Candace CRUSHED It: What the Hater Media Won't Admit
Candace CRUSHED It: What the Hater Media Won't Admit
Candace CRUSHED It: What the Hater Media Won't Admit
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| This is it. | |
| This is the review. | |
| This is what happened. | |
| This was the sit-down, the breakdown of Nashville. | |
| Let me be very, very clear from the get-go, from the first sentence. | |
| Because this is not a story about reconciliation or unity or healing or my favorite word, closure. | |
| Or anyone telling you that either doesn't understand power or is pretending not to. | |
| This was not a feel-good sit-down. | |
| This wasn't amending fences. | |
| This was not a misunderstanding cleared up over coffee. | |
| Two gals chatting away, a little coffee clutch. | |
| Burying the hatchet. | |
| Oh, no, no. | |
| This was a confrontation between an individual who does not need permission and an institution that could no longer pretend the questions didn't exist. | |
| Candace Owens did not walk into that room seeking approval or validation or forgiveness or contrition or expiation or access. | |
| She walked in with questions that were already circulating, already metastasizing, already impossible to contain. | |
| And that is why the meeting happened in the first place. | |
| It was on her terms. | |
| Erica Kirk asked for this. | |
| TPUSA asked for this. | |
| They had to assuage and mollify Candace because she held the cards. | |
| Because what she was merely asking, and be not mistaken, she was asking the same questions you and I asked, that we asked. | |
| There's nothing that she did or said that was out of the ordinary. | |
| None of it. | |
| Institutions don't meet with people they can ignore. | |
| They don't grant four and a half hour meetings and confabs with no rules or no guardrails or no topic exclusions to someone who lacks leverage. | |
| They meet when silence has become more dangerous than engagement. | |
| And that alone tells you who held the upper hand before a single word was spoken. | |
| From the moment Candace sat down, the imbalance was obvious. | |
| Erica Kirk, let me just say something. | |
| I've never said anything bad about Erica Kirk. | |
| I've got no beef with Erica Kirk. | |
| Erica Kirk, I think, is being used. | |
| And you know this and I know this. | |
| We know what's happening right now. | |
| They're doing everything that they can. | |
| They're calling Candace crazy. | |
| They're bringing on all of these stringers, these strange, jealous people who hate her for no reason, spewing this vile. | |
| Candace Owens basically said, I don't have a beef with you. | |
| But they came after her and they told her the same thing they tell us. | |
| We're crazy. | |
| We're crazy. | |
| She's a conspiracy theorist. | |
| That's it. | |
| I was sold when I heard that. | |
| I'm on your team because I know all about this. | |
| You see, Erica Kirk needed the meeting to slow momentum and to manage the optics and signal to, don't forget what this is about, donors, donors, donors, supporters, and the media that something resembling control had been restored. | |
| You see, Candace needed none of that. | |
| She didn't care about that. | |
| She didn't need the meeting to legitimize her questions or to validate what she was asking or to ask permission because the questions that she was asking were already legitimate. | |
| We already knew this. | |
| She didn't need to soften her tone because politeness has never, well, been her strong suit. | |
| In some respects, she's very polite, but it's never produced truth. | |
| She didn't need to trade silence for civility because silence was never on the table. | |
| That difference is everything. | |
| When one side walks in hoping the story ends and the other walks in knowing the story stays open, oh, well, the outcome is already decided. | |
| I mean, this was incredible. | |
| This was a denouement, so to speak. | |
| And throughout the conversation, Candace does something that institutions hate most, hates it. | |
| She refuses narrative, again, that word closure. | |
| Every time an answer appears to resolve one issue, she pivots to what remains unanswered. | |
| She accepts acknowledgements without allowing them to function as some kind of absolution. | |
| Again, expiation, forgiveness, reconciliation. | |
| She listens without conceding ground. | |
| Oh, she's good. | |
| She distinguishes being suspicious from certainty and discipline, while all the while still refusing, still refusing to dismiss, to dismiss, to ignore instinct, instinct that you have and I have. | |
| And our instincts have been sharpened by inconsistency and the ability to determine this. | |
| See, that's not recklessness. | |
| That's method. | |
| And when miscommunications are owned, she doesn't allow the admission to swallow the larger, you know, errors and contradictions. | |
| When text message discrepancies are clarified, she doesn't let the correction erase the fact that this institutional bias and certainty preceded all this verification. | |
| Look, when camera footage explanations are offered, she doesn't accuse, but she does not pretend trust has been restored either. | |
| Do you see what I'm saying? | |
| Do you see what she does? | |
| Do you see the goings on of this? | |
| She does one of the deadliest negotiating tools. | |
| And I've always suggested this, always act that you're agreeing with somebody, but you're not. | |
| You're acknowledging them. | |
| It's like the old trick of whenever you deal with a boss or somebody who is your superior, somebody who wants to tell you something, which is completely and totally stupid. | |
| What you do is you say, oh, interesting. | |
| You acknowledge that you heard it. | |
| You don't validate the insanity. | |
| You don't okay it, but you say, interesting. | |
| That's what she does. | |
| She doesn't pretend that she has trusted these people or that trust has been restored either. | |
| No, no, she understands. | |
| She is smarter than anybody thinks. | |
| She understands something that many commentators miss, a lot of them. | |
| Credibility is not rebuilt by statements and schmaltzer stuff. | |
| It's rebuilt by alignment over time. | |
| And alignment has precisely or is precisely what was missing. | |
| You know, the most probably the most consequential moment of the entire meeting doesn't involve emotion or apology or any of that stuff. | |
| It involves something else. | |
| It involves evidence, or maybe, maybe precisely, more precisely, the lack of it. | |
| When the lawyer explains that what the public has largely seen is what exists at this stage, you know, the illusion of overwhelming certainty collapses. | |
| See, Candace Owens doesn't exploit that fact or that revelation. | |
| She marks it. | |
| She understands instantly what it means for every commentator who has spoken with absolute confidence while lacking absolute proof. | |
| Let me tell you what I'm doing now. | |
| I don't want to recap everything she said. | |
| You don't need me to say, and then she said this. | |
| A lot of the commentators, God bless them, are just giving you an update of what she said, like you didn't hear it. | |
| Like you don't understand it. | |
| What she said. | |
| I'm telling you what it means. | |
| I'm telling you, here's the story. | |
| This is the overriding story. | |
| It's like in the old days when we say, especially during press conferences during the days of Nixon, you know, Nixon would say something, and then Charles Carralt would, or not Charles Carralt, Morley Safer or Edward, somebody would come and say, and then the president said this is like, I just heard that. | |
| What are you telling me this for? | |
| That's not analysis. | |
| That's repetition. | |
| That's not what we're, well, I'm talking about what's going on because this is something which is bigger than anything anybody has. | |
| I don't think they get it. | |
| See, what Candace does, and she surprised me. | |
| And let me explain something. | |
| And I don't even know why this is even necessary to say. | |
| Candace Owens, I think, is very, very smart. | |
| Everything she does, I don't necessarily endorse. | |
| And I can say that about anybody. | |
| I think there's going to be some miscalculations that she's going to figure out. | |
| And I, again, what brought me to this was the attack on her, which admittedly, and perhaps interestingly enough, at least to me, is so reminiscent of us. | |
| How many of you fine people have been called a nut? | |
| How many of you have been called either maybe even called a racist or you've been called a crazy all my life, seemingly, since I was a kid, since when I was five years old and I saw my mother crying when JFK was killed, I knew something was going on here. | |
| I didn't know what it was. | |
| I didn't know what you called it, but I knew something was going on. | |
| And it changed my life. | |
| 9-11 was my red pill moment. | |
| And all along this trajectory, all along this path of recognizing it in talk radio and this and TV, and nobody ever really wanted to hear what I had to say because I challenged it. | |
| And I was shocked. | |
| I thought, don't you people want to know what the truth is? | |
| Don't you want to, don't you, aren't you, why aren't you thanking me for this? | |
| Oh, no, no, no. | |
| Oh, no, no. | |
| He's dangerous. | |
| He's crazy. | |
| 9-11. | |
| Oh, they still, they still don't understand it. | |
| And then all of a sudden, these people came along. | |
| And God bless them. | |
| They kind of broke away. | |
| Tucker, Candace, and a lot of other people who, I don't want to mention their names, but they came along and they said, I'm just going to be loud. | |
| This new thing now is I'm going to talk fast. | |
| I'm going to speed speak. | |
| I'm going to speak with a velocity and a celerity. | |
| And that will confuse you when you're thinking that somehow I'm profound, I'm smart by virtue of how fast I'm speaking. | |
| It's like sometimes people think that people who have a British accent somehow are educated. | |
| No, not necessarily, but that's what this is. | |
| And they came along and they became a part of the mix. | |
| And in the midst of this, people took sides. | |
| And I'm saying, what are you taking sides on regarding Candace Owens? | |
| Forget Candace. | |
| Forget who she is. | |
| Listen to what she's saying. | |
| First, nobody here believes the official narrative regarding Tyler Robinson. | |
| Nobody. | |
| Now, you don't have to come up with your own version. | |
| We're civilians. | |
| Do you understand what I'm saying? | |
| I don't have to tell you. | |
| Well, here's what happened. | |
| What I mentioned on September the 11th, 2001, at 5:20 p.m., Building 7 dropped, dropped in its own footprint. | |
| It wasn't hit by anything. | |
| Everybody knows. | |
| We know this. | |
| They said it was a fire. | |
| It was a carpet fire, a furniture fire, or something. | |
| So when I tell people that they all say, well, what do you think happened? | |
| It's excuse me. | |
| This is your story. | |
| What are you talking about? | |
| During 9-11, when they talked about Hani Hanja, the fellow who piloted the jet, the plane into the Pentagon, he dropped, what, 13,000 feet? | |
| This guy couldn't even get a pilot's license for a single prop Cessna. | |
| And he takes the command. | |
| Why we knew this guy's name all of a sudden? | |
| I have no idea. | |
| How do you know his name? | |
| What did he get on the microphone say, by the way, for the record, this is Hani Hanjor, H-A-N-J-O-U-R. | |
| Hani. | |
| Yes, Hani Hanja. | |
| Yes, that's it. | |
| And he dropped, and he dropped 13,000 feet or whatever it was, 9,000, 10,000. | |
| And he flew six feet off the ground, left a 16-foot hole with no remnants of a plane. | |
| How do we know where anybody was sitting? | |
| How did this happen? | |
| And when I tell this story that has been documented by others, people say, oh, yeah, well, then what happened? | |
| It's like, excuse me. | |
| Again, this is your story. | |
| This is your story. | |
| What if I told you this? | |
| Go in that closet. | |
| Frank Sinatra is in that closet. | |
| What? | |
| Frank Sinatra is in that closet. | |
| Frank Sinatra. | |
| Frank Sinatra's dead. | |
| Open the closet. | |
| Frank Sinatra is in there. | |
| All right. | |
| I open the closet. | |
| See, nobody's in there. | |
| And then I say, well, then where is he? | |
| Who? | |
| Frank Sinatra. | |
| What do you bring? | |
| I don't know. | |
| You brought this up. | |
| That's what they do. | |
| So if you don't believe the Tyler Robinson story, well, what do you think happened? | |
| So when Candace Owens brings up a story, she tells you this. | |
| So what I think is this particular fact is inconsistent with my sense of logic. | |
| They say, oh, yeah, well, then what happened? | |
| It's not my job. | |
| It's your story. | |
| You tell me. | |
| You see what they do? | |
| And there are people who hate us because of the very fact that we ask questions. | |
| Don't kid yourself. | |
| They don't like you because, number one, you're acting like a big shot. | |
| Like as we say in West Hampa, Sabero Todo, you're like, I know it all. | |
| You know everything. | |
| You always know this. | |
| And you come up with these terms, you know, globalists and this. | |
| They don't know what you're talking about. | |
| And they hate you. | |
| But there's one thing that we know. | |
| And that Candace knows. | |
| Confidence without evidence is not authority. | |
| It's performance. | |
| And performance collapses under scrutiny. | |
| And that's where this story goes. | |
| And I don't know what the story is. | |
| I don't know who killed Charlie. | |
| I don't know how this works, but I ain't buying this story. | |
| And I don't have to tell you why. | |
| And I don't owe you an explanation. | |
| I don't have to tell you anything. | |
| The story is so ridiculous. | |
| So ridiculous. | |
| Let me stop you right there. | |
| You are a grand juror. | |
| I was a prosecutor for years. | |
| Licensed trial lawyer now. | |
| And when I go to a jury, these are people off the street like you. | |
| And those people off the street are able to handle questions and issues such as murder cases, murder trials, complex litigation, a lot of things. | |
| They're very smart. | |
| You give them the facts and they determine it. | |
| And they also determine things like witness disposition, witness character, witness action. | |
| Do I believe them? | |
| Do I believe the story? | |
| So this Tyler kid decides he's gay and his trans gay boyfriend with a fuzzy hat who's somewhere to be found, they're in love ostensibly, right? | |
| Okay. | |
| Let me ask you a question. | |
| If you committed one of the incredibly great shot, by the way, this guy was quite the quite the marksman, but you decided to leave a weapon, the weapon, the murder weapon, you're going to call your wife or somebody else and you're going to say, by the way, do me a favor, go down and pick that up. | |
| Go find it for me. | |
| They're going to be scouring this. | |
| There's going to be drones everywhere. | |
| So you go to where I'm telling you right now. | |
| It's a rifle. | |
| It's wrapped up. | |
| And his grandpa's, his grandpa's, it's his shooting iron. | |
| And old grandpa's, Pappy, he's going to be upset with me unless we find that gun. | |
| What are you talking about? | |
| This is the most absurd story anybody's ever heard. | |
| Why would you do this? | |
| Even that doesn't make any sense. | |
| Can you tell me honestly, when you watched Erica Kirk, and again, this is not against her. | |
| This is the woman who lost her husband, the father of her children. | |
| Did you, what about that fact do people not understand? | |
| But when she becomes, when she goes on all of these shows, one after another in this media blitz, didn't you think Tammy Faye Baker? | |
| Didn't you expect the what is this? | |
| Do you know what somebody said one time? | |
| And I don't have any evidence of this, but I want you to think about this and ask this question. | |
| Because it doesn't mean that she's, it doesn't mean that this didn't happen. | |
| It doesn't mean that she's callous, but she is a person who knows how the camera works. | |
| She's a person who has been in front of the camera. | |
| She knows appearance. | |
| She knows method. | |
| She knows looking. | |
| She knows stagecraft. | |
| She's very good. | |
| And I don't say that in a demeaning way. | |
| It's true. | |
| And when you're trying to meet with people and explain, there's some things that you go to almost by default. | |
| And there's an old trick. | |
| I don't know if you know this or not, but it's been suggested. | |
| And I have no independent way of proving this. | |
| But if you ever, you know, that in movies, when people sometimes have to cry, they say, how do people cry? | |
| Well, there's a machine that they blow camphor or like mentholatum or VIX vapor rubber, but they blow it and not blow it, but they produce it. | |
| And when you're talking, nobody can see it. | |
| But your eyes will start to water because of this mist. | |
| It's been around forever. | |
| If you take a Kleenex, a tissue, a handkerchief, and you dip it in a little bit and you start doing this. | |
| Now, I'm not saying she did it, but remember, if ever you have to do this, you're on the witness stand, you were in an accident, it happened. | |
| You might want to convey something. | |
| You might want to convey pain. | |
| You might think that I might have to not lie, but if I present the story better. | |
| So if I were to do this constantly, what am I doing? | |
| And again, people are going to say, you're saying she did this. | |
| I'm not saying that. | |
| Other people have said that. | |
| But think about this. | |
| Is it really that far-fetched? | |
| When you're sitting there and you're talking and all of a sudden your eyes will start to water. | |
| And once it starts, once it starts, off to the races. | |
| Off to the races. | |
| And the people are saying, crying. | |
| Normally there's a tear. | |
| There's always one eye only. | |
| Let me explain something to you. | |
| You're a juror. | |
| You're looking at how people present things. | |
| You're looking at, you're trying to say, is this real? | |
| Is this the way I would act? | |
| Remember during the John Benny Ramsey case, people said, is this the way grieving parents act? | |
| We do it all the time. | |
| Never, ever, ever, ever apologize for your incredulity. | |
| Never. | |
| Remember the triangle shirtwaist fire, 1911, New York City? | |
| Famous case, famous. | |
| These immigrant workers, these women were working at this sewing and shirtwaist. | |
| It was a, it was like a clothing manufacturing. | |
| And the owners had padlocked the fire escape doors because women were going on and smoking. | |
| And well, that's not a good idea. | |
| A fire broke out and lo and behold, these poor souls were burned, killed, died. | |
| It's horrible. | |
| And one worker found a closet, locked herself in, hoping to escape this. | |
| People were pounding on the door. | |
| Her co-workers, she could recognize their voices, recognize their sound, recognize who they were. | |
| And they're saying, open the door. | |
| And this woman's saying, this is a closet. | |
| There's no, I can't let you people in. | |
| If I open the door, I die. | |
| And this person all of a sudden described how she could hear the screams, and then the screams lessened and the pounding on the door diminished. | |
| And pretty soon there was silence. | |
| And she knew that they were dead. | |
| And she takes the stand. | |
| I believe it was a criminal case, manslaughter. | |
| The defense company, the prosecutor, the company hired Max Stoyer, famous trial lawyer. | |
| Oh my God. | |
| Oh. | |
| So he gets up there and he's going to cross-examine this woman. | |
| He goes, how do you cross-examine a woman who was the victim, who was the last survivor of this? | |
| How do you do it? | |
| So he takes this. | |
| He asks her. | |
| He said, tell me again what happened from the top. | |
| She tells the story. | |
| He said, one more time, from the top. | |
| And they're wondering, like, this heartless bastard. | |
| And the second time he goes, ah, you changed a word. | |
| You said this. | |
| Now you say this. | |
| And he intimated, he suggested, he insinuated that her story was rehearsed. | |
| Not that it didn't happen, but it was rehearsed, it was presented, it was performative. | |
| So when we ask, are people really do, they mean this? | |
| See, there's one thing about president Trump you got to understand, especially with this, in view of this, this heartless tweet, Trump has no filter. | |
| Trump never lies. | |
| He doesn't put on an act. | |
| It's. | |
| It's sometimes inappropriate, But he's so sincere and he's authentic. | |
| And that is why Candace Owens is so liked and loved. | |
| She's legitimate. | |
| You don't think she's lying. | |
| You can say whatever you want. | |
| You can say, well, she's exaggerating, but you never think she's making something up. | |
| Look at what she references, they call logs. | |
| These aren't salacious details. | |
| These are structural facts. | |
| Who called whom and when matters because these narratives are built from sequences? | |
| And when human memory conflicts with recorded data, well, so you can understand institutions and people lean on emotion. | |
| And Candace leans on time stamps. | |
| She's brutal. | |
| It's great. | |
| Give me facts. | |
| It's the lawyer in me. | |
| Nothing personal. | |
| Where were you? | |
| When did you come home? | |
| When did you hear the gunshots? | |
| When did you claim in this Rob Reiner case? | |
| Oh, this kid is, there's no real issue there, but a lot of it is the time stamp. | |
| Who did what? | |
| When was Billy Crystal summoned? | |
| Why was he there before the police? | |
| When were the police called? | |
| When did the police come up? | |
| It adds light. | |
| And it doesn't negate the murders. | |
| It doesn't make them go away, but it adds context, context to the deliberate speed and the focus of the individuals investigating it and the witnesses. | |
| You know, this reference of, and Candace was very smart to keep a lot of these text messages as evidence. | |
| You know, that choice alone signals very serious, very serious kind of sobriety. | |
| She doesn't accuse people of lying. | |
| She shows how stories evolve when details are simplified or smoothed or selectively emphasized. | |
| She exposes not malice, but dare I say slippage. | |
| And slippage is where, this is where trust erodes. | |
| See, again and again, Candace demonstrates like a trial or while she is uncontrollable and why that matters. | |
| She doesn't raise her voice. | |
| She doesn't use this. | |
| You know, you can say what you want about it. | |
| I'm not going to mention it, but the fellow with the beanie, the edge wannabe. | |
| Listen, I'm kind of old-fashioned, maybe. | |
| Maybe I come along. | |
| Maybe it's my time. | |
| I think sometimes on these platforms, they use F-bombs too much. | |
| And by the way, I'm not an F-bomb, but shit, oh, that is, I am prolific because it really helps people explain it. | |
| So I'm not against people cursing now and then. | |
| But along with the N-word, I will not refer to a woman as a C-word in my anger. | |
| Little boys do that. | |
| People who don't really understand what they're saying, people who said, I'm going to come across with, I'm going to be an actor. | |
| I'm going to show you my anger by calling this woman. | |
| This is no man's life. | |
| This, where I'm from, will get you killed. | |
| And when I hear people say that and call her that, I'm thinking, wait a minute, wait, Talk about her. | |
| If you don't like what she's saying, talk about her. | |
| And to be honest, to be fair, sometimes it's like Candace, you can't come back with this one's gay and this one's cheating and this one's a swinger. | |
| Don't. | |
| But what do I know? | |
| You're far more deadly when you're saying, oh, this isn't personal. | |
| Remember from the guy about that? | |
| No, no, no, Sonny. | |
| This isn't personal. | |
| This is business. | |
| When they were going to whack McCluskey, this is business. | |
| Don't ever lose your temper. | |
| Don't ever do that. | |
| Mike Tyson never lost his temper. | |
| You're not deadly if you do that. | |
| Candace doesn't grandstand. | |
| She asks follow-up questions. | |
| She's very, very good at that. | |
| And she circles back. | |
| That's my favorite. | |
| She refuses to let discomfort and sadness end valid inquiry. | |
| And that posture, that position is intolerable to a bunch of people and a bunch of institutions built on nothing but optics. | |
| I don't know about you, and I'm going to say something, but so that you know my frame of reference, I liked Charlie Kirk a lot. | |
| I really admired him. | |
| I mean, I really admired him because I have been saying for the longest time, and I still say, my generation, we're on the back nine, and you're probably on the back nine too. | |
| All right. | |
| I want to know about young people in high school right now. | |
| Now, if many of you are new, you don't know who I am. | |
| I'm not a Republican. | |
| I'm not a Democrat. | |
| I'm not a conservative. | |
| I'm not a liberal. | |
| I don't have a name for what I believe in. | |
| I believe in the truth. | |
| And I believe, and I say this a lot, and I always keep this here. | |
| I know people think I'm being horny, but this is it. | |
| It's the Constitution. | |
| And these are all of my stickers from my voting. | |
| And I believe in this very fundamental things. | |
| I'm not really a flag waver. | |
| I kind of like my flag. | |
| I'm into, as we say, vexology, but I don't use this as some kind of a shield, some heat shield or some Kevlar. | |
| I believe in this country. | |
| And one of the things which is fundamentally manifest in our way of thinking is that you have the burden of proof of proving something. | |
| If you say something, prove it. | |
| And if you want to dispute it and the lawyer may let me show you why. | |
| We don't get into personality. | |
| If you do that, you've lost. | |
| Now, this may, there's a lot of trolls in the world of the internet. | |
| What are you going to do? | |
| Hey, Trump is a troll in many respects. | |
| He knows exactly what he's doing. | |
| By the way, as an aside, you know why Trump did that business, right, regarding Rob Reiner? | |
| Because he said basically, on the day of your murder, to get you back, you're a person of publicity. | |
| I'm going to steal the headlines. | |
| I'm going to do it. | |
| They're going to be talking about me. | |
| And they did. | |
| And you could say that's brutal unless you understand how wrestling works, unless you understand how theater works. | |
| But that's a different story. | |
| Charlie Kirk that I like. | |
| TP USA. | |
| I wasn't sure about that. | |
| You know how much money they have? | |
| Do you have any idea the money they wrote? | |
| The shell corporations, the side corporations, the people involved, that was a cash cow. | |
| And I have a problem with that. | |
| CPAC, any groups of people, any groups of people, the moment you start creating kind of an institutional Woodstock, so to speak, for politics, politics is great. | |
| Trump was very smart. | |
| And let me just explain. | |
| I'm not a MAGA, whatever that is. | |
| I like the president because I have no, there's no other choice. | |
| But he, and there's a lot of problems with that administration. | |
| But still, what? | |
| I'm going to go back to Biden. | |
| There's no choice. | |
| It's moot. | |
| Oh, you don't like Trump? | |
| Well, what do you want? | |
| You want Kamala Harris? | |
| No. | |
| So just so that you understand this. | |
| My thing is, I'm not an apologist. | |
| I don't like anybody. | |
| Cable news is the biggest joke in the world. | |
| Remember, I'm you. | |
| We call our channel here the conspiratorium for good reason. | |
| Everything is a conspiracy. | |
| Everything. | |
| Did your government ever tell you the truth? | |
| Ask yourself this question. | |
| About anything? | |
| So why should you believe it ever? | |
| They can't tell you the day of the week without prevarication. | |
| But people like TPSU, they're built on optics and schmaltz and flags. | |
| And I'm sorry, but sometimes when somebody comes out and you have lost your husband, this person you're in love with, the father of your children. | |
| I don't need to hear angelic music in this. | |
| I don't, I just don't, I'm sorry. | |
| Somebody's got to say, stop. | |
| Erica, I know you're not doing this, but you're coming across like Tammy Faye Baker. | |
| This is this is not the way to do it. | |
| Do you remember during the Kennedy assassination? | |
| Jackie Kennedy stood with a veil, black veil. | |
| She had her two children, and she had a look on her face. | |
| It's as though every bit of emotion, every bit of life had been pulled from her. | |
| It's one of the most powerful things I've ever seen in my life. | |
| Black and white in black and white. | |
| It was so powerful. | |
| That's stagecraft, not schmaltz. | |
| Don't camp it up. | |
| Easy. | |
| Easy. | |
| Think about some of the most important lines from movies and events that you've seen. | |
| They're very simple. | |
| They're very simple. | |
| So optics are important because optics, Candace realizes, you can't manage that. | |
| You can't placate it. | |
| You can't exhaust it. | |
| You can't shame optics into silence. | |
| And that is why the meeting was necessary from their point of view. | |
| Erica needed this. | |
| TPUSA needed this from their perspective. | |
| And Candace didn't need this. | |
| By the time Candice walks out, the power shift is complete. | |
| She's it. | |
| The story hasn't been closed. | |
| It's been clarified as unresolved. | |
| And I thought she was very, very nice. | |
| She said we had a meeting. | |
| She just went right back to business today asking the same questions. | |
| And the questions have not been answered definitively. | |
| Okay. | |
| I want you to understand something. | |
| We're America. | |
| You can ask anything you want. | |
| You can ask anything you want. | |
| You can say whatever you want. | |
| Tonight we had a little Christmas event in Florida, by the way, which is always interesting because I do overnights on WABC, which I invite you to listen to 1 to 5 a.m. in addition to all my other endeavors. | |
| And I'm talking to my friend who's known him for 30 years. | |
| He's a rabbi, a Jewish feller. | |
| And he and I agree. | |
| I think, look, if you have a problem with anything, Judaism, Catholicism, Gaza, Palestine, Middle East, Putin, say it. | |
| Say it. | |
| You're not anti-Semitic because you're asking a question about say it, say it. | |
| Candice is talking about talking about Zionism. | |
| You know how many Jews I know talk about Zionism? | |
| She never invalidated Judaism. | |
| She never said, oh, that's ridiculous. | |
| That's a phony belief. | |
| No. | |
| And by the way, be very careful when you do that with Islam, too, because Islam is not the same as Islamism. | |
| You know the truth. | |
| Progressivism in this country is basically a religion disguised as a political point of view. | |
| Islamism is a religion, or actually it's a political party. | |
| Hadi as a religion, it's very complicated. | |
| But without going into the specifics of this, you should be able to say whatever you want. | |
| And if you don't like it, don't listen. | |
| That's simple. | |
| And if somebody says something you don't like, so what? | |
| Hashtag so what? | |
| Did you hear what she said? | |
| So what? | |
| So what? | |
| It doesn't matter. | |
| What's the matter with us? | |
| It's the matter with us. | |
| It's bizarre. | |
| Have you ever wondered? | |
| It's like, why can't you say that? | |
| Do you not believe? | |
| Okay, fine. | |
| You can say anything you want about Christianity. | |
| Nobody minds. | |
| You can say anything about Catholicism. | |
| Nobody minds. | |
| You can say anything about this country. | |
| But if somebody were to say something against Israel, what? | |
| Excuse me, what? | |
| Wait a minute. | |
| Now, you know, and I know. | |
| I don't even have to explain that to you. | |
| But we know how the rules work. | |
| And whoever decides they've done it with racism and transgenderism, transphobia, and Islamophobia, it doesn't work anymore. | |
| We've habituated to it. | |
| Habituation is when you don't notice a novel stimulus anymore. | |
| You know, when you put something on like a watch or some kind of piece of jewelry and you say, God, this is this is really clumsy and weird. | |
| And then later on, you realize, I don't even realize I forgot I'm wearing it because your body habituates, it conditions to it. | |
| The stimulus that hits you isn't new anymore. | |
| It's not novel. | |
| It's not different. | |
| And the reason why we move on is because you, as a mother, want to be able to hear your baby crying or the careening squeal of a car that's going to hit you and not say this watch all day long. | |
| We're going to move on to new stimuli that are novel. | |
| This is incredible. | |
| You know, certain things have been validated as existing. | |
| You know, that's not victory. | |
| You know, Candace didn't prove some final conclusion about anything because she prevents premature certainty. | |
| That's the part that drives people crazy. | |
| You know, in a media environment, it's addicted to, again, this word closure and addicted to neat little narratives, addicted to emotional resolution. | |
| Candice always didn't did the opposite. | |
| She kept the file open. | |
| She made it impossible to memory hole the inconsistencies. | |
| And that's the worst. | |
| That's the worst. | |
| She showed the audience the difference between image and image management and truth seeking without conceding an inch. | |
| And they were, and you know what? | |
| I'll bet you anything, TPUSA, that they said, we were great today. | |
| How are we doing? | |
| What was her reaction? | |
| No, well, you're not going to see the recording of that. | |
| You know, and I know that Erica Kirk, she didn't want to do that. | |
| They told her, you're going to have to do that. | |
| This is Charlie's. | |
| This is Charlie's endeavor. | |
| I'll bet you. | |
| I'll bet you the next thing you know they're going to do is boot her. | |
| They're going to give her some kind of a payout. | |
| They're going to say, move on. | |
| We're going to do this on our own because it's that haughtiness. | |
| Charlie Kirk was TPUSA, not Erica, and not these other clowns. | |
| And you know it and I know it and we all know it. | |
| This matters far beyond this case because it demonstrates how leverage works. | |
| And it doesn't work through credentials or who I am and not through this institutional backing and all this nonsense and not through access, but through something very, very simple. | |
| Persistence and clarity and truth and the refusal to accept this narrative, the official story. | |
| Well, the finale. | |
| Well, that's the way that is. | |
| Let's move on. | |
| Somebody said the other day, I believe that Tyler Robinson, women, wait, what? | |
| What are you talking about? | |
| You're giving in. | |
| You just want to say that. | |
| See, we went through the whole COVID thing. | |
| Remember, did we learn anything from COVID? | |
| You know what that was. | |
| That was a beta test. | |
| That was a dress rehearsal for tyranny, for martial law. | |
| We know that. | |
| I hope you know that. | |
| And it happened. | |
| But when you tell somebody that, they say, you're out of your mind. | |
| Do you ever see people wear a mask today? | |
| People who still wear a mask? | |
| Sometimes they wear a mask under their chin or they wear a mask under their nose. | |
| It's weird. | |
| It's like this relic. | |
| It's like these people, like the Japanese who don't realize the war is over. | |
| Well, Candace Owens knows the war has just begun. | |
| Candace Owens didn't walk into that room to be managed or corrected or redeemed. | |
| She sat there and said, okay, Erica, here I am. | |
| What do you want to talk about? | |
| She walked in to make sure the question survived. | |
| And she was, I'm going to say this, ladylike, because I still think that's a wonderful aspiration. | |
| Men are called gentlemen. | |
| Women should act like ladies, meaning respectful and the like. | |
| But she could have come out and just blasted her. | |
| She did. | |
| She was a good soldier. | |
| And she made sure the questions survived. | |
| And they did. | |
| And that is why this moment matters. | |
| And when I see people say, you know what, they really don't believe, they don't believe. | |
| They don't understand how important this is. | |
| Listen, my friends, listen carefully. | |
| You may not like a lot of people. | |
| There's a lot of people I don't particularly care to listen to, but I don't have any ill feelings. | |
| There's a couple of people in this area who are really interesting in my book, and I want you to keep an eye on them because they're really changing everything. | |
| First is Candace. | |
| Second is Tucker Carlson. | |
| Tucker Carlson did something which, oh, oh, he broke rules just sometimes to break them, which I love it. | |
| The king of the king of the kings, the pot of familiars, the granddaddy, the OG, the Mac Daddy, is Alex Jones. | |
| Alex Jones, barn. | |
| Alex Jones is better now than he's ever been. | |
| Everything goes back to him. | |
| Alex Jones first. | |
| Now remember, don't worry about how you like them. | |
| Think of Alex Jones, if this helps, almost the way the Ramones were, how grunge was, how important it was for Kurt Cobain. | |
| And by the way, Neil Young was a precursor to Grunge. | |
| I wasn't a big fan of the music, but I'm a fan. | |
| I recognize the historical impact, why this is important. | |
| In my generation, we had three networks. | |
| In my generation, we had the morning newspaper. | |
| In my generation, I was through talk radio since 1988. | |
| It's 37 years. | |
| I started, I worked with Rush Limbaugh at WABC. | |
| It was a different type. | |
| We didn't even have the internet then. | |
| I remember going through OJ without Twitter. | |
| I can't even, I don't know how we did it, but we did it. | |
| And I've seen this. | |
| I've seen this over and over and over. | |
| What we're seeing right now is a revolution. | |
| And it's beautiful. | |
| And I love it. | |
| And I love new music, new idea, new art, new foundations, and new vectors, new platforms for speech. | |
| And I want young people to get a volume. | |
| I want you to make sure you get all of your grandkids and ask them questions. | |
| Ask them, what do you think about this? | |
| Don't tell them. | |
| Ask them. | |
| If you think something is un-American, ask them, do you think this is American? | |
| See what I did? | |
| I turned it into question. | |
| If you think something is immature, ask your kids, do you think this is mature? | |
| You're telling them what you want them to believe, but you're in the form of a question. | |
| It's like direct examination versus cross-examination. | |
| Bring people in. | |
| We need to ask people how things work. | |
| We need to bring them in. | |
| And right now we've got these incredible new people. | |
| We got Candice. | |
| We got Tucker. | |
| And we have somebody here who's really driving. | |
| And I love, remember, this does not mean an endorsement of an idea, but I like somebody who comes along, kind of like the Ramones did. | |
| And Nick Fuentes. | |
| Nick Fuentes is driving people crazy. | |
| And anybody who drives people crazy, you've won my heart. | |
| And I may say, I don't agree with anything you're saying, but I love the fact that you're coming along and you're driving these people crazy. | |
| Because let me tell you something, which is very important. | |
| And you're seeing it here. | |
| There are people, even among our myths, who are trying to carve out who's who. | |
| Do any of you folks remember maybe being in high school where there were kids in high school who thought they were the cool kids? | |
| And you looked at them and said, where did you come up with this delusion? | |
| You're the cool kids? | |
| Excuse me. | |
| Did we vote on this? | |
| You're not cool. | |
| Well, yes, we are. | |
| No, you're not. | |
| And there are people who come along and a lot of people who are, you've got Glenn Beck and Megan Kelly and Tim Poole and others and people try their best and Dinesh was out there and they come and they go and they, | |
| you know, these new people and then they're coming forward and they're trying to make a name for themselves, Milo and Piers Morgan, who basically makes Geraldo Rivera look like, you know, Niels Bohr. | |
| But this is Nick Fuentes came along. | |
| And Nick Fuentes came along and he, they basically said, Nick, you can't speak. | |
| And I said, why? | |
| Because Nick's a racist. | |
| Well, then don't listen. | |
| Don't listen. | |
| If you remember Father Coglin in the Coughlin or Coughlin, depending upon where you're from, in the 30s and 40s, this was, this guy was bigger than anything you've ever seen. | |
| And they called him a racist, an anti-Semite, and he was so popular. | |
| Why do you think people are popular? | |
| Why was Hitler popular? | |
| Well, because he was a good speaker or because his ideas happened to work. | |
| So I'm not advocating Hitler, but what I'm saying is, listen, you have to listen to what people are saying. | |
| You have to understand what's going on. | |
| Right now, there's a new faction of Gen Zers who want to go back to malls and books and families and dating. | |
| Do you know one of the reasons? | |
| Let me explain something to you. | |
| This might be of interest. | |
| Maybe not. | |
| One of the biggest shows that has been resuscitated in terms of old reruns and the like and syndication is friends. | |
| Why do you think that is? | |
| In the post-COVID world, a lot of young people are saying, did people do that? | |
| Yeah, they were really, were they friends like that? | |
| Yeah. | |
| Wow. | |
| So they all were close and they talked and they no devices. | |
| They had a kind of interpersonal Seinfeld, meeting every day and telling them some of Deborah Sein, you know, the diner. | |
| Wow. | |
| And here's the best one for you. | |
| The Sopranos is bigger today than it ever was. | |
| Why is that? | |
| Because young people are saying, did they really say that? | |
| Yeah. | |
| Did they use the N-word? | |
| Oh, yeah. | |
| Why? | |
| These are gangsters. | |
| These are killers. | |
| Wow. | |
| That's pretty good. | |
| Great storyline, violent. | |
| Young people, we need to sit down and ask them, what do you think is important to you? | |
| And sit down and say, why do you think Candace Owens is important? | |
| Why do you think she is? | |
| Why? | |
| Why? | |
| And it's not, and it's not about race. | |
| I don't think anybody's bringing that up. | |
| But they're going after her like you can't believe. | |
| And we are in the middle of a revolution right now. | |
| And I want you to understand. | |
| And whether you like Trump or not, doesn't matter. | |
| He revolutionized everything. | |
| He changed everything, changed everything. | |
| McDonald's changed society by fast food. | |
| You may not like McDonald's. | |
| That's another thing, too. | |
| It doesn't matter what you think and what I think. | |
| Notice what's going on in our society. | |
| That's all. | |
| Notice. | |
| Notice how things are changed. | |
| Notice how things are vanishing. | |
| Candace Owens, I think, today, right now, is going to prove to be one of the biggest voices in, I don't want to say this new medium, because it's not even new. | |
| This is current. | |
| And guess who? | |
| Guess who created her? | |
| The people who try to destroy her. | |
| There's nothing worse, there's nothing worse for when I was a kid to kill the viability of a musical form than for your parents to say, hey, I like them. | |
| You like this? | |
| Yeah. | |
| Oh, God. | |
| Well, forget this. | |
| Why? | |
| Mom and dad like it. | |
| What is this? | |
| Lawrence Well, you see what I mean? | |
| They created Candace Owens. | |
| They created Nick Fuentes. | |
| They did by acting afraid and they made him the forbidden fruit. | |
| That's not what you do. | |
| Let me just leave you with this. | |
| It's a very, very simple thing. | |
| First of all, I want to thank you. | |
| Your comments have been so terrific. | |
| I want to thank you for that. | |
| And Lionel Nation, make sure you subscribe and all that. | |
| And I'm kind of with you. | |
| I'm saying, I know, I know, I know. | |
| Like the video, subscribe, click that like button. | |
| Hit that little bell so you're notified of live streams and new videos. | |
| I know. | |
| We have to say that because you know how it is. | |
| But your thoughts or comments. | |
| And it's not about me. | |
| It's about the conversation. | |
| And I want you to understand the way I analyze things. | |
| I like to discuss what this means. | |
| Why is this? | |
| Now, I don't know who killed Charlie Kirk. | |
| I don't know. | |
| But when people say, Israel's, excuse me, do you know something we don't know yet? | |
| So you suspect it. | |
| Could be, wouldn't be surprised, but suspicion is not proof. | |
| That's all. | |
| And people sometimes make a mistake with that. | |
| Maybe that's the lawyer in me. | |
| I think when you say, we've proved it, we didn't prove anything. | |
| We don't know what happened. | |
| But I do know when they, as we say in the South, that dog don't hunt. | |
| And I don't believe for a moment this story about this Tyler Robinson. | |
| I don't believe it. | |
| And I think there's a lot of weird things that went on that day. | |
| And people act inconsistent with people who normally should be shocked and aghast over the murder of somebody that they purportedly love. | |
| So let me just leave you with this: do not ever ask permission to ask questions. | |
| Do not ever ask someone to ask you to ask for permission. | |
| Can I say something on this? | |
| The comment sections are the most fascinating. | |
| The most fascinating. | |
| This medium that we're doing right now, this is so interesting because we're able to see what's going on. | |
| We're able to watch it. | |
| And we're also able, interestingly enough, to immediately watch. | |
| In the old days, when you're watching TV, you just watch it. | |
| Okay. | |
| And that's it. | |
| They ignored you. | |
| They didn't care whether you were there. | |
| But now you're doing it. | |
| And you can, in real time, respond or respond afterwards. | |
| So it's a viable, it's a give and take. | |
| It's like symbiosis. | |
| It's like the Ramora and the shark. | |
| We work together on this thing. | |
| It's fascinating. | |
| And I love the medium. | |
| And remember, they're going to try to take it away from us. | |
| They try to take it during COVID by daring to shove you, to shut you down when you even question something. | |
| That's the viability of certain viral transmissibility theories and ridiculous. | |
| Makes no sense. | |
| So let me just tell you right now, thank you for this. | |
| I'm going to be talking more about this. | |
| I think the story is fantastic. | |
| Support Candace Owens and the Candace Owens that have yet to come about. | |
| There will be somebody else. | |
| A woman, a man, black, white, who knows, gay, doesn't matter, who is going to be attacked because they are saying something that the bad guys don't like. | |
| And you only take flack when you're over the target. | |
| That's why they come after you. | |
| If you were saying something that was completely off the wall, if you kept spouting that Elvis is alive, nobody would care what you said. | |
| But because she bothers people so much, she must be onto something. | |
| So support her. | |
| Support free speech. | |
| Support people who say, I've got an idea. | |
| It may be crazy. | |
| You may not like it, which is fine. | |
| Gerald, not Gerald. | |
| Posner, who has his book Case Closed, he believes that Lee Harvey Oswald was a lone assassin. | |
| I think that's nuts, but I like the fact that he says that. | |
| Good for you. | |
| My good friend Roger Stones believed that Lyndon Johnson was involved in it. | |
| Mac Wallace. | |
| Okay. | |
| I don't, but good for you. | |
| I like that. | |
| I like people who mix it up. | |
| I like people who come along and they say something different. | |
| Do it yourself. | |
| Make sure you have a next channel. | |
| Spread the word. | |
| Be an apostle for truth. | |
| Tell people, say whatever you want. | |
| I'll back you up 100%. | |
| I'm with you 100%. | |
| Whatever it is. | |
| Just have something vaguely grounded in reality and I'm with it. | |
| And I may not agree with you, but I want you to be able to say the word. | |
| We've got to start telling people, no, you're not going to tell me what not to say. | |
| I'm going to say whatever I want. | |
| Whether it's about being a religious or being an atheist. | |
| And if you, and here's the thing, you ready for this? | |
| And this really bothers people. | |
| If there are people that you don't like, if you hate people, hate is protected speech. | |
| Hate crimes are absolutely positively the most unconstitutional thing I've ever seen in my life. | |
| Now, I don't advocate hate. | |
| I don't like hate. | |
| But if you hate terrorism, if you hate people who want to destroy your children's innocence by doing drag shows, then you say it. | |
| If you're a nationalist, if you're a populist, if you believe that America should be white only, I'm not advocating that, but if that's what you say it. | |
| If you think America should be black only and you believe that, say it. | |
| Whatever you want, say it. | |
| And if I don't like it, I go someplace else. | |
| Hashtag so what? | |
| Do you hear what he said? | |
| So what? | |
| Do you hear what Candace said? | |
| So what? | |
| Do you hear what Erica said? | |
| So what? | |
| I don't care. | |
| It doesn't, I mean, I disagree with you, but I'm not going to get. | |
| I've dealt with murder, abducted children. | |
| My wife with Lynn's Warriors, we worry about kids and this, just, I don't care what somebody says. | |
| I don't lose sleep over that. | |
| It's interesting. | |
| Don't ever let them tell you you can't speak. | |
| And one more thing. | |
| It's okay to always stand behind your friends, but even somebody you don't like, stand up for their rights to speak to. | |
| You may really despise them and you may really, you know, not like what they're saying, but the fact that they're saying something, stand by them. | |
| Don't let free speech be quashed by a bunch of idiots who think they own the show, okay? | |
| This is our country. | |
| And one more thing. | |
| You see what we have here? | |
| We have numbers. | |
| I've got a dear friend of mine. | |
| His name is Vinny. | |
| And then he told me, he says, you know, we can drown them in our urine. | |
| I said, what the hell does that mean? | |
| Is that undenism? | |
| Is that some kind of a urolagnic reference? | |
| He says, no. | |
| There are so many of us. | |
| There is so many of us that we could literally, a word that is overused, we could literally drown them figuratively in urine, ours. | |
| Don't ever forget how many we are. | |
| There are more of us than them. | |
| I want them to fear us. | |
| I want the shadow government to fear us. | |
| It's not the other way around. | |
| I want them to say, ooh. | |
| I want every president to look out the window of the White House and say, are they upset? | |
| Are they mad? | |
| What are you hearing? | |
| Because the government doesn't care anything in GSA at all. | |
| It doesn't care about you. | |
| Ignores you. | |
| We're going to change that. | |
| All right, my friends, thank you so much. | |
| Thank you for your kindness. | |
| Thank you for your kind words. | |
| Afterwards, I invite you, please, I'm going to have some questions that you can answer in this comment section regarding this. | |
| Your thoughts in the comments. | |
| And seriously, your words have been so, I be honest with you, sometimes I say, I don't want to read these comments because they're vicious. | |
| And, you know, that's your right too. | |
| That's your right. | |
| I don't block people on Twitter. | |
| I don't do that. | |
| I don't, I just ignore it. | |
| It doesn't matter. | |
| Say whatever you want. | |
| How can I advocate free speech? | |
| You say, yeah, but you can't say that about me. | |
| But lately, yours have been wonderful. | |
| They've been wonderful. | |
| And by the way, what really means the most, if you want to do one thing, the likes. | |
| Thank you, Rick Rohr and others. | |
| It's the likes. | |
| The likes mean a lot because it puts us into the HOV lane, so to speak, because I want to get new people in. | |
| And I want to be able to talk about a lot of stuff. | |
| And I'm going to bring people across and bring us into our conspiratorium. | |
| That's who we are. | |
| We're part of the clarity. | |
| That's what this is, the cabal, the cadre, the convocation of truth. | |
| That's it. | |
| Please follow my wife at Lynn's Warriors. | |
| Lynn's Warriors. | |
| What she's doing to protect children is unbelievable because don't forget the number one existential threat to humankind is artificial intelligence and AGI. | |
| When we hit singularity, when alignment is all out of whack, when recursive self-improvement goes nuts, we're through. | |
| We are done. | |
| We are done. | |
| Okay? | |
| But I don't want to overload you with too much. | |
| First things first. | |
| Candace, you go, girl. | |
| Thank you. | |
| Subscribe to Lionel Nation. | |
| And until we meet again, remember this final words, my parting valedictory, my issue denounment, so to speak. | |
| The monkey's dead. | |
| The show's over. | |
| Sue ya, dad, Yeah. |