Latest / Ryder Lee / They Faked It All | Jay Weidner

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They Faked It All | Jay Weidner · Ryder Lee

• 0:00
  Speaker 1: Again, these guys all have doubles, all right? They've all
• 0:04
  Speaker 1: got doubles. President of the United States has a double, okay?
• 0:09
  Speaker 1: Every president has a double. Every famous singer has a
• 0:12
  Speaker 1: double just so they can move around easily. So how
• 0:17
  Speaker 1: hard would it have been to just hide the fact
• 0:20
  Speaker 1: that Elvis had a twin brother? There's a senator from
• 0:23
  Speaker 1: Washington State and her name is Patty Murray. Patty Murray
• 0:27
  Speaker 1: is an identical twin. Patty Murray because I had a
• 0:31
  Speaker 1: radio show in Seattle at the time that she ran
• 0:33
  Speaker 1: for Senator. Um, and I was covering politics at the time.
• 0:38
  Speaker 1: She appeared at the same exact time at noon on
• 0:41
  Speaker 1: the same day in Spokane, Washington and in Seattle, Washington,
• 0:45
  Speaker 1: which were 300 miles apart. Right. So I clearly realized
• 0:49
  Speaker 1: at that moment that her twin was campaigning for her,
• 0:52
  Speaker 1: that they were doing double duty and she probably, you know,
• 0:55
  Speaker 1: serves in the Senate for her and everything. So, uh,
• 1:00
  Speaker 1: Never underestimate the power of identical twins. They're incredibly useful.
• 1:06
  Speaker 1: And the other thing you have to look at is
• 1:08
  Speaker 1: closed caskets, right? So Kennedy had a closed casket. Elvis
• 1:14
  Speaker 1: had a closed casket. Michael Jackson had a closed casket.
• 1:17
  Speaker 1: You know, you look at the closed caskets and then
• 1:20
  Speaker 1: you get to know kind of what's really gone.
• 1:24
  Speaker 2: Well, it's interesting that you bring up this fact of
• 1:27
  Speaker 2: Elvis faking his death and then Michael Jackson marrying Elvis's
• 1:31
  Speaker 2: daughter to figure out how he did it and everything,
• 1:33
  Speaker 2: because I 100% believe that Michael Jackson... something weird happened
• 1:38
  Speaker 2: with Michael Jackson. I mean, there was a phone call
• 1:40
  Speaker 2: that happened with him and his manager where he was like,
• 1:44
  Speaker 2: they want to kill me. They could stab me. They
• 1:46
  Speaker 2: could shoot me. They can make it look like I OD'd.
• 1:48
  Speaker 2: So obviously somebody wanted him dead. And it was more
• 1:51
  Speaker 2: than likely these high up music, uh, producers that wanted
• 1:57
  Speaker 2: him dead. Cause he had one of the biggest music
• 1:58
  Speaker 2: catalogs ever. It wasn't just the Beatles. Now people like to,
• 2:02
  Speaker 2: you know, say, Oh, it was, he had the Beatles
• 2:04
  Speaker 2: kind of that he had, uh, hundreds of thousands of
• 2:07
  Speaker 2: people's music, the rights to a lot of artists. It
• 2:12
  Speaker 2: wasn't just the Beatles. He had the biggest catalog, so
• 2:16
  Speaker 2: big that he made went into a partnership with Sony
• 2:21
  Speaker 2: for the distribution of his music catalog. And then when
• 2:24
  Speaker 2: you look at like this, do you remember that video
• 2:27
  Speaker 2: that showed Michael Jackson getting out of the back of
• 2:30
  Speaker 2: the coroner's van? Here actually it is. Let's play it
• 2:33
  Speaker 2: really quickly because I was talking about this the other
• 2:35
  Speaker 2: day too, but no one actually got to see the
• 2:37
  Speaker 2: actual video.
• 2:38
  Speaker 1: There he is.
• 2:53
  Speaker 2: You're going to see him pop out. There he is.
• 2:59
  Speaker 1: Yep.
• 3:02
  Speaker 2: Jay Widener, welcome back to the show.
• 3:04
  Speaker 1: It's good to see you. Hey, good to be back.
• 3:07
  Speaker 1: How's it going?
• 3:09
  Speaker 2: Oh, we got a lot going on right now. There's
• 3:12
  Speaker 2: a video circulating around online about Courtney Love talking about
• 3:17
  Speaker 2: Harvey Weinstein back in 2005.
• 3:20
  Speaker 1: Do you remember this?
• 3:22
  Speaker 2: I think we kind of got some things wrong about
• 3:25
  Speaker 2: Courtney Love. We might have wrongly accused her. And I
• 3:28
  Speaker 2: think that also... that Candace Owens is probably wrong about
• 3:33
  Speaker 2: Harvey Weinstein as well. Here's this video we're going to
• 3:36
  Speaker 2: listen to really quickly from Courtney Love in 2005. This
• 3:38
  Speaker 2: is 25, well, 21 years ago now. Do you have
• 3:40
  Speaker 2: any advice for a young girl.
• 3:42
  Speaker 1: Moving to Hollywood? Um, I'll get live with it. Harvey
• 3:52
  Speaker 1: Weinstein invites you to a private party in the four seasons,
• 3:54
  Speaker 1: don't you?
• 3:59
  Speaker 2: Yeah, she was talking about that 21 years ago. It's wild.
• 4:03
  Speaker 1: Yeah, Harvey Weinstein. What a guy. I know people that
• 4:12
  Speaker 1: know him, and he's a real creep.
• 4:17
  Speaker 2: Yeah, it's kind of weird that Candace Owens kind of
• 4:19
  Speaker 2: did that whole expose on him saying that he didn't
• 4:22
  Speaker 2: do anything. There was a lot of things that has
• 4:27
  Speaker 2: been said about Candace Owens, and that one kind of
• 4:29
  Speaker 2: got a little bit looked over. How he was actually
• 4:33
  Speaker 2: paying people to kind of come out in his defense
• 4:36
  Speaker 2: to taint the jury pool on his appeal. I don't know.
• 4:42
  Speaker 1: Yeah. You know, Hollywood is a really strange place and
• 4:45
  Speaker 1: it's filled with a lot of really strange people. And
• 4:49
  Speaker 1: there's a whole subset of people that live in Hollywood
• 4:53
  Speaker 1: and they're obsessed with celebrities. And all they do is
• 4:56
  Speaker 1: try to find celebrities and videotape them. And they have,
• 5:00
  Speaker 1: when they have kids frequently, they will try to get
• 5:04
  Speaker 1: the kid to become an actor or a friend of
• 5:07
  Speaker 1: that celebrity, um, you know, to get a break in Hollywood. And, um,
• 5:12
  Speaker 1: So there's this whole culture in Hollywood of people exploiting
• 5:17
  Speaker 1: other people and people exploiting children and women exploiting themselves
• 5:23
  Speaker 1: to get up through the ranks of Hollywood. And then,
• 5:26
  Speaker 1: of course, at the very top are the guys like
• 5:28
  Speaker 1: Harvey Weinstein who are most likely part of a mafia
• 5:32
  Speaker 1: of some kind.
• 5:36
  Speaker 2: You know what's really weird, Jay, is it seems like well,
• 5:40
  Speaker 2: it doesn't seem like, it's 100% a fact, that Quentin
• 5:44
  Speaker 2: Tarantino has not made a movie since Harvey Weinstein has
• 5:50
  Speaker 2: been convicted.
• 5:53
  Speaker 1: Yeah, I wrote a comedy skit about that. It was
• 5:58
  Speaker 1: a conversation between Quentin Tarantino and Harvey. And I show
• 6:05
  Speaker 1: you the progression of how Quentin Tarantino went from being
• 6:08
  Speaker 1: a guy who just wanted to make really good films,
• 6:11
  Speaker 1: to a quasi propagandist for Weinstein and the cause that
• 6:19
  Speaker 1: Weinstein represents. And I think we know what that is.
• 6:23
  Speaker 1: And that started right after Kill Bill. After Kill Bill,
• 6:31
  Speaker 1: Tarantino had to make movies, I believe, it's all speculation,
• 6:36
  Speaker 1: that Tarantino had to make movies that were part of
• 6:41
  Speaker 1: a propaganda effort by a certain political faction here in
• 6:45
  Speaker 1: the United States that Harvey represented. And so, you know,
• 6:49
  Speaker 1: you can see the progression of Django, Unchained, and then
• 6:57
  Speaker 1: the Bastards. And you can see each one is like
• 7:02
  Speaker 1: an attempt to rewrite history in favor of a group. So, Finally,
• 7:09
  Speaker 1: they came to him right when it started coming out
• 7:14
  Speaker 1: that Charlie Manson was not a guy trying to create
• 7:18
  Speaker 1: a race war, that that was a bullshit story. It
• 7:20
  Speaker 1: came up by Bugliosi, the prosecutor who wrote the book
• 7:24
  Speaker 1: Helter Skelter. Manson wasn't doing that. He was at an
• 7:28
  Speaker 1: MKUltra operation. We now know that. It was an MKUltra
• 7:31
  Speaker 1: operation designed to destroy the hippies in LA, and it worked.
• 7:36
  Speaker 1: But But I say that because it's clear that Tarantino
• 7:44
  Speaker 1: was told to make a movie about the Sharon Tate
• 7:48
  Speaker 1: murders and Charlie Manson. And he's like, oh, man, I
• 7:52
  Speaker 1: don't want to get involved in this. And so he reversed,
• 7:55
  Speaker 1: like he did in every other movie, propaganda movie that
• 7:58
  Speaker 1: he was told to make, he reversed everything. Instead of
• 8:02
  Speaker 1: it being about Charlie Manson and the Tate murders, it
• 8:06
  Speaker 1: became about Brad Pitt and his dogs. And it was
• 8:10
  Speaker 1: a hilarious ending I think I've ever seen. And so
• 8:15
  Speaker 1: Tarantino is always twisting it around, playing a dicey game
• 8:21
  Speaker 1: of doing the propaganda, but doing it in a way
• 8:24
  Speaker 1: that comes off like he's a rebel. And he is
• 8:27
  Speaker 1: a rebel. And now that Weinstein's in jail, he may
• 8:32
  Speaker 1: never make another film again, I think. Yes.
• 8:37
  Speaker 2: It seems like Weinstein was kind of pushing him to
• 8:40
  Speaker 2: do certain things and make certain things because I don't
• 8:43
  Speaker 2: think it's a coincidence. I mean, it's been Weinstein has
• 8:47
  Speaker 2: been in, got convicted in 2020. It's been six years.
• 8:51
  Speaker 2: It's been since 2019 that once upon a time in
• 8:54
  Speaker 2: Hollywood came out. So it's been seven years since Tarantino
• 8:57
  Speaker 2: has had a film.
• 9:00
  Speaker 1: No plans to make one. I mean, the re he's got,
• 9:05
  Speaker 1: what's his name? Uh, That one director, he's doing the
• 9:08
  Speaker 1: sequel to Once Upon a Time, but he's not doing it.
• 9:12
  Speaker 1: Tarantino's not doing it.
• 9:14
  Speaker 2: So it's like, where were these ideas really coming from, Jane?
• 9:19
  Speaker 1: Exactly. Exactly right. I think they were coming from Harvey.
• 9:25
  Speaker 1: I know for certain that Harvey saw the three-hour Kill
• 9:29
  Speaker 1: Bill and it ended and Tarantino was right next to him.
• 9:33
  Speaker 1: He says, what do you think? And Harvey said, cut
• 9:37
  Speaker 1: it in two. It's too long. Cut it into two movies.
• 9:41
  Speaker 1: And Tarantino was like, no, I'm not going to do that.
• 9:43
  Speaker 1: I said, no, you're going to cut it into two movies.
• 9:45
  Speaker 1: Tarantino was like all pissed off about it. But he
• 9:48
  Speaker 1: had to do it because, you know, the guy is
• 9:51
  Speaker 1: under the guy's thumb. And probably you don't want to
• 9:54
  Speaker 1: mess with Harvey, I think, because he's probably got friends.
• 9:57
  Speaker 1: And Tarantino reluctantly confessed. it into two films. He finally
• 10:01
  Speaker 1: put it back together. It's really good, by the way,
• 10:04
  Speaker 1: the full version of Kill Bill, the full bloody story,
• 10:08
  Speaker 1: I think it's called. And yeah, I mean, I think
• 10:13
  Speaker 1: after Kill Bill, they all say, well, we can't let
• 10:15
  Speaker 1: this guy, you know, this guy's a really good filmmaker.
• 10:18
  Speaker 1: And we can't let him run around unchecked. And Harvey,
• 10:21
  Speaker 1: you're the guy that's watching him. We got to start
• 10:25
  Speaker 1: giving him assignments, things that we want said. And we want,
• 10:29
  Speaker 1: you know, we want to make, we want to make,
• 10:33
  Speaker 1: in Django Unchained, they wanted to make white people look
• 10:35
  Speaker 1: really bad. And they did. And in Glorious Bastards, they
• 10:40
  Speaker 1: wanted to make the Jews look like they were heroic
• 10:42
  Speaker 1: in World War II when they weren't. And, um, I'm
• 10:46
  Speaker 1: just saying, they weren't, they ran. Some stood and fight,
• 10:50
  Speaker 1: but very few. And then also, he did another one
• 10:55
  Speaker 1: in there. Oh, his worst film, which was Angry, what
• 11:01
  Speaker 1: is it called? Can't remember the name of it.
• 11:09
  Speaker 2: His worst one? I don't know what his worst one
• 11:11
  Speaker 2: would even be.
• 11:13
  Speaker 1: Western, shot in Colorado.
• 11:15
  Speaker 2: Oh, The Hateful Eight.
• 11:18
  Speaker 1: Part of it? Pardon me?
• 11:20
  Speaker 2: The Hateful Eight.
• 11:21
  Speaker 1: Yeah, The Hateful Eight. I really didn't like that movie.
• 11:25
  Speaker 1: Wasn't funny. Just kind of cruel. But again, look what
• 11:30
  Speaker 1: it did. It made everybody in the Old West look
• 11:33
  Speaker 1: like total shitheads, right? And that's kind of what Harvey...
• 11:39
  Speaker 1: If you look at the rest of Harvey Weinstein's film collection,
• 11:42
  Speaker 1: I'm really quite familiar with it because... I kind of
• 11:46
  Speaker 1: use him as a business model for myself. If you
• 11:51
  Speaker 1: look at his films, and he's produced a lot of movies,
• 11:55
  Speaker 1: probably close to 100 movies over the career, they're all
• 12:01
  Speaker 1: kind of propaganda, kind of anti-Christian, anti-West, kind of anti...
• 12:09
  Speaker 1: I'm not saying I agree or disagree with what his
• 12:11
  Speaker 1: propaganda goals are, but they're propaganda. In fact, every time
• 12:17
  Speaker 1: that I'd watch a Harvey Weinstein produced movie, the first
• 12:20
  Speaker 1: five minutes I'd be going, okay, what's the propaganda going
• 12:22
  Speaker 1: to be in this one? Right? And then wait for the,
• 12:26
  Speaker 1: whatever it was going to be. And for sure as hell,
• 12:29
  Speaker 1: it would come be some political thing that they wanted
• 12:32
  Speaker 1: you to do or believe. And he did it over
• 12:34
  Speaker 1: and over and over. He couldn't stop himself. And I
• 12:37
  Speaker 1: know that he was interjecting his own politics into the
• 12:41
  Speaker 1: movies he was making.
• 12:44
  Speaker 2: Well, it's interesting that you brought up the, uh, once
• 12:47
  Speaker 2: upon a time in Hollywood and the Manson and the
• 12:49
  Speaker 2: Sharon Tate murders, because the more that I look into
• 12:52
  Speaker 2: the Sharon Tate murders, the more that it looks like
• 12:56
  Speaker 2: the entire thing was staged. I don't know how fake
• 13:01
  Speaker 2: per se, but definitely staged.
• 13:04
  Speaker 1: Definitely. It's like, there's no blood at the crime scene. Um,
• 13:13
  Speaker 1: what's her name Sharon Tate got what stabbed 17 times
• 13:18
  Speaker 1: I don't know there's something so wrong with that whole
• 13:21
  Speaker 1: scene I can't even say it and you know it's
• 13:26
  Speaker 1: all caught up I believe in this really weird thing
• 13:31
  Speaker 1: that goes on in Laurel Canyon which is the rumors
• 13:37
  Speaker 1: that there's a huge tunnel network connecting the houses together
• 13:42
  Speaker 1: And that's one of the bennies of getting to live
• 13:45
  Speaker 1: in Laurel Canyon is if you buy a house with
• 13:48
  Speaker 1: access to the tunnel system, which was reported in the
• 13:51
  Speaker 1: LA Times, by the way, in 1938 or something. So
• 13:58
  Speaker 1: I think there's some really, really, really creepy shit going
• 14:03
  Speaker 1: on in Laurel Canyon. It has been for a really
• 14:06
  Speaker 1: long time. And I think I can't even begin to
• 14:10
  Speaker 1: describe what I think is actually going on, because it's
• 14:14
  Speaker 1: too scary.
• 14:16
  Speaker 2: Do you remember that old, I think it was an
• 14:18
  Speaker 2: LA Times news article or news piece that talks about
• 14:23
  Speaker 2: the reptilians that live under LA?
• 14:26
  Speaker 1: Yeah, that's the one that mentions the tunnel systems under
• 14:29
  Speaker 1: Laurel Canyon, that there's reptilians inside the tunnel systems, and
• 14:34
  Speaker 1: that's in the LA Times. I mean, I have it
• 14:37
  Speaker 1: somewhere in my archives, but it's there. It's verbatim, and
• 14:43
  Speaker 1: It wasn't printed on April Fool's Day or anything. It
• 14:46
  Speaker 1: was a real article. And subsequently, we found other things,
• 14:50
  Speaker 1: other discoveries. So we know they're there. In fact, they
• 14:53
  Speaker 1: even made a movie about it in the 1980s, early 1980s,
• 14:58
  Speaker 1: a science fiction movie about two kids who find like
• 15:02
  Speaker 1: an old hangar in Laurel Canyon. And they go inside
• 15:06
  Speaker 1: and they find this tunnel system that's under Laurel Canyon.
• 15:08
  Speaker 1: It's actually a pretty decent, low-budget movie. I can't remember
• 15:11
  Speaker 1: the name of it, though.
• 15:15
  Speaker 2: Tell me about Paul McCartney, Jay, because I've been looking
• 15:22
  Speaker 2: into a lot of these fake Hollywood deaths here recently.
• 15:27
  Speaker 2: I've been looking into Michael Jackson, Jim Morrison, and I
• 15:31
  Speaker 2: know that you.
• 15:33
  Speaker 2: Well, our original plan was to make JFKX, which I
• 15:37
  Speaker 2: really believe just blew the lid off of the entire
• 15:40
  Speaker 2: zeitgeist and we'll probably never get credit for it, but
• 15:44
  Speaker 2: it is really, I believe changed the way that people
• 15:48
  Speaker 2: look at a lot of things. And then it was
• 15:50
  Speaker 2: a clockwork shining. And then we have plans to do
• 15:53
  Speaker 2: a third movie, which was going to kind of revolve
• 15:57
  Speaker 2: around the Beatles. Now we are, We've decided to do
• 16:00
  Speaker 2: something different with that, but I want to get your
• 16:06
  Speaker 2: thoughts and your opinions on exactly what happened with John
• 16:10
  Speaker 2: Lennon and this reported car accident where they then replaced him.
• 16:15
  Speaker 1: So the story goes, early morning, September 11th, 1966, Paul
• 16:24
  Speaker 1: McCartney had just been told by his manager, Brian Epstein,
• 16:28
  Speaker 1: that he had to have, John and him had to
• 16:32
  Speaker 1: have 10 songs done, recorded in time for Christmas. And
• 16:38
  Speaker 1: as anybody who knows songwriting, that's a tall order. 10
• 16:44
  Speaker 1: songs in what? September, October, November? Four months? That's a
• 16:49
  Speaker 1: tall order to write 10 songs. And he stormed out
• 16:52
  Speaker 1: of the studio. It was like 4.35 in the morning.
• 16:56
  Speaker 1: Sun was coming up. And he jumped in his car,
• 17:00
  Speaker 1: and he was driving down the road, and he saw
• 17:03
  Speaker 1: a really cute girl. And she recognized him, and he
• 17:10
  Speaker 1: picked her up in the car, and she was flirting
• 17:13
  Speaker 1: heavily with him. He missed the red light, ran through it,
• 17:17
  Speaker 1: got smacked by a vehicle, got beheaded, and died on
• 17:25
  Speaker 1: the spot. John was in Germany shooting How I Won
• 17:30
  Speaker 1: the War. It was a movie that he was in.
• 17:34
  Speaker 1: And Brian Epstein called up John and said, you know,
• 17:39
  Speaker 1: Paul's dead. And John completely lost his shit. And it
• 17:45
  Speaker 1: was well known that the Beatles all had doubles. What
• 17:48
  Speaker 1: they would do is their doubles would come in dressed
• 17:50
  Speaker 1: as the Beatles in the front door of the hotel
• 17:53
  Speaker 1: where all the girls were screaming. And the real Beatles
• 17:55
  Speaker 1: would come through the back door. you know, with masks
• 17:57
  Speaker 1: and glasses and hats and stuff, all disguised. So the
• 18:01
  Speaker 1: Beatles all had doubles. That's a known fact. And Brian Epstein,
• 18:09
  Speaker 1: trying to keep the corporation going, you know, chose the
• 18:13
  Speaker 1: double that he had chosen for Paul. And that guy's
• 18:17
  Speaker 1: name was Billy Shears. He was six foot three. Paul
• 18:21
  Speaker 1: was six feet. So that was a serious problem there. And, but,
• 18:25
  Speaker 1: with the combing of the hair and the dyeing of
• 18:27
  Speaker 1: the hair. He had different eye color, so that was
• 18:31
  Speaker 1: kind of a problem. So then he flew out to,
• 18:35
  Speaker 1: he flew the new Paul, Billy Shears. Billy Shepherd is
• 18:40
  Speaker 1: his name. John called him Billy Shears, because you Shears,
• 18:43
  Speaker 1: Shepherd uses a shear. And he flew Billy Shepherd out
• 18:48
  Speaker 1: to Germany to meet John. John was on the set.
• 18:54
  Speaker 1: He was a complete and utter wreck. And really had
• 19:00
  Speaker 1: no choice but to accept this guy in. And the
• 19:05
  Speaker 1: thing with the new Paul, as John would call him, Fall,
• 19:08
  Speaker 1: fake Paul, right, Fall? He could play like 22 instruments,
• 19:14
  Speaker 1: including trumpets and piano. And he was a really good drummer.
• 19:18
  Speaker 1: He was actually a better drummer than Ringo, who didn't
• 19:20
  Speaker 1: play on any of the Beatles songs. by the way,
• 19:22
  Speaker 1: I don't think. And he was just a better musician,
• 19:29
  Speaker 1: better singer. Paul couldn't read music, but the new Paul could.
• 19:34
  Speaker 1: None of the Beatles could read music, but the new
• 19:36
  Speaker 1: Paul was a very proficient studio musician. He was also
• 19:40
  Speaker 1: a mimicry. So he put out an album under his
• 19:44
  Speaker 1: own name years before of cover songs where he sounded
• 19:49
  Speaker 1: changed like the person that made the original song, right?
• 19:53
  Speaker 1: And he was like a mimicry guy. And so Paul,
• 19:57
  Speaker 1: they realized that we can't tour anymore because Paul's six
• 20:00
  Speaker 1: foot three. We can't, everybody will see it because all
• 20:03
  Speaker 1: the Beatles were all the same size. If you look
• 20:06
  Speaker 1: at them in old, like Ed Sullivan shows and stuff,
• 20:10
  Speaker 1: And so that, so they said, well, we can't tour anymore.
• 20:13
  Speaker 1: So they stopped touring and they started making heavy studio albums,
• 20:20
  Speaker 1: which were probably mostly produced by the new Paul. And he,
• 20:26
  Speaker 1: because of his proficiency in music and, you know, they
• 20:32
  Speaker 1: tell you in songs, Ringo had a line in one
• 20:36
  Speaker 1: of his songs, you were in a car crash and
• 20:38
  Speaker 1: you lost your hair. Instead of head, he put hair,
• 20:41
  Speaker 1: you know, and I had a dream today. A lucky
• 20:48
  Speaker 1: man who made the grade. He got in a car
• 20:51
  Speaker 1: accident and lost his head. You know, they're telling you.
• 20:55
  Speaker 1: Band on the run. Paul McCartney, the new Paul McCartney,
• 20:59
  Speaker 1: is about the band being on the run after they
• 21:03
  Speaker 1: had to do this switch. And so... The new Paul
• 21:09
  Speaker 1: has written a series of books that are very interesting.
• 21:14
  Speaker 1: That's where I'm getting most of my information. He's saying
• 21:18
  Speaker 1: that he's faked it. His name is on the book.
• 21:22
  Speaker 1: Sir Paul McCartney is on the book. They're called Billy's
• 21:25
  Speaker 1: Back or something like, anyway, just look up Billy's Back
• 21:30
  Speaker 1: on Amazon. You'll find it. And he's confessing to it.
• 21:36
  Speaker 1: And here's the thing. is the original Paul McCartney got
• 21:41
  Speaker 1: three women pregnant on tours. All three were Americans. All
• 21:45
  Speaker 1: three sued Paul McCartney, but he died and they had
• 21:49
  Speaker 1: a new one. And so this guy had to go
• 21:51
  Speaker 1: to trial and he went into one of his trials
• 21:54
  Speaker 1: and the woman who was suing him walked up to him.
• 21:57
  Speaker 1: She looked him up and down and says, you're not Paul,
• 22:00
  Speaker 1: right in front of everybody in court, right? And then
• 22:03
  Speaker 1: he gave DNA samples and they said, He's not the father.
• 22:09
  Speaker 1: And so he won every lawsuit. But he wrote this
• 22:12
  Speaker 1: book as a cover for his kids. So he's copping
• 22:17
  Speaker 1: to everything. He has copped to everything. It's in a book.
• 22:20
  Speaker 1: You can buy it on Amazon. And he's copping to
• 22:26
  Speaker 1: the whole thing. He has to because it's going to
• 22:28
  Speaker 1: be found out one day. And he's hoping that he
• 22:31
  Speaker 1: can hold it off until after he dies. He's like
• 22:34
  Speaker 1: 84 or something. So it's probably going to be coming soon.
• 22:38
  Speaker 1: He is actually five years older than the original Paul.
• 22:42
  Speaker 1: So instead of being 80, he's like 85 really. And, um, and, uh, uh,
• 22:50
  Speaker 1: it's an incredible story. And it is, I actually think
• 22:53
  Speaker 1: the Beatles could be sued or fraud because it's not
• 22:56
  Speaker 1: the real Paul, but, um, I don't think, I think
• 22:58
  Speaker 1: those days are gone. It's all going to come out soon.
• 23:00
  Speaker 1: I'm not even worried about it and everybody's going to
• 23:03
  Speaker 1: realize it. And, um, You know, he's probably not the
• 23:07
  Speaker 1: only people that have been switched out. I mean, you
• 23:10
  Speaker 1: got to keep the corporation going, right? The Rolling Stones
• 23:13
  Speaker 1: just put out an album. They're in their 80s. They
• 23:16
  Speaker 1: just put out an album. It's clearly A.I. The whole
• 23:18
  Speaker 1: album is A.I. It doesn't even sound like Mick Jagger
• 23:22
  Speaker 1: at all. It sounds like A.I. The whole album sounds like, oh,
• 23:25
  Speaker 1: let's put together an album. Write 12 songs that sound
• 23:28
  Speaker 1: like the Rolling Stones, right? That's it. Put their album out.
• 23:33
  Speaker 1: And so, yeah, the Beatles are, the Beatles, by the way,
• 23:37
  Speaker 1: didn't play their music. That was all played maybe after
• 23:41
  Speaker 1: the Paul came, the original, the old Paul, the new
• 23:44
  Speaker 1: Paul came, then maybe they were playing their instruments, but
• 23:47
  Speaker 1: they were playing their instruments on those albums that they made.
• 23:51
  Speaker 1: Those are like seriously professional musicians on those albums. They're
• 23:56
  Speaker 1: doing stuff that you learned at Juilliard in your fifth year, right?
• 24:00
  Speaker 1: You're like two 20-year-olds writing these songs and writing this music.
• 24:04
  Speaker 1: I'm sorry. It didn't. If you watch the Beatles, just
• 24:09
  Speaker 1: type in YouTube and type in the Beatles and go
• 24:12
  Speaker 1: watch videos of them. They cut away every time that
• 24:17
  Speaker 1: there's a guitar solo. Every time that George has to
• 24:19
  Speaker 1: do a guitar solo, they cut away to something. But
• 24:22
  Speaker 1: they don't show you George playing the guitar. So, and
• 24:25
  Speaker 1: by the way, he plays guitar at 20 years old,
• 24:28
  Speaker 1: as good as Chet Atkins, who was the best country
• 24:31
  Speaker 1: Western guitarist of all time. And yet after 24 years old,
• 24:35
  Speaker 1: he doesn't play like that anymore. Even though he's the
• 24:38
  Speaker 1: greatest country Western guitarist in history, he decides he's never
• 24:42
  Speaker 1: going to play that kind of music ever again. So,
• 24:45
  Speaker 1: you know, the Beatles are, the boomers love the Beatles
• 24:48
  Speaker 1: and they worship the Beatles and the Beatles are just
• 24:53
  Speaker 1: an act. It's just an act. The whole thing is
• 24:56
  Speaker 1: just an act.
• 24:58
  Speaker 2: Well, you got Quincy Jones saying that the Beatles, Quincy
• 25:03
  Speaker 2: Jones is like one of the most legendary producers ever
• 25:07
  Speaker 2: in the history of music. He said in, I think
• 25:11
  Speaker 2: it was like 2017, in like a big, huge interview
• 25:15
  Speaker 2: for the New York Times or the Guardian, he said
• 25:17
  Speaker 2: that the Beatles were the worst musicians in the world.
• 25:21
  Speaker 1: That's exactly right. If you watch Peter Jackson's Get Back,
• 25:28
  Speaker 1: their recording of Abbey Road, supposedly, right? The entire movie
• 25:34
  Speaker 1: is them just playing around on their instruments, never actually
• 25:39
  Speaker 1: playing a song or anything, just.
• 25:42
  Speaker 1: You know, each one dicking around on whatever instrument they have.
• 25:45
  Speaker 1: And then... Then they have a two song concert on
• 25:52
  Speaker 1: the roof of the studio at the very end. And
• 25:55
  Speaker 1: so I was, I'd heard about this movie. I didn't
• 25:59
  Speaker 1: see it. I have seen it now. I thought about
• 26:02
  Speaker 1: if I was directing this concert, the only time that
• 26:07
  Speaker 1: they ever were in public, how would I, how would
• 26:10
  Speaker 1: I do it? So I don't reveal that Paul is
• 26:12
  Speaker 1: six foot three. And I said, okay, what I would
• 26:14
  Speaker 1: do is I put John and George, over on one
• 26:17
  Speaker 1: side together, because they're the same size. And then I
• 26:20
  Speaker 1: put Paul way over on the other side, and I'd
• 26:22
  Speaker 1: shoot Paul from below, looking up, so you can't tell
• 26:26
  Speaker 1: what his height is, right? I got that in my mind.
• 26:29
  Speaker 1: I turned it on. I watched it. It's exactly what
• 26:31
  Speaker 1: they did. Exactly what they did. They never show all
• 26:34
  Speaker 1: four of them, you know, with their heads all level
• 26:37
  Speaker 1: or whatever. You never see it. And so, you know,
• 26:43
  Speaker 1: the thing is, is that it's kind of all fame. Um,
• 26:47
  Speaker 1: actually I don't believe that Bob Dylan wrote thousand songs and,
• 26:54
  Speaker 1: you know, put out an album every four months and
• 26:57
  Speaker 1: had 12 songs on it that were all like, you know,
• 27:02
  Speaker 1: with lyrics and melodies and people don't do that. Bands
• 27:06
  Speaker 1: today don't put out 15 albums in five years. Uh, like, uh,
• 27:13
  Speaker 1: Who are they? Imagine Dragons. They put out, what, four
• 27:17
  Speaker 1: albums in 14 years. Four albums. They're turning out one
• 27:23
  Speaker 1: album every three years, right? That's more like the rate
• 27:26
  Speaker 1: that you should be producing your music. But in the 60s,
• 27:30
  Speaker 1: everybody was producing 8, 10, 15 albums. And it's just
• 27:35
  Speaker 1: not realistic. None of it was realistic.
• 27:38
  Speaker 2: And that's the thing, too, is like a lot of
• 27:40
  Speaker 2: these musicians that have died are more popular and more
• 27:43
  Speaker 2: famous and make more money than they did when they
• 27:45
  Speaker 2: were alive. Did you see this right here where Bob
• 27:49
  Speaker 2: Dylan just meets with Pope Leo here? It looks like
• 27:54
  Speaker 2: the Grim Reaper. You ever said Pope Leo looking like
• 27:58
  Speaker 2: the Grim Reaper?
• 27:59
  Speaker 1: Oh, that is funny.
• 28:03
  Speaker 2: This just was yesterday. This was Wednesday, November 4th.
• 28:07
  Speaker 1: Oh, Bob Dylan's lost about a foot of height. Looks like, whoa. Yeah,
• 28:15
  Speaker 1: he looks like, I don't know. He looks like a
• 28:18
  Speaker 1: little monster there.
• 28:22
  Speaker 2: Weird. He's looking like a, that's a dichotomy there. It's
• 28:27
  Speaker 2: a dualistic. You got the Pope all in white here,
• 28:30
  Speaker 2: and then you got Bob Dylan.
• 28:32
  Speaker 1: Bob Dylan admitted on 60 Minutes that he owed all
• 28:35
  Speaker 1: of his success to the devil. Remember? Yeah. Yeah. I mean,
• 28:39
  Speaker 1: that's famous. Famous. I mean, you know.
• 28:43
  Speaker 2: I mean, how many of these people have destiny switched
• 28:46
  Speaker 2: their best friends? You know what I mean? Like, there's
• 28:49
  Speaker 2: so many people in Hollywood that have become famous by
• 28:54
  Speaker 2: sacrificing and killing their best friends. I mean, that's kind
• 28:59
  Speaker 2: of like what happened with Lady Gaga. That's been reported
• 29:02
  Speaker 2: and rumored for a long time. She killed her best
• 29:05
  Speaker 2: friend to become famous.
• 29:07
  Speaker 1: Yeah, it's pretty strange, you know. As you know, I'm
• 29:15
  Speaker 1: heavily investigating Stanley Kubrick's Eyes Wide Shut right now. And
• 29:20
  Speaker 1: this whole idea of sacrificing, it's in Stanley's life. It's
• 29:28
  Speaker 1: not just in the movie Eyes Wide Shut. It's in
• 29:30
  Speaker 1: his life. And it's like you have to give something up.
• 29:36
  Speaker 1: in order to get there. And I think if they're
• 29:37
  Speaker 1: holding that on you, right? And that's why I'm not
• 29:42
  Speaker 1: going to get into that when I get sued. But yeah,
• 29:45
  Speaker 1: I think that this whole idea that you have to
• 29:48
  Speaker 1: sacrifice something to get ahead is, and they're probably filming it,
• 29:53
  Speaker 1: by the way, the event, right? Then they hold it
• 29:56
  Speaker 1: over you forever. Forever. And so we can see that, yeah,
• 30:00
  Speaker 1: Hollywood is just, it's over anyway. So it doesn't matter.
• 30:04
  Speaker 1: Hollywood is gone. It'll be gone very soon. They can't
• 30:08
  Speaker 1: make a good movie if they want to. I saw
• 30:13
  Speaker 1: Godzilla minus zero.
• 30:16
  Speaker 2: Oh, was that good?
• 30:22
  Speaker 1: You know, what's amazing about the Asian films, like the
• 30:26
  Speaker 1: Korean and the Japanese films, Not only are they better
• 30:29
  Speaker 1: than anything that Hollywood puts out, they don't give a
• 30:32
  Speaker 1: crap if they're politically correct at all. And they don't
• 30:35
  Speaker 1: give a crap if they just have all Japanese in
• 30:37
  Speaker 1: their movie and nobody else, right? And that's, they don't care.
• 30:42
  Speaker 1: They don't have any constrictions on what they have to
• 30:45
  Speaker 1: do story-wise. You don't have any, there's no gay characters
• 30:49
  Speaker 1: in them. There's, it's just regular people kind of doing
• 30:52
  Speaker 1: regular stuff. And, um, And they're not spending shitloads of
• 30:58
  Speaker 1: money on it or anything like that. Godzilla came in,
• 31:02
  Speaker 1: I don't know, like 25 million, right? Looks like it
• 31:04
  Speaker 1: cost 300 million, right? And so, yeah, I think that
• 31:09
  Speaker 1: we've lost our way. I think that the Asians are
• 31:11
  Speaker 1: taking over the movie market. I hate to say it. Also,
• 31:16
  Speaker 1: that other one, Hope, the Korean film. Hope, it's a
• 31:20
  Speaker 1: horror film. Really good movie. I'm sorry. It was hilarious.
• 31:25
  Speaker 1: I mean, they actually told intentional, humorous jokes in the
• 31:31
  Speaker 1: movie that were funny. And they did it right at
• 31:35
  Speaker 1: the tense moments, right? The perfect time to pull a
• 31:38
  Speaker 1: wacky joke, right, is right when everything's the most tense, right?
• 31:41
  Speaker 1: And it was perfect, perfect filmmaking. It made me sad.
• 31:45
  Speaker 1: I mean, I enjoyed the films immensely, but it made
• 31:47
  Speaker 1: me sad that the United States and Hollywood can't produce
• 31:51
  Speaker 1: even a movie like that anymore.
• 31:54
  Speaker 2: Yeah, there's a balance that you've got to do there
• 31:56
  Speaker 2: with putting comedy into serious movies, though, because sometimes it's
• 32:01
  Speaker 2: kind of like with the head of DC's Warner Brothers.
• 32:10
  Speaker 2: James Gunn. He does it too much to where it
• 32:13
  Speaker 2: undercuts the tension of the entire movie. So you have
• 32:17
  Speaker 2: this really deep and impactful scene, and then It's a joke.
• 32:23
  Speaker 2: And then it just cuts away all that tension. But
• 32:26
  Speaker 2: it can be done. It just has to be done
• 32:29
  Speaker 2: tastefully to where it doesn't take away from the actual
• 32:33
  Speaker 2: tension that you're really building.
• 32:36
  Speaker 1: The best example of that is Aliens 2 by James Cameron.
• 32:43
  Speaker 1: I can't remember the actor's name, but he's the Marine.
• 32:46
  Speaker 1: And as soon as things get as tense as they can,
• 32:49
  Speaker 1: he'll just say something that is so Wacky, funny. Right.
• 32:53
  Speaker 1: And then you start laughing because you're so relieved because
• 32:56
  Speaker 1: it's so tense that, you know, it causes you to
• 32:59
  Speaker 1: kick back a little bit, relax. Really hard to do. Man,
• 33:03
  Speaker 1: only the best directors can pull that crap off. It's
• 33:06
  Speaker 1: really hard.
• 33:08
  Speaker 2: I thought the new Resident Evil movie did it better
• 33:12
  Speaker 2: than a lot of the Marvel movies do now. Because
• 33:17
  Speaker 2: it's not after the... They do it before the tension
• 33:22
  Speaker 2: really starts. So it's like.
• 33:24
  Speaker 1: I don't know.
• 33:25
  Speaker 2: It's different.
• 33:27
  Speaker 1: I was going to see it. I think last night
• 33:29
  Speaker 1: I was going to watch it. I got sidetracked. But yeah,
• 33:32
  Speaker 1: I want to see the new one.
• 33:34
  Speaker 2: I watched Back Rooms recently. I just finished it.
• 33:38
  Speaker 1: Yeah, I like that movie a lot, actually. It was
• 33:42
  Speaker 1: really good.
• 33:43
  Speaker 2: I really liked it. The ending was kind of like,
• 33:45
  Speaker 2: it was an interesting ending, but that's kind of how
• 33:48
  Speaker 2: you end a really artsy type of ambitious movie.
• 33:55
  Speaker 1: Certainly ambitious. That's the best word I would give it, man.
• 33:58
  Speaker 1: For a young, what, 21-year-old? That's kind of amazing, actually.
• 34:03
  Speaker 1: So two big horror films of the year. or Obsession? No. Yeah, Obsession.
• 34:12
  Speaker 1: Obsession and Back Rooms, and they're both written and produced
• 34:16
  Speaker 1: and directed by kids, practically, right? And they're both really good.
• 34:23
  Speaker 1: Both done a pretty low budget, even Back Rooms with
• 34:25
  Speaker 1: 10 million, but still looked like it was 100 million.
• 34:28
  Speaker 1: And weren't made in Hollywood, weren't made by Hollywood people.
• 34:36
  Speaker 1: No big famous actors in them. It spells the end.
• 34:41
  Speaker 1: That spells the end right there.
• 34:44
  Speaker 2: Yeah, I would definitely agree. I really liked both of
• 34:47
  Speaker 2: those films. But I hope that Hollywood doesn't continuously just...
• 34:52
  Speaker 2: Because Steven Spielberg is now... talking about doing one of
• 34:57
  Speaker 2: these internet adaptation movies. And it's like, well, you know,
• 35:02
  Speaker 2: you can only kind of do this if you're getting
• 35:04
  Speaker 2: the person that created the weird and strange content to
• 35:07
  Speaker 2: do it. If you're just trying to adapt something from
• 35:10
  Speaker 2: a well-known film director that doesn't know anything about the
• 35:14
  Speaker 2: lore of the thing that was created online. I don't
• 35:16
  Speaker 2: know how well that's going to turn out. We kind
• 35:18
  Speaker 2: of seen that with, that really crappy Slender Man movie
• 35:22
  Speaker 2: that came out like three or four years ago, five
• 35:25
  Speaker 2: years ago, which was based on internet lore, you know,
• 35:28
  Speaker 2: so they did the right things with back rooms because
• 35:32
  Speaker 2: the guy that made back rooms was pretty much the
• 35:34
  Speaker 2: creator of the back rooms phenomena online on YouTube.
• 35:40
  Speaker 1: Yeah. Well, Hollywood will try to take it up, but
• 35:43
  Speaker 1: they'll screw it up. And Hollywood just doesn't take risks anymore.
• 35:47
  Speaker 1: That's the problem. Uh, You have to, you know, older films,
• 35:52
  Speaker 1: they took risks. They would take big risks and they,
• 35:55
  Speaker 1: they don't always pay off. In fact, nine out of
• 35:58
  Speaker 1: 10 risks are failures, but that one pays for all
• 36:00
  Speaker 1: the rest and Hollywood lost their way in that formula.
• 36:04
  Speaker 1: And so they just don't, the people that are running
• 36:07
  Speaker 1: Hollywood are not risk takers. They just want to make sequels, bestsellers,
• 36:11
  Speaker 1: anything that's got a proven track record they'll, they'll do.
• 36:15
  Speaker 1: And then here you take back rooms and possession and,
• 36:18
  Speaker 1: obsession and have no real business model that would say
• 36:26
  Speaker 1: that they're going to be successful, yet they were. And
• 36:29
  Speaker 1: that's because the filmmakers were taking huge amounts of risks.
• 36:33
  Speaker 1: And that's what you have to do. Filmmaking is like
• 36:38
  Speaker 1: rock climbing. It's dangerous. And you ought to be watching
• 36:42
  Speaker 1: yourself every time. So if you're not going to take
• 36:45
  Speaker 1: the risks, you're never going to make a good film.
• 36:48
  Speaker 1: That's just the way it is. So it's time for
• 36:52
  Speaker 1: us to take movies locally. You can make a movie
• 36:56
  Speaker 1: in your own town now. There's nothing that Hollywood gives
• 37:00
  Speaker 1: you that you need anymore. There's nothing in Hollywood anymore.
• 37:06
  Speaker 2: They don't even make movies in Hollywood anymore, which is insane, insanity.
• 37:11
  Speaker 2: Did you like Disclosure Day? Did you watch it?
• 37:15
  Speaker 1: I haven't seen it. I want to see it, but
• 37:18
  Speaker 1: I haven't seen it. Yeah, I haven't liked Spielberg since
• 37:22
  Speaker 1: A Minority Report. I haven't liked any of his films,
• 37:25
  Speaker 1: so I'm kind of reticent to waste my time watching
• 37:28
  Speaker 1: another Spielberg film.
• 37:30
  Speaker 2: You didn't like Ready Player One? I know the Ready
• 37:32
  Speaker 2: Player One was all CGI and everything, but I thought
• 37:35
  Speaker 2: it was pretty... You didn't like the shining scene in
• 37:37
  Speaker 2: Ready Player One?
• 37:38
  Speaker 1: I did like that.
• 37:40
  Speaker 2: Yeah, that's cool.
• 37:42
  Speaker 1: That was pretty funny. Yeah. Yeah, no, I... Yeah, just
• 37:46
  Speaker 1: Spielberg seems to have lost his touch, you know? I
• 37:50
  Speaker 1: have to agree with Tarantino in a certain way. Because
• 37:54
  Speaker 1: filmmaking is so physical, you know, it's hard to make
• 37:57
  Speaker 1: films after you're 60. That's what he said. And he's
• 38:01
  Speaker 1: having trouble making a film after he turns 62. 60 also,
• 38:05
  Speaker 1: I should say. And so I think there is some
• 38:08
  Speaker 1: truth to that, but it's not always the truth. There
• 38:11
  Speaker 1: have been really good films made by older people. I mean, Kurosawa...
• 38:16
  Speaker 1: made four or five really good films, and he was
• 38:18
  Speaker 1: in his 70s and 80s. So it is possible. It's
• 38:22
  Speaker 1: just that Spielberg has such a juvenile view of the
• 38:30
  Speaker 1: world that he can't make a serious movie. That's my
• 38:35
  Speaker 1: problem with him. It seems impossible for him to make
• 38:40
  Speaker 1: a real serious movie. And that's why I've always kind
• 38:45
  Speaker 1: of don't like him I mean, I can't say that
• 38:49
  Speaker 1: any of his films are in my top 10 for sure.
• 38:53
  Speaker 2: No, there's not any that's in my top 10 either.
• 38:55
  Speaker 2: And that's kind of evident with Disclosure Day because it's
• 38:58
  Speaker 2: a really serious toned movie, but then he puts CGI
• 39:03
  Speaker 2: animals and throws CGI animals inside of the movie that
• 39:08
  Speaker 2: are clearly not real animals. So it's like, yeah, I
• 39:12
  Speaker 2: agree with that. Even the serious ones, he tries to
• 39:15
  Speaker 2: cartoon up. Yeah, if you.
• 39:18
  Speaker 1: Actually watch Schindler's List, the ending, where Liam Neeson's like, oh,
• 39:23
  Speaker 1: I wish I could have saved her more. He's crying
• 39:26
  Speaker 1: and everything. It's so corny. It's just. so corny. I
• 39:31
  Speaker 1: can't believe it. I watched it the other day, just
• 39:33
  Speaker 1: the ending, because I wanted to remember what it was like.
• 39:36
  Speaker 1: And I was like, oh, my God. This is just...
• 39:40
  Speaker 1: So he can't be... Even when he's serious, it comes
• 39:43
  Speaker 1: off juvenile. You know? So he's just better when he's
• 39:46
  Speaker 1: just doing dinosaur movies or something, because... Then, you know,
• 39:49
  Speaker 1: it doesn't matter. I will say, though, that as far
• 39:54
  Speaker 1: as blocking, blocking is how you move your camera around
• 40:00
  Speaker 1: and your actors around. Spielberg is really good at that.
• 40:04
  Speaker 1: And that is a art form that very few directors
• 40:07
  Speaker 1: ever get good at. So he is good at that.
• 40:09
  Speaker 1: I give him that.
• 40:12
  Speaker 2: Okay, so we talked about John Lennon and the Beatles.
• 40:17
  Speaker 2: I want to talk about one of the person that
• 40:20
  Speaker 2: has been rumored to something really weird and strange happened
• 40:24
  Speaker 2: with him, which I didn't get to talk about the
• 40:27
  Speaker 2: other day with Chris Matthew, is Elvis. What do you
• 40:31
  Speaker 2: think happened with Elvis? There's been rumors that Elvis has
• 40:37
  Speaker 2: faked his death for a really long time or that
• 40:39
  Speaker 2: he was murdered or that he was killed? What do
• 40:42
  Speaker 2: you think happened?
• 40:43
  Speaker 1: Well, first off, Elvis had an identical twin, right? He
• 40:48
  Speaker 1: was born with an identical twin who they say died
• 40:52
  Speaker 1: at birth, right? It's well known that identical twins are
• 41:00
  Speaker 1: identified by the CIA and the intelligence agencies. Every identical twin...
• 41:07
  Speaker 1: So two boys or two girls is immediately identified in
• 41:12
  Speaker 1: profiles because they use them. They use them like magicians
• 41:15
  Speaker 1: use twins. They, you know, the girl is in the
• 41:20
  Speaker 1: box and then she disappears. Then second later, she's up
• 41:23
  Speaker 1: in the balcony, right? That's a twin. That's how they
• 41:27
  Speaker 1: fake the trick. And CIA uses twins all the time
• 41:31
  Speaker 1: for various operations and everything. And I think that... Elvis
• 41:39
  Speaker 1: died at 42. He was immensely fat. So that is
• 41:45
  Speaker 1: one of the reasons that people think that he died.
• 41:48
  Speaker 1: But I think that he faked his death to get
• 41:54
  Speaker 1: away from his manager, who is a cruel bastard and
• 41:58
  Speaker 1: also part of a mob. And I think he faked it.
• 42:02
  Speaker 1: And I think that the reason that Michael Jackson married
• 42:08
  Speaker 1: his daughter was because Michael Jackson was trying to find
• 42:11
  Speaker 1: a way out and wanted to know what he did.
• 42:15
  Speaker 1: And I've come since I looked into all these kind
• 42:19
  Speaker 1: of strange fake deaths. I've come to find out through
• 42:23
  Speaker 1: a computer with his friend of mine that, um, who
• 42:27
  Speaker 1: frequently goes on the dark web using burners, right? Uh,
• 42:31
  Speaker 1: I will never go on the dark web. So don't
• 42:33
  Speaker 1: look at me FBI. I'll never do that. I know
• 42:35
  Speaker 1: you're watching me, but, um, He said on the dark
• 42:39
  Speaker 1: web for $ 250, 000, there's a company that will first move
• 42:45
  Speaker 1: all of your money and assets, right? So it all
• 42:48
  Speaker 1: looks legit. They move it to somewhere, I don't know where,
• 42:52
  Speaker 1: then they move you and you fake your debt. And
• 42:56
  Speaker 1: there's a lot of this going on. I don't know,
• 42:59
  Speaker 1: you're probably too young, but when, not Exxon, what's it called? Enron.
• 43:05
  Speaker 1: The Enron Oil Corporation was discovered to have been embezzling
• 43:09
  Speaker 1: billions of dollars, the president of Enron got on trial,
• 43:14
  Speaker 1: got found guilty, was sentenced to more years than he
• 43:18
  Speaker 1: had lived. He was in his 50s, so it was
• 43:20
  Speaker 1: like he would be dead before he ever got to
• 43:23
  Speaker 1: the sentence thing. And he was going to go to
• 43:26
  Speaker 1: jail on a Monday, and, huh, L.A.D., Sunday night, died
• 43:31
  Speaker 1: of a heart attack. And, you know, and there's a
• 43:35
  Speaker 1: lot of that that goes on. And You know, I've
• 43:38
  Speaker 1: been also told that there's a pill that the CIA
• 43:41
  Speaker 1: gives you that will completely make you look like you're
• 43:44
  Speaker 1: dead for three days. So how long would it take?
• 43:47
  Speaker 1: Not long. You know, and the other thing you have
• 43:50
  Speaker 1: to look at is closed caskets, right? So Kennedy had
• 43:56
  Speaker 1: a closed casket. Elvis had a closed casket. Michael Jackson
• 43:59
  Speaker 1: had a closed casket. You know, you look at the
• 44:01
  Speaker 1: closed caskets and then you get to know kind of
• 44:04
  Speaker 1: what's really gone. And again, these guys all have doubles.
• 44:11
  Speaker 1: All right. They've all got doubles. President of the United
• 44:13
  Speaker 1: States has a double. Okay. Every president has a double.
• 44:19
  Speaker 1: Every famous singer has a double. Just so they can
• 44:23
  Speaker 1: move around easily. So how hard would it have been
• 44:26
  Speaker 1: to just hide the fact that Elvis had a twin brother?
• 44:30
  Speaker 1: There's a senator from Washington State and her name is
• 44:33
  Speaker 1: Patty Murray. Patty Murray is an identical twin. Patty Murray,
• 44:37
  Speaker 1: because I had a radio show in Seattle at the
• 44:40
  Speaker 1: time that she ran for senator and I was covering
• 44:44
  Speaker 1: politics at the time. She appeared at the same exact
• 44:48
  Speaker 1: time at noon on the same day in Spokane, Washington,
• 44:52
  Speaker 1: and in Seattle, Washington, which were 300 miles apart. Right.
• 44:56
  Speaker 1: So I clearly realized at that moment that her twin
• 44:58
  Speaker 1: was campaigning for her, that they were doing double duty.
• 45:02
  Speaker 1: And she probably, you know, serves in the Senate for her.
• 45:05
  Speaker 1: And everything. So never underestimate the power of identical twins.
• 45:10
  Speaker 1: They're incredibly useful.
• 45:15
  Speaker 2: Well, it's interesting that you bring up this fact of
• 45:17
  Speaker 2: Elvis faking his death and then Michael Jackson marrying Elvis's
• 45:21
  Speaker 2: daughter to figure out how he did it and everything,
• 45:24
  Speaker 2: because I 100% believe that Michael Jackson did. something weird
• 45:28
  Speaker 2: happened with Michael Jackson. I mean, there was a phone
• 45:31
  Speaker 2: call that happened with him and his manager where he
• 45:34
  Speaker 2: was like, they want to kill me. They could stab me.
• 45:36
  Speaker 2: They could shoot me. They can make it look like
• 45:38
  Speaker 2: I OD'd. So obviously somebody wanted him dead. And it
• 45:42
  Speaker 2: was more than likely these high up music, uh, producers
• 45:47
  Speaker 2: that wanted him dead. Cause he had one of the
• 45:48
  Speaker 2: biggest music catalogs ever. It wasn't just the Beatles. Now
• 45:52
  Speaker 2: people like to, you know, say, Oh, it was, he
• 45:54
  Speaker 2: had the Beatles catalog that he had, uh, hundreds of
• 45:57
  Speaker 2: thousands of people's music, the rights to a lot of artists.
• 46:02
  Speaker 2: It wasn't just the Beatles. He had the biggest catalog,
• 46:06
  Speaker 2: so big that he went into a partnership with Sony
• 46:12
  Speaker 2: for the distribution of his music catalog. And then when
• 46:15
  Speaker 2: you look at this, do you remember that video that
• 46:18
  Speaker 2: showed Michael Jackson getting out of the back of the corners, man. Here, actually,
• 46:23
  Speaker 2: it is. Let's play it really quickly because I was
• 46:25
  Speaker 2: talking about this the other day, too, but no one
• 46:27
  Speaker 2: actually got to see the actual footage. Here he is.
• 46:44
  Speaker 2: You're going to see him pop out. There is.
• 46:50
  Speaker 1: Yep.
• 46:53
  Speaker 2: That was him.
• 46:54
  Speaker 1: You want to know the irony of this whole thing?
• 46:56
  Speaker 1: Are we talking about his music library? How valuable it was?
• 47:00
  Speaker 1: You know who told Michael Jackson to buy the Beatles library?
• 47:06
  Speaker 1: The fake Paul. They did Ebony and Ivory together. Remember
• 47:12
  Speaker 1: that recording? Ebony and Ivory. And in that recording session,
• 47:16
  Speaker 1: he said that our catalog is up for sale. And
• 47:20
  Speaker 1: Michael went right out and bought it. What was he doing?
• 47:27
  Speaker 1: He didn't write any of those songs. Elder Paul did, right?
• 47:36
  Speaker 1: Paul's family was receiving that money, not fake Paul. So
• 47:41
  Speaker 1: he didn't give a crap and everybody got mad at
• 47:43
  Speaker 1: him and said, why'd you do that? Why'd you do that?
• 47:45
  Speaker 1: And George wouldn't talk to him ever again. And Ringo
• 47:48
  Speaker 1: wouldn't talk to him ever again. And because George and
• 47:51
  Speaker 1: Ringo songs got sold too. Wow.
• 47:58
  Speaker 2: That is a huge connection between all of those, the Beatles,
• 48:01
  Speaker 2: Michael Jackson, Elvis. That is a, that is a trifecta.
• 48:06
  Speaker 1: It absolutely is. And, um, And yeah, so then Michael Jackson,
• 48:14
  Speaker 1: I wondered, he must have given that, what, to his family, right?
• 48:17
  Speaker 1: Or somebody, his collection, right? Do we know?
• 48:22
  Speaker 2: Yeah, I think half of it went to the Michael
• 48:25
  Speaker 2: Jackson estate. And then I think possibly the other, don't
• 48:30
  Speaker 2: quote me on it. Someone could tell me in the comments,
• 48:33
  Speaker 2: but I believe that the other half of it went
• 48:35
  Speaker 2: to Sony as well.
• 48:37
  Speaker 1: Or a different music distribution.
• 48:39
  Speaker 2: So, but I'm pretty sure that the estate got quite
• 48:43
  Speaker 2: a bit of it, but not all of it.
• 48:45
  Speaker 1: So then somebody had motive.
• 48:50
  Speaker 2: Well, and then when you think about it, like Michael
• 48:51
  Speaker 2: Jackson has made more money, uh, being probably being dead then. Well,
• 48:57
  Speaker 2: I mean, he was really famous. He was probably the
• 48:59
  Speaker 2: most famous person ever, but I think that this is,
• 49:03
  Speaker 2: this is what happens whenever you get too out of control.
• 49:08
  Speaker 2: Whenever you get too much power and you get too popular,
• 49:13
  Speaker 2: they have to do something to, to bring you down. Right.
• 49:16
  Speaker 2: They have to, and that's where a lot of the
• 49:19
  Speaker 2: allegations came from where he was you know messing around
• 49:22
  Speaker 2: with children that was to bring him down because he
• 49:25
  Speaker 2: was getting too much power right and the thing about
• 49:29
  Speaker 2: the Beatles what got them broken up was the murder
• 49:32
  Speaker 2: and assassination of John Lennon right and So it's like
• 49:35
  Speaker 2: they kill people. They try and destroy their character. First,
• 49:39
  Speaker 2: they try and destroy their character. And if they can't
• 49:41
  Speaker 2: do that, then they end up trying to kill them.
• 49:44
  Speaker 2: And then if the person is actually smart, then they
• 49:47
  Speaker 2: will try and figure out a way to get out
• 49:48
  Speaker 2: from underneath it. And that's what I think that happened
• 49:50
  Speaker 2: with Michael Jackson. He was like, all right, let's figure
• 49:53
  Speaker 2: out how to get out from underneath this musical mob.
• 49:56
  Speaker 2: The only way that I know how to do this
• 49:58
  Speaker 2: is fake it.
• 50:00
  Speaker 1: I was worried about, frankly, at the end there, I
• 50:02
  Speaker 1: thought you better shut up, dude. You can't say this
• 50:05
  Speaker 1: stuff in public. I said, isn't your manager telling you,
• 50:08
  Speaker 1: you can't say this. These people are serious, dude. I mean,
• 50:13
  Speaker 1: and you know, their fingerprints are all over the whole thing.
• 50:16
  Speaker 1: And yeah, I think that he faked his death and
• 50:18
  Speaker 1: I don't blame him. And, uh, you know, I think,
• 50:22
  Speaker 1: I think Jim Jones of Jonestown faked his death.
• 50:25
  Speaker 2: I think, um, that was 100% some kind of CIA
• 50:30
  Speaker 2: operation for sure. And he also had body doubles as well.
• 50:33
  Speaker 2: There were more than three to five different, uh, Jim Jones,
• 50:37
  Speaker 2: body doubles walking around.
• 50:39
  Speaker 1: There's a PDF. It's free on, uh, on the internet.
• 50:42
  Speaker 1: It's called was Jonestown, a CIA medical experiment written by
• 50:47
  Speaker 1: an Oxford professor. It is hands down. One of the
• 50:52
  Speaker 1: most terrifying things I've ever read in my life. And, uh,
• 50:57
  Speaker 1: It was a mind control experiment. It was an MKUltra experiment.
• 51:01
  Speaker 1: Can you get people to believe in you so fervently
• 51:05
  Speaker 1: that you'll give them cyanide-laced Kool-Aid and they will drink
• 51:09
  Speaker 1: it because you told them to drink it? And it worked.
• 51:13
  Speaker 1: It worked. And, you know, the whole thing is just
• 51:17
  Speaker 1: so fraught with... So, Jonestown is one of my favorite
• 51:23
  Speaker 1: subjects because what happened is, is that The CIA targeted
• 51:28
  Speaker 1: San Francisco in the late 60s because it was a
• 51:31
  Speaker 1: very troubled city, hippies and all the other stuff going on.
• 51:36
  Speaker 1: And they targeted them with a group of terrorists called
• 51:41
  Speaker 1: the SLA who kidnapped Patty Hearst, who is Randolph Hearst,
• 51:46
  Speaker 1: the publisher of the San Francisco Chronicle's daughter. And she
• 51:51
  Speaker 1: then got radicalized by them, which is, again, another MKUltra operation.
• 51:55
  Speaker 1: Patty Hearst becoming a radical, being taken by radicals and
• 51:59
  Speaker 1: then becoming a radical. That was, again, another experiment. And
• 52:03
  Speaker 1: then Jim Jones enters into the San Francisco scene, starts
• 52:09
  Speaker 1: an all-black church in the town, and then moves everybody
• 52:15
  Speaker 1: to Jonestown, Guyana, because the CIA is coming to kill him.
• 52:22
  Speaker 1: And then we have that experiment. And so the whole,
• 52:25
  Speaker 1: and then after Jonestown, right after Jonestown, a congressman named
• 52:30
  Speaker 1: Dan White snuck into the Capitol building and killed another
• 52:37
  Speaker 1: city councilman. I meant to say councilman, killed city councilman
• 52:41
  Speaker 1: and the mayor, like three days after Jonestown. It's like, what?
• 52:47
  Speaker 1: What's going on here? And I believe that it was a,
• 52:51
  Speaker 1: The whole thing was an MKUltra operation that was designed
• 52:55
  Speaker 1: to destroy the anti-war movement, essentially.
• 53:01
  Speaker 2: Well, not only that, there were several newspaper and news
• 53:06
  Speaker 2: outlets questioning the death of Jim Jones and also questioning,
• 53:11
  Speaker 2: I mean, the People's Temple members came out and said
• 53:13
  Speaker 2: that he was having body doubles around him like all
• 53:17
  Speaker 2: the time. And they were questioning, it was the New
• 53:20
  Speaker 2: York Daily News talked about it. Where was it that
• 53:27
  Speaker 2: you just said? San Francisco Times also talked about it.
• 53:31
  Speaker 2: There were newspaper headlines all over the place. Oakland Tribune,
• 53:35
  Speaker 2: the delts about Jim Morrison's death, you know?
• 53:38
  Speaker 1: So it's like. Yep. So that's what Jim Jones would
• 53:42
  Speaker 1: dye his hair jet black and wear sunglasses. Why? So
• 53:45
  Speaker 1: that when he made his escape and get rid of
• 53:47
  Speaker 1: the dye, get rid of the sunglasses, you can't tell
• 53:50
  Speaker 1: who he is. And, you know, he even staged an
• 53:55
  Speaker 1: incident where one of his body doubles got arrested. And
• 53:58
  Speaker 1: so that became the fingerprints. So that was that body
• 54:02
  Speaker 1: double that died in Jonestown while Jim got out of
• 54:05
  Speaker 1: there after getting, you know, his experiment done. And so
• 54:10
  Speaker 1: the congressman that they killed at Jonestown was investigating the
• 54:13
  Speaker 1: CIA and MKUltra. And he got killed. So these are
• 54:19
  Speaker 1: all related.
• 54:20
  Speaker 2: Well, if the federal investigators did any kind of investigation
• 54:27
  Speaker 2: like they did on the Charlie Kirk assassination, then you
• 54:30
  Speaker 2: know that that wasn't Jim Jones that died. You can
• 54:33
  Speaker 2: get the person up there at the Charlie Kirk assassination.
• 54:35
  Speaker 2: How did you know that this was Tyler Robinson's vehicle?
• 54:39
  Speaker 2: The look of the tires... Oh, Lance twigs. How do
• 54:42
  Speaker 2: you know that this was a Tyler Robinson in this
• 54:45
  Speaker 2: photograph and in the footage that was around campus? Oh, well,
• 54:48
  Speaker 2: he was Tyler liked to wear a hat and he's
• 54:51
  Speaker 2: got shoes on and a pair of jeans. This guy's
• 54:55
  Speaker 2: got jeans on. It's gotta be Tyler Robinson. So whenever
• 55:00
  Speaker 2: they're looking in at Jim Jones, they're probably like, does
• 55:04
  Speaker 2: he have black hair? Does he have sunglasses on? Well,
• 55:06
  Speaker 2: that's Jim Jones.
• 55:09
  Speaker 1: Don't argue with him. Come on. Yeah. I mean, you
• 55:18
  Speaker 1: can always tell a lot of times that you're dealing
• 55:21
  Speaker 1: with the MKUltra because they choose to present themselves in
• 55:25
  Speaker 1: unusual ways. And the reason they're doing that is because
• 55:28
  Speaker 1: when they make their escape, they change the way they look,
• 55:33
  Speaker 1: the unusual way they look and begin to look normal again.
• 55:36
  Speaker 1: So Hitler, all he had to do was shave off
• 55:39
  Speaker 1: that stupid mustache and nobody would recognize him. Because that's
• 55:42
  Speaker 1: the only thing you see when you look at Hitler
• 55:43
  Speaker 1: is that dumb mustache, right? And so as soon as
• 55:47
  Speaker 1: he took it off, who are you? I don't know you. So,
• 55:52
  Speaker 1: you know, they do that all the time. It's one
• 55:55
  Speaker 1: of the trademarks of the MKUltra personality shifts.
• 56:01
  Speaker 2: Well, also too, if you believe that someone is dead,
• 56:05
  Speaker 2: your mind is not going to be looking for them, right?
• 56:07
  Speaker 2: So whenever it was announced that, you know, Hitler had
• 56:11
  Speaker 2: died in Berlin and the bunker, nobody's really going to
• 56:15
  Speaker 2: be looking for Hitler, right? Like no one's going to
• 56:18
  Speaker 2: be looking for Michael Jackson because it's been announced that
• 56:21
  Speaker 2: Michael Jackson is dead. No one's going to be looking
• 56:23
  Speaker 2: for Elvis because it's been announced that Elvis is dead, right?
• 56:27
  Speaker 2: It's kind of like also with, you know, Within the
• 56:30
  Speaker 2: context of that, like if you're at a grocery store,
• 56:34
  Speaker 2: you're not looking for Leonardo DiCaprio, right? You're not looking
• 56:38
  Speaker 2: for someone famous inside of a grocery store because your
• 56:42
  Speaker 2: mind isn't trained to think that somebody famous is going
• 56:45
  Speaker 2: to be inside of the grocery store, even though they might.
• 56:47
  Speaker 2: I've probably missed a lot of. famous people inside of
• 56:52
  Speaker 2: places in public being in California that nobody knows who
• 56:56
  Speaker 2: they are because you're not thinking that you're going to
• 56:59
  Speaker 2: run into anybody famous, right? So you're minded on that.
• 57:02
  Speaker 2: I actually had that happen to me.
• 57:06
  Speaker 1: I was in my little small town and decided to
• 57:09
  Speaker 1: go to this restaurant that just opened for breakfast and
• 57:12
  Speaker 1: walked in there and I walked right past this table
• 57:14
  Speaker 1: with this couple sitting there and I thought to myself,
• 57:17
  Speaker 1: I'm not going to say his name. He's a famous writer. Right?
• 57:20
  Speaker 1: I look at him and go, dang, that guy looks
• 57:23
  Speaker 1: just like blah, blah, right? And I sat down and
• 57:26
  Speaker 1: 10 feet away at another table and I said, I
• 57:31
  Speaker 1: can't be because why would he be in this small town, right?
• 57:34
  Speaker 1: So then I just started ordering my food and all
• 57:36
  Speaker 1: of a sudden I look over and the girl that
• 57:39
  Speaker 1: he's with goes, Jay Weidner. And I go, what? And
• 57:44
  Speaker 1: then I realized that it was his wife who I
• 57:46
  Speaker 1: knew And it really was him. I was like, oh
• 57:49
  Speaker 1: my God. Right. So, you know, yeah, you can, you
• 57:54
  Speaker 1: can look right at somebody who's famous and not even
• 57:56
  Speaker 1: see them.
• 57:59
  Speaker 2: 100%. Now for one of the last people that I
• 58:02
  Speaker 2: want to talk with you about is, I mean, there's
• 58:04
  Speaker 2: so many more that we can get into, but Jim Morrison,
• 58:09
  Speaker 2: what do you think happened with Jim Morrison? Do you
• 58:11
  Speaker 2: think that that was some kind of fake death? I mean,
• 58:14
  Speaker 2: we know that there's, A lot of the theories about
• 58:17
  Speaker 2: him being Rush Limbaugh and all of that. What do
• 58:21
  Speaker 2: you think is going on?
• 58:22
  Speaker 1: That's funny. That is really funny. He does look like
• 58:27
  Speaker 1: Rush Limbaugh now that I think about it. And they
• 58:31
  Speaker 1: would be the same age. Both 1951. Wow. I haven't
• 58:36
  Speaker 1: heard a lot about that. Yeah, I know he faked
• 58:40
  Speaker 1: his death because nobody at 27 years old buys a grave.
• 58:43
  Speaker 1: I actually bought it at 26 years old. So you're
• 58:47
  Speaker 1: 26 and the last thing you're thinking about is your death.
• 58:49
  Speaker 1: You think you're going to live forever and you're not
• 58:52
  Speaker 1: going to be prepping it. No, he did buy it
• 58:54
  Speaker 1: in a famous graveyard where all those poets are buried.
• 58:57
  Speaker 1: So I think that's why he bought the graveyard was
• 59:02
  Speaker 1: because he was going to fake his death. And his
• 59:03
  Speaker 1: girlfriend followed, But a few months later, she died or
• 59:08
  Speaker 1: supposedly died. And, you know, this is very similar to
• 59:12
  Speaker 1: the Kennedy assassination with what's-her-name dying, you know, a few
• 59:16
  Speaker 1: months after Kennedy died. And they're, you know, really heavy lovers,
• 59:21
  Speaker 1: which we show in JFKX. And so, yeah, I think
• 59:24
  Speaker 1: that Jim Morrison was trying to get away from the mob.
• 59:28
  Speaker 1: He went to Paris. He didn't literally break up with
• 59:32
  Speaker 1: the Doors. He just stopped recording with them for a while.
• 59:36
  Speaker 1: Never officially broke up with them as far as I know.
• 59:39
  Speaker 1: But he went to Paris to get away from the
• 59:41
  Speaker 1: mob who had set him up on a number of
• 59:46
  Speaker 1: times because he was saying stuff in concert that you're
• 59:49
  Speaker 1: not supposed to say. And so they set him up
• 59:52
  Speaker 1: with the bust in Florida and he almost went to
• 59:56
  Speaker 1: prison there and They were closing in on Jim Morrison. And,
• 1:00:00
  Speaker 1: you know, his dad was Admiral Morrison, caused the Gulf
• 1:00:05
  Speaker 1: of Tonkin incident, which started the Vietnam War. Jim Morrison,
• 1:00:10
  Speaker 1: like six months before the doors came out, was a
• 1:00:13
  Speaker 1: clean cut kid from Florida. Was it an ad or something?
• 1:00:19
  Speaker 1: Famous ad where he's a young, handsome guy. Again, just
• 1:00:24
  Speaker 1: like Elvis, he started getting out of shape right before
• 1:00:27
  Speaker 1: Everything went to hell. And his whole story is just weird, man,
• 1:00:33
  Speaker 1: because he shows up in L.A. with all of his
• 1:00:36
  Speaker 1: songs already written. That's what Ray Manzari, the keyboardist of
• 1:00:41
  Speaker 1: The Door, said. They met at UCLA Film School, and
• 1:00:46
  Speaker 1: Morrison showed him his notebook, and he had all the
• 1:00:49
  Speaker 1: songs all written that were on all six albums. They're
• 1:00:52
  Speaker 1: already got there. As if, you know, just weird. And
• 1:01:00
  Speaker 1: he really wasn't a singer. He didn't have any history
• 1:01:02
  Speaker 1: of singing. He doesn't, you know, he's not really a
• 1:01:05
  Speaker 1: very good singer, to be honest with you. And I
• 1:01:10
  Speaker 1: just don't know. Yeah. He's a strange guy. And that's
• 1:01:16
  Speaker 1: funny about Rush Limbaugh. He really is. Another one tonight.
• 1:01:22
  Speaker 2: Think that might be really strange is kind of like
• 1:01:24
  Speaker 2: with along the lines of michael jackson too was uh
• 1:01:28
  Speaker 2: prince as well because in the same way that michael
• 1:01:33
  Speaker 2: jackson was calling out the music industry and saying that
• 1:01:35
  Speaker 2: they were doing all making things really rough on him
• 1:01:38
  Speaker 2: prince was almost like verbatim doing the exact same thing.
• 1:01:43
  Speaker 1: Yeah he was at war almost his whole career with
• 1:01:46
  Speaker 1: the record companies i mean look at it he had
• 1:01:49
  Speaker 1: to change his name they kept his name he He
• 1:01:52
  Speaker 1: had to change his artist name and he was at
• 1:01:55
  Speaker 1: war and he was causing them big problems and he
• 1:01:59
  Speaker 1: was so frigging talented that they didn't know what to
• 1:02:02
  Speaker 1: do with him. And I think he probably faked his death.
• 1:02:06
  Speaker 1: There are some indications in some of his songs that
• 1:02:11
  Speaker 1: he may have done that. Here's the thing. Every young
• 1:02:18
  Speaker 1: guy and woman thinks that they're going to become a
• 1:02:21
  Speaker 1: big star and they're going to get involved in the
• 1:02:24
  Speaker 1: record business or in the movie business. And they get
• 1:02:27
  Speaker 1: in there and for about a month or so, it's
• 1:02:30
  Speaker 1: really fun. And then reality settles in and they realize
• 1:02:34
  Speaker 1: that they really can't do what they want to do,
• 1:02:36
  Speaker 1: that they have to do what they're told and they
• 1:02:38
  Speaker 1: have to have a certain look in a certain way
• 1:02:40
  Speaker 1: about them. And, you know, it's not fun. It's not fun.
• 1:02:46
  Speaker 1: I've known people who rose up high in the music
• 1:02:49
  Speaker 1: business And they don't, they're miserable. They're frigging miserable. And,
• 1:02:54
  Speaker 1: you know, they try to quit and they can't. So
• 1:03:00
  Speaker 1: you go endlessly like Bob Dylan now and he's like
• 1:03:03
  Speaker 1: 85 years old and still has to play and sing
• 1:03:07
  Speaker 1: and make political statements and meet the Pope and do
• 1:03:10
  Speaker 1: all this stuff. You want to stay home and his
• 1:03:13
  Speaker 1: house in Malibu, you know, but he's turned into a,
• 1:03:19
  Speaker 1: He turned into, late in life, he turned into a creep.
• 1:03:25
  Speaker 1: That's all I can tell you. I have personal stories
• 1:03:28
  Speaker 1: of people who have interacted with him. And he may
• 1:03:31
  Speaker 1: have been a nice guy early in life, but later
• 1:03:33
  Speaker 1: in life, he was not a nice guy.
• 1:03:37
  Speaker 2: You know who's another one too is Britney Spears. I
• 1:03:40
  Speaker 2: think something happened to her. I think that she was
• 1:03:44
  Speaker 2: probably replaced around 2010. One of the people that was
• 1:03:51
  Speaker 2: her ex, well, a person that she was supposed to
• 1:03:54
  Speaker 2: get married to was her high school sweetheart basically said that.
• 1:03:59
  Speaker 2: He was like, they replaced her. They made her somebody else.
• 1:04:04
  Speaker 2: I turned her into somebody. And then she, he went
• 1:04:06
  Speaker 2: into like crash or, uh, her wedding that she had
• 1:04:10
  Speaker 2: broken it off with him to marry somebody else. And
• 1:04:13
  Speaker 2: then he showed up with a camera and started trying
• 1:04:16
  Speaker 2: to film her house. And there's this one girl that's
• 1:04:19
  Speaker 2: just been on, there's been talking about her house in
• 1:04:23
  Speaker 2: LA and how no one has been there in like
• 1:04:25
  Speaker 2: 15 years.
• 1:04:28
  Speaker 1: No one's been there.
• 1:04:29
  Speaker 2: She doesn't live there anymore. She doesn't, she doesn't come
• 1:04:32
  Speaker 2: to the, go to the house. And it was just weird.
• 1:04:35
  Speaker 2: I think something 100% happened.
• 1:04:38
  Speaker 1: She looked like she got switched off. Remember in the interview,
• 1:04:42
  Speaker 1: she was doing a talking normal. And all of a
• 1:04:44
  Speaker 1: sudden it looked like somebody flipped a switch on her.
• 1:04:46
  Speaker 1: She was like, kind of went into a kind of
• 1:04:49
  Speaker 1: tonic state. I think somebody got definitely to her. I
• 1:04:53
  Speaker 1: think she's a, A mind control victim, you know, just
• 1:04:57
  Speaker 1: went through Disney and Disney. We know, look at all
• 1:04:59
  Speaker 1: the people that have gone through Disney, you know, everybody from, uh,
• 1:05:04
  Speaker 1: what's that guy? The, the actor Kurt Russell was a
• 1:05:07
  Speaker 1: Disney young guy. Um, uh, they all go through Disney
• 1:05:13
  Speaker 1: and come out the other side and man, they, they
• 1:05:15
  Speaker 1: are stuck in the game forever. Yeah, it's weird, man.
• 1:05:21
  Speaker 2: It's so weird. I'm going to do a deep dive
• 1:05:24
  Speaker 2: into Britney Spears one of these times and compile all
• 1:05:28
  Speaker 2: the footage because that dude had so much. I follow
• 1:05:31
  Speaker 2: him on Instagram, and he went after it like hardcore,
• 1:05:36
  Speaker 2: and no one was believing him for the longest time.
• 1:05:39
  Speaker 2: And he went in, and he's like, where's Britney?
• 1:05:41
  Speaker 1: Where's Britney?
• 1:05:42
  Speaker 2: And she's like, not there.
• 1:05:43
  Speaker 1: It's weird.
• 1:05:45
  Speaker 2: Some weird ass shit. I don't know what's happening, but, um,
• 1:05:48
  Speaker 2: I don't know if I told you, but I got
• 1:05:49
  Speaker 2: DVDs of, uh, psychic agent, the gate program. If people
• 1:05:52
  Speaker 2: would like to, uh, DVD copy of psychic agent.
• 1:05:59
  Speaker 1: How'd you do that?
• 1:06:02
  Speaker 2: I went through a company online and got the DVDs
• 1:06:06
  Speaker 2: made of them. I've been sending them out to people
• 1:06:09
  Speaker 2: on my show. People are interested in getting a copy.
• 1:06:13
  Speaker 2: They can email me at raisedbyagiantsatoutlook.com. You guys got insert
• 1:06:19
  Speaker 2: in it and it's got the back of the DVD
• 1:06:21
  Speaker 2: and everything. I only have about 25 left.
• 1:06:28
  Speaker 1: So it's a limited run.
• 1:06:30
  Speaker 2: So if someone's interested and they would like to purchase
• 1:06:33
  Speaker 2: a DVD copy, but if you don't want to purchase
• 1:06:35
  Speaker 2: a DVD copy, please just get on Amazon and watch
• 1:06:39
  Speaker 2: the movie if you haven't already. Rent it, buy it,
• 1:06:42
  Speaker 2: help support us.
• 1:06:44
  Speaker 1: I saw the statement today. It's doing pretty well. So congratulations.
• 1:06:49
  Speaker 1: It's a good film, man. You hit the nail on
• 1:06:52
  Speaker 1: the head and you're right on time. Not everybody is
• 1:06:56
  Speaker 1: talking about the gate program. Everybody. And from David Icke
• 1:07:01
  Speaker 1: to everybody. And I just want to say one thing
• 1:07:04
  Speaker 1: before we go. I've learned one thing this week. And
• 1:07:09
  Speaker 1: I want to share my philosophical knowledge with you. You
• 1:07:13
  Speaker 1: know that it's possible to lie, cheat, steal, tell bullshit stories.
• 1:07:21
  Speaker 1: And you know what? All you have to do is
• 1:07:24
  Speaker 1: do what Corey Goode did. Just convert to Christianity, and
• 1:07:28
  Speaker 1: it's all forgiven. It's all forgiven. You don't have to
• 1:07:33
  Speaker 1: pay any of the money that you stole back. You
• 1:07:35
  Speaker 1: don't have to apologize to anybody that you lied to.
• 1:07:38
  Speaker 1: You don't have to apologize to all the people you cheated.
• 1:07:40
  Speaker 1: All you have to do is find Jesus, baby, and
• 1:07:45
  Speaker 1: you're clear. Your conscience is clear. You're on your way
• 1:07:49
  Speaker 1: to heaven now. Everything is fine.
• 1:07:54
  Speaker 2: Isn't that amazing how your sins can just be absolved
• 1:07:57
  Speaker 2: very easily by bringing Jesus into your heart? That's all
• 1:08:02
  Speaker 2: that it takes.
• 1:08:03
  Speaker 1: I think, actually, when it happened, I could never figure
• 1:08:07
  Speaker 1: out why there's so much hatred of Christians in the world.
• 1:08:12
  Speaker 1: And I think this is why. I do. I think
• 1:08:15
  Speaker 1: it's because you're absolved of all your things that you
• 1:08:18
  Speaker 1: did wrong, and no other religion does that. There's no other.
• 1:08:24
  Speaker 1: Basically, it's saying that you're karma free You're karma free.
• 1:08:28
  Speaker 1: You're not gonna have to get any bad karma for
• 1:08:30
  Speaker 1: what you did because you know, you you you became
• 1:08:33
  Speaker 1: a Christian Yeah, and other religions don't have that they
• 1:08:36
  Speaker 1: have karma Buddhism has karma, you know, you do something wrong.
• 1:08:40
  Speaker 1: It's gonna happen to you now and That's way the
• 1:08:43
  Speaker 1: world works So I have fully by the way convinced
• 1:08:47
  Speaker 1: that Corey good is gonna have nothing but bad things
• 1:08:50
  Speaker 1: happen to him Every single bad thing that he did
• 1:08:53
  Speaker 1: is going to come back to haunt him. And I
• 1:08:56
  Speaker 1: wouldn't want to be in his shoes.
• 1:08:59
  Speaker 2: Well, I also think that if karma doesn't hit you
• 1:09:05
  Speaker 2: in this life, that the next one, you're going to
• 1:09:10
  Speaker 2: have a really, really rough time. So if it's not
• 1:09:12
  Speaker 2: something that's immediate, it's going to hit you in the
• 1:09:16
  Speaker 2: next one. You're going to have a real bad time
• 1:09:18
  Speaker 2: in the next life.
• 1:09:19
  Speaker 1: I agree with that. And I think, you know, that's
• 1:09:23
  Speaker 1: why you meet people who just have a cloud over
• 1:09:25
  Speaker 1: their head for their whole life. Right. Something bad is
• 1:09:29
  Speaker 1: going to happen. It's going to happen to them. Right.
• 1:09:31
  Speaker 1: They're constantly getting sick. They're constantly getting in car accidents.
• 1:09:35
  Speaker 1: They're constantly, the kids are getting sick. You know, it's like,
• 1:09:38
  Speaker 1: you got to wonder what the world did you do
• 1:09:41
  Speaker 1: in your last life? Yeah. I think that's it. I
• 1:09:46
  Speaker 1: think that's what it was.
• 1:09:47
  Speaker 2: I think that the karma just hit him hard in
• 1:09:52
  Speaker 2: the next one. And that's why I have a really
• 1:09:53
  Speaker 2: hard time believing that all of these globalist people... I
• 1:10:00
  Speaker 2: don't understand what a lot of these globalists are even doing.
• 1:10:03
  Speaker 2: They either are doing it because they think that they're
• 1:10:07
  Speaker 2: going to live forever because they're some kind of other entity.
• 1:10:10
  Speaker 2: They've unlocked the secrets to immortality and they're just... ancient
• 1:10:14
  Speaker 2: beings that can live for thousands and thousands of years
• 1:10:18
  Speaker 2: or they're just idiots or they're just stupid because they're
• 1:10:21
  Speaker 2: going to come back and it's going to be or
• 1:10:24
  Speaker 2: they found out a way to just transfer their consciousness
• 1:10:29
  Speaker 2: into another because that's what michael aquino i've been uh
• 1:10:33
  Speaker 2: trying to work on and uh and figure out the
• 1:10:36
  Speaker 2: the temple of set guy was trying to figure out
• 1:10:39
  Speaker 2: how to transfer his consciousness when he dies into the
• 1:10:43
  Speaker 2: the pregnant woman to then live out his life and
• 1:10:47
  Speaker 2: there's a whole process that he believed that he had
• 1:10:50
  Speaker 2: figured out surrounding that which.
• 1:10:53
  Speaker 1: In the in nance cathedral in france there's a statue
• 1:10:58
  Speaker 1: and on one side of the statue is an old
• 1:11:01
  Speaker 1: man and on the other side is a young woman
• 1:11:04
  Speaker 1: and in alchemy they'd say that um that it's called the,
• 1:11:13
  Speaker 1: it's a book called The Red Lion, really good novel
• 1:11:16
  Speaker 1: about this, that you can transfer, that alchemists can learn
• 1:11:22
  Speaker 1: how to transfer their soul into a younger person. And
• 1:11:26
  Speaker 1: that what the preferred thing for an older alchemist to
• 1:11:31
  Speaker 1: do is to transfer his spirit into the body of
• 1:11:35
  Speaker 1: a young woman. This is in the alchemy text.
• 1:11:38
  Speaker 2: Clearly.
• 1:11:39
  Speaker 1: And it's in this book, The Red Lion. And it's
• 1:11:43
  Speaker 1: one form of immortality. What I think they do with
• 1:11:46
  Speaker 1: these rich guys, the tech bros and those guys, they
• 1:11:50
  Speaker 1: dangle the immortality in front of them. They prove to
• 1:11:53
  Speaker 1: them that it exists. They prove, yeah, this guy's been
• 1:11:57
  Speaker 1: here since 400 years. And I think there are people
• 1:12:02
  Speaker 1: that are 400 years old, to be honest with you.
• 1:12:05
  Speaker 1: And I think they dangle it in front of them
• 1:12:07
  Speaker 1: and say, You do what we say, and this is
• 1:12:10
  Speaker 1: what you get. And then they do what they say,
• 1:12:14
  Speaker 1: and they say, well, you're gonna make me immortal? You
• 1:12:16
  Speaker 1: gotta wait till you're older, then we'll do it. And
• 1:12:19
  Speaker 1: then they never did. That's why Bill Clinton's gonna die here.
• 1:12:22
  Speaker 1: They probably dangled it in front of him. But look
• 1:12:24
  Speaker 1: at him, he can't even, I think he's in a
• 1:12:26
  Speaker 1: wheelchair now, you know? And clearly, you know, he did
• 1:12:29
  Speaker 1: not get adrenochrome or whatever it is. And neither did Hillary,
• 1:12:34
  Speaker 1: and neither did any of these rich guys. They all die.
• 1:12:38
  Speaker 1: They'll live forever. That's because they are just doing what
• 1:12:42
  Speaker 1: they're told and hope that they're going to get it.
• 1:12:46
  Speaker 1: Because you wouldn't want a famous guy anyway because everybody's
• 1:12:49
  Speaker 1: watching him. Wow, you've been around for 200 years? You know?
• 1:12:55
  Speaker 1: So you don't want to be famous if you're going
• 1:12:57
  Speaker 1: to choose that route, right? You don't. You want to
• 1:13:01
  Speaker 1: be as inconspicuous as possible. You want to blend into everywhere.
• 1:13:06
  Speaker 1: And then you have to move around a lot because
• 1:13:08
  Speaker 1: Every 20 years, people are going to realize that you're
• 1:13:10
  Speaker 1: not aging, right? Or you have to be in a
• 1:13:12
  Speaker 1: community of people who are doing the same thing, which
• 1:13:15
  Speaker 1: is what I think is going on. I think there's
• 1:13:18
  Speaker 1: a community in Southern California of people that are very old.
• 1:13:23
  Speaker 1: And they all live together in one community and help
• 1:13:28
  Speaker 1: each other out to hide their identities and things. I
• 1:13:33
  Speaker 1: would agree with that.
• 1:13:33
  Speaker 2: And I also think that they're doing some kind of
• 1:13:36
  Speaker 2: DNA modification to famous people to like duplicate them. And like,
• 1:13:43
  Speaker 2: I think that a lot of people have a bunch
• 1:13:45
  Speaker 2: of Marilyn Monroe DNA. That sounds crazy.
• 1:13:49
  Speaker 1: Not really.
• 1:13:51
  Speaker 2: If you look at them, they look pretty freaking similar
• 1:13:55
  Speaker 2: to each other.
• 1:13:55
  Speaker 1: They do. And there's that, you know, and critics will say, well,
• 1:14:00
  Speaker 1: they have a type that they choose. which is true,
• 1:14:03
  Speaker 1: they do have a type that they choose, but it
• 1:14:06
  Speaker 1: could also be true that they're creating the type they want.
• 1:14:11
  Speaker 1: I mean, we're talking about people who are in total control, right?
• 1:14:16
  Speaker 1: This is fun to them. This is hilarious to them.
• 1:14:20
  Speaker 1: That's what the whole transgender thing of taking men and
• 1:14:25
  Speaker 1: turning them into famous actresses. That's done because it's a
• 1:14:29
  Speaker 1: big joke. It's a Crowley, Aleister Crowley trick, right? And,
• 1:14:39
  Speaker 1: you know, Barbara Bush, you know, Aleister Crowley's daughter, right?
• 1:14:45
  Speaker 1: Or is it Aleister Crowley's son? Well, we don't know, right?
• 1:14:50
  Speaker 2: That might be the next level of this GATE program stuff.
• 1:14:56
  Speaker 2: It might be that it's not... Not even like just
• 1:15:02
  Speaker 2: creating the psychic abilities or developing them or being around them,
• 1:15:09
  Speaker 2: but literally creating them.
• 1:15:13
  Speaker 1: Literally creating them. Yep. Yep. Let's face it. They've been
• 1:15:21
  Speaker 1: able to do this for a long time. I'm sure
• 1:15:24
  Speaker 1: you know all about the cabbage patch babies, right? I mean,
• 1:15:31
  Speaker 1: what's that all about? You know, the very first movie
• 1:15:35
  Speaker 1: ever made was a movie about the cabbage patch babies.
• 1:15:38
  Speaker 1: It was done by a French woman. It was done
• 1:15:42
  Speaker 1: before any other movie. It was the first storytelling movie
• 1:15:46
  Speaker 1: ever made. It was about the cabbage patch babies. Okay. So,
• 1:15:54
  Speaker 1: growing babies in cabbage patches is basically what they're saying.
• 1:16:01
  Speaker 2: And where did all these orphans come from? Why were
• 1:16:03
  Speaker 2: all these babies and incubators and all these world's fairs?
• 1:16:07
  Speaker 2: It's unbelievable. It's unreal. It's like, it's, there's no other
• 1:16:11
  Speaker 2: way to come to any other conclusion other than that
• 1:16:15
  Speaker 2: they created them and they pushed them out there into
• 1:16:18
  Speaker 2: the population. You're telling me that many kids don't, didn't
• 1:16:23
  Speaker 2: have any parents and the parents just said, go. What?
• 1:16:29
  Speaker 1: Yeah. Also, uh, The empty cities of the world is
• 1:16:35
  Speaker 1: another baffling thing. How can you Google Berlin 1860 and
• 1:16:43
  Speaker 1: look at the photographs? There's nobody there. Moscow 1860, there's
• 1:16:48
  Speaker 1: nobody there. Paris 1860, there's nobody there. San Francisco 1860,
• 1:16:53
  Speaker 1: there's nobody there. The streets are empty. I expect to
• 1:16:58
  Speaker 1: see Paris, Look like, you know, all the old movies
• 1:17:03
  Speaker 1: used to look like in Paris. The horses and horse
• 1:17:05
  Speaker 1: shit everywhere. And, you know, poor people living on the
• 1:17:08
  Speaker 1: streets begging for money. And, you know, that's the image
• 1:17:12
  Speaker 1: that you have of old Europe. And yet the streets
• 1:17:16
  Speaker 1: are as clean as a whistle. There's no horses anywhere.
• 1:17:18
  Speaker 1: There's no horse shit anywhere. There's no people anywhere. In
• 1:17:23
  Speaker 1: those days, you had to take exposure was like a minute,
• 1:17:26
  Speaker 1: a minute and a half. So people would appear to
• 1:17:29
  Speaker 1: be blurry, right, as they were walking by, but there's
• 1:17:32
  Speaker 1: no blur. There's no people. Are you going to tell
• 1:17:35
  Speaker 1: me that you could somehow empty the streets of Paris
• 1:17:39
  Speaker 1: and tell everybody to stay inside their apartment while you
• 1:17:42
  Speaker 1: take your two-minute exposure? Come on. You can't empty a
• 1:17:48
  Speaker 1: town out for nobody to move for two minutes. Nobody's
• 1:17:54
  Speaker 1: going to do that, especially in Paris. They're going to
• 1:17:56
  Speaker 1: run right over. So, no. Something happened. We don't know what.
• 1:18:01
  Speaker 1: Something happened between 1780 and 1860. Something really weird happened.
• 1:18:12
  Speaker 1: I don't know what it is. I can't tell you.
• 1:18:15
  Speaker 1: But it's like the world came to an end and
• 1:18:18
  Speaker 1: was remade into a worse world, too, by the way.
• 1:18:24
  Speaker 2: That is what it's shaping up to be. Jay, thanks
• 1:18:27
  Speaker 2: so much for coming on. Really appreciate it. Can you
• 1:18:29
  Speaker 2: let people know where they can find you online and
• 1:18:32
  Speaker 2: where they can watch your movies and our movies?
• 1:18:36
  Speaker 1: Yeah, well, our new movie, Psychic Agent, of course, is
• 1:18:39
  Speaker 1: up on Amazon. And so is JOKX and Clockwork Shining.
• 1:18:46
  Speaker 1: And we're working on new productions. I have Invisible Universe
• 1:18:52
  Speaker 1: should be coming out before the end of the year
• 1:18:53
  Speaker 1: part one and part two coming out in 2027 and
• 1:18:59
  Speaker 1: my jwidener.com is where all my free writing is my
• 1:19:04
  Speaker 1: show is Reality Check on YouTube and all of my
• 1:19:08
  Speaker 1: movies are up on gaia or amazon and i think
• 1:19:14
  Speaker 1: i announced it last time but i'm going to be
• 1:19:16
  Speaker 1: retaking all of my movies back and be putting them
• 1:19:19
  Speaker 1: up on amazon starting in january all 10 movies yeah
• 1:19:25
  Speaker 1: i can't wait to do it because i haven't been
• 1:19:27
  Speaker 1: able to i've been able i've been in control of
• 1:19:29
  Speaker 1: my movies for 14 years so this is my first
• 1:19:32
  Speaker 1: time i'm getting control back of my entire library that's
• 1:19:36
  Speaker 1: making me really happy Awesome.
• 1:19:40
  Speaker 2: Really looking forward to it. Thanks for coming on. Really
• 1:19:42
  Speaker 2: appreciate it. The links to Jay's information will be in
• 1:19:45
  Speaker 2: the description of this video. Please be sure to hit
• 1:19:47
  Speaker 2: the thumbs up button to help the channel and the algorithm. Sure.
• 1:19:49
  Speaker 2: Subscribe at the bell icon as well for notifications. And
• 1:19:52
  Speaker 2: we'll see you guys next time. Bye-bye.