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| Time | Text |
|---|---|
| We're going to do Jones and the Young Turks interaction. | |
| I believe this is the RNC. We will not be getting into what he said or who said what as far as if he was invited or not. | |
| We're just looking at the interaction. | |
| Obviously they were going there purposely. | |
| It was not a they were walking by moment. | |
| moment, they went there on a beeline. | |
| This guy is oblivious and I don't know who he is, but he genuinely actually has a smile on his face and is like, "Oh wow, it's Alex Jones." He's on the Young Turks, and they're being friendly. | |
| this is a good thing. | |
| We are indeed Alex. | |
| The revolution is afoot. | |
| Welcome to the young Turks. | |
| The youngest of America is mine. | |
| And that same individual gets even more comfortable with Jones there. | |
| And Alex Jones, as he comes in, he cuts off this gentleman that was sitting in So he's completely out of view of camera, not only of Jones' camera, but out of view of the Turks' camera as well. | |
| And in the beginning, he sits up straight. | |
| Sink does. | |
| I don't know if you pronounce his name chink or sink. | |
| I think it's just sink. | |
| Straight up. | |
| And you see, this gentleman is very uncomfortable. | |
| He's been obviously cut off from all camera angles. | |
| And he's got a little shitty grin on his face and it's all in his eyes and his mouth. | |
| He is very happy with what he's doing at this moment. | |
| He cannot contain his excitement for his actions at this moment. | |
| Exaggerated shoulder pat. | |
| It's almost like a, because of how rough it is, it's an incitement. | |
| It would be like pushing somebody on the shoulder, standing in front of them and just giving them a push-shove on the shoulder in a confrontational fight mode, but without actually hitting them. | |
| You're pushing them to display dominance. | |
| You're pushing them to get them to react. | |
| And of course, you know, it's antagonizing with... | |
| The verbal rhetoric that's coming out. | |
| He's being very, how should I say, with this kind of in-your-face moment to where the Young Turk sink does not have control of this interaction whatsoever. | |
| You come onto a set of someone and it's your set. | |
| The interviewee shows respect to the interviewer's space. | |
| They tell you where to sit. | |
| You answer their questions. | |
| That's the role of an interviewee. | |
| You don't disrupt purposely the stage continuously, nor do you sit there and do that finger shove, or in this case, the shoulder pad, the rough shoulder pad. | |
| And I do not know what this gentleman said or asked about this shirt, which forced Alex Jones to Well, it didn't really force him. | |
| They had brought the shirt with them to display it. | |
| but it just gave him the opportunity to do it. | |
| Alex Jones! | |
| Look at that! | |
| It's Alex Jones! | |
| It's Alex Jones! | |
| Oh my God! | |
| And that guy is, oh my gosh, Alex Jones! | |
| It's more of, it's rudeness. | |
| going to anyone stage and to scream out loud to them on Meteor-O, it's rudeness. | |
| It's not like no! | |
| It's Bill Clinton, it says rape. | |
| No, it's no! | |
| That's the big no-no! | |
| No, it's no! | |
| Right now the guy that thought this was all fun and games has become uncomfortable and he's sitting up but he can't get rid of that smile off his face. | |
| He's got the search snatched from him, and this guy is not smiling anywhere. | |
| If you could take your hand and hold it up, there's no smile there. | |
| It's just straight-lipped, like, err. | |
| No happiness there. | |
| This man has become even more uncomfortable. | |
| Like, oh my gosh, I asked about this shirt and now it's here. | |
| He has snatched it. | |
| The other guy has become physically uncomfortable. | |
| He has watched it. | |
| Now everybody is sitting up at attention. | |
| and now he's looking down like I feel ashamed for being happy that Alex Jones came to say hi now Alex Jones has his hands on his hips | |
| He's looking out towards his audience, or I should say the people, not necessarily the audience, where his people are, moral support, visual support, and he's calling for support. | |
| Who's accusing court papers of being a rapist? | |
| It's about to pop off. | |
| It's in court papers. | |
| This guy is becoming very uncomfortable. | |
| And now we have Mr. Stone throwing more fuel on this fire. | |
| And now they're fighting over the mic. | |
| And Sink is not giving it up. | |
| You're a sick man, Robert Stone. | |
| You're a liar. | |
| You're the world's biggest liar. | |
| Didn't you admit that you lied to him? | |
| Didn't you already admit that he's a crime? | |
| No. | |
| Now he's a bitch, he's a great guy. | |
| Get him on the fucking show. | |
| No, you're afraid to debate him. | |
| It's Sink, you're a fucking show. | |
| Are you afraid to debate him? | |
| Get him on the fucking show. | |
| Get him on the fucking show. | |
| Are you afraid to debate him? | |
| Now Alex Jones is actually instigating a debate between the two of them and is pushing Seng's buttons, which it's going to get even worse and worse. | |
| He's already on the edge of a couch. | |
| and he's doing a little bit of bounce motion when you watch him where he's about to lift off but he's not but it's a bouncy motion on the couch and definitely the language has come out this poor guy oh man what am I in the middle of? | |
| He's looking all around. | |
| He's trying to keep his eyes on any potential threats because this individual, Sink, is getting on the edge of the couch and he's bouncing. | |
| He's like, hmm, there's going to be punches thrown and I want to be able to get out of the way because I don't want any part of this. | |
| You're a hatchet, man. | |
| I don't know why anyone in the media takes you seriously. | |
| All you do is lie. | |
| You're known as the biggest liar in media. | |
| And he's proud of himself. | |
| The Pooh Storm that he's started. | |
| You're the biggest liar on media! | |
| Timber lie, loser. | |
| There's nobody watching this show, you know? | |
| Guys, can you get out of my sight, please? | |
| Don't confuse that. | |
| We gotta have a- Oh, Crystal. | |
| These are actually mad. | |
| They're actually really up front. | |
| Sorry, can you get out of- I will have to say that Sink definitely is trying not to become extremely aggressive. | |
| Hey, don't touch that camera. | |
| You want fucking attention! | |
| Get off the stage, you fast fucks! | |
| Get off! | |
| Get off my- Get off my- Yeah, you do! | |
| You do! | |
| Get the fuck off the stage! | |
| You want the Saudi Arabia part funding it up? | |
| Shut the fuck off, bitch! | |
| Hey, first of all, let me explain something, alright? | |
| This is bullshit! | |
| No, Jake, relax! | |
| Hold on, hold on! | |
| I don't wanna- I do not know what's caused him to stand up because we were looking at the female at that time. | |
| But you see the man here has gotten up to get out of the way. | |
| And the individual that was on the couch beside him has gotten up to get Sink from going after Jones. | |
| And Jones... | |
| has squared off and is looking him directly in the eye. | |
| it's almost like he's asking for him to go to the next move and then you have | |
| that liberal tactic that i pointed out in the very first Jones one that I did, The funny with him shirtless on top of a horse. | |
| We're being nice. | |
| You're the one blah blah blah. | |
| It's you. | |
| It's you. | |
| Not me. | |
| Not me. | |
| When obviously it was instigated on his side and it blew up sync. | |
| Literally liberal tactics used on liberals. | |
| And he's still pushing buttons. | |
| By pointing at them, not giving up space, standing somewhat his ground, and that is forcing the others on the other side to keep reacting higher and higher to try and push him mentally off the stage without coming to a physical fight. | |
| And he keeps shoving that microphone and sinks back. | |
| Looks like security came and got him off the stage. | |
| I don't know who that woman is with the black hair. | |
| But it got him on TV. Go! | |
| - We don't need this y'all. | |
| - Well done, take him out. | |
| Take him out, take him out. | |
| - That was crazy. | |
| Take him out, take him out. | |
| - Take him out, take him out. - Take him out, take him out. | |
| - Well, we can see the spin on that, 'cause we didn't see someone actually lead them over. - Well, we can see the spin on that, 'cause we didn't see someone actually lead them over. | |
| Leanne McAdoo was pointing the way there. | |
| There's your Alex Jones, the man leading the fight in patriotism. | |
| Survival gear sold. | |
| Lots of good supplements. | |
| Don't get me wrong, I think the Turks and Alex Jones have their spot in the world, especially in America. | |
| And as much as people call him a shill and he does things that I obviously do not agree with, the reality is not everyone is that intelligent to think for themselves. | |
| They know something's wrong. | |
| They're in a feeding frenzy in the system, and so they're escaping to the Turks' side and to the Jones' side, and it is a wave action that is literally taking the strength away. | |
| Just imagine a chain connected to Jones' to the center, the Turks' to the center, and then you have the system that is connected to that same center. | |
| And everybody... | |
| It's grabbing one chain and going in opposite directions. | |
| Eventually the entire thing breaks. | |
| And regardless of how you view humanity and how things will work, in order to bring down the system of slavery that we have today, the soft slavery, it has to break. | |
| So Jones and Turks and system all have their role to play. | |
| Just hopefully the people that are following them have enough sense and brains To sit there and go, hmm, this is good information to some point. | |
| I'm going to learn what I need to learn and then watch it break and stand on the sidelines and watch the idiots do their thing. | |
| Then that's all you can hope for because we are going in that direction. | |
| How fast we get there, how we get there is up to humanity. | |
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