18 May 2019
Transcribed by Nan
Bob 0:00
And you know, what is it? Are these — you know, Madame Blavatsky predicted that by the end of the 20th century, the young people would be a subrace. Is that a little too harsh?
iON 0:09
They already are. No, they already are. The sub, we don’t call it a subrace. We call it a subculture.
Bob 0:15
Right, right. Oh, that comes back to iON saying, when people say, what do we have to watch out for in the United States, you know, what politicalness? And iON said, the subcultures. So, what people call the deep state is what you call the subcultures?
iON 0:32
Yes.
Bob 0:33
Would you — you agree. Yeah. So, the subculture is doing the anti-Trump thing.
iON 0:39
Right.
Bob 0:40
Right. And they are part of a, an elite subculture that’s been around a long time, like Thurn and Taxis.
iON 0:45
Yeah. But they’re fleeting, they’re fleeting. The San Martins. Roxy’s on it.
Bob 0:50
Yes. Roxy. [chuckles]
iON 0:51
They’re starting to fall apart. She startin’ to fall apart.
Bob 0:56
Yeah, so
iON 0:56
That’s why she was not trying to embrace it because it was falling. Why would you embrace something that’s falling? I’m not gonna bow to you. You’re the king right now, but you won’t be in 30 seconds.
Bob 0:57
Okay, you’re saying Roxy is not embracing them?
iON 1:00
She’s doing great.
Bob 1:04
Yeah.
iON 1:04
She sees them for what they are. So,
Bob 1:15
Right. When she talks about the archetype of all these cultures, subcultures or religious cults,
iON 1:20
She doesn’t. She talks about –no, she talks about the archetype of inference. She talks about the inference of what it affects this, and affects that, and is part of this, and a part of that. She never says, this is what it is. Never gets that.
Bob 1:35
Right, but
iON 1:35
You get variegations of.
Bob 1:36
But she does notice that the theme is from darkness to light. Is there more to what the archetypes were about than that?
iON 1:43
Sometimes. Sometimes. Not always. She’s not
Bob 1:48
Right. Not always, but what would you say she’s missing in interpreting and limiting the archetype to darkness to light?
iON 1:56
The balances. The balance. The balance.
Bob 1:58
Ah!
iON 1:59
The in-between. There’s no in-between. There’s lightness and darkness. There’s no in-between. That’s why we did the "Midnight in the Garden of Good and Evil." ‘Cause of the difference.
Bob 2:08
Right. Now, did James Joyce and then McLuhan figure out the in-between, what they call the interval, the gap? That’s their breakthrough?
iON 2:16
They found the space, they found the space, but they didn’t find out where it was. They didn’t figure out how to get there either.
Bob 2:22
They found the space, but they did, they didn’t find where it was and how to get there. Okay.
iON 2:27
That’s correct.
Bob 2:28
Now, is iON that space that they didn’t get to?
iON 2:32
It connects to that space.
Bob 2:35
iON does. Right, right. So, they didn’t have iON to connect.
iON 2:39
It’s like El in "Stranger Things."
Bob 2:42
Right. Well, that’s, that’s, she’s on the other side?
iON 2:47
No, she’s on this side that connects from the other side.
Bob 2:50
All right. So, I look at culture, all the art movements, the science movements, and I’ve said it on video to Roxy, all of them were anticipations of what we did. So, all of culture during Christiandom you could say, was an attempt to get to iONdom. And they never did it until we did. Would you agree with that?
iON 3:14
Sure. That’s good. It’s actually on point.
Bob 3:17
Right. So, if we analyze "Finnegans Wake," iON talks about the Non-Physical in various art forms. Like, there’s the third cycle or fourth ring, I can’t remember which number ring it is in "Finnegans Wake" that’s the — Non-Physical puts it in there. Joyce isn’t aware of it, but it’s always pointing to iONdom is what was put in these art forms by Non-Physical.
iON 3:44
Ehh, okay. We wanna to just say yes, but there’s another part you’re leavin’ off.
Bob 3:48
Okay.
iON 3:48
You’re talking about, you’ve left out the mystery landscape. ‘Cause all this is true and the case and on point till you add the mystery landscape. Where does that go? Where does that fit? How does it apply? Necessarily, it doesn’t. Well, if it can be obfuscatable at all, it may not be working at all. Maybe. See the rub?
Bob 4:09
Okay, so the mystery landscape is in "Finnegans Wake" and all these things. And Joyce and them didn’t put it in there; Non-Physical, the mystery landscape did.
iON 4:19
Basically. It’s what it represents. Right.
Bob 4:21
Right. Then so that’s true of Michelangelo’s David sculpture.
iON 4:26
And it’s also true, it’s also true of all the TS Eliot.
Bob 4:31
Right. But all the greats. You know, Mozart, Beethoven, they have these extra things in there which you seem to call half-step modulations.
iON 4:41
They are because they’re based — yes, because remember, back, back, back, back, back, way back, it was the lines and spaces.
Bob 4:50
Yes.
iON 4:50
You know, the half step between the sharps and the flats, and the naturals are just that. So now you have a new bit of information. You have a new bit of position, you see? Because now you can now judge a flat from a sharp, but it’s always based on which key you begin in.
Bob 5:10
Yeah.
iON 5:10
Which key you start in tells which one you go up, down, or to.
Bob 5:16
Now, is that what you just described is the, is the mystery landscape in music?
iON 5:21
It’s how the, it’s how the mystery landscape interacts with music.
Bob 5:26
Ah.
iON 5:27
Tonal melodious positions or rip rack taki taki lubag ga la boo taki taki boo dag la loo taki. And the next thing you know, there’s 9 billion views! [Bob chuckles] People goin’ crazy. It’s like Tim Conway and Mrs. Wiggins, "You’re not gonna believe it!" It’s just, it’s ridiculous.
Bob 5:29
All right.
iON 5:51
See? The medium is the message. So, that’s the, that’s the point.
Bob 5:56
Well, there’s the mystery landscape in this guy, this Puerto Rican guy, in his music or interacting with his music?
iON 6:04
No. He’s saying, he’s saying, he’s representing the mystery landscape, and that’s why everybody’s embracing it, supposedly.
Bob 6:12
Ah. But it’s not.
iON 6:15
Right. It’s fictitious. But now here’s the rest of the story. You can buy a bot to give you a couple of billion views. Does that make you incredible? Uh oh. What happens if the bot, what happens if the bot
Bob 6:26
Oh, yeah. People are actually, yeah, no, there was a documentary recently on how people can buy, you know, 50,000 likes, like Katy Perry did that.
iON 6:36
Sure.
Bob 6:36
Yeah. So, there’s that thing.
iON 6:38
And then once that many like it, then everybody likes it, because everybody likes it.
Bob 6:42
Right.
iON 6:42
You told them that you told them that you like it, so you like it because you like it. That’s why you like it, right? [Bob chuckles] People don’t know what they like, they like what they know.
Bob 6:52
Okay, so JW was very shocked a few minutes ago when we looked at it and he saw the big numbers. He said there’s some’um fishy going on here. So, I said, yeah, I was telling Jack earlier today it’s the Democratic National Committee and Hillary using this guy to launder money to protect themselves from Trump. Correct that theory, or am I right?
iON 7:11
It’s not. No. Well, no, you’re always right, but not about this.
Bob 6:59
Yeah.
iON 7:16
You’re always right. And you’re right about the laundering, okay? That’s not the conversation. You gotta realize nobody gives a shit about the Democrat anything. That oligarch is gone.
Bob 7:28
Okay.
iON 7:28
It’s like bettin’ on the Rothschilds; they’re bankrupt, they’ve got nothing, they can’t even make anything anymore. They’re done. Okay, that’s not the point. But the point is, is there is some laundering per se, per se going on, but for other reasons.
Bob 7:43
Yeah. And is it, it relates to what we’re doing to counter us or to
iON 7:48
Ah, no. But see, it doesn’t. That doesn’t, it just makes it better. See, that’s like saying, I’m gonna make a bunch of money to hurt the economy. [Bob and iON chuckle]
Bob 8:00
You mean if they were resisting us, that’s what they would be doing.
iON 8:03
But it wouldn’t make any difference. The more is more. It doesn’t make any difference if we get it or don’t. The more is more. More is more. More is more.
Bob 8:11
Right. Okay. So, what are these purposes that the Thurn and Taxis people, if that’s them, what are they
iON 8:17
They’re trying to get a stake. They’re trying to get a stake. They’ve lost their stake. The Rockefellers have lost their stake. They got no, they can’t even play cards if they want to; they got no ante.
Bob 8:28
Right.
iON 8:28
They’re trying to make an ante. They’re trying to make a-n-t-e. Ante, a bet, something to place a bet to.
Bob 8:36
They’re trying to get cash flow.
iON 8:39
Well, to get — naw, they don’t want cash flow, they just want cash. [Bob chuckles] They don’t have any money. They don’t have any money because it all got obfuscated these ups and downs and back and forth. But keep typing modality is great.
Bob 8:53
Yes.
iON 8:53
Nobody cares. Nobody’s workin’, nobody’s payin’, nobody’s doin’, and everybody’s rich! [Bob and iON chuckle] Goodness gracious. This is a great day.
Bob 9:02
Yeah, so it obsolesces their wealth.
iON 9:04
Basically.
Bob 9:05
They’re not, they’re not rich, they’re not standing out.
iON 9:05
It makes them — they cannot — they got a fabulous 20,000-square foot house, but so does everybody. So now they’re livin’ in a slum. [Bob chuckles]
Bob 9:16
So, they feel desperate though. They need to get that cash. And what would they like to use it for? To get a stake? To get them back in the game?
iON 9:26
No, to prop up nodes, n-o-d-e-s. To prop up nodes. To make things, to make a — see, Hermes tries to make a pocketbook for somebody to be stupid enough to pay $20,000 for. And then they do, and then people do! And then they wonder, wow, that was great. Let’s make another one. Then at a certain point nobody buys them, any of them. They don’t buy, like, some of them, they don’t buy any of them after a second.
Bob 9:51
Right. So, they’re just tryin’ to make things. Old objects, somehow put
iON 9:55
No, no, no, no, no, they’re just tryin’ to sell things. They don’t make anything. They need some creation.
Bob 10:00
Right. Okay. So, they need cash flow.
iON 10:04
And then people figured out how to make money without selling anything. Like Enron. Remember Enron?
Bob 10:08
Right. Yeah. That’s true.
iON 10:09
They didn’t sell anything. They took the money in and said they were buying electricity when they were taking investor money to do it. Well, you don’t do that, for Pete’s sake.
Bob 10:18
[chuckles] But they did it.
iON 10:19
That’d be like Carolyn sellin’ product and taking the money in from the product and saying that we had money come in for people buying stock. No, they just sold product.
Bob 10:30
They just what?
iON 10:30
You don’t do — it’s just, it’s just sales in your business. But if you take that profit and then say it’s buying stock, you can’t do that. It’s the wrong way.
Bob 10:41
Right. And you’re buying stock of our product, not stock shares.
iON 10:46
Right. Well, right. You’re stocking your shelves; you’re not selling stock of your company. And that’s where they get tangled up sometimes, and that the point.
