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Jan. 27, 2022 - Jim Fetzer
54:30
The New JFK Show (26 January 2022) with Gary King, Larry Rivera and Bruce de Torres
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Welcome to the new JFK Show number 265.
We've got a special guest tonight, Mr. Bruce DeTorres, and he happens to be a longtime researcher on several subjects.
He's written a book called God, School, 9-11, and JFK, and we're going to be talking about that tonight.
All right, we've got Jim Pesce with us tonight, Larry Rivera, the best JFK researcher There is, and Mr. Bruce DeTorre.
So what we're gonna do is just hand it off to you, and we're gonna take it, take your leave.
How you doing, Bruce?
I am thrilled, honored, and great, it's just great to be here, Gary, and great to meet Dr. Fetzer and see Larry again, who I've seen on a few Project JFK things.
All right, well good, go ahead and talk to us about your book.
Well, thanks.
It came out last year by Trine Day.
It was such an honor.
Chris Milligan was the first publisher I reached out to.
As far as publishing goes, I was nobody from nowhere and I asked if I could send a manuscript.
I did, a month later.
He said he'd publish it.
He said that he couldn't do it until 2021.
I reached out to him in the early 2020.
So I had that whole year to study COVID and I squeezed in an extra chapter called COVID-19.
And then Chris said, hey, you have a good voice.
Let's do a podcast.
Because Oliver Stone had suggested to him, you need to do a podcast.
So in August of 2020, I started helping Chris every week interview one of his amazing authors.
He's published about 120 books, over 120 books in the last 20 years.
I was already reading.
I was already a fan.
I had already downloaded the PDF of Fleshing Out Skull and Bones, edited by Chris Milligan.
And I didn't tell him that for months because I thought, well, I kind of pilfered it.
I kind of found it years ago.
And then in the course of conversations with him, I realized, no, no, in the 90s, he was he was scanning books page by page by page and putting them out on the internet just to get this information out there.
So having the book come out under trying day is pinch me, I can't believe it.
And I quickly started reaching out to Vince Palomara and David Denton and S.T.
Patrick at Garrison the Journal.
Hi, I've got a new book coming out by Trine Day.
I guess got my foot in the door.
And on my website, BruceTheTourist.com, there are a long list of amazing reviews.
My mother couldn't have written better reviews for this book.
This whole thing is really, you know, I was honored to get to know the guys like Larry over at Project JFK, so I'm on cloud nine.
I'm holding back a cough, I'm recovering from COVID was diagnosed, and I might take a sip of whiskey.
Have you had Ivermectin or HCQ, Bruce?
I didn't lift a finger to get those.
I waited too long and then I finally, you know, I went to the emergency room because I was developing a cough and I'm prone to bronchitis, but I wish I had, I wish I had.
Have you taken the vax?
No, and I never will.
Good, good, wise fellow.
Larry, I think you've got new stuff with that 3D Blender you want to share with us.
And I know Bruce was especially keen to follow up because you're doing that this evening.
So tell us more.
Yeah, well, Bruce forgot to mention that he was on for three hours on Project JFK on a Thursday, was it, Bruce?
Thursday, a couple of months ago, I believe.
December for the spotlight.
Yeah, yeah, yeah, yeah.
Three hours.
How could you do that for three hours?
Well, it was intense.
That was before my COVID diagnosis!
I, yeah, I had a, I think a hundred and something slide PowerPoint presentation that I muscled through and it was such an honor.
And you and Casey and David and Brian are just, you guys, you guys have just been, you know, just, you're just heroes and it's just.
We've had David here on the show.
Remember Jim, when doing the ballistics thing on the AR5 rifle, which is the one that shot the small enough millimeter bore.
To have been the one, the only one plausible to have been the throat shot from in front.
Yeah.
And we had David and David essentially did the same presentation that he did at Olney.
And it was very, very good.
So he's, he's checked in on this show also as well.
So anyway, as you all know, this Blender thing continues to evolve, and now what we are doing with it, besides the 3D rendering of Dealey Plaza, which has aided us so much in figuring out angles and positioning and positions and views from different areas,
In a non-sanitized version of Dealey Plaza, I like to call it, because we're looking at it as it was on 22 November 1963, instead of the way it is today, where so many landmarks have changed, even the doorway, which was pushed in by nine feet.
But that's a whole different story.
We're not going to get into that one.
But yeah, Now what we've been able to do is apply this to facial recognition and how Blender with a new plugin can use that facial recognition to render and create a three-dimensional mesh.
Mesh in the sense of the word that in a software setting where the program is running, You have this three-dimensional figure in front of you, which you can tweak and you can change and move and do all kinds of neat stuff with, okay?
The young generation of Blender artists out there are quite impressive.
All you have to do is go on YouTube and check out what those kids are doing these days.
It's really, really amazing.
So, what do we have here?
I'll just take over the screen here.
Uh, but host has disabled that.
He's got to give me, uh, Gary, permission.
Yes, sir.
Let me think about it there.
All right.
So I allow you to, um, yeah, I'm looking for the screen share button for me.
Should I make you the host?
Sure.
All right.
You're the host, Larry, so now you should be the host.
Okay, okay, okay.
Where am I?
Where am I?
Here we go.
All right, can you guys see that?
Yep.
Yes, we can.
Voila, okay.
This is one of the Dallas Police Department photographs.
In fact, this is the one that we use for the man in the doorway overlays by flipping because Yeah, because that angle, that perspective, is exactly the same one seen in Doorwayman, which we know is Lee, which we now know is Lee.
We knew, well, we knew from the beginning, you know, but with all the overlays and all the work that we've done over the years.
And what this software does, and it's called FaceBuilder, I posted a blog entry Couple of days ago with actual photos and the same ones that we're going to see here.
But here we are actually within the program and what it does is it you feed as many pictures as you can.
All right.
Here's the black and white Dallas Police Department mugshot.
Okay.
And I can already see some things that I did wrong, which later on I can improve, okay?
Because I only used it for a couple of weeks.
And then this one here, the next one is almost a profile.
It's not a complete profile of Lee, and it's also a Dallas Police Department image.
And then we have New Orleans.
Police Department.
And as you can see, the more photos that we feed the software, the better it renders and the better it interprets what is going to come later on.
OK, and then we have this other one here where we flipped the other image and Use it as well.
So Larry, Larry just interject that New Orleans photo is always seemed to me to be different than the others.
Liam looks much more handsome in that photograph than he does in any other I've ever seen.
And I, I can't account for that.
Well, it looks wider.
Well, no, don't forget that the DPD mugshot didn't beat the crap out of him, you know, and he had his eye was all puffed up, you know.
Yeah, but I mean, the facial I mean, the facial features and all that, just his appearance in that photograph is by far the most flattering photograph I've ever seen of Lee Oswald.
Oh, of course.
Of course.
Don't forget, Judy Baker said a lot of the photos were manipulated to make him have a frown.
You know, when he was holding his hands up.
So a lot of his frowns and bad pictures may well be of Doctor in the photographs.
I may have been as handsome as this.
I mean, he's a good looking guy in this photograph, but not in others.
Right.
Maybe that's the only photograph he didn't fool with.
Well every now and then you read about a Russian maybe lookalike and I haven't explored that angle.
I haven't gone through that door of Harvey Lee Oswald.
Who knows?
I think Judith and I did a pretty good debunking of that actually, Bruce.
I think it's unsustainable.
I pointed out regarding the theory of two Oswalds that actually you'd have to prove the existence of three because the CIA creates a false persona for those who are their operatives to adopt when they return to civilian life.
What I believe John Armstrong did was to mistake the false persona created by the CIA to allow Lee to return to civilian life to be a real second Lee, and then never established the actual existence of the person he claimed to be Harvey.
So my opinion, his project was a failure.
Judith and I went through and found very specific instances where his account was incoherent.
So I just...
I believe it was elaborate work and he had a huge amount of material because he had the whole CIA file and created the impression there were two Lees without explaining how there was this backup for return to civilian life.
That's my take about what happened here.
Thank you.
Thank you.
So, getting back to what we were talking about here, As you can see, these pins, these red pins, are the basis of the modeling here.
Where you see all the blue here, it's concentrated on the nose, the eyes, the eyebrows, the ears, and the mouth.
Those are the key features that are going to be moved around.
See, I have already aligned these, but at the beginning, it wasn't as aligned, obviously, as it is here.
And basically, what you do is You move around, you move a pin.
See, it's not going to let me do that because it's just that I've already exhausted the license.
You need to go ahead and spring for the license on this thing.
Yeah, so you move all the pins around so that they match the underlying reference image.
And when you do this, okay, this is the result.
It is a mesh.
Here we are in solid mode.
And if I were to change this, for example, to wireframe, okay, this is what we come up with.
All right.
Now from here, I can go ahead and continue to model if I wanted to.
But you can see, you know, how the mesh is constructed.
And if I go here, you know, and zoom in a little bit, and this is all done by Blender.
And to give you an idea of how advanced, you know, this thing is already.
And here, again, we use the reference images.
We moved all these red pins to their positions.
And you can create some very interesting stuff here.
Now, why would I even want to, you know, what kind of application Well, we've got the thing about the man in the doorway.
And what I'm going to do here, I'll go and bring in our friend, Billy.
Billy Lovelady.
I have a feeling the pins are not going to match up.
Here he goes.
Here's one.
All right.
So here, Let me see, where are the images?
Oh, and by the way, these can also be, you have the ability to change the features so that they move.
For example, you can blink the eyes, you can make the mouth do whatever you want, you know, the face, you know, exactly the same, you know, as the face.
Okay, here we go.
Here's the first one.
Okay, and we're using the FBI photo shoot of 29 February 1964.
And you know all about that.
Here's the profile.
Okay, again, the software locates the key features like the ear, the nose, the mouth, eyes and the eyebrows.
And it first it Locates those areas and then it allows you to go ahead and move them around so that they match the reference image.
And this is what we get.
My Billy Love Lady!
Well, not only that, Gary, but okay, this is, there's different, there's, these are, okay, perspective is The way it really looks in orthographic is as if you were going to use it in an application for building something where all the measurements, you know, have to be in conjunction with one another.
Okay, so now with perspective is as if I were looking at it, you know, through my own eyes.
All right, so this is in An overlay of one on top of the reference image.
And again, we're able to see that there was quite a lot of difference between these two gentlemen, you know, and I don't know why they would even try To come up with the idea that they were almost identical twins.
Jim, what's your opinion on that?
Oh, I agree with you.
They're grossly different.
I don't see how anyone could have mistaken one for the other.
And of course, Billy also observed he was two to three inches shorter and 15 to 20, I think actually quite a bit more heavier than Lee.
So he didn't understand why they'd ever be confused.
How do we explain that, to my knowledge, no one on those steps said, yeah, Lee was with us?
Of course not.
Of course not.
Never.
Never.
That would never happen.
Well, they were at the risk of loss of their lives, Bruce.
I mean, you know, this was a very heavy ship.
The whole operation appears to have been a CIA front.
The whole book depository appears to have been an operation.
Interestingly enough, to Bruce's point, Billy Lovelady did speak, and we have this on one of our posts, where an HSCA tape was found in the National Archives.
I have The pristine copies and where Kenneth Bruton, the attorney who went over there with Robert Grodin in November 1976, as one of the very first things that Richard Sprague wanted to do before he got canned, you know, from the HSCA because he really wanted to do a true investigation.
But in that in that tape, when he asked him, Specifically, could Lee Oswald have been on the steps?
And he said right off, just like that, he said, he could have.
He could have.
And we have that on tape, all right?
But we don't really need that to know that it's in the doorway because of the overlays and how everything that Yeah, so it was the height, the weight, the build, the shirt, the t-shirt.
Ralph Sinque was very good at focusing by virtue of his background as a chiropractor.
Used to getting people in shape so their clothes fit better.
It was he who first set me straight when I was looking at Black Hole Man, or the guy whose face was obvious, with that Shelly Larry, you know, obfuscated.
Black Hole Man turns out to be a Billie Love Lady.
Right, exactly.
So, you know, I think Ralph...
And I published about a dozen articles about a man in the doorway with a sequence with a whole host of contributors.
What Larry did, of course, was to zoom in on the facial features and demonstrate conclusively that they are also those of Lee Oswald.
And what was amazing is that Black Hole Man, as he's visoring, you've got enough Yeah, I think that's just such a wonderful sequel to establishing Lee was the doorman, that black old man was Billy.
Billy Lovelady and they fall right into place.
You know, I mean, it's just- - Yeah, I think that's just such a wonderful sequel to establishing Lee was the doorman that Black Hole Man was Billy.
Bruce, you've seen that, I'm sure.
Have you seen Larry's where you see Black Hole Man turn into Billy Lovelady?
It's just wonderful if you haven't.
You want to catch up on that.
What's so amazing and profound here is that you had four Patsys in that doorway, Jim.
Okay?
Four possible Patsys all in the doorway that afternoon.
You know, the probability of that is just Zillion to one.
That it should be by accident is highly improbable.
That it should have been, by design, highly probable.
Larry, where can I see what you did with that image of Black Hole Man?
Oh, sure.
I'll email it to you.
It's in my blog.
I think it's one of the first ones we did.
February 2017.
If you go to my merch... The blog that links off of Project JFK?
No, no, no.
Oh, yeah, yeah, it does.
Yeah, it does.
But it's just merdist.com front slash WP.
Thank you.
Merdist.com front slash.
I could pause it if you want to get it up.
Pull it up.
Yeah, that's you know, that's I mean, I am missing that word you're saying in the domain name, Larry.
It sounds like Meredith.
No, M-E-R-D-I-S-T.
dot com front slash WP for WordPress.
Thank you, my friend.
And if you go to February 2017, the overlay is right there.
In fact, both of them are there.
Yeah, I mean, that just put the whole issue to rest.
But I'm afraid Larry's going to put it even more to rest.
And you can actually download those images I don't put any type of restriction on that at all.
So yeah, you can right click and, you know, download till your heart's content.
So anyway, that's where we're at here.
And what I was going to do is bring in here.
I think I have one here where we have both of them in the same.
Here we go.
Here we go.
OK, good.
So here, we're taking it a little bit further, and Jim, I don't know about, Gary, what do you think?
Obviously, you know, not the same guy, you know, you can just spruce him up, you know, put a little bit of hair in, but you know, at least features were a lot more Refined, you know, and Billy's, on the other hand, was more Neanderthal-like.
I don't know if that's the proper term, you know, but so this is... I beg your pardon, Jim?
His features were coarse, more coarse than Lee's, yes.
Right, right, right, right, that's exactly.
So this is what can come out of just these old photographs.
What was the relative size of their skulls, Larry?
I mean, some of these, it looks like Lee's head was larger than Billy's.
No, no, no, no, no.
It's perfect.
Oh, you can see here.
Was Billy's head larger than Lee's or they were about the same size?
Here they are, here they are, side by side.
Billy's head was larger than Lee's.
Yeah, good.
Billy was, yeah, about 5'8", 5'8".
But Billy at the time was weighing about 175.
Yeah.
All right.
And Lee at the time was 130, what, 130-ish, you know, low 130s, so.
All right, so Larry, so if it would have been the same person and you had aligned up the mesh and all that and all the red dots, then when you made the face, it should match.
Am I correct about that?
Yeah, yeah, but don't forget that these are 3D perspectives, you know, so I couldn't just go ahead and, like, take a picture and do an overlay, okay, because this is in 3D.
Obviously, the picture is in 2D, but, yeah, but what the program is doing is, you know, interpreting the two dimensions into three dimensions, you know, and giving it, you know, all the contours and everything necessary, you know, to match.
So these two heads here are composites of several pictures, correct?
Yep, that's right.
So then if you would take the same pictures and put them in, then it would distort everything.
And so it's just like rock-solid proof that Lee was standing in the doorway.
We said it last time, but this is mind-boggling.
Really is.
This is just, you know, an exercise here in, you know, being in the doorway.
No, not really, you know, because this isn't gonna aid us, you know, but, you know, all it does is actually give us, you know, more an idea of what these gentlemen look like, you know, in 3D, you know, from, you know, from images that we see really in two dimensions.
So, I was gonna get out of here real quick, Let me stop the share real quick and I'll get out of here and give you a little... I'm gonna plug in my... You guys can say whatever you want right now while I get this... Yeah, Bruce, we didn't talk about your book as much as I wanted to.
You were saying that around 2000 is when you began to go deeper and deeper into research like this and you came across like Dr. Fetcher's work and things like that?
Yes, 2004.
I was strongly advised to look into 9-11 and it wasn't the mainstream story.
I had, you know, I had no clue and I quickly found, you know, I quickly, those doors opened up and I haven't stopped digging into real history, you know, ever since.
But was JFK before or after 9-11?
Well, I was a lifelong reader.
I was a lifelong obsessed with Abraham Lincoln and then the Civil War.
I'm talking first grade and then American history and then the presidents and Kennedy and it was all a big these were all my friends and I'm reading about them my whole life.
So I was in my early 40s when I discovered 9-11 and here are the turning points.
I used to be an actor.
Then I was an entrepreneur in my 40s.
But every Wednesday I went to an open mic, and for 15 minutes I could do spoken word.
And until I learned about 9-11, I was talking about energy and consciousness and the illusion of reality, and this is all a dream.
The one spirit is having.
From 2004 on, every Wednesday, I was ranting and raving about the Federal Reserve and 9-11 and the Kennedy administration, you know, the Kennedy assassination.
But it really galvanized in 2011, the 10th anniversary of 9-11.
I wrote a series of seven talks on 9-11.
And then in 2013, for the 50th anniversary, I really immersed myself in JFK to write a series of seven weeks And from 2013 to this minute, I've never stopped being obsessed with Kennedy, his administration, his character, the assassination, and here we are.
Oh, and that was also then I decided in 2014, like, wow, because I was satisfied with what I had composed about nature and reality and consciousness.
49 pages, it was in a drawer, because I didn't want to say anything that others had said better before me.
But in 2014, I decided these horror stories of reality that everyone really needs to know are suicidally depressing.
But if you wrap them in, like, if you imagine, I wanted to frame it and I did, that the truth of these things, God, I'm talking about religion and Christianity and the mind control of that is school.
I talk about The history of the development of education in America from the 1800s forward and the work of John Taylor Gatto and Charlotte Thompson Iserby about the indoctrination and the social grooming and all of that stuff, the horror and the mind control that those two things are.
And then 9-11 and JFK is my biggest chapter.
And then there's a chapter on a brief history of the United States.
I go back to the founding, really, really praise the founding, really, really Hand the founding and the Constitution and the Bill of Rights on a silver platter to us to become Americans, which means preserve, protect, and defend the Constitution.
America is dead.
We don't live under the Constitution anymore.
It was buried with the USA Patriot Act, the Department of Homeland Security, and if America is going to exist, we've got to recreate her.
You know, and this is the challenge and the opportunity and my excitement.
Yeah, I'd like to argue with all that, but No doubt.
We need to learn more from Bruce about his views and research and the conclusions to which he's been drawn.
Not perhaps tonight, but look forward to it and check, taking a look at his book and we'll bring it back.
Larry, you got some, you got more stuff you want to present?
Yeah, yeah, yeah, yeah, just let me get the screen again here, okay, and I'll take you to Dealey Plaza here real quick.
All right, here's my wireframe, and as you can see, it's getting filled out.
All right, let me get into orthographics here.
All right, and let's get a top view here going.
All right, before We only had like, follow the mouse pointer here from here up.
Okay, now what we've done is continue to fill out.
Okay, the South Knoll.
Okay, the infield of the South Knoll.
Commerce.
Okay, we already had the triple overpass.
The trees, they're all placed exactly where Cutler says, oops, and it's not just Cutler, but other maps of the time that I have seen.
And as we zoom in here, this is, as you can see, it's a mirror image of the other side.
Okay.
And it is according to the maps.
And as we continue to put the lampposts, you know, on either side, Larry, there was a pergola-like structure on the south side?
Yeah, still is.
Yeah, it's exactly like the other side.
You know, I've never paid attention to that.
Yeah, isn't that amazing?
Yeah, how strange.
Yeah, it's great.
So, for all of those, and I know that this has picked up maybe a little bit of steam about that canceller photograph And what that view would have looked like, all right?
And as you can tell, the angle just doesn't line up for a frontal shot.
The angle does line up if we go to... If we go to our little cubby hole here, where... Okay, Weldon... This is Weldon's position.
Now remember, Uh, he's in, uh, Jim's book on, uh, the, uh, he did the investigation of the windshield and Mr. Whittaker, uh, at Ford Motor Company.
And yeah, and this is the position that, uh, he proposed, you know, atop the, uh, the corner there.
And, uh, Jim, Gary- On top of the triple underpass.
Right, right.
And this is where Jim, Gary, and I have been here so many times, you know, I can't even, but that would have been that, you know, even though the trees offer good cover, but again, it's not, it's not the right angle.
More, more so because of a downward angle that, you know.
Yeah, so if you drop his elevation 10 or 12 feet, you're getting pretty close to the right location.
Which is where we are.
Okay.
Okay, that's well done.
And okay, we got two cameras here.
Hold on.
Oops.
It's a little heavy here.
Here, here's see, I have my the camera on the underpass.
So the only way I can get there is through wireframe mode.
So this is the By the locker?
Yeah, this is the one that we have visited so many times, Gary, Jim, and I, and which is right here next to the concrete abutment there.
It offers incredible cover, a perfectly stabilizing column and thing there, horizontal there, speaking, and where you can rest whatever weapon.
And you've got that perfect frontal shot here.
If I go and I zoom in, OK, as you can see, it's and also the S curve of Elm Street is very particular that at this at this moment here, it's like stationary for about two or three or four seconds.
You know, if you go there and look at cars, you know, from this angle there, you will see that they're almost almost a stationary target because they're negotiating that S curve there.
And then, of course, I want to go and look at, this is David's position, okay, David Knight, which is right above us, okay, and if I take you there, and I have plotted a line, and the problem is that the way I see it, there's a slight downward trajectory, it's not flat like the one from under the bridge, and so
It's if you look at the evidence where the windshield and JFK himself, you can tell if you plot those two points, it's a very flat trajectory, Jim and Gary and Bruce here.
So that's why, you know, he's close, you know.
And and then guess what?
James Stagg finally makes an appearance here.
This is the James Tate position right here and we have a camera okay that's him and we have a camera showing what his line of sight would have been.
Obviously the fragment that hit him came from the south curb right here from just around this area where I'm pointing right here this is where the Yeah, he really wasn't in a very good position to observe the motorcade, Larry.
I wonder why he even stood there.
I think his car got stuck in traffic.
He just said, what the hell, I'll just get out and, you know, enjoy the assassination.
It was, it was fortuitous that he should have been there.
Absolutely.
Absolutely.
Very fortuitous.
I would say.
So I have a very interesting view here that I see.
I placed the camera right here atop the normal pergola here on the north.
And when I look through it, okay.
I get this really fantastic image of Zapruder.
And let me go ahead and render it.
I'll run it at 10 so it advances fast.
Because I just found it so interesting.
Is that Bill Newman on the sidewalk?
Yeah, exactly.
Yeah.
And right there.
Yeah.
And that's confirmed by the reference images.
This is what
You know, this is all about getting, you know, and stimulating, you know, these types of discussions, you know, on when you look at, you know, okay, what, how does it look from here, or, you know, and the thing about this is that I cannot keep adding more people if I were up to me, you know, but I don't have a supercomputer to add, you know, all the crowd of people there, you know, so I, for now, just have to stick to the basics, you know, the people that are relevant,
That I think are relevant, you know, in the, in the scene.
Again, the Dealey Plaza model is based on Cerruta frame 255, which is equal to the Alton 6.
Okay.
By using those two images as reference images, we've been able to establish a lot of the angles, positions of people and things of that sort.
So this is, you know, like I said, From a imaginary camera placed atop that position.
And again, you've got Zapruder, you've got Emmett Hudson over here, you've got Autryns in the street right here.
All right, Bill Newman.
That texture I actually got from one of the videos of Bill Newman.
He was wearing this sort of plaid Brownish cream colored shirt, you know, and that kind of thing.
And the other landmarks, as you can see, that have been added on.
And the position of the sun is accurate and the shadows are accurate?
Absolutely.
100%.
Wow.
Yeah.
As of that time of the day.
Yeah.
Yeah.
That's a very, that's one of the most, that's one of the first things that you have to establish.
Okay.
And those are exact replicas of the shadows as of 1230.
Uh, p.m.
November 22nd, 1963.
All right?
Love it.
It's coming out about pretty good, I think.
Very nice, very nice.
Wow.
Yeah, Larry, are you ever gonna make a, um, a Blender presentation of what really happened in Dealey Plaza as it came?
I wish.
I haven't learned how to do animations in Blender and Uh, the scene as it is, is extremely complicated.
A lot of, uh, see Blender, the nuts and bolts of Blender are points, uh, which are vertices, lines, then faces, okay?
A line is any two points that connect.
A face, any four points that connect, okay?
And then from there on, the universe.
So, uh, the, uh, Each model contains a specific amount of, you know, faces, lines, vertices, etc., you know, to build a mesh.
And, you know, the more objects and models that you insert into the composition, the heavier it gets, the software gets slower, and etc.
So that's why I keep it in, a lot of times, in wireframe, so it doesn't have to interpret, you know, a lot.
Just give me the basics of Of the composition, and then from there, do whatever has to be done as far as editing is concerned.
Why don't we take this opportunity for Bruce to kind of give us a thumbnail sketch of his work on JFK?
Yeah, absolutely.
Absolutely.
I agree.
My chapter starts with, you know, accusing the assassination of, you know, being what it was and what, you know, I see about By elements of the government in collusion with, you know, elements of the mafia and, you know, and big money.
And then I do a quick summary of his administration and then a breakdown of the assassination.
And then a nice analysis of the implication.
Also in there, I kind of get us current, taking through what happened to Ruby, the cancer he got.
Garrison's investigation, Watergate, and then how it led into the investigations of the 70s, the conclusions of the House Committee, what the Justice Department did, you know, real quietly and cowardly with a couple of memos in 83 and 88 saying, No, we disagree.
And no, there's nothing to future investigate there.
Oliver Stone, the ARRB.
I wanted this book for all of its topics, especially, well, not especially, but including JFK, to be a kickstart for the newbie, you know, someone who believes the mainstream kind of stories.
Like, well, you know, boom, because there's 46 pages of sources in the back in finer print that One can corroborate what I present as concluded evidence and take my, you know, speculation and interpretations for what they are.
They matter far less than the presentation of the indictment of the false story, the lie that the official story is.
But I can't help but Surround that with my very idealistic and passionate enthusiasm for the man's courage and how when all of us imagine we're the president because in the government of the people self-government No one's supposed to do it for us.
We can't not preserve, protect, and defend the Constitution and expect someone else to do it.
We've got to hold our representatives feet to the fire.
Obviously, that's very idealistic in today's political world.
Political world.
Yeah, yeah.
But through the whole thing, there's, you know, there's basics about the Illuminati, basics about Skull and Bones, basics about the CFR and the Rockefellers and the Rothschilds and Operation Paperclip after the basics about the CFR and the Rockefellers and the Rothschilds and Operation Paperclip Very important, yeah.
There's a big tangent on the CIA in the 9-11 chapter.
What about Northwoods?
Oh, that's in there, baby!
That's in there!
What about Northwoods?
What about Northwoods?
Oh, that's in there, baby.
That's in there.
Of course.
Yeah, it's just, you know, it was thrilling to obsess about.
It was thrilling.
I took my time writing it.
I had no goal or whatever, and it just happened to all come together at the end of 2019.
And, you know, and, you know, through it all.
Anyway, May I call you Jim, Dr. Fetzer?
Sure, of course.
Please do.
Yeah, yeah, yeah.
I don't want to just keep babbling.
What in that would, you know... Well, I take it you don't have a lot on the medical evidence or the ballistics or the number of shooters and that sort of thing, which we're, you know, seeking to reconstruct.
I have I have two or three pages of that for the lay person.
I kind of I kind of narrate this Brooder film after first framing what could is very likely the alterations.
And now it's untrustworthy and and break down.
You know, I count up what could easily be, I think, 12 or 13 shots, because when you because I've really read, you know, really, you know, around it and deeply and into the topic.
So, yeah.
And then I I also talk about the anomalies and the problems with the autopsy and reference a lot of those sources for that.
Do you address any of those who have sought to undermine research to gain credibility by their work but actually function as limited hangout?
That might not well not be.
I'm talking about persons like Josiah Thompson and Robert Grodin.
No, Gordon's mentioned for bringing, you know, there's a Ruder film in 75 to Geraldo, you know, but no, I don't get into those kinds of things.
I didn't get it.
Yeah.
Yeah.
Well, I'm not surprised.
I mean, it would be, you've got only 175 pages and you're covering a lot of territory.
You know, it reminds me, the book reminds me, and this is not in a negative way at all, of Billy Joel's song, We Didn't Start the Fire.
Did anybody ever say that to you like that?
No, but I'm gonna start selling the book with that.
No, because you're going like one after another.
It's like, you know, you're just piling ahead, you know, dude.
I really wrote that.
I really tried to make it the best writing that I could because I'm a lifelong reader and a lifelong writer.
and and I wanted to say something in each sentence and never say anything twice or over explain everything so it's every sentence is hand over fist on this rope and hopefully the way I phrase the sentence is it gives you the illusion of catching your breath and having a little expansion and contraction in the dynamics but not really it's hand over fist Right, right.
You're plowing ahead, dude.
Yeah, I didn't want to say anything that had been really well covered in other books.
I wanted fresh takes on it and I wanted to really just glean, you know, enough essentials to make people say, this is so persuasive.
And capturing the attention span of the younger generation nowadays that is, you know, not very, you know, you can't catch them, you know, at the moment.
You will never catch them.
You're really talking about the dumbing down of America there, Larry.
You know, I mean, well, that's my chap.
That's my chapter on school, Jim, where I talk about, you know, early childhood development and what it would take and the need for loving parents or loving adults to raise a kid.
The crime against humanity that is stealing kids into an institution, preventing them from interacting with life.
And the obliteration of real books, and then as solutions at the end of that chapter, how vital it is to have conversations with kids, and how vital it is to get them reading and writing.
And I recommend Julia Cameron's book, The Artist's Way, a spiritual way to unleash your creativity.
Because I described some personal aspects about the crisis I had in my 30s when I realized I didn't pay attention to the people in my life and I certainly didn't love them and I thought I was a fool and I had to figure out how to be a human and I say the first third of my life I practiced how to be an actor.
The second third of my life, I just turned 60, has been about Learning how to be a human being, how to pay attention and love and regard and care and talk to people in a way that allowed them to talk to me.
It inspired them to enjoy talking to me as I fire hose and don't pause and let anybody get a word in.
Bruce, what do you take to have been the point of 9-11?
Just, you know, the overarching motive and purpose.
I imagine it would be a sledgehammer blow on our psyche to just flatten us.
A traumatic event of such epic proportions to just bring us into compliance through fear.
However, the other side of that coin is two things.
All it facilitated to maintain the illusion that we need this military this big.
Whatever we're doing to intimidate the rest of the world in the Middle East and control their resources.
But then there's that whole Black Eagle trust, the money, the funny money stuff that started in the early 90s about these securities that were coming due, and they had to wipe out the accounting of that at Cantor Fitzgerald.
And I think the Office of Naval Intelligence, whose office got whacked at the Pentagon that morning.
And Building 7, with all the records in there, the Securities Exchange, I think was in that, among other, you know, big shot offices.
It was the Patriot Act, and the Patriot Act was a death nail for the Constitution.
In my opinion, just like you were talking about in the beginning.
Well, we look forward to your book.
Bruce, thank you for sharing with me and with Gary.
I know Larry already has read it and that's all terrific.
And I'm delighted you could join us tonight.
And we look forward to having you back.
It's my honor to meet you and Gary tonight, and I'm so grateful to Larry for thinking of me and talking about my book to you guys.
You're welcome.
Like I said, we like to get a lot of fresh input in the show whenever we can.
We've had people from Hollywood, like Mike Machanska, Who, just an example, you know, he's very well informed on what happens there and how nobody in Hollywood wants to even touch the Zapruder film, even though they all know that it's been altered, you know, and they know that if you go there, Your career is over.
All right.
Well, it's funny you say that, Larry, because through the last part of your presentation, I was thinking, what if I won the lottery?
I would I would fund you and your ability to trick out this blender to the point where you can do animations.
And then I thought, where the F is Hollywood with all that CGI and all that artificial It would take them a week.
What's going to take you 10 years, they could do in one week.
And all of a sudden, and then there would be some controller of it who could take Jim's request.
Okay, now show me the motorcade coming through from this angle.
And then it would take Gary's request like, all right, I want just a hover shot from above.
I want to see what happened.
Oh my goodness!
Yeah, and we're at that gate, you know, it's just... It might be animation, we might just have to pay someone to animate it.
I've been saying this for years, for many years, and we'll close, you know, probably tonight with this, that the evidence, the technology is catching up with the evidence that was left behind, you know, and it's just gonna continue until they're just gonna have to admit, you know, Well, who's going to admit, but, uh, you know, because of the forces of the mainstream media who continue, you know, to stonewall this thing, you know, it's just amazing.
And, uh, and the history books and everything, you know, we have a formidable opponent here, uh, Jim, on getting the truth of JFK out.
Absolutely.
Indeed, indeed.
And 9-11 and a host of others.
Yeah, yeah, yeah.
We're just delighted you could join us tonight, Bruce.
Very, very nice.
Gary, in the absence of your hourglass, we're right about at an hour, so... We'll get the hourglass going next week for sure.
All right, this has been JFK Show number 265.
We're going to talk, we're going to entitle it Dive School 9-11 and JFK.
We've had Bruce de Torres with us tonight and we appreciate everyone for being here and thank you for watching.
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