Podcasts about vallee

  Len Osanic reads the article from the Chicago Indepentent 1975 by Edwin Black The Chicago Plot website "Our Man" Edwin writes about is revealed "Abraham Bolden" The Internet Archive Complete PDF The introduction: Edwin Black is the target of intelligence assets Powers that be did not want the Chicago Plot investigated Article PDF page 1 - 24 Page 25 Page 30 Page 31 Page 33 Page 34 Page 35 Page 36 An explanation of the purpose of the article Four men in Chicago to assassinate JFK as he approached the Army-Air Force game The FBI warned the Secret Service of the plot and then backed away The Chicago SS office had only eight men A landlady informs of suspicious characters renting a room from her Agent Stocks blows his cover and the suspects are brought in without evidence Thomas Arthur Vallee, eerily similar to Oswald is identified as the proposed patsy Personality traits that could make Vallee a perfect patsy Vallee was arrested with a knife, 750 rounds of ammunition but no firearm The method of assassination used in the Diem murders Vallee's apartment was searched under duress and firearms and ammunition were found there Two suspected conspirators were in custody but the other two were at large Kennedy uses Vietnam events as an excuse to cancel his Chicago visit 20 days after the Chicago plot was thwarted, Kennedy is killed in Dallas Part Two of the article documents the investigation Black brings up the suspicious fact that 90 of the witnesses died shortly after the assassination The cover-ups by the FBI and how they botched the investigation as a result The anonymous source, SS Agent, Abraham Bolden gets a lie-detector test Corruption hawk, Sherman Skolnick produces proof Vallee actually existed The investigation of the arrest and weapons records...much was routinely destroyed Agents Stocks and Motto plead "no memory" in the probing of the plot details The mountain of documents Black waded through in his investigation The original investigations were exhaustive Records found on Vallee seemed incomplete An unassuming document shows Oswald might have been in Chicago that weekend A Secret Service publicity specialist dodges the issue on what the agents knew "No comment" came at every question Agent Linsky opens up... a little, his responses likely were truthful Groth and Shurla covered up the Vallee arrest and were deceptive when asked about it Coffey confirmed the details everyone else was scared to divulge Vallee also confirms the details and was found to be truthful Part Three - The cover-up Nobody would admit the failure of the Secret Service in the assassination Edwin Black shows how Oswald's murder saved much embarassment 50 Reasons for 50 Years - Episode 08 The Chicago Plot  

On today's episode of the Occult Symbolism and Pop Culture with Isaac Weishaupt podcast I'll be posting a discussion I had with Josie Weishaupt on Breaking Social Norms recently because it sheds light on some MAJOR revelations that Dr Jacques Vallee may have been laying down in our interview! Here's what you're in for:You're listening to the “Breaking Social Norms” podcast with the Weishaupts! Get ready for some wild theorizing as we recap the Dr Jacques Vallée interview from Occult Symbolism and Pop Culture podcast: ARPANet, AI, Simulation Theory, Peter Levenda, Sex Magick, Rosicrucianism, J Allen Hynek, Jack Parsons, Collins Elite and the SATAN book! We'll decode some major connections of John Dee & Edward Kelley's wife swapping, Aleister Crowley's LAM, Parsons' Babalon Working, the Mojave Desert with some findings and research on James Shelby Downard's King Kill 33 and even Alchemical secrets of Prague!LINKS:Dr Jacques Vallée Interview: Occult UFOs, Alchemy, AI Evolution, J. Allen Hynek, Collins Elite & More! https://illuminatiwatcher.com/dr-jacques-vallee-interview-occult-ufos-alchemy-ai-evolution-j-allen-hynek-collins-elite-more/What is Alchemy: Alien Origins of Thoth, Emerald Tablets, Carl Jung, Synchromysticism & More! https://breakingsocialnorms.com/2024/06/17/what-is-alchemy-alien-origins-of-thoth-emerald-tablets-carl-jung-synchromysticism-more/ 6/19/24Jack Parsons Pt 1: Strange Angel, Crowley's Thelema, Occult Rituals & More! https://breakingsocialnorms.com/2023/05/23/jack-parsons-pt-1-strange-angel-crowleys-thelema-occult-rituals-more/ 5/23/23Twin Peaks GREY LODGE is now up on my Gumroad store! First several purchases get a FREE FEED LOSER shirt (*while supplies last)! https://isaacw.gumroad.com/l/greylodgeShow sponsors- Get discounts while you support the show and do a little self improvement!*CopyMyCrypto.com/Isaac is where you can copy James McMahon's crypto holdings- listeners get access for just $1 WANT MORE?... Check out my UNCENSORED show with my wife, Breaking Social Norms: https://breakingsocialnorms.com/GRIFTER ALLEY- get bonus content AND go commercial free + other perks:*PATREON.com/IlluminatiWatcher : ad free, HUNDREDS of bonus shows, early access AND TWO OF MY BOOKS! (The Dark Path and Kubrick's Code); you can join the conversations with hundreds of other show supporters here: Patreon.com/IlluminatiWatcher (*Patreon is also NOW enabled to connect with Spotify! https://rb.gy/hcq13)*VIP SECTION: Due to the threat of censorship, I set up a Patreon-type system through MY OWN website! IIt's even setup the same: FREE ebooks, Kubrick's Code video! Sign up at: https://illuminatiwatcher.com/members-section/*APPLE PREMIUM: If you're on the Apple Podcasts app- just click the Premium button and you're in! NO more ads, Early Access, EVERY BONUS EPISODE More from Isaac- links and special offers:*BREAKING SOCIAL NORMS podcast, Index of EVERY episode (back to 2014), Signed paperbacks, shirts, & other merch, Substack, YouTube links & more: https://allmylinks.com/isaacw *STATEMENT: This show is full of Isaac's useless opinions and presented for entertainment purposes. Audio clips used in Fair Use and taken from YouTube videos.  

In this episode of Go Gaddis Real Estate Radio, your host Cleve Gaddis welcomes special guest Chris Vallee, one of the outstanding agents on the Modern Traditions Realty Group team. Chris shares his journey from a successful career in sales to building a thriving business in real estate—highlighting how relationship-building, trust, and persistence have fueled his success.

In this episode of Go Gaddis Real Estate Radio, Cleve Gaddis sits down with Chris Vallee, an accomplished agent with the Modern Traditions Realty Group, to talk about his transition into real estate and the lessons he's learned along the way. Chris shares his story of moving from a background in sales to finding his passion in real estate. He discusses the challenges, the victories, and the strategies that helped him build a thriving business centered on relationships, referrals, and a commitment to client success. If you're considering a move into real estate—or if you're simply curious about what it takes to succeed—this is an episode you don't want to miss!

Nouvelle étape à Couvin, une ville à l'accent du sud, entourée de forêts, de grottes, de légendes et de bonne bouffe. Une ville qui sent la terre, l'histoire… et pour le coup, la compétition. Car c'est l'heure de votre shoot de culture générale dopé à la bonne humeur ! Avec Walid, qui voit s'affronter deux équipes de candidats au taquet : d'un côté Olivier Fraipont et Julien, de l'autre Corentin Candi et Mélanie. Mais il faut un peu de poésie dans ce monde de brutes, et c'est notre invité José Laffineur qui va apporter sa touche pour se faire : il connaît la vallée de l'Eau noire et le parc national de l'Entre-Sambre-et-Meuse comme sa poche ! Et il adore les faire connaître… José a consacré sa vie professionnelle au bien-être et à l'épanouissement de personnes adultes en situation de handicap. En 2017, suite à une opération, il arpente la vallée de l'Eau Noire pour sa rééducation. Happé par cette nature bienfaitrice et réparatrice, il se lance à la découverte de tous les coins et détours de cette vallée. 6000km parcourus en 4 années d'immersion". Il conte cette quête dans son ouvrage "Le béquillard des bois – Balades forestières sur ruissellements d'Eau noire" sorti aux éditions Ecrifix.be. Merci pour votre écoute Salut les copions, c'est également en direct tous les jours de la semaine de 16h à 17h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Salut les copions sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/19688 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Join the Supporters club: go ad-free, early access, bonus content: Patreon.com/BreakingSocialNorms OR subscribe on the Apple Podcasts app!Get ready for some wild theorizing as we recap the Dr Jacques Vallée interview from Occult Symbolism and Pop Culture podcast: ARPANet, AI, Simulation Theory, Peter Levenda, Sex Magick, Rosicrucianism, J Allen Hynek, Jack Parsons, Collins Elite and the SATAN book! We'll decode some major connections of John Dee & Edward Kelley's wife swapping, Aleister Crowley's LAM, Parsons' Babalon Working, the Mojave Desert with some findings and research on James Shelby Downard's King Kill 33 and even Alchemical secrets of Prague!  LINKS:  Dr Jacques Vallée Interview: Occult UFOs, Alchemy, AI Evolution, J. Allen Hynek, Collins Elite & More! https://illuminatiwatcher.com/dr-jacques-vallee-interview-occult-ufos-alchemy-ai-evolution-j-allen-hynek-collins-elite-more/What is Alchemy: Alien Origins of Thoth, Emerald Tablets, Carl Jung, Synchromysticism & More! https://breakingsocialnorms.com/2024/06/17/what-is-alchemy-alien-origins-of-thoth-emerald-tablets-carl-jung-synchromysticism-more/ 6/19/24Jack Parsons Pt 1: Strange Angel, Crowley's Thelema, Occult Rituals & More! https://breakingsocialnorms.com/2023/05/23/jack-parsons-pt-1-strange-angel-crowleys-thelema-occult-rituals-more/ 5/23/23You can now sign up for our commercial-free version of the show with a Patreon exclusive bonus show called “Morning Coffee w/ the Weishaupts” at Patreon.com/BreakingSocialNorms  OR subscribe on the Apple Podcasts app to get all the same bonus “Morning Coffee” episodes AD-FREE with early access! (*Patreon is also NOW enabled to connect with Spotify! https://rb.gy/r34zj)Want more?…Index of all previous episodes on free feed: https://breakingsocialnorms.com/2021/03/22/index-of-archived-episodes/Leave a review or rating wherever you listen and we'll see what you've got to say!Follow us on the socials:instagram.com/theweishaupts2/Amazon Affiliate shop (*still under construction) with our favorite hair, skin care and horny books: https://breakingsocialnorms.com/2024/08/24/amazon-shopping-list-josie-and-isaacs-list/Check out Isaac's conspiracy podcasts, merch, etc:AllMyLinks.com/IsaacWOccult Symbolism and Pop Culture (on all podcast platforms or IlluminatiWatcher.com)Isaac Weishaupt's book are all on Amazon and Audible; *author narrated audiobooks*STATEMENT: This show is full of Isaac's and Josie's useless opinions and presented for entertainment purposes. Audio clips used in Fair Use and taken from YouTube videos.

FREE book, social medias & more: https://allmylinks.com/isaacw On today's episode of the Occult Symbolism and Pop Culture with Isaac Weishaupt podcast we're joined by the legendary UFO researcher Dr Jacques Vallée!! We'll talk about a variety of subject that will look at the UFO Phenomenon through the lens of the Occult: the origins of the ARPANet/Internet and its goals for evolving humanity, Occult practices for manifesting UFOs, Jack Parsons sex magick rituals, Rosicrucian interests and friendship of Dr J. Allen Hynek, the power of the desert and the spiritual component of the Phenomenon with the Collins Elite and Satan!I'll also be discussing the revelations that were being made during this interview on "Breaking Social Norms" podcast with Josie Weishaupt (BreakingSocialNorms.com)- we're going to unpack some possible subtexts like James Shelby Downard, Alchemy and J. Allen Hyneck's occult interests! COMING SOON- Subscribe to Breaking Social Norms podcast on your podcast app!Dr Jacques Vallee links:Pick up Forbidden Science 6 by Dr Jacques Vallée now! https://a.co/d/cuybuTkHis website: https://www.jacquesvallee.netI've got several interviews related to Dr Jacques Vallée associates you've GOT to check out:UFO Disclosure Secret Societies Synchronicity and the Alien Spirituality Religion with American Cosmic Author Dr. Diana Pasulka! https://www.illuminatiwatcher.com/ufo-disclosure-secret-societies-synchronicity-and-the-alien-spirituality-religion-with-american-cosmic-author-dr-diana-pasulkaDr Diana Pasulka ENCOUNTERS: Birth of the UFO Religion, A.I. Aliens, Evolution of Man & Sacred Place UFO Debris! https://illuminatiwatcher.com/dr-diana-pasulka-encounters-birth-of-the-ufo-religion-a-i-aliens-evolution-of-man-sacred-place-ufo-debris/Paola Harris and the 1945 Trinity UFO Crash: Aliens Nuclear Portals & Unexplained Artifacts! https://www.illuminatiwatcher.com/paolo-harris-and-the-1945-trinity-ufo-crash-aliens-nuclear-portals-unexplained-artifactsBreaking Social Norms podcast will have a post-interview analysis up soon with some major findings connecting to Occult lore; subscribe so you don't miss it!Breaking Social Norms podcast on Apple: https://podcasts.apple.com/us/podcast/breaking-social-norms/id1557527024Breaking Social Norms podcast on Spotify: https://open.spotify.com/show/6YO54hDZao6AjFUhevT1RAShow sponsors- Get discounts while you support the show and do a little self improvement!*CopyMyCrypto.com/Isaac is where you can copy James McMahon's crypto holdings- listeners get access for just $1 WANT MORE?... Check out my UNCENSORED show with my wife, Breaking Social Norms: https://breakingsocialnorms.com/GRIFTER ALLEY- get bonus content AND go commercial free + other perks:*PATREON.com/IlluminatiWatcher : ad free, HUNDREDS of bonus shows, early access AND TWO OF MY BOOKS! (The Dark Path and Kubrick's Code); you can join the conversations with hundreds of other show supporters here: Patreon.com/IlluminatiWatcher (*Patreon is also NOW enabled to connect with Spotify! https://rb.gy/hcq13)*VIP SECTION: Due to the threat of censorship, I set up a Patreon-type system through MY OWN website! IIt's even setup the same: FREE ebooks, Kubrick's Code video! Sign up at: https://illuminatiwatcher.com/members-section/*APPLE PREMIUM: If you're on the Apple Podcasts app- just click the Premium button and you're in! NO more ads, Early Access, EVERY BONUS EPISODE More from Isaac- links and special offers:*BREAKING SOCIAL NORMS podcast, Index of EVERY episode (back to 2014), Signed paperbacks, shirts, & other merch, Substack, YouTube links & more: https://allmylinks.com/isaacw *STATEMENT: This show is full of Isaac's useless opinions and presented for entertainment purposes. Audio clips used in Fair Use and taken from YouTube videos.  

Podcast guest 1341 is Thom Reed, fashion photographer and founder of Miami Models. His family is at the center of a historic UFO case which was assigned a Vallee classification of “CE4”  with a Case Category of 3. The case is so noteworthy the city of Roswell research library assisted the Massachusetts Historical Society and their lawyer to get Reed's incident formally inducted into the state record as historically true. It's also the first UFO incident to be officially archived in the United Nations. Thom's YouTube Channelhttps://www.youtube.com/@knowthomreedThom's websitehttps://thomreedofficial.com/CONTACT:Email: jeff@jeffmarapodcast.comTo donate crypto:Bitcoin -  bc1qk30j4n8xuusfcchyut5nef4wj3c263j4nw5wydDigibyte -  DMsrBPRJqMaVG8CdKWZtSnqRzCU7t92khEShiba -  0x0ffE1bdA5B6E3e6e5DA6490eaafB7a6E97DF7dEeDoge  -  D8ZgwmXgCBs9MX9DAxshzNDXPzkUmxEfAVEth. -   0x0ffE1bdA5B6E3e6e5DA6490eaafB7a6E97DF7dEeXRP -  rM6dp31r9HuCBDtjR4xB79U5KgnavCuwenWEBSITEwww.jeffmarapodcast.comSOCIALS:Instagram: https://www.instagram.com/jeffmarapodcast/Facebook: https://www.facebook.com/jeffmarapodcast/Twitter: https://www.twitter.com/jeffmaraP/JeffMara does not endorse any of his guests' products or services. The opinions of the guests may or may not reflect the opinions of the host.WE DO NOT GIVE ANYONE INCLUDING OUR GUESTS, PERMISSION TO UPLOAD OUR VIDEOS TO THEIR YOUTUBE CHANNEL(S) OR ANY OTHER PLATFORM.

Retour dans la Vallée de la Meuse, en ce début du mois de décembre 1930, recouverte d'un épais et mystérieux brouillard qui a affectés hommes et bêtes, laissant dans son sillages plusieurs victimes. Au lendemain des premières analyses et affirmations des experts, peu convaincantes, des commissions d'enquêtes recherchent les causes véritables de la pollution. Aucune ne semble pointer explicitement ce qui pourtant devrait sauter aux yeux : l'extraction intensive du charbon, l'activité industrielle continue au cœur de la Vallée de la Meuse depuis plus d'un siècle. Quel est l'état réel des connaissances scientifiques, au croisement des 19e et 20e siècle, quant à la qualité de l'air respiré dans et alentours des usines et des charbonnages ? Quelles réflexions sont portées sur l'hygiène et la sécurité ? Et comment vont réagir les autorités pour assurer, après 1930, aux habitants de la Vallée de la Meuse et d'ailleurs, une meilleur qualité de l'air qu'ils respirent? Dans son libre “Brouillards toxiques. Vallée de la Meuse 1930, contre-enquête” (Editions Amsterdam) Alexis Zimmer (Université de Liège) s'attache à extirper de la brume ces responsabilités, à souligner les tentatives de naturalisation des pollutions humaines et démonter la fabrique de l'ignorance. Sujets traités : Vallée, Meuse, brouillard, pollution, charbon, industrie, hygiène, toxique Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Seriah is joined by Chris Ernst and Mat Festa for a Wandering the Road episode. Topics include personal vs public paranormal events, Jacques Vallee's idea of a control system, ascended masters, spiritual pushes for progress, the Hudson Valley UFO event, Mothman, Adam Sayne and Serfiel Stevenson, Dr. Wham, paranormal events as filtered through cultural lenses, the discounting of the personal aspect of the paranormal, Joseph Smith and the origins of the Mormon religion, the media's tendency to treat the paranormal exclusively as horror material, fear and the shamanic experience and personal growth, kundalini experiences, Seriah's TV experience, the question of whether the personal growth aspect of a paranormal experience requires an actual anomaly, the ancient Greek mystery schools, the tic-tac video, the Phoenix lights, Marian apparitions, the Fatima events, paranormal activities as social control devices, the Seth material, NDEs and being outside of time, Chris's strange dream of the future, the disappearing drone flap, Seriah's black dog experience and related synchronicities, Gary Luckman's book “The Lost Knowledge of the Imagination”, life destiny patterns, the so-called hitchhiker effect, one-off monsters, lizardman, Bigfoot in places he couldn't physically be real and undetected, witness accuracy in runaway Google blimp, Paratopia, Emma Woods being hypnotized, David Jacobs, scandals at MUFON, J.Z. Knight, Robert Bigelow, Vallee's “Messengers of Deception” and “Dimensions” and “Forbidden Science” journals, Vallee's invention of word search engines, celebrities as normal people, the podcast and book and TV show “The Edge of Sleep”, Driftless Times substack “The Color of Belief” by Walker Jaroch, generational differences in perspectives, the advantages and disadvantages of the internet, serious and spurious trigger warnings, Seriah's ongoing autobiography, the lost practice of physical letter writing, a bizarre wish granted experience chain, Seriah's violent vampire dream, fiction writing as therapeutic, late night artistic inspiration, things appearing online that deny randomness, and much more! This a fascinating, eclectic conversation!

Series: Presence prayer powerText: various

On this livestream, we break down the latest UFO news, including:- The Age of Disclosure documentary premieres at SXSW to mixed reviews.- Filming for Spielberg's new UFO movie has begun in New Jersey.- A famous Hollywood director opens up about a dramatic UFO sighting he had.- A U.S. Representative wants Congressional Hearing for Area 51 employees suffering from operation-related ailments.- Jacques Vallee gives Joe Rogan a piece of UFO material.Book Ryan on CAMEO at: https://bit.ly/3kwz3DOPatreon: http://www.patreon.com/somewhereskiesByMeACoffee: http://www.buymeacoffee.com/UFxzyzHOaQPayPal: Sprague51@hotmail.comDiscord: https://discord.gg/NTkmuwyB4FBluesky: https://bsky.app/profile/ryansprague.bsky.socialTwitter: https://twitter.com/SomewhereSkiesInstagram: https://www.instagram.com/somewhereskiespod/Tik Tok: https://www.tiktok.com/@ryansprague51Order Ryan's new book: https://a.co/d/4KNQnM4Order Ryan's older book: https://amzn.to/3PmydYCStore: http://tee.pub/lic/ULZAy7IY12URead Ryan's articles at: https://medium.com/@ryan-sprague51Opening Theme Song by SeptembryoCopyright © 2025 Ryan Sprague. All rights reservedSupport this show http://supporter.acast.com/somewhere-in-the-skies. Hosted on Acast. See acast.com/privacy for more information.

Seriah is joined by Chris Ernst and Mat Festa for a Wandering the Road episode. Topics include personal vs public paranormal events, Jacques Vallee's idea of a control system, ascended masters, spiritual pushes for progress, the Hudson Valley UFO event, Mothman, Adam Sayne and Serfiel Stevenson, Dr. Wham, paranormal events as filtered through cultural lenses, the discounting of the personal aspect of the paranormal, Joseph Smith and the origins of the Mormon religion, the media's tendency to treat the paranormal exclusively as horror material, fear and the shamanic experience and personal growth, kundalini experiences, Seriah's TV experience, the question of whether the personal growth aspect of a paranormal experience requires an actual anomaly, the ancient Greek mystery schools, the tic-tac video, the Pheonix lights, Marian apparitions, the Fatima events, paranormal activities as social control devices, the Seth material, NDEs and being outside of time, Chris's strange dream of the future, the disappearing drone flap, Seriah's black dog experience and related synchronicities, Gary Luckman's book “The Lost Knowledge of the Imagination” , life destiny patterns, the so-called hitchhiker effect, one-off monsters, lizardman, Bigfoot in places he couldn't physically be real and undetected, witness accuracy in runaway Google blimp, Paratopia, Emma Woods being hypnotized David Jacobs, scandals at MUFON, J.Z. Knight, Robert Bigelow, Vallee's “Messengers of Deception” and “Dimensions” and “Forbidden Science” journals, Vallee's invention of word search engines, celebrities as normal people, the podcast and book and TV show “The Edge of Sleep”, Driftless Times substack “The Color of Belief” by Walker Jaroch, generational differences in perspectives, the advantages and disadvantages of the internet, serious and spurious trigger warnings, Seriah's ongoing autobiography, the lost practice of physical letter writing, a bizarre wish granted experience chain, Seriah's violent vampire dream, fiction writing as therapeutic, late night artistic inspiration, things appearing online that deny randomness, and much more! This a fascinating, eclectic conversation!Recap by Vincent Treewell of The Weird Part PodcastOutro Music is Fox 45 with Awake in the Dark, live on The Last Exit for the Lost Hosted on Acast. See acast.com/privacy for more information.

In the first half, George Knapp welcomed author Whitley Strieber to discuss the behavior and abilities of Grey aliens. "I have learned their anatomy. I've learned a lot about their genetics," Strieber claimed. He revealed that Greys are abducting humans to collect data and create hybrids capable of telepathic communication—something he learned following his own harrowing abduction, where he experienced missing time and awoke with strange markings.Strieber believes that humans once possessed the powers of these visitors, such as telepathy and self-healing, but that we've lost them due to historical trauma. "We are a species living in a state of traumatic amnesia," he explained, while also describing the Greys' potential role in helping humanity recover these lost abilities.Strieber posited that the Greys' presence is not opportunistic or parasitic but serves another dual purpose: to document life on Earth while also fostering a deeper connection with humanity through hybridization. "The visitors are now trying to get into a relationship with mankind," he stated, suggesting this could lead to significant changes in human understanding. "They do not want to replace us at all. They want us to thrive here," he insisted.Strieber acknowledged that a shift in public perception is underway, as awareness of these extraterrestrial encounters appears to be growing. Reflecting on the current buzz regarding potential government disclosure of UFOs, he remarked, "There's an elephant in the room, which is the abductions."---------------------In the second half, Dr. Jacques Vallee, a prominent astrophysicist and computer scientist, shared his extensive knowledge of UFOs, particularly the Trinity UFO crash and ongoing government secrecy about extraterrestrial phenomena. Vallee has conducted over fifty years of ufology research, which included working on classified projects.He outlined the mysterious details of the Trinity incident that occurred two years before the famous Roswell crash. The event involved two young witnesses who observed an aerial crash while doing chores on a ranch in New Mexico. Vallee said, "They approached thinking that it was an airplane… but they realized that this was not an airplane" after discovering an entity inside the craft. This being they described as humanoid but not human.Vallee emphasized that the phenomenon of UFOs is becoming increasingly complex. He contended that while we are learning more about these mysteries, the information flow is often clouded by premature conclusions and preconceived notions. "The science itself is not going to have a quick answer," he remarked.Vallee also pointed out that most contemporary reporting of UFOs tends to originate from military or intelligence communities, overshadowing valuable testimony from everyday individuals. Moreover, Vallee addressed the need for a centralized database to consolidate UFO reports and sightings.Backing up his scientific method, Vallee described his approach to ufology as anchored in data collection and pattern analysis. "I'm looking for patterns to try to learn from those patterns," he stated.

In the first half, George Knapp welcomed author Whitley Strieber to discuss the behavior and abilities of Grey aliens. "I have learned their anatomy. I've learned a lot about their genetics," Strieber claimed. He revealed that Greys are abducting humans to collect data and create hybrids capable of telepathic communication—something he learned following his own harrowing abduction, where he experienced missing time and awoke with strange markings.Strieber believes that humans once possessed the powers of these visitors, such as telepathy and self-healing, but that we've lost them due to historical trauma. "We are a species living in a state of traumatic amnesia," he explained, while also describing the Greys' potential role in helping humanity recover these lost abilities.Strieber posited that the Greys' presence is not opportunistic or parasitic but serves another dual purpose: to document life on Earth while also fostering a deeper connection with humanity through hybridization. "The visitors are now trying to get into a relationship with mankind," he stated, suggesting this could lead to significant changes in human understanding. "They do not want to replace us at all. They want us to thrive here," he insisted.Strieber acknowledged that a shift in public perception is underway, as awareness of these extraterrestrial encounters appears to be growing. Reflecting on the current buzz regarding potential government disclosure of UFOs, he remarked, "There's an elephant in the room, which is the abductions."---------------------In the second half, Dr. Jacques Vallee, a prominent astrophysicist and computer scientist, shared his extensive knowledge of UFOs, particularly the Trinity UFO crash and ongoing government secrecy about extraterrestrial phenomena. Vallee has conducted over fifty years of ufology research, which included working on classified projects.He outlined the mysterious details of the Trinity incident that occurred two years before the famous Roswell crash. The event involved two young witnesses who observed an aerial crash while doing chores on a ranch in New Mexico. Vallee said, "They approached thinking that it was an airplane… but they realized that this was not an airplane" after discovering an entity inside the craft. This being they described as humanoid but not human.Vallee emphasized that the phenomenon of UFOs is becoming increasingly complex. He contended that while we are learning more about these mysteries, the information flow is often clouded by premature conclusions and preconceived notions. "The science itself is not going to have a quick answer," he remarked.Vallee also pointed out that most contemporary reporting of UFOs tends to originate from military or intelligence communities, overshadowing valuable testimony from everyday individuals. Moreover, Vallee addressed the need for a centralized database to consolidate UFO reports and sightings.Backing up his scientific method, Vallee described his approach to ufology as anchored in data collection and pattern analysis. "I'm looking for patterns to try to learn from those patterns," he stated.

In the first half, George Knapp welcomed author Whitley Strieber to discuss the behavior and abilities of Grey aliens. "I have learned their anatomy. I've learned a lot about their genetics," Strieber claimed. He revealed that Greys are abducting humans to collect data and create hybrids capable of telepathic communication—something he learned following his own harrowing abduction, where he experienced missing time and awoke with strange markings.Strieber believes that humans once possessed the powers of these visitors, such as telepathy and self-healing, but that we've lost them due to historical trauma. "We are a species living in a state of traumatic amnesia," he explained, while also describing the Greys' potential role in helping humanity recover these lost abilities.Strieber posited that the Greys' presence is not opportunistic or parasitic but serves another dual purpose: to document life on Earth while also fostering a deeper connection with humanity through hybridization. "The visitors are now trying to get into a relationship with mankind," he stated, suggesting this could lead to significant changes in human understanding. "They do not want to replace us at all. They want us to thrive here," he insisted.Strieber acknowledged that a shift in public perception is underway, as awareness of these extraterrestrial encounters appears to be growing. Reflecting on the current buzz regarding potential government disclosure of UFOs, he remarked, "There's an elephant in the room, which is the abductions."---------------------In the second half, Dr. Jacques Vallee, a prominent astrophysicist and computer scientist, shared his extensive knowledge of UFOs, particularly the Trinity UFO crash and ongoing government secrecy about extraterrestrial phenomena. Vallee has conducted over fifty years of ufology research, which included working on classified projects.He outlined the mysterious details of the Trinity incident that occurred two years before the famous Roswell crash. The event involved two young witnesses who observed an aerial crash while doing chores on a ranch in New Mexico. Vallee said, "They approached thinking that it was an airplane… but they realized that this was not an airplane" after discovering an entity inside the craft. This being they described as humanoid but not human.Vallee emphasized that the phenomenon of UFOs is becoming increasingly complex. He contended that while we are learning more about these mysteries, the information flow is often clouded by premature conclusions and preconceived notions. "The science itself is not going to have a quick answer," he remarked.Vallee also pointed out that most contemporary reporting of UFOs tends to originate from military or intelligence communities, overshadowing valuable testimony from everyday individuals. Moreover, Vallee addressed the need for a centralized database to consolidate UFO reports and sightings.Backing up his scientific method, Vallee described his approach to ufology as anchored in data collection and pattern analysis. "I'm looking for patterns to try to learn from those patterns," he stated.

In the first half, George Knapp welcomed author Whitley Strieber to discuss the behavior and abilities of Grey aliens. "I have learned their anatomy. I've learned a lot about their genetics," Strieber claimed. He revealed that Greys are abducting humans to collect data and create hybrids capable of telepathic communication—something he learned following his own harrowing abduction, where he experienced missing time and awoke with strange markings.Strieber believes that humans once possessed the powers of these visitors, such as telepathy and self-healing, but that we've lost them due to historical trauma. "We are a species living in a state of traumatic amnesia," he explained, while also describing the Greys' potential role in helping humanity recover these lost abilities.Strieber posited that the Greys' presence is not opportunistic or parasitic but serves another dual purpose: to document life on Earth while also fostering a deeper connection with humanity through hybridization. "The visitors are now trying to get into a relationship with mankind," he stated, suggesting this could lead to significant changes in human understanding. "They do not want to replace us at all. They want us to thrive here," he insisted.Strieber acknowledged that a shift in public perception is underway, as awareness of these extraterrestrial encounters appears to be growing. Reflecting on the current buzz regarding potential government disclosure of UFOs, he remarked, "There's an elephant in the room, which is the abductions."---------------------In the second half, Dr. Jacques Vallee, a prominent astrophysicist and computer scientist, shared his extensive knowledge of UFOs, particularly the Trinity UFO crash and ongoing government secrecy about extraterrestrial phenomena. Vallee has conducted over fifty years of ufology research, which included working on classified projects.He outlined the mysterious details of the Trinity incident that occurred two years before the famous Roswell crash. The event involved two young witnesses who observed an aerial crash while doing chores on a ranch in New Mexico. Vallee said, "They approached thinking that it was an airplane… but they realized that this was not an airplane" after discovering an entity inside the craft. This being they described as humanoid but not human.Vallee emphasized that the phenomenon of UFOs is becoming increasingly complex. He contended that while we are learning more about these mysteries, the information flow is often clouded by premature conclusions and preconceived notions. "The science itself is not going to have a quick answer," he remarked.Vallee also pointed out that most contemporary reporting of UFOs tends to originate from military or intelligence communities, overshadowing valuable testimony from everyday individuals. Moreover, Vallee addressed the need for a centralized database to consolidate UFO reports and sightings.Backing up his scientific method, Vallee described his approach to ufology as anchored in data collection and pattern analysis. "I'm looking for patterns to try to learn from those patterns," he stated.

For decades, belief in unidentified aerial phenomena has found its way into the ideas espoused by a number of religious and political groups, as well as other organizations with unusual backgrounds. In his landmark analysis of this aspect of modern UFO-related beliefs, computer scientist Jacques Vallee argued in his 1979 book Messengers of Deception that such beliefs could play a key role in understanding both the phenomenon itself, as well as how it may be used by such groups as a control mechanism. But could the same things still be occurring today as well?  This week on The Micah Hanks Program, we compare recent events in the ongoing UAP whistleblower debate to Vallee's fundamental premise from decades ago; who are today's UFO messengers of deception, and for what purposes might any such group seek to control aspects of the popular UAP narrative?  Have you had a UFO/UAP sighting? Please consider reporting your sighting to the UAP Sightings Reporting System, a public resource for information about sightings of aerial phenomena. The story doesn't end here... become an X Subscriber and get access to even more weekly content and monthly specials. Want to advertise/sponsor The Micah Hanks Program? We have partnered with the AdvertiseCast to handle our advertising/sponsorship requests. If you would like to advertise with The Micah Hanks Program, all you have to do is click the link below to get started: AdvertiseCast: Advertise with The Micah Hanks Program Show Notes Below are links to stories and other content featured in this episode: NEWS: Pope will remain hospitalized as doctors treat a complex respiratory tract infection, Vatican says Ukraine war briefing: Zelenskyy waves away first US bid for critical minerals Elon Musk's DOGE asks for access to IRS taxpayer data, sources say Scientists issue warning after witnessing shocking phenomenon in the ocean  DARPA Program Plans to Build Massive Structures in Orbit with Paradigm-Shifting Technology VALLEE: Messengers of Deception: UFO Contacts and Cults BECOME AN X SUBSCRIBER AND GET EVEN MORE GREAT PODCASTS AND MONTHLY SPECIALS FROM MICAH HANKS. Sign up today and get access to the entire back catalog of The Micah Hanks Program, as well as “classic” episodes, weekly “additional editions” of the subscriber-only X Podcast, the monthly Enigmas specials, and much more. Like us on Facebook Follow @MicahHanks on X. Keep up with Micah and his work at micahhanks.com.

Guest Speaker: Ryan Vallee, Alpha AustraliaThe Power of an Invitation9 AM, 9/02/2025======================Visit us online at newhope.net.au.instagram.com/newhopemelbfacebook.com/NewHopeMelb

In this powerful episode, Ryan Vallee explores the role of prayer in evangelism and how we can prepare for a season of spiritual harvest. Through inspiring testimonies, biblical insights, and the impact of Alpha, he shares how God is already at work in people's lives, inviting us to join Him in the mission. Learn how to step out in faith, trust in the Holy Spirit, and boldly invite others to explore Jesus. If you're ready to see lives transformed and be part of God's movement, this episode will equip and encourage you to pray, invite, and step into action.

In this inspiring episode, we explore the power of a simple invitation—“Come and See.” Featuring Ryan Vallee from Alpha Australia, we dive into how sharing faith doesn't require perfect words or deep theological knowledge, but a willingness to invite others to explore Jesus for themselves. Through real-life testimonies and insights, we uncover how God is already at work in the lives of those around us, and how small acts of invitation can transform lives. If you've ever wondered how to share your faith effectively, this episode will encourage and equip you to take that first step with confidence.

Saates on juttu Seišellide saarestiku algupärasest metsast, mis asub Pralini saarel Vallee de Mai orus.

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SPONSORS: This episode is sponsored by/brought to you by BetterHelp. Give online therapy a try at https://betterhelp.com/julian and get on your way to being your best self. (***TIMESTAMPS in description below) ~ Jesse Michels is a Venture Capitalist, YouTuber, & UFO / Esoterica Historian & Journalist. Currently, Jesse invests for Silicon Valley Magnate, Peter Thiel. He also hosts a show on YouTube called “American Alchemy,” where he has interviewed Jacques Vallee, Hal Puthoff, Eric Weinstein, Danny Sheehan, Graham Hancock, James Fox –– and many more notable individuals. EPISODE LINKS - PATREON: https://www.patreon.com/JulianDorey    - MERCH: https://juliandorey.myshopify.com/   - AMAZON STORE: https://amzn.to/3RPu952   GUEST LINKS - YOUTUBE: https://www.youtube.com/@JesseMichels  - X: https://x.com/AlchemyAmerican  - IG: https://www.instagram.com/jessemichels/?hl=en  FOLLOW JULIAN DOREY INSTAGRAM (Podcast): https://www.instagram.com/juliandoreypodcast/   INSTAGRAM (Personal): https://www.instagram.com/julianddorey/   X: https://twitter.com/julianddorey  JULIAN YT CHANNELS - SUBSCRIBE to Julian Dorey Clips YT: https://www.youtube.com/@juliandoreyclips    - SUBSCRIBE to Julian Dorey Daily YT: https://www.youtube.com/@JulianDoreyDaily    - SUBSCRIBE to Best of JDP: https://www.youtube.com/@bestofJDP    Get $150 Off The Eight Sleep Pod Pro Mattress / Mattress Cover (USING CODE: “JULIANDOREY”): https://eight-sleep.ioym.net/trendifier ****TIMESTAMPS**** 0:00 - Sliding into Peter Thiel's DMs 10:20 - Why Jesse started a Physics, UFOlogy & Esoteric Channel 13:59 - Jesse sees a UFO (story) 17:58 - When Jesse first got into UFOs; Diana Walsh Pasulka 22:55 - Can Aliens Simulate us viewing them? 28:20 - Aliens, Religion, Gnosticism, Jesus & God 33:40 - The Knights Templar 38:54 - Alien “Holy Wars” & The Bible; Diana Pasulka on UFO & God Connection 47:30 - The Vatican, Science, Religion, Multiverse & UFOs 54:56 - The Vatican Bank; Attitudes & Religion 58:27 - Jacques Vallee 1:01:49 - Vallee, Garry Nolan, Hal Puthoff & UFO Crash Retrieval Evidence 1:11:18 - Garry Nolan's Basal Ganglia Work 1:14:12 - UFOs relation to time, space & gray aliens (future humans) 1:19:37 - Michio Kaku's time travel theory 1:21:49 - UFOs, Nuclear Bases & the future humans argument 1:27:22 - Gravity, Time Dilation & General Relativity 1:33:09 - Eric Weinstein, String Theory & Physics Ivory Towers 1:42:00 - UAP Psyops 1:43:22 - The Manhattan Project, Oppenheimer & UFOs Connection 1:51:26 - 1971 Australian Intel Atomic Detonation Doc; Anti-Gravity Research History 1:57:38 - Oppenheimer's alleged UFO Crash Investigation 1:59:32 - Simulating how humanity would respond to disclosure 2:06:57 - UFO Psyops; Lue Elizondo 2:18:58 - UAP stories & National Security; Thomas Townsend Brown; Joby Warrick 2:35:34 - David Grusch & how Jesse earned his trust years ago 2:45:39 - Compartmentalization of Intel on UAP Disclosure; Robert Sarbacher 2:52:03 - David Grusch's full background review 2:54:51 - Grusch & the Psyop Squirrel Theory 3:03:21 - How Jesse changed Eric Weinstein's mind on UFO Phenomenon 3:07:33 - DARPA Weapons vs. Aliens Theory 3:09:50 - German Nazi Super-Weapons & Operation Paperclip 3:22:31 - Danny Sheehan & Every American Conspiracy Ever 3:28:02 - Jesse coming back CREDITS: - Host, Producer, and Editor: Julian Dorey - In-Studio Producer: Alessi Allaman - https://www.instagram.com/allaman.docyou/ Julian Dorey Podcast Episode 240 - Jesse Michels Music by Artlist.io

In this episode of Go Gaddis Real Estate Radio, brought to you by Modern Traditions Realty Group, we welcome a very special guest, Kristy Vallee, Partner at Modern Traditions Realty Group. Kristy joins us to discuss the team's growth since the 2023 merger, the unique benefits of working with the Modern Traditions team, and what the future holds for the group. Segment Teaser: Join us for an insightful conversation with Kristy Vallee, Partner at Modern Traditions Realty Group, as we reflect on the past year and discuss what makes working with our team special. Cleve Gaddis: Join Cleve Gaddis as he helps listeners go from real estate novice to expert, ensuring that home buying and selling can be done with total confidence and without the usual worries of life's biggest investments. Let's Talk: Visit GoGaddisRadio.com to ask questions, leave comments, push back, share your ideas, and explore our Neighborhood Spotlight. Don't forget to subscribe to our podcast! Special Guest: Kristy Vallee, Partner at Modern Traditions Realty Group, shares her thoughts on the team's journey since the 2023 merger, the benefits of working with Modern Traditions, and how the team is growing and recruiting new talent. Join us for an engaging episode that highlights the strengths of the Modern Traditions Realty Group and explores how we continue to grow and serve our clients.

In this episode of Go Gaddis Real Estate Radio, brought to you by Modern Traditions Realty Group, we continue our discussion with Kristy Vallee, Partner at Modern Traditions Realty Group. We explore how recent legal changes, including the NAR settlement and DOJ actions, are impacting the real estate industry and shaping the way Modern Traditions does business. Segment Teaser: Join us for a continued conversation with Kristy Vallee as we discuss how new real estate laws are influencing business practices and what the future holds for the industry. Cleve Gaddis: Join Cleve Gaddis as he helps listeners go from real estate novice to expert, ensuring that home buying and selling can be done with total confidence and without the usual worries of life's biggest investments. Let's Talk: Visit GoGaddisRadio.com to ask questions, leave comments, push back, share your ideas, and explore our Neighborhood Spotlight. Don't forget to subscribe to our podcast! Special Guest: Kristy Vallee, Partner at Modern Traditions Realty Group, shares insights on how recent legal developments, including the NAR settlement and DOJ actions, have affected the real estate industry and how Modern Traditions is adapting. Is there good news on the horizon? Join us for a timely and informative discussion on the evolving landscape of real estate, ensuring you stay informed about the future of the industry.

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Catherine M Thompson - I Want Out FOLLOW ON SPOTIFYStephanie Rabus - Halo (Outside Looking In) FOLLOW ON SPOTIFYRandie's Werewolves Of Summer - Daddy's Pride FOLLOW ON SPOTIFYJeanie Cunningham - Lady AynChorus of Courage - Burn it Down feat. Cindy Doire FOLLOW ON SPOTIFYMaushalik Williams, Diane Kaufman, The Prophet X - How To Live & Love Beyond Heartbreak Constance Hauman - Silent Night FOLLOW ON SPOTIFYHatori - Playing God FOLLOW ON SPOTIFYClaudine Vallee - Don't Call It Love FOLLOW ON SPOTIFYJudy Nazemetz - The Gift FOLLOW ON SPOTIFYEmmeleine - She's Not Her Story FOLLOW ON YOUTUBERandie's Werewolves Of Summer - Olivia FOLLOW ON SPOTIFYMuriel - I See Nothing But Red FOLLOW ON SPOTIFYFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Sieren at linktr.ee/CallMeSEIRENVisit our Sponsor Catherine M Thompson at catherinemthompson.comVisit our Sponsor Becky Boyland at beckyboyland.comVisit our Sponsor Lourdes Pita at lourdespita.comVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resources

Paranormal Book Club - Passport to Magonia by Jaques ValleeSusy, Steve and Andy discuss the seminal work on the world of High Strangeness.Passport to Magonia, Jacques Vallee's influential masterwork that changed our understanding of the UFO phenomenon. An instant classic when first published in 1969, the book remains a must-have resource for anybody interested in the topics of UFOs and alien contact, as well as those fascinated by fairy folklore and other paranormal encounters. All of which Vallee identifies as potentially originating from the same source.(Although, as you will hear, not everyone is a fan ;) ) Become a supporter of this podcast: https://www.spreaker.com/podcast/paranormal-uk-radio-network--4541473/support.

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Karie Hillery - I Believe In It FOLLOW ON SPOTIFYJill Sissel - Water and Tree FOLLOW ON SPOTIFYDanielle Schroeder - Stand Together FOLLOW ON SPOTIFYKit Holmes - Here To Be FOLLOW ON SPOTIFYClaudine Vallee - What Do You See FOLLOW ON SPOTIFYGracie Mauk - The Good Fight FOLLOW ON SPOTIFYLynda Dobbin-Turner - Good People Everywhere FOLLOW ON SPOTIFYVoices Three - Look for the Saints FOLLOW ON SPOTIFYSaving Cinderella Development Cast - Who You Know FOLLOW ON SPOTIFYBreeze - Together FOLLOW ON SOUNDCLOUDFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Bandzoogle at bandzoogle.comVisit our Sponsor Reel Magic at profitablemusician.com/magicVisit our Sponsor Miss Queue at missqueueband.comVisit our Sponsor Lourdes Pita at lourdespita.comVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resources

A real treat for all of us! I was honored to be able to chat with the great Jacques Vallee about, amongst other things, his new book with Paola Leopizzi Harris titled Trinity: The Best Kept Secret.

Nous sommes en 1930. Au menu du bulletin officiel du Touring Club de Belgique, on peut lire un article intitulé « Correspondance de villégiature et de gastronomie », un certain Petitjean imagine une correspondance entre Antoine et son ami Xavier : « Puis-je espérer me refaire un peu les nerfs dans le bon air de la Semois, la flânerie des grands bois et le repos des sites pittoresques, loin des livres, des journaux et de la politique ? » Xavier profitant d'un jour de pluie, répont à Antoine : « … si tu savais, après une bonne averse, dont les gouttes restent, tels des diamants, accrochés aux feuilles des noisetiers et aux tiges des valérianes, combien sont enivrantes les âcres senteurs des sapins ou les parfums de la lande à la bruyère rose, tu ne te plaindrais pas quand le ciel se couvre de noirs nuées. » Il poursuit : « … tous les touristes des deux sexes sont, ici, quelques pêcheurs. Chacun se fait préparer, en petit supplément personnel, la délicate friture qu'il a capturé le matin (…). Viens sans crainte. » La réponse ne se fait pas attendre : « J'arrive ce soir. » Signé Antoine. C'est au long des 210 kilomètres de la Semois que nous vous emmenons, aujourd'hui : des siècles d'histoire en passant par la Lorraine, la Gaume et l'Ardenne… Avec nous : Dominique Billion, auteur de « Mémoire de la Semois » ; éd. Weirich. Sujets traités : Semois, Lorraine, Gaume , Ardenne, villégiature, gastronomie , Meuse, rivière, Arlon, vallée Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Guest BioJimmy Vallee is a U.S. business author and venture capitalist, widely recognized as one of America's top energy dealmakers. With over two decades of experience advising public and private companies, he has been instrumental in more than $100 billion worth of worldwide mergers and acquisitions transactions. As the founding partner and current managing director at Valhil Advisors, Jimmy brings deep expertise in investment banking, sovereign wealth, and private equity funds. His significant contributions to the financial and crypto world, particularly regarding XRP and blockchain technology, make him a leading voice in the industry.Episode SummaryIn this compelling episode of Wired for IMPACT, Peter King sits down with renowned venture capitalist and top energy dealmaker, Jimmy Vallee. Dive into the intricacies of multi-billion dollar transactions, the transformative potential of blockchain technology, and the revolutionary concept of asset tokenization. Jimmy shares his journey from skepticism to advocacy for cryptocurrency, shedding light on the XRP buyback proposal and its implications for the future of finance. This episode is a treasure trove of insights for anyone interested in the evolving digital financial landscape.In This Episode, You'll Discover...The complexities and nuances of multi-billion dollar mergers and acquisitionsJimmy Vallee's transition from traditional finance to the world of cryptocurrencyThe concept and implications of the XRP buyback proposalThe future of asset tokenization and its potential impact on various industriesInsights into the current regulatory landscape for cryptocurrenciesHow blockchain technology can shape a new, efficient, and fair financial systemDon't miss this enlightening conversation with Jimmy Vallee as he explores the future of finance and blockchain technology. Tune in now to gain valuable insights and stay ahead in the digital financial revolution. The content of this podcast is for informational purposes only and should not be considered financial advice. Always consult with a qualified financial advisor before making any investment decisions.

Our nests are not just our immediate family, they are also our extended families. Our doctors, our friends, our priests and spiritual guides, our counselors, our aunts and uncles, our honorary aunts and uncles, our teachers, our mentors. On this episode of nest, we cast the nest's net to faith and the community it catches, as a result. 

For this episode of Season 3, I had the pleasure of interviewing young adult contemporary fantasy author Jessie Vallee. We had a terrific conversation about how she got into self-publishing, how she went about crafting her story and her world, and the types of themes represented in her first novel Frost and Shadow: The War of Miracles. Make sure to check out her social links below and her book!Author Social Links:www.jessievallee.ca https://a.co/d/feAqRFu@jvalleeauthor on all social media platformsPodcast Published Links:Website: https://thefantasyandscififanaticspod.com/ Youtube Channel Subscription: https://youtube.com/@thefantasyandsci-fifanatic2328 Rss.com: https://media.rss.com/thefantasyandsci-fifanaticspodcast/feed.xml Spotify: https://open.spotify.com/show/2aCCUhora9GdLAduLaaqiu?si=cl-8VWgaSrOGDwJg-cKONQ Facebook Group join link: https://www.facebook.com/groups/402724958101648/?ref=share

In todays show, Matt and Jesi Vallee join us to share about their last 5-10 years of being married and growing a lawn care company. Jesi has a successful career outside of the business in agriculture and is pursuing her dreams in that area, while Matt has been growing the lawn care company over the last 7 years. They have since had a daughter and are now navigating parenthood while also growing their respective careers. It is very cool to see how they are growing in so many areas while also maintaining a healthy family unit. Enjoy the show! Support the Show. Trigreen Equipment-https://www.trigreenequipment.com/lp/trigreen-connect/ Book A Consult Call-https://stan.store/GrowingGreenPodcast Lawntrepreneur Academy-https://www.lawntrepreneuracademy.com/ The Landscaping Bookkeeper-https://thelandscapingbookkeeper.com/ Instagram- https://www.instagram.com/growinggreenlandscapes/ Email-ggreenlandscapes@gmail.com

*The award lecture and its accompanying slides are also available to watch here: https://youtu.be/brIHwjoGqRc. The Bert & Natalie Vallee Award in Biomedical Science is awarded to an established scientist for outstanding accomplishments in basic biomedical research. Hao Wu is a professor at Harvard Medical School. Wu's lab uses cryo-electron microscopy and other biophysical methods to understand molecular complexes involved in innate immunity, including signalosomes and pore-forming complexes like gasdermin D. Learn more: https://www.asbmb.org/asbmb-today/people/081623/asbmb-names-2024-award-winners.

A great conversation with the briliant Jacque Vallee about his newest book Trinity, written with Paulo Harris about the reported UFO crash of 1945.

Scott Mason talks with renowned meteorologist Ed Vallee about the New York Jets 2024 offseason! Ed shares his thoughts on the Joe Douglas/Robert Saleh regime, how the team can improve in 2024, a look ahead to free agency and the draft, which member of the Jets organization he would pick to train as a meteorologist........and much more! Check out the Play Like A Jet store and get your "Play Like A Jet" logo shirt RIGHT NOW! Hoodies, hats, mugs, etc.....also available! https://www.teepublic.com/t-shirt/19770068-play-like-a-jet-logo-shirt?store_id=717242 To advertise on Play Like A Jet, please contact: Justin@Brokencontrollermedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

When examining the topic of otherworldly influences on human affairs, we must journey into the most ancient past of history and the deepest ares of the psyche. Those littles voices in our heads, often seen as the angel or devil on our shoulder should be recognized as a sort of intuition, or perhaps a better word is the daemon, i.e., the spiritual piece separate and between from organic life and divinity. We do things termed superstitions naturally because they make us feel as if we have control over some unseen dimension, though in other cases it is this other world said to exert itself directly over human affairs. Which causes the other to move? Take our custom of disease management today with needles, pills, and medical terminology, and compare it to the use of crosses, consecrated water and bread, and latin texts in exorcising a demon. It is exercise after all that keeps us healthy, a condition we are said to lose if we were happened upon by a demon in and ancient and more recent times, or a microbe in very contemporary times. Whatever the conditions, the dream world seems to bleed over into waking reality, against encouraging us to ask which is real - perhaps both. The experiences of the shaman are precursors to the details of human interaction and pact making with angels and demons, fairies and little people, and in contemporary times beings from beyond our world. From the dream world and mind into heaven and hell, and eventually elfland and spaceships. The UFO phenomenon as it stands is as ancient as shamanic practices. In the distant past humans saw stars, lights, angels, etc., and as time ticked away, we began to see pillars, shields, chariots, baskets, and boats. Before we can jump straightaway to flying spaceships there is critical necessity in addressing the 1896-1897 airship sightings across the United States. Such sightings began in San Francisco in November, 1896, and although they ceased by early 1897, countless reports suddenly were documented across the country in other major cities, though sometimes there were rural sightings. In the most common cases, large crowds witnessed the event, which included turbine wheels and glass windows behind which people watched the inhabitants below. The ships would drop anchors and rope, and display characteristics of classical UFOs, i.e., abrupt altitude and speed changes, hovering, and displaying powerful lights. According to a Houston Post article from April 26, 1897, quoting man named Mr. Frank Nichols, who had the opportunity with speak the crew of the ship. This what was described: “The ship or car is built of a newly-discovered material that has the property of self-sustenance in the air, and the motive power is highly condensed electricity.” It is certainly convenient that despite the historic use of silk to produce an electrical charge, or maybe even the Baghdad Battery, the first electric transmission line in the United States was constructed in 1889. The 1890s were ripe for electric innovation but it still took until after World War I for even half of the country's homes to have that magical light. Over the ensuing decades, and after much hype about Foo Fighters, Ghost Rockets, and even etheric discs, and of course the Roswell sacred site, Sputnik 1 was launched into space - October 4, 1957. Then on April 12, 1961, the Russian Yuri Gagarin was the first human to reach space, followed closely by the first American, Alan B. Shepherd, on May 5, 1961. As we approached the famed lunar year of 1969, planning to invade another planetary body or moonlit, there was an explosion of what is clearly unconscious projections of our own subconscious fears of otherworldly terrestrials stepping foot on our planet. This fear of the unknown and both the military and entertainment promoting of the same, led to the modern UFO myth today of flying spaceships invading our world. We must therefore consider one of the final arguments made by Jacques Vallee in Passport to Magonia:“This makes the study of such objects infinitely broader than the simple investigation, in scientific terms, of a new phenomenon; for if the appearance and behavior of the objects arc functions of our inter­pretation at any particular time in the development of our culture, then what chances can we have of ever knowing the truth?”-FREE ARCHIVE & RSS: https://www.spreaker.com/show/the-secret-teachingsTwitter: https://twitter.com/TST___RadioWEBSITE, BOOKS, RESUBSCRIBE YEARLY: http://thesecretteachings.infoPaypal: rdgable@yahoo.comCashApp: $rdgableBuy Me a Coffee: https://www.buymeacoffee.com/tstradioSUBSCRIBE TO NETWORK: http://aftermath.mediaEMAIL: rdgable@yahoo.com / TSTRadio@protonmail.com

It is becoming apparent for objective observers of the Government's UAP/UFO investigations that this entire thing may itself be a political-media frenzy for attention, and may actually be leading to further coverup and dismissal. Declassified parts of previously released Inspector General DOD report suggest that the Pentagon's response to UFO incidents is “uncoordinated and concentrated within each military department,” something that is leading to no real answers. The DOD is now arguing that time could be better spent on identifiable threats, thought those are questionable too, rather than the elusive unidentifiable variety. The private briefs of Congress by David Grusch also resulted in a giant pile of nothing, once again. Congress merely saw tantalizing hints in Thomas Monheim's (the IG) presentation that there might have been something to Mr. Grusch's claims and, while the rules of a classified briefing barred them from actually repeating what they had learned, they suggested the inspector general had found some of the claims credible. Which ones? No one would say. Exactly what you'd except and suspect. Furthermore, the head of the mandated AARO research group, Sean Kirkpatrick, tore the entire subject apart in a recent piece for Scientific American. He said real investigative efforts were thwarted by “sensational but unsupported claims that ignored contradictory evidence yet captured the attention of policy makers and the public.” He adds, “the result of this whirlwind of tall tales, fabrication and second and thirdhand retellings of the same, was a social media frenzy,” and a waste of time. Perhaps his most profound statement was thus: “As of the time of my departure, none, let me repeat, none of the conspiracy-minded ‘whistleblowers' in the public eye had elected to come to AARO to provide their ‘evidence' and statement for the record despite numerous invitations.” As a result of this nonsense, we are faced with fairy tales of the Hollywood variety, and if there is a conspiracy it must be to conceal the true nature of reality; otherwise it is a giant grift.-FREE ARCHIVE & RSS: https://www.spreaker.com/show/the-secret-teachingsTwitter: https://twitter.com/TST___RadioWEBSITE, BOOKS, RESUBSCRIBE YEARLY: http://thesecretteachings.infoPaypal: rdgable@yahoo.comCashApp: $rdgableBuy Me a Coffee: https://www.buymeacoffee.com/tstradioSUBSCRIBE TO NETWORK: http://aftermath.mediaEMAIL: rdgable@yahoo.com / TSTRadio@protonmail.com

The UFO has been called a "technological angel" and the central mythic symbol of the modern age; we examine some of the extraordinary stories, from throughout history, of strange lights and objects seen flying through the sky, from medieval Italy to modern New Mexico, and consider carefully the problems that they present -- for historians, as well as for government, and for ordinary people who want to fit the strange and anomalous into our understanding of the world. Suggested further reading: Diana Walsh Pasulka, "American Cosmic"; Vallee & Aubeck, "Wonders in the Sky"; Ross Coulthart, "In Plain Sight"; Graeme Rendall, "The Foo Fighters," Debrief Magazine, Dec. 2021. Correction: The biologist to whom D.W. Pasulka refers as "James" in "American Cosmic" is Garry P. Nolan, not Craig P. Nolan. Please sign on as a patron at any level to hear patron-only lectures, including the previous Myth of the Month on "Culture" -- https://www.patreon.com/user?u=5530632

Interview Starts at 23:20   Dominic Vallee joins us for a chat about his journey and his book "Zinfaendel - The Mystics Path of Self-Knowledge". We chat about his synchronicity with the Rose, how interest in UFO's led to Mysticism and Magic, messages and signs, new thought, how ideas live, knowing yourself, the formless path, the mystics path, the horse and the Chinese story, and inhabiting the paradox. Is there a moral ground to manifesting?   Get his book here http://dominicvallee.com/   His audiobook is available here for now, but will be all over shortly: https://adultbrain.ca/far-beyond-a-mere-psychological-endeavour-the-path-of-personal-revelation-remains-enigmatic-aside-from-our-physical-forms-our-tragedies-ecstasies-and-opinions-what-else-is-there-to-know/   See his new podcast here: https://hopscotchchronicles.com/   In the intro we chat about our upcoming trip/events, Darren's hunting stories, this months free audiobooks, and Randall Carlson's newsletter about this new Bendall Technology.   See links to stuff we chatted about: The Randall Carlson Newsletter - October 2023 (mjt.lu) https://rumble.com/v3mrdop-george-howard-the-cosmic-tusk-cosmic-summit-and-working-on-malcolm-bendalls.html http://alchemichttps//www.scienceopen.com/collection/9aae92f3-66ba-4b71-a74b-51b9995c56e5alscience.org       Help support the show, because we can't do it without ya. If you value this content with 0 ads, 0 sponsorships, 0 breaks, 0 portals and links to corporate websites, please assist. Many hours of unlimited content for free. Thanks for listening!!   Support the show directly: http://www.grimerica.ca/support https://www.patreon.com/grimerica   http://www.grimericaoutlawed.ca/support www.Rokfin.com/Grimerica   Check out our next trip/conference/meetup - Contact at the Cabin www.contactatthecabin.com Our audio book page: www.adultbrain.ca Adultbrain Audiobook YouTube Channel: https://www.youtube.com/@adultbrainaudiobookpublishing Grimerica Media YouTube Channel: https://www.youtube.com/@grimerica/featured Darren's book www.acanadianshame.ca Grimerica on Rumble: https://rumble.com/c/c-2312992 Join the chat / hangout with a bunch of fellow Grimericans  Https://t.me.grimerica https://www.guilded.gg/i/EvxJ44rk Get your Magic Mushrooms delivered from: Champignon Magique  Mushroom Spores, Spore Syringes, Best Spore Syringes,Grow Mushrooms Spores Lab Buy DMT Canada Other affiliated shows: https://grimericaoutlawed.ca/The newer controversial Grimerica Outlawed Grimerica Show Leave a review on iTunes and/or Stitcher: https://itunes.apple.com/ca/podcast/grimerica-outlawed http://www.stitcher.com/podcast/grimerica-outlawed Sign up for our newsletter https://grimerica.substack.com/ SPAM Graham = and send him your synchronicities, feedback, strange experiences and psychedelic trip reports!! graham@grimerica.com InstaGRAM https://www.instagram.com/the_grimerica_show_podcast/  Tweet Darren https://twitter.com/Grimerica Can't. Darren is still deleted. Purchase swag, with partial proceeds donated to the show: www.grimerica.ca/swag Send us a postcard or letter http://www.grimerica.ca/contact/ Episode ART - Napolean Duheme's site http://www.lostbreadcomic.com/  MUSIC https://brokeforfree.bandcamp.com/ - Sidewalk Chalk Felix's Site sirfelix.bandcamp.com - SSU   If you would rather watch: https://rumble.com/v3n8x34-dominic-vallee-zinfaendel-the-mystics-path-of-self-knowledge.html https://rokfin.com/stream/39812

Zinfaendel – The Mystic's Path of Self-Knowledge It is sometimes said that at the heart of all spiritual traditions, we find essentially the same values of love, virtue, and altruism. However, one notion consistently resurfaces even more prominently in the discourse of the greatest mystics throughout history: self-knowledge. Far beyond a mere psychological endeavour, the...

This is part one of a two-part discussion  that looks at the idea that the entities behind the UFO phenomena might end up being more complex than biological being from Mars, or some star system. UFO like everything else that we study in the universe, simply get more and more complex, and it does not appear we will ever be able to view the underlying reality. That is what has happened to the UFO story including the entities that man the ships. The story gets more complex and the more we study the more questions pop up as to what is really going on. Frank Salisbury, who wrote about the weirdness at Skinwalker Ranch before anyone else, called his book THE UFO DISPLAY. He, like others such as Keel and Vallee, concluded in a way that the phenomena were more like a circus. Salisbury wrote, “Are they interested in more simply exploration and search for knowledge about our world? What if they have some purpose in wanting  to manipulate us. What if it's all a show, a display, a circus – a charade in which we are led to guess answers they want us to guess.” This podcast will make you think back to things that people have overlooked in their entity encounter stories. #ET #extraterrestrial #alien #Mars #ufotwitter Grant's books can be found at https://itsallconnected.weebly.com/books.html

This is part one of a two-part discussion  that looks at the idea that the entities behind the UFO phenomena might end up being more complex than biological being from Mars, or some star system. UFO like everything else that we study in the universe, simply get more and more complex, and it does not appear we will ever be able to view the underlying reality. That is what has happened to the UFO story including the entities that man the ships. The story gets more complex and the more we study the more questions pop up as to what is really going on. Frank Salisbury, who wrote about the weirdness at Skinwalker Ranch before anyone else called his book THE UFO DISPLAY. He, like others such as Keel and Vallee, concluded in a way that the phenomena were more like a circus. Salisbury wrote, “Are they interested in more simply exploration and search for knowledge about our world? What if they have some purpose in wanting  to manipulate us.What if it's all a show, a display, a circus – a charade in which we are led toguess answers they want us to guess.” This podcast will make you think back to things that people have overlooked in their entity encounter stories. #ET #extraterrestrial #alien #Mars #ufotwitter Grant's books can be found at https://itsallconnected.weebly.com/books.html

Seriah is joined by Adam Sayne and Nevaeh. Topics include Katie of the Night, Spiritualism, personal experiences and family history, Indigenous legendary beings, a weird experience by an old church, a relative's ghost stories, wendigos, skinwalkers, a strange encounter with a fox, bizarre experiences with deer, albino deer, strange screams coming from the woods, an encounter with a weird Rake-like entity, strange animal sounds, a prank during a horror movie, working in a funeral home, Seriah's electrical incidents, age and paranormal encounters, children who remember past lives, “Soul Survivor” by Bruce and Andrea Leininger, Professor Jim B. Tucker's work studying reincarnation, strange statements by small children, past life regression, hypnosis and its value and drawbacks, a hypnotically recalled past life, Julia Assante and past lives, Seriah knocks out the power to a city block, Sarah Lee Black, “The OA” TV series, Brit Marling, “I Origins” movie, religion and spirituality, Joshua Cutchin and the Fae, Jacques Vallee's “Passport to Magonia”, wrongly interpreted phenomena, categorization in the paranormal, Mollie Fancher and the “fasting girls” of Victorian times, 1800's medical practices, “Station to Station” podcast, Edgar Cayce, Jane Roberts, Indian Fakirs, astral projection, the Men In Black, Albert K. Bender, Gray Barker, Allen Greenfield, “Nevaeh's Nightmare” YouTube channel, Giulia Tofana and poison, H.H. Holmes, a mannequin in Mexico that may be an actual corpse, the “boy in the box” murder case, the Dover Demon, Strange Realities conference 2023, and much more! A ton of unique material gets covered in this fascinating discussion!Nevaeh's channel can be found at: https://www.youtube.com/@nevaehsnightmare1530This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4656375/advertisement

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

Good morning and Happy Friday #LALiens! We're capping off an incredible week with addition of a surprise guest for today's stream. . Law and Legitimacy welcomes back a familiar face from the realm of blockchain, Jimmy Vallee. The court in SEC v. Ripple Labs issued a landmark order yesterday on the parties' cross-motions for summary judgment respecting Ripple's sales of its blockchain token, XRP. . Join us. . For the rest of the year, creators will receive 100 percent of the revenue from the purchase of monthly subscription badges, which Rumble recently launched for the price of $5 per month. Please consider purchasing a subscription badge to LAL and be assured that LAL will receive every penny of that subscription through the end of the year. Your consideration and patronage is most sincerely appreciated! . Daily livestreams beginning at 8:00 am EST on: › Rumble: https://rumble.com/user/LawandLegitimacy › Youtube: https://www.youtube.com/@lawandlegitimacy › Twitter: https://twitter.com/LawPodDaily . Subscribe and turn on notifications! . Support Law and Legitimacy: . - Locals: https://lawandlegitimacy.locals.com/ - Twitter: @LawPodDaily, @PattisNorm, and @MichaelBoyer_ - Subscribe on Apple Podcasts, Google Play, Audible, Spotify, or wherever you receive podcasts and rate LAL 5 stars. - Subscribe here on our Rumble and Youtube channels, give us a Rumble, and join our active community of free-thinkers, contrarians, and the unafraid on Locals!

Seriah is joined by Red Pill Junkie and Chris Ernst in a focused episode about the recent book by Jacques Vallee and Paola Harris “Trinity: Best Kept Secret”, a debunking expose, and the response to it. Topics include the Trinity nuclear test and its effects, Reme Baca, Jose Padilla, a story of a crashed avocado-shaped UFO, a possible object taken from the craft, Douglas Dean Johnson, congressional action on UAPs, Bob Lazar, Ray and Rex Stanford, dinosaur tracks, the Manhattan Project, radiation, alien beings, the metric system, Eddie Apodaca, unusual metal samples, the book “Born on the Edge of Ground Zero”, a theory of alien craft, New Mexico Highway Patrol, WWII, childhood memories, “photographic memory”, MUFON, the “Invisible Gorilla” book, memory abilities, Sabrina Padilla, strange angel hair material, a theory to explain the timeline, nuclear weapons and UFO activity, Barbara Fisher, UFO whistle-blowers, Christopher Mellon, Omni magazine, Don Schmitt and Kevin Randle, Rosemary Ellen Guiley, Philip Imbrogno, Ufology culture, Vallee and computer technology, leading questions in interviews, Philip J. Corso, The Black Tapes podcast, Bill Brophy, Wendelle Stevens, a different story of a UFO crash recovery, Ron Brinkley, “Witness to Another World” film, UFO trauma, Peter Robbins, lying Rendlesham witness, Isaac Cory, Charlie Wiser, Travis Walton, high strangeness appearing to marginalized people, Ariel School UFO incident, UFO tarot deck, and much more! This was an absolutely fascinating deep dive! - Recap by Vincent Treewell of The Weird Part Podcast Outro Music is by BELLS≥ with End Over End. Download