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Sept. 5, 2019 - Project Camelot
01:20:38
KENNY LEE LEWIS: GUITAR/BASS PLAYER: AUTHOR : SKELETON DOLLS
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Time Text
Thank you.
Thank you.
I would have guessed that, but I'm kind of like on vacation now that I've been beat up for three months on tour, so I'm just kind of like chilling in my t-shirt.
Excellent.
Well, it's lovely to meet you, and I'm sorry you can't see me at your end of Skype, but after the show you'll see me in Alive and in Color, and then you can watch the show and hopefully you'll enjoy it.
I'm sure you will.
The book is fabulous, and I do want to put a shout out for that.
Which is why I wanted to do this interview and it's just an honor to have you here.
So before we launch into everything, why don't you give yourself your own bio in your own words because I hardly feel qualified to actually give you a background here.
In terms of not only your musicianship, but also your reason for going in the direction of writing this wonderful, fascinating book.
Okay, well, I mean, I was from kind of a legacy of writers.
My great-grandfather used to write quite a bit, and my father was influenced by his memoirs.
My father, in his retirement years after working for the state, wrote some novels and he also wrote a nonfiction book for the state of California educational system.
He didn't really write it for them, but they ended up using it in the Unified School District.
It was a book about the history of California from 1839 to 1849 called Early Pioneers.
It was about the people that moved here that became Mexican citizens just prior to the gold rush and were the landowners and the people that kind of built the state.
You know, people like John Sutter, you know, that had Sutter's Ford up in Sacramento, those kind of characters.
Very interesting book.
So my father was always writing and I got into writing songs in my later career and so I was always a lyricist.
And then I started getting a little more into creative writing.
Probably around, I'd say, 10-15 years ago, I started writing some articles for Guitar Player Magazine, Smithsonian Native American Indian Magazine, and some other periodicals.
And I just started to notice that people were responding positively to my style, and then I started dabbling in novels.
And I... I finished this novel, Skeleton Dolls, that you were referring to probably about four years ago and was trying to figure out whether I wanted to market it through an agent or try to shop it, but I didn't know if I had the gene.
I was a little anxious to see if people were going to be responsive to it, so I ended up self-publishing it.
When you do that, it's kind of like suicide to be able to get an agent and a publisher because then you're competing with them in their business, which is interesting.
I was always in the music business for probably about 45 years as a player, studio player, songwriter, producer, eventually singer, artist, and then got in the Steve Miller Band, had success with him with the Abracadabra album in 1982, and stayed on and off with him over the years.
It's been 38 years this year, which will be interesting.
The songwriting business has been washed away a little bit, including just regular record sales.
In terms of physical record sales, as you know, we're all streaming and downloading now and whatnot.
The same thing with placing songs.
It's very difficult to find artists to place tunes with, because most people have their own home studios now, and then when they get a producer, if they do find a producer, they usually co-write with the producer.
They usually create their own material.
There's not a whole lot of artists that are getting signed quickly and need material fast, like what was going on in the 70s and 80s.
There's a lot of songs available for those people that are looking, but there's not very many people that are looking, because most of them are writing themselves.
I sort of moved away from writing songs for a living.
And I'm now trying to pursue being a creative literary writer.
Hopefully, the sequel that I just finished for this book we're going to discuss today, I'm going to sell it as a standalone book.
It will not be sold as a sequel.
It'll be sold as a standalone new book.
And then if I get a deal through that, then we can always go back to this book we're going to talk about today as a prequel, which is kind of like what they did with Star Wars and You know, the Hannibal series and all that.
I mean, a lot of books come out like that.
So I'm hoping that'll be the case in this case.
So I'm just right at a point where I'm about ready to start looking for an agent and a publisher with this new one that I have out.
That I finished, sorry, that I'm hoping to get out.
Oh, right.
So you have another book.
You mean after Skeleton Dolls?
Correct.
It was written as a sequel because I'm doing a trilogy for the whole thing, but because I don't have a deal yet, You can't really go out and shop a second book.
You know what I mean?
It has to be like a first book.
It has to be a fresh meat book.
Because that's the way agents and publishers want to approach you.
They want you to come in with a fresh book that they can get their hands on, artwork, editing, characters, timeline, release date.
I mean, they want to be involved in everything.
So if you already have a book out that you've already done that with, they don't want to talk to you.
So I have to bring this book in as a brand new book.
And then once it If they like it and they want to put it out, then we can discuss the prequel that I've already written and then start working on the third one.
I know because I'm trying to write a book myself right now and get it published, it's really sort of an obstacle course going through that.
Before we continue on this track, though, I know it might be silly, but I want to know If you were influenced by the 60s, I mean, maybe that's a no-brainer, but in terms of your musicianship, because it's been a big influence on my musical tastes, and I'm just curious what your take on about the 60s is.
Well, you know, it was the golden era, as we call it in the music business.
It was a very creative time when the United States was going through a A lot of division, not unlike what's going on now with the war and with civil rights and all the other things that of course people have talked about a million times from that era.
But the music at that time, because of the baby boomer rock and roll phenomena that was going on at the time that really, really had a great influence on everyone, Here in this great country, the artists were actually able to become oracles of leadership in their own creative sphere.
They didn't follow trends.
They weren't trying to get sponsorships with corporations.
They weren't trying to become millionaires.
They were just trying to tell the truth.
They did it with their instruments and they did it with their voices and their poetry.
They didn't care about business.
A lot of times they needed to get with a business manager and somebody to help them.
Otherwise they would give away all their money and stuff.
When we're talking about people that were very socially conscious, very ecologically conscious, that was more important to them than anything else.
By way of the fact that they approached their art that way, they were able to actually come up with a renaissance period Not unlike the Renaissance period or Impressionistic period, what was going on with art in Europe, probably just before the turn of the last century.
You could go to Montremart in Paris in 1890 and meet a whole bunch of knuckleheads sitting around a bar talking about all the problems of the world and how they were going to solve them with illustrations of their expressions through their art.
And that's kind of what happened in the 60s.
And so that being said, the 70s were another watershed result of the things that were created in the 60s were more refined and some really great music came out of the 70s as well and we basically ended up with what we call the classic rock era.
And a lot of young people, like yourself, have noticed that and they've harkened back to that and they've, you know, dug those jewels up Polished them off, knocked off a little dirt, and realized that, hey, this is the stuff that really speaks to me.
It's real.
It's honest.
It's not slick.
It's not overproduced.
It's not, you know, lending itself towards profit and gain and power.
And, you know, it was just a beautiful time when it was, you know, without going on any further, I mean, it was just...
In my opinion, one of the best times of rock and roll.
Of course, the Beatles were just fading out around that time that this was all occurring, but they were the ones that ushered in the style and the motive of where it was heading, and we just took it to another level.
And then the guy I worked for, Steve Miller, he was able to get in on that era and carry that through the 70s with some really great catalog that he came up with, which combined...
Some lyrics and some messages from that era, but also combined it with clever recording techniques and sound effects and his synthesizer work on Fly Like an Eagle.
Things like that were revolutionary at that time.
So he was able to fuse technology with the art of the 60s, of which he came from because he was signed in the 60s, but didn't really have a hit until 74 with the Joker.
But you're also a songwriter, so you contributed in that way quite substantially, if I remember correctly.
So you must have been influenced in terms of your lyrics, and I see it cropping up even in skeleton dolls to some degree, like your...
Your awareness of other dimensions and aspects to reality, which in the 60s seemed really a normal thing to be aware of, but later on seemed to have gotten lost.
Musicians don't as often refer to that kind of world now in their lyrics, would you say?
Right.
Dylan was very abstract, and then Hendrix took it to another level with his psychedelic, you know, And really took it to a point where it was almost like science fiction classic rock.
I mean, because his reference to aliens and other worlds and other dimensions and stuff were things that I totally related to.
And being a young man trying to find my way while I was getting ready to be shipped off to Vietnam, I was escaping into that world because I just couldn't face the cold, harsh...
Reality of what we were dealing with on a national level.
Right.
A very interesting time, obviously, and perhaps a continuing inspiration back in those days, I think.
At least I find that for myself, that I look back for a lot of my inspiration.
Well, I was very influenced by The Doors, for example, and loved those lyrics.
I mean, you know, Jim Morrison was quite into all of the things that are coming out now in...
In my work and the secret space program and what was going on, clones, I mean there's so many aspects to what we're talking about here.
And then there's also the sort of the black arts as they're called, black magic, white magic, and all of that that factors into your story, skeleton dolls.
And I want to know, because you're very aware, you seem to really know what you're talking about on a deep level, and I think that influences your ability to write your story.
Can you talk about where your inspiration for that came from?
Yeah, when you say black magic or dark magic or dark arts or whatever, those were things that I put in the book as far as the critics and the naysayers What they would be saying to these twins that are the characters in my book.
But really, my inspiration came from an indigenous standpoint.
I mean, folk medicine usually is regional and geographically a part of the people that come from that area.
It's because of the certain plants and environment and geographical minerals and things that are in that area.
So basically, you know, it's more of an indigenous influence.
And because I have a little bit of Native American in my lineage of my family, I started pursuing that in the last decade to the point where I'm now, you know, hanging out with a lot of different nations, both in Canada and the U.S., and comparing notes from what I learned in the 60s, which I didn't realize all along was really things that had been here all along for thousands of years in indigenous culture.
So when we talk about magic, Dark arts and stuff.
I wasn't really coming from that.
I was coming more from just folk medicine and languages and collective consciousness healing that occurred in many different indigenous societies for thousands of years.
Well documented and not a secret.
And then also, the Old Testament has quite a few references regarding those things.
It was more coming from that part of the Sinai and the part of where Israel is today and whatnot.
So there was some of that as well that was referenced in the Old Testament.
So I'm just basically using that as a reference point and then also what I've learned through indigenous culture as far as where my influence came from.
And then the fact that I met these twins that did speak in Twinspeak Which, of course, is another phenomenon which is not necessarily indigenous, but it's more sort of a strange biological phenomena that occurs when, you know, you have identical twins that share the same placenta and they have the same DNA helix.
They are definitely some interesting people.
And having met a few identical twin pairs like that and Talking to their parents and finding out what it was like when they were little and stuff was the motivation for writing this book, Skeleton Dolls.
Oh, I see.
Okay, so also the emphasis on the Aboriginal culture as being an Indigenous culture that is very in touch with all of this, of course.
The reason why I use them, and I could have used any Indigenous culture.
These twins could have been Going out and hanging out with Native Americans up in the Amazon forest or something, which has also been made into movies.
The reason why I picked that particular tribe was because they've been there on that continent of Australia for over 50,000 years.
They've been doing pretty much the same thing for 50,000 years.
When I say they, I mean the original Outback tribes.
I don't mean the ones that have assimilated.
I don't mean the ones that are living on the reserves and things like that.
I'm talking about a very rare bunch of folks that still live in the Outback, which there's very few now because the Australian government has kind of tried to make sure that they've scooped them all up and counted them and make sure that they're paying taxes or whatever else they got to do.
But I picked that area because I thought it was the least known by most readers, especially in America.
Because unless you travel there and you actually meet them and hang out with them, they're kind of like an otherworldly bunch.
Native Americans are one thing, because we see them all the time here in the U.S., but Native Aboriginals down there, they're a whole other thing.
And I thought it would be interesting to use them as the example for grounding and being connected to the earth that these twins have to You know, come to grips with is they're, you know, trying to discover their own power that they have in this language that they had, and then also that they were taught the songs and the inflections and the language.
That was the most important thing, was the language, because no one knows what Twinspeak is.
No one knows what talking in tongues is in church.
No one knows where that comes from.
There's no thesaurus.
There's no dictionary.
Nobody knows What that stuff means when it's spoken.
So when I went back to the Old Testament and I revisited this story about the Tower of Babel, which is why the book is called The Children of the Tower, which is the first book, we had to revisit the language.
Because in the Old Testament it says that at one point in time we all spoke the same language.
And when we all spoke the same language, that language was the language that we spoke to God with.
And in the Old Testament, and I didn't make this up, this is some novelist thing, it says, God spoke, and he or she answered.
It doesn't say God came into his head and came up with an unction, and then he thought about it, and then thought about it telepathically.
It doesn't say all that.
It just says God spoke, and they returned in response.
Just like when the burning bush was talking to Moses.
You know, I mean, it was like, he was just talking, you know.
So, when you read that story about the Tower of Babel and how that language existed prior to the Tower being destroyed, that's where I took it into the novel standpoint, where I'm suggesting in my book that the language that twins speak when they're little,
called twins speak, and sometimes when people speak in church in tongues, That that language is the actual original language that the creator gave us to be able to communicate with it.
And I call it an it because I include both the feminine and the male counterparts of the creator out of respect because I don't really believe that it's one sex.
I think it's a collective power that's androgynous in my opinion.
Oh yeah.
Totally agree.
So in terms of The twins speak.
You say you've met some twins, and I assume that to some degree they inspired the idea for the book, which I think is quite a unique combination of things, and also bringing people back from the dead, which is what they're able to do.
So that gets into all kinds of areas, but you stayed very concentrated.
And you didn't seem to, you know, I'm not sure how long it took to write the, I guess you wrote two books.
For some reason, I just focused on the one.
I didn't know about the other one.
The other one's not out.
Oh, okay.
And I just got through editing it, and it's not out.
I'm just going to start shopping it, like, this week, as a matter of fact.
Wow.
So, yeah, there's only one book that's available right now on Amazon, and that's The Children of the Tower.
And that tells the story from the beginning with the mother and then their birth of the twins and their background and whatnot.
And it sets up the other books that I'm writing.
But unfortunately, because, like I said, I self-published it, I can't go out and sell this book now because it's already out.
So I have to come up with a new read that would intrigue you the same way, that would make you hope that there was another book.
And there is!
So, you know, that's the idea.
But, well, my question is actually about the twin idea.
In other words, if twins talk, I assume, shared with you some of their, what you call, twinspeak?
Correct.
And if you Google that, as soon as you finish this interview and you Google Twinspeak, you'll see all kinds of stuff on the internet about it.
All right.
Okay, yeah, because I don't know much about it, but I think it's very interesting.
When I was a kid, I had sort of a secret language with my girlfriends.
We weren't twins or anything, but I think it's something...
Kids kind of tend to do.
Whether it had any relationship to what you're talking about, I don't know, simply because I haven't heard that.
It doesn't necessarily have to be a twin having this phenomena.
It's just that it happens a lot with specifically identical twins.
Fraternal twins sometimes, but identical twins a lot.
Right.
Okay.
So in terms of Getting to know twins, writing your book, how did that all play out?
Did you spend time with them saying you were, you know, planning to write a book or did that happen later?
Do you know what I'm saying?
Yes, our bass player in our Steve Miller band was dating an identical twin.
In fact, Ron, the gentleman that introduced us, met them, Ron Farnham.
And the one girl was...
You know, his girlfriend, I became very close with her, then eventually met her sister, who was a carbon copy, which was very trippy.
I mean, these are beautiful women in their early 30s that, you know, I'm going like, wow, now there's two of them?
Wow!
Diana was just a fantastic lady.
And when I met her sister, I was like, oh, this is interesting.
And then they, you know, they became friends of us as a couple, too.
Because, you know, a lot of times, identical twins especially, they like to stay together a lot and they do activities together.
They go everywhere together.
I mean, these were women that had other friends and stuff, but they did a lot of activities together and did it very, very joyfully.
And it was interesting to observe.
Then eventually I met the mother and the mother started telling me stories about what they were like when they were little.
And then when I got those stories from the mother, I was like, oh my God, hair was standing up on my arms and I'm just going like, Can I kind of take this and run with it and make it a novel?
And she was going, sure, go ahead.
She would just change the names, you know.
And I went, okay.
So that's when I, you know, the first ten chapters or so are all true story.
And then I take it from there when, if you recall, there's a point in there where they have an exhumation of their horse, if you recall.
Without giving the book away.
Yes.
That's all true.
And I was even in the basement of their house at one point.
They showed me the skull with the bullet hole in the forehead that the parents had done when they had euthanized the old horse.
They actually kept the skull.
So that was kind of creepy.
Wow.
And in fact, on the binder of the book, if you look on the edge of the book, that skull is there.
But from there on is when I took the story and took it a little more Stephen King, a little more Dan Brown.
You know, kind of took it out to another outer space, if you will.
And it became a very fun trip for me because what I did is I made them become from a Welsh heritage, which includes, you know, Celtic, Druidic background, which is what I have in my family because I'm a Lewis, which is Llewellyn.
I just got back from Wales last October, a little less than a year ago, and did a lot of studying there, which I actually included in this new book that I just finished, because I did a lot of research while I was there.
But I wanted to tie that in because that's a part of my heritage.
So I kind of blended their family with my family heritage, if you will, to kind of make it a little more interesting to tie in the Druidic, Celtic background with whatever they were doing.
Well, I also have the Welsh-Celtic background myself as well as the Native American somehow in my lineage.
It's also said, at least in the studies I've done, that that combination is actually very psychic.
The military likes to use psychic super soldiers, you may be aware.
They look for individuals with the Celtic and Native American combination in their genealogy.
Wow.
I guess you didn't know that, but that's actually very interesting that you stumbled on that naturally.
The thing that I found out also when I was in Wales in October, the Llewellyn, the name, actually comes from a Viking background.
Because the Vikings, as you know, if you watch the show on the History Channel, they showed up around 800 to 1,000 people.
Over in Britannia, and they, you know, of course interbred with all the Celtic natives, including Saxons that had come over from Germany.
And they basically, the Viking part of our heritage also is a very big part of that background, which is interesting.
Right.
Now, in terms of this story and your book, Have you had interest to make it into a movie?
Because it kind of seems like a no-brainer that there would be some interest.
Well, unfortunately, because I self-published, and I did not get an agent or a publisher, and I didn't want to spend a whole lot of money trying to promote it myself, I just wanted to see if I had the gene and see if people would like what I'm writing.
You know, I've sold maybe, you know, two, three hundred books, something like that.
It's not a lot, but all the responses have been positive.
The worst The complaint I ever have is people saying, you've ruined my life.
I can never put the book down.
I can't get anything done in my house.
That's the kind of negative reviews I've been getting.
I take that as a compliment.
I've never had a good review.
I've never had a review in a paper or a magazine.
All I've done is these radio interviews and internet radio interviews.
People buy them and hear about it through there.
It's all been word of mouth.
I haven't really had the push.
You know, for that to be able to be exposed to the movie industry.
Now, there is a thing called Tail Flicks.
I don't know if you've heard of that.
T-A-L-E-F-L-I-K. Tail Flick is some kind of a small little, you know, it's a database where you can register your book.
You put a small little outline of what your book idea is and supposedly people that are in the movie industry will come there and they will browse and read stuff and then if they like something, they will contact you And hopefully strike up a conversation for turning into a stream play.
Well, at this point, I have not had the phone ring from them yet.
I have to pay a subscription just to have it up on there, you know.
So there may be many great hopes that what you just asked would come true.
Well, I don't understand because with your background as a very well-known musician, very highly regarded, I would think, you know, you've got agents, managers, all of these kinds of people all around you really all the time.
Not in the literary world.
But don't they know you've written a book?
Don't they show some interest in that aspect?
They think it's cute.
They think it's interesting, but they don't have any ends to the literary world.
Now, I do have a few phone numbers.
I have a gentleman that I have a number for right now on my desk here somewhere.
I've got to find it.
But he possibly would look at my book that you have read and possibly might consider taking it out, but it's very rare.
You would almost have to jump over an agent to get to a publisher to do that, because agents The reason why they don't want to get involved is because they don't really get paid up front to represent you.
They're like a manager.
So they want to get their meat hooks into everything they can so they're basically involved throughout your entire career and all the decision making that goes along with making that book.
Because they want to be a winner.
Because they don't want to take time and put time into it unless it's going to be a winner.
And in order for it to be a winner, they've got to see it their way.
You know what I'm saying?
So, to answer your question, yeah, I have lots of people in music business that know that I've written this book, but none of them can really help me very much because they're not in the literary world, which is a whole other world.
I do have some phone numbers, yes, I have some, but we'll see.
But nobody's offered to do a big review in a magazine or a newspaper, and I hired a publicist for a while.
He didn't get anything done but a PowerPoint EPK, and, you know, I just fired them after a while because I wasn't getting anywhere.
And they're expensive.
That's fascinating.
Yeah.
All right.
Well, I can hear you.
I hope that maybe some people listening to this will come and notify.
And Carrie, that's exactly why I do these.
Hopefully, you never know that serendipity could happen and kismet will appear.
Absolutely.
Absolutely.
No, I just think it'd make a great movie and it's right along the lines of the kinds of things.
You know, it's got so many ingredients to it that involve, you know, it's knowledgeable, it gets into the indigenous culture side of it, it gets into the sort of now area that whether or not you intended it, whether it doesn't matter how you sort of look at it,
you still have to deal with the sort of What people may call the black magic side of it and then the white magic side of it and the emphasis on bringing, you know, something so-called dead back to life.
Right.
And so, and then there is, you know, this, well, from my point of view, the secret government and their interest in such an idea and possibly even research they've done along those lines.
So, And that's in this new book that I just wrote, the one that's going to be the, hopefully, the second book of this series.
I have a lot of that stuff in there about the secret government.
Very cool.
So, the idea being also that, you know, they would investigate this from a scientific point of view, and then, you know, using the science and using...
Possibly as much as they can, deciphering, you know, the technique through which, as you have a scientist, actually...
You remember the machine?
Yes, yes.
Well, that carries over to this other book, and of course the government gets involved, of course.
Oh, okay.
So I'm going to have to read the next book, obviously.
Oh, you're going to love this next book.
Yeah, okay.
It involves the election, too.
It involves politics.
Okay, wonderful.
So this is an amazing vehicle that you've kind of created.
Now, how long has it been out?
Because I only found out about you from, you know, and writing a book.
Obviously, I knew the Steve Miller Band music, but I didn't know, you know, one of the players had written a book.
I didn't know anything about it until Ron Farnham, you know, I interviewed him a couple times, and he just offered to connect us.
Yeah, that was great.
Thanks, Ron.
Yeah.
He's a very good guy.
He's one of the kind of guys we like to talk to because he's like on the other side of the veil.
Right.
Well, he's skirting both sides, I guess you call it.
So again, did you investigate the science?
Like, how did you go about learning how you might do that?
Because you have a very...
I don't know, believable aspect to that.
You know, the characters, the older scientist, even the brother that is interested in different languages.
I mean, you really, I have to say, you seem very well read and quite, like, you did a lot of research to make this book legitimate.
Well, I mean, just, yeah, life experience and my interests.
Of course, I've read a lot of novels that are like that.
Like I said, I like Dan Brown and Stephen King.
James Rollins, you know, and then even, you know, just the classic style of writing, you know, like Steinbeck and Hemingway and all those people, you know, I just put more humor and a little more, you know, personal, you know, humanism, if you will, you know, to try to make the characters jump out.
The problem my father had when he was trying to write novels is that he got all the facts straight, he got all the The interesting things lined up, but then his character development wouldn't go to the next level.
He wouldn't really get into describing the characters on a real intricate level.
You've got to build these characters.
This was another problem that I had.
When I went to my editor and I went to a couple other publisher types when I was starting to write this book, a lot of people said, you can't have two protagonist characters.
You can only have one protagonist.
I said, well, they're twins.
They're identical twins.
Why would I write about one and not the other?
It doesn't make any sense.
And then I went to Powell's Books in Portland and all these other big bookstores and I went into the science fiction areas and I got a hold of these people that know books inside and out.
I said, do you know of any books that people have written that are about twins where they write about both characters at the same time giving them the same protagonist respect?
And they said, you know what?
I can't really think of any.
And then when I started researching that, I went like, wow, I'm onto something kind of hippie.
Because my editor was really perplexed.
She was kind of flummoxed.
She was going, you can't do this.
You just got to make it one twin, and then the other one will be secondary.
And then everybody will relate to that one twin, and then you'll have this protagonist.
I go, you know, no.
I'm going to write about both of them at the same time.
Because I'm a Libra, and I'm balancing these two.
And they're going like this.
If you see the artwork on the cover, these two women represent two different sides of all of our psyches.
Not just these particular girls.
We all have our left and our right, you know, psyches that are kind of like at war at each other all the time.
So to me, being a Libra, having identical twins as a subject matter seemed fascinating.
And I pursued that of going against the rules of literary publishing.
That's amazing.
And I'm glad you stuck with your guns because I like that about the book so much.
That each woman seems fleshed out.
They seem like real people, more or less.
And I'm sure that that's not so easy.
But I think in terms of a movie, it would be great fun.
And I guess there are quite a few twin, even twin actresses that are out there that could kind of lend themselves to possibly playing the part.
So...
It's quite a unique combination.
And again, you know, with the, what I would consider the occult aspects and that go back really in time.
And the fact that you don't just sort of, it doesn't devolve into like a dark sort of, you know, it could have become like a horror thing, right?
Like I said, it's based on a true story.
And these women are lovely.
Right.
But it's also...
Obviously, it's not just that they are lovely, but also that they are more or less well-intentioned in what they're trying to do.
And it becomes an interesting dialogue between...
A human being and, you know, death is always the big, you know, sort of obstacle or gate or whatever that we deal with, right, in contemplating our demise in the future, whatever it is.
So, and of course, while I come from a I have a background that believes in reincarnation, so it's not the only thing that's going to happen to a person.
But it is a major sort of philosophical, spiritual obstacle, I guess.
And so they are surmounting, in a sense.
They're actually doing a kind of a battle.
They're standing up and they seem to be struggling.
You also show their inner struggle with that concept of whether to mess with life and death.
Yes, because this language has been passed down from mother to daughter for thousands of years, they've been sort of cursed in a way with this responsibility of having this accessible to them where they're actually able to conjure seraph of an angel A seraphim angel that can actually put the life force back into a body and, you know, hopefully they can fix whatever it was that was, you know, making them sick or whatever, or if they were murdered or whatever.
You know, I mean, in my new book, I've got all kinds of stuff going on.
It's crazy.
But they're really meddling in something they shouldn't be meddling with.
But at the same time, when you go to the aboriginals in Australia and you see and you read about documented Collective consciousness prayer that they do to heal flesh, fix bones, and also raise people from the dead.
There's all kinds of stuff you can find on the internet about scientists all the way back into the 1700s when they first got Botany Bay going down there.
These Aboriginal people had some really interesting and spooky things going on that have only been touched on by a few movies in the American Film industry like Quigley Down Under and maybe a little bit of Crocodile Dundee, but not a lot.
You almost have to go to the Australian movie catalog and find some of those Australian movies where they've really gotten heavy into some of these really interesting and spooky things that these people have been doing for thousands of years that not a lot of people realize happen.
They can heal on sight and they can raise the dead.
And it's been written down.
I didn't make it up.
Absolutely.
Well again, I think, you know, kudos to you as an author and for staying in a state of balance when you're viewing this.
I do think some people will have a tendency to want to go down one road or the other sort of questioning the aspects of what you've written and Like you said, it's a tradition in especially indigenous cultures,
healers, people that are into the spiritual realms, questioning when a body is considered dead, how it could be dealt with, and whether or not to accept that state or not, and so on.
Certainly, there's countless...
Cultures out there that are dealing and have dealt with this.
I mean, even the Egyptians probably.
People are doing it every week with ayahuasca meetings and OTAC. People do it all the time.
Well, that's a good point.
We also go through, as you're saying, life-death experiences.
Sometimes people actually do die and come back.
We've got a number of those kinds.
I've interviewed people who have done the research about life.
I've done it.
You're saying you've interviewed people or you've had a life-death?
I've had an ego death and seen what it's like on the other side and it completely left my body.
All right.
And do you want to share that with us?
Not in great detail.
Well, okay.
I don't want people to think I'm a fruitcake.
Well, my audience would never think that because my audience is dealing with...
I mean, I don't know how well you know my stuff, but I can tell you that...
I don't know anything about you, Karen.
All right.
Well, we go...
I appreciate your show and I appreciate you having me on, but I don't know who your listeners are following.
Oh, well, you cannot.
You can't be as far out as I go, or my audience, so I think you're in good hands here.
At any rate, are you saying that you had a legitimate life-death experience, or was this something that you did, as you're saying, on ayahuasca or something else?
Toad medicine.
On what kind of medicine?
Toad medicine.
Alright, what was that?
What's that?
That's the buffo Sonoran toad.
You've heard about licking frogs before, I'm sure.
Maybe.
I mean, I've heard about things about frogs, but I don't know much about it.
It's an ancient Mayan ceremony, not unlike peyote with coyote and Apache people.
And the ayahuasca of, you know, Amazonian and Central American forests.
This is indigenous to just below Arizona and Texas is an area where the buffalo toad, you know, exists.
It's the only toad that has this material that grows on its back.
It's a molecule that is very, very similar to the DMT we produce in our own pineal gland.
molecule into your body and hold it and let it interact with your penis gland, your penis gland then explodes with a huge explosion of DMT, which is produced naturally in your own brain.
Right.
DMT has been around for, you know, many, many years.
People have been studying it since after World War II. It's like glycergic acid, but it's natural.
It comes from a natural source.
And because you produce it in your own pineal gland, it's the thing that makes you creative.
When you write a creative novel or you play a guitar solo or a saxophone solo or sing a certain way and You know, when you go off and you roll your eyes back and you go into another world when you're playing.
When I was a kid, I used to play lead guitar, and my parents always said, you're never going to make it the music business because you always roll your eyes back when you're playing a guitar solo.
You got to smile and look at the audience.
But I'm in another world.
I mean, I'm in that Jimi Hendrix world, you know.
Or I'm going to another place, or Carlos Santana.
It's a world where the DMT starts to come out of your penis gland and you get completely flushed.
Now, they've proven this by putting electrodes on brains of people and having them play guitar solos and bass solos and stuff.
And they've seen the activity completely come to life and these areas of the brain being turned on that normally would not be turned on.
So that's a very natural thing.
What the buffo toad molecule does is when you either ingest it, or in the case of what I did, I just took a little huff of the material after it had been heated, so it was kind of like a vape, and you just hold it in, and what it does is it just, it causes that DMT to just go,
and what happens is that you lose all bodily function, you come down on a, you know, like a padded, You know, a padded thing that's underneath you and you completely die of your body and you go to another place.
But it's not like acid where everything's psychedelic and, you know, distorted in colors.
You're actually with...
I actually had my grandmother show up.
Who knew?
You know, and then they were like, hey, how you doing?
We've been in your corner for a while and the reason why when you fall off stage six years ago and you didn't die, we were kind of helping you make sure you didn't, you know, croak because you got a lot more work to do there.
And we're just glad we're rooting for you.
You're doing a good job.
By the way, your mom's over here if you want to talk to her, but I know you're pissed at her, but she's waiting if you want to talk to her.
And I was like, oh, okay.
And this was all normal stuff where I could open my eyes and I could still see the group that I was with, including my wife.
And we were all just sitting around in a group, and it wasn't like I was completely gone, but I could leave and go to this other side of the veil and exist there in another plane.
The reason why I had no problem doing this is because I studied this in college.
I actually had a cultural anthropology final I did on Carlos Castaneda with Journey to Exelon and all those books and stuff.
I got an A+. But I understood about what it was to go through the veil and go through the other side.
So I already kind of knew.
And of course, you know, I've done a ton of drugs being a musician in my life and kind of had dabbled with that.
But this was different.
This only lasted 20 minutes.
Oh, wow.
Whereas ayahuasca, when you do ayahuasca, which has a similar molecule, you have to ingest it.
Your body wants to reject it.
It's a poison.
It goes on for hours.
It's something you really have to take a whole day out to do.
That was going to be my question.
I was going to ask you, what's the difference between that and ayahuasca?
Well, it's interesting because I haven't heard that much.
You know, I've heard there's something to do with frogs or toads or whatever, but I don't...
Maybe I just didn't...
Two things I want you to do when you get out this interview, you're going to Google Twinspeak, and you're going to Google O-T-A-C, Otak, which is an old Mayan word, which is the description of the ceremony that has been going on for thousands of years.
Supposedly by a creek one day, and as the legend goes, A toad talked to him and said, hey, I got this stuff on my back.
I think you could use it.
It's pretty cool.
And the guy was like, really?
He goes, yeah.
He goes, just don't kill me.
I mean, just take some of it and leave me to live and we'll all get along.
Because that's what they do.
They actually remove this material from the gland on the back of the toad.
It doesn't hurt them.
It's just something that they don't even...
I mean, according to the legend, the toad says, I don't even know what it is.
It's just here.
Check it out.
It just is something that I think you could use.
That was the legend, which is kind of far-fetched, of course.
But it works.
So did you hear about this from a person who had done it, or did you research it and decide that this was something you wanted to go through?
Because I have had my own life-death experience, but it was through kundalini activation, which I don't know if you're familiar with that.
And you were naturally.
I mean, you can do that with deep breathing.
I mean, that was one of the things we did when we did the ceremony.
It wasn't just like, oh, okay, let's go get stoned.
No, it was like hours of interviews.
Deep breathing and tantric, you know, breathing through one nostril out to the other and expanding your lung capacity and just doing all this stuff until finally when the shaman finally felt that everybody was in good shape and ready to do it.
Then he went, okay, let's do it.
And it was kind of like, it was hours before we could even do it.
So it was a very, very religious and serious ceremony that goes back thousands of years.
Okay, but again, where did you get the idea?
Music and sound effects and singing and All kinds of different things and chi alignment and bells.
I mean, it was crazy.
But to answer your question, I found out about it just doing some guitar seminars down in Yucatan and hanging out at a resort down there and found out that the resort owner had done it to cure himself of esophageal cancer.
And then there was a couple other guests that had done it the year before when I was there before.
And I always thought, I'm not going to do that.
But when I went back this last year, it was kind of like, We all just kind of got into this space and we met the shaman and he was kind of like, yeah, I mean, don't do it if you don't feel like it.
He goes, it's pretty cool.
He goes, you know, you got to be in a good headspace when you're doing it, of course, because if you got a lot of baggage, you know, you don't want that coming out, you know, just make sure you're in good, you know, good mental state when you do it.
But he goes, I think you'll really dig it.
He goes, you won't have any flashbacks.
It'll only last 20 minutes and it'll seem like a thousand years.
When you did this, did this influence your creativity?
In other words, when in your life did you do that?
Just last February.
I've already written that book.
No, it didn't really influence me any more creatively, but what it did do is it made me feel a little more comfortable about my own mortality, which was what you were talking about earlier.
Life-death experience.
My Native American teacher, who was a Mohawk friend of mine, because I have Mohawk blood, got pancreatic cancer and leukemia at the same time.
So he was a goner.
And we went over to visit him in Michigan, and I was able to tell him about my experience.
And he was able to say, yeah, I know what you mean.
He goes, I'm already prepared.
He goes, I know what it's like.
He goes, but thank you for sharing, because I gave him some details that he kind of really enjoyed, because he had never done OTAC, but he had done other things, because he was a spiritual teacher.
I mean, he was always doing ceremonies, and the pipe, and the smudge, and building long houses, and sweats, and all that stuff.
Because you can get this way in a sweat, too.
I've done the sweat lodge, too, which is pretty interesting.
That also involves a shaman, and that's an ancient Mayan sweat.
It's called Temescal.
And that's a whole other deal.
It does not involve the toad, but it can be just as heavy and just as emotional and just as revealing.
And that's because you're taking your body and you're basically boiling yourself like a hard-boiled egg.
It's like you just take it to a certain point and just before you're about ready to croak, you have some experiences.
Not unlike a vision quest, you know, being buried underground like a Plains Indian would do, like in the Sioux Nation or Cheyenne Nation, something like that.
So there's all kinds of indigenous ways to get to this point.
It's just this buffalo toad thing.
It's real convenient.
Because like I said, it only lasts 20 minutes.
And there's no, you don't cough, you don't feel it, it doesn't hurt your throat, it's not like any of that.
It's just a gas that comes off the gland that heats up in a light bulb.
You take a huff, hold it, And he just kind of holds your head and he knows right when it happens because he's ashamed and he knows the stuff.
And then he just goes, and that's when he lets you go.
And you can either fall down, which will help you down, or in my case, I stayed standing.
I don't know why, but I guess I just wanted to make it a fun trip.
So I flew.
So I was flying like an eagle, no pun intended, since I play this song every night.
But that's what it was like.
I literally was flying through arroyos and canyons and Kind of came down and settled into this one little spot, and I just kind of landed, and then that's when I kind of, you know, just looked around and saw this separate reality, and then that's when my grandmothers appeared.
Okay, very cool.
So did you have, you said your mother and you were somewhat estranged.
Did you have a sort of meeting of the minds at that point?
After I had my meeting with the grandmothers, that's when I went into my belly button, You know, you just do weird stuff when you're into the infant.
So I reached down inside my belly button and went really deep, and I conjured her, and then I could all of a sudden, I could smell her, I could hear her laughter, and I knew she was with me.
I didn't see her, but I knew she was there, and that's when I had some things that I had to get off my chest that had been bothering me that I never was able to talk to her about in her later years because she died of Alzheimer's.
So she was already, her mind was already gone, and I wasn't able to sit down and have those Those great talks that we can have with our elders.
So we were able to have that talk and I was able to forgive her for some things.
I don't need to go into detail.
But we had a meeting in the minds and we agreed to just let it all go.
And she's now with me, you know, with my grandmothers.
And so she's part of the group now.
It took a great moment for me to go through that in order for me to really forgive her and for her to understand how I felt.
And it was great.
Everybody has a different thing.
That was just my thing.
Everybody in the group that did it that day had a completely different thing.
Completely different songs, completely different sound effects, completely different...
This guy is trained by all the...
I can't remember the word, but it's the...
You know, the shamans of Central America have been doing this for thousands of years.
They pass it on.
Sometimes it's a male, sometimes it's a female.
He actually been studying with females, which is interesting.
And they were the ones that trained him in all this.
And what's interesting is that I dug the cap because once the spirits were conjured, And everybody has a different spirit that comes.
He's like a broker.
He gets you hooked up with the ones that you need to be communicating with, and then he just gets out of the way.
He's no longer involved.
So he's just this guy over on the side now going, go on, have a good time.
Yeah, I can appreciate that.
Now, I'm wondering, in terms of your book, and thank you so much for sharing all of that, because I think people will really enjoy that.
You know, because people in at least my audience is very interested in spiritual consciousness and pushing the limits, so to speak, and finding out really truth in all its aspects, both on and off planet.
So that's the kind of thing that they will really find interesting.
I am wondering, in terms of Hollywood, and you've heard about the whole pedophilia thing, you know about the satanic cults and all of that.
Have you ever been exposed to the things they talk about that are prevalent in Hollywood?
And I work for...
Let me just disclose that I did work in Hollywood for 20 years.
I worked for major studios.
I wrote screenplays and so on until I left the business quite a while ago to pursue what I do now.
And I'm probably going back to the business as it happens.
But at any rate, did you encounter, you know, did you get propositioned or do you know what I'm talking about in terms of the Influence of the satanic cults on the music business especially, but also in Hollywood in general.
You don't know anything about it?
No, I know about it, but I just never had any experience with it.
But that being said, Wiccan, which is a really ancient folk religion, which is basically just a Native American, Pict, Celtic, you know, any indigenous group of people, I have their own form of Wiccan, which is just folklore, folk medicine, basically.
And, you know, Wiccan, to me, is what I think the dark arts is trying to be like.
But, you know, the dark arts are just, you know, when you get into voodoo and all that stuff, to me, it's just some silly shit.
You know, I mean, it's just not really, it doesn't have a lot of That's the basis to me.
It's a perversion.
So in a way, just like you'd be attracted to wanting to have sex with a young child other than an adult, that same perversion happens with Wiccan.
Some people want to take it to this nether level that it gets weird and dark and evil, and it's just like, to me, it's just some silly humanistic Made-up stuff, no different than brick-and-mortar churches.
Just made-up stuff.
It's not real.
It's just made-up human feelings trying to take Wiccan to a level where it really doesn't want to go because Wiccan is actually a very natural, easy-flowing part of the flow of the way nature and fractals and magnetism and the universe and the way everything lines up, snowflakes and audio waves.
All these things are natural in Wiccan.
The natural world.
Wiccan is tied into that.
To me, witchcraft and dark arts and all that stuff, it's just some human made-up stuff.
No different than Harry Potter.
You know what I mean?
It's just made up.
Right.
But in terms of its influence on Hollywood personalities and taking them sort of off track...
Just like anything, it could take you way off track.
It's just a perversion.
Right.
But I was wondering if you...
You know, you must have been exposed to some degree, to some individuals that are practicing these versions.
What was going on, I was not aware of it.
Oh, alright.
Probably because I would not respond to it and give it power, so therefore it would not manifest, because I would not let it.
Okay, fair enough.
Well, then you're blessed not to have come out.
My mom in my corner, I just met him.
My grandmother, my one grandmother that was with me, the one that appeared, she was murdered very violently when I was about 12 years old.
She was an invalid in a wheelchair, stabbed 11 times, case was never solved, no murder weapon, nobody was ever arrested or anything.
So she had, and she was an Edgar Cayce seance goer.
That's how wacky she was.
Plus she was an silent movie actress among other things.
But basically None of that mattered when I got with her on the other side.
None of that stuff mattered.
I didn't take it upon myself and go, hey, by the way, how did you feel about that guy stabbing you to death?
I didn't even think about that.
It wasn't even an issue.
Because she was already on the other side.
She didn't care.
If anything, the miserable life she was having as an invalid was brought to an end.
And she was able to go to the other side and have a better life.
Right.
Okay.
Well, fair enough.
You know what I'm saying?
Yeah.
That being said, dark arts to me and all the curses and, you know, vaccine and, you know, I have new toe frog.
I mean, to me, all that is just a bunch of human beings that are just trying to entertain themselves with some kind of perversion.
All right.
Well, it is a problem, however, when...
Humans are suffering as a result of this sort of philosophy, nonetheless.
Because they give a power.
Perhaps.
But you don't see it as a problem in Hollywood?
No.
Not for me.
I'm not talking about you.
I meant socially, politically, etc.
Well, yeah.
There's a lot of problems in human beings and there's a lot of perversions.
But it's not just in the movie business and politics and all kinds of big businesses and stuff.
Humans are failed and You know, fractured and we're not a really reliable species.
Okay.
So, you know, we're very vulnerable to those kind of perversions.
All right.
But I'm agreeing with you, yes, there are definitely things like that going on, I'm sure.
What else could explain the insanity, you know?
So what has been your exposure in Hollywood?
You know, you say that you You're still out there playing.
Yeah, but I'm only in the classic rock music business.
I'm not in the movie business.
I'm not in the television business.
I'm not in manufacturing.
I'm not in marketing and promotion.
I'm not into any of that kind of stuff.
I just play guitar and go on stage and play this catalog that people seem to love so much.
And then I've written songs, of course, played on other people's records, but that's been about it.
I've never been into the deep part of You know, the silver screen or even, you know, the real heavy part of television and motion pictures.
I never got into all that.
I've only played on those soundtracks.
I mean, I played on Rocky.
I played on, you know, Iron Eagle.
I mean, there's like some movies that I had that, you know, I had songs in.
Spring Break, Protocol.
I mean, I'd go right down the list.
Okay.
Okay.
That's all good.
So what about the mob?
Have you been exposed?
Because the mob is very involved in the music business.
But as a guitarist, perhaps you were not exposed to that either.
When you said, did you say the mob?
Mob?
The mafia?
I'm sorry.
I'm sorry.
I missed that.
Well, my experience with them was only in Paola during the 80s, and then when I was working in Vegas in the 70s.
I had a couple of Russians with the mob, but nothing violent for me.
I just met them and kind of knew where they were coming from.
But I never really, I never had anything affect me that much.
Okay.
All right.
Well, that's good to hear.
Now, I have a chat room alongside my show, and I don't want to keep you too long.
Would you mind if some of the audience ask you questions, if they have any?
It's a chat room, they type their question into the chat, and then I can speak it out loud, and it's up to you.
You're perfectly willing to, if we ask you a question of somebody, and you don't want to answer it, that's all called, too.
Okay, no, I'm fine with it.
Okay, great.
So, everyone listening who's in the chat room, this is your chance to ask questions.
Kenny Lee Lewis, any question, any burning questions?
It can really be about any of these subjects we've been covering and looking to see if there's anyone who wants to ask them a question.
If you can put it in all caps, please do so.
And we'll just wait for a moment while people get their questions together now that I've opened that up.
So in terms of The new novel that you're putting out, will it be published by yourself or a publisher?
And the publisher that you've got, do you have like a time span when it's going to be coming out for people?
No, I don't have a time and it just got finished and it just got edited with me editing.
No, I haven't given it to my normal editor because I got a feeling that it's going to take a really long time to do that So I'm thinking of shopping it around the way it stands alone right now, and I'm trying to find agents and publishers for it.
So I'm only just a self-published guy.
I have this book.
It's on Amazon.
It's called, you know, as you know, Skeleton Dolls, Children of the Tower.
It's available both in Kindle and hard copy.
If you buy it and read it and you love it, just give me a nice review on the sales side.
It'd be great.
But like I said, I self-published it.
I've never...
uh had a big interview or review for it so not a lot of people know about it uh this new book will be shopped as a new product standalone for an agent and a publisher which i have not started yet and when that occurs then i will be able to uh you know of course move forward with that book and hopefully they will revisit This book that you've read as a prequel.
And then we could change the artwork, maybe the title, and put it out as a new product later on.
And then I'll be working on my third book, the trilogy, here shortly.
But I've got to put my energy into trying to get this into some people's hands that can help me get this to the next level.
In order to get on the New York bestseller list, you've got to go through an agent, you've got to go through a publisher.
You can't do it online.
I don't care what anybody says.
You know, yeah, the Internet's cool, but these People that do books because it's still a hard copy that they can control.
Because when I go on an airplane, I'm still seeing half the people still buying hard copy books.
To answer your question, at the beginning of the interview, the reason why I moved away from songwriting into books is because it's the last thing where you can actually control the sales because you actually can sell physical pieces, which is amazing.
Yes, you could file share, I guess, Kendall.
But most people are still buying hard copy books or paperbacks.
And it makes it a lot easier to control.
It makes the sales a lot more, you get your arms around it.
It's more finite.
And it just appeals to me.
And it's something I can carry into my older, retired age.
I'm just about ready to start.
I was at the Social Security office this morning just getting my Medicare together so you can figure out how old I am.
And I'm ready to start moving out of the bus.
On the road, bounce around on crappy roads and start hanging out at my cabin up in Montana with the internet turned off and just riding.
That's basically where I'm headed.
Okay, now someone is asking, let's see, are you one of the original members of the band?
Okay, so you've been with them so long, though.
He just celebrated his 51st year recording this year.
I came in on the 38th year of that.
Well, I mean, I guess I'll just say 38 years ago.
In 1981 is when I met him and we started doing the Abracadabra album together.
That was the last single he ever had that went number one, and that happened in 1982.
And I've been with him ever since, on and off.
I even took a break to have my first kid.
Between 87 and 93, I didn't tour with him.
But then I went back in 93.
But I was one of the new guys in 1981.
Right.
Okay.
Now, someone also wants to know if during your time with this Toad stuff, did you feel like you were Going into another dimension.
Yes.
It definitely feels like you're piercing veils and layers are kind of peeling away.
And then you end up...
There's light, actually.
I actually did not go into the light.
I was, like, not prepared to do that for whatever reason.
But I did go into another dimension.
And after I went to that other dimension, I had my, you know, whatever, my little flying thing.
Basically, I went and laid down over in another part of the area where we were.
Because, you know, you can still walk around and breathe and talk.
I mean, it's kind of nutty the way it works.
You can turn it on and off like that, which is very interesting, which you cannot do with ingestibles.
Ingestibles like ayahuasca, things like that.
You're stuck.
I mean, your intestines are absorbing this stuff.
It's intense.
Your body's fighting a poison.
Even psilocybin mushrooms, same thing.
Your body's, like, trying to eject it.
So with this, it's not like that.
It's just a thing you can turn on and turn off like this.
It's interesting.
So I went and laid down, and that's when I went to these different veils and started getting into the light, getting farther into the light.
And then that's when I got a little scared, but that's when my grandmothers appeared, was when that happened, when I was getting ready to go into the light.
But when you go into the light, that's the true death.
And I just wasn't quite ready to go all the way to that true death, which is where you completely just have no more connection anymore.
But I've talked to people that have done OTAC that have done that and come back.
And so I didn't quite go as far as other people have gone.
So I hope that answers the question.
Okay, yeah.
Now, someone wants to know your opinion of Edgar Cayce.
They're wondering if you had, if you were, I don't know what they meant by this, but they're saying, what did you doubt about him?
I'm not sure where they got that.
Did you say doubt?
Yeah, somebody said something about you doubting Edgar Cayce.
Is that, I don't know what they mean.
The grandmother used to go to Edgar Cayce's seances.
And I very much believe that Edgar Cayce was a medium and was in contact with, you know, whatever he was in contact with.
I don't want to give away my next book, but there's a surprise at the end that involves Edgar Cayce and his predictions about things.
And I myself have never gone to an Edgar Cayce seance.
I don't need to, because I understand exactly what he was doing and what he was saying, in the same way Ruth Montgomery was doing with her spontaneous typing.
If you've ever read any Ruth Montgomery books, it's the same thing.
You just kind of become a medium, and then you communicate with a spirit that speaks through you.
And I think there's some of that reference in Skeleton Dolls, a book that you read.
But, you know, no doubting, I definitely believe that this old country doctor back in the 20s was definitely in touch with someone, that's for sure.
And you should do research on it and read more about it.
Okay, great.
Now, there's only a couple other questions here, so kind of quickly.
Someone is wondering what made you write the book, but I think we've covered that earlier.
Maybe they weren't here in the beginning of the interview.
Unless there's anything else you want to add to what you've said already about that?
No, just that I met a pair of twins.
Of course, they'd be a pair.
I met twins that were very, very intriguing.
They were friends.
And when I met the mother and she gave me some stories about what they were like when they were little, that's what really got me going.
And like I said, it was kind of scary and spooky.
And here I am a grown man going like, ah, you know, and I'm like going, this would make a great book.
So that's basically what was the motivation.
Okay, and this is going to be the last question.
Someone wants to know if you believe there's an indigenous invisible race on Earth.
It's kind of an unusual question.
It's not unusual.
I think that in a word, yes.
I think that basically our elders, our ancestors are on the other side in another dimension.
As I explained, I mean, my grandmothers came to me.
The one grandmother who came was the one that has the indigenous blood, Mildred, and she was one of the first ones that came to me after, you know, I came out of that first flying sequence.
So, they're there, and they're there to help and assist and to Give you an unction and possibly even alter some things physically.
I don't know.
Like I said, I fell off stage about five years ago and broke seven ribs and a piece of my spine.
And I could have very easily died that day.
But something kept me from dying.
And one of them was hitting the subwoofer on the way down.
And the other one was that I didn't spin all the way.
It meant the guitar cable didn't spin me around on top of my head because if I had to look at my neck, we wouldn't even be having this conversation.
But I think something happened that kept me from dying because I had another purpose and more to do in this world and carried me on.
So I think our ancestors are there.
Whether or not they're making a difference in the world in terms of being like a political body of collective people that matter on this side, I don't think they are.
I don't think they would care to.
They kind of are probably looking down at us And feeling a little sorry for us that we have to endure all this, because they did, and they know how tough it was.
And now that they're on the other side and they're relieved of all those burdens, they're just chilling.
But they also can help and be available for us if we ask.
And I guess that's where prayer comes in and meditation comes into play.
But yes, I think they're there.
Okay, very good.
So, Kenny, it's been a pleasure to talk with you, and I really enjoyed listening to the background behind the writer of the book.
And also, I think it's a real joy to hear from a wonderful musician who's kind of been through the races all those years and seen things come and go and still stuck with it and still be the artist that you are.
So thank you so much for being on the show.
And any parting remarks?
Just keep following your dreams.
Don't do anything that you don't really enjoy doing.
If you're not happy with your job, get away from it.
You're going to give yourself stress and you're going to be in physical agony.
Just do what your heart tells you.
And the way you find these things is sometimes you have to go and kind of go in a different perception A lot of people are afraid to even smoke pot, let alone do any of these things we talked about.
I think it's beneficial if you study indigenous culture, you'll find out that even just a sweat lodge is getting real hot, you know, and just kind of singing some songs and closing your eyes and being in the dark can be, can reveal some things.
So, you know, always do what your heart tells you to do.
Keep rocking, keep supporting live music, you know, make sure those vibrations are lining up your cheese and You know, whatever.
And, you know, live concerts seem to do that really well with people.
And it crosses all barriers, politics and political and religious barriers.
So just keep rocking.
That's why we say that.
Excellent.
Okay.
Thank you so much for being on the show.
And you take care.
Thank you.
Okay.
Bye-bye.
So, everyone, that was really, I think, fascinating.
And I can recommend his book, Skeleton Dolls, and apparently it's going to be a three-part series.
The one book is available on Amazon right now as a Kindle.
And then you can, obviously, I guess the new book will be out soon and released in whatever way it ends up, whether he self-publishes or actually gets a publisher, and I wouldn't be surprised if he got it published and that eventually gets made into a movie.
I certainly think it's worthy of that.
So, thanks for watching and listening.
As always, I just got back from doing a fascinating conference in, well, it was close to Olympia this time, not really in the city of Yelm, but put on by the same people, by Jane of many colors, as she calls herself.
And she's a wonderful lady, and I interviewed her not too long ago, maybe a couple weeks.
So if you're curious about her, she has a fascinating background.
And Alex Collier was there.
We got to catch up a bit, and it was wonderful to see him.
He was in good shape and had a wonderful speaking engagement with the audience.
Randy Kramer, super soldier who I've interviewed, has had sort of a gangbuster speech to talk about what is a fake alien invasion idea that the military are now revisiting as an option, a possible option for has had sort of a gangbuster speech to talk about what is And we talked about that in depth.
And I also did my own presentation incorporating some of what he was talking about with some good questions and so on.
And I've written an article that's now available on my website about all of this.
So I encourage you to go to my website, projectcamelot.tv, and look under articles, but it's also on my blog right now, Front and Center, and look at what I have to say about the Randy Kramer, who is speaking on behalf of a portion of the military, He being a Marine, still reporting to the Marines, and his superior officers.
So apparently he was tasked with approaching the audience and positing this idea of a fake alien invasion and why the military might favor such a thing, actually to push disclosure and to change the world around them so that they can...
Basically out free energy and we can have a completely new world around us.
So what I have to say is in my article, I'm going to do a presentation on that here on YouTube in the next few days probably.
I am going to interview Mark Richards again.
Captain Mark Richards from the Secret Space Program.
And I will be there this weekend asking him a number of questions.
So that will be, again, very fascinating.
And any donations that you can send our way to help facilitate the You know, paying for travel as well as other expenses and running Camelot.
I always have to pay my server costs, etc., and it all gets rather pricey.
But this is an ongoing work that we do, and I want to thank everyone for supporting us.
Thank you for the people that did support me by sending donations for this new trip that I'm going to be making.
And please do continue to support this work as it is so important.
So thanks for watching and have a great night.
Take care.
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