Schwab | Hollywood Trickster Imps, Goblin Markets, & The Psycho-metabolism

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Sign up is quick and easy and you're keeping a truly independent platform intact. For me to still be doing this the same way after so many years, clearly that means the members are pretty happy and you could be too. Think about it. Tell a friend and thanks for listening. The planet's puppet masters almost surely have a plan. There's clearly maybe something there beyond the realm of man. And until we've thoroughly tested every last closed chested view, I find the more we think we know, the less we really do. Where would we be without THC? Cause we know they're lying to us, just don't know to what degree. Where would we without tight chest? Owls are not what they seem, people. From the Sunshine State, I'm Greg Carlwood. And lately it's easy to see that something is missing from modern life. And our current course only seems to be making that hole bigger. We have lost the connection with our higher self and higher realms, as well as any cultural acknowledgement of our multidimensionality. The etheric plane pushed out of frame by a cybernetic one. The mind bombarded with endless weaponized stimuli while the body falls into a grotesque cycle of endless indulgence and short-term comfort. Our eternal myths plastered over with commercialized fables designed by behaviorists and consumer culture engineers that have replaced the wild call to adventure and rites of passage with summer savings on theme park packages in a manufactured fantasy land of adult children playing dress-up for the low, low cost of two months' wages. But today's fruits are the results of plans and plotting that go back further than most people know. And the consequences of what has been lost can only be written off as arbitrary by the truly ignorant. It seems that for so many of the voluntary victims of the big machine, you don't know what you got, even when it is gone. But fear not, dear people, here to shoehorn some sanity back into the countercultural consciousness is the one they call Schwab. He's been here three times before, talking about everything from the bizarre reports of what we call the Great Chicago Fire, the mystical sky world of Magonia, the dirigible deception, and the great loss it represents, accounts of and encounters with the super-spectral ecology, and of course, our modern plague known as the cybernetic takeover of everything and the subsequent cognitive holocaust. You can lock on to his never-ending insights on Twitter under RealHumanSchwab, as well as his wildly popular substack at schwabstack.substack.com. It's an honor and a pleasure, as always, today's Goblin Market tour guide, cultural critic, and bona fide king of counterculture and high strangeness. Schwab, my good man, welcome back. How the hell are you? Wonderful intro, as always. I'm doing great. Love to hear it. So, just curious, are you going to do a follow-up to that Chicago Fires thing? I've seen some people expressing a bit of a hunger for it. Yeah, I just kind of got caught up in other things, you know how that is. It does deserve a thorough study to drill down on it more. So, yeah, if there is a call for it, I definitely will. Fair enough. Stay tuned, people. You always got to keep them wanting in today's attention economy. You're playing the game well. So, I am always psyched to get to talk to you again. For this one, we settled on three posts of yours to cover that all have some overlapping ideas, despite being wildly different. And the first one is Girlboss Ex Machina. It goes way, way back. It's a few years old, and I tried to fit it into at least one of the previous shows. We just didn't have the time. It's largely about the original sexualized woman child of Hollywood by the name of Mary Pickford and the 2.0 perfected version, Shirley Temple. And there are layers to this examination, some more complex than others, but it's more than just the start of the Hollywood sexualization of children that we've become plenty familiar with over the years. But to quote the post, you say, Well, talk to us about the intention behind building this woman-child archetype and how this chapter of Hollywood was going. Well, it was during the Great Depression. There was a lot of disillusionment. So, you had people going to the cinema to find that image of purity. It was one of the first times you had this branching into the hyper-real, where you're seeing the fruits of industrialization and the boom-bust cycle and things like that and the carnage that it creates. And then simultaneously, you have this projected image of, you know, an idealized America where you have like a perfect doll that people can go and see her smile, the Botticelli smile. Here's the quote from Roosevelt. When the spirit of the people is lower than at any other time during this depression, it is a splendid thing that for just 15 cents, an American can go to the movies and look at the smiling face of a baby and forget his troubles. So, you have the sentimentalization of childhood with this image, and it's sort of this de-realizing thing. People are no longer looking at the real image of, you know, during this time, you also had a lot of childhood delinquency, homelessness, crushing poverty, fatherlessness, motherlessness, orphanages filling up, all this human carnage happening. It was like a steam release valve for people. That's when it first started happening, this, what is called like a therapeutic function for cinema. Right, right. With that quote, it's like, clearly they think so highly of us to just be entertained by the smile of a child. Forget that you don't have food. Look at this kid. This kid's smiling. Also note that this kid is made to look like an adult because the hair is all done up like an adult, but also she's wearing veneers. She doesn't have childhood teeth. She has adult teeth. And there's something weird going on with that. To quote you again, you say, modern audiences will often project a pedophilic gaze into the performances of Temple and Pickford. At the time, these performances were not viewed through a sexual lens, at least not consciously. Both actresses represented a moral value through a kind of aesthetic superiority, a robust purity that outmaneuvers agents of corruption. And I do think you're picking up on something there. The knowing innocent, as you put it. That's the trickster imp aspect, that this isn't a child. It's like an adult mind, or you might say a machine mind in a child body. And there's a lot of manipulation going on under the guise of cutesy that had multifaceted uses. Definitely. So you see this sort of trickster-ish forcing a lot in media, going all the way back to the Renaissance, where I would say it's like trickster coded. So they stack all these different liminalities. She's not a child. She's not a grown woman. She looks like this baby. She has this shrubic face, but she behaves like in this coquettish manner, like you said about the teeth. In Europe, you can see the perspective there. In Europe, there was this conspiracy theory that she was a dwarf because they weren't, it wasn't meant for their vision. It was like this highly focused beam of propaganda that's targeting the American mind. So it didn't really have the same effect on the Europeans as it did on us. So they had this other view of her as being this sort of monstrous dwarf that was impersonating a child. And so you have all of this sort of stacking of liminality that really attacks people at their core, right? It really just sort of shuttles you right out of reality as soon as you start interacting with it, engaging with it. Yeah, I was going to ask you this. So I think there might be something going on with Superman and this trailer for this new one that's coming out. Like you said, this was a pacifier for the masses. When things were really grim, they just wanted to see a little kid singing and dancing and laughing and carrying on. And it's like when times are good, we're very cool with post-apocalyptic gritty representations in film. And when things are looking apocalyptic, we want to go the other way. Give us something a lot more happy. And I think there's something with that Superman trailer. It went kind of viral. And a lot of people were looking at it like, I'm ready to get back to an idealized version of America. And it's nice to see a love story between just two regular heterosexual adults that we just maybe haven't seen portrayed in a little while, according to some people. And it just seemed like it's not as agenda driven. Of course, you know, rah-rah America is its own agenda. But do you think there's something there where it went viral because people are hungry for that type of vision again, that type of story? One that really hasn't been told in a while. Oh, definitely. People are always going to be hungry or desiring those kinds of images. Those are natural, normal images. But once again, you see it come after like 10 years of abuse that came from Hollywood. And you see how people are just so ready to forget that Hollywood was happily humiliating them for almost a decade and just sort of sending all these sort of gloomy, sad sack images at them and inverting things and ruining franchises over and over and over again. And now it's like, are they being forced to pivot or is it? I don't know. It's anybody's guess. It reminds me of the torture process that you read about in the Kubark manuals and things where you have to give people a break. Otherwise, they just become numb to it. So you have a cycle of 10 years of cultural revolution. And now, I mean, this is a bit cynical. And then you have, you know, maybe 10 years of letting off the brakes a little bit, give people some breathing room so they can regain some of their sensitivity. I would like to see things oscillate all like really far back. If we're going to give some people some traditional wholesome images, let's go back to 1910. Let's go back 100 years. You know, let's really get accelerate into wholesomeness. You know, I'd like to see that kind of thing. Some more traditional fairy tradition stuff or folkloric tradition things in movies. And even in science fiction, there's a huge number of science fiction stories that don't align with any agenda. And they're really good. They're great. They're like some of the best writing and fantastic storytelling out there. But they're completely overlooked. What would you put on that list? Well, I was just thinking about military sci-fi, The Forever War. Excellent military science fiction, The Forever War, Joe Halderman. And you have this really deep examination of what war does to people. And it's very good. I like it. I'll put it on my to watch list. But yeah, we have had a real flipping of the usual script. And we've had a decade of Judd Apatow's armies of the Michael Ceras and the Seth Rogen leading men. Let's get back to Conan, Conan the Barbarian and Superman and the whole alpha male Ubermensch thing. I'm joking. But you write about the on and off of this stuff and how it's just a big cycle of placating one side, outraging the other, flipping the script, giving them something, making the other side upset. It's just an emotional roller coaster. But getting back to the Shirley Temple stuff, this was really interesting. So in terms of adult child myth building from another piece by this guy, Eckhart See, titled Shirley Temple and the House of Rockefeller. And I thought that name was interesting. Obviously, Rockefellers. I'm perking up. But that's because they were investing in Hollywood and facilitating the merger of 20th century and Fox, who employed Shirley Temple. But this is part of the lore crafting. She's mature, so it's OK to sexualize her. And this quote goes, since birth, Shirley had never awakened at night. She had never been ill, although her mother seemed to remember a little cold once. She refused to take a bottle and had to be fed with a spoon at three months. She spoke at six months and walked at 13 months. She arose every morning, either singing or reciting the lines she had memorized for her day's work. She was a genius with an IQ of 155. She did not mark her books, scroll on wallpaper or break her toys. She did not cry, even when physically injured during the shooting of a scene. Doctors and dentists wrote her mother, asking for the secrets of her diet and hygiene. Her mother responded that there weren't any. She had no concern for or sense of herself. Hmm. That last line is very frightening. And the rest of it is just clear bullshit to anyone familiar with children. And then you add this quote, Shirley Temple doesn't hurt Shirley Temple Black. Shirley Temple helps Shirley Temple Black. She is thought of as a friend, which I am. And now you start to see that weird split personality, disassociation stuff like Amanda Bynes or Britney Spears. Definitely. She was definitely broken at some point, whether her mother did it or it was in the black box. We can talk about that in a second. But for her mother to say she had no concern or sense of herself, that just seems like a, even though a lot of it seemed like BS or just marketing for the kids. It does seem that that's a little bit too much for her to say something like that, for her to say she had no sense of herself. And it does remind you of the changeling, the artificially created child. And I'm not saying that's what she was, but it's very interesting that the conditions of Hollywood and of being a child star in that machine produced something that pretty much directly resonates with this folkloric image of the wax child of the changeling. And I find that really interesting. Yeah, I would agree for sure. And let's definitely talk about the black box thing and then get into some of your other posts. But I definitely wanted this mentioned because it is quite dark. I don't know if you want to read right from the autobiography or just give us the gist, but tell people about this. They might not know how dark it gets sometimes. Disobedience carries its price. The price was penalty time in a large black box. Lamont was keeper of the key. Lamont was like this director. Two soundproof boxes were available for us. Only one to be used for sound mixing. The other was empty, save for a large block of ice. It's diabolical, dark interior waiting expectantly for some troublesome child to be thrust inside for punishment. Not always befitting the crime. If it's an arbitrary punishment, you know, for like a small offense, that's classic torture technique, right? No child wants to lie down in a cold puddle, yet standing grows tiresome. As a final satanic option. These are her words. Like this is an autobiography by Shirley Temple. As a final satanic option, the ice block provided the only place to sit. I'm sorry for laughing. It's just too absurd. Before utilizing this black box, however, our production staff had to temporarily separate mothers and offspring, right? So you have that separation there that's very important as well. That problem was easily solved. Mothers were officially excluded from the set at all times on the pretext that their exclusion would avoid tumult, noise, and divided authority. Under this policy of exclusion, mothers were no longer chaperones, but simply chauffeurs, hairdressers, and seamstress. As mothers patted us goodbye, a child welfare supervisor theoretically took charge, smiling benignly. So they have this sort of surrogate that stands in for them, hired by the studio. Basically a handler. Across the threshold, we would all troop, and the big, airtight doors of the soundstage would close behind us with a soft whoosh. Several times I wound up banished inside Lamont's black box. It was really a devilish punishment. Take one small, willful child, heated under bright Klieg lights until perspiration starts. Remove child directly to the chill of the black box. Close access door tightly and leave the child in the box until sufficiently cooled and chastened. Remove child, reheat under the glare of Klieg lights, and carry on with work. So you're talking about a cycle that would induce pneumonia or other kinds of infections. The box proved the ultimate enforcer. Increased obedience followed as night follows day. And Temple's comments on this, you know, what happened to her? Is this trauma or is this something else? She says, so far as I can tell, the black box did no lasting damage to my psyche. Its lesson of life, however, was profound and unforgettable. Time is money. Now this is when she's six years old, performing, you know, doing like baby burlesque. This is the kind of environment that she's in. So yeah, the black box would cause intestinal flu, pneumonia. This is potentially fatal affliction for, you know, four to six year old children. It's absolutely insane. It is. And it's just a glimpse into if it goes back that far and there's never been any accountability or anything done about it, like how bad is it today? At least I would think it would be at least that bad. Yeah. The story is, is that things improved with time, but I don't, I don't know. We have all kinds of signs that there are still handlers out there. And I think a lot of it is pharmaceutical or introducing them to drugs. I think it's a bit more scientific now than it was back then. It's essentially like putting them in a chemical black box rather than a physical one. Yeah. God, that's just a really interesting post that you had written and seeing the images, you know, not fresh in my mind. I just hadn't, it's obviously before our time, but you see these images when you're younger. And then as an adult, you look at them and it's like, what the hell were they doing? And then the woman tries to say this in an autobiography and it's like, there's definitely aspects where even today, some actors have tried to drop hints about how bad it is. And the audience on the tonight show just laughs and they're like, okay, cool. No one cares. And nothing's going to get done. I guess I'll just keep my mouth shut because I'm definitely going to get whipped for what I just said to Jay Leno and dark stuff. So that's kind of an aspect of the overall thing we're talking about. This artificial overlay that started with early Hollywood, but let's jump over to this recent post of yours, Lou liquor land and the goblin market, Lou liquor land, right? Yeah. Let's just call it goblin market and the goblin market. One of my favorites of all really, because you weave in context for 40 and events and the practices of Disney and Hollywood in general. And it just goes to so many strange places, but to crack this open, explain the source of this title and what you mean by a goblin market. Lou liquor land is, or the land of toys or the land of pleasure was the sort of earthly paradise in medieval times where you didn't have to work. You know, you could just lay around all day. All the food you wanted was there. It was put into the original Pinocchio, the original fable as an analogy or metaphor for Pinocchio's land of toys where he turns into a donkey. So the idea is very deep in folklore of, you know, this place that you go to and the food that you eat there transforms you. It sort of rots you or mutates you in some way where you can't really come back to humanity. And I use this as a metaphor for the sort of mutational effects of the image of man or the human image that happened with modern media. Not just media, but identity markets as well. Like where people derive their identity from these images, from consuming Disney products. The most extreme case would be like the Disney adult. But the point I'm making with the goblin market is that it's a spectrum, right? If you have a good home life and dependable parents, the father's still there and you get good human images of like how to behave and how to relate to other people. But when you see there's no other images for the child to derive, like to fill their imagination and to sort of model themselves on, that's the other extreme, the Disney adult. And these people really can't have relationships with other people unless they go through this protocol, this medium. They can't relate. They have to talk about what movies they like, you know, what Disney movies especially they like with each other. And that's the substance of all their conversations and their connection. But it's a matter of degrees. So even if you only watch some of it, there is still a more subtle effect. This is what this article is about. It's about the more subtle effects, especially as they relate to individuation or what I call the authorial event or authorial moment where people sort of start to write their own narratives. Yeah, it's kind of contrasting Fairyland and Disneyland, Disneyland being a commercialized, synthetic version of the myth of Fairyland, indulgence, singing and dancing, forgetting what time it is and being in this fantasy twilight state, a synthetic liminal space. A hundred percent. That's what it is. It's this overlay that sort of concretizes that process of the supernatural experience. I have a good summary for it. So the authorial event is the highly improbable experience, a fairy or a cryptid sighting, maybe even a brush with death, that is an integral and crucial part of human development. Even 150 years ago, nearly everyone had such experiences. The less time children are exposed to the full range of probabilities, the more coddled and sentimentalized, the fewer chances they have to exercise their sense of the supernatural and write their own narrative. What I mean by that is that any kind of liminal exploration that children get into, I think one of the more popular ones for boys was like exploring the underground, like going into sewers and things and crawling around or exploring an abandoned house or a construction site and finding a weird bug and you weren't sure if it really existed and you would go home and look it up and maybe you couldn't find it. You're like, was that a monster? Did I actually see that? That actually happened to me a few times. So, you know, these kinds of things are formative events that really change us. And the more extreme examples I give are a sort of UFO visitation. That's why I start the article with that experience. Yeah. I was actually going to ask you to lay out the details of the Charles Hewitt's encounter that you cover because it's just a fun case study and it also represents a lot of the important themes that usually come up in these reports. Yeah, it's a pretty typical case, right? So you've got Charlie Hewitt. He's home alone. It's during vacation time, like around Christmas. He's up at 2 a.m., probably past his normal bedtime. So everything is very highly liminal. His parents aren't around. They're on vacation in Florida. And if you remember how that felt, it's kind of almost a magical space, right? It's very strange. Even when you're 15, 16 years old, it's a very special time. Being left to your own devices with parents in another state, maybe halfway across the continent. Right. You're doing what you'd always do, but the net is gone. Yeah. And you can feel that. It's very poppable. So he starts to feel this impulse to look outside. He goes up to the blinds and he sees this police car just sitting there with lights off, just sitting there in front of his house. And this is a quiet neighborhood. There's no reason for there to be a police car there. So he gets another impulse to go outside. He opens the door. He walks on the driveway. And while he's walking, he feels like he hits this wall or that he just crosses into this bizarre dream world. He describes it as he suddenly felt half awake. He calls it like he was in a virtual reality, like in the Matrix. And this can be related sort of to the Oz effect, but it's a very extreme instance of it. So you get that sort of hyper real and unreal at the same time, the sort of contrasting opposites of these little zones that are created during high strangeness encounters. So all of a sudden he sees, he looks into the car and he sees that both officers are grinning at him with these really like big sinister grins, identical, he calls it a really weird smile, an insane smile, like crazy and dangerous. So at the moment he's staring at them and then the car disappears, it fades out and there's this egg-shaped object there. He tries to run, he freaks out. It's like a dream. Time starts to slow until he can't move until he's completely frozen. Everything goes dark. Now he's in the backyard suddenly. And then the two policemen are now the men in black stereotype, not the ones from the movies, but the real one, the weird, like no eyebrows. They look kind of like Gollum a little bit. They're very pale. They barely look human. And so they take him up onto what now looks like a UFO. So the egg-shaped object, whatever that was, is no longer there. There's like an actual classic UFO waiting for him. He gets shackled to the bed, surgical scrubs put on him. And then, you know, the three classic small hairless figures come in with large black eyes. They touch him and they give him this vision of post-World War III, where it's like complete extinction. And then another vision follows, where it's Earth millennia later, everything's reclaimed by nature. There's wildlife everywhere, animals living in harmony. And you can even see human pets are thriving as well. And it left him with this very distinct sentiment that he now has, like as a person. It's that an Earth without humans wouldn't be so bad. Like even though he like senses it's a tragedy, but he's been completely alienated from his own like sort of default alignment with humans. This isn't a depressed goth kid that's cutting himself. This is, you know, a normal kid, right? So the kind of harrowing, depressing experiences, like four years of just being an outcast in high school, or I say like four years of being in a university where you become completely alienated, you know, you become a vegan or something and you become guilty about being a human and fantasize about the world being taken over by animals. That kind of self-degradation occurred in maybe 30 minutes, highly condensed individuation period where he's, now he's transformed and he's got these really depressing thoughts in his head, but he feels good about them, right? He has positive emotions about a world without humans. So that kind of rapid, catastrophic adaptation or mutation to a person, those kinds of things often happen in paranormal experiences. And they're not always like that. Some of them are very positive. People come out of them with new abilities sometimes. They become more productive. So some of them are very positive. I point this out because I believe that before like the wall of childhood amnesia, everybody has sort of similar experiences, very, very strange experiences are happening, like an imaginary friend that maybe sometimes they can actually move objects on their own or very, I would say, surprising things, like things that if you could remember would just sort of shake your adult mind to its core, like you would not really, the sort of overlapping world of imagination over the real, kind of like all the time. And I do think those experiences, we derive a lot of our sense of the supernatural from those pre-childhood amnesia, like the basically, it's around five years old for most people. So for some people, it's about three. But when those things occur later on in life, they're almost like an update to that. They have that same effect where it alters or enhances our sense of supernature, of our sense of higher reality and sort of updates or modifies the personality to a great extent. Yes. And you kind of touched on some stuff that's in this paragraph, but in the piece, you tell the story of the encounter and then you say, the visions, the space goblins offer Charlie are entertaining, but the math doesn't add up. The creatures seem unaware that the earth's surface area is vast. Most of it would be unaffected by nuclear exchange and the long-term effects of radiation have been grossly exaggerated. The only potential human extinction scenario relies on the nuclear winter model-based fraud. Regardless, any nuclear scenario where human pets have survived, their masters will have also survived. The sci-fi fantasy film these kidnappers featured was targeted at a low information audience, perhaps custom made for Charlie. Apparently, they traveled light years to deliver middling eco-communist anti-human propaganda, but it worked. Charlie's general identification with humanity is now specifically estranged. This is not vague alienation. He has positive ideation about a world without humans. What might take days or weeks of MKUltra psychotomomatic derangement or four years of university education was accomplished in 30 minutes? And that's so well said. I think you're onto something there, but I still struggle with what is really going on under the hood of these events or why condition people in this way? You could say there's the technology or the process they use to do this thing, and then there's the material in it. Why this kind of material over and over again? Because it mimics folklore. It's a sort of inversion of folklore. What you want to do is sort of stack on top of people's ancestral memory if you really want to change people. You can't just invent new myths. You have to take the mythical substances of these perennial, universal, almost planet-wide myths that you have everywhere of fairies coming and bringing visions or all the different things that they do. And so you take that and then you warp it. You invert it. You mutate the image a bit for a modern audience and redirect it in whatever direction you want to put it into. That's why you use goblins, for example, because that's what essentially, as far as a folkloric image goes, that's what aliens are, especially the greys. They're one-to-one goblins. They do all the things that goblins did. They behave like goblins. They can give you images, but there's a little bit of overlap with fairies. It sort of depends on the experience. But the one he had where he was held down with manacles and everything, I think the more physical ones are definitely the goblin archetype. So yeah, that's why you use this specific material, because it resonates with people. And it causes this harmonic resonance where you change the material of their persona, of their identity. Yeah, even some stories of biblical angels, like the vision would be apocalyptic. Like that's obviously a trope way before nuclear weapons were ever a thing, but it's so often associated today with nuclear weapons. So what's the harder question you thought I was going to ask? Like, how is this actually technically done and who's doing it? Oh yeah, like who and what agencies are involved? You talk about that too, that like now it seems as if the intelligence agencies are involved, yet this kind of thing predates intelligence agencies. So who is really doing it and how are they getting it done? Are the goblins themselves real or is that also a projection? All right, we can speculate, right? Let's say that there is a system of governance, like a demiurgic system of governance over the planet. And it doesn't have to be necessarily negative from their end. It's just sort of amoral. So they come down and let's imagine that it's like beings of pure plasma. That's how they organize themselves. That's what they consist of. Some sort of organized sentient plasma. So they come down and they send a probe and essentially it's a kind of ritual theater that they put on in order to communicate with us because our language isn't really a reliable, like people don't tell the truth about who they are and what they are. It's not a reliable transmission. So in order to sort of get the complete sense of a person and sort of map them of where people are, you create this ritual theater, this very liminal theater that brings all of these elements out of them. So you can sort of record it and map it. They would be just as interested in psychically mapping us as they would genetically. It would be both. You would want the full spectrum of information to do your experiments or your probing, your information gathering, whatever that might be. Right. You could also say that if these are beings from an etheric thought realm, they might even be more interested in the psyche and consciousness and the deep depths of human consciousness than our DNA and the physical aspects. Because they're like, we don't even, that's not primary for us. Exactly. It's a matter of perspective. So that's probably why they arrange all of these things. I mean, because if you think about it, if it really was just a nuts and bolts, they came here with a faster than light ship or interdimensional travel, none of this ritual theater would be necessary. Like if they wanted to get blood samples, like you wouldn't even know. Or if they wanted you to have a vision, they would just encode it in your memory. It would just be direct. You wouldn't have to go through all of these things. They could just change your belief structure. And the strange variety of things as well. Also, there's this sort of conversation that's happening. You can see that going back and forth. And they're doing things according to our protocols, our cultural imaginal system of images. They're taking into account the logistics of vision that we're immersed in at that space time. So they wouldn't care about that. They would just make you think that goblins came or you can put people in all kinds of states where they'll forget things just through mundane hypnosis, you know, just where they can imagine that they're talking to their high school teacher or something. You don't have to do all of this extra stuff. There is definitely something happening at that level where they want to pull out imaginal elements out of people and interact on that level. You even say, if you took enough DMT right now, there's a good chance in between rounds of ego killing, mockery, ontological shocks, love bombing, and other forms of target softening, you would encounter a substantially similar transmission. Indeed, the signal has been curiously stable, much like the UFO phenomenon itself. And I just like throwing in target softening there as if like that's just another type of conditioning, it's a preparation for a big event. I don't know why they want to leave people with the feelings they often do. Sometimes it's a call to shamanism or this newfound healing ability that does come out of some of these things. A renewed sense of stewardship for the land, which I think is a good thing. You know, the whole divine objective seems to be to be stewards of the land and everything. So that's probably good. But maybe it is, like you say, some kind of built-in demiurgic management system. Yeah, like a planetary management system that's almost like, if you look at the way that the neoplotonists and in the Bible as well, like the way that angels are described or these celestial governors are described, they are very much like artificial intelligences. So, yeah, it would just be this sort of automatic thing that's part of the solar system, you know, part of this incubator that we have. Well, that is super interesting because recently an idea that's been kicked around a bit is that we are in a realm of cyclical time, of rises and falls. And, you know, with that, a lot of people are like, well, we're coming up on a time of cataclysm. Sure, maybe, but, you know, there's a huge difference between 10 years, 100 years, and 1,000 years. You know, why even talk about something 1,000 years away when a human lifespan is 80 years? But it's just interesting because the thought is that Atlantis was the last height and they had this technological society and they were messing with chimeras and doing things that you could see poetic language that kind of describes the sciences of today. And then there's this idea that once it was all destroyed and we're toiling around in the mud trying to rebuild, the voice people hear is the disembodied AI that Atlantis built. And that becomes Yahweh. And then we're just kind of going through this cycle of like, what is going on here? And these voices that people hear, like, what is really speaking from the Ark of the Covenant? Is it picking up on something truly ethereal and real, or is it some holdover technology from the last round that people forgot even happened at all? It's a curious question, but obviously I think you would opt for saying, no, there's something truly organic and natural and etheric out there. But it's a curious thing when we're going down that road. Yeah, I think both things could be happening. I think we could be caught into and with weird cycles. And there's definitely the sense that technology is sort of waiting there in the Akashic records, or maybe there there's a cryptocracy of people that keep Atlantean technology. All those things are also possible. But what I'm usually working with, what I look at is the majority of these things do seem to follow a very certain pattern that does seem geared towards sort of cultivating people, like individuating them. In most cases, I think, getting them to become more real, like expressing more things out of themselves, more of their internal images. Yeah, a call to action, you could say. In the biblical accounts, the visions of the angel isn't even the main event. That just kicks the story off. And then the story is often, what did this person do once they were called to action, once this trigger event happened, whereas in Fortean Tales and modern myths and modern tellings of these encounters, we're focused on that encounter. And it's like, whoa, what was that about? And we don't even know what the person did the next day a lot of the times. That's 100% right. But I think what people should focus on, if you do have one of these encounters, focus on the change that it made in you. Don't think about the encounter and what it means and the sort of, I really don't think that we're going to ever fully, you know, for some people, they'll get a vision, a sort of framework of how things work, the sort of cosmic managerial system. That can be valuable for some people if you really want to know about that. But most of these events are subjective. They're for you. And you should think about the changes that happen in you. And that's the real meaning. That's the real message. The alteration of your path. Yeah, I agree. And then you lay out a lot of this and then you get deep into a look at Disney. And it's interesting because you make some really good points about the fact that he was always interested in being a engineer of culture, even though the PR front for Disney is like, oh, well, he just kind of stumbled into this success as a happy accident. But in reality, it was a grand intentional manipulation. You write about how he ran animation studios like sweatshops, but the PR called it the Imaginarium where animators are bringing dreams to life. And he worked with NASA and the FBI to create propaganda where he could. Made the parks as a sort of artificial fairyland or goblin market. That's essentially the goblin market term is like being there to deliver wares that you think you want, but aren't really good for you. And his technocratic futurist ambitions were shown off at EBCOT, the centralized, always connected techno smart city of the future. Another version of what the world's fairs were doing to the Western psyche, as you say, right? Yeah, 100%. It was a continuation of the world's fair tradition, a more updated version of it. And I think what happened was there reached a certain point where the electronic media sphere that was created was able to take over from a physical time space, like an Epcot center, like using extended universes or like the Disney world is this media sphere that they've created. And people can live inside of that through the movies. And now with the internet, they can be inside of it 24 seven and it's much more immersive. And while the theme parks are important still, and they're still like a big source of their revenue and people go there like it's Mecca for them. It isn't really that necessary anymore. They're living in this sort of virtual Epcot center, this sort of virtualized world's fair all the time. And that's really the essence of the goblin market, right? Where they're existing in this virtual environment as beings. And so they become this kind of hybrid being. They're the half this being of media and half flesh. And you can speculate whether or not that's having, you know, epigenetic or long-term genetic effects on people. That would be a whole other article in investigation. A little bit too horrifying for me at the moment. But it's definitely creating these very artificial identity markets that definitely do change them as people. And you contrast Disney and Tolkien pretty well in this paragraph. You write, Disney has spent nearly a century inducing diluted folkloric images or rather stereotype schemas of a reduced resolution, where in their aggregate instance, a virtual ancestral memory, a severely gay land of toys in place of Midgard. In the words of Tolkien, the fairy tale function is to open a door on other time. And if we pass through, though only for a moment, we stand outside of our own time, maybe outside of time itself. Tolkien further identified the virtuous operations of the fairy tale. The satisfaction of certain primordial human desires, which are to survey the depths of time and space and to hold communion with other living things. But overall, the primal desire at the heart of fairy is the realization, independent of the conceiving mind, of imagined wonder. Therefore, the function of Disney's fairy tale Simrelacra would be to instance a derealized other world to not enchant, but entrain the audience and the park attendee in a cyber chronicized other time, a pocket dimension of changelings. The Disney version is a mining operation in the Mundus Imaginalis constructed fairy shaped concessions, which do not open a portal to fairy land, but reroute traffic to goblin markets. It's wordy, hard to read, but again, great. And I see the contrast. But going back to 40 and events and how that relates, these are also manipulations, as we discussed. On one level, I see the contrast of a portal to fairy land versus a artificial commercialized goblin market. But on the other, based on the stories, I'm not sure anyone wants to go to fairy land either. At least Disney will let you leave if you get the urge. Yeah, I think the fairy tradition was also a virtual place for people to have a safe experience of the other time as well. It was more synchronized and harmonized with actual reality. And when I was talking about the sort of Fortean planetary system out there of individuation of high strange events that kind of happened to people organically, people didn't have to go into fairy time and, I don't know, vanish off the face of the earth or come back and change like themselves. They could learn from the symbolic tradition of that that was, you know, synchronized with that. They just had to know a guy who knows a guy. Pretty much. I think that that's how it functions. I mean, it's got a pretty good high fidelity. You know, if you think about how much they have in common with each other, all of the different elements and how much they unite over time and space, over different cultures all over the planet. So it's pretty good. It's not that bad of a tradition. It worked for thousands of years. Yes. And when it comes to ideas, you say, instead of knowing, as ancients did, that all thought originates from the heavenly spheres, celestial governors, abysmal demons, or personal daemons, muses, or anamnesis, man began to identify as his ideation, affixing this perturbation of ether to his own personal reality. This seems very important, but break this down for us because there's a huge contrast between the way people in ancient Greece or Egypt thought about the ethereal realms and ideas and thought versus the way we do today. And this seems like a really important part to get right, to understand the context of all the other things and how it's been manipulated. Yeah. So a big part of what I do is I look at the history of invention, right? Especially those things where people were inventing fields or new ideas like computers, cybernetics, all of this stuff, or the helicopter, all of these, especially highly novel things, new kinds of math. They always come to people in dreams, through visions. Some of these people were actually practicing spiritualists or went around in those circles, their mediums. Yeah. All kinds of different hallucinatory, hypnagogic, different liminal states that people were in. That's where these ideas come from, this sort of excess, excessively profound imagination. And none of them described it as mechanically working through these things. They're just walking through a field one day, and then they see equations in front of them. The periodic table, the whole thing, comes to them in a dream. And then they'll have another dream down the road when they're working on it. That sort of updates it as well. They behave just like transmissions. So the idea that our thoughts are sort of originating inside the brain and all of that, none of the people that created the world that we live in right now, you know, all the thinkers, the philosophers, the engineers from the Renaissance, you know, up until 100 years ago, none of them thought that these ideas just existed in their brain and they were sort of chewing through them mechanically. So once you realize that, there's this process that's happening where people are sort of concretizing their mental bodies, and you see that it's having this certain, this kind of effect on them. You look at Descartes, and you look at Hume, you look at these philosophers, and you see them describing the states that they're having, the somatic effects on them, where they're falling into melancholy, and they're falling into delirium, derealization. That's what they're describing, right? That's what they're dealing with. They're basically cutting themselves off from the source, from the system of ideation that makes itself manifest through man. I think it's what's at heart of the problem with identity that we have now. It's what's at the center of it, the concretization of thought, of thinking like, this is all happening inside of me. This is my reality. So in order to develop my reality, my ideas need to progress. They need to be developing all the time. I have to sort of transgress on what came before in order for me to be real. Because I can't just take the ideas of the ancients as my own, because then I don't have an identity. I have no other way to assert myself in reality, other than through transgressing, you know, taking the things the ancients said and reversing them or mixing them up, amalgamating them into different things. You have to really mechanically force these things into other shapes. You have to really transgress upon the past or erase it or rewrite it in order to feel real. And so I think this is the very basic engine of all of the weird identity problems that we've been having for the past year and also of techno-progressivism itself. The post-hoc rationalization of this accelerated feverish mental processing that we're all doing, just thinking all the time, taking possession of these thoughts as if they're our own. If you think of the body of metabolism being overworked, it's the same thing with the psychometabolism. So it's this feverish, delusional delirium that people earn. Yeah, and I just, some of the stuff you say about Disney is just so true. And I know people who have gotten engaged or even married at a Disney park, and it's so silly for adults. And I've taken my kid to Disney now that I live in Florida, and, you know, it's kind of fun to see them see the characters and this and that. You hate it on one hand, and then you like to see your kid happy. On the other hand, but you look around, and you do see the adults there. And it's just like, you didn't bring a kid? And it's like, these are oftentimes obese, sexless, childless adults living in consumerism. And as you mentioned earlier, you have to relate to each other through the Disney brand. And it's just so insane. But it's like they are MKUltra captured by something that is real, this mechanism that is real, this calling that is real, that has just been completely plastered over by the Disney brand. And that's why people get so obsessive about it. And then they've bought other things, like the comic books. You know, they bought Marvel. Then they buy the other big Hero's Journey myth, the Star Wars universe. And now it's all one big thing. And they're just three different coats of paint on the exact same capturing of the imagination. I mean, even that doesn't sell it. You know, it's capturing the imagination. Yeah, they say that. But that's like way deeper, I think, than people are recognizing. I think, yeah, William Blake says the imagination is the eternal body of man. So when you capture the imagination, you're capturing man at that level, that sort of aonic, eternal level, the archetypal level. Imagination just isn't for thinking about cool paper airplanes that you can make or whatever. It's also this engine for realizing, self-realizing yourself, like taking the images, your ideals, and producing them in the world. So in that sense, what is eternal about man is always going to be his imagination. So if you capture that, you can do all kinds of things to people. It isn't just this mundane thing. If you say, this book captured my imagination, you should be careful about that. It should be something that you want to shape you. You should be able to say, okay, I consent to this author. I think he's got good intentions. You know, like somebody like Tolkien. You say, okay, he's got good intentions for me. I'll allow him to capture my imagination, and I'll live in his realm of sub-creation for a while, or part of me will, for my whole lifetime. And that's something that's desirable and that I want. You should do it willingly and not just have it thrust upon you or, you know, I've seen people do this with their kids. They'll just use Disney as a babysitter or they'll use the television in general as a babysitter. And those kids always end up really, really weird. And I have noticed there's a lot of overlap in between as far as the behaviors and the way that it manifests in between the sort of identity politics people and the adult Disney crowd. They both behave and interact and interrelate in almost exactly the same way. And there's a lot of, like you said, they're sexless. And if you look at the sexlessness, that is really what's behind a lot of the gender dysphoria. They don't have this instinctual feeling of being one gender or the other, one sex or the other. They're confused about it. They're non-binary. They have all these different paraphilias and delirium, like a sexual delirium is what that is. And it's the same process. It's just sort of been branded by Disney, if that makes sense. Yeah, you say Disney wants to be the alpha groomer who initiates the young into the castration cult because the transgender thrall is the idealized form of a lifelong customer. Every single dimension of its being made legible to surveillance and commoditized. The cybernetic impulse is in their DNA as inheritors of the world's fair tradition. Yeah, I think that there's definitely something to that. But I also wanted to mention this. So you were talking about permission. You were talking about even when absorbing fiction written or on the screen, if it captures your imagination, you should have a little bit of say in that and be careful what you let in. Well, that's another parallel to the paranormal. To add to this point, you write, In the best documented poltergeist case, the entity always requires permission to enter. It often wants to be part of the family or to enter into a dollhouse because it can only interact through the medium of the participant's imagination. It first gathers attention by playing small tricks, turning the house into a concession of the surreal. It sets up a goblin market, offering ever more hyper-sensational artifacts, gathering the currency of petrobrations as the audience secretly thrills at its strange wares. And once solid enough to shake the air, it presents itself to the children of the house as an imaginary friend who whispers, I come from this funny place. This is how it stages itself and takes form. The phantom is essentially a condensation of the abyss, the outside leaking into this world. But this vile osmosis and the resulting erosion or warping of materials are always the result of human action and permission. Man gives foolish permissions when he abuses his intuition. I love it. I love it. That's basically in a nutshell. Yeah, exactly. And I think that blunting of intuition can happen very early. And it can happen later on in life. Like if you get addicted to social media, right, and you start getting a lot of feedback from that, they call it psychic numbing, right? You can blunt your intuition there as well. And that can lead to other problems later on in life. But for children, it's especially cruel to introduce them to things that blunt their intuition. It's kind of how people eat food. This is the perfect analogy for it, right? You have the regular form of things and you have the slop form. You think of your metabolism and you feed your kids McDonald's every day and it does things to their metabolism. They end up with childhood diabetes or they end up fat and having all kinds of other emotional problems. It's the same thing with the psychometabolism, with your mental metabolism. There's a reason why people say that you consume media because it does have this very similar effect. Yeah, I like the analogy, but it's a little harder to pin down what is the non-slop version of good food for the psychometabolism. Oh, yeah. It would just be like your traditional fairy stories for kids before they were sentimentalized. Get them in their purest form, as pure as you can. That would be the Brothers Grimm or, like I said, anything before the 19th century if you can find that. Sometimes these things are hard to find and you have to go into like doctorate-level studies and look at their references and see where they're getting these things from, where they're getting the original folklore tales from. Because if you search for these things, the search return is going to give you the most recent version. So yeah, you do have to kind of be selective and be careful with those things. So why is the older version better? I get some of what you're saying, which is like the sense of danger, the fuller spectrum of human experience is more encoded in those original stories, like Hansel and Gretel, a non-sanitized version. They can be quite alarming and grotesque at times, but you're teaching kids about real dangers and death is a real danger that exists in your life. And some people want to hurt you and we're not going to sugarcoat that. We're going to tell it to you straight. I do see benefits to that. But are we just romanticizing, say the Brothers Grimm because they're older? Like they come from a more raw reality overall. So they are kind of a product of their time. But it just seems like more fiction just at a different time depth. That's a good point. You're absolutely right. The best thing to do is to send them outside to play. Let them experience the full range of probabilities on their own to have those experiences straight from their own fantasy worlds, their play worlds that they create out in the forest, you know, building a tree house. You know, maybe there's a haunted house and they're going to go poke around over there. The haunted house in the neighborhood and have those experiences directly rather than have them mediated at all. Even from the Brothers Grimm. That's absolutely correct. It's better to get it straight from the source. From their life. Fair enough. Well, as always, man, had a really great time. Wish we could have gone deeper into the doppelganger post. But man, when we did this initially, I think it was eight posts we were trying to get through today. It's like three because they are so deep and so long. I never know with a Schwab post. Is this something I can read in the next 10 minutes or do I need a couple of days to get through this thing? That's the fun of it, really. I don't want to conflate myself with Lynch, but sometimes I just, you know, I want to push it as far as I can. But I have decided with some of the newer ones that I'm going to break them up into two or three parts and then just release them a few days to be a bit more kind to people. Well, I do enjoy your writing so much. I feel lucky that we get to do these interviews and it is about that time. I guess remind people where to follow your work and anything you want to tell them about that you're going to be working on next. So I'm on Substack, schwabstack.substack.com and I'm on Twitter at RealHumanSchwab. Right now, well, I'm thinking about starting a forum for writers. But I'm also working on my writing as well. I just put out another article. I'm not doing a good job of selling right now. I'm looking more into the Renaissance and Francis Bacon and how they created modernity. So the actual, you know, when you asked me before, what is the source of all of this stuff? So how it began, essentially how these systems were created and how they used fiction to do that. I discovered that Francis Bacon developed a system for the creation of these parafictional counter fables and he was trying to reset cultural memory and how he went about that with his various works and writings. So that for me is really important. I'm working on that. It's going to be a three-part series that I'm putting out. I already released the first one. It's up right now. I love it. I look forward to getting into that for sure because it's an important piece of the puzzle. But thanks again, man. We talked about some kind of complex stuff, but I hope we stuck the landing for people and it made some sense. But take care out there and stay out of the goblin markets. I'll try. All right. Have a good night. And there we go. Another one in the can from the man they call Schwab. I always know my live reading abilities are going to be pushed to the max when reading wordy Schwab quotes. And I feel like I stumbled through more of it than usual, but I think we'll all be okay. I do really like the goblin markets framing for shallow, empty consumerism, the bastardization and commercializing of myth because it does feel manipulative. There's a visceral, deep relationship between man and myth. And a company like Disney has hijacked and exploited that. And I really do believe it's a huge part of their success. And I like that Schwab got into the way the company operated and how brutal they were to their employees under a protective blanket of PR that hid those unfortunate working conditions. But that just tells you that Walt and the company never really cared about people or the employees would have been included in that. Now, did it get a little thorny in the plus show? Maybe a little based as the kids say? Well, no doubt about that. And I have mixed feelings on some of that stuff because I personally know two guys who had really tough times being gay in high school and probably grade school. And one went on to be a Disney animator and the other went on to be a figure skater in Disney productions. And I think, well, what else is out there for them? Where should they want to express themselves creatively? To me, it makes sense that they would be drawn to those kinds of careers. And it has nothing to do with trying to groom or influence kids at all. Also, just because I know a couple of guys who never wanted to groom kids and worked for the Disney Corporation doesn't mean it has anything to do with other people's motivations for working there. I guess I just wouldn't want it to look like I'm assuming all gay people who work for Disney are trying to groom kids, nor would I want it to look like it's not possible that some are. It's nuanced. You got to judge each individual on the merits of their actions, right? That said, though, everyone puts themselves into their creative work. So that in and of itself, I can't really fault anyone for. Making creative works for children does become a gray area. And it's also worth looking at where Disney ended up today and walking back through their history and asking, yeah, where were some of the inflection points? I don't know. I'm trying to be diplomatic here, maybe to my own detriment. So let's just move on to less controversial things that I would say were highlights. Really good stuff regarding the MKUltra-like techniques of a paranormal encounter. Or maybe the MKUltra structure of the encounter, I should say. I think he's really hitting the nail on the head in some of those sections. And even the material we started with, Shirley Temple and the lesser-known Mary Pickford. Yeah, it's pretty clear they were abused. But I think Schwab hits on an important nuance there, too, that it was an impish, trickster quality that framed it all. An effort to put these girls in a liminal space between child and adult to make them seem like adults but also children. Similar to pageant mom stuff or, like, the girl who gets a charge out of being jailbait and enjoys it. The temptress archetype. I'm not saying these kids are developed enough to know what's going on. I'm just saying that it seems like the ways the adults around them tried to frame it all up is somewhere in that realm. I mean, giving her adult teeth? That is so disturbing to me. I know I brought it up more than once. If you've ever known anyone who's gotten veneers, it's not a fun process. They're chiseling away your teeth to put on porcelain caps. I don't know how far this went with Shirley Temple, but yikes. The black box story is also insane. And funny enough, since recording this, there was a clip of Shirley Temple on Larry King Live that's been going around, and I heard that, and I want to play parts of it here. I'm going to play two quick clips from a 30-minute interview recorded probably in the early 90s. The audio quality is terrible. But first, this one is about the money. Listen to this. You were making $10,000 a week during the Depression, right? I guess. You had no comprehension of this? No, no. Did they put it all away for you well? Was it well handled so that you never had to worry? Well, it was fine until I was 22, and I asked my dad and his business partner, I said, you know, I was 21, and I didn't get the money. I'm 22. Where's the money? And they hemmed and hawed, and it was a two-and-a-half-hour meeting in our house, and finally, I said, give me bottom line. What do I have? Well, they said, out of the $3,400,000 or so that I'd earned, I had $44,000 in my trust fund. That was it. And that was a shock. Were you ticked? No, I think I would have paid the studio for the privilege of working, and I think I did. Whew. Truly pimping out your kid and stealing their income. So fucked up. Now, this part, she dances around some pretty unsavory stuff. Here you go. How did you not grow up affected and whacked out? Many child stars are whacked. I mean, whacked out. There ain't a better term for it. You're right. How did you avoid that? I think anything you start at age three seems very normal. I thought everybody worked. I didn't realize in the Depression that a lot of people weren't, but I just felt it was a normal kind of thing. And the thing that people won't know, when I would finish my work at the studio in the little puff sleeves and the little clean dress, I'd go home, put on the jeans and the T-shirt and climb trees and play with the neighborhood gang. And I was a tomboy. I loved to play cops and robbers and, you know, all that stuff. But how about producers and directors and all the stories we've heard about, hey, kid, and being famous, just being famous at that? How do you handle it? One guy, when I left Fox, I went to MGM for one picture. Thank goodness, only one. And when I got there with my mother, we were separated. She went into the office of Louis B. Mayer and I went into the office of Arthur Freed. And he was going to talk to me about a movie he wanted to put me in. I'm 12 years old, you know. And I thought he was a producer, but instead he was an exhibitor. And I'd never seen anyone naked before, except myself. So I had no clue about what was happening. And so it struck me so funny, I laughed at him. And I laughed uproariously. I had tears, you know. And he got infuriated. And he said, Out, out, out, go! Did you tell your mother? Well, I went down. I was very quiet. I went down and met her in the lobby of the administration building. She came out very quietly from Louis B. Mayer's office. And we walked hand in hand, silently, to the car, which was unusual. We got in the car, driving home. I said, Mom, you won't believe what happened to me. And I told her what happened and she got kind of quiet. And she said, Well, you don't know what happened to me. And Louis B. Mayer wasn't as bad as Freed was to me. But he tried to... He came on to my mother. And so we both decided that we didn't like MGM much. It was, you know, it was better at Fox. Man, so gross to hear Larry King laughing at that. But she laughed too and people laugh when they're uncomfortable. But she names a name of someone who exposed himself to her and it could have easily gone another way if she didn't laugh in that moment. And then she tells her mom and her mom says, Yeah, well, you don't know what happened to me. Are you crazy, lady? You're an adult. This is your kid. It isn't about you. And your kid didn't volunteer to be in that office. You dragged her there. Adult Shirley Temple is really great about saying how much she liked to work. But that's a kid playing pretend and getting a lot of attention for it. She really didn't know any better. And who knows how bad it really got. But that is the show. Follow Schwab on Twitter and Substack if you enjoy these interviews and you like some of the quotes, you'd probably like his larger pieces too. I think this is interview number four now. But sign up for Plus to get the second hour of all of them and a whole lot more. In this Plus show, we covered a lot more about Disney, like I mentioned, and a lot of other good stuff. I mean, it's the whole second half for crying out loud. You know how it works. There's a lot of material in there. Sign up for Plus and get more of what you like. Access to the full archive and feel good supporting this truly independent show without any interruptions in the interviews or conflicts of interest overall. Because it's a rare thing these days. Looking at my notes, there's just so many scribbles and things that I don't think we actually talked about in here. But maybe if you heard the Plus show, you got a little taste of the Sandman clown incident and some of the Morton Price stuff, I believe. as well as Tolkien's thoughts on how Disney's material and products are way different than his own. Etc, etc. All good stuff for the psycho metabolism. Come on in and eat. In higher side news, not a lot to add. Again, the event went great. The audio for it should be up in the Plus feed soon and the video will be on the members bonus page. Probably not until April after my friends leave for this big RV bash. But I'll let you know. As for the rating of the last show, it didn't hit the high heights of Wayne McCroy's 4.9, but Monica Perez got a 4.5 from the Plus people and that's not too shabby either. Get in there, hear the full show, engage in the comments, rate the episodes, use the guest request forum. It's only eight bucks a month and it all makes my world go round. Links right there at the top of the show notes. You're already right there. Okay, the meetup calendar. Here are the upcoming events. We got March 22nd, Book Trader Cafe in New Haven, Connecticut. Also March 22nd, Elko, Nevada at the 7018 Brewery. March 26th, the Dove Creek, Colorado, Bangers Bar and Pizza. March 29th, Chish and Phipps Kiosk in Sydney, Australia. March 31st, Auckland, New Zealand at Gail Brath's Ale House. And nothing yet on the calendar for April. So get in there. HigherSideMeetups.com for more info or to RSVP or make your own local event. Why wait? The world is only going to get crazier. But that is the show. Thanks to Schwab as always. Thanks for listening and I will see you next time. I've done my part. Your move, Hollywood creeps, impish tricksters, and goblin market merchants. Your fucking move. From space it was falling, its lights started calling, it's making crop circles again. Just as I was looking up, it showed me all the hidden stuff, and now I'm all enlightened and zen. Silver ships or cars set me straight. You two go, when you see the sauces glow one by one we'll all end up a waste. Dumb starts to die. Cabals hate.