Today, Dan and Jordan go back to the past to continue their investigation of how everything went so far off the rails for Alex Jones in the aftermath of the Sandy Hook shooting. In this installment, the gents discuss Alex's fictional retelling of traveling to New York to argue with Piers Morgan, and find the starting point of him talking about "crisis actors" on his show.
| Speaker | Time | Text |
|---|---|---|
| Andy in Kansas, you're on the air. | ||
| Thanks for holding. | ||
|
unidentified
|
Hello, Alex. | |
| I'm a first-time caller. | ||
| I'm a huge fan. | ||
| I love your work. | ||
| I love you. | ||
| Hey, everybody. | ||
| Welcome back to Knowledge Fight. | ||
| I'm Dan. | ||
| I'm Jordan. | ||
| We're a couple dudes. | ||
| Let's sit around, drink novelty beverages. | ||
| Oh, we got to do a high register. | ||
|
unidentified
|
Ooh. | |
| Ooh, deli. | ||
| I don't know where that came from, but it terrified you. | ||
| And that look on your face made me laugh a lot. | ||
| It just perked me up a little bit. | ||
| It just gave me a little bit of a bump. | ||
| A couple of folks sit around and drink novelty beverages and talk about Alex Jones. | ||
| Today we get Coca-Cola orange vanilla in the house. | ||
| Indeed we do, Dan. | ||
| I have no idea what it is. | ||
| It's a testament. | ||
| Novelty beverage. | ||
| We don't always bring up what novelty beverage we're drinking, but this time I thought it would be appropriate because it's a testament to how quickly I often... | ||
| Find novelty shit and drink it. | ||
| Is that you came in with this orange vanilla Coke and you're like, hey, I saw this. | ||
| It looked weird. | ||
| We gotta try it. | ||
| I'm like, I've had it already. | ||
| How do you do this? | ||
|
unidentified
|
I'm quick. | |
| Do you know what I almost got? | ||
| I'm at the store a lot, though, too. | ||
| That's the thing. | ||
| I generally end up going, just as an excuse to get out of the house, almost. | ||
| Like, I'll end up at the store or down at Walgreens or something, you know. | ||
| So I have a lot of access to what's new. | ||
| Right, right, right. | ||
| I have a Walgreens. | ||
| I tried the M&M hazelnut because I thought it would be like a Nutella-filled M&M. | ||
|
unidentified
|
Oh, yeah? | |
| Yeah? | ||
| No. | ||
| Disappointing. | ||
| Just a hazelnut? | ||
| Yeah, it's not bad, but it wasn't what I was looking for. | ||
| It was between orange vanilla Coke, which I just took a taste of, and it is absolute garbage. | ||
| It's not a win. | ||
| This is disgusting. | ||
| I haven't had a sip today, but from my first voyage with it, I can... | ||
| I can say it's not a win. | ||
| Or the 7-Eleven branded Sour Patch Kids soda, which I was looking at thinking, what if I hurt myself? | ||
| Looking at that was like cutting myself. | ||
| That was the idea. | ||
| I need to feel something to feel alive, like that kind of thing. | ||
| You did get that cotton candy energy drink. | ||
| Oh, that was bad. | ||
| I didn't actually think it was terrible. | ||
| You left it here, I drank it later. | ||
|
unidentified
|
Did you? | |
| It wasn't terrible. | ||
| Should have been way worse. | ||
| Somehow it had a subtle flavor of cotton candy. | ||
|
unidentified
|
Subtle cotton candy flavor. | |
| I mean, it's just sugar. | ||
| Yeah, that's true. | ||
| Anyway, this is a show where I know a lot about novelty shit and Alex Jones. | ||
| And I only know what you tell me, Dan. | ||
| That's right. | ||
| So, Jordan, today is my birthday. | ||
| Is it? | ||
| Well, when this comes out. | ||
| I really do. | ||
| This will be coming out on my birthday. | ||
|
unidentified
|
Oh, yeah? | |
| This is my birthday episode. | ||
| Hey, everybody! | ||
| It's going to be no different than any other time. | ||
| How are you going to be, 35? | ||
| 35. Wow. | ||
|
unidentified
|
Congratulations. | |
| Thank you. | ||
| I made it. | ||
| You look great. | ||
| Thanks. | ||
|
unidentified
|
Yeah. | |
| Fuck you. | ||
| Yeah, I mean, what can I do? | ||
| I can rent a car now? | ||
| Is that what it is? | ||
| No, I think that's 25. Hotel room? | ||
|
unidentified
|
I don't know. | |
| Probably. | ||
| Run for president? | ||
| Who knows? | ||
| There is that one. | ||
| Yeah, whatever it is. | ||
| 35 is some sort of a milestone. | ||
| I don't know. | ||
| Yeah, I think it's 35 president, 30 senate, and 25 house. | ||
| I'm on my way. | ||
| Which seems incredibly arbitrary and stupid. | ||
| I'm heading to the government. | ||
| Do it. | ||
| I'm not doing that. | ||
| But on this day of my birthday, I want to take a moment to say thank you to everybody who, over the last year, from 34 to 35, has been so instrumental in helping create this thing that can be my job and I'm very passionate about. | ||
| Everybody who facilitates it and makes it possible makes it so I enter this 35th year with something far more meaningful in my life than I had years ago and something that would not be possible without them. | ||
| Yes, without them. | ||
| What? | ||
| Just sitting over here. | ||
|
unidentified
|
Look, man. | |
| Yeah, thank all of them. | ||
| We're a little loopy up top. | ||
| Wow, you know what? | ||
| I was going to get to that. | ||
| I was going to get to talking about appreciating you as well, but you were being so impatient with your need for thanks that you didn't let me get to it naturally, and now I won't. | ||
| It's never happening. | ||
| But, yeah, so if you think of wanting to give me anything for my birthday, don't. | ||
| You already have. | ||
| But if you do want to, hey. | ||
| Tweet out a link to the show or something like that. | ||
| Yeah, that'd be nice. | ||
| That would help. | ||
| We have shirts now. | ||
| Yeah, we do. | ||
| We do. | ||
| And if you want to find them, there was some confusion, there's on the website, knowledgefight.com, there is now up at the navigation bar, up at the top it says shirts. | ||
| So you can find that stuff there with that link. | ||
| Wonderful. | ||
| But in the spirit of thanks and appreciation, we'd like to start this episode as we do all of our episodes with a prayer. | ||
| No. | ||
| It's time to pray. | ||
| With a thank you to some people who signed up and are supporting the show. | ||
| We really appreciate it. | ||
| So first, Brian, thank you so much. | ||
| You are now a policy wonk. | ||
| I'm a policy wonk. | ||
| Thank you, Brian. | ||
| Thank you very much, Brian. | ||
| Next, Brian, but with a Y. Thank you so much. | ||
| You are now a policy wonk. | ||
| I'm a policy wonk. | ||
| Thank you, Brian. | ||
| Thank you very much, Brian. | ||
| Next, Young Bae. | ||
| Thank you so much. | ||
| You are now a policy wonk. | ||
| I'm a policy wonk. | ||
| Thank you very much, Young Bae. | ||
| Next, the Soros Foundation for Definitely Not Being Globalist Soul Vampires. | ||
| These names are getting a little long. | ||
| These are getting a little bit interesting. | ||
| But we thank you so much. | ||
| You are now a policy wonk. | ||
| I'm a policy wonk. | ||
| Thank you, Soros Foundation, for Definitely Not Being Globalist Soul Vampires. | ||
| Yes. | ||
| Next, I'd like to say thank you to somebody who took their donation and bumped it up a little bit. | ||
| So, Carissa, thank you so much. | ||
| You are now a globalist. | ||
| I'm a policy wonk. | ||
| Go home to your mother and tell her you're brilliant. | ||
| Someone sodomite sent me a bucket of poop. | ||
| Daddy Shark! | ||
| Thank you so much, Carissa. | ||
| Thank you very much, Carissa. | ||
| Finally, I'd like to say thank you to somebody who donated and bumped it up a little more, and we thank you very much. | ||
| So, JT, you are now a technocrat. | ||
| I'm a policy wonk. | ||
|
unidentified
|
Four stars. | |
| Go home to your mother and tell her you're brilliant. | ||
| Someone sodomite sent me a bucket of poop. | ||
| Daddy Shark! | ||
| Jar Jar Binks has a Caribbean black accent. | ||
| He's a loser little titty baby. | ||
| I don't want to hate black people. | ||
| I renounce Jesus Christ! | ||
| Thank you so much, JT. | ||
| Thank you, JT. | ||
| If you're out there listening and you're thinking, hey, I'd like to support the show, like what these gents do, you can do that. | ||
| Much like there's a link that says shirts, there's a link that says support on our website, knowledgefight.com. | ||
| So, for my birthday, there was only one thing that I wanted for my birthday. | ||
| What's that? | ||
| Answers. | ||
|
unidentified
|
So... | |
| I decided that... | ||
| That was a great line read. | ||
| Thanks. | ||
| Damn the torpedoes of the present day. | ||
| We've already spent too much time going over last week on our Monday episode. | ||
| I was considering doing a Wacky Wednesday episode for this, but who cares? | ||
| I have more important fish to fry, and that is back in the past. | ||
| Early 2013, Alex Jones looking at what he was up to in the aftermath of Sandy Hook. | ||
| I had the feeling that we were about to get to something. | ||
| And for my birthday, I wanted to get to that thing. | ||
| And we'll see if we do. | ||
| Today we'll be going over the days of January 7th through 9th, 2013. | ||
| And here are two out-of-context drops that seem to be like contradictions. | ||
| I don't like scammers. | ||
| I don't like people that organize themselves and run hoaxes. | ||
| Okay, well, here's this other out-of-context drop. | ||
| No, I really like John Rappaport. | ||
| Okay. | ||
| I really, really don't like scammers. | ||
| Fuck, I love John Rapoport. | ||
|
unidentified
|
All right. | |
| Deal with that, Alex. | ||
| All right. | ||
| So the seventh, we don't have any clips from because Mike Adams hosted. | ||
|
unidentified
|
Right. | |
| And the reason was... | ||
| The Health Ranger. | ||
| That's right. | ||
| Alex Jones was out of town. | ||
| He was in New York. | ||
| What was he doing in New York? | ||
| He was going over to do Piers Morgan's show, where he yelled at him about how 1776 will commence again if you take our guns. | ||
| He acted like a big old baby asshole and was roundly mocked by people for his display. | ||
| And then they shook hands and everybody went home winners, I believe. | ||
| Maybe. | ||
| I don't know. | ||
| There seemed to be like... | ||
| I don't know how much that was a staged fight. | ||
| I think Piers Morgan didn't enjoy what was going on. | ||
| I don't know. | ||
| It's hard to say. | ||
| But Alex did... | ||
| And if you want to hear our coverage of that, we went over it like a year ago. | ||
| So we have an episode that goes over Alex's Piers Morgan interview. | ||
| I think it was from December 31st. | ||
| I think it was actually from New Year's of 2017. | ||
| So if you go back, you can find what we thought about that interview. | ||
| And you'll never know what we think about Mike Adams hosting the show on the 7th because we're not talking about it. | ||
| So we jump in on the 8th. | ||
| And Alex gives a preemptive excuse for why this episode may not go good. | ||
| Ladies and gentlemen, I have had two hours sleep on the plane. | ||
| Got up at about four this morning, took about a 30-minute nap in the hotel room, got up at four because I was working through the night filing videos and then got on the plane, maybe slept an hour and a half, so a total of about two hours. | ||
| So bear with me today. | ||
| Thanks for breaking that down. | ||
| Our plane landed about 35 minutes ago at Austin-Bergstrom International Airport. | ||
| It is the 8th day of January 2013. | ||
| I am your host, Alex Jones. | ||
| Hey, Alex. | ||
| That was a lot of time stamps in a very short period of time. | ||
| We got a half hour at the hotel. | ||
| We got an hour and a half on the plane. | ||
| We landed 35 minutes ago. | ||
| It's the 8th day. | ||
| Come on. | ||
| That can't be true either. | ||
| I've been to Austin's airport. | ||
| I've been to Alex's studio. | ||
| I know that he couldn't have landed 35 minutes before he's on air. | ||
|
unidentified
|
That's true. | |
| It's just literally impossible. | ||
| That's true. | ||
| I would say our max. | ||
| I mean, especially considering you're saying we landed 35 minutes ago. | ||
| It's like, you don't get off the plane for another 15 after you land, Alex. | ||
| What are you fucking talking about? | ||
| Get out of here. | ||
| But who cares? | ||
| That's just me splitting hairs. | ||
| He's tired. | ||
| Yes. | ||
| And that may or may not come into play throughout this episode. | ||
| But you know what? | ||
| He feels good. | ||
| He's tired, but he feels good. | ||
| Energized. | ||
| And one of the reasons that he feels good is that he thinks he nailed it on Piers Morgan's show. | ||
| Of course he does. | ||
| But his praise for himself is somewhat restrained. | ||
| Uh-huh. | ||
| I doubt that. | ||
| So I was pretty wound up once I got on the broadcast, and I give myself about an A. Not an A +, not a B +, not a B-, I give myself about an A. And what I wanted to do was point out that we have a foreign globalist here in our midst. | ||
| And that Dianne Feinstein, I had a whole bunch of stuff I wanted to get to, and I got to a lot of it, but not all of it. | ||
| And today I'm going to read over some of the... | ||
| In fact, I have some notes that are in my wallet. | ||
| I'm not sure where I put my wallet. | ||
| I may have dumped it out there with my phones, but I had some notes that I wanted. | ||
| Thank you. | ||
| I had some notes I wanted to go over. | ||
| In your wallet? | ||
| Yeah. | ||
| Just notes in your wallet? | ||
| Just keep notes in your wallet. | ||
| I wrote my plan to attack Piers Morgan as an international globalist in our midst on a napkin from the airplane, and I put it in my wallet, and I forgot to take out my wallet. | ||
| So I forgot to tell him a bunch of things that I really think about how he's an asshole. | ||
| Yeah. | ||
| Good. | ||
| I give that an A. I think we have to pour one out for Harris Whittles on the I'll give myself about an A as a humble brag. | ||
| Yeah. | ||
| Good God. | ||
| I mean, it is a little bit. | ||
| I always... | ||
| I feel it's always presumptuous to give yourself an A. Why? | ||
| You can't give yourself an A. Only other people can give. | ||
| You can give yourself a B. Can you give yourself a B? | ||
| I allow that, yes. | ||
| Okay. | ||
| I think that is the height of hubris and self-criticism. | ||
|
unidentified
|
Yeah. | |
| I give myself a B on that. | ||
| Giving yourself an A is unheard of. | ||
| That's Icarus levels. | ||
| Yeah, can you imagine the idea of giving yourself an A plus? | ||
| I 100% nailed that. | ||
| With no input from any other human being, I don't need anybody to say I did a good job. | ||
| A+. | ||
| The self-esteem is perfect. | ||
| That's why I'm saying he's restrained. | ||
| Yeah. | ||
|
unidentified
|
You know. | |
| He could have. | ||
| Could have. | ||
| He's the only person who's in charge of this grading system. | ||
|
unidentified
|
That's true. | |
| He could have easily been like, A+. | ||
|
unidentified
|
Fuck you. | |
| Isn't that what happened with the bribery scandal that's going on right now? | ||
| Didn't everybody give themselves an A? | ||
| Somewhat. | ||
| Or they paid other people to give them an A. So Alex talks about his appearance on Piers Morgan and just talks about how great he was. | ||
| And you know what? | ||
| I mean, who cares? | ||
| You know what he's saying. | ||
| He's saying, I was awesome. | ||
| He wants to take your guns. | ||
| I stood up and I told him, you're a stupid Brit. | ||
| All this stuff. | ||
| He did say that. | ||
| The only thing I think that is really interesting about his sort of retelling of going on Piers Morgan is he kind of admits that he only started that petition to get him deported, to get Piers Morgan deported for attention. | ||
|
unidentified
|
Yeah. | |
| Which, of course, we knew that, but it's nice to hear Alex admit it. | ||
| You know, I told him, he said, she won't be deported right before I went live. | ||
| And I said, no, I did that to get attention to the fact that, you know, you're trying to take our First Amendment. | ||
| Obviously, Obama. | ||
| By the way, the White House responded at the end of the show. | ||
| Saying they'll respond officially, which they never do to petitions they don't like, but they were forced to on this one. | ||
| A hundred and something thousand signatures. | ||
| But that obviously free expression is our most important value. | ||
| The guy is involved in operations against this country, and obviously I know he isn't going to be deported. | ||
| So Alex says that he's bringing attention to the fact that Piers Morgan wants your guns, and that's a fine way to phrase it, but what he's talking about is I wanted attention. | ||
| Yeah. | ||
| I knew that this would be something that would, you know, in the same way that when Marty was on, Val Venus was explaining about the sort of wrestling strategy of like, oh, we'll talk about Glenn Beck and Alex Jones, and they'll talk about us on their show. | ||
| Yeah. | ||
| The ping pong of publicity. | ||
|
unidentified
|
Yeah. | |
| Going back and forth. | ||
| That's the same thing. | ||
| Alex knew that Piers Morgan would probably... | ||
| Talk about how Alex wanted him deported. | ||
| Right. | ||
| Boom! | ||
| We got this whole thing going. | ||
| It's gonna be great. | ||
| Yeah, as far as him executing his plan, I would give him an A. I would give him an A-minus, probably, because he should have yelled a little less, I think. | ||
| As we'll see, there's some backlash from his listeners on this episode. | ||
| Some people thought he looked like a buffoon. | ||
| It would be the height of hypocrisy were I to criticize anyone for amount of yells. | ||
| That's true. | ||
| Not me. | ||
| Not you. | ||
|
unidentified
|
I've been pretty consistent criticizing you. | |
| And Alex for yelling way too fucking much. | ||
| But that only comes from a self-critical perspective. | ||
| Because when I was a younger man, I was a yeller. | ||
| I was very, very loud. | ||
| And people would consistently insult me and make me feel like shit about how loud I was. | ||
| And it turned into a little bit of a complex for me. | ||
| Which is why I have a deep voice, but I try and speak much softer. | ||
| Nowadays. | ||
| Anyway, I would yell if I could, but people beat it out of me. | ||
|
unidentified
|
Ah, well. | |
| Actually, I probably wouldn't. | ||
| I'm kind of glad they did that. | ||
| Surprisingly enough, I came to it later in life. | ||
| I worked with the elderly for ten years, and gradually and gradually it got to the point where everything I do is loud now. | ||
| Sort of just job training that led you there. | ||
| Yeah, exactly. | ||
| So Alex, in that clip, too, is saying that the Obamas and the administration... | ||
| We're forced to respond to his petition to deport Piers Morgan while he was in New York. | ||
| And Alex is going to use that to thread a conspiracy about Piers Morgan getting the Obamas to respond to it because CNN is full of CIA. | ||
| CIA? | ||
| Yeah, and the FBI. | ||
| He did say Piers was involved in operations against our country? | ||
| I think Piers specifically and everyone around him more generally. | ||
| Gotcha. | ||
| That's the picture, Alex. | ||
| I cut most of it out, but a lot of the episode involves him telling not true stories of his time there. | ||
| Talking about how there's poo smeared on the walls around CNN. | ||
| Why did you cut that stuff out? | ||
| I want an insider's view of 30 Rock. | ||
| Come on, man. | ||
| It goes so long. | ||
|
unidentified
|
It's just these rambling... | |
| I was there five years ago, and it was a pristine media operation. | ||
| Now there's shit on the wall. | ||
| Everything is a disrepair. | ||
| Soaked pentagrams in the bathroom. | ||
| If there was nothing else to talk about, I probably might have kept some of that in. | ||
| But there's bigger fish to fry. | ||
| Like this next clip, where Alex explains that Paul Joseph Watson has been telling him... | ||
| That he is all over the press in the United Kingdom. | ||
| Gotcha. | ||
| The UK cannot stop talking about Alex. | ||
| Can't get enough of Alex. | ||
| Which leads Alex to talking about some books that were written by Churchill. | ||
|
unidentified
|
Hmm. | |
| And Alex makes a startling confession about whether or not he's read those books. | ||
| Every newspaper in England, Watson, tells me, including the physical ones, that he's seen. | ||
| I have this on the cover or close to the cover, and it's all how I've attacked the British people. | ||
| No, the British people have been taken over by globalists and used to fund their worldwide empire while sucking you dry, the host. | ||
| And now they sucked England dry by the end of World War I. Now they've moved on to us, okay? | ||
| And that's when the British empire moved over here. | ||
| He wrote three different books on it, Winston Churchill, The History of the English-Speaking Peoples. | ||
| I've only read one of them. | ||
| I read the latter one because I wanted to know that history. | ||
| Why haven't you read all of them? | ||
| You wanted to know the history of the English-speaking peoples? | ||
| Is that what he wanted to know? | ||
| I guess. | ||
| He didn't want to learn any other speaking peoples. | ||
| Well, no. | ||
| There's three books that tell this story or whatever. | ||
| Alex is asserting that the British Empire got done sucking off the UK or whatever and then it moved over here. | ||
|
unidentified
|
Right, right, right. | |
| He uses, as a source for this, the three-volume history of the British-speaking peoples, English-speaking peoples. | ||
| By Winston Churchill. | ||
| I've read one of them. | ||
| Alex, your whole thing is that you've read everything. | ||
| Don't admit that you've only read one out of the three books. | ||
| Well, he had to go switch and finish off the History of Chinese Philosophy by Dr. Feng Yulan. | ||
| He couldn't not, you know, you can't put that off any further. | ||
| I don't think he's read that. | ||
| My perspective on this is entirely, you haven't read that one. | ||
| Why don't you just... | ||
| Why not just say all three? | ||
| Even the one that you claimed to have read, you still haven't read. | ||
| I don't know what's going on. | ||
| Everything he says he's read is a lie, with the exception of a couple books and most of the science fiction he references. | ||
| I don't understand. | ||
| In for a penny, in for a pound. | ||
| Lie about it all. | ||
| Who cares? | ||
| Yeah, say you had three. | ||
| So, like I told you, he talks about the big poo smeared on the wall at CNN and all that stuff. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| And that's not the most interesting false version of him going to New York. | ||
| That one comes in second? | ||
| It does, because he tries to turn this into a thriller, like a novel. | ||
| A spy thriller. | ||
| Michael Crichton is getting involved here. | ||
| I don't know. | ||
| Elmore Leonard, maybe? | ||
| Oh, we're going full. | ||
| A good writer. | ||
| There's some elements of noir in this. | ||
| This is nonsense. | ||
| This version of Alex is going to New York, but it's kind of fun. | ||
| One of the main producers was crying and then screaming at me. | ||
| Other women were hyperventilating. | ||
| Men were bowing up. | ||
| And at the end of it, going out, I'm like, hey, I'm an American! | ||
| Stop acting tough! | ||
| And I told the security guys, they're like, come on with us downstairs. | ||
| And I said, I want to go out in the shopping mall. | ||
| Set your goons on me. | ||
| I don't want to go out the back door of Bloomberg's people. | ||
| And that guy looked at me knowingly, he's like, that's where you're going. | ||
| You're going out there with them. | ||
| I go, I don't want a confrontation. | ||
| And we caught one of the guys on tape. | ||
| I said, do get your camera going. | ||
| They're like, you can't film in here. | ||
| I go, we've got to protect ourselves. | ||
| And you're coming out and there's one over here and one over here. | ||
| and they literally turn start talking into the little it and pieces you know into their sleeves and then the guy turns and then walks into a wall and just starts walking up against the wall and is like look at that and there's other ones like in a game going hey that's him i'm like cab in the cab We went to New Jersey, got on the... | ||
| Our flight back there in Newark. | ||
| There were feds on the plane! | ||
| Folks, and you know I don't just get up here. | ||
| I go to Bilderberg. | ||
| I get followed by guys in black sedans. | ||
| I've been arrested. | ||
| Jim Tucker plays it down when he got shot at. | ||
| That was in mainstream European papers when he was in Portugal. | ||
| I was stuck in the Bohemian Grove. | ||
| Got questioned by the Secret Service. | ||
| I've been physically attacked. | ||
| I mean, I don't build this stuff up. | ||
| Let me tell you. | ||
| My dad calls up and he goes, you need to get out of there. | ||
| I was like, Dad, we're already packing. | ||
| I hear there's a lot of candy in New York. | ||
| You've got to get out of there. | ||
| As a dentist, I must... | ||
|
unidentified
|
What are we doing? | |
| Hold on. | ||
| And my whole family, before I even left, said we have a bad feeling, and I just want to thank you all for your prayers. | ||
| Because, you know, these were not... | ||
| You went to New York! | ||
| These may have actually been mafia they sent over there. | ||
| But, I mean, you know, the police detectives in New York pretty much look like mafia characters in the movie anyways. | ||
| This is insanity. | ||
| This is ridiculous. | ||
| This is a level of paranoia in... | ||
| Just complete fabrication of what... | ||
| Like, we saw in Endgame, wasn't it? | ||
| Yeah, it was... | ||
| I can't remember which movie it was. | ||
| Endgame or Obama Deception. | ||
|
unidentified
|
They are one movie. | |
| Yeah, they are one movie in a nightmarish hellscape in my memory. | ||
| Yeah, but that part where he thinks he's being followed and it's just a guy trying to go to Chili's. | ||
|
unidentified
|
Yeah. | |
| You know, there's stuff like that. | ||
| That is so good. | ||
| This is your, like... | ||
| The time that you decided to put your evidence publicly forward of someone following you. | ||
|
unidentified
|
Yeah. | |
| And it's that? | ||
| I don't believe any of your stories now about you being followed. | ||
| All that sort of bullshit. | ||
| So, like, I just hear this and I'm like, that's a good story if you want to put that into fiction. | ||
| If you want to write that into some sort of a novel, great. | ||
| That didn't happen to you, though. | ||
| I specifically, my first... | ||
| Parallel to that is Marco Polo bringing back stories of an island people who have no hands or feet, and their faces were where their chests used to be. | ||
| Bananas. | ||
| Yeah, I get it. | ||
| You're some big old explorer, and you feel like you've got to tell people a good old story, but maybe you just went to New York and shouted at Piers Morgan. | ||
| That's fine. | ||
| That's still a good day. | ||
| You know what, too? | ||
| I think that he's relying at least slightly on knowledge that... | ||
| Most of his audience has probably never been to New York. | ||
| Oh, of course not. | ||
| And so there is maybe a little piece of it that is like, I know that you guys will believe me on this. | ||
| Yeah. | ||
| That's pretty fucked up. | ||
|
unidentified
|
It's like an Amish person coming back from the rum spring. | |
| I saw the whoa, gentlemen. | ||
| I don't know where that voice came from. | ||
|
unidentified
|
Not a good Amish word. | |
| Yeah, except that those people probably wouldn't come back and be like, Feds chased me everywhere. | ||
| Their versions, their sort of falsified versions of the outside world might be closer to accurate. | ||
| Yeah. | ||
| So Alex says that these detectives are basically mafia in New York. | ||
| Yeah, of course. | ||
| And then he talks a little bit more about mafia. | ||
| This country's just in so much trouble, ladies and gentlemen. | ||
| I mean, they're just used to everybody being in fear of them. | ||
| And I'm sorry. | ||
| I mean, I'm from Texas, folks, and the mafia never did too good down here because people would rather die than be your slaves. | ||
|
unidentified
|
Really? | |
| I mean, that's just who I am. | ||
| What about cartels? | ||
| Do you count those as mafia? | ||
| Well, there's that, but he would blame that on Mexico. | ||
| Oh, okay. | ||
| But I'd be the first to admit here, Jordan, that there's not as much mafia activity in Texas as there is in, say, New York. | ||
| And part of that is just due to immigration and settlement patterns that were seen in the 1800s. | ||
| Pretty much everyone from Europe arrived on the East Coast, and not all of them ended up heading any further west from there. | ||
| That's normal. | ||
| That's reasonable. | ||
| Yeah, that's a good explanation for why the mafia that was formed in the Italian communities didn't end up being as endemic in other cities outside of the East Coast. | ||
| But that doesn't mean that there wasn't mafia in Texas. | ||
| Salvatore Maceo created a huge organized crime operation out of Galveston beginning in the 1920s as a bootlegging operation, eventually growing to involve all manner of illegal schemes protected by bribes. | ||
| You gotta diversify. | ||
| That's a good call on his part. | ||
| True. | ||
| Closer to where Alex grew up, the Civello crime family was in operation in Dallas from 1921 to 1990, neatly covering the years when Alex would have been living in Dallas. | ||
| Interestingly, the head of that family, Joseph Civello, was friends with Jack Ruby, the Dallas nightclub owner who killed Lee Harvey Oswald after he was arrested for killing JFK. | ||
| That is interesting. | ||
| There have been strong indications that Ruby was involved with the Dallas Mafia, but it's never been established that that explains why he killed Oswald. | ||
| I wouldn't be surprised if Alex has made that argument in the past. | ||
| Why not? | ||
| It's on the table. | ||
| Also, the song that Alex sings very frequently when he's coming back from commercial, Eastbound and Down, Roundabout and Truckin', there's a line in that song. | ||
| There's beer in Texarkana. | ||
| The boys are thirsty in Atlanta, but there's beer in Texarkana. | ||
| And the reason for that, now granted, that movie isn't about Prohibition times. | ||
| True. | ||
| That movie is about how Coors didn't have preservatives in it, and so it tasted better, and people needed to run Coors from states where they could get it to states where it was illegal because they didn't have preservatives in it. | ||
| That's why. | ||
| That's why. | ||
| Yes. | ||
| I really don't remember that being a plot point. | ||
| That's why they didn't have Coors in Atlanta. | ||
| Gotcha. | ||
| But they did have it in Texarkana. | ||
| Gotcha. | ||
| So that's not necessarily about Prohibition, but it harkens back to those times because in Texarkana and around there was where some of these bootlegging operations were run. | ||
|
unidentified
|
Yeah. | |
| There's a history of that in that part of Texas. | ||
| Yeah, most bootlegging operations were organized crime of some sort or another, not necessarily the mafia. | ||
| Right. | ||
|
unidentified
|
The reason that that story is more interesting than just a guy who needs to get preservative-free beer across somewhere is because it has the archetype of these beer runners from Prohibition times that came from Texas across. | |
| So, like... | ||
| Of course. | ||
| So anyway, Alex should know that if he sings along with Eastbound Down all the time. | ||
| Anyway, the mafia did exist in Texas. | ||
|
unidentified
|
Yeah. | |
| This next clip, Alex says something that is so crazy and made me waste a lot of time looking into. | ||
| They set up these panic tents. | ||
| Every flu season for the flu epidemic like it's a movie. | ||
| You know, they do these emergency drills and then they show you these tents and they go, my gosh, it's a pandemic. | ||
| 29 states report high flu rate activity. | ||
| At least 18 children die. | ||
| And again, oh my gosh, 18 children. | ||
| Don't ever go out. | ||
| Folks, there are 315 million people. | ||
| Most children, and I've had medical doctors on and gone over the statistics on this, that end up dying. | ||
| Have been filled with hundreds of vaccines, already have organ failure, are amputees, have cancer, you name it. | ||
| And then the cause of death from exhaustion, the old days they would just say exhaustion, malnutrition. | ||
| Now they say flu, because that's the trendy thing. | ||
| They tell you 35,000 die a year of flu in the United States. | ||
| Real numbers are about 300. | ||
|
unidentified
|
What? | |
| You don't pull this up. | ||
| You can go pull that up. | ||
| You can go pull this up? | ||
| Go pull it up, Jordan. | ||
| Pull it up. | ||
| Okay, alright. | ||
| That is crazy. | ||
| That is bananas. | ||
| That's insane. | ||
| Him saying 300 children die a year, that's still crazy, but he didn't say that. | ||
| He said 35,000 deaths a year. | ||
| But only 300 real deaths. | ||
| Right, where 35,000 is sort of in the median, or like in the middle. | ||
| Sometimes it's lower, sometimes it's higher. | ||
| But that's nuts, man. | ||
| Last year, the number of deaths from the flu and flu-related complications was 80,000. | ||
| That's official statistics. | ||
| I would have been more inclined to believe him had he said, we talked to doctors and went over the statistics and just ended the sentence after... | ||
| Most children die. | ||
| And just put a period. | ||
| I'd be like, okay, fine. | ||
| That works. | ||
| They're all dead. | ||
| Most children are dead. | ||
| Great. | ||
| Good doctors. | ||
| So I dug around a little bit, and I can't find even a nutty website that's claiming 300 people die of the flu every year. | ||
| No, because that's ridiculous. | ||
| I have no idea where Alex is getting this information from. | ||
| But if I had to guess, I would say it's probably Dr. Reema Labo. | ||
| The woman who comes on Alex's show and sells laminated cards that say, no vaccines, please. | ||
| Yeah, yeah, yeah. | ||
| No vaccines, please. | ||
| She does sound like ground zero for crazy bullshit like that. | ||
| She calls herself a doctor and she sells a $35 card that says, I don't want to be vaccinated. | ||
| It's a good scam. | ||
| And she also hawks nano silver on her website, which is a similarity with Alex's market business. | ||
| And she's also married to General Stubblebine. | ||
| I did also find a post by Barbara Lowe Fisher, another of Alex's stupid anti-vaccination guests, that seems to suggest that there were only, quote, between 600 and 750 influenza deaths recorded annually between 1995 and 1997. | ||
| This post cites CDC information as its source, but the CDC information it links to doesn't match this conclusion at all. | ||
| Right. | ||
| Seems like a large... | ||
| Part of context to put together. | ||
| Well, I don't know if that's what she's misunderstanding, but it's definitely possible. | ||
| Because all the information that she links to is that, and it doesn't say what she claims it says. | ||
| There's 600 and 750 flu deaths in these years. | ||
| It doesn't make any sense. | ||
| She also posts a link to a table from Mercola that does back up her assertion. | ||
| But the problem is that Mercola is a shady-ass anti-vax outlet, Propaganda Depot, and Mercola uses the same CDC information as a source for their table as Barbara did for hers, which doesn't say what they're saying it says. | ||
| If I had to guess, I would say that this is just an intentional or possibly more worryingly an unintentional misunderstanding about the difference between deaths and death rates. | ||
| Even so, her fake number is twice what Alex's is, so I have no idea what's going on with that. | ||
| Bottom line, this pack of assholes is wrong, and what they're saying is super dangerous. | ||
| The flu kills a whole lot of people, particularly children and the elderly. | ||
| That's just the reality, so I'm going to go ahead and punt on working anymore to try and figure out where he got that 300 number from, because I can't find it anywhere. | ||
| Bananas. | ||
| Yeah. | ||
| Also, the very concept, the very idea that... | ||
| All medicine across the entire United States is conspiring to blame upwards of 30,000 deaths on the flu that had nothing to do with the flu. | ||
| And only 300 actual children died of the flu. | ||
| The worldwide conspiracy would be unbelievably difficult to even slightly hide. | ||
| More than one doctor would at least come out and say, you know what? | ||
| I remember none of my patients dying of the flu, so I guess none of them are dying of the flu. | ||
| I think that there's probably a conversation you could have, but these people wouldn't be willing to have it because it would be nuanced and it wouldn't get them excited. | ||
| But the idea of understanding a little bit better how it works in terms of, like, flu-related complications and stuff like that, having a better understanding of why those statistics are lumped in together, people who straight-up die because of the flu and flu complications, like, understanding that better would be a better use of people's time, I think. | ||
| All of these people, like Alex, it would be better. | ||
| Yeah, that would be nice. | ||
| Instead, 300 people died. | ||
| Understanding things is not really their forte. | ||
|
unidentified
|
No. | |
| And the efforts towards which are actually something that they fight tooth and nail against. | ||
| Creating existential dread of a fake plot against white people. | ||
| Yeah. | ||
| That's all that's going on here. | ||
| So stupid. | ||
| So, anyway, at this point... | ||
| Sorry, that was kind of a little bit out of left field, because Alex is... | ||
| Bringing that stuff up and ranting about it was also a little bit out of left field. | ||
| So it just came up as him just ranting about nonsense. | ||
| Now he gets back to CNN. | ||
| And I believe Aaron Dykes is in studio. | ||
| One of his reporters is sitting around with him. | ||
| I'm not sure if he chimes in on this clip or if it's later. | ||
| But just know that Alex has a little bit of an audience in studio for this. | ||
| They're creating this mass guilt that we collectively, gun owners, we killed these kids. | ||
| I meant to say this. | ||
| That's why I kept getting mad. | ||
| They created the victim disarmament zones in those schools. | ||
| Alex, it was great to see someone go in there like Jesus did to the corrupt bankers in the old churches in the days of the Bible and turn over the tables and say, this is a matrix breaking through moment. | ||
| Whoa, I never said that in the office. | ||
| I said that to Rob Dew, and I wasn't going to do it. | ||
| I said, what if I overturned the table like Christ? | ||
| And it was almost like then they didn't want to even be at the table. | ||
| It was weird. | ||
| They wanted me out there, I guess, to have a lower view. | ||
| It made me look fatter. | ||
| Okay. | ||
| All right, man. | ||
| A little vain. | ||
| That is petty. | ||
| A little vain. | ||
| I would definitely give the Piers Morgan show about an A if they went out of their way to make a book fatter. | ||
| About an A. I don't think they need to. | ||
| But the idea that, first of all, it's crazy that Aaron Dykes is sitting in there and he's being like, it's kind of like when Jesus flipped the globalists' tables. | ||
| Hold on. | ||
| Hold on. | ||
| Already we need to pump the brakes. | ||
| He's comparing that to what Alex did and then Alex's response. | ||
| I would give an A to the response if Alex was like, Now, hold on. | ||
| That's getting a little bit crazy. | ||
| All I did was go in there and have an argument and yell at this guy. | ||
| Instead, he's like, holy shit, I can't believe you said that. | ||
| I never said that at the office. | ||
| I told Rob Duce that's what it felt like. | ||
| Like, oh, God. | ||
| Not only is he reaffirming and doubling down on the idea that he's like Christ for doing this, he's like, I can't believe you thought about that because I said it privately earlier. | ||
| You made my beliefs come to life. | ||
| You made them happen. | ||
| You made them true. | ||
| Yeah, I manifested that. | ||
| So that's crazy. | ||
| But that gives you some sort of a sense of his messianic beliefs about himself. | ||
| He's talked about going to Israel. | ||
| Yeah. | ||
| Oh, that'd be a bad idea. | ||
| I hope he doesn't, because he would get Jerusalem Syndrome so fucking bad. | ||
| Oh, God, no. | ||
| He would think he was Jesus. | ||
| Oh, that's true. | ||
| Yeah, he would be... | ||
| Oh, shit. | ||
| Actually, now I do want him to go to Israel, because maybe he'll stay there. | ||
| But now that I've said that out loud, I don't know if that's a real thing. | ||
| What? | ||
| Jerusalem syndrome? | ||
|
unidentified
|
Yeah. | |
| I've heard it discussed, but maybe it's... | ||
| Oh, whether or not it's an actual thing? | ||
| Yeah. | ||
| I think it's a lot... | ||
| I don't know if it's an actual thing, but the way that I've heard it used is very similar to people talking about how Madonna came back with a British accent. | ||
| Right, right. | ||
| You know, where you're like, all right, lady. | ||
|
unidentified
|
Yeah. | |
| We got it. | ||
| So, this next clip, Alex discusses what happened at the end of the interview with Piers Morgan. | ||
| And much like his version of, like... | ||
| There were detectives following me everywhere. | ||
| I had to get out of that city, scared for my life. | ||
| This also is not true. | ||
| Piers Morgan threw shit at me. | ||
| He might as well have. | ||
| And I told him, I haven't even told this story yet. | ||
| You're making it up now. | ||
| At the end of it, he said, no, that's what I'll do the next segment. | ||
| I said, oh, you're checking down? | ||
| He goes, yeah. | ||
| I said, we will defeat your tyranny. | ||
| He laughed at me. | ||
| You think you will? | ||
| The first time I saw any life out of him. | ||
| I said, you're nothing but a gangster that's been run to ground. | ||
| Here in the United States. | ||
| And pretty soon, nobody's going to want you anywhere in the world. | ||
| You're scum. | ||
| His face just started twitching like this. | ||
| He was like a plastic person. | ||
| I don't think the elite are really reptile. | ||
| You know, like some people think. | ||
| But that's fine. | ||
| That's their view. | ||
| But it was almost like he was going to pull a plastic mask off him. | ||
| And he just looked emaciated. | ||
| And they're like wraiths. | ||
| All these globalists, you see them, they're like... | ||
| They're weak! | ||
| Point of order, Alex had David Icke on his show two weeks prior to this. | ||
| So, like, the idea is, I don't think the government's reptiles, like some people think, as if you have some sort of a fucking high ground on David Icke. | ||
| Hey, look. | ||
| The fuck out of here. | ||
| Believe whatever you want, but I don't think they're reptiles. | ||
| I just think that he's wearing a plastic mask that I can remove to see his face underneath, of course. | ||
| His face was twitching. | ||
| Come on, I just think he's a character in Mission Impossible. | ||
| His face was twitching with fear about the integrity and strength that Alex managed. | ||
| He is so used to people bowing down to his globalist British accent. | ||
| And Alex said, no, sir. | ||
| I will believe the first two sentences of that story, wherein he says, are we done here? | ||
| Are you a coward? | ||
| And Piers Morgan goes, yeah, sure, whatever. | ||
| And then he goes, your fucking reign is over! | ||
| And then Piers Morgan goes, yeah, okay. | ||
| And laughs at his face. | ||
| That is where the story ends for me. | ||
| It definitely feels like whatever it was was dismissive. | ||
| Yeah, very much so. | ||
| So, Jordan, here we are. | ||
| January 8th, 2013. | ||
| We've been doing this investigation into the days after Sandy Hook, not because I wanted to have a real long build to find out how Alex felt about CNN's headquarters. | ||
| That is not why. | ||
| We've been trying to figure out when Alex goes the full mile in being very awful about Sandy Hook. | ||
| Okay. | ||
| And he's been pretty bad so far. | ||
| Yeah. | ||
| Say pretty strongly that he believes that it was at least a false flag. | ||
| Staged. | ||
| Inasmuch as the government came in and made Lanza do it, killed him as a patsy, or whatever. | ||
| So far, we still believe people died. | ||
| Yes. | ||
| Well, we always did. | ||
| At this point, Alex is not saying anything that would make you think otherwise. | ||
| Here we go. | ||
| Here's what Alex says on the 80s. | ||
| Happy birthday, Dale. | ||
| Thanks. | ||
| By the way, we didn't touch this story. | ||
| But we saw the same thing. | ||
| They have these reenactors that do these fake shootings all over the country to create the perception of a mass killing, sometimes unannounced. | ||
| South Florida Sun-Sentinel, FAU professor stirs conspiracy by disputing Newtown Massacre and is saying there were at least some actors there. | ||
| They're definitely coaching people. | ||
| Yeah, exactly. | ||
| I think your mic's off. | ||
| We'll be right back. | ||
| Looking back. | ||
| So, Alex. | ||
| Why are we playing music that literally sounds ominously like he's about to say that there are actors there? | ||
| It's really good. | ||
| Yeah, it's almost good production. | ||
| Because it feels dreadful. | ||
| It feels like, oh no. | ||
| What are you about to do? | ||
| So much so that I didn't notice it. | ||
| It felt right? | ||
| Yeah. | ||
| Like you thought maybe your head was adding it in there while he was just talking regularly? | ||
| Oh no. | ||
| This is the first indication of where this is going. | ||
| Yeah. | ||
| This is where the crisis actor narrative is entering his world. | ||
| January 8th, 2013. | ||
| So it only took what? | ||
| Three weeks? | ||
| Yeah, about three weeks. | ||
| Two and a half, three weeks? | ||
| Yep. | ||
| So let's see how this develops over the course of the episode. | ||
| Because now that he's gotten... | ||
| Most of this time has been about talking shit on Piers Morgan. | ||
|
unidentified
|
Of course. | |
| And good on you. | ||
| Enjoy, have fun. | ||
| Again, we're all on board for that. | ||
| Right. | ||
| So at this point, about the middle of the show or so, he starts getting into Sandy Hook more. | ||
| And he takes some calls. | ||
| And one of the callers that he gets... | ||
| It actually brings up a piece of information that will be a huge narrative that Alex uses, but it's not yet. | ||
|
unidentified
|
Have you noticed how all these reporters, when they're supposedly on the scene, it seems like they're standing in front of a screen or something, like they're in a studio. | |
| Whether it's Fox or CBS or MSNBC, all their reporters, when they're supposedly on the scene, I don't know. | ||
| Sir, I have CNN footage from the first Gulf War. | ||
| With them with a blue screen, because they sent it over to the live feed before it was added in, claiming it was live. | ||
| And they're joking, eating food, smoking marijuana. | ||
| Have you seen the fake Iraq war footage? | ||
| CNN style. | ||
| I mean, then it came out. | ||
| They even had a PBS documentary about it. | ||
| I mean, it's totally... | ||
| They weren't even in Israel. | ||
|
unidentified
|
Yeah, they even had a director there in one of those tall chairs sitting there. | |
| I mean, it's a joke. | ||
| No, I know. | ||
| And that's why you've got major professors now. | ||
| You know, coming out in mainstream news, saying that there were clearly actors there. | ||
| Now, again, I haven't touched that. | ||
| I'm going to be honest with you. | ||
| We've looked into it, and it looks pretty bad. | ||
|
unidentified
|
Oh, no. | |
| There were clearly some people killed there, but they also, CIA talks about that in Northwood, so you have some actors on the scene to actually manage it. | ||
| And it turned out they had actors also at the 7-7 bombing at the bus. | ||
| They even had a drill, and they even hired a group to run the drill, and that was even admitted, I know, it's just, I know. | ||
| And the little sheep can't even understand it. | ||
| I mean, they don't have any idea. | ||
| So that's bad. | ||
| One of Alex's big Sandy Hook narratives and the quote-unquote anomalies that he talks about is the idea of Anderson Cooper's nose disappearing. | ||
| Yes. | ||
| And that he's in front of a green screen when he's interviewing a Sandy Hook victor's family member. | ||
| It's interesting that his justification for believing that is this misunderstanding he has about the Gulf War, the green screen thing, which we talked about, is nonsense. | ||
| He just doesn't know what the place where they were reporting from looks like. | ||
| He was confronted with that information in his deposition, and he's like, doesn't really have an answer for it. | ||
| But you hear the... | ||
| Pieces of that narrative here before he has what he needs that narrative for. | ||
|
unidentified
|
Yeah. | |
| Which is the arguing about Anderson Cooper. | ||
|
unidentified
|
Yeah. | |
| That's fascinating to me. | ||
| The defense is here before the crime. | ||
| What, that he got an assist? | ||
| That he's got a... | ||
|
unidentified
|
No. | |
| That John Stockton called into his show, gave him a narrative that he can use later on for Anderson Cooper? | ||
| No. | ||
| Not that. | ||
| The idea that his callers are feeding him stuff that he ends up internalizing and using, no, that's not surprising to me at all. | ||
| That, I think I've seen a bunch. | ||
| Yeah. | ||
| Or at least I have good reason to think I've seen a whole bunch of times. | ||
| What I think is surprising is that the caller isn't even talking about Anderson Cooper's interview or anything like that. | ||
| He is just talking about this in general. | ||
| And Alex is like, yeah, absolutely, I know about that from the Iraq War stuff. | ||
| I don't know. | ||
| I think I see what you're getting at. | ||
| I've heard this conversation that we just listened to a hundred times as justification for the Anderson Cooper thing. | ||
| We don't have Anderson Cooper yet. | ||
| I've not heard this as a justification for other things. | ||
| As just a standalone. | ||
| No, not really. | ||
| Right now this is a non sequitur. | ||
| This only exists in Alex's rhetoric, at least in the periods that I've listened to him, about Anderson Cooper. | ||
| To hear it without Anderson Cooper is weird. | ||
| That is weird. | ||
| That's all I'm saying. | ||
| That's weird. | ||
| What is this guy doing? | ||
| What is the caller up to? | ||
| Who knows? | ||
| But then to hear him say at the end there that some people died there, but some were actors, that's not good. | ||
| Yeah. | ||
| That's dipping the toe. | ||
| Yeah, I'm going to give him about a C on that one. | ||
|
unidentified
|
I'm going to give him a F. I'm going to give him a straight up F. You fail. | |
| This is bad. | ||
| Because he has no reason to say that. | ||
| No. | ||
| Now, it's interesting that he talks about actors at the 7-7 bombing and other things. | ||
| Hold on to that thought, because we're going to discuss why that's fucked up. | ||
| Here in a little bit. | ||
| So who was the professor that he was referencing? | ||
| Oh, okay. | ||
| We'll get to that, too. | ||
| Was he a major professor? | ||
| What does that mean? | ||
| Is that a rank? | ||
|
unidentified
|
Yeah. | |
| He was tenured. | ||
| Oh, okay. | ||
| So that's kind of a major professor. | ||
| All right, I'll give him that. | ||
| So before we get to any of that, I want to dwell in Alex being kind of shitty for a little bit. | ||
| I think this next clip is really shitty. | ||
| But see, they even planned for the PSYOP to come out because there were real people killed there. | ||
| I've looked into it. | ||
| But some of them... | ||
| And then that way they can trot out the real families who don't know and go, look, they really died. | ||
| You see how sophisticated they are? | ||
| And then here I am, just some guy that lives his life fighting this. | ||
| All of you can beat them, too. | ||
| I mean, I'm not that smart. | ||
| God bless you, sir. | ||
| Yeah, you're not that smart. | ||
| True. | ||
| So the problem that this introduces is how do you know which ones are fake and which aren't? | ||
| You know? | ||
| Like, the idea of, like, some of these survivors are real, but some of them are fake. | ||
| I believe the Supreme Court said, I'll know it when I see it. | ||
| That's pornography. | ||
| But you know what I'm saying? | ||
| Yeah. | ||
| Like, backdooring the idea that some people were actors there, and then some people are legitimate victims, all that does is give cover and allow people a plausible permission to say anyone is fake. | ||
|
unidentified
|
Yeah. | |
| And anyone is an actor. | ||
| Well, anyone could be an actor. | ||
| Exactly. | ||
| So everyone has to be treated like they could be an actor. | ||
| Guilty until proven innocent. | ||
| Yes, absolutely. | ||
| So that mindset is really the only thing that you achieve here. | ||
| You're going halfway towards allowing everyone to be a fucking actor and be fake, but without having to take responsibility for that and still be able to hide a little bit like, I said that you guys are real victims. | ||
| Some people were. | ||
| I don't know. | ||
| You're just being tricked by the fake ones among you. | ||
| Right. | ||
| Why don't you guys wear a fucking button, huh? | ||
| If you don't want to be harassed. | ||
| Or if you're a real victim, you should be on our side against these other fake people. | ||
| Of course! | ||
| The fact that you're not makes me think that maybe you're fake. | ||
| Of course! | ||
| Maybe you're one of the actors if you won't join up with the truth movement. | ||
| How come you aren't pointing out who's actors if you guys are real? | ||
| Totally. | ||
|
unidentified
|
Yeah. | |
| That sort of thing is so fucked up. | ||
| Also, take your mask off. | ||
| Your face is twitching. | ||
| That mentality... | ||
| They're all Piers Morgan, actually. | ||
| So, what you hear in that clip is Alex saying that he does believe that some people died there and some people are actors. | ||
| But that's a facade. | ||
| That isn't good. | ||
| To me, that clip is him adopting this narrative. | ||
| Yeah, yeah, it's over. | ||
| Even though he's saying that he believes that some people died there still. | ||
| Why? | ||
| Who cares? | ||
| Yeah. | ||
| That is window dressing. | ||
| That is bullshit to me. | ||
| Now, I still don't think that he's as far as he's going to go. | ||
| Oh, no. | ||
| Of course not. | ||
| But this is a watershed episode, I think. | ||
| And maybe part of it is because he's so tired from going to New York that he's not being cautious with this. | ||
| Could be. | ||
| But also the timing of it does match up because an article about this professor was posted. | ||
| On InfoWars that day. | ||
| So maybe it's just one of his interns found this story. | ||
| It's about a week after the professor started talking about Sandy Hook and Crisis Actors. | ||
| I think functionally, once you open up the victims to harassment by association, by saying that they may be actors, they are all going to be harassed. | ||
| So functionally, it's no different from saying some are actors or all are actors, because everybody who's going to receive the consequences of it is already in play. | ||
| 100%. | ||
| And, you know, it's one of the reasons I'm glad this isn't, like, a legal show, you know, or anything like that, because I don't know if that's illegal. | ||
| I know it's shitty. | ||
| We can look at this and we can see, like, oh, wow, okay, here's where the dam broke, basically. | ||
| But I don't know if what he's doing is illegal. | ||
| Like, I still don't. | ||
| At least at this point, I don't know. | ||
| I don't know if it's okay for him to say these things. | ||
| I'd rather he didn't. | ||
| But I don't know. | ||
| In the court of douchebaggery, I will pronounce him guilty as fuck. | ||
| I think that's fair. | ||
| So a caller now calls in and asks about the idea that Lanza left his gun in the car, or one of the guns in the car. | ||
| And Alex gives what appears to be a restrained answer to him, and then it goes real bad. | ||
| Anything else, Mike? | ||
|
unidentified
|
Yeah, well, that thing is, on the Sandy Hook thing, I understood that the AR actually stayed in the car. | |
| Can you clarify what actually happened with what was actually used? | ||
| Buddy, I'll tell you this. | ||
| I am not going to tell you what I think, because they're waiting for me to do it. | ||
| But I told my entire crew, hold back, and just let it all come out, and then we'll cover it later. | ||
| I told you there's a lot of stuff I don't get into because I can't 100% prove it, but... | ||
| My good old boy guts, my spidey sense is never wrong. | ||
| I'm only wrong when I don't follow it. | ||
| South Florida Sun-Sentinel FAU professor stirs controversy by disputing Newtown Massacre. | ||
| A communications professor known for conspiracy theories has stirred controversy. | ||
| That means questioning known liars. | ||
| What? | ||
| As being conspiracy theorists. | ||
| Wait, what? | ||
| I mean, if you didn't get in the yellow Volkswagen with Ted Bundy, you'd be a conspiracy theorist. | ||
| He probably told young women that, oh, don't worry about me, baby. | ||
| I know there's been some kidnappings and murders, but you're a conspiracy theorist if you don't get in the car with me. | ||
| I mean, I'm going to put this wire around your hands now. | ||
| I've got this gun to your head. | ||
| He'd still tell them, too, don't resist. | ||
| You'll be all right. | ||
| They still could have fought. | ||
|
unidentified
|
But they just wanted to believe, okay, everything's going to be all right. | |
| Yeah, let me get this gag on you. | ||
| We're going to a shack up in the hills. | ||
| I'm going to take real good care of you after I torture you for two weeks. | ||
| See, not me. | ||
| I'm like, you know what? | ||
| I'm going to keep my guns and I'm not going to put handcuffs on. | ||
| If you can believe this, he rambles even further off course after this. | ||
| Really? | ||
| After his sort of Ted Bundy fantasies, he doesn't really get back on track. | ||
| But the caller is calling in and asking about whether or not this gun was taken into the school. | ||
| Alex doesn't know at this point. | ||
| The AR was. | ||
| The shotgun was left in the car. | ||
| But Alex doesn't know at this point. | ||
| And so that answer of, like, I don't want to say what I think right now or whatever, that should have been his line all along. | ||
| Or entirely. | ||
| It would have been a good idea. | ||
| Let's wait and see what happens. | ||
| Let's wait until the information is out there. | ||
| That sort of thing. | ||
| But without missing a beat, after he says, you know, everyone's waiting for me to say what I think, he gets back to the story of this Florida professor who says that people are crisis actors. | ||
| And then the article says that he's a conspiracy theorist, and Alex attacks the idea that he's a conspiracy theorist, is what gets him off course into the Ted Bundy fantasy. | ||
| Yeah, he has a weird first-person narrative that I don't... | ||
| You know, as a... | ||
| As a literary device, I think it's great to be able to get inside the mind of your character. | ||
| But from time to time, maybe you're just talking about what you want to do. | ||
| It feels a little like that. | ||
| It feels a little personal. | ||
| That caller has the most InfoWars caller voiced. | ||
| It's perfect. | ||
| It is exactly what you would imagine what an InfoWars caller would sound like down to the accent, the speed of it, the way that he trails off at the end. | ||
| God, that's the perfect InfoWars voice. | ||
| Yeah, a bit. | ||
| I'm less interested in the caller as I am in Alex's. | ||
| The way his brain is chaining these thoughts, whether or not it's intentional or completely subconscious, I think that it's a pretty strong indication that what he wants his audience to think he believes is mirrored by what this professor is saying. | ||
| Yeah, absolutely. | ||
| It feels from a structural standpoint of how that... | ||
| That train went down the tracks. | ||
| That seems to be what he's saying. | ||
| I don't think that's an unfair assumption. | ||
| No, he's playing coy. | ||
| He was reading through the article. | ||
| Whenever it came upon them questioning why he was saying what he was saying, he was like, anybody who questions the official story is considered a conspiracy theorist. | ||
| It's kind of like saying... | ||
| I'm about to question the official story. | ||
| I'm getting in front of you calling me a conspiracy theorist. | ||
| And in this next clip, I think you can get another pretty strong sense that Alex agrees with this professor. | ||
| Moreover, James Tracy, I want to get him on, asserts in radio interviews and on his memoryholeblog.com, I think I've heard of that, that training crisis actors, well, we knew this weeks ago, well, we actually knew it years ago, we sent reporters that they have these crisis actors that go all around the country. | ||
| And they tell the kids it's a real shooting when it's happening. | ||
| All you do then is run a drill and, well, you know the rest of the story. | ||
| Many have been employed by the Obama administration in an attempt to shape public opinion in favor of the event's true purpose, gun control. | ||
| Yeah, they come in and announce, AP, you can look this up, we're homeschoolers against public education and pro-gun. | ||
| We're here to kill you. | ||
| And they go put guns to, like, six-year-olds' heads. | ||
| I mean, and if you're a new listener, you're like, I don't believe that. | ||
| Or of your media. | ||
| You got LexisNexis. | ||
| You got all the systems. | ||
| Just go look it up. | ||
| We did. | ||
| You're lying. | ||
| But so that really gives me a strong sense that Alex is trying to... | ||
| I think it feels like he's responding the way he does a lot of times when something new comes up. | ||
| It's like, I've known this for a long time. | ||
| Almost trying to one-up it. | ||
| Like, we saw him do that with QAnon, with fake Zack. | ||
| Yeah. | ||
| His intelligence source, Zack, trying to reclaim the Q storyline. | ||
| It feels like he's getting ready to do that with this. | ||
| Yeah. | ||
| The idea that this professor has come up in his world and saying there's these crisis actors who are actually what's going on, this whole thing is fake. | ||
| I think Alex might take that as a little bit of an affront and be like, I've known that forever. | ||
| Yeah. | ||
| Which is a problem. | ||
| That sounds like a normal kind of progression for him where he would never have gone that far. | ||
| It's possible he would have gone that far, but the impetus is almost always for him to kick the ball another ten yards down the way is because somebody else went a little bit further than him. | ||
| It's an evolutionary arms race for him, going back and forth with everybody. | ||
| Whether it's evolutionary and motivation or some sort of... | ||
| Just, like, acknowledgement that he has internally that if he doesn't, he doesn't have a place in the market. | ||
| Like, whatever it is, like, you know, I need to be more extreme than other people or else what good am I? | ||
| Like, I'm not interesting as a newsreader. | ||
| I'm interesting as someone who's more crazy than other people. | ||
| That's true. | ||
| So if someone is coming in with this level of crazy, I, oh boy, I'm screwed. | ||
| That's not good. | ||
| So Alex keeps, he's been bringing up this Florida professor. | ||
| Who is at FAU, Florida Atlantic University. | ||
| This guy's name is James Tracy, and I believe that this episode is the official beginning of the Crisis Actors narrative. | ||
| On Alex's December 19th episode from 2012, we heard Alex suggest that Robbie Parker was acting like an actor in his press conference. | ||
| That was pretty troubling, but it also came a bit off like it was a stray thought. | ||
| Now with the introduction of James Tracy into the proceedings, we have Alex taking these ideas much more seriously. | ||
| In late December 2012, a number of very obscure blogs were starting to propagate the theory that victims and survivors of the shooting at Sandy Hook were actors. | ||
| They are basing this off a website run by a theater group called Vision Box, who offered crisis actors for hire. | ||
| They offered experienced actors who could improvise within the framework needed for the drills that they would be included in. | ||
| This isn't anything new. | ||
| They were usually called role players in the past, and they've been used in these sorts of situations forever. | ||
| The only thing that was different about this, it seems, is that the name was new, Crisis Actors. | ||
| And it sounded like something that was way scarier, and people latched onto it. | ||
| Yeah, it really does. | ||
| It really is an unfortunate name. | ||
| Well, one of the things, I was reading over a bunch of people who were emergency responders, and they were discussing the use of role players and crisis actors. | ||
| And one of the things is, especially for medical first responders, you need someone who can act. | ||
| Because, you know, if you're running a scenario for training purposes, and you have people who are first responders who are showing up, and someone is like, I have a heart attack. | ||
| That doesn't help them diagnose on the fly. | ||
| But if someone is able to have the presentation... | ||
| I'm showing my arm is jangling in this certain way, then you can use that. | ||
| Otherwise... | ||
| You can have little clues of how diseases or a condition presents allow for people... | ||
| So the idea of using actors in situations like that is obviously exactly what you would do. | ||
| And it's not something... | ||
| That's uncommon or hasn't been the case for a very long time. | ||
| But calling it crisis actors and these people offering them on their website made people create a bunch of bullshit ideas. | ||
| That's so annoying. | ||
| So that was in late December 2012. | ||
| These weird, obscure blogs started talking about it. | ||
| And at that point, most of the attention being paid to this sort of idea was coming from sources that were decidedly on what I would call the Project Camelot side of the spectrum. | ||
| Motherboard did a little bit of a deep dive into this, and they point out early instances of the crisis sector argument came from particularly one place, it was Off Planet Radio website, and they had a blog post that said, quote, The Post said that Sandy Hook was a drill alongside the suggestion that, quote, the time stream aspect is more compelling given the interval of seven days prior to the December 21, 2012 solstice. | ||
| Ritual bloodletting is the cabal's method for intoning power prior to key time events, especially when coordinated to lunar and solar-based events. | ||
| It's important to coordinate your lunar and solar-based events. | ||
| Right. | ||
| So you have this idea of being a part of a lot of websites like that. | ||
| They're talking about this being part of time streams and the Mayan apocalypse type shit. | ||
| Like tying in a lot of these sorts of ideas. | ||
| And that's how the seed of this theory germinated. | ||
| But it wasn't where it stayed. | ||
| On a January 1, 2013 post on his blog, James Tracy wrote, A possible reason is that they are trained actors working under the direction of state and federal authorities and in coordination with cable and broadcast network talent to provide tailor-made crisis acting that realistically drives home the event's tragic features. | ||
| James Tracy, by virtue of being a college professor, legitimized these ideas and helped take them out of the world of what I would call chocolate-loving raptors and into a world of things college professors think are worth considering. | ||
| Yeah. | ||
|
unidentified
|
It's a very big difference to have lunatics on time stream type of blogs. | |
| Even though you can have lunatics who are... | ||
|
unidentified
|
I think we know one very intimately well. | |
| The veneer of respectability and plausibility had been added with the inclusion of a college professor, as well as amplifying the theory well outside the obscurity that it was in before. | ||
| As Motherboard points out, quote, a search on Google Trends aligns with this timeline. | ||
| Searches for Crisis Actor only register on the site after Tracy's blog post. | ||
| Motherfucker. | ||
| Right. | ||
| God damn it. | ||
| But James Tracy's reach isn't even close to what Alex's was at this point. | ||
| Alex Jones discussing the professor's, quote, reporting is a major piece of the crisis actor narrative spreading. | ||
| And based on what I can tell, I think it's a really troubling development to see this. | ||
| Even Tracy's writing about the topic didn't raise it to a level where you might call that sort of an idea culturally relevant, but the signal boost that comes from that theory being discussed as if it had any credibility on Alex's show is huge. | ||
| I support strong teachers unions. | ||
| I mean, he was a tenured professor. | ||
| Exactly. | ||
| Here's what I'm saying. | ||
| I think tenure is absolutely necessary and important, and maybe we should also have in the contract, if you deny a major shooting happened, then tenure is revoked. | ||
| Well, he did get fired. | ||
|
unidentified
|
Okay. | |
| He would go on to be fired from his position at FAU, but after he challenged his firing, a jury ruled that his firing wasn't the result of his posts denying Sandy Hook, and thus it wasn't a First Amendment issue and the firing was... | ||
| accurate and correct. | ||
| See, he was a tenured professor, and as such, he knew about the rules in place that said he needed to report other subjects. | ||
| sources of income to the university, which his blog qualified as, since it brought in the required level of money. | ||
| Additionally, he used university equipment to record his personal podcast without reporting that to the school. | ||
| They fired him for not following their rules, not because of the disgusting things he said while not following said rules. | ||
| Right. | ||
| difference. | ||
|
unidentified
|
Tracy uses the exact same arguments as Alex does about how he's just questioning things. | |
| Some of his questioning techniques have been sending Lenny Posner a certified letter demanding proof that his son was ever alive and that he was actually his father. | ||
| This was in response to Posner filing a copyright claim on one of the pictures of his son that Tracy was using to push his conspiracy theories. | ||
| When Posner didn't agree to his bullshit demands, Tracy used the non-response as evidence that people are covering things up and that they have something to hide. | ||
| Because if they didn't have something to hide, how hard would it be to prove that that was your son? | ||
| Oh, fuck you. | ||
| Exactly. | ||
| That's how hard it is. | ||
| Go fuck yourself. | ||
| Exactly. | ||
| What James Tracy was involved in was harassment, pure and simple. | ||
| He was directly harassing victims'families, and Alex Jones gave his ideas a platform and helped spread them. | ||
| On January 8, 2013... | ||
| And since then, he's been cited as an expert on Infowars in tons of articles, ranging from covering crisis actors at the Boston bombing to just weird opinions about Egyptian politics. | ||
| Not sure exactly what. | ||
| What's going on there? | ||
| Cece? | ||
| I don't know. | ||
| As recently as November 2017, InfoWars has posted articles discussing his firing as being a free speech issue and amplifying the perception of James Tracy's persecution. | ||
| God damn it. | ||
| This is all a load of bullshit. | ||
| And I would say that I bet anything that Tracy will show up as a guest in the near future... | ||
| But that would be unfair because I already know that he does. | ||
| Yeah, well, of course. | ||
| Of course. | ||
| Of course he does. | ||
| How could you not? | ||
| We got the kid who smashes fucking piggy banks. | ||
| Of course we're going to get Tracy on. | ||
| The meme kid. | ||
| Yeah. | ||
| Yeah, we're going to get that. | ||
| So, that's this guy. | ||
| I will say, in Tracy's, the only thing I have to say regarding Tracy's firing is that, yes, he probably, he did get fired. | ||
| And he did not follow the rules. | ||
| But there are probably ways where they could have given him a slap on the wrist as opposed to completely firing. | ||
| I would say that denying a school shooting is probably a factor in why they enforce those rules so strongly. | ||
| I would say that it possibly is, and I don't really give a shit. | ||
| Me neither. | ||
| I wanted him to be fired without it. | ||
| I wanted him to be fired for it. | ||
| One of his arguments is, like, they didn't like me because I said these things and they wanted me gone. | ||
| And to me, like, I just hear that and I think, well, then you fucked up even worse. | ||
| Exactly! | ||
| Because if you're going to be saying this shit, like these victims or actors and stuff like that, fill out your fucking paperwork. | ||
| Yeah, exactly. | ||
| Cover your bases if you're going to be a dick. | ||
| That's important. | ||
| Because otherwise... | ||
| That's a t-shirt. | ||
| Well, because then you open up the door for them to fire you for cause. | ||
| Whereas if you hadn't done the thing that they can fire you for, then you could say this shit. | ||
| If they did fire you, then you would have a free speech argument. | ||
| There you go. | ||
| Because you didn't, because you're so fucking stupid, which is probably why you're doing this in the first place. | ||
| Yeah, which is why you're believing this shit in the first place, yeah. | ||
| Right. | ||
| Now, the other thing, I told you to keep in mind the 7-7 bombing and that sort of thing, where Alex is saying that actors were used there and stuff like that. | ||
| Yeah. | ||
| After these blogs and James Tracy and them started to talk about crisis actors being used at Sandy Hook... | ||
| The ideas started to work backwards. | ||
| People started to make theories after these ideas came out about past events having actors at them. | ||
| I did not know that. | ||
| But those arguments weren't used when those actual events happened. | ||
| They're retconning. | ||
| Exactly. | ||
| Bullshit! | ||
| You can't do that! | ||
| There are arguments that are starting around this time that relate back to past events as opposed to, we talked about it back then. | ||
| Bullshit. | ||
| Yeah. | ||
| Bullshit. | ||
| I call foul. | ||
| There should be a propaganda board where you at least have to be like, no, no, we can't do that one. | ||
| Right, and I think that Alex probably did talk about the idea of, like... | ||
| Well, actually, I mean, I know he did. | ||
| You know, he'd talk about, like, people doing the shootings were an actor or something like that. | ||
| Not an actor, necessarily, but someone who was put up to it. | ||
| A patsy. | ||
| Right, right. | ||
| That sort of idea. | ||
| A Manchurian candidate type of idea. | ||
| Something like that. | ||
| They put all the vaccines in him, and they give him the bipolar medications, and then he's shooting people! | ||
| Right. | ||
| So he's used those sorts of arguments. | ||
| And he's used arguments of false flags, whole cloth, of, like, you think it's this party, but it's actually a different party. | ||
| Who's doing it to rile up antagonism against the party you think it is. | ||
|
unidentified
|
Right. | |
| Like, that's sort of an idea. | ||
| But the idea that there were actors who are victims and stuff like that, I don't remember hearing that in other times prior to this, in Alex's coverage of other things. | ||
| You know what? | ||
| That's really interesting because it never occurred to me. | ||
| Like, it never occurred to me to think about whether or not I'd heard the crisis actor narrative before Sandy Hook because I was always just like... | ||
| I just assumed if we were hearing the crisis actor narrative around Sandy Hook, that means that I've probably heard it before. | ||
| But I don't remember anybody... | ||
| Yeah, you're right. | ||
| I don't remember anybody calling... | ||
| Nobody at Columbine was a crisis actor. | ||
| I think they were after 2013. | ||
| They were after 2013. | ||
| I don't know if... | ||
| And I would be... | ||
| Real stupid to sit here and tell you that this was absolutely the beginning of it. | ||
| Because I bet that those sorts of ideas did live somewhere. | ||
| But the popularization of it and the application of it to past events absolutely did happen. | ||
| Yeah. | ||
| And again, I can't say for certain that Alex is 100% doing that. | ||
| But I know that the conspiracy world did... | ||
| Engage in that behavior. | ||
| That's crazy. | ||
| And it follows that Alex probably did do some of it in terms of rewriting some of his narratives to fit this new hot conspiracy angle. | ||
| Yeah, that's... | ||
| Because it's just... | ||
| It seems like one of those things where... | ||
| It is a fun fact where you're like, when did the crisis actor thing start? | ||
| And then they find a newspaper from 1910. | ||
| Well, the name certainly didn't happen until this point because it was based on this Vision Box organization that was offering crisis actors. | ||
| So the very idea there can't have existed before. | ||
| That's fascinating. | ||
| But the thematic pieces behind it, some of them could have existed in various places, but not to the level that it did afterwards. | ||
| And as somebody who was hanging around conspiracy blogs and message boards around this time, I do remember it taking off like wildfire and being a new idea. | ||
| I remember the idea of crisis actors coming up and it being... | ||
| Like, oh, this is something new to look into. | ||
| As opposed to being like, yet again! | ||
| Yeah. | ||
| That sort of thing. | ||
| So, I mean, it's really weird to think about. | ||
| And I'll definitely do more looking into this as we go along. | ||
| Because now that it's in... | ||
| Alex is like oeuvre. | ||
| Yeah. | ||
|
unidentified
|
That box is open and it's never closing. | |
| No, I don't think so. | ||
| We're stuck with crisis actors until there are no more actors. | ||
| Yeah. | ||
| So Alex gets another caller who wants to talk about Sandy Hook. | ||
| And man, I don't think this is good. | ||
| Gary in New York. | ||
| Call me Gary! | ||
| Here on the air. | ||
| Thanks for holding, brother. | ||
|
unidentified
|
What's going on, Mr. Jones? | |
| I was praying for you last night. | ||
| I need the prayers. | ||
| It was pretty crazy. | ||
| You went to New York! | ||
|
unidentified
|
That was it! | |
| I wouldn't put it past the CNN or NYPD. | ||
| I just had a couple CNN comments that tie into my Sandy Hook comment, even though I know you said you didn't really want to touch on it too much. | ||
| Well, I mean, here's the deal. | ||
| We've seen about... | ||
| 12, 13 smoking guns that are just... | ||
| Each one of them... | ||
| Look, look, look. | ||
| The Batman shooting, I'll say, totally staged. | ||
| On drugs, now confirmed. | ||
| DARPA mind control. | ||
| I mean, the guy's in a mind control program where the Department of Defense DARPA brain interface grant. | ||
| I mean, and I just keep going from there. | ||
| So, look, the good news is you guys have all figured it out, so just go with it, brother. | ||
| Go ahead. | ||
| That's a really bad end to that. | ||
| No, that's no good. | ||
| So Alex is saying that we have 10 to 13 or whatever smoking guns about Sandy Hook. | ||
| That's a lot of smoking guns. | ||
| Usually you only need one. | ||
| You would assume that that is him saying this whole fucking fake shit. | ||
| Yeah, exactly. | ||
| And he's saying that the Aurora shooting is fake. | ||
| So that is trying to transpose that idea onto Sandy Hook. | ||
| And then at the end he says, you all have it figured out, so go with it. | ||
| Everything that you believe is 100% correct. | ||
| I don't even need to bother. | ||
| Now go with it. | ||
|
unidentified
|
Go! | |
| Rock! | ||
| What does that mean? | ||
| Get on out of there. | ||
| Give them a call. | ||
| Go bother some people. | ||
| Go find out who's who. | ||
| Go send certified letters demanding that people prove their children are their children. | ||
| Yeah, yeah, yeah. | ||
| And give me a money order while you're at it. | ||
| Also, be awesome. | ||
| That's all I'm asking you to do. | ||
| Be best. | ||
| Yeah, be best. | ||
| So, in this next clip, Alex gets off that Sandy Hook topic, and he starts rambling about how he knows Charlie Sheen. | ||
| Well, that's fun. | ||
| Not that interesting, but he talks about one time he was on the phone with Denise Richards because he was hanging out with Charlie Sheen, and he's like, oh, you want to talk to Denise? | ||
| And so Alex gets the phone, and he accidentally insults her without knowing it. | ||
| Last time I talked to her, Charlie Sheen's sitting there. | ||
| We're sitting around his pool, and he hands me his phone. | ||
| He says, say hi to Denise, because they talk all the time. | ||
| And I'd been there like six months before, and I said, because I knew her pug, because it stays at both houses. | ||
| I said, how is this pug? | ||
| I forget his name. | ||
| It'll pop my head in a minute. | ||
| I got pictures of him and stuff. | ||
| Real sweet pugs. | ||
| I like dogs. | ||
| And the phone goes, click. | ||
| And then I handed the phone back to Charlie. | ||
| He kind of went, eh. | ||
| He's the kind of guy that doesn't really say anything. | ||
| He was on heroin. | ||
| And then like a month later, I'm in the grocery store and it's something about her prized pug dying. | ||
| And it was that pug. | ||
|
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|
Aww. | |
| Why am I even telling this story? | ||
| Because I am sleep-proud. | ||
| I'm going into the fourth hour, ladies and gentlemen. | ||
| That's the kind of stuff that I worry about. | ||
| I like, oh my God. | ||
| Pugs? | ||
| Denise Richards, who I haven't talked to since, that was like a year ago or something, more than that, thinks I made a joke about her dead dog. | ||
| Oh, that dog's name's going to pop in my head as soon as I'm off air. | ||
| Anyways. | ||
| Get that dog's name out your mouth. | ||
| All I hear is guilty conscience. | ||
| Alex killed that dog. | ||
| That's my theory. | ||
| I have it from good DHS sources that Alex killed Denise Richards' dog. | ||
| Denise Homeland Security? | ||
| Yeah. | ||
| And then he called her and gloated about it. | ||
| How's your dog doing? | ||
| Obviously, I don't believe any of that, but it is crazy how much dead dogs come up on this show. | ||
| There are so many dead dogs on Alex's show. | ||
| How is it possible that dead dogs just... | ||
| They come up way more than would be statistically reasonable. | ||
| It's nuts. | ||
| You think a lot? | ||
| You think... | ||
| I mean, I don't know. | ||
| We've never talked about dead dogs. | ||
| Not outside of Alex talking about it. | ||
| Not outside of Alex talking about dead dogs. | ||
| That's fair. | ||
| Yeah. | ||
| Man, Alex has a... | ||
| Do dogs die when they're around Alex for a length of time? | ||
| And you know what I just realized as we're listening to this and I'm like, Alex talks about dead dogs all the time. | ||
| It's like, yeah, Dan, all you're doing is cutting out every time Alex talks about a dead dog. | ||
| Not true. | ||
| Because recently Alex talked about doing this exact same thing that he's talking about with Denise Richards to Logan Paul. | ||
| He killed Logan Paul's dog? | ||
| Well, maybe. | ||
| Okay. | ||
| Allegedly. | ||
| When Alex was on Logan Paul's show, he made some joke about his dog, and Logan Paul's dog had just been eaten by coyotes. | ||
| What? | ||
| No! | ||
| That's awful! | ||
| So now we know that, allegedly, Alex can control coyotes. | ||
| No, what I'm saying is that he talks about dead dogs even more than we talk about him talking about them. | ||
| That's nuts. | ||
| Pretty wild. | ||
| So, Alex, you know, earlier he said that, you know, 13 smoking guns, Sandy Hook, and, you know, Aurora was fake, and therefore Sandy Hook was fake. | ||
| In this next clip, he gets, like, a really fundamental piece of information wrong about the Aurora shooting, and it makes me think that maybe I'm not going to trust you about other stuff. | ||
| And it goes on. | ||
| He's charged with 166 counts of murder, attempted murder. | ||
| Billy killed 166 people, and that's interesting. | ||
| I thought it was... | ||
| 14, but... | ||
| It's 12. The reason that he said attempted murder. | ||
| There was a bunch of people in that fucking theater. | ||
| Yeah. | ||
| That's what... | ||
| What are you trying to be glib about here and then get the number wrong? | ||
| If you don't know how many people died in this event that you're weaving a massive conspiracy about, I don't believe you about the other details. | ||
| I know that it seems like a trivial thing, the difference between 12 and 14. But if you study this stuff, if you're researching it the way that Alex says he is, then you know that. | ||
| You know these trivial details. | ||
| Like if you and I were extemporaneously talking about Sandy Hook and you said that 29 or 30 people died or something like that. | ||
| I wouldn't think that that was an indication that you don't know anything about it. | ||
| It's an indication that you don't study it. | ||
|
unidentified
|
Yeah. | |
| You're not putting forth some sort of a crazy theory about Sandy Hook. | ||
| You have permission to be off about slight details. | ||
| Yeah, I got the detail wrong because I didn't really read into it before we did this show. | ||
| I would rather you know details, but the fact that you don't doesn't mean that it's a damning indictment of your opinions about X, Y, or Z. So long as I get the gestalt idea behind it, whatever my theory is. | ||
| Sure. | ||
| Yeah. | ||
| But it is a damning indictment for Alex. | ||
| For sure. | ||
| I can't handle this shit. | ||
| Also, if I understood correctly, was he marveling that there were 166 counts of murder and attempted murder, but only, in his words, 14 people died? | ||
| Does he not realize that if you open fire on a... | ||
| Closed movie theater, you have committed attempted murder on everyone in that movie theater. | ||
| I think he doesn't understand that. | ||
| He doesn't understand that even if you weren't shot or even come close to getting shot. | ||
| That could just be a reading comprehension issue, though. | ||
| That could be. | ||
| Because he even says attempted murder. | ||
| He even says attempted murder! | ||
| Right. | ||
| I think he's probably just dumb. | ||
| Everybody in that movie theater, let alone just, yeah, all of them were attemptedly murdered. | ||
| Yeah. | ||
| So, in this next clip, he gets back to complaining about Sandy Hook stuff, and he talks about how RT is criticizing him a little bit, because, as we know, he's mad at RT at this point, because he hasn't been allowed back on yet. | ||
| And he will be on in a couple of weeks, I believe? | ||
| Yeah. | ||
| I don't remember the exact date that he goes back on Max Keiser's show, but it hasn't happened yet, so he's still mad at him. | ||
| Still mad. | ||
| Gotcha. | ||
| And this is some of the other early conspiracy narratives that he's weaving. | ||
| Some of these shows, like the RT show... | ||
| It was like, oh, Alex Jones and people say there's multiple shooters. | ||
| Those were five-year-olds that saw that. | ||
| No, it's helicopter video. | ||
| It's on record, and they won't say who got arrested. | ||
| I heard the police dispatches. | ||
| They're talking about two shadows running by, how they have the one guy detained, but there's others, and they're... | ||
| That's police. | ||
| It's not five-year-olds. | ||
| Yeah, you're misinterpreting all that stuff, though. | ||
| And, I mean, RT said that on the day of Sandy Hook, they said that Adam Lanza worked at the school. | ||
| Well, they didn't have his name or anything, but they said that the shooter worked at the school. | ||
| So, like, who cares? | ||
| You can't defend yourself for making a conspiracy out of misreporting at the immediate aftermath of something like this. | ||
| You have to... | ||
| You have to be enough of an adult to understand that some details are going to be wrong. | ||
| Particularly in police scanners. | ||
| Because they are raw, just people responding to, like, check this out, check this out. | ||
| We need bodies over there, or whatever. | ||
| And when they say two shadows, that could be the two reporters that were in the woods. | ||
| Or the two reporters who were trying to get to the school. | ||
| Or Peter Pan lost his again. | ||
| Right. | ||
|
unidentified
|
Or Drogon flying over. | |
| Fucking knows. | ||
| There are explanations for all of these things, but in the time before those explanations are publicly known, Alex is able to do this sort of bullshit with it. | ||
| And that's sad. | ||
| It is. | ||
| But, you know, at least we don't really support this kind of stuff. | ||
| As a country, it's good to know that, you know... | ||
| Shows that spend all of their time debunking lies and making sure that things are taken care of are really prominent and shows that lie about things are unsuccessful. | ||
| You know why we're fucked, though? | ||
| Because we don't spend all of our time talking about Piers Morgan. | ||
| And I mean that specifically and generally. | ||
| Metaphorically and literally. | ||
| Because literally, we should spend all our time talking about Piers Morgan being an asshole. | ||
| Our ratings would go up. | ||
| He is an asshole. | ||
| But more metaphorically, Alex has this... | ||
| Kind of embarrassing incident happened on CNN where he yells at Piers Morgan. | ||
| And then he spends most of this episode just talking shit on Piers Morgan. | ||
| And being like, that guy's a fucking asshole. | ||
| They tried to kill me in New York. | ||
| They tried to fucking kill me. | ||
| I had a stare down with him after the interview when his producer was crying. | ||
| And I told him that you'll never take down the Republic. | ||
| All this stuff. | ||
| If we did that, metaphorically, with our everyday lives, you know, like, we could go all the, you know, just, I don't know. | ||
| We gotta really ramp up our creative nonfiction. | ||
| I go to the store and some guy comes up to me and says something and I turn it into, like, standing up for truth. | ||
|
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|
Some bullshit. | |
| If we did that, then I think we'd probably have a lot more allure. | ||
| That would make Smalltalk a lot more interesting, for sure. | ||
| Definitely. | ||
| We were lying all the time. | ||
| Hey, how you doing today? | ||
| I just fought off three men in the grocery store, and they were InfoWars fans, and they had gullets around their necks, and they were hung before I knew they were ghosts! | ||
| I went to Home Depot to buy some seeds and almost didn't make it out of there. | ||
| A plant tried to eat me. | ||
| I drove two miles over to South Bend and I was killed! | ||
| Pray for me! | ||
| So the other thing that Alex does that's very successful, probably from a rating standpoint, is spend a lot of the episode in a Piers Morgan British affectation doing an accent. | ||
| Yeah, well, of course. | ||
| And also he can't stop calling him a snot nose. | ||
| He just talks about snot noses and talking about, like, worshipping the snot in his nose and stuff like that. | ||
| Worshipping the snot in the... | ||
| He loses track of what he... | ||
|
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|
He's the great fartle job or whatever it is. | |
| Whatever. | ||
| Yeah. | ||
| So I wanted to make a supercut of all the times Alex said snot nose, but I didn't need to because he kind of did it for me. | ||
| I love this Forbes. | ||
| This is another snot-nosed article. | ||
| They think it's snot-nosed and all the other snot-noses go to, like, their snot-nosed cult. | ||
| They go, we're snot-nosed! | ||
| I mean, literally, it's just like, we'll be snot-nosed. | ||
| There's no tyranny in America. | ||
| They're not taking any of our rights. | ||
| Alex Jones is bad. | ||
| And then they drink from Piers Morgan's snout. | ||
| So, I mean, that should give you a sense. | ||
| That 20 seconds is pretty indicative of a lot of him. | ||
| He says snot-nosed probably a hundred times in this fucking episode. | ||
| That is an uncreative insult. | ||
| Yes. | ||
| Drinking out of Piers Morgan's nose. | ||
| Yeah. | ||
| That's good imagery. | ||
| I suppose. | ||
| Not good. | ||
| But I can really see it. | ||
| I don't enjoy it. | ||
| So we have here the eighth, I think, is the turning point in Alex's coverage of Sandy Hook in particular. | ||
| Because we're seeing this professor being introduced to the proceedings, and we're seeing him amplify this and respond to it in a way that indicates to me an adoption of some of his ideas. | ||
| Uh-huh. | ||
| Now, we'll have to see exactly how it plays out. | ||
| And I wanted to by looking at January 9th, which we'll get into now. | ||
| But instead of continuing that stuff, it really just continues talking about Piers Morgan. | ||
| God damn it. | ||
| It's almost like he doesn't even have... | ||
| The whole Sandy Hook stuff is tossed off. | ||
| It's just like, oh yeah, this is all there, but my show is really about shit-talking Piers Morgan. | ||
| Well, it's not as big of a priority for him, because Sandy Hook is important to him as a way for him to get attention to himself and mythologize his own quote-unquote battle or whatever in support of gun rights. | ||
| Right. | ||
| There's much more publicity at this point in him doing stuff with Piers Morgan than there is in Sandy Hook's stuff. | ||
| So he puts that a little bit on the back burner. | ||
| Well, not ignoring it, necessarily. | ||
| Putting it on the back burner in order to get really into the mud with Piers. | ||
| Because on the 8th, the evening of the 8th, Piers Morgan did another episode of his show. | ||
| And a lot of it was talking about how Alex Jones was a huge asshole. | ||
| God, they're both stupid. | ||
| They're both fucking stupid. | ||
| But they're both trying to get the same thing out of it, basically. | ||
|
unidentified
|
I know. | |
| It's so stupid. | ||
| But they're trying to do as much as they can to make their argument with the same source material. | ||
| So, Piers Morgan has people on to talk about Alex as stupid and all this stuff, and he's an asshole for yelling at him. | ||
| And then Alex, on the 9th, covers Piers Morgan talking about him on the 8th. | ||
| They're talking about it, they're so scared of me! | ||
| And stuff like that. | ||
| Throw them both off a meteor into the sun, Christ. | ||
| It's a stupid propaganda dance, but it is kind of contained a little bit. | ||
| You know, like, it's not like... | ||
| Most people are interested in the conversation they're having. | ||
|
unidentified
|
No. | |
| A lot of snot noses are, though. | ||
| Totally. | ||
| A lot of them. | ||
| A lot of them drinking out of everybody's noses. | ||
| And that gives Alex the appearance or the idea that he is the biggest thing in the world. | ||
| All right, ladies and gentlemen. | ||
| The biggest story in the country right now is my appearance Monday night on Piers Morgan. | ||
| Last night, the Daily Show responded. | ||
| Conan O 'Brien responded. | ||
| So he's the biggest story in the world because The Daily Show and Conan have made fun of him. | ||
|
unidentified
|
Yep. | |
| That's not making you... | ||
| You're not the biggest story. | ||
| You just were real easy as a target and maybe the writers wanted to go home. | ||
| Yeah. | ||
| They wanted to check out at five and Alex being a dick writes itself. | ||
| Maybe Conan didn't even have enough jokes and so he just said... | ||
| What else is in the news today? | ||
| Oh, Alex Jones is a dick. | ||
| Fine. | ||
| Right. | ||
|
unidentified
|
Yeah. | |
| And I think that they fell into a little bit of a trap because that's exactly what Alex would want because it metastasizes the making fun of him and, you know, it works as free press for him. | ||
| But I also don't think there's anything wrong with making fun of him. | ||
| No, that's fine. | ||
| You have to understand it's a delicate game, but if you don't understand it back in 2013, every reason to not understand it. | ||
| Like, it's a very forgivable thing. | ||
| So he's not the hugest story in the world. | ||
| He is easy to mock. | ||
| So on Piers Morgan's show, he has the relative of somebody who died at Aurora to talk about how you get the call late at night. | ||
| Piers Morgan has somebody on his show. | ||
| Yes. | ||
| Gotcha. | ||
| Who's the relative of the victim of the Aurora shooting. | ||
| And a lot of the conversation is about how you don't want people... | ||
| Experience. | ||
| Of waking up to a call that your loved one is dead. | ||
| It's something that no one should have to go through. | ||
| And he specifically says that I would never want Alex to have to experience that sort of thing. | ||
| And that's why we work to keep guns out of the hands of people who would possibly do something like this. | ||
| Which I assume Alex takes as a personal insult. | ||
| Not only that, a threat. | ||
| Yes, gotcha. | ||
| But we'll get to that when we get to it. | ||
| Because here's what Alex says about this guy whose family member was killed in Aurora. | ||
| And our internet's not working too good for whatever reason. | ||
| He's talking about last night. | ||
| He was hanging out with his family. | ||
| There was a storm in Austin. | ||
| The internet's not working so well. | ||
| He's just laying a scene. | ||
| And so I go, okay, I guess we'll watch Piers Morgan. | ||
| So we're watching it on the computer. | ||
| And they've got the first guest on going, gee, I hope Alex Jones' kids don't get killed. | ||
| And the guy just comes off like an absolute scripted actor. | ||
| Just my view on it. | ||
| I feel sorry for his loss or whatever, but it's one of the victims' families from Aurora. | ||
| I feel sorry for his loss or whatever. | ||
| He came off as a super scripted actor. | ||
|
unidentified
|
Yep. | |
| That's a man showing genuine empathy right there. | ||
| Boo to that. | ||
|
unidentified
|
Uh-huh. | |
| I feel sorry for Denise Richards Pug or whatever. | ||
| I don't fucking care. | ||
| Right. | ||
| So, also on the 9th here, Alex says this about Sandy Hook. | ||
| They've got 11 different bills turned in to do background checks and huge federal taxes to buy ammo, try to make you register ammo you already have. | ||
| I mean, this is it. | ||
| And they're probably going to stage some more shootings. | ||
| This has all the looks. | ||
| The last two, Colorado and Sandy Hook being partially are all staged. | ||
| Okay. | ||
| Oh, boy. | ||
| So, I mean, whatever. | ||
| It comes down to this idea to, like, this is still early and Alex is getting comfortable with it. | ||
| And so you do expect him to say stuff like that, partially or fully staged. | ||
| You're not really entirely sure where the money is, what's the angle we're going to go with. | ||
| And I don't think that we, until this episode necessarily, really nailed down something that I've been feeling but hadn't articulated, and that is, for someone like Alex, the difference between saying it's partially and entirely staged is negligible. | ||
| Yeah. | ||
| The effect of it, it doesn't matter. | ||
| Exactly. | ||
| Because you are inspiring the same sort of, this isn't real, you can't be trusted as an experiencer of this, as a survivor, as a family member, because you might be one of the bad ones. | ||
| And that sort of idea is pretty dangerous. | ||
|
unidentified
|
Right. | |
| And so I feel as we see this episode, the crisis actor narrative be introduced, and Alex say pretty consistently, Sandy Hook is... | ||
| Partially or totally staged. | ||
| It doesn't matter. | ||
| There will come a point where it gets to, like, this is all fucking bullshit. | ||
| We'll get to that point in his rhetoric. | ||
| But this is the line for me. | ||
| Yeah, no, that's what I was saying earlier. | ||
| The consequences are the same. | ||
| Right. | ||
| So it doesn't really matter what the different specific words are. | ||
| It's still going to result in the same harassment. | ||
| Yeah. | ||
| I think there's nuance for our, like, sort of academic interest. | ||
|
unidentified
|
Yeah. | |
| But realistically, it doesn't really matter that much. | ||
| This is already way on the wrong side. | ||
| Which makes it all the worse that Alex, in this next clip, declares himself the leader of the Liberty Movement. | ||
| Oh, that's not good. | ||
| I never wanted to be the real leader of the Liberty Movement. | ||
| Ron Paul is more of a statesman, but he's 76, 77 now. | ||
| What is he, 76? | ||
| Look up his age. | ||
| And unfortunately, for all intents and purposes, I am the leader. | ||
| Because other people like Ted Nugent and others, they don't get the whole picture. | ||
| I agree with that. | ||
| Ted Nugent doesn't get the whole picture. | ||
| Throw Ted Nugent under any bus, please. | ||
| I am fine with it. | ||
| That might indicate that he's not answering Alex's calls at this point. | ||
| The trend seems to be that. | ||
| So Alex is the head of the liberty movement. | ||
| Yeah, what? | ||
| Who? | ||
| The whole one? | ||
|
unidentified
|
All of it. | |
| The whole one. | ||
| Everybody moving for liberty? | ||
| Or is he talking about a specific liberty movement? | ||
| The crazies. | ||
| The crazies. | ||
| Gotcha. | ||
| Ron Paul actually does have an appearance on this episode, but it's pointless. | ||
| So even if Ron Paul shows up on the episode and he's like, this dude doesn't lead shit anymore. | ||
| He's too old. | ||
| How you doing, Ron? | ||
| He's retired from the house. | ||
|
unidentified
|
Right. | |
| No, of course. | ||
| So fuck him. | ||
| He's not doing shit? | ||
| Yeah, fair enough. | ||
| So yeah, Ron Paul is interviewed, but they don't really talk much about Sandy Hook or any of that stuff. | ||
| Ron Paul talks a little bit about economic stuff, and then they talk shit on Glenn Beck a little. | ||
| So it's kind of like, who cares? | ||
| I'm a big fan of this episode so far being just Alex shit-talking other people I hate. | ||
| Well, I mean, there is some of that if you take out the Sandy Hook stuff. | ||
| Yeah, I would prefer that wasn't there. | ||
| He was just like, RT sucks. | ||
| Glenn Beck sucks. | ||
| Go fuck yourself up. | ||
| I'm in. | ||
| I'm in. | ||
| Ron Paul, I love you, but you're worthless now. | ||
| It's all fucking me. | ||
| Yeah. | ||
| So then he has Larry Pratt from Gun Owners for America on again. | ||
| And it's just more like they want to take your gun stuff. | ||
| But there's nothing substantive in it about what we're looking at. | ||
| It's just gun paranoia. | ||
| So we can skip over that. | ||
| So Piers Morgan's episode on the 8th did include an instance of really inappropriate behavior on Piers Morgan and his guest's part. | ||
| But I also think it's a misunderstanding. | ||
| Now, I'll get into what I mean on the other side of this. | ||
| But I think Alex has one of his only complaints. | ||
| That I think is legitimate. | ||
| Okay. | ||
| But he's also making way more out of this than he needs to. | ||
| He didn't shake my hand. | ||
| Buzz Bissinger. | ||
| This darling of the left. | ||
| And when he talks about killing me, he looks like he's about to have an orgasm. | ||
| I'm serious. | ||
| I mean, these people. | ||
| Seen that face before? | ||
| These people are sick. | ||
| And that's why we have our guns, Bissinger. | ||
| You understand that? | ||
| Let's go and go to the club. | ||
| Here it is. | ||
|
unidentified
|
But what do you need a semi-automatic weapon for? | |
| The only reason I think you need it is, Pierce, challenge Alex Jones to a boxing match, show up with a semi-automatic that you got legally, and pop him. | ||
| I'd love to see that. | ||
| In uniform. | ||
|
unidentified
|
I'll borrow my brother's uniform. | |
| I don't think more guns are the answer here. | ||
| That's it. | ||
| So she goes on to say, yeah, ooh, you wear a uniform. | ||
| Ooh, then it's okay. | ||
| And then Pierce, oh yeah, I'll get my brother's. | ||
| So they're all agreeing, yeah, yeah, let's kill Alex, and that's a message. | ||
| Just like they know, if they said everybody go to this soup place, they've got the best soup in town, there'd be a line 50 feet long outside of it. | ||
| So the first thing I want to point out is that Alex clearly understands the consequences of words being said to audiences. | ||
| The way audiences are going to hear them. | ||
| When he is the target of it, he clearly understands that this is a threat to his safety. | ||
| So that whole argument of I had no idea how people would hear what I said about Sandy Hook, that goes out the fucking window. | ||
| You know exactly the way people would hear your words. | ||
| Yeah, he might as well have been like... | ||
| Okay, well, what if some crazy viewer of Piers Morgan's show, somebody who's on drugs or something like that, somebody who is a weird conspiracy theorist, shows up at my door and tries to kill me, huh? | ||
| That's directly because of Piers Morgan's words, and I will never apply that to anything ever. | ||
| Right. | ||
| It's nonsense. | ||
| Yeah. | ||
| But I think that he plays this clip way too many times on the episode, and he editorializes on it in terms of, like, This idea that if you're wearing a uniform, it's okay. | ||
| All this stuff. | ||
| All the stuff he's bringing to it is fucking nonsense. | ||
| But Buzz Bissinger, the guy who wrote Friday Night Lights. | ||
| Really? | ||
| Yeah. | ||
| What was he doing on Pierce Morgan's show? | ||
| He's also a Vanity Fair writer. | ||
| I guess maybe Daily Beast at this point. | ||
| I'm not entirely sure. | ||
| He is way out of line. | ||
| Because what he is saying is bring a gun to a boxing match and shoot Alex. | ||
| And they laughed at it. | ||
| But the way he says that, pop him. | ||
| I do think that the lady who responded might have thought that he meant punch him. | ||
| Yeah. | ||
| Like, I don't think that they're laughing at the idea of shooting Alex. | ||
| But Buzz Bissinger, I do believe, was saying that. | ||
| Yes. | ||
| So the idea that they're all, like, having this chorus of laughs about murdering Alex might be a little unfair. | ||
| Yeah. | ||
| I think that that's important for clarity, but the larger picture of it is, that's fucked up. | ||
| That is inappropriate. | ||
| I don't think it's right for Piers Morgan to not stop and be like, that's way out of line. | ||
| I know that we all hate Alex here, but you expressing something like that, that has no place on my show. | ||
|
unidentified
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Or... | |
| Fucking edit it out of the show! | ||
| Right? | ||
| I mean, is it live? | ||
| It might be live. | ||
| I don't know. | ||
| Dan, you're telling people too many of the behind-the-scenes things that you have edited out of our show. | ||
| Not as many as you might think with the amount that you yell. | ||
| But that, like, is not okay. | ||
| And Alex does have a good point, at least vis-a-vis Buzz Bissinger. | ||
| Right. | ||
| So I do kind of think that they made a huge mistake in terms of the way they were covering Alex. | ||
| So that, I think, is a legitimate critique that Alex is making. | ||
| He's making it poorly, but I think it's a legitimate critique in as much as Piers and his people fucked up. | ||
| That is a big fuck-up. | ||
| Alex is capitalizing on it. | ||
| Yeah, I am surprised that... | ||
| Nobody stopped that. | ||
| Yeah. | ||
| Fair play to Alex, I think, in making a big deal out of this because it's an unforced error on Piers' and Buzz Bissinger's part, which is really fun to say. | ||
| Yeah. | ||
| Buzz Bissinger? | ||
| Yeah, I know. | ||
| So that's fair. | ||
| This next one is not fair. | ||
| You got the clip of them talking about my kids? | ||
| This was on the same show last night. | ||
| Here it is. | ||
|
unidentified
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I don't want Alex Jones. | |
| To get the phone call at 3 o 'clock in the morning that one of his children has been shot and killed by somebody who shouldn't have a handgun or a rifle or an automatic weapon. | ||
| I don't want him to get that phone call. | ||
| That is the whole point, and you articulated that. | ||
| Those eyes kind of sparkled a little bit when it got to that part. | ||
| I'm not stupid, okay? | ||
| And you know what? | ||
| You know what I'm going to do? | ||
| I've got my course plotted. | ||
| I'm going to accelerate speed. | ||
| And I'm going to politically ram you. | ||
| I'm committed. | ||
| Everything. | ||
| My entire being. | ||
| Don't you know doing this only gives me the power to stand up against you? | ||
| A full commitment. | ||
| We'll be right back. | ||
| Obama's set to ban guns. | ||
| No, he's not. | ||
| So that is the Aurora survivor, or the Aurora victim's family member who was on the show expressing that idea of, like, I don't want Alex to get that phone call. | ||
| Even if I disagree with him about this issue. | ||
| No one should have to experience that. | ||
| And Alex, because he's a fucking idiot, interprets that as a veiled threat on his family. | ||
| Which is nonsense. | ||
| Does he... | ||
| I mean, because I'm almost on the edge of feeling bad for Alex right there. | ||
| Why? | ||
| Because... | ||
| Because he's that dumb? | ||
| Well, I don't know. | ||
| Because I'm not sure if it's purposeful bullshit. | ||
| Or if it's like... | ||
| This guy genuinely cannot understand people not wanting his kids to die. | ||
| Like, he can't process it. | ||
| Like, he lives in this world where anytime somebody is expressing empathy for him, too, it is like, you're just trying to kill me. | ||
| Like, that's a lonely fucking sad life. | ||
| I think it's entirely possible that that is what's going on, that he has to interpret every... | ||
| Like, thing that doesn't fit into his, like, sort of skewed worldview as... | ||
| He has to sort of recontextualize it a little bit. | ||
| I think that that's entirely possible. | ||
| But I honestly think that there's another possibility. | ||
| And that possibility is that Alex knows that what he does is disgusting. | ||
| And he knows that what he does is inappropriate. | ||
| And so every time that there is the possibility of creating... | ||
| A victim narrative for himself. | ||
| He needs to capitalize on it in order to build up... | ||
| The perception of the scales being balanced or that he's in the right. | ||
|
unidentified
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Right. | |
| They're threatening to kill my kids. | ||
|
unidentified
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Right, right, right. | |
| You know, their eyes twinkle when they say they don't want me to get a call in the morning hours that my family member is dead. | ||
| Their eyes are twinkling because they secretly are saying they want my family to be dead. | ||
| They want to kill my children. | ||
| Why would I behave in any other way than the way I'm behaving? | ||
| Yeah. | ||
| I think there's part of it is that, is rationalization. | ||
| Whether it's to his audience or to himself. | ||
| Yeah, that's a good... | ||
| I mean, I suppose another part of it would just be the idea of his enemy wanting anything but total destruction towards him. | ||
| Right. | ||
| Do you know? | ||
| Because that kind of reveals... | ||
| That's part of it. | ||
| And that kind of reveals his own, you know, opinions on that is... | ||
| For his enemies, he wants nothing but total destruction. | ||
| Well, creating the perception that his enemies want total destruction of him justifies all variety. | ||
| Yeah, exactly. | ||
| All manner of misperception, all sorts of, you know, what is propaganda if you're up against something that seeks to destroy everybody? | ||
| Yeah. | ||
| You gotta lie a little bit in order to get people against a truly evil force? | ||
| Who gives a shit? | ||
| You know, that sort of justification. | ||
| Could be a piece of it. | ||
| I'm not entirely sure. | ||
| But I do know that there is a consistent trend through all of his work forever that has been taking any opportunity To create some sort of victimhood for himself where it doesn't exist. | ||
| So it does fall in line with his just sort of... | ||
| On the other hand, that almost kind of supports the way I think about it. | ||
|
unidentified
|
Exactly. | |
| Because if it was like scattershot or if it was something that he earned over time, that would be a different story. | ||
| But it seems as though this is... | ||
| Just part of his worldview. | ||
| Right, and that's the issue that you really can't answer without asking him, and even if you asked him, he'd probably lie. | ||
| You can't trust him, yeah. | ||
| But yeah, it is the idea of strategic or pathological, and I'd believe either. | ||
| But whatever the case is, it serves pretty much the same purpose. | ||
| So, whatever the case is, earlier in the episode, I said to you that I think that there was a piece of this that didn't go super well for Alex. | ||
| And that is that there's a couple calls that Alex gets on this episode that are like, hey man, you were acting like a fucking idiot. | ||
| Alright! | ||
| What you did was more, it was not productive towards the goals that you are putting forth. | ||
| You acted like a crazy gun owner. | ||
| It's only going to be used as an argument to take away people's guns. | ||
| Yeah. | ||
| Like that sort of thing. | ||
| And I was just like, yeah, of course, it's my fault they put through this legislation. | ||
|
unidentified
|
Right. | |
| It's my fault that Hitler took the guns. | ||
| It's my fault. | ||
| I'm a man in the arena. | ||
| Do you not understand? | ||
| Like that sort of thing. | ||
| Right. | ||
| Jerk-off motion. | ||
| That's his response to most of it. | ||
| This episode is about three hours and 15 minutes long. | ||
| Maybe three hours and 10 minutes long. | ||
|
unidentified
|
Mm-hmm. | |
| Generally, his show is three hours long. | ||
| But if he wants to go into overdrive, he keeps the show going. | ||
| Clearly, he intended to keep the show going. | ||
| But he got a call that was along those lines. | ||
| The idea that you're acting like an asshole. | ||
| And then he ended the show pretty much right after. | ||
| So he's in overdrive now while he's getting this call. | ||
| Yes. | ||
| So now we're at the full discretion of... | ||
| I can... | ||
| Press the button and it's over. | ||
| End it whenever. | ||
|
unidentified
|
Gotcha. | |
| And he ends it right after taking this call, where this guy confronts him about how he was acting like a dick. | ||
| You quintessentially fit every single stereotype. | ||
| Hit pause. | ||
| They use those stereotypes of what they don't want us to be, because that's winning. | ||
| Our founders murdered people, according to the British Redcoats, who abused their rights. | ||
| Killed them. | ||
| Okay, I'm not calling for that. | ||
| No, they did that according to themselves, too. | ||
| I got in their face. | ||
| Oh, are you concerned about them saying I need to be shot last night? | ||
| Oh, that's just funny. | ||
| But me getting in their face, that's not good, right? | ||
|
unidentified
|
No, you're the one that's always ranting about COINTELPRO, and that's exactly what you were doing. | |
| You were controlled opposition, dude. | ||
| Well, you know what? | ||
| I am myself, and I believe what I did was right getting mad at him, so I appreciate your call. | ||
| COINTELPRO goes around and tries to get people to fight with each other in infighting. | ||
| COINTELPRO does what you just did. | ||
| I don't think you're COINTELPRO. | ||
| That's just an old 60s, 70s term. | ||
| One form of psychological warfare they engage in. | ||
| The cognitive infiltration that Sunstein talks about is more important. | ||
| Here's the deal, bud. | ||
| I told you about three months ago they were going to come with executive orders for the guns. | ||
| Now it's a fair monger. | ||
| It's now happening. | ||
| So I tell you what, I'm just... | ||
| You know what? | ||
| You go out there, you build the media organization, and you engage the globalists. | ||
| No, you're not going to do that. | ||
| You're going to spend all day running around on every website and every message board talking about how bad I am. | ||
| You're not even sophisticated enough to know that actually helps me. | ||
| So, in the same way that in that clip earlier, Alex talking about people talking about him on CNN is a threat to him or something like that, that recognition of the relationship between audience and speaker, he's fully aware of that. | ||
| At this clip, too, that end part is real messed up for me because it's an awareness that he understands that... | ||
| People criticizing him are helpful to him. | ||
| And if he understands that, why wouldn't he court that sort of thing in order to help himself? | ||
| I will tell you why. | ||
| Because while listening to that, I realized that he is a loser little titty baby who is throwing a little tantrum there. | ||
| A little bit. | ||
| He is a whack. | ||
| He can't handle the criticism from people that what he did was a living embodiment of the thing that people who are for gun control are against. | ||
| So, I don't think that, I think this guy's argument's kind of stupid, the idea that he's controlled opposition and that sort of thing. | ||
| Right. | ||
| I think the point here is that this is a good explanation of, or encapsulation of why you've got to be careful with Alex. | ||
| Because criticisms of him do work in his favor a lot of the time. | ||
| Nah, man, you're controlled opposition, dude. | ||
| Oh, shit, I gotta go. | ||
| I gotta end this show. | ||
| I love that phrase, like... | ||
| You're controlled opposition, dude. | ||
| It's a good catch-all. | ||
| Yeah. | ||
| It's a good catch-all, and it's weak. | ||
| The fact that he really sounds like his feelings are hurt, he really sounds like he's having that moment, is probably why he doesn't court that. | ||
| Because it's like, he doesn't like criticism on a very real, personal level. | ||
| No, but I think he does. | ||
| He takes it... | ||
| Personally. | ||
| I know, but him taking it personally allows him to get angry, and he likes anger a lot more than most other feelings. | ||
| That's true. | ||
| It may be the only one that he has. | ||
| The idea that he can transmute some sort of feelings, whatever they might be about anything else, into anger at this guy for saying that he's controlled opposition, and then he can scream about, like, are you going to do what I've done? | ||
| I'm great. | ||
| Yeah. | ||
| I think that's a win for him. | ||
| I think he thinks that that's a win. | ||
| No, but he feels bad, damn. | ||
| I don't know if he feels... | ||
| He feels personally attacked, Dan. | ||
|
unidentified
|
I don't think he... | |
| His feelings are hurt. | ||
| Why don't you go build something, huh? | ||
| Why don't you go build InfoWars? | ||
| There's a narcissism behind that. | ||
| Yeah. | ||
| Anyway, so I think as we come to the end of this January 7th through 9th stretch, I think we've seen the beginning of the down. | ||
| I don't want to call it a downfall because... | ||
| No, we still got a ways to go. | ||
| Yeah, but this is it, man. | ||
| This is the beginning. | ||
| It took, I mean, what, December 14th was the shooting, and now January 8th, I can say definitively, is when Alex starts to internalize and re-report these crisis actor narratives. | ||
| So if that's a birthday present, I'll take it. | ||
| Doesn't mean we're done in this time stretch. | ||
| We've got to still push forward and see how this develops. | ||
| But I'm glad to see... | ||
| I'm not glad. | ||
| No. | ||
| Words fail us. | ||
| I'm intellectually interested or satisfied on some level of curiosity. | ||
| Now we know this. | ||
| We know this point is that which marks... | ||
| Consequentially, this is when he said what we expected him to say. | ||
| And another one of our large suspicions is satisfied, too, in that it's the result of some crazy person. | ||
| Yeah, yeah, yeah, yeah. | ||
| For sure. | ||
| And he's implying that he already knew it. | ||
| So I think that will also come into play. | ||
| He only is starting to really talk about this stuff and put it forth because he has the cover. | ||
| Now, we thought it would be Wolfgang Helbig, but it's not. | ||
| It's James Tracy, who is the initial source of him being able to, like, I can talk about this now. | ||
| This guy is. | ||
| And, you know, he still wants to present it as I've known this for a long time. | ||
| Yeah, yeah, yeah. | ||
| And stuff. | ||
| But he's a coward, and he needs that cover. | ||
| This scares me in terms of the investigation, though, just because I don't want to find out that the next... | ||
| Six months are him shitting all over different people that he doesn't like. | ||
| Piers Morgan still sucks, and then six months later, there's somebody who calls in who says, Hey, by the way, did you know that all of the people at Sandy Hook were crisis actors? | ||
| And that's when he finally commits to the whole thing was completely fake and staged bullshit. | ||
| You know what I'm saying? | ||
| I would be bummed out if, yeah, these words just don't work. | ||
| But it would be frustrating if... | ||
| I would be bummed out, yeah. | ||
| It's so weird. | ||
| It would be tremendously frustrating if, yeah, it is a long stretch where he just gets into... | ||
| Because I could see an outside chance that most of his show for at least a week is about Piers Morgan. | ||
| Yeah, for sure. | ||
| I could easily see that. | ||
| Easily. | ||
| And I know... | ||
| Piers Morgan and stories about Charlie Sheen. | ||
| Well, and from doing that episode about Val Venus... | ||
| With Marty last week. | ||
| I know that the WWE is about to introduce this Patriot character in early 2013. | ||
| So I know he's going to get sidetracked by that, too. | ||
| So I do wonder how much and how consistently he will view Sandy Hook as the primary thing that he needs to be paying attention to when pieces of his ego are being actively engaged by Piers Morgan, the WWE. | ||
|
unidentified
|
Yeah, exactly. | |
| And what have you. | ||
| It's an open question. | ||
| I just want to know if he knows Emilio Estevez. | ||
| I mean, he knows Charlie Sheen, but are they estranged? | ||
| I mean, they're estranged. | ||
| Oh, nice. | ||
| And then in April is the Boston bombing. | ||
| So, like, there's a whole lot coming down the pike in terms of... | ||
| I think, actually, probably Alex will get way worse about Sandy Hook after the Boston bombing. | ||
| Because then he'll combine them. | ||
| Because he says that one's fake for sure. | ||
| From the day of it. | ||
| Day one, yeah. | ||
| From minute one. | ||
| Within minutes, yeah. | ||
| Yeah, it's interesting. | ||
| I don't think... | ||
| Whatever your frustration and whatever I'm worrying about being frustrated about, it's possible. | ||
| But I think that there's so much that's going to happen in this stretch in early 2013 that this is going to be... | ||
| I mean, look, Somali Pirates was wild. | ||
| This is going to be just as wild. | ||
| Yeah. | ||
| Whatever ends up happening. | ||
| But we'll get to that as we get to it. | ||
| But until then, we have a website. | ||
| We do! | ||
| We have a website, knowledgefight.com. | ||
| You know, there's a link to shirts if you want that. | ||
| Go to that website. | ||
| Do all that fun stuff. | ||
| We're on Twitter. | ||
| We are. | ||
| It's knowledge underscore fight. | ||
| And I'm at GoToBedJordan. | ||
| We're on Facebook. | ||
| We are on Facebook. | ||
| We're also on iTunes. | ||
| Go ahead and download the show. | ||
| Leave a review. | ||
| Subscribe. | ||
| Subscribe to the show. | ||
|
unidentified
|
Yeah. | |
| Tell somebody about it, maybe. | ||
| Tell people. | ||
| Tell people. | ||
| Yeah. | ||
| It couldn't hurt. | ||
| Yeah, no. | ||
| We would appreciate any help with promotion because we're bad at it. | ||
|
unidentified
|
Yeah. | |
| We don't even barely ever post on social media. | ||
| Should get better at that. | ||
| No, try and get better at that. | ||
| We'll see. | ||
| Yeah. | ||
| Well, look, there's a... | ||
| I'll tell you. | ||
| I'll tell you right now. | ||
| Oh, I got one if this one's not good. | ||
| Okay. | ||
| Is this a forced one or is this good? | ||
| No, no, no. | ||
| I'll tell you right now that I can guarantee that Denise Richards' beautiful little pug, his life ended before his time, never killed anybody, Dan. | ||
| Can I be honest with you? | ||
| What? | ||
| That's what I was going to say. | ||
| Yeah, that dog didn't kill anybody. | ||
| That dog didn't kill anybody. | ||
| It's just a cute little pug. | ||
| One guy who technically probably has. | ||
| And who was an asshole to that dog. | ||
| Probably technically was an asshole to that dog is Alex Jones. | ||
| Andy in Kansas, you're on the air. | ||
| Thanks for holding. | ||
|
unidentified
|
Hello, Alex. | |
| I'm a first-time caller. | ||
|
unidentified
|
I'm a huge fan. | |
| I love your work. |