#interview exerpt

[cruesuffix]

interview with mick about ‘Dr. Feelgood’: a small excerpt

Interview by Guitar Legends, circa 2008-2009

“The result was a career-, if not genre-defining album. Says Mars, “‘Feelgood’ was the standard that everyone else had to beat.” Prior to taking the stage at Madison Square Garden (where the band opens their set with the trademark guitar dive bombs that announce ‘Kickstart My Heart’), Mars sat with Guitar Legends to reflect on the making of Mötley Crüe’s 1989 smash effort. As the guitarist himself announces in the album’s title track: “Ladies and gentlemen, come play with Dr. Feelgood.”

Guitar Legends: ‘Dr. Feelgood’ was your first album working with Bob Rock. Previously, Mötley Crüe had a long and successful relationship with Tom Werman [Cheap Trick, Twisted Sister], who produced all your albums from ‘Shout At The Devil’ through ‘Girls, Girls, Girls.’ Why did the group make a change at that point?

Mick Mars: Tom was too much into the older school- the Ted Nugents and stuff like that. In the early and mid eighties that kind of approach still worked, but by the time of ‘Feelgood’ we wanted to move to the next level and get a younger guy with a fresher mind and fresher ideas on production. I think Nikki found Bob through Ian Atsbury from the Cult [Rock produced the Cult’s 1989 album, Sonic Temple]. We sent him a demo of ‘Dr. Feelgood’, and he liked it a lot, and then we went up to Little Mountain [Rock’s studio in Vancouver] to talk with him. He had a lot of fresh ideas and different approaches to doing things. Bob taught me a lot about tones, amps, using different cabinets, different heads… I learned a lot from him.

GL: I’ve heard that prior to hiring Bob, there was talk of getting Quincy Jones to produce ‘Dr. Feelgood.’

Mars: Yes! I think that Nikki put the request in. But you know, it’s Quincy Jones. [laughs] He was probably like, “Who the hell is this band? Who do they think they are?”

GL: Bob was known in those days as something of a perfectionist. You’ve talked in the past about spending as much as two weeks tracking the guitars for just one song on the album.

Mars: That's the truth. He really nitpicked. If I had to double a rhythm, l would get maybe a quarter of the way through the song before he'd stop me. And that really interrupted my thought process- I mean, I could have played through and then gone back and fixed any problems, you know? But Bob would stop the tape and be like, “What’re you doing? You missed that little click," talking about the way my pick hit the string or something. That's how picky he was. I might have done something by accident, and when doubling the part he'd stop me and say, "You didn't get that.” And I’d go, "I didn't get what?" And he'd say, "That." And I'd go, "But I don't hear anything!"

GL: It’s rumored that, when it came to Vince's vocals, at the end of a day of singing he would often have only one word down on tape that Bob would deem useable.

Mars: That's completely true. I don't really know how Vince felt about that, to be honest. I should ask him! But truthfully I wasn't really too surprised, due to the condition Vince was in then. We were all coming out of this haze that we'd been in for a long time. Gradually, we all slipped back into it again.

GL: Did you appreciate Bob's attention to detail?

Mars: It kinda got on my nerves after a while. I mean, some of the things that Bob was picky about, they were so minute you couldn’t even hear them. I listen to my favorite older albums and hear mistakes all over them, and that's what makes them sound human, you know? But I get what he was trying to do with us, and in the end it worked.

GL: Your guitar sound on the album is huge. Part of that stems from the fact that you tune down a whole step to D, but it also sounds as if your rhythms are heavily layered and multi-tracked.

Mars: There's a lot of guitar on ‘Feelgood.’ I think I was doing about five rhythm tracks per song and then had different little parts going on and stuff. When we were done and I looked at all the tape we had used, there were about 120 two-inch reels. That's a lot. Of course, when we did our next album with Bob [1994’s Motley Crüe] I had 80 tracks of guitars!

GL: What guitars were you using on ‘Dr. Feelgood’?

Mars: A bunch of stuff. My black Les Paul from the early days [Mars' 72 Les Paul Special], a couple of Kramers, a couple of Strats, a Telecaster. Then I also had some lap steels and Dobros.

GL: You played a lot of slide on that album, like on "Slice of Your Pie" and "Without You."

Mars: Nikki and Tommy at that time loved it. So they were always going, "Play slide!" And I was like, "I don't wanna play slide." And they would respond, "Play slide!" So I did.

GL: What was your amp setup?

Mars: I was using my Marshalls that were modded by a guy named Jose Arredondo [Arredondo was an in-demend amp technician, known for having worked on Eddie Van Halen's rig in the Eighties.] I had maybe five of six of them, all old - everything from a '67 to a 72 - and they all sounded really different. I think I had about seven stacks in the studio all together, with different heads on them. And then I had a few 50-watt Hiwatt half stacks, a Vox AC30 combo, and also this amp called a Garnet. I used that strictly for its bottom end, to thicken up my tone. It was just this old head that I stuck on a Marshall cab. All it did was go pffftttt. It sounded like crap! But it worked. So the whole setup was just really loud and powerful. We'd have fans and all these kids standing outside the studio, behind the building, because they could hear me through the walls. It was leaking through everything. Aerosmith were in the next room recording ‘Pump’, and it leaked all over their album, too!

GL: So you can hear Mick Mars’ guitar playing on ‘Pump’?

Mars: If you listen hard enough you probably can. Unless they gated it off tight enough. Steven [Tyler] actually came over one day and said, "Hey dude! You gotta tum those amps down!"

GL: At that time both your band and the guys in Aerosmith had recently gotten sober and were committed to living a healthy lifestyle. I remember hearing that the two bands would go jogging together during the daytime.

Mars: The others would. Not me! But yeah, that was in interesting time for all of us. I remember one time the receptionist at the studio brought in a cake for some reason or another. It was a rum cake, but I didn't know it. And I took a bite of it and almost spit it out, like, "That's got rum in it!" And Steven Tyler was just sitting there freaking out, because he really wanted a plece of cake but knew he couldn't have any. That's how serious it was at that time.

GL: How was the vibe within Mötley given that everyone was sober for the first time?

Mars: It was all right. I guess. Tommy and I would joke around about it, just to yank Bob's chain. We would get frustrated because Bob was so on top of every little thing we did. With Tommy it was always "Play it harder," or "Play more like this." And then with me it was, "That part ain't right!" Every time he'd say something like that, Tommy and I would go boom! and act like we were slamming back a big shot of Jack. We tried to have some fun, because there were definitely some frayed nerves. But we got along ok.

GL: How did you deal with sobriety?

Mars: I didn’t have any withdrawals or real cravings, but I missed the way it made me relax, especially during the recording procese. The flipside, of course, was that drinking made me a much sloppier player. So it was better that I wasn’t doing it.

GL: Around that time the band was also engaged in group therapy sessions.

Mars: That was never for me. The way I felt about therapy and rehab and all that is that I’d seen it all fail, so many times. My feeling is, if you want to quit, you set the shit down and go “I’m done. That’s it." A couple of the guys in the band had a hard time with that. I didn't.

GL: Were you all sober during the writing process for ‘Dr. Feelgood’?

Mars: I’m not sure. It was around that time after the Girls’ tour, that we all started getting straight. Although I remember one time Nikki came to my house to do some writing, and he rode his bike over and was a bit high. That pissed me off. That was the day I played him a rough demo of "Dr. Feelgood."

GL: That was a song you had completely mapped out on your own?

Mars: Pretty much. I was just goofing around and came up with the lick and put it down on a little eight track. I don't know where it came from… it came from my brain! I had to take that song into the band maybe four or five times before I could get the rest of the guys to pay attention to it. It was the same with "Slice of Your Pie." It took me a while to convince them to really hear it. The problem was that when Nikki had a song, like "Kickstart My Heart,” it would be much more complete, with lyrics and everything. But while I write a lot of music, I'm not so good with lyrics, so as a result my songs came together later. For instance. one time we went up to Vancouver to meet with Bob, and in the car on the way back to Los Angeles I wrote the song "Sticky Sweet" in my head. When I got home, I picked up the guitar and I could just play it.

GL: The main riff always reminded me of "The Wanton Song” by Led Zeppelin.

Mars: Yes! Although that wasn't intentional. But when I listened back to the song after it was done, I definitely heard that. It's like George Harrison with ‘My Sweet Lord’ -I'm positive the guy didn't realize he was doing [The Chiffons] "He's So Fine," but it happens, you know?

GL: Speaking of Harrison, the outro to “Slice Of Your Pie” quotes directly from the Beatles “I Want You (She's So Heavy)."

Mars: That was obviously intentional. l don’t think we had a real ending for the song, so we started goofing around with ideas. It was fun doing that, figuring out the chords that would be reminiscent of the song, but with a twist. We did a lot of that kind of stuff on the album, little nods to the classics. Near the end of my solo on “Time for Change,” for instance, I lift a little of the melody from [Mott the Hoople’s] “All the Young Dudes.”

GL: I noticed that. I also caught the "Rock and Roll, Hoochie Koo” reference in “Rattlesnake Shake.”

Mars: That's right! [laughs] And I took the chorus from [The James Gang’s] "Funk #49”!

GL: Your rhythm guitar parts were obviously well thought out. How about the solos?

Mars: Some were, some weren't. "Dr. Feelgood" was one that was completely improvised But there were some solos that I really had to work on, like “Sticky Sweet,” and “Rattlesnake Shake.” A couple of them I thought needed a more melodic thing, rather than just the wheedle - wee stuff.

GL: How did the talk box solo at the end of "Kickstart My Heart" come about?

Mars: I wanted something a little different. I was thinking about how Jimi Hendrix would "talk" in colors, and this was a different color, rather than me just plugging into a stack of Marshalls and ripping a lead. Sort of like how in "Crosstown Traffic" Hendrix used a comb with wax paper to double the lead guitar line. That became my way to add a different color.

GL: Another big hit from the album was "Don't Go Away Mad (Just Go Away)," which was a bit of a stylistic departure for the band in the way you mixed acoustic and electric guitars and didn't bring in the chorus until the last part of the song.

Mars: Nikki came up with the parts, but he didn’t know how to put it all together. There’s the verse, and then the chorus, and then the third part which is the real chorus. But it was like, How do we get back to the beginning? So we decided to do all the verse and chorus stuff first, and then end with the third part and let it go from there. We put the hook at the end of the song which was a little different for us.

GL: ‘Dr. Feelgood’ was Mötley Crüe's only Number One album and remains your biggest-selling effort. At the time, did it feel to you like you were creating your definitive record?

Mars: To be honest, it seemed like just another record. I didn’t think it was a milestone for us. But having my first Number One record was a big deal. I remember my manager calling me up and telling me that we did it. I was like "That's all good!”

GL: It was validating for you?

Mars: Definitely. That album was like the standard that everyone else had to beat. And all the other bands that were around at that time… can I mention them?

GL: Go ahead.

Mars: Your Firehouses, your Poisons, your Warrants, Great Whites, Dokkens… all those guys just went woosh! Gone. I mean, they still played, but they didn't take that next step, in my opinion. They just kinda stayed in 1985. So I may not have anticipated it at the time, but ‘Feelgood’ set a certain standard for the day and, actually, for what was to come as well.

GL: In what sense?

Mars: Well, I remember shortly after the album was released, the Metallica guys went to see Bob Rock about working together (for 1991's "Black Album”]. And when you first meet with Bob, he always goes, "So, what do you want?" And they threw down ‘Feelgood’ and said, “We want that." I think their album wound up doing okay too.

and that was the interview!! i know there’s probably more of this with the rest of the band, but this was all i could find so… yeah! this was pretty informative in my opinion, and i learned something from it at least.

[valsilverhand-archive]

Phoenix is your new favorite, non-binary rocker. They're the binary you wish you could be. Their sultry tunes are a love note to bands from the early 2000s to the 2020s, taking inspo from.... They hail from Camden, NJ. They know the rough side of the world. When asked what it was like they laughed, a shine in their golden-green eyes, and asked me why I would ever want to know about the armpit of America... Rumor has it that they're about to mesh in with Samurai, but that's just what it is: a rumor. The question was only asked after a selfie between the two was seen briefly on insta... ... one could say that their rivalry with Samurai is legendary, but when they collab it's something out of this world. Silverhand and Phoenix's voice melt into each other like nothing you've ever heard. It was as if they were made to bring the noise together. Phoenix states that their relationship isn't what it seems - the stage is an act... ... Silverhand has decided to not give a comment on the singer/guitar player at this time.

[x-ladydisdain-x]

Why can’t I take an ap exam on gerard way. I would get a perfect score

[professorsta]

Okay the thing is though about George R Martin is how can he deny his affintiy for gentalia if he even brings it up during death scenes?! Why does Twyn mention his pubic hair covered with blood after getting killed. Im not a prude but it just kills me when he denies it like Sir? The whole point of a book is to descibe what the reader is visualizing, you want us to consistently visualize a penis, pubic hair, and nudity in the books. Fuck its so funny i dont know how to describe the dissonance of denying the love of the loin area and yet use it as a tool is descitbe whats happening so often. The blood seeped through his shirt to his pubic hair and his thighs. Wonderful, you are making so many people imagine an old man with bloody public hair, you menace, obsessed, what the hell. And this is a serious series, like complete dean-pan this moment is very important and also bloody bloody balls are happening as well

[tired-in-a-tree]

Exerpt from this interview from The Sick Times with Matt McGorry

[eptodaytommorowforever]

Events In The History And Of The Life Of Elvis Presley Today On The 17th Of September In 1962.

Elvis Presley On September The 17th, In 1962 The filming resumed at The MGM Studios On Is Latest Movie It Happened At The Worlds Fair in Hollywood.

September 17, 1962 (A brief exerpt from the long interview).

The filming resumed at MGM Studios in Hollywood. And Elvis Presley had a long interview with

Lloyd Shearer on the set.

Elvis Presley spoke of all the friends surrounding him. He was stating:

“it is important to surround yourself with people who can give you a little happiness”.

He also spoke about his interest in studying philosophy and mentioned that he would like

to become a doctor and often read medical texts.

He said that he was hesitant to make any major changes in his career

�� If I can entertain people with things I’m doing, well, I’d be a fool to tamper with it “,

but at the same time expressed an interest in exploring new directions.

rare b/w candid photo of elvis presley relaxing with the production crew and fellow actors on the movie set in hollywood and also in these rare b/w candids picture of elvis presley's pet monkey chimpanzee who he loved the mischevious antics he got up to like getting drunk chasing the ladys and looking up there skirts till he became violent and bit a maid at Graceland.

[canvasmirror]

Salvador Dalí (Spanish, 1904-1989) • Soft Self-Portrait with Grilled Bacon • 1941 • Dalí Museum, Figueras, Spain

He wanted it to be an “anti-psychological self-portrait,” to paint the outside instead of the soul, or as he called it, “the glove of myself.” There is also a piece of bacon and ants in the portrait, to symbolize his generosity in offering himself to be eaten by the media, and to act as inspirational “food” that succulently nourishes our time.

– exerpt from MARCOPANTELLA blog: An interview with Montse Aguer, Director of Dalinian studies at The Dalí Theater-Museum in Figueres.Dalí Museum, Figueras

[bittercape]

WIP game

rules: you will be given a word. share one sentence / excerpt from your wip(s) that start with each letter of that word

tagged by @paprikadotmp4 , thank you!

word: WRITE

W - from a wip so far bearing the informative name 'bottom Slade overstim'

While Slade has been working through this minor epiphany, Jason has worked Slade’s shirt up past his nipples and is nibbling on his pecs and vaguely rutting against his thigh. It feels like a more than decent sized cock, at least as far as he can tell through two layers of clothes.

R - from a fic that is technically finished and will be posting tomorrow

Red Hood is utterly mesmerizing to watch in a fight — and he’s all Red Hood, in this fight, plowing through the goons like a siege weapon taking down a wall, all speed and grace and power. Slade maybe gets a slightly unnecessary cut because he’s watching Hood more than his own opponent, hitting the gap in the armor on the outside of his thigh. It hurts like a bitch, but he can’t even regret it; Red Hood punching out the teeth of a Bane-sized thug is a sight he won’t forget any time soon.

I - from a still unnamed wip featuring Jessica Jones and Karen Page in the tennis universe:

“If you want,” Karen says, noncommittally. “We can do an interview later in the week if you like.” “Ugh, gross,” Jessica says, and Karen laughs, slightly too loud for the relative quiet of the bar. A few people glance their way, but leave them be soon enough. “What do you want to know about Roy?”

T - another still unnamed wip, this is a 5+1. exerpt from Steph's section:

The fact that she’s had the second Robin’s sweaty socks pushed into her face doesn’t take away from the symbolism, at least if she doesn’t think too hard about it. She would have continued on her merry way, if it wasn’t for the goons.

E - from the imaginative working title 'steve thing' that wants to grow big:

Either by design or by accident, JARVIS was not forbidden from reporting, and Steve and Natasha both were given regular updates on what Tony was doing – watching the documentation, mostly, and drinking more coffee and vodka than any normal human should consume in a year. What JARVIS did not say was what his processors were doing while Tony did his complicated mourning. On the sixth day, Tony shot Clint with a tranquilizer dart by the coffee machine in the common area kitchen.

tagging: @mightymightygnomepriest @safelycapricious @flammenkobold @carcrash429 @katzynia

your word is: SHIFT

[horse-girl-anthy]

Hyperreality and Ikuhara: Art for the Postmodern Age

hyperreality, a term coined by Jean Baudrillard, describes the state of people living in postmodernity, where we are so inundated by signs, symbols, and representations that we have lost touch with the real. I was born in 1997. since I was a baby, I have seen advertisements every day of my life. I was watching TV before I understood what TV was. under these conditions, simulations begin to feel more real than reality.

for those trying to make art, hyperreality has been a challenge. this video uses the American cartoon The Simpsons as an example; the show had a subversive edge when it was first created, but capitalist forces pulled it away from that direction. there is the contradiction that any TV show must face: it needs to be produced and then be aired by a TV station, and it has to make a profit. the more money The Simpsons made, the less meaning there was to the story.

the video discusses how under hyperreality, the "code" is substituted for the "reference." in the case of Homer Simpson, his characterization originally had ties to reality. his character was a subversion of the typical sitcom father, and he was portrayed as lazy, ignorant, and incompetent to make a point about American culture. however, as the show became iconic, it was increasingly self-referential, and thus Homer's traits grew to be mere symptoms of who he was rather than satire.

this kind of referentiality was the death knell of parody. as the video discusses, the media landscape of the 21st century has collapsed in on itself. when The Simpsons began, there was a clear cultural script it was parodying, as well as a sociopolitical hegemony it was subverting. the world of today is too confused for that; there is no norm to imitate, as everything is already an imitation. thus, there is an infinite regress of self-referential media, a black hole of meaning.

perhaps this is why Ikuhara was so worried about RGU being seen as parody. he didn't want it to be written off, easily categorized, meaningless and part of the status quo. at first, he tried to make the work "like nothing you've ever seen." this, however, wasn't easy, nor was it what he actually wanted. he decided instead to try to "round up all the animated stories made with girls as the main characters up till then into one story." This meant that the visuals of RGU "must be parodies."

to keep his story from being subsumed into the hyperreal, Ikuhara created his own style, one which turns referentiality against itself. all Ikuhara works are metatextual and heightened. rather than portraying a "reality" to the viewer, they communicate directly by playing on recognizable scripts, symbols, and signs. consider this brief exerpt from a Be-Papas interview:

Interviewer: Are you being playful with the visuals using Chu Chu? He seems like a relaxing distraction. Ikuhara: I didn't put much thought into it. I figured it's an anime so there'd be a mascot.

Chu-Chu has no explanation in the "reality" of the story, no origin. he is there because of the medium of anime. as in, Chu-Chu exists because he is the kind of character that appears in these kinds of stories.

that artificiality is absolutely everywhere in Ikuhara works. many events are conveyed through canned representations, signifiers which communicate by rote. for instance, in Yurikuma, domination is expressed by a girl putting her leg in between the legs of another girl. this is a recognizable action which communicates both the plot and affect of the scene. however, the action itself is determined by the work's genre. in Utena, the scene would look more like Touga pushing Utena up against a tree and getting into her personal space, which is what would happen in a shoujo. the act itself has no meaning outside of being a referential symbol.

without this style, I don't think Ikuhara works would be as subversive. firstly, by making a point of their own artificiality, they can break through hyperreality. secondly, there are moments when the artificiality shatters. even in those moments, his style is still there. for instance, in Penguindrum, the "child broiler" scenes are communicating to the audience through recognizable signs; there is no Watsonian level. but the most pivotal, emotional moments in Ikuhara works do not follow cultural scripts. the "it's that way because it is that way" mentality falls away.

Ikuhara characters follow the opposite tragectory of hyperreal characters. they start out as floating signifiers, characters who are parodies of themselves. Anthy is the shy, quirky girl who must be protected. Himari is the cute, innocent little sister. the fact that his characters are meant to be walking tropes is self-evident--it's blatant, a constant in-joke. but then, the stories broaden, developing the characters and complicating their narratives. this cuts against the grain of hyperreality, forcing the audience to consider how they may have let their lives be scripted for them, how they may be living in artificiality, "dying without ever being born."

[techramonic]

what's a piece of literature that's impacted you the most?

Haven't really keeping up on literature but one of the best books I've ever read was, "Some People Need Killing" by Patricia Evangelista. It was just recently published and I got a hold of the copy from someone else. I haven't fully finished it yet but hands down one of the best true crime memoirs / books I've ever read.

The book talks about the brutal murders tied to the Philippine Extra Judicial Killings under the rule of President Rodrigo Duterte during 2016 to 2022. As someone who had to research this topic for many gruelling research papers and also witnessed the news reports during the height of the massacres, god it's surreal. It's dystopian.

Evangelista's writing about her real-life encounters and interviews is so precise, so emotional, so bone-chilling. It perfectly describes the horrors of being a journalist in a country with a government that is so close-minded and cold-blooded. In a country ruled and governed by catholic guilt and righteous morality, there's an obsession on the punishment and retribution of "sinners". Sometimes it is even a sin to be human. Criminals can be victims too. Innocents can be labelled as criminals so easily.

Drugs are the root of all evil. Bullshit. The people wouldn't even try to get a hold of it if they had the oppurtunities to deny it. The reality of poverty forces people to turn into a life of addiction and crime and the government only trains these people to be "resilient". It's sad, disgusting even. To learn how to only take what they can get and suck it up because they have no other place to be but below. It's as if the government has conditioned them, then systematically eradicates them on a hitlist like they're animals, even if the problem in the first place is born out of the failures of the institutions that do not wish to provide the impoverished with the necessary needs of education and oppurtunities. If you're born in debt, you stay in debt, because who will shine the shoes of the rich? Who will take the blame and fall when the previlaged need someone to cover up for their shit?

Even if you have come so far and have moved out from this fucking miserable country you call home, guilt and death will find you. It wreaks of it in every step you take. It will find you, just like it has found your friends, your father, your mother, and even maybe soon, yourself. You are tied to it as long as you live because there are no limitations to what cruelty can be defined when it comes to an authoritarian rule that is backed up by the police. You basically owe the government your life. Just as how your parents and their parents before them have experienced the Martial Law under Marcos, Duterte has also showed his wrath in a form of mercy. The mercy for the innocent — but can we really agree when those killed are too?

There are so many reports of those who have not used subtances or are not affiliated to them being killed. Some, convicted but did not fight back yet were still killed. Some, in rehab but still hunted down because they were on the list. Some, children of those convicted. Some, children who have no means of being convicted because they haven't done anything at all. Some, activists and journalists who begged to challenge the silence.

Yet people still glorify and accept that this was reality. This was retribution. This was a saving grace, when mostly it was delusion and a thirst for blood.

Plus, Pat is a fucking badass. She's courageous because doing this kind of thing would be a death sentence. It would mean that you'd be hunted down because an open jaw is basically a bullet to the head. She's fucking awesome that I aspire to be like her. To understand others in a way you detach yourself from the picture and empathize from all prespectives. To keep asking questions, even if it will never lead to an answer.

Here are some of my favorite exerpts from the book:

[frank-olivier]

Jeffrey Mishlove (New Thinking Allowed)

Heidi Jurka is author of 'The Making of a Psychic'. During the period from 1976 to 1979 she worked closely with parapsychologist Andrija Puharich on his "space kids" project. She was living in Puharich's house in August 1978 when the place was set on fire by an arsonist.

Here she provides many details concerning her work with Puharich, the "space kids" and "mindlink" projects, and the arson fire that put an end to this chapter in her life.

Heidi Jurka: Andrea Puharich and His Space Kids (February 2024)

Andy Puharich

Dr Andrija Puharich, medical and parapsychological researcher, medical inventor, physician and author.

Exerpts taken from interviews with his offspring for the 2023 documentary 'Mind Traveler'.

Puharich Personal (May 2023)

Psi Clips

Andrija Puharich, M.D. surveys his career researching psi, including studying the gifted subjects Eileen Garrett, Peter Hurkos, Uri Geller and others. Recorded at the Mind Science Foundation in San Antonio, Texas, USA on 21 February 1989. Dr. Puharich was Research Director there in the early '60s.

Much discussion also on ELF, psychotronics, government-sponsored psychic warfare and remote viewing of sub-atomic particles and fields (through Sharron Jacobson).

Dr. Puharich asserts that Peter Hurkos served as the top psychic for President Ronald Reagan. This was confirmed by Lee Sannella, M.D.

Andrea Puharich: Psi Explorations From Garrett to Geller And Beyond (February 1989)

Michael Salla

One of the most intriguing aspects of Gene Roddenberry’s creation of the Star Trek franchise was his relationship with a mysterious extraterrestrial group calling itself the Council of Nine that were being channeled by the psychic Phyllis Schlemmer in the 1970s. Roddenberry sat in on channeling sessions from 1974 to 1975, and participated in Q & A’s that were recorded in Schlemmer’s 1993 book, the Only Planet of Choice.

What lent credibility to the Council of Nine was that their existence was confirmed in the famous Law of One channeling sessions held from 1981 to 1984, which are widely regarded as the most authoritative channelings ever conducted due to the strict scientific protocols used by a retired applied physics professor, Don Elkins.

These historical events provide important context for Elena Danaan’s most recent contact experiences where she claims to have been taken to Jupiter’s moon, Ganymede, where she met with the Council of Nine, and was told why Rodenberry was chosen to prepare humanity for a Star Trek future.

This is an audio version of an article published on November 4, 2021, and narrated by the author Dr. Michael Salla.

Michael Salla: Contact with the Council of Nine & Roddenberry's Star Trek Future (November 2021)

Uri Geller

A book popped through my letterbox recently entitled Memories of a Maverick by H.G.M. Hermans. The maverick in question was Andrija Puharich (1918-1995) and the author, ‘Bep’ Hermans was his second wife. Her book has prompted this tribute to a great and much misunderstood scientist of great vision, versatility and courage and a wonderful human being. But for him, nobody outside Israel would probably ever have heard of me, and it is no exaggeration to say that I owe my career and my success to him.

H.G.M. Hermans: Memories Of A Maverick (1998)

L/L Research

Don and Carla were interviewed on WKQQ for their "UFO Awareness Week" in 1977, sharing information about their work in UFO investigation and communication.

Jim McCarty heard this interview on the radio, prompting him to seek out and join Don and Carla for their public meditations. Eventually, Don and Carla invited Jim to join efforts and form a trio, leading to the receiving of the Ra contact.

Interview with Don Elkins and Carla Rueckert (WKQQ, May 1977)

Monday, February 26, 2024

[astro-gnome]

françois cevert interview - exerpt from the film 'champions forever, the formula one drivers' (aka 'the quick and the dead')

[quohotos]

12. If you could invite one of the characters to have dinner with your family, who would it be? What might you cook for them?! What questions would you ask them?

I would invite Ripred to dinner because I think he would tell the most interesting stories. We would have to serve shrimp in cream sauce because this is his favorite dish of all. Just to irritate him, I would tell him he has to use a napkin—or he won't get dessert. He would use the napkin, because dessert would be a fabulous chocolate cake and he loves food, but I bet he would glare at me the whole time. I would ask all kinds of questions about being a rat, and living alone in the Dead Land, and about his family. Ripred sometimes sneaks up to the Overland, so I would ask him his opinion of New York City, too. After dinner, we'd play Scrabble.

(exerpt taken from an interview with with Scholastic press, hosted publicly on Suzanne Collins' website) You look at that and tell me Ripred isn't her favorite character. She has a big author crush on her favorite Rat daddy.

[waterfall7290]

Joseph Delle’s 2009 statements

A few days ago I noticed that even thejeremystory was offline. I have posted links to the Wayback Machine copy of it. Not sure if the admin is still alive or not, I had tried contacting them a few years ago but never received any reply. Since this blog is also intended at preserving the work of the people who researched about Jeremy, I was looking up the copy of the website and wondering what I could repost. The majority of it is a timeline which I found redundant to post since Ash already included it on his website, and then there were things about Jeremy's last day which, as you know, aren't what I talk about. I actually dread seeing them, to be honest. However, I reread Joseph Delle's (Jeremy's father) 2009 statements and while I find them hard to read given they do talk about Jeremy's death, I thought it was important to repost them because in my opinion they really give a glimpse of the pain his poor parents endured, and how incredibly insensitive some people got (and I know still get). I thought these statements humanize Mr. Delle a lot. Wanda already gave her testimony in a WFAA interview in 2018. I'll repost the original images shared on thejeremystory. In case the admin of the website is still alive and would like me to take them down, please contact me at waterfall7290 + @ + google mail domain.

- - - - - 

Family Statements

After Jeremy's  violent public suicide and the subsequent song by Pearl Jam, Joseph Delle sold his home to escape the notoriety. Later, Joseph, Wanda and Jeremy's sister invoked a Texas law to keep a police video of the classroom from being publicly released. Below are exerpts from the family's statements.

ABOUT THIS BLOG

[longliverockback]

Gentle Giant Live at the Bicentennial 1776-1976 2014 Alucard ——————————————————————— Tracks CD One: 1. Just the Same 2. Proclamation • Valedictory 3. On reflection 4. Interview 5. The Runaway • Experience 6. So Sincere

Tracks CD Two: 1. Exerpts from Octopus 2. Give It Back 3. Timing 4. Free Hand ———————————————————————

Gary Green

Kerry Minnear

Derek Shulman

Phil Shulman

Ray Shulman

John Weathers

* Long Live Rock Archive

[chucktaylorupset]

(This started because I imagined Bruce Wayne giving that interview in his public persona and then it escalated)

The following is a transcription exerpt of Bruce by the Daily Planet. Parts of this interview has been edited for brevity or clarity. For the full audio file see the end of the article.

Who is your personal hero?

Oh, this one is going to take a second.

It is?

Yes, god, I swear, I was just reading something from him yesterday, really good stuff, it’s on the tip of my tongue. [Pause] Sorry, I guess I read the article more closely than the byline.

Your personal hero is a reporter?

Yes, if you can believe it when I can’t even remember his name. Dammit, what was it.

Not Batman? Sorry—

No, it’s fine.  Obviously Batman has saved me many times, and I hope he will again next time I’m taken hostage, if he sees this and isn’t offended.  But Batman does that for all of Gotham, so I think of him as Gotham’s hero, not mine.  For one thing, it would be a bit presumptuous.

So the reporter?

Is a personal hero! He’s the reason I can be sure that I’m not drinking lead! He’s based in Metropolis, you might know of him, he did a series on housing, I don’t know which publication, it was probably either the Crier or the Chorus, come to think of it, it might even have been the Planet, which doesn’t start with a “C” at all. Do you guys have a housing column? What’s the name of your guy?

Clark Kent.

That’s him! Clark Kent. I am such a big fan. I seriously love that guy, he does great work. Will you tell him that, from me?

I’ll be sure to pass that along, Mr. Wayne.

Please, it’s Bruce. Clark Kent. I am not going to forget this time. I’m usually much better at names. I remembered yours didn’t I? And all the emails arranging this happened so long ago. The rhyming helps, Lane, Wayne. If only there were rhymes for dates and time, then we wouldn’t have both arrived late. Sometimes I think the only reason I’m so good at names is that there’s never any time for introductions. Of course, half the time I’m late it’s because I’ve been kidnapped, but that still leaves the other half. But I’ve gotten off topic.

You’re fine. It gave me a chance to reorder my notes.

Which are only out of order because we literally ran into each other right before this interview. Again, sorry about that.

My fault.

I’m only going to stop arguing because I assume sure you have other questions freshly printed on that— very neatly organized now— stack of papers, which we won’t get to if I waste any more time.

So, Clark Kent does, well, you know this, but for the eventual readers, he does a housing column and it’s really good stuff. All these beautiful old buildings.  He could be on HGTV. Not that I think he would if they asked. He seems to be right where he knows he needs to be. It turns out pipes in older buildings can be made out of lead, which is very bad and you’re not supposed to do. It’s actually illegal, because if someone lives there and drinks the water, it can be not good, health wise.  As someone who lives in a very old building myself, I found all this quite the thrilling stuff, if a little scary. I was reading this it and I wanted to have Clark Kent over personally to take a good hard look at my pipes— are you all right? Have some of my water.

No, thanks.

That’s a nasty cough. I hope you’re not sick.

I’m fine.

If you’re sure. Anyway, I’m sure Clark Kent is very busy and would have had to come such a long way, so Alfred just called a local man instead. And so Ron— that’s Ron Carpenter, from Gotham Unclogged, bit of an ironic name for a guy who works as a plumber— comes over and says that we definitively do not have lead pipes!

You’re certain?

Of course, Ron is a stand up guy! Very competent, very good at his job.

And it’s a relief after how long everything took with the last renovation.

What were they renovating?

This is a bit embarrassing, but to tell you the truth, I don’t know. That whole fiasco dragged on for so long, I don’t remember what started it in the first place. And the contract changed hands so many times, I don’t know if there’s a single human alive who knows what’s in my walls. Except of course that there isn’t any lead.

Not in the pipes.

Nope! Clark Kent, on the other hand. Clark Kent’s old dirty pipes have some really nasty stuff inside. Do you need some more water?

Fine. I’m fine. You were saying about Clark Kent and his, you know.

Right. So Clark Kent looks at all these pipes, even though he’s a journalist, not a plumber, and it doesn’t stop there. He finds the owners of these beautiful buildings and he finds out where the money goes— which is very impressive, I’m not even sure where all of my money goes and remember, he’s doing this for money that belongs to someone else— and where the money goes is to bribing building inspectors, so that they don’t get reported for having old pipes which are unsafe for people, people living there because rents are cheap and they don’t have very much money, and Clark talks to them too! And he talks to these politicians, and officials, and so many people.

Personally, I’d love to meet Clark Kent, he seems like a great guy, like a good conversationalist. Maybe you’d know. I’ve been meaning to listen to an episode of this podcast, it was sent to me by the daughter of a friend. He comes and talks about his work and growing up in Kansas on a farm, all of which sounds very exotic.

There’s that cough again.

Sorry. I’m sorry Mr—, er, Bruce.

Listen, if you need to, this can be rescheduled.

Believe me when I say that nothing is canceling this.

I see. You’ve told me you’re not sick, but say that you were, would they not let you go home?

I promise if I did, say, show up too sick to work, my editor would call a cab for me and put me in the backseat himself, after revoking my access to the entire building to make sure I couldn’t sneak back in. Then he’d find someone else and shove them on this.

That’s very specific. Almost like it’s actually happened.

[Interviewer laughs] You could say that.

Hm. All right, I believe you. What was I talking about?

We can move onto the next question—

My lifelong dream to meet Clark Kent! But you see, these politicians he meets with don’t seem to enjoy meeting him. They come off almost a little embarrassed, talking around all this really straightforward stuff. It doesn’t take a lot of words to say that somewhere along the line, someone decided we should stop paying for all the things that stop people from getting poisoned. As a Gothamite, I can tell you that that’s very bad. But now there’s a whole bunch of stuff happening like the firing of the officials who took bribes and a new election win for someone who promised to make a fund to redo a bunch of these pipes. And that took a lot of people, but part of why it happened is Clark Kent.

So yeah, I really enjoy reading stuff from him. It’s a bit escapist to read about a place like Metropolis, where the worst thing that could be in your water supply is lead instead of Joker Gas— or it wouldn’t be gas would it? It’d be Joker Liquid. Eugh. [Wayne shudders].

So to read about a situation where it turns out like this— Batman is great, thanks to him I’m no longer kidnapped! But the Joker and Scarecrow— the Scarecrow? Are still around, so I’m probably going to be kidnapped again. But what happened in Metropolis because of Clark Kent, the problem was fixed, actually fixed.

You know, I spend a lot of time getting kidnapped, but people are always surprised when they ask— usually after they finish asking about what it was like to meet Batman— that I haven’t actually talked much with the super villains. Most of my time is spent with henchmen like Jimmy and Knuckles and Eunice, and so that’s mostly who I end up talking to, when I’m not gagged, and you know once we got to talking and it seems like they have a lot in common with some of these people who talk to Clark. Not a lot of money, living in old and often unsafe buildings. I tell you, Big Mack swears there’s a ROUS from the Princess Bride who’s living and taken over the other half of his apartment, and it’s not doing a thing to help out with the rent!

It makes me want to be like Clark Kent. If he had talked to these people, he’d be out there with a pen and paper— or well. Phone with an app that’s a voice recorder, like you have now. Trying to track down some of the direction of other’s people’s money, which I now want to do, but I probably wouldn’t be any good.

The only thing I’m good at is having money, not so much finding other people’s, but what I do know is that if I can use some of that money to help Gotham have safer, healthier places to live, then not only will the lives of people be better, but when a super villain comes into the neighborhood and says, hey, join my gang, be my henchmen, they’ll have a lot fewer people saying yes.

Right now Gotham is full of people who are poor, and who have nothing to lose. And what we need is to change that. That’s how you make sure people like the Joker and the others are actually defeated. Not Batman. Batman is great, he’s been helping out Gotham and me, for a long time.

For the longest time, I didn’t think there would ever be a way in which I could ever help him back. Because I’m never going to save Batman from a kidnapping. I don’t have the costume or the— what else does Batman have? A Batmobile? I have a limo. And Batman, after last time, he’s been very clear that I am never allowed to ransom him, so there shouldn’t be any further attempts at that, so the only way forward for me is to do this.

I’m happy to announce plans that, in addition to the existing housing advocacy done by the Wayne Foundation, we are starting another charitable foundation, this one focused specifically on providing free inspections, repairs, and replacements. We’re planning on looking for ways to involve the community, from local businesses and plumbers donating free or discounted labor, to outreach and education on warning signs and how to use our freely provided at-home water quality tests.

We still haven’t come up with a name, because at this point another Thomas or Martha Wayne foundation would be confusing and make it harder to find on the Google, which makes it harder to access, but yeah.

Batman has been the hero I needed, the hero Gotham needs, so many times. I wish Bruce Wayne could be a hero for Gotham and for Batman right back, and this is me trying. But at the end of the day, I think this needs more than just me throwing around my comically large amounts of money in order to work. I’ve been donating my money and doing charity work in Gotham for a long time, with the Thomas and Martha Wayne foundation. Because— that’s how my parents raised me. And what they would have wanted for me to do, if they were still here. It hasn’t worked. It only works, I think, if we have something like the same thing that happened in Metropolis.

I don’t mean I want the people of Gotham to be like the kind of people you get in Metropolis, for one it would mean we would have to get a lot worse at baseball. But I think what we need for this to work is to come together as a community. I’m only one guy. Batman is only one guy. Clark Kent is only one guy, but the kind of guy he is means that he doesn’t stay just one guy. When he starts asking questions, and when he starts talking, it starts something that has other people running to come together. And then they do amazing things that mean problems get fixed. Batman is the hero Gotham needs. But the hero Batman needs is Gotham. And the hero Batman needs is Clark Kent.

[Long pause]

I think you’re supposed to ask me another question now.

You think I’m a hero?

Excuse me?

[Another long pause]

Oops.

Do you think Clark Kent's first few major articles were about the continued presence of lead pipes in parts of Metropolis' water system