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Nov. 9, 2013 - The Unexplained - Howard Hughes
01:06:21
Edition 131 - Richard C. Hoagland

An update on Space, Comet Ison, Mars, the Moon and Art Bell!

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Across the UK, across continental North America, and around the world, on the internet, by webcast and by podcast.
My name is Howard Hughes and this is The Unexplained.
Well, two shows in very quick succession here.
We have Edition 130.
Now we've got 131, a very special show with Richard C. Hogan.
And the reason this show is coming to you so quickly is that Richard has a lot to tell you about, among other things, Comet Ice On.
And we'll also have some news about what has happened to Art Bell.
That's all coming soon with Richard C. Hogan.
Thank you to Adam Cornwell at Creative Hotspot in Liverpool for developing the website and maintaining it and getting this show out.
You very hardworking guy.
If you want to contact me, I see all of your emails.
Go to the website www.theunexplained.tv.theunexplained.tv, and you can send me a message there or make a donation vital for the running of this show.
So that's the place to do it, www.theunexplained.tv.
Okay, I'm not going to hang about.
Let's get to Albuquerque, New Mexico, where burning the midnight oil as ever is Richard C. Hoagland.
Dick, good to have you back on the show.
It's great to be back, Howard.
And how is life with you, Richard?
I know you're a very, very busy man at the moment.
You've got a lot of outlets.
You're doing a lot of writing.
You know, how is life?
Well, I'm working on a possible television network show, and I can't say too much more about it than if it comes to pass, and indications are it actually might.
It'll give me a showcase to present in series format all the last 30-some years of our research.
And I'd love to do it because we've got stunning imagery.
We've got footage of expeditions that Robin and I have conducted around the world measuring this hyperdimensional torsion field physics at various ancient sacred sites, which are really amazing when you see the actual readings.
When we were in the Yucatan a few years ago, we had a Mayan guide, and he was dumbfounded to see what I was measuring on the screen.
And we sat together on the top of one of the pyramids at Tikal, and he was absolutely boggled by seeing things, as he said, that my grandmother told me about, but I never thought I'd live to see.
Wow.
And what about Stonehenge?
Because you came to Stonehenge in the UK, which of course is one of the most ancient sites in the world.
I measured Aveberry.
I measured Silbury Hill.
And I got very different readings on all three.
And I obviously need to come back and spend a lot more time because one of the things that I'm hoping this TV series will give me the freedom and the finances to do is to come back and spend like, you know, a couple of weeks because the physics is not constant.
It changes with time of day.
It changes with the weather.
It changes with celestial alignments.
It changes with the seasons.
And it changes in terms of position where you are geometrically around these sites.
And because we got to Stonehenge so late in the afternoon, I only had like 20 minutes, and they would not let me literally walk.
You know, you've been to Stonehenge, you know about that little, you know, asphalt walkway they've now made.
Yeah, I mean, basically for people who've never been there, and I do recommend wherever you are, you try and visit there at least once in your life.
Absolutely.
People were wearing the stones and the area around the stones away.
Up to 20 years or so ago, you were able to just go up to them and touch them.
These days, they've got a walkway and they try to keep you away from the stones as much as possible.
They have guards, nice young ladies.
The day we were there, it started to rain, of course, and they were dressed in slickers.
And I'm sitting, I'm standing, you know, measuring about 20 feet from the center of the monument, 90 degrees to the so-called Avenue, the Solstice Sunrise Avenue.
And the readings are stunning, absolutely stunning.
And I walk around 90 degrees over by the Heelstone, which everybody in Britain knows what I'm talking about, and the readings are nothing.
And I've only walked a few feet.
So the readings were so strong that I'd only seen such readings under normal circumstances, meaning not during alignments or transits or conjunctions or whatever, at one other place in Europe.
And I can't tell you where that is because I don't want the bad guys to get in there and maybe try to dig up whatever is there.
But the readings about Stonehenge were so similar, it almost made me think there might be something underneath that plane of limestone.
And that that's why this monument, this extraordinary monument, which by the way mathematically is geometrically telling us the same messages that we saw on Mars and the ruins on Mars that I've been looking at for years, which led me to this physics.
So yeah, if I get the series and I get the budget and I get back to do the long-term synoptic measurements, we're going to blow the doors off on a lot of things, including an ancient suppressed physics, which is the keys to anti-gravity, so-called free energy, extending human lifespan by extraordinary amounts, refurbishment of biological systems.
Now the reason I can say all this is because I know of laboratory work which has gone on both in the old Soviet Union and here in the United States over the preceding decades, which has evidence of all of this.
And when we were in the Yucatan, when we were measuring the pyramids at Takao, which is in Guatemala, this Mayan guide, who obviously had a family tradition of the priesthood, Mayan priesthood, was telling me after he saw what I was doing and realized that coming from the outside, I was privy to the same secrets that the priests had been holding so close and so dear for so long.
And here I was, a Western 21st century scientist opening the doorways of things that they had kept very quiet and just within the priesthood.
He started opening up and telling me all kinds of interesting things, including the effects of the pyramids in terms of magnifying or amplifying these energies that I was measuring, on the resuscitation and revitalization of seeds and grains and foodstuffs.
You talked about how they had a ceremony where the farmers, the peasants so-called, would bring their seeds for the next year's planting to the center of Takal, to the ceremonial square between the two big pyramids that are there, and leave them for a week and they would have dances and ceremonies and all kinds of rituals.
And it was a very gay time and a very happy time and very, very, you know, lots of stuff to drink and stuff to eat and basically a spring festival.
And then they would take those seeds back out 20, 30, 40 miles away and plant them and they had bountiful crops.
Well, it turns out that it's the amplified energies that the pyramids create in their vicinity which energize the seeds.
Well now you fast forward the film or the videotape to modern-day science and we're able to measure in these experiments that I've tracked down both in the Soviet Union and many other places in laboratories.
It's not really discussed in the mainstream, but these experiments have gone on and these independent workers have found that these energies, if properly generated or amplified, have exactly this kind of resuscitation and rejuvenation and revitalization when seed and seed crops are exposed to them.
So we're on the edge, on the precipice of some stunning breakthroughs which will link the ancient, ancient, ancient history of humanity with our future.
Which is amazing stuff, Richard, if you think about it, because, well, on a whole number of levels, because it means these people had understood something that we forgot in subsequent generations.
But the other question that is prompted by this is how did they know this?
How did they get that information?
I was just going to go there.
It's how do they know?
According to my Mayan friend, it's been passed down and passed down and passed down for thousands of years.
That's not the mystery.
The mystery is how did the ancient guys know it in the first place?
And my model is that they themselves were preserving information, even if they didn't have the technical understanding to appreciate what it really meant scientifically.
They were preserving it in these sacred texts and documents and hieroglyphs and writings and rituals that had been given to them, bequeathed to them, by our own great, great, great, great ancestors from a previous high civilization,
a technical civilization surpassing ours in almost every way, that somehow had collapsed, suffered a calamitous catastrophe where almost everyone died and the few survivors with their fragments of high knowledge passed it on to their descendants who passed it on to their descendants, etc., etc.
So what we now have in these ancient mythologies and texts and fragments of ancient writings and history is a dim glimpse of an extraordinary, glorious heritage to which we are heir if we only figure out how to put the pieces back together and resume what we used to know and used to do.
And that's part of what this television experiment will give me the wherewithal to do, is to knit together the ancient, ancient past and the extraordinary future we all deserve, provided we can get all this stuff together on the same page.
Which brings your life and your life's work to a kind of pinnacle.
Richard, before we go any further, I just want to ask you about something.
There's a little bit of hum on your telephone, and I think it might be like American-style mains hum.
Are you near something that's generating electric fields?
RF.
No.
No, we've had problems with this phone line, and I won't go into the vagaries of the American telephone systems.
When we used to have Mob Bell, everything worked perfectly, and then we split it up into all these separate companies and they'd never been able to figure out how to make it work.
And I'm on a landline.
Wow.
You know, if you're bothered by it, imagine how Art Bell, when we did our first new show a few weeks ago, how he felt.
Yeah, no, I heard him.
And listen, I want to ask you quickly about this because I'm getting a lot of emails from my listeners because they think that I know.
And you probably know more than I do.
Well, they think that I know, and I don't know much more than you do.
Art Bell relaunched himself.
We were all thrilled about that, I was, and his many fans around the world.
Sirius XM satellite radio.
You know, there are various ways that it's possible for people to listen outside the U.S., and I've been doing that.
But it's principally targeted at U.S. people.
I know that there were some problems.
Sounded to me like they had one or two production difficulties, one or two technical difficulties, and the next thing, art is gone.
That's all I know.
Well, the problem is that a show like art depends vitally on people being able to reach him calls from a broad cross-section of the audience.
And unfortunately, the way Sirius had structured their ability for him to reach his audience or for them to reach him, about three or four weeks, maybe well, four or five weeks into the new show, that system began really breaking down.
And, you know, for instance, people who were subscribing on the internet had interruptions.
I mean, I myself tried to listen to shows, and I'd be knocked off the computer like over a dozen Or two dozen times per night in a period of four hours doing absolutely nothing.
I mean, we tried everything.
We tried, you know, because Sirius has this software where if you don't let the computer know you're still listening, it gets rid of you because that is sucking up useless bandwidth that could be used by other people who really want to listen.
But I thought about two weeks in, he announced that they had found a way around that, and that sounded like the cure to the problem.
Okay.
Apparently, well, there were a lot of other bugs.
Anyway, he made them some offers for ways to do it that would benefit everybody.
And because Sirius is a huge mega, mega multi-billion dollar corporation, they are not very quick and responsive and light on their feet.
So he basically gave them an ultimatum, you fix this or you're not going to have me around.
Because they told him, get this, it would take a year to fix the problem.
That's very, very hard to believe.
That's nuts.
I mean, we've had a lot of problems with websites in this country recently.
Something you might have heard of called Obamacare.
And the White House rolled out this big website through Health and Human Services, and the damn thing doesn't work.
Well, they're promising to have it fixed by the end of this month.
We're 11 days into, I'm sorry, nine days into this month.
So we've got, you know, basically a little over two weeks to go.
And it launched on October 1st.
So that's two months where something which is nowhere near as complex as handling a few, you know, hundred calls was dealt with and is being dealt with very swiftly by simply putting the proper resources.
Well, it sounds to me like they need to get their act together.
When you tell someone of Arts Caliber who brought a huge influx of new listeners, and remember, this is now not listening for free.
This is Sirius charging $15 for every person per month.
And when you charge somebody something, you should give them the service they're paying for.
And Sirius basically refused to give these people, arts audience, the service they were paying for.
Well, of course, we don't, Richard, we don't have Sirius on here to speak for themselves.
But the facts seem to speak for themselves in that they didn't provide him with the infrastructure.
He needs that infrastructure.
You can't, it's like, you know, you put Paul McCartney on a stage.
You've got to give him the right amplification and the right band.
Otherwise, there's just no point in doing it.
You know, he needs power, a PA system, a microphone, you know, the few basics.
Well, Art needed his audience.
And Sirius did not provide, and they refused to put a Tiger team on to solve the problem.
And Art gave them certain other options.
For instance, that he would do the streaming through ArtBell.com and that he would broadcast it live on the internet because Keith Rowland, who is his webmaster and who became my webmaster, courtesy of art many years ago for the Enterprise mission, he does brilliant, genius, you know, miracle things.
He's kind of like the Scotty of Star Trek.
Keith was there at the very beginning for art and the very beginning of the internet.
So this guy knows it all.
And he's actually been testing various streaming options on the website over the last few days.
What it now rests on is whether art can reach a contractual modus vivendi with Sirius, this huge corporation, to where everybody wins.
Because what Art is proposing is that, you know, Sirius gets to broadcast.
In fact, he even offered to do the broadcast on Sirius for free, that Sirius wouldn't have to pay him any money.
If they would give him the right to broadcast live and do commercials, they could rerun the commercials on satellite.
He would give them the sole archive rights.
So if you want to go into the archive and listen to an old Art Bell show of Dark Matter, then you would have to pay Sirius a subscription and all that.
So everybody would have won.
The audience would have won.
Sirius would have won.
Art would have won.
And they turned him down.
Now, I don't know whether it's a final turn down or it's part of these negotiations that basically, it used to be that you would have two sides to an arbitration that would actually give a little here and give a little there, and they'd come out with something that would work.
We seem to have passed those days where people actually know how to compromise.
Well, this is more like Star Trek.
They play, these days, all corporations, and it's the same in the media here.
Let me tell you, Richard, they play complex games of Star Trek-style multi-level chess.
So you're never just dealing with one person, and the consequences of doing one thing are never just singular.
The weirdest thing for me is I'm, you know, just like I'm a spectator.
You know, I'm not part of this.
I'm just, you know, I was one of Art's guests graciously asked me on for that first week.
The night that was his final show, where he, you know, refused to go on unless Sirius acceded to some reasonable terms so he could get his audience back.
Of all the things that happened is they played my show with Art again.
So I called him up and I said, what the hell is this?
He said, I had nothing to do with it.
He said, the CEO of Sirius picked that show.
Make of that what you will, Howard.
He likes you.
I think that's the truth.
Well, my numbers are enormous, huge.
I have something like 225,000 people have looked at the images that Art and I discussed on the two shows that I did in his first six weeks.
And this is an absolute truth that I can attest to, because I know that whenever I put you on, my numbers peak.
You always give me a spike, and that's just the truth.
You are a draw of listeners.
Well, I think it's the material.
I think people really know that we're into real research.
We're doing real science.
It may sound like Star Trek, but it's not.
It's real stuff.
And as I said, almost a quarter of a million people in the last month and a half have gone and looked at the images which I laid out in Art and I went through them.
You know, number one, number two.
He loved number nine.
So if you go to the Art Bell website, which I think you can get to from Britain.
You can, yeah.
Artbell.com.
Yeah, you simply find my name.
At the top is a thing called radio program, and you find my name there, click on it, that will take you to the page that Keith set up to handle each of his separate guests.
That's quote, my page.
And then just click on the thumbnails of the images that take you to the image pages, and you go through the images and their captions.
And I recommend strongly for the 19th of September, which was when the show aired, you look at number nine, because number nine is the one that got my dear friend Art Bell, who for decades has never been able to see almost anything I've discussed in terms of artifacts on other planets.
He took one look at number nine and fell in love.
He said, oh my God, Dick, it's real.
It's a piece of junk.
It's a thing with a pipe sticking out of it.
In other words, it's a mechanical object lying in a place where it has no business being unless some ancient Martian civilization left it there.
Yeah, number nine, as I recall, because I listened to the show and looked at the image, that was as near to the smoking gun as I think you've had over these years.
We have three separate images.
We've got stereo, we have color, we have measurements, we have distance, we know exactly where it is.
I'm working on a series based on this new data from the Curiosity mission called It Only Takes One White Crow.
Because you know there's an old Apache saying, it only takes one white crow to prove all crows aren't black.
Well, as I said to Art that night, and I'll say to you, it only takes one genuine ancient Martian artifact to prove that all of the things we've been saying for all these decades is absolutely real.
We are in an ancient, ancient solar system culture, the ruins of which are all around us.
NASA has been hiding this truth for decades while taking American taxpayers' money left and right, and they're still lying to us.
But for some reason, they're also publishing imagery with the daily downloads from the Curiosity mission, which reveal stunning architectural and mechanical pieces of junk.
So, Richard, why are they doing that then?
Why are they walking us towards this?
Art and I discussed the political strategy.
If you know that the game is almost up, there's a thing in Washington which is called CYA.
Can we tell people what that means?
Hit me with it.
Go on.
Cover your ass.
The technical term is plausible deniability.
So NASA's mantra for decades has been, we tell you everything.
We're a civilian space agency.
We're putting it all out there.
Nothing is hidden.
Nothing is reserved.
Nothing is being deceptively concealed.
But of course, that's not true.
Now, the game in Washington is if you're about to be found out that you've been basically lying for not only a year or two years, but for 50 years about what you've really found out there, how do you keep from going to Leavenworth, which is a very famous American federal prison?
All right?
The answer is you have to put out enough data to where you can point back to the imagery and say, covering stuff up?
We're not covering anything up.
Look at these pictures.
It's right there in the pictures.
It was all there in plain sight all the time.
You just didn't pick up on it.
We knew, you know, we knew there was something about it.
And I said, you know, kind of slightly more aggressively, you know, we can't help believe you're too damn dumb to notice an ancient artifact.
But listen, aren't these people, then, paid to tell us the truth?
Yes, you can, you know, I can show you evidence that something has happened or somebody's done something, but then I also have to state the fact.
Simply handing you the evidence and letting you draw your own conclusions is not the answer.
There are two forms of lying.
There's lying by commission, where I basically tell you a major untruth.
And then there's lying by omission, where I tell you the truth up to a point, but I don't really get to the really sexy stuff that would totally change the paradigm.
And if you look at the law, the actual Space Act of 1958, which created NASA under President Eisenhower in the waning year of his administration, says that NASA has to publish all its science data, but it doesn't say anywhere in the language that it has to tell you what's on it.
That's an interpretive, scientific extension, and we presume scientists will want to tell us the truth, but there's nothing that guarantees that they will if someone is basically making them an offer they can't refuse.
Like, if you tell people what this really is, you'll never work in this town again.
We'll make your life a living hell.
We'll make you the laughing stock of Jay Leno and what's the famous guy that does the stuff on BBC, where he has people tipping over in chairs and all that.
Well, we've got a few here.
We've got Jonathan Ross and various other talk hosts here.
Yeah, well, in ancient days, I would have said Benny Hill.
The point is that NASA as a huge government institution can basically excommunicate any scientist or scientists that would try to blow the whistle on the game.
And as I said, to art, and unlike Edward Snowden, who was able to download thousands, tens, hundreds of thousands of pages of documents on some thumb drives, you can't do that with pictures.
There are so few pictures, and every one of them is digitally tracked.
So there is no Easy way for whistleblowers to leak the good stuff.
And even if they did, since there's no way that other people could corroborate that it was real, they would simply claim that, you know, whoever did it that made it up in Photoshop, had some kind of mental aberration or disease or had taken leave of their senses.
So it's very hard to spring the real stuff out from inside NASA unless it's already in the public domain, which this stuff now is, a la curiosity.
So bottom line, I'm looking at this politically and I'm saying that the jig is almost up.
Whoever's putting this out officially without comment, and we live in a culture, Howard, that unless an authority figure tells you what you're seeing, most people, A, don't understand what they're seeing, and B, even if they did understand it, they don't know how to question.
They don't know how to question.
They don't understand what they're seeing anyway.
It's too unbelievable.
It's been made the butt of too many late-night comedians, you know, the Flying Saucer, the Little Green Men.
It's been, you know, 50 years of deliberate deception around the entire subject, Are We Alone?
So it's going to take an extraordinary level of not only evidence, but also official commitment to stand behind the evidence.
And these days, since government is not exactly believed by almost anybody, I don't think that if Obama came out and held a major press conference, that 50% of the American people would believe him.
And that is the truth, and that is where we are in 2013.
And the fact that you're not going to get the answers necessarily given to you by scientists has been made very plain to me by at least two guests on recent shows here, one of whom was Linda Moulton Howe, very, very recently, who said the problem with scientists is that they depend on funding, and funding comes from big corporations and big government.
And if big corporations and big government don't like what you're about to say, they can cut or stop your funding.
Hence, you will have to play it safe at all times, and that's why you won't automatically get the answer from science.
Well, I basically agree.
I mean, since World War II, we used to have funding that was distributed.
You know, you had people called angels, a millionaire here, a millionaire there, and these guys would be approached by science entrepreneurs, guys who wanted to build some really amazing piece of technology like a major telescope.
All the major telescopes up until World War II were built, and I'm using telescopes because astronomy is my background.
I mean, Mount Wilson, Palomar, Yerkes, Harvard, they were all privately endowed.
After World War II, after the huge government effort that it took to win the war against Hitler, we developed a whole new way of funding science.
Not just the astronomical sciences, but all science.
Biology, chemistry.
It became known as RND, research and development.
And you had huge government bureaucracies headquartered out of the Pentagon or out of NASA or out of the Department of Energy, thinking of a more recent creation of the bureaucracy.
And they let contracts to private universities, to private corporations, and the contracts can amount to billions of dollars.
If the government turns off the money machine, then all the engineers and scientists employed on all these different projects basically have to become cab drivers.
That's what happened in the wake of the Apollo program.
Even as Neil and Buzz were landing on the moon, from the people I know in the field, thousands upon thousands of the 400 and plus thousand contractors that were employed by NASA at the height in the 60s, in the late 60s, by the Apollo program, were basically just let go.
So when you have science and engineering basically feeding at the public trough, and a handful of people can decide whether this guy or that guy or this company or that company gets the money, and as Linda absolutely appropriately said, the way you censor people is not by threatening their children or to give them cement overshoes.
You basically threaten to make them unemployed and worse, unemployable.
I mean, do you think Edward Snowden will ever get another job in the intelligence community?
Well, what do you think?
No, of course not.
Of course not.
Now, he might wind up with his own talk show someday.
But the fact is that it's very easy now to censor all the remarkable, amazing stuff because there is no such thing as independent verification.
You and I cannot, and even Richard Branson, for all his billions, cannot get into a spaceship tomorrow morning and fly off to the moon or Sidonia, take a bunch of pictures, you know, with a cell phone, and come back and, you know, appear on Pierce Morgan or on the BBC and say, look what we shot, look what we saw.
It's completely in the hands of government space programs.
And the only private efforts that are being proposed are basically in low Earth orbit.
And since there's nothing very damaging or of, shall we say, major import to see in low Earth orbit, that's where private folks will make a lot of money and tourists will have a lot of fun.
But I guarantee you, if private missions try to go to the moon or go to Mars, as I said to Art the other night, they will be shot down.
And it will be chopped up to, oh, an unfortunate accident because, you know, these guys are just amateurs and they may have a lot of money, but they're not really experts and they don't know how complicated this is.
And it's really got to be left to the people like NASA to know what they're doing.
And isn't it unfortunate and sad that all those investors lost all that money?
And isn't it fortunate that there weren't any human beings trying to go to the moon or to Mars, et cetera, et cetera, et cetera?
And what about the Indians?
What about the Indians trying to go there, which is only this week?
What's that all about?
Sorry, you bring up an interesting question.
Are there such things as independent government space programs anywhere on this planet?
Well, The Indians seem to have one, don't they?
And the Chinese too.
Well, but you say they seem to.
What's your proof?
I don't have any.
What's yours?
I mean, the Indians, the nation of India, has been to the moon with Chandrayan-1, which was its first lunar orbiting mission.
And they photographed the heck out of the place.
They've done all kinds of scientific measurements.
Have you heard or seen any stunning, record-breaking announcements from the Indian space program, vis-a-vis the moon?
Nothing.
Of course not.
Because it's all one game, Howard.
It's one damn game.
They have a lock on all the so-called independent space program.
That's why I really have to kind of laugh at these people who are so fearful of one world government.
They don't seem to realize we already have it.
It's just the illusion that we're living in separate nations.
And you're saying the Indian space program is just one small bit of proof of that.
Well, look, I know from 30-plus years of digging and having stuff leaked to me, and the fact that certain people are publishing remarkable imagery, even on some of the official NASA websites, as we talked about a few minutes ago, that there is astonishing stuff on the moon in the form of ancient ruins.
Now, if I know that based on my research, which has been correlated with a lot of other people who've independently now gotten into this field, don't you think the Chinese going there, which they did with Chiang,
their spacecraft, or the Japanese with Saline, or the Indians with Chandrayan-1, don't you think these separate nations, if there was really amazing stuff to be found and to see, would trumpet it from the rooftops?
Well, of course they would.
Now, the skeptics, the critics, the people who say, I'm just making all this stuff up, will say, well, the very fact that they haven't means it's not there.
You're just making it up, Hogan.
No, it means they're all part of the same conspiracy and playing the same little game with their taxpayers, with their people supporting their programs, and there are things you can see and talk about, and there are things you can't talk about.
And until there comes a game change in the politics, nobody independently is going to be able to show this stuff and get away with it.
And my test, you know, because every science model has to have a test, is that there will be no private missions to the moon by anybody that is truly independent.
Something terrible, untoward, sad, tragic will happen to those missions if somebody tries to launch a private mission, an unmanned mission, to the lunar surface or to lunar orbit to take unfettered, uncensored imagery.
I mean, we've got a NASA mission orbiting the moon right now.
Did you know that?
I didn't.
Aren't they exploring the dark side of the moon?
That's what they're talking about.
Well, there is no dark side.
Come on.
The moon rotates once every month.
It's got a light side and a dark side, and like the Earth has a dark side.
And I'm currently on it, and you're not.
You're in the sunlight, and we're heading toward the sunlight at 1,000 miles an hour.
And in a few hours, we'll rotate around, and we'll be on the light side.
No, there is a near side and a far side to the moon, because the moon rotates around the earth in the same period of time that it rotates on its axis, so you only get to see basically one side.
So yeah, there is a, we had missions that have surveyed the entire moon for decades.
This new mission, which was launched in early September, is called LADDI, having nothing to do with the Scottish Highlands.
It stands for Lunar Dust Environment Explorer and some other weird letters in the acronym.
And it basically is supposed to go and measure some very peculiar phenomenon that the Apollo astronauts reported seeing, you know, 40 years ago in their orbiting of the moon.
And that even before that, some unmanned missions, like the surveyor missions photographed after sunset on the moon, where since you have no atmosphere, there should be nothing that is visible above the horizon except stars and the corona of the sun.
But what they found when they sent these images back by radio, by telemetry, to JPL in the late 60s, in 67, 68 from these unmanned spacecraft is that after sunset, there are all kinds of stunning, optically fascinating and geometric phenomenon above the horizon, which of course has a very simple explanation.
It's sunlight shining on the glass ruins that you can see scattering sunlight against a dead black lunar vacuum sky when the surface you're standing on is in darkness.
And that is our model, and we have some additional photographs on the Art Bell site for that September 19th show, which show this that Art and I spent a couple of hours in the beginning kind of arguing about.
But this mission, this LADDE mission, is going to go for the first time and has the necessary equipment, the sensors, to actually measure the properties of those glass structures in exquisite 21st century detail.
So why are we doing this?
Well, because they want to know.
Now, are they going to tell us what they find?
Well, there's a very disquieting thing about this LADDE mission.
For the first time in any NASA mission, anywhere in the solar system, the LADDE mission carries on board a laser communications system.
Meaning that instead of broadcasting the pictures via Radio to where any station that has the codes and a dish of the right size on the Earth could pick up the signal, could basically download it through a computer and spit out the data if they had access to the codes.
This transmission from the LADDE mission is on an ultra-narrow beam laser beam that can only be intercepted by certain targeted NASA downlink stations like at White Sands or at Goddard.
And the size of the beam is literally a mile or so across.
So unless you happen to camp out next to White Sands, the security police, of course, will spot you.
There's no way that anybody could independently pick up the data being transmitted.
And the data on an optical link can be gigabytes per second in which you could download thousands of color images of the glass runes on the moon, and no one would ever know.
So in other words, on this occasion, you would have to be in the right place at the right time with the right kit.
And no one else, other than those selected individuals, is going to have that kit.
So in practice, no one else is going to get to know about this.
Well, if, for instance, let's say I was really aggressive and I had the proper telescopes and the laser transducers and the computer programs and all that, and I parked myself down next to White Sands, you know, within a mile or so of White Sands to pick up the signal coming down on an infrared invisible beam of light from the moon, right?
The military police would swoop down and I would wind up seeing the inside of so many federal prisons so fast.
So no, there is no practical way for anybody outside of the establishment.
And why have they waited 40 years?
And we've had laser beam technology that can do this.
I pioneered a demonstration in 1965 when I was at the Museum of Science in Springfield.
We broadcast as a future projection of what the technology would be in 30, 40, 50 years.
We broadcast a live radio program hours long covering the flyby of Mariner 4 of Mars in November of 1965.
I'm sorry, July of 65.
And I broadcast the information on a laser beam across the valley between the museum and a radio station, TV station sitting on the mountaintop on a place called Prolin Mountain, which was across the valley from Springfield.
This is in 1965.
So why have space chiefs waited nearly 50 years to use this enhanced method of communication?
Why do it now?
Good question.
Because it's the ultimate form of secrecy, and if you're going to use it, you obviously want to use it on a mission where you don't want anybody else to know the data that's coming down.
That's dynamite.
Now, listen, I've got to move you on here because we're kind of fast running out of time, and I don't want to waste these minutes that we have.
I know, Comet ISON, I-S-O-N.
You know that that's caused enormous controversy, not only on my show.
I've got a question from my old schoolmate, Gary, who is very, very concerned and continues to be very concerned about ISON.
And I'd like to read it to you.
Gary emailed me this 24 hours ago, and he said, if you're getting Richard Hoagland on, please ask him about this.
So I'm going to read this question.
He says, you suggested earlier this year, then to you, Richard, that Comet ISON would probably turn out to be a non-event and people should be looking more towards comets.
He's written siding springs.
Is it sliding springs or siding springs?
Siding springs.
Okay, I wrote siding springs.
He's right about that.
People should use, he says, you suggested.
It's going to come very close to Mars.
Okay, all right.
Yeah, and that's exactly what Gary says in his question.
He says, listening to your recent comments about ISON, you seem to have changed your mind about that particular comet.
ISON, in other words.
Why is that?
Okay, well, he's obviously referring to the second show I did with Art on the night of October 1st, and I chose that night, not because I thought Art would disappear from the air, so I wanted to get another show in, although that's how it turned out.
That was the night that ISON crossed Mars' orbit, but very far above the plane of Mars' orbit.
Because remember, the planets will orbit the Sun like in the same plane of a dinner plate or a pie plate.
And comets can come in at any angle, and ISON is like something like 60 degrees to the plane of the solar system.
So even though when you say it crosses the orbit of this planet or that planet, it's tilted so far up that it only came within about 6.5 million miles over the North Pole of Mars on the night of October 1st.
But because it was crossing the orbit of Mars and, you know, becoming closer to the Sun than Mars was, I said to Art, why don't we do a show that night?
And so I did the first hour.
And what Gary obviously heard me say is that although physically ISON is nothing to worry about, I mean, I'm continually astonished by how many people seem to make a living, although I can't figure out how they do it, by circulating these fear-porn emails.
And they're making all kinds of incredible, dire, cataclysmic predictions about ISON.
They did the same thing about comet Elanine a couple of years ago.
And they obviously are clueless.
I mean, these people will stretch any factual point past the breaking point to wring it into some kind of mega-mega conspiracy where ISON, or before that, Elenine, is going to wind up killing every human being on Earth through some weird mechanism.
The closest this comet will get to the Earth is in December, sometime I think around Christmas, December, I think, 26th, when it's leaving the solar system.
And its closest approach to us is 40 million miles away.
Now, I know space is kind of amazing to a lot of people because they don't know the details, but I've got to tell you that it's really hard to propose any rational, scientifically defensible idea where ISON could do any damage 40 million miles away.
Now, they say things like, oh, but we're going to cross the debris and for 15 days, we're going to be pelted with all kinds of rocks and debris.
What they obviously don't understand is that the stuff that comes off these objects is on the order of microns.
You know what a micron is?
Very, very small.
It's an object a millionth of a meter across.
It's smaller by a factor of 50 than a human hair.
So yeah, you've got a lot of little tiny particles that may, you know, waft past the Earth's atmosphere.
We're not even going to see them.
We're not talking things like rocks or pebbles or, you know, telephone-sized bergie bits.
We're talking dust.
We're talking dust that is finer by a factor of a thousand than talcum powder.
And not even the density of talcum powder.
It's, you know, like one grain here, one grain there, separated by several hundred feet of space.
So the idea that ISON is physically going to do anything bad is zero.
Zero, zero, zero, zero.
All right, what about those people who say that ISON is not something that looks or behaves like a regular comet?
Are they right?
Well, but these people haven't obviously been watching regular comets very long.
There are comets, every once in a while, that come into the inner solar system, and they shine with a certain light.
Like, they don't look bluish or white.
They look green.
I mean, they really look like they were celebrating, you know, St. Patty's Day.
And the green is coming from gases that are being emitted by the nucleus of the comet.
And it's subliming in a vacuum.
As the comet gets closer to the sun, it warms up.
And as these objects start out as ices, really, really frigid ices, many hundreds of degrees below zero from where this little guy came from, which is way, way, way far out, maybe halfway between us and the nearest star, as near as the orbit guys are telling us.
This may be the first time that ISON has come into the inner solar system ever in its entire existence, which is, you know, maybe even billions of years.
And the reason it glows in these peculiar colors now, which are not that peculiar, there's a certain class of comets that have this glow, this green glow, is because of what they're made of.
Not all comets, as we have found from the various NASA missions, to say nothing of the, you know, decades and decades of previous Earth-based astronomical observations, are made of the same stuff.
They're made of most of the same stuff, but the variations, the differences are really kind of interesting.
And the gases which ISON is composed of are primarily at that distance from the Sun, just now crossing the orbit of Mars, or actually, you know, it's kind of inside Mars, approaching the orbit of the Earth now.
It's glowing green because of a carbon-nitrogen compound called cyanogen and a carbon-hydrogen compound.
And these two fragments, these molecular fragments, because they're radicals, they're not complete molecules to where you have a neutral molecule.
These are excited by ultraviolet light from the sun to shine, to fluoresce in these colors that are pretty dramatic.
And so when you see, there's a British amateur named Damien Peach.
Look up on Google Damien Peach.
You guys have a gem there right on the British Isles in the southern part of England who takes the most astonishing space images.
He's got images all over the web of ISON, beautiful color images, as it's been getting closer and closer to the sun.
And it will pass around the sun on our Thanksgiving Day on November 28th, less than a million miles above the solar surface.
So we're expecting it might do some really dramatic things in the way of brightening and the way of subliming and boiling off these gases.
But the peculiar nature of ISON has nothing to do with its orbit, has nothing to do with changes in its orbit.
It's all about the things it's made of and how they glow, fluoresce under the solar ultraviolet in ways that not every comet does.
So in that case, or in that sense, it's unique, not unique, it's rare.
But it's not unique.
Now, what is it that I was talking about with art that to me makes ISON something to really pay attention to?
Well, many, many months ago, in April, the Hubble telescope was tasked to take some pictures when ISON was out roughly just inside the orbit of Jupiter, I think.
And then NASA published these photographs on the official Hubble website.
And I went one day and I was looking and I noticed some extraordinary, bizarre aspects to the images that Hubble had taken.
It appeared on first glance, looking at one of the pictures on the official Hubble website, and this picture is posted again over on artbell.com, so just go there, find my name, and click on the pictures for October 1.
This picture showed the close-up with Hubble, taken from Earth orbit, all the way out to where the comet was, near Jupiter, what appeared to be three bar-like objects in the coma, very close to the nucleus of ISON.
And these three bar-like objects were arranged in a very precise, tetrahedral, hyper-dimensional torsion field physics, 120-degree angle.
So what were they doing there?
Were they driving it?
When I looked at this, I was stunned.
I was absolutely boggled.
Because right there, apparently, was visual proof from NASA that ISON was not a natural object at all.
Because you can't have something that geometric and have it be a natural object.
I mean, the hallmark of intelligence, as Sagan once told us decades ago, intelligent life on Earth first manifests itself through the geometric regularity of its constructions.
So when you see geometry, either at Sidonia or on the moon or on the moons of Saturn or on the moons of Jupiter or in the asteroid belt or in the rings of Saturn, wherever you see regular geometry, repeating regular geometry, that is the hallmark of intelligence.
So I'm looking at this and I'm saying, oh my God, they finally got one.
This is it, you know, for about two or three minutes.
And then I looked further and I realized that the photo I was looking at, the black and white photo, was actually a composite of three separate images taken through three separate color filters, red, green, and blue.
And the way they make a natural color picture is the way the old Technicolor film cameras used to work.
Red picture, green picture, blue picture.
Old NBC living color, yeah.
Exactly, good old NBC living color.
So NASA had taken this picture, and in the way they took the picture, the nucleus streaked out so it formed three spokes with a center point.
So you had the center point of the nucleus, then you had one arm sticking out in one direction, and then the other arm sticking out in the other direction, forming this 120-degree tetrahedral angle.
But it all turned out to have been done by when they took the picture from Hubble from Earth orbit, because even though Jupiter is very far away, or the comet at Jupiter's distance was very far away the night they took the picture,
from the time they took the picture on the left side of Earth's orbit to the time they took the picture on the right side of Earth's orbit, 45 minutes apart, the parallax, the angular difference in the field of view of the Hubble time exposure of 444 seconds for each picture, I'm sorry, 440 seconds for each picture, had given them this streaked appearance.
So we reconstructed all that, and it was like, oh, this is just, wait a minute, wait a minute.
Howard, they didn't have to take the pictures when they did.
They could have taken those pictures in much more rapid succession on one side of the orbit or the other as Hubble goes around the Earth.
I mean, they only were, you know, a few minutes, you know, what's 440 seconds?
Divide 440 by 60.
That's a couple, three minutes, right?
Yeah.
So why did they take it in a way that created the geometry in ISON when they didn't have to?
And why did it create the specific tetrahedral hyperdimensional geometry?
Are you saying this was disinformation?
No, I'm saying it's information.
It was coded information designed to be put out all over the world to those that understand the code that something about ISON is special and stay tuned for whatever it's going to do, or more likely, what someone is going to make it do.
So our best estimates about ISON is this is going to do everything that a regular comet does.
It doesn't pose any great threat to us.
But there's this other factor here that somebody somewhere might be willing to do something to it, to demonstrate something.
I mean, they had to really go out of their way to do this.
This is not something that can just happen by accident because that angle, that 120-degree angle, is part of the higher-dimensional tetrahedral physics I was talking about at the beginning of the show.
The odds of that physics showing up by accident in the picture-taking of this comet by NASA is zilch.
It's zero.
It's 0.00000001.
I mean, I could go through how we do that, but we run out the rest of the time.
So like they used to say in America, it pays to advertise, this is somebody advertising.
And they're advertising to those that know what they're seeing.
Remember, if I hadn't told you what this all means, you wouldn't have a clue.
But there are people on this earth you've always said who do know what this means, and they will know what this means is being developed.
Let me give you the second part of the story, and I don't want to run out of time here.
There are now four comets visible in the morning sky.
All right?
There's Ison.
There's a comet called Lovejoy, which is a new one that Lovejoy, he's a guy in Australia, I think, who keeps finding comets.
He's found a new one, and it's moving toward the sun.
There's a third comet called Linear, and it's got a number.
The Linear stands for the observatory that basically took these pictures, and they take these synoptic shots of the sky, and they happen to catch this little bergy bit, and it became a comet, and it was getting quietly brighter.
And then there's another one, and I forget what the other one is, but if you go out with a good pair of binoculars, pre-dawn sky, in the eastern sky before sunrise, you can see four comets now where there should be none.
What's really interesting is a couple of weeks ago, Linear, which is just an average nondescript run-of-the-mill, you know, you never look at it twice, it blew up.
Suddenly for no reason, it became a hundred times brighter in a period of a couple of hours that had been before.
So why is that?
Well, these things don't normally do that.
The last time a comet did this was a comet called Holmes.
It was in 2007.
It was far out in the solar system between Saturn and Jupiter, and in the space of a few hours, it became a million times brighter than it was supposed to be.
And it was visible for months in the constellation of Perseus.
Just Google Comet Holmes explosion, and you'll get all kinds of really amazingly cool pictures.
I can prove, I don't have time to prove it tonight or this morning, but I can prove that Comet Holmes was blown up by somebody as a tribute.
That's a whole story we have to get into.
Tribute.
As a tribute.
Now, you've got to ask yourself, who on Earth or off Earth has the power to do this, to make the celestial events manifest the glory of the heavens, etc., etc., at their will, at their whim.
Answer, not NASA, what I've been calling the secret space program.
That's another whole show.
All right?
That's the control of gravity, real spaceships, cadres.
I mean, you had a Brit several years ago.
I forget his name offhand.
He was arrested and he was almost deported to federal prison in the United States for eavesdropping via the Internet on a NASA computer where there were listed officers and ship names of a secret space program.
Remember that?
Yes, I do remember that.
In fact, I know who you're talking about, and I interviewed his mother.
Yes, yes.
His mother championed him and went all the way up to Tony Blair.
And finally, there was a kind of rapprochement between Blair and Obama, and he didn't have to be deported.
And I haven't followed the case recently.
But they wanted to make an example.
They wanted to put him away in prison for 70 years for doing nothing but toking up on marijuana and getting on the internet and hacking into a NASA computer and finding ships and ship officers' names of a secret space program.
Richard, that is a whole other show, without a doubt.
Yeah.
Well, these events are the harbingers, again, for those in the know of activities in our model of the guys running the secret space program.
So hold on, you're saying that these four comets, which is an extraordinary event, one of which has blown up, this confluence of comets has come here or been brought here for a reason?
Well, one of them is well known.
ISON has been tracked since, you know, December of last year.
The two others are new, and the linear one was totally unknown, and it suddenly, for no reason, just blew up.
I believe, based on the geometry encoded in the April picture taken by Hubble of ISON, that someone is setting us up for a celestial show par excellence.
Having nothing to do with threats, but having everything to do with messaging and celestial portents and political spin.
Because all it will take, if these things suddenly become very dramatic, where people even in cities can look up and see a brilliant celestial apparition that they've been hearing about for months and months and months, all it will take is for the political spin to say, oh, and by the way, we need to amp up the money for the space program because these things are threats.
Now, have you noticed how many stories in the last 48 hours there are on the internet as to how many new objects are out there that could be threats to Earth?
They've gone from a few million up to 20 million.
They're now talking about the object over Shelybinsk that blew up and injured 1,600 people as not a rare event at all, but something that could happen day after tomorrow.
And just a few days ago, the media here, all the newspapers here, reported this bunch of Crimean observers who've discovered this asteroid 2013 TV135.
There's a possibility this could hit us in 2032, they think.
Yes, there's a whole series of those stories.
And then a couple days ago, published in a prestigious scientific journal, Have You Seen the Asteroid That Was Discovered in August?
It's an asteroid.
It's not a comet.
It's an asteroid in the asteroid belt orbiting between Mars and Jupiter until something has happened to it, and it now has six radiating geometric tails.
And it's not a comet, and the experts are confounded and dumbfounded and puzzled and amazed.
And again, you Google exploding asteroid, and you'll see the stunning Hubble images, all of which is coming out in the press just before ISON makes its pass around the sun.
So bottom line, I think we're being set up for a celestial event that will be quite spectacular, either for the general population or for a select subgroup of the population, those in the know, as a harbinger of things to come.
And that's why there's all the fear porn to get people to be as afraid as possible because the fear porn mongers never let a celestial opportunity go unused.
So what kind of time scale are we looking at?
End of this year?
Well, ISON is passing around the sun, close its approach, on November 28th.
It's now the 9th, right?
That's the close away.
So sometime or, if it survives passage around the sun, it will be visible in the evening skies more and more and more after Christmas.
Make a hell of a Christmas star if they do something really amazing with it, right?
Which gives you all kinds of potential mythologies and symbolism and rituals you can attach to celestial apparitions.
Again, these are events that are not, I believe, of natural making, but are being planned by someone with the science and technology using the science we open the show with, the control of torsion field physics, to create the propulsion mechanisms for an entire secret space program.
And they're building us up to something.
And I don't know what it is yet.
I know it's not going to be a physical threat, but it could be an extraordinary symbolic message of things to come.
So, all I can say is stay tuned.
And watch this space.
And the first number, if any of this comes to my attention or any of our attention, the first number I'm going to hit is yours.
Hey, Richard, listen in Albuquerque, New Mexico.
Thank you for staying up so late to do this.
I'm really grateful.
My listeners are going to love this and they're going to send me their feedback.
Richard, thank you for coming on again.
And thank you, Howard.
Always guaranteed to be interesting, controversial, and mesmerizing.
Richard C. Hoagland.
And don't forget, there'll be a link to his website at my website, www.theunexplained.tv, www.theunexplained.tv.
And the website maintained and developed by Adam Cornwell at Creative Hotspot in Liverpool.
Thank you very much for your support, for your great emails.
Please keep them coming.
Keep your donations coming too, because they are utterly, utterly very important.
Thank you for all of the support and tell your friends about this show.
My name is Howard Hughes.
Hopefully, the next Unexplained show you will hear, and my fingers are, you can't see them, but they're tightly crossed, will be Jesse Ventura.
Many other big-name guests coming too.
Take care of yourself.
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