to level. | ||
| And there's so many big round figures, right? | ||
| It'll be like 500, 300, 200, right? | ||
| All the time. | ||
| So it's almost like it's a pre-orchestrated, okay, today we're going to, you know, manipulate people, right? | ||
| Taking it down three or 400 points. | ||
| And then we're going to do what's called a V bottom, where you just turn the market and go straight back up, and there's no indecision again, right? | ||
| So you're going from zero indecision on the way down. | ||
| Yeah, I get exactly what you're saying, that it's not a natural, you know, you would have indecision if this was happening naturally. | ||
| The fact that you don't means that it looks coordinated. | ||
| Yeah, I would like to hear about this more, Craig. | ||
| You know, the market is such, it's all black magic to me. | ||
| But I get what you're saying, that they can use it. | ||
| Doing things like propping up the market so that people remain calm and think, ah, it's no big deal. | ||
| My 401k is up. | ||
| The market's fine. | ||
| How bad can it really be? | ||
| Really, they're just waiting to pop the balloon. | ||
| Another conspiracy theory has proven to be just a conspiracy, as we suspected all along. | ||
| Deaths of COVID vax labelled non-vaxed, government data confirms. | ||
| The mischaracterisation of vaccine status made the shot look a lot safer than it really was. | ||
| Data out of the UK from the Office for National Statistics for mortality rates in 2021 indicated a large spike in deaths for the non-COVID vaccinated Seemingly indicating that not taking the vaccine led to higher death rates, however it has been discovered that the dead's vaccination status had been altered. | ||
| A study of the UK data has indicated systematic miscategorisations of vaccination status. | ||
| At first glance, the ONS data suggests that, in each of the older age groups, all-cause mortality is lower in the vaccinated than the unvaccinated. | ||
| This conclusion is cast into doubt upon closer inspection of the data due to a range of fundamental inconsistencies and anomalies in the data. | ||
| Whatever the explanations for these are, it is clear that the data is both unreliable and misleading, the study said in the abstract section. | ||
| It has been suggested that the anomalies are the result of healthy vaccine selection bias and population differences. | ||
| However, we show why the most likely explanations for the observed anomalies are a combination of systemic miscategorization of deaths between the different categories of unvaccinated and vaccinated, delayed or non-reporting of vaccinations, systemic underestimation of the proportion of unvaccinated and or incorrect population selection for COVID deaths. | ||
| This is huge. | ||
| This is huge, says Toby Rogers. | ||
| Alex Berenson and others are always going on about the healthy user of bias, otherwise healthy people more likely to get the COVID shots, thus they would have fewer COVID deaths, so on and so forth. | ||
| But you can see from the data that something is very wrong here. | ||
| It peaks at the same time as the first vaccine rollout for this age group peaks. | ||
| The larger story is miscategorisation bias. | ||
| People who received COVID shots and then died were labelled as unvaccinated. | ||
| That's the story, and that's why unvaccinated deaths spiked immediately after the vaccine rollout. | ||
| That's how they hid COVID vaccine deaths and kept the rollout going, Dr Toby Rogers said on X. | ||
| Roger's tweet referenced a substack post from Thursday by Where Are The Numbers by Norman Fenton and Martin Neal, professors who research the great pandemic of 2020 and, in their own words, quote, challenge the global COVID-19 narrative exposing the use and abuse of statistics. | ||
| The key problem is that people who died after vaccination before April 2021 did not necessarily have their deaths recorded as vaccinated deaths, Dr Claire Craig said on Thursday. | ||
| You can see an email from the ONS there included in her tweet. | ||
| InfoWars News Director Rob Dew had also pointed out that in the US, people were only counted as vaccinated after two weeks post-second COVID shots, so those who died after their injections but before the two weeks were counted as non-vaccinated. | ||
| This was in every country. | ||
| Health officials made two weeks after the second shot the time you were fully vaccinated. | ||
| If you died any time before that, you were unvaccinated. | ||
| The COVID shots are known to increase in lethality after repeated doses, increased COVID infection rates, result in turbo cancers, reproductive destruction, cause miscarriages, paralyzation, autoimmune disorders in the thyroid, as well as deadly headaches, seizures and heart inflammation, in addition to a multitude seizures and heart inflammation, in addition to a multitude of serious ailments seen in massive population studies and contain hundreds of times the allowable levels of DNA contamination, leading to mutagenic effects, as well as likely permanently altering the DNA | ||
| as well as likely permanently altering the DNA of the vaccinated and their offspring, and links to every single claim In the US, the CDC recommends all Americans receive their COVID shot and that young children receive extra, while Canada recommends another COVID shot for the pregnant, Indigenous, radicalised and equity-deserving. | ||
| That, of course, is Maria Z. That was published at Vigilant Fox News, I believe. | ||
| Vigilant Fox. | ||
| Incredible stuff and just more confirmation for what we've been telling you the entire time. | ||
| Now stay with us. | ||
| Very excited for our next guest. | ||
| Aureus Press is what he goes by online. | ||
| And we're gonna talk about the death of art in the West and how that's symptomatic of the death of our culture. | ||
| Ladies and gentlemen, third hour of American Journal is on. | ||
| I'm your host Harrison Smith. | ||
| My guest is Brendan Hurd. | ||
| He is known better online as the Aureus Press. | ||
| TheAureusPress.substack.com, and that's A-U-R-E-U-S, TheAureusPress.substack.com. | ||
| He's also on Twitter, at Trad underscore West underscore Art. | ||
| Probably one of my favorite Twitter feeds out there, and I was so happy that you reached out to me, Brendan, because I've been a fan of your page for a while, because every once in a while I need to break up the horrific geopolitical news with some beauty and some epic art, and that's what you provide. | ||
| Welcome to the show, sir. | ||
|
unidentified
|
Oh, thank you. | |
| And thank you so much for having me. | ||
| It's great. | ||
| Yeah, like I said, it's my pleasure. | ||
| And I think what you talk about and what you cover and what you discuss in your books is like as important, if not maybe even more important than some of the more, you know, political or scientific stuff that we talk about. | ||
| It's the death of art in the West. | ||
| And you have a book called The Decline and Fall of Western Art. | ||
| The decline and fall of Western art being a summary of our plummet into artlessness and the loss of civilization via the wrong turn of modernism and the prevailing philosophy of materialism included herein are the tools to retrieve our art and self-worth. | ||
| Just talk to us about the importance of art and what's happening in the modern age with art itself. | ||
|
unidentified
|
Yeah, well, I came about writing the book after my experience in art school. | |
| And I came to the conclusion that art was, uh, the world of art was kind of a, in a state of subversion and, uh, the values of art were all reversed and that no good art was likely to come out of the values of modern art as we know them. | ||
| And I noticed that previously before modernism, that, um, all pretty much all art that you can see across the spectrum, architecturally, Fine art, painting, all the visual arts anyways, for example, we're in a pristine, untouched state of unquestionable beauty. | ||
| And there must've been some link to this, some, some breakage, visible breakage here between that and what we have today. | ||
| So I investigate, I decided to write a book about it because I work as an artist myself and in investigating what I thought were the causes, I boil it down to the art criticism of the early 20th century. | ||
| And really inventing the language of modernism as applying it to art and sort of turning it into a word game, a kind of bourgeois class signal of sort of unexplainable abstractions, squiggles and lines, basically personal expression. | ||
| They made personal expression the entire ballgame of art and did away completely with any traditional element where before, throughout history, there was always a give and take that would be That's a summary. | ||
| Partially, there would be always an element of tradition and an element of personal expression. | ||
| So they did away with the traditional aspect altogether. | ||
| And that has left us in this void, this vacuum of this modern art, of this nonsensical, you know, shock value stuff, basically. | ||
| Right, right. | ||
|
unidentified
|
So that's a summary. | |
| It's very complicated. | ||
| Yeah, it is. | ||
| But at the end of the day, it's also not, right? | ||
| It's also something that everybody can see with their own eyes, and why it happened, and how it happened, and who made it happen. | ||
| I mean, that gets all complicated, but it's pretty simple. | ||
| You look at old art, and it's beautiful. | ||
| You don't need to have it explained. | ||
| You don't need to interpret it. | ||
| It's just gorgeous on the face of it. | ||
| And even if it's not, it's impressive, right? | ||
| Like, even if the painting isn't your style, it's not something you'd hang up in your house, you could at least look at the old masters and go, This is this is superhuman, you know, the skill they had alone was, you know, astonishing. | ||
| And so then you look at a Jackson Pollock or you look at, you know, modern art today, and it's not only not impressive. | ||
| It's hard to interpret. | ||
| It's, like, unclear what they're even saying. | ||
| It's disgusting. | ||
| I think a lot of people see that. | ||
|
unidentified
|
The banana. | |
| Yeah, the banana, which itself is a commentary on the state of modern art, right? | ||
| There's always this meta sort of commentary taking place. | ||
| It's all very, I don't know, highfalutin and annoying. | ||
|
unidentified
|
But that's the bourgeois pseudo-intellectualism. | |
| They're still saying nothing. | ||
| They're just using, like, flowery language. | ||
| This is what Greenberg perfected. | ||
| Really, it is just like you invent this narrative. | ||
| Like you said, the old stuff requires no narration to accompany it. | ||
| You just look at it, and it's self-explanatory. | ||
| And it's like, wow, you know. | ||
| It makes you feel things. | ||
|
unidentified
|
And all modern art requires a story. | |
| Like, it's all about the story. | ||
| The story is the creative part. | ||
| A banana has a story. | ||
| Like, you know, this represents the plight of immigrants or something. | ||
| I don't know, whatever. | ||
| It doesn't matter. | ||
| Bananas, I guess. | ||
| It probably does represent the plight of immigrants. | ||
| I didn't realize, wow, how amazing that art now is. | ||
|
unidentified
|
I mean, that's the thing. | |
| It's like a joke, but at the end of the day, this is our culture. | ||
| This is our expression. | ||
| This, in a lot of ways, is just a solidification of our soul. | ||
| And I see it most apparently in public statues, where the old statues, again, just gorgeous, beautiful, impressive, impactful. | ||
| And then you see what they're coming out with now, and it's just these amorphous blobs, and it's like, okay, there's something deeply wrong with our soul if this is what we create, these sort of just weird formless shapes. | ||
| And yet this is what we put on display to represent ourselves. | ||
| Has this happened quickly, or are we all just waking up to this now? | ||
| What was the process of the introduction of modernism? | ||
|
unidentified
|
Well, it was a long process. | |
| Like anything, it's not as It's not a total strict cutting scalpel of, you know, one to the other. | ||
| Exactly. | ||
| Because there was like in the late 19th century, there was Kandinsky, who was the first really that everybody knows about to try and present paintings of boxes and squiggles and shapes, basically. | ||
| And he didn't necessarily get away with it. | ||
| It wasn't really till Duchamp in the 20s. | ||
| Did the urinal and the mustache on the Mona Lisa and caused a bit of a media scandal. | ||
| Right. | ||
| Even in his case, he was a real fraud, if you ask me, because he doesn't he always talked about how you could paint like he could paint like an impressionist. | ||
| But there's no examples of these impressionist paintings anywhere. | ||
| So this is all just boastfulness on his part. | ||
| And, you know, these people like him and Pollack and Picasso became these media darlings. | ||
| So as far as I'm concerned, it was the first Kind of manipulative, media-created, sort of anti-Western movement, as we see now with woke or with gender stuff, etc. | ||
| But the first thing they attacked was art. | ||
| And they've kept art under their thumb very thoroughly ever since. | ||
| And I think they know it's important. | ||
| And it's really done through this confusing language. | ||
| It's all word games. | ||
| So much of this kind of leftist stuff. | ||
| It's a trick of word games. | ||
| But, you know, it's a very hard argument. | ||
| People even on the right, say, will argue against me about these beliefs. | ||
| They want to, because there's a middle ground of modernism, there's a lot of good modernism, you have to say. | ||
| I like Art Nouveau, Art Deco, and these things. | ||
| Oh, sure, yeah. | ||
|
unidentified
|
And they get lumped together with the sort of avant-garde urinals and things. | |
| Right. | ||
| But again, it's kind of a trick of labels and language. | ||
| It's very easy to discern where the problem begins, really. | ||
| If you look at it critically and with discerning eye. | ||
| So, and yeah, sorry. | ||
| Yeah, no, well, it just what it reminds me of is so much of the other stuff that we talked about in the political realm where it's all, well, you're just not sophisticated enough to understand why the urinal is art. | ||
| You know, it's like somehow you're more sophisticated if you love the trash, right? | ||
| Or if you believe sort of unscientific nonsense, you know, you have to go along with it. | ||
| Men are women and women are men, or else you aren't sophisticated enough to understand. | ||
| There's this like, you know, you called it pseudo-intellectualism, but it's just... It's just like nothing. | ||
| I don't even... | ||
| I don't know. | ||
| It's, it's so gross sort of the way art is going and we've shown tons of statues. | ||
| It's like a regular, you know, feature on this show practically is only the left has come out with a new statue. | ||
| It's horrifying and disgusting and very low quality. | ||
| Let's take a look. | ||
| I mean, it's, it's like constant at this point. | ||
| How do you do that with art? | ||
| Right? | ||
| Like art is supposed to just be human expression. | ||
| Anybody can do it. | ||
| I mean, it doesn't seem like there should be a control system by which art can be, uh, Manipulated and designed which way it should go. | ||
| How do they, how do they do this? | ||
| If they're, if they're making things ugly and promoting this stuff, is it just through sort of media hype that they do this? | ||
|
unidentified
|
Well, at this stage, because of what happened in the 20th century with Greenberg, et cetera, and that ethos towards art, which is just pure personal expression, which in a way that it has to, in fact, the art has to be ugly in a sense. | |
| If it's just purely beautiful in a sort of traditional Uh, way, or even worse, if it sort of harkens to a, to use their terminology, sort of colonial tribalism, which is basically just a link to tradition. | ||
| If you make, you know, you can't go out and make a corporate sculpture that depicts your CEO as Caesar or something, you know, even though that's not, that's a ridiculous sounding example, but I think you know what I mean. | ||
| Not for my boss, I mean, I think for my boss. | ||
| Yeah, you should suggest it. | ||
| Yeah, in fact, yeah, the one should be commissioned for Jones. | ||
| That's the one place where you could do it. | ||
| Yeah, right. | ||
| That's a good idea. | ||
| But um, but they're so their value system is totally in reverse. | ||
| And they only they run the academies. | ||
| It's not just that they run the media and at this stage, all the art schools and all the Western art institutions have this ethos and they hold on tight. | ||
| Anybody tries to come in With any kind of, you know, reversal or, you know, anything, they're immediately shut down. | ||
| Like it's very fiercely clung to thing. | ||
| So if, you know, if you nobody's going to bring it, you could have a Turner or a Rembrandt living today. | ||
| He's not going to get into the major gallery shows, you know, unless he unless he sprays graffiti over the top or tapes a banana to it. | ||
| Right. | ||
|
unidentified
|
And has this idiotic message like, oh, you know, this is that's the whole ethos. | |
| So it's actually will not permit traditional or beautiful art. | ||
| as a value system and they they hold tight to it and the fact that this was the first of the major subversions that they're ongoing now and through language games is very notable i think and they understand the importance of art fine art right and architecture exactly and actually that was my next point was that this how pervasive this is | ||
| it's not just fine art or visual art but it's movies and it's architecture importantly because architecture is one of those things that if you don't value it, or how do I explain it? | ||
| If you live in a beautiful place with beautiful architecture, you might not even notice that that's what's like uplifting you and make you feel good. | ||
| But you go from there to a rundown concrete box and you go, Oh, I really miss those high ceilings. | ||
| I really miss that, that those vaulted doors, you know, it's something that maybe we don't appreciate enough. | ||
| And obviously it seems like now architecture is deliberately designed to be oppressive and bleak and despondent seeming almost. | ||
| So, so this isn't just about art. | ||
| And for art's sake, it's not just about paintings and drawings, it's about the places that we live and the things that we see on a daily basis. | ||
| How is this pervaded through architecture? | ||
|
unidentified
|
Well, so with the same ethos behind them, where it has to be sort of goofy, basically, it can't just be straightforward, beautiful. | |
| Right. | ||
|
unidentified
|
So right off the bat, you know, you're going to get there. | |
| They love their obtuse shapes and their bizarre, you know, look at this S-curve roof and the You know, it's got to be, they really have a tradition of that in, in architecture, but also they believe it's economical to build simply and just build the box, build a glass box. | ||
| Right. | ||
|
unidentified
|
So really, it seems like if you look at the actual price tags of many of these things, they're actually astronomical, enormous, outrageous, especially now with inflation, I guess. | |
| So they're not actually as cost effective as they let, that's just sort of like a myth in their own minds as well. | ||
| They're actually spending more to make these hideous things. | ||
| At I don't know who likes them. | ||
| I rarely find someone who maybe total normal type people. | ||
| They just think, oh, it's new. | ||
| It's the news. | ||
| And they don't care about aesthetics at all or something. | ||
| Generally speaking, almost everybody prefers like an older building, I think. | ||
| I think so too. | ||
| And you know, the classic meme is, you know, built by peasants with, you know, no, no education and hammers. | ||
| And it's this beautiful little cottage with a well and it's just gorgeous. | ||
| And then like, you know, built by the top paid architect in New York. | ||
| And it just, I mean, literally, who is it? | ||
| There's one architect that he literally crumples up a piece of paper, throws it on his desk. | ||
|
unidentified
|
Frank Gehry. | |
| My wife hates it. | ||
| My wife's an architect and she despises Frank Gehry because she loves the traditional stuff. | ||
| But talk about that. | ||
|
unidentified
|
Oh, Frank. | |
| Uh, yeah. | ||
| Well, I mean, that's a perfect example. | ||
| Frank Gary guys like him, I think, or I almost feel like they know what they're doing when someone like him, you know, there was, you know, some that's the, that's the, usually there's two types of people in this world, in the academic art world or architectural. | ||
| There's people that follow along that don't understand that aren't even really naturally artists or creative people. | ||
| They just want to do this job for whatever reason. | ||
| And there's people that even kind of know what they're doing and are a bit malicious about it or something. | ||
| I don't know about Gary. | ||
| He really, I'd be suspicious of him. | ||
| There's like the famous guys like Corbusier, the French guy who wanted to level all of the interior of Paris and turn it into this monstrous, this industrial, awful Soviet looking, you know, tenement block thing. | ||
| And he, you know, they were feeling avant-garde. | ||
| They thought, I'm like Duchamp. | ||
| I'm a genius. | ||
| I can bring the urinal and I can turn the whole city into a giant urinal. | ||
| And I love how, you know, my, my bourgeois intellectualism, all my funny little reasons for Slapping you in the face. | ||
| Yeah. | ||
| You know, this is the type of person like a showy, empty, artless. | ||
| I don't know. | ||
| This is the type of person we celebrate that we elevate. | ||
| It would seem. | ||
| Yeah. | ||
|
unidentified
|
And, you know, that's what in terms of architecture, like usually generally it's the same, same attitude value system towards art as the painter at the root of it is what I would really blame. | |
| But they would always bring up costs and stuff like that. | ||
| They would say you can't make a beautiful building with carving your own stones and Oh my God. | ||
| You know, it's, it's, it's, it's difficult also because we don't, we've lost the institutions where we had guilds of stone carvers and things, and it was a more of a, like a family profession that you'd find everywhere. | ||
| Like here in Ireland, you know, there's still lanes of the streets outside named Lime Kiln Road or Stone Cutters Lane. | ||
| You know, it would have been everywhere. | ||
| There would be people, you would find someone to do this kind of work. | ||
| Yeah. | ||
|
unidentified
|
Um, so that, that's not in our, you know, we live in a free trade globalist, uh, breeze block. | |
| Right. | ||
|
unidentified
|
Or cinder blocks, you call them there, I think. | |
| You know, concrete block construction world. | ||
| Yeah yeah where everything looks the same and everything is centralized and I've noticed that same thing and I wonder how much the first world war had to do with it because I've just noticed in small Texas towns up until the first world war they're building big beautiful stone libraries that are still standing I mean the the most beautiful buildings to this day are like the old it'll be an old opera house in Lockhart you know Texas Luling Texas you know these places nobody's ever heard of but they had opera buildings and libraries because The people there were masons. | ||
| They were professionals. | ||
| They would build these beautiful things. | ||
| And something happened in World War I where that just stopped happening. | ||
| They stopped building these beautiful things. | ||
| I think all the men were just rounded up and, you know, shoved into factories or sent to the front lines. | ||
| And we lost that, like you mentioned, the guilds and the things that made this beauty and this talent everywhere. | ||
| Now it's all been centralized in cities or whatever. | ||
| And you mentioned A minute ago, the fact that every piece of art has a story, and I think that's so important to all of this, and that, you know, the information war, the info war, the political war, it's a war of narratives, and we know their narrative. | ||
| Their narrative is everything was fine and great until the big bad white guys came in and did colonialism all over the place, right? | ||
| Now that's bad and we're undoing that. | ||
| Whereas the story we're telling is one of the triumph of the West and the creation of a beautiful civilization that values fairness and that protects people's liberty and sort of withholding and maintaining this beautiful garden against the savagery of the brutality of nature. | ||
| How much of that goes into what's happened with art? | ||
| Is the collapse in art a reflection of the morphing and the disfiguring of the story we tell about ourselves? | ||
|
unidentified
|
Yes, definitely it is. | |
| But as I said, my premise in the book is that our modern art is a willful, intentional, cultural attack upon us, as is a lot of the other stuff. | ||
| And certainly, the First World War and industrialization generally played its own part as well. | ||
| Mass production, where... But you know, even at the end of the First World War, there was at least an effort, say with Art Deco, To mass produce, you'd get your, you'd mass produce household items, you know, teacups or kettles and things, but they'd have an Art Deco style. | ||
| They'd be mass produced, but they would be highly crafted to a high quality. | ||
| They'd be much sought after today. | ||
| It was an understanding of keeping a balance between that assembly line kind of attitude and having an artfulness and motif. | ||
| Symbolic myth, mythological motif, even that was always a part of any art throughout history. | ||
| So that was kind of I wasn't really lost till later on because there was a lot of I have a friend in Texas as well. | ||
| He showed me recently some sort of Texas courthouse, something a mayor's office or something like that. | ||
| And it was almost like Baroque, Baroque. | ||
| And it was amazing. | ||
| I think I think he said there was a recently renovated inside and destroyed or something horrible. | ||
| But There was a lot of good architecture and design after the First World War. | ||
| And in fact, during that time, America was really flourishing. | ||
| Some of your beautiful cities, your Parises of the West, were really... It was very Art Deco, but they also were unique. | ||
| I remember hearing an interview with Norman Mailer, and he was talking about how he was lamenting how he used to go to different cities when he was a kid in the U.S. | ||
| I don't remember which ones. | ||
| But each one would have its own style, aesthetically, and it would be a unique place. | ||
| It was like going to a city-state almost, like a different polis all over. | ||
| And they would have this unique style to them, and they were all beautiful. | ||
| Some cities still retain a bit of that. | ||
| I think, like, San Francisco was really beautiful and had some beautiful old-school stuff, and Detroit used to. | ||
| Detroit, I hear, is pretty much destroyed now. | ||
| I don't know. | ||
| Maybe there's still nice stuff there. | ||
| I've never been there. | ||
| I don't know. | ||
| No, but you're so right. | ||
| I mean, that is, you know, it's the effect of, call it globalism, call it consumerism, I mean, whatever. | ||
| It's definitely the fact. | ||
| I think New Orleans sort of stands out more than anything because it's got the French influence and it's got the big garden houses and things. | ||
| And you can really see that, but, you know, not anymore. | ||
| Now, literally every city has the same apartment buildings on every block. | ||
| I mean, it's sort of... | ||
| It's depressing, to be honest with you. | ||
| By the way, can you stay for the whole hour? | ||
| I'd like to continue this conversation. | ||
| I want to make sure we have time. | ||
| Okay. | ||
| Because I want to get into your books, and I want to get into the Pulp Fiction that you published, because I think that is another sort of lost art form, and I want to talk about movies and everything. | ||
| I think this is an important conversation to have amidst all the COVID revelations and the geopolitical stuff. | ||
| The art that we're making or the art that we're not making, AI coming in, I mean, this is a very important part of what it is to be human and how we express ourselves, how we relate to one another. | ||
| And as you mentioned, modernism, you call it like a deliberate attack. | ||
| So in your book, You say, as suggested, modernism is not a natural evolution of art, but a kind of manufactured quasi-political imposition. | ||
| It's an artifact of entropy, a cultural decay which afflicts the moral root of civilizations in their twilight years. | ||
| I think that's very brilliantly said. | ||
| Could you expand on that idea a little bit? | ||
| How modernism was a deliberate attack? | ||
|
unidentified
|
Well, it's reversal of the values of art, obviously, generally speaking. | |
| It's fine, let's say, if you want to have a Duchamp and a Pollock in these characters, but I don't see any reason to elevate them to the superstar status and hold them above all other art as the pinnacle of creativity or anything. | ||
| Especially Pollock when he's just randomly flinging. | ||
| Like you're supposed to believe this genius fling of paint, like, you know, like any child could do it. | ||
| Literally. | ||
| Yeah. | ||
|
unidentified
|
Like that really is the mark. | |
| I say that in the book, too. | ||
| The mark of genius is how far apart you are from, frankly, like a child or an animal or something. | ||
| Right. | ||
|
unidentified
|
In terms of like not just doing things randomly, but considering them with incredible genius and care. | |
| And, you know, it doesn't mean that art is purely about technical ability either, but it's the idea that it is this Just rebellious random expression, it really is the linchpin to the whole thing. | ||
| And in terms of what I say there about, that's my, the crux of the sort of the near the climax of my book is me trying to consider, is there a way out of it? | ||
| Cause I also am a fan of Oswald Spengler. | ||
| I don't know if you know his theories and I'm a perennialist generally, which is the theory that also civilizations have a birth and a life cycle, golden age and a decay, and there's nothing you can do about it as well. | ||
| You know, so that modernism is more an artifact of the decline of America, the American empire, as Rome did as well. | ||
| You know, there's that argument. | ||
| It doesn't mean you shouldn't combat and fight back. | ||
| Either way, I think we should combat modernism. | ||
| I think you're exactly right. | ||
| of the criticism of Greenberg and others that sort of settled us with this awful, just for the effrontery alone of their thinking they're so genius and their silly talk. | ||
| The banana on the wall, for God's sake, like it's so... | ||
| It need to be taken down a notch. | ||
| It need to be taken down a notch, Brendan. | ||
| I'm right there with you. | ||
| I think you're exactly right. | ||
| And again, I'm excited to expand more on this on the other side. | ||
| You can find Brendan Hurd and his work at theaureuspress.substack.com. | ||
| And that's A-U-R-E-U-S-Press.substack.com. theaureuspress.substack.com. | ||
| At trad underscore west underscore art. | ||
| On X, we'll be back on the other side to talk a little bit more about this deliberate attack against the human psyche, that is, modernism and the worship of ugliness, as I see it across the culture at large. | ||
| Stay with us, folks. | ||
| It's InfoWars, the American journal, infowars.com, porn slash show, band on video. | ||
| Share those links while you still can. | ||
| We'll be right back. | ||
| Welcome back, ladies and gentlemen. | ||
| This is the American Journal. | ||
| I'm your host Harrison Smith. | ||
| My guest is Brendan Hurd. | ||
| He runs the Aureus Press. | ||
| You can find their website at theaureuspress.substack.com. | ||
| He's on Twitter at trad underscore west underscore art. | ||
| He's doing what he can to combat the war on beauty. | ||
| Is that a fair way to put it, Brendan? | ||
| I mean, there's a war on all things beautiful right now. | ||
| We got to fight back against this. | ||
|
unidentified
|
Exactly right. | |
| And I'm so glad that you get it across the board, too, because I have these different channels and things. | ||
| I want to mention this. | ||
| I don't know if I should, but I mean, what you you mentioned, the first thing you mentioned to me was, say, my my naughty channel, which is kind of funny, right? | ||
| There's that, too. | ||
| We won't talk about that. | ||
| But, you know, it's not it's not as naughty as it's a bit naughty, let's say. | ||
| It's very tasteful. | ||
| I would call it very tasteful. | ||
|
unidentified
|
Yes, taste. | |
| Most people now, it's so funny now, when I talk to people, I only did that because the channel got app banned, so I thought I'll just do this here. | ||
| And most people now, when I talk to them, they're like, oh, I follow you here, and start laughing. | ||
| And I'm like, yeah, okay, great. | ||
| It shows I have an overall aesthetic Uh thing I'm trying to do that doesn't it doesn't on its face maybe make sense or I was just glad that you get it because you aren't confused by that. | ||
| That's a right. | ||
| I do that as well as the trad art stuff. | ||
| No, I think it comes across very clearly and basically you run a telegraph. | ||
| I know it has a telegram channel. | ||
| I'm not sure if it's on X as well. | ||
|
unidentified
|
That's it. | |
| No. | ||
| So you run a telegram channel where you just post images and um, It's called Aureus' Sylvan Bush Arcadia. | ||
| And frankly, we can't show it on screen. | ||
| That'll let you know sort of what it's composed of. | ||
| But it does have a... It has a spirit. | ||
| It has an atmosphere to it. | ||
| And it's not pornography. | ||
| Let's be perfectly clear. | ||
| It really isn't. | ||
| I'm against porn. | ||
|
unidentified
|
I'm against pornography. | |
| Right. | ||
| As we all should be. | ||
| You know, you go to the museum and you see, you know, beautiful paintings of nude women. | ||
| It's not pornographic. | ||
| It's not lewd. | ||
| It's not, you know, carnal. | ||
| It's beauty. | ||
| It's a celebration of beauty, human beauty, beauty of nature. | ||
| I mean, all of these things come across, I think, very powerfully in the stuff that you upload. | ||
| Uh, like I said, I, I sometimes take a break from the horrors of the modern world just to look at, cause you know, it's, it's just beautiful homes or beautiful car, even beautiful cars. | ||
|
unidentified
|
I mean, it's just, this is what muscle cars, muscle cars is another one. | |
| Yeah. | ||
| There you go. | ||
| Excellent. | ||
| Yeah. | ||
| So, but it's all, it's all that to me, it makes it kind of sense. | ||
| I don't, it doesn't to everybody. | ||
| So some people get confused. | ||
| They're like, are you about the classical statues or the cars or the, or the chicks or what is it? | ||
| You know? | ||
| But to me, it all, it's all kind of, cause there is vestiges of proper aesthetics, proper art values. | ||
| Yeah, mostly that mostly that each through in the at the commercial level, right through up until I would say, I mean, they're still there. | ||
| Now they're more underground. | ||
| They're like stuff like us, like we're doing like me with my books and you and your channel and this kind of thing is more there's real creativity, I think going on. | ||
| But previously, there was at the where the high art institutions were totally overrun and just paintings of splatters and naked people standing around. | ||
| There was at least a commercial Aesthetic that was certain traditional in a certain way and just kind of full of fire and vigor. | ||
| Like, you know, I really I'm really into the muscle cars, the heavy metal of the 70s and Black Sabbath 80s and stuff, you know, and there's a lot of it. | ||
| There's a lot of good aesthetic stuff you can find in just very recent kind of retro vintage way to me ties in. | ||
| The art we should have that if we also had at the academic level would just be some something of total excellence and renewal and exuberance. | ||
| And we might again go back to having discernible decades of style and culture like we used to after at the end of the 90s. | ||
| It's like we just started living. | ||
| A permanent episode of Friends, as far as I can see. | ||
| Like, an unending episode of Friends for 30 years. | ||
| Or something. | ||
| And everything has to be remade. | ||
| Everything has to be a copy of a copy of a copy. | ||
| I was going through some of the movie releases, you know, a year or two ago, and I mean, it got to absurd levels where it was like, this is a remake of a sequel of an interpretation of a reinterpretation of a... I mean, it's like, it's so far from original, you know. | ||
| It's a copy of a copy of a copy of a copy, and it degrades every time. | ||
| And it is. | ||
| It is a failure to accurately embody and express the human spirit. | ||
| It is a crushing of the human spirit. | ||
| And, you know, you mentioned that, you know, you said like with visual art, the technical skill is not the The top thing, but it's nice to see. | ||
| It's nice to see somebody actually put the time in and effort in to make something beautiful. | ||
|
unidentified
|
You have to have it as a foundation, I think. | |
| You can add your personal expression once you have the foundation. | ||
| Even Picasso had that foundation. | ||
| Right. | ||
|
unidentified
|
Some guys, guys like Pollock and Duchamp did not. | |
| They were utter frauds as far as I'm concerned. | ||
| Right, right. | ||
| It was, it was a choice for Picasso, right? | ||
| He could draw classically. | ||
| He chose to, you know, create a new and, you know, the famous quote, he's like, if I was a priest, I would have become Pope. | ||
| If I was a politician, I would have become president. | ||
| But I became an artist and I became Picasso, right? | ||
| He was all full of himself. | ||
| But at least he had the underpinnings. | ||
| But then there's the sort of other end of the spectrum which is films these days are so technically well done. | ||
| They're so technically perfect and yet they are soulless and empty and plastic and the stories they tell don't resonate with anybody. | ||
| They don't celebrate the human spirit. | ||
| They tear it down. | ||
| So there's almost this spectrum of the modern visual art where there's no talent whatsoever. | ||
| They're splashing ink on a painting, and it's Hunter Biden. | ||
| He charges $500 million for it. | ||
|
unidentified
|
Or it's the great artist. | |
| He spits paint on a canvas and calls it genius and sells it to China. | ||
| But then there's the films, which are highly technically perfect, and yet they're soulless and empty and vapid. | ||
| And this is so strange to me because here we are in this apocalyptic world where everything is terrible and everything's expensive and nobody's happy. | ||
| And yet we don't even have a good escape. | ||
| We don't even have good entertainment to distract us from all of this. | ||
| Like how, how is it that we aren't having the best movies in the world made right now? | ||
| Why is everything in art failing to capture attention? | ||
|
unidentified
|
Yeah, it's almost like each avenue. | |
| Um, or each vocation of art or whatever you want to call it, say film that we're talking about film now is suffers from. | ||
| It will suffer from the same values, but in different ways and eventually will. | ||
| And if they don't suffer from those values, um, they'll become part of the overall subversion that just wants to turn everything upside down gradually anyways, through one means or another. | ||
| If you're a working commercial artist today, what are you, what are you doing? | ||
| So you're. | ||
| If I didn't go, you know, I wanted to be an illustrator setting up. | ||
| I do that now, like for myself or in a contract contractual way. | ||
| But if I was a mainstream illustrator, what would I be working on? | ||
| I'd be drawing, making, drawing pictures of Superman kissing his boyfriend. | ||
| Like the value system just doesn't allow. | ||
| And as you said, with the remix, it's like there's an absolute void, a vacuum of actual creativity. | ||
| And I'm not I don't know if I can explain accurately how or why, but it's something to do not just with the art values, but with the woke ism and the With the restrictions on what you're allowed to say, it absolutely stifles the creative process. | ||
| And it doesn't seem... So anything that's genuinely creative and exciting and new, it has to be utterly underground, because it'll say something at some point that will, you know, they just won't allow, I guess. | ||
| In terms of how controlled the mainstream is, say in media like movies, and how much is this the arbitrary sort of Shabby, you know, slow collapse of the civilization and the attitudes, the limitations of the actual people doing it. | ||
| It's hard to say. | ||
| It's probably both. | ||
| It's both top and bottom down. | ||
| Right. | ||
| Inability to make anything decent. | ||
| But like, yeah, you're right. | ||
| I mean, how many remakes and how? | ||
| And you know they're all going to be terrible. | ||
| Right. | ||
| You know, I haven't bothered. | ||
| Unless I've heard it screened and approved by several people, I will not bother to see a movie. | ||
| Yeah. | ||
|
unidentified
|
Same here. | |
| Yeah same here and and that's the other things it's like at least if you're making schlock in the 80s you know it might not be the most high you know might not be high art it might not be the most edifying thing that you're ever watching but at least it made money at least it was what people wanted to see at least it gave you a little something there but now I mean they fail completely and then they're given another you know uh trilogy to destroy it's It's like they reward failure. | ||
| And that's why I think it's important to talk about art, because whether it's art or entertainment, it's all of these things amalgamized. | ||
| It's the desire for profit, but then the irony of their failing to make money with their hyper-focus on profit. | ||
| It's the plasticization. | ||
| It's the globalism where you have to appeal to markets in China and America, so we can't have those American ideals too strongly expressed. | ||
| It's the destruction of masculinity, the deliberate exclusion of white people, so we have more diverse cast. | ||
| I mean, it's like all of this social, societal stuff is expressed in our art because that is the embodiment and the configuration of our soul. | ||
| I didn't realize we're about to go to commercial break. | ||
| We'll be right back with Brendan Hurd at the Aureus Press. | ||
| Stay with us. | ||
| Don't go anywhere, folks. | ||
| Final segment on the other side. | ||
| Ladies and gentlemen, theaureuspress.substack.com, A-U-R-E-U-S, theaureuspress.substack.com, at trad underscore west underscore art. | ||
| And I'll leave it up to you to find his Telegram channel on your own time. | ||
| I won't advertise that too strongly. | ||
| But Brendan Hurd is my guest. | ||
| And like I said, I have lists on Twitter, or on X. If you use X, you've got to learn how to use lists. | ||
| And I have my list of images and inspiration that I go to when I'm sick of looking at the news. | ||
| And, of course, the Aureus Press is on top of that because we all need a little bit of beauty injected in our lives. | ||
| We ended the last segment talking about movies and the reversal of values, not just artistic values, as we've been discussing this whole time, but then like the moral, spiritual, cultural values that are absent, which means nobody connects to these movies. | ||
| And just in the break, we were talking about Lord of the Rings. | ||
| And it's so funny to me how there's all these like radical leftists that love Lord of the Rings. | ||
| And it's like, do you not get the reason you connect with Lord of the Rings is because of these... | ||
| What would be termed conservative values, the individual, the self-sacrifice, the, you know, putting others above yourself. | ||
| You know, there's a reason why nobody likes modern Hollywood movies. | ||
| They're all selfish and the heroes are perfect. | ||
| They never struggle. | ||
| I mean, it's just, it's... | ||
| It's pathetic. | ||
| I don't even know where I'm going with it. | ||
| I just want to rant about how bad movies are these days. | ||
| But I know you were mentioning during the break that CGI has had a big effect of this. | ||
| And I don't know if you see a connection between sort of the creation of CGI and the industrialization of movies and the industrialization of art. | ||
| But I think that's an interesting connection you're making. | ||
|
unidentified
|
Yeah, that is also a big factor, especially in, and we're both talking about being fans of Conan and the Conan film, John Malisa's film, excellent, 1984, I think it was. | |
| And just that era, even if you want to reference the original Star Wars series and compare it to the new Star Wars, right? | ||
| Yeah. | ||
| It's not just, it's not just the dearth in writing and the ideas. | ||
| It's the kind of overly fluid and at times wooden and somehow unimpressive CGI that the whole thing is comprised of. | ||
| Which has, it's this other, it's, you know, there's CGI on its own, it has good things about it, and it can be used in certain ways, but overall, definitely detrimental artistic effect on film, where before, say in the original Star Wars, you had the matte painters, you had the stop motion, you had the little Muppets and all the, everything had to be done for real. | ||
| And that involved teams of craftspeople, artists, real artists, and you can sense and you can feel when things are done that way, the hard work of a human hand that goes into it, even say in stop motion, even say it doesn't look real, you know, but you can appreciate it. | ||
| The Ad Ats in Empire Strikes Back, you know, they're a little funny the way they walk, but you somehow sense a human has done this. | ||
| I could potentially do this, even though it's at a grand scale of labor and craft. | ||
| And all that is gone when you use CGI. | ||
| It's just like, okay, computer looks real, I guess, but whoop-dee-doo, the whole craft is absent. | ||
| It's true. | ||
| That's a big thing. | ||
| There's something intrinsic in us. | ||
| You know, it's almost like the uncanny valley or something. | ||
| There's some evolutionary thing that's sort of always monitoring, is this real or not? | ||
| Am I dreaming? | ||
| Is this fake or is this real? | ||
| It's like an evolutionary thing almost, and you can You can tell when something's fake and it just doesn't impact you. | ||
| This might be totally tangential but I think about it all the time. | ||
| The movie, the Jackass, I remember watching the Jackass movie in like middle school or high school whenever it came out. | ||
| But it was something about the knowing that it was real. | ||
| Knowing that I was really seeing people, you know, I could watch an action movie and I got Russell Crowe and he's being stabbed through the chest and I'm just sort of watching it passively going, oh yeah, that looked like it was painful. | ||
| Then you're watching Jackass and you know somebody's about to actually get punched in the face and you're like, Oh my god, he's about to get punched! | ||
| Oh my god! | ||
| It's like, there's something in you that goes, this is real, that is not. | ||
| There's that distinction that is necessary for humans to have, and when you're watching CGI, it's all just... We just know. | ||
| It's not real, it doesn't make you feel anything. | ||
|
unidentified
|
There's an argument there in what you just mentioned, Jackass, that I also wanted to say, which is a difficult one. | |
| But in that there is a an artistic truth to you when you mentioned before cult movies like a silly 80s slasher film or whatever and say you know or you know someone like say Texas Chainsaw Massacre right absolutely horrific horrific movie but in terms of the absolute genius in in achieving that level of horror artistic genius and like you you can appreciate it you can say it's lowbrow and this and that just like you might say me posting chicks and muscle cars is lowbrow or enjoying Conan | ||
| But really, it's the remnant kind of masculine creativity that is so absent in the mainstream or at the academy level. | ||
| In a way, sort of overt, outright, what you must call natural, we might say right-wing or natural values expressed. | ||
| In Milius' Conan movie, I mean, absolutely expressed at every second of the screen. | ||
| It's so you can appreciate these things through those commercial or culty things. | ||
| And I believe there's great validity. | ||
| There's argument there or two. | ||
| I'd love to. | ||
| I should try. | ||
| Maybe I should write a book about this, trying to link those culty underground things back to the traditional art as the underground version of where it should be. | ||
| Even though we all even even we have to sort of apologize and say, yes, it's lowbrows, low budget, but there's something there, you know, it's a hard argument to make. | ||
| I'd have to. | ||
| I'm sort of doing it on the fly right now, and I don't know. | ||
| But, yeah, I think you know what I mean. | ||
| I hope you know what I mean. | ||
| Yeah, no, I think so. | ||
| And again, it's just, it's the same distinction between CGI and a puppet. | ||
| It's real versus fake. | ||
| And, you know, you think about the Academy, and it's all, it's just dislocated from humanity. | ||
| It's dislocated from nature. | ||
| It's out there floating in the ether somewhere, not really... Sorry, those X-Wings were all made of wood. | ||
|
unidentified
|
Did you know that? | |
| The guy, the picture, yeah, those are all balsa wood. | ||
| Not even plastic, it's all wood. | ||
| The artistry, the artistry of these people. | ||
| If you watch the behind the scenes of Lord of the Rings, I mean, it's it's almost better than the movie. | ||
| I mean, you're watching these people build these models that are, yeah, it's it's incredible. | ||
| It's incredible. | ||
|
unidentified
|
And so the armory, the armor, the armor and the swords, that was all real blacksmiths. | |
| And there's something in us that knows. | ||
| There's something in our mind that evolutionary has been highly trained to tell us this is real or this is fake. | ||
| And of course, you know, you talk about all of this. | ||
| Your book again is called The Decline and Fall of Western Art by Brendan M.P. | ||
| Hurd. | ||
| You can get it on Amazon or anywhere else. | ||
| Theaureuspress.substack.com at trad underscore west underscore art. | ||
| But I gotta get into, because I know you wrote this book a few years ago, and since then you say you've been working on sci-fi pulp fiction. | ||
| I'm a huge fan of Robert E. Howard. | ||
| I'm a huge fan of the old weird stories magazines, you know, H.P. | ||
| Lovecraft and all those guys. | ||
| Is that sort of the vein that you author in? | ||
| Is that the style of your stories? | ||
|
unidentified
|
Well, initially I wrote a novel, The Dream God, which is sort of a I'm sort of, kind of a Platonist as well, and I have this great love for ancient Rome and stuff, so I have a copy here, an author copy, it's got a kind of crap thing on it here, but it's about a future where Rome never died, and there's a solar human empire, and each sort of planet orbit of the empire is divided into sort of classical civilizations, there's like the Hittites and the Egyptians and everything, and it's ruled by a sort of | |
| Well, a Roman emperor and they're sort of manufacturing the gods. | ||
| It's a sci-fi. | ||
| It's just envisioning that future seriously and thinking about how they really were compared to actual classical texts of being pagan, sacrificing animals, all that sort of carry on. | ||
| Right. | ||
|
unidentified
|
And I'm very proud of that book. | |
| And I was, as I said to you, I think offline, I got sick of just complaining about art. | ||
| I wanted to go back to creating art. | ||
| And I saw that through Amazon, through Amazon, it's possible to self-publish. | ||
| Anybody can do this. | ||
| And to get books out there. | ||
| And so I started a series of science fiction, short story compilations, which is I'm doing now. | ||
| I'm on issue 10. | ||
| I'm working on this is issue four, actually. | ||
| And it's called AGN. | ||
| Is that how you pronounce it? | ||
|
unidentified
|
AGN on science fiction. | |
| Yeah. | ||
| Yeah. | ||
| And it's anybody can send me submissions, artwork stories. | ||
| Uh, if they're good, I'll publish them. | ||
| And I fill them with some of my own as well. | ||
| And that's, that's harkening back to. | ||
| Books that were around when I was young that really inspired me, like Analog and Heavy Metal Magazine. | ||
| Yeah. | ||
| I don't know if you you're younger than me. | ||
| I don't know if you remember or know these things, but there was a there was on magazine stands and shops. | ||
| You would go in back when I was young and you could buy Conan Comics, Heavy Metal Magazine, Judge Dredd, Analog, Omni, all these things designed for young men, for creative young men. | ||
| Now it's just like housekeeping. | ||
| And maybe if you're lucky, I don't know, golf or something. | ||
| Right. | ||
| Right. | ||
|
unidentified
|
Like these things were available everywhere. | |
| They were everywhere. | ||
| So I wanted to bring that back into the world because it's these things, companies like analog and heavy metal are still around, but now they're woke. | ||
| Science fiction stories, and it's not very good. | ||
| They're lame, they suck. | ||
| Yeah, it's so true. | ||
| I mean, again, it's just it's the real and the not real. | ||
| They want everything to be plastic and dislocated from reality. | ||
| We want the meat and the bones and the dirt. | ||
| We want the reality. | ||
| We want the muscles and the clash. | ||
| I mean, that's what this society is missing. | ||
| And it's why we're just drifting farther and farther from what we're meant to be and meant to do. | ||
| and meant to embody. | ||
| So I think it's very powerful, the stuff that you're doing, the stuff that you come out with, even just the images, they connect you to something real, to a humanity that is increasingly rare in this world. | ||
| So I appreciate your work so much, and I encourage everybody to check you out. | ||
| Again, the book is called The Decline and Fall of Western Art, but just go to his ex at trad underscore west underscore art. | ||
| You can find his top link there, the links to all of his books and all of the magazines, all the publications. | ||
| Thank you so much for joining us, Brendan. | ||
| It's been so fantastic to talk to you, sir. | ||
|
unidentified
|
Thank you very much. | |
| Thank you so much for having me. | ||
| Yes, I'm very, very, very happy about that. | ||
| My absolute pleasure. | ||
| TheAureusPress.substack.com. | ||
| Stay tuned, folks. | ||
| Alex Jones in 90 seconds. | ||
| You're not going to want to miss today's broadcast. | ||
|
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While other networks lie to you about what's happening now, InfoWars tells you the truth about what's happening next. | |
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